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TRANSCRIPT
Indicator Values of The Sacredness of Jakarta Cathedral Church,
Indonesia
Rudy Trisno
Abstract
According to Pope Benedict XVI, the Catholic building church after the Second Vatican Council reduced the value of sacredness so that the sacredness of the expression of the form of a Catholic church is considered to fade. This statement from the Pope is exciting to be an issue for researchers to search for indicator values of the Catholic Church's sacredness before the Second Vatican Council. The Cathedral Church was founded before the Second Vatican Council. This study's method is a quantitative method by taking as many as 250 respondents who were grouped as users and observers as defining the population and purposive sampling to determine the impression of the sacredness felt by respondents through several indicator values. The conclusions obtained in this quantitative analysis are the sacred indicator values of the church received from; (1) Variables of the liturgy function; (2) Variables of form expression. The findings in this study are: (1) The Catholic Church founded before the Second Vatican Council is still imperfect; that is, this church is not following its ritual function. (2) The expression of the Catholic Church's form can be said to be sacred if the form's concept follows the function by considering indicator values of sacredness.
Keywords
Catholic Church; Relation of Form and Function; Jakarta Cathedral Church; Sacredness indicator values
Introduction
The building of the Catholic church before the Second Vatican Council (1962-1965) could still be felt a sacred impression both on the interior and exterior. After the Second Vatican Council, many new building forms of the Catholic Church have adapted to technological developments. So that the expression of this Catholic church building does not become sacred anymore, of course, this is contrary to the primary purpose of this church building made (Trisno & Lianto, 2018).
The development of technology and building materials develop following the age spirit (Jodido, 2005). The progress of technology has made the expression of the building of the Catholic Church fade. The expression of these diverse forms led Pope Benedict XVI to call for the return of the sacredness of the building of the Catholic church. (Mc Namara, 2011; Smith, 2007; Srisadono, 2012). So it requires indicator values that can represent an impression of the church's sacredness from the point of view of several respondents.
The main problem is the incompatibility between the function (of the liturgy of the Catholic Church) with the form's expression if it is simplified again that the form does not follow the function of the Catholic church (Trisno & Lianto, 2019). This central problem could cause the waning form of the Catholic church. That way, the form of sacredness is reduced both for the interior and exterior order.
The Catholic Church carrying out the liturgy function is a sublimation of the repetition of the procession of Jesus at the time of the last supper (before the time of Jesus died on the Cross, which was betrayed by his student, Judas Iscariot). After knowing the primary function of the liturgy of the Catholic Church, the expression of this architectural form accommodates this specific activity, namely liturgy. So this form of expression accommodates particular activities, namely liturgy, that also displays specific form expressions, namely expression forms of sacred liturgical processions. This expression form is always open to being interpreted similarly or differently by the user or observer (Hoed, 2011).
The expression form the Catholic Church is broadly divided into; first, the expression of the form is in line with the liturgy so that its sacred value is reflected; second, the form's expression is not in line with the liturgy so that the value of its sacredness fades. Associated with the expression of this second form, the observer and the user expressly say the form fades.
If scrutinized, the phenomenon of the fading expression of the sacral form of the Catholic church architecture is very carefully related to architecture, namely the absence of relations inline between aspects of the liturgy function with the expression of architectural forms. Therefore, it is necessary to know the right indicator values to deal with sacred forms in the church. In the future, advances in architectural technology and material will result in increasingly diverse architectural forms of expression.
Cathedral Church
Cathedral Church is the first Catholic church in Jakarta and the church before the Second Vatican Council, and Ir. P. A. Dijkmans first designed this church then continued Tromph in 1891 (Hueken, 200 years of the Catholic church in Jakarta (200 tahun gereja Katolik di Jakarta), 2007). It has a length of 60 meters and a width of 20 meters, cross-form plan like the churches in medieval times, with the capacity of 800 peoples. The church is neo-gothic with its stone construction, while the ceiling is made of wood to anticipate earthquakes. This church was initially given the name Santa Maria has been appointed to Heaven, which was inaugurated on April 21, 1901, by Mgr. E. S. Luypen S.J. Then the main church is called "Cathedral" because there is a cathedral, the bishop's throne (Fauzi, et al., 2011).
The location of the cathedral church in Jakarta is adjacent to the School, Soccer Field, and Istiqlal Mosque (Figure 1a). Three dimensions include a roof, ceiling, wall, and structure (Figure 1b). Floor plan and section from the Cathedral church (Figure 2).
Figure 1. Site Plan and Three Dimension
Source: Authors, 2020
Source: Authors, 2020
A research search with the title "Indicator values of the Sacredness of Jakarta Cathedral Church, Indonesia" needs to be done, with the aim of whether other researchers have ever done the same thing. With the hope, that state of the art and the novelty of this research can be achieved. The keywords to explore this research are Function and Form expression (Table 1).
Table 1. Research Examined Using the Keywords Sacredness Indicator values, Catholic Church, Relation of Form and Function
No
Title
Description
Source
1
The relationship between architectural form and meaning in Santa Theresia Catholic Church, Jakarta, Indonesia
Architectural forms are influenced by composition, mass from, inner space, and building elements.
International Journal of Civil Engineering and Technology
(Salura, Fauzy, & Trisno, 2019)
The Concept of Scared Space and Its Application in Architecture
This paper discussed the concept of sacred forms
Melintas Journal
(Srisadono, 2012)
Semiotics and Church Architecture
This study uses a Greimas semiotic approach to reading the form of the Catholic church
Kok Pharos Publishing House
4
The Modern Church In Rome: On the Interpretation of Architecture and Theological Identities 1950-80
Aspects were affecting the outside form and inner space, informing the house of God.
Dissertation University of Texas
5
The meaning of natural lighting on altar case study: Cathedral Church and Church of the Light
The lighting function on the altar gives the essence of sacredness.
International Journal of Civil Engineering and Technology
(Trisno & Lianto, 2018)
The Sacred In-between The Mediating Roles of Architecture.
The embodiment of the form of the sacred space based on the hierarchy and sequence of the Catholic church
Routledge Publishing (Barrie, 2010)
Primordial and Trans-Gender Architecture of the Pohsarang Church: A Study Phenomenologist.
Study the phenomenology of architectural forms in the Catholic church.
Dissertation, Parahyangan Catholic University.
Architecture.
Identification of elements of architectural forms in religious buildings and their symbolic meaning
The Kent University Press (Hoffman, 2010)
9
Catholic Church is the divinity symbol with a case study of Santa Theresia church in Jakarta, Indonesia.
The architectural form that produces the ideogram, the ideogram is obtained from the liturgical function of the Catholic church.
International Journal of Engineering and Technology (Trisno & Lianto, 2018)
10
Tracing The Urban
Cultural Landscape Structure of Manila Sacred Space: A Case Study Of Malate Church Grounds, MUHON
Description of the church's site on aspects of the user's movement, site dimensions, types of components, site elements, and the surrounding environment.
A Journal of Architecture, Landscape
Architecture and the Designed Environment
(Nadal & Galingan, 2012)
A Liturgical Relation with the Spatial Configuration
and Architectural Form of the Catholic Church
This study searched for a spatial concept of the architectural form of the Catholic church. This study found a reading tool to analyze the Catholic church.
International Journal on Advanced Science, Engineering and Information Technology.
(Trisno & Lianto, 2020)
Based on the description of Table 1, it can be concluded that the research with the title “Indicator values of the Sacredness of Jakarta Cathedral Church, Indonesia, Indonesia" has never been examined. With this research, it is expected to fill the void of existing research so that the novelty value of this research can be sought.
The theory of sacred architecture values
There is a harmonious relationship between the building's function with the expression of the building's form in architectural design (Salura, 2015). To see the sacral architecture starts closest to the farthest to feel the sequence of sacredness (Hoffman, 2010).
The building of the Catholic church in performing rituals or liturgies is a repetition of the last supper, repetition of this liturgy with the intention that the event can be remembered by his people, for the sacrifice of Jesus until he died on the Cross to save humankind (Martasudjita, 2011).
If connecting Salura's view with Hoffman's view in identifying sacred buildings, there are three steps (Salura, 2015; Hoffman, 2010); (1) Identification of architecture outside the site; (2) Identifying architecture within an area; (3) Identifying architecture in buildings. Salura and Hoffman's views in identifying these sacred buildings can be grouped inside buildings and outside buildings when users and observers interpret these buildings according to meanings that may be different (Hoed, 2011).
The hypothesis is made that the function (liturgy) follows the building's form, which is interpreted by the observer or user whether this building is sacred or not. The expression of the form of the building to be holy if the liturgy procession function is sacral by itself, the container that houses this function will become sacred, by the observer or the user will interpret this sacredness.
From this hypothesis, theories are sought to be able to produce research indicator values that are used in the field to analyze research. Based on this hypothesis, three steps are arranged to get the Indicator values; (1) The liturgy function of the Catholic Church (Interior); (2) Form expression based on the container of the liturgy (Exterior) function; (3) Meaning of the Catholic church.
The liturgy function of the Catholic Church (Interior)
The church is sourced from the procession of the last supper. The liturgy procession is a journey from profane to the sacral that covers from the front door of the main called Narthex proceed to the sitting room called Nave and the climax of the liturgy called the Sanctuary. In this Sanctuary, the floor height is higher than the Nave floor (Figure 2) (Srisadono, 2012; Martasudjita, 2011). Sanctuary is a climax of this liturgical procession, according to Eliade, as a sacred manifestation of the Mundi axis, which can be interpreted as a centre of the world (Eliade, 2002). This procession can be concluded that the movement's direction extends precisely to carry out liturgical processions, while the altitude at the Sanctuary is the centre of the world.
In the General Guidelines of the Roman Misale (PUMR), it is stated that the liturgy consists of four stages, namely the opening rite, the liturgy of the word, the Eucharistic liturgy as the culmination of the liturgical celebration, and the closing rite (Liturgi, 2000).
However, history records that since the church period, the liturgy's beginning always begins with the preparatory stage. People dip their fingers in holy water vessels by making the Cross's sign. It is done before entering the church building (Hahn, 2011).
Liturgy procession stages: First, the preparatory phase, where people personally prepare to enter the church. Second, the opening rite, the people are in the seating area. This rite aims to unite people who are assembled and prepare people to listen attentively to God's word in celebrating the Eucharist. Third, the word's liturgy, which is a symbol of God who speaks, and the people respond. Fourth, the Eucharistic liturgy, this concept which underlies the Catholic faith is Jesus, who saves man by giving His life through His sacrifice on the Cross. Fifth, the closing rite, following its name, serves to end the whole series of Eucharistic celebrations and lead people to return to the struggle for daily life to carry out their mission in the world (Figure 3).
Figure 3. Zoning and Liturgical Process
Source: Authors, 2020
The division between sacred and profane is a process of grouping the hierarchical zoning, which according to Jones this division is essential to be able to give the impression of a sacral because this division distinguishes the quality of space, this division is not only horizontally but also vertically (Jones, 2000). Sanctuary, both according to Eliade and Jones, are axis Mundi as the centre of the world, so the monumental scale of the Sanctuary is essential to give the impression of a sacred. The height inside the building to get the impact of a sacred is ten times the human's height (Stroik, 2012; Trisno, 2017).
Lighting and sound dampening factors are essential in church design because dark lighting, according to Ashiara, will give a monumental impression (Ashiara, 1971). Lighting conditions in the Sanctuary area can provide a sacred appearance to this building (Jones, 2000; Trisno & Lianto, 2018).
Symbols are interpreted as objects or signs to represent something. In general, images that have a concept are not visible (Hueken, 2003). The symbol can be applied to decorative elements or ornaments as religious symbols. This ornament, which is a symbol of Christian diversity, is not just decoration but also a deep symbolic meaning with various history and specific purposes.
Of course, the symbols used are related to liturgical processions such as the statue of the Virgin Mary, Jesus, Saint or Patron Saint, the Cross, and the Painting of the Procession of Jesus at the time of the Cross (Suptandar, 1995). All symbols in the interior space give meaning to the liturgical procession and give the impression of Jesus at the last supper (Trisno & Lianto, 2018).
So based on the liturgical function of the Catholic Church (Interior), the following indicator values for research are obtained;
1) There are symbols in the form of sculptures and paintings on the inside will add to the sacredness;
The purpose of the symbols to add a sacred atmosphere while undergoing the liturgy process involved symbols in the form of Pieta statues and pictures when Jesus experienced the procession on the Cross.
Figure 4. Symbols in the form of sculptures and paintings
Source: Authors, 2020
2) Sanctuary (altar) is higher than others to feel a sacred impression;
This more upper floor division distinguishes the quality of the sacred Sanctuary (altar). This division not only horizontally but also vertically.
Figure 5. Sanctuary (altar) is higher than the others
Source: Authors, 2020
3) The natural lighting on the altar gives the impression of sacredness;
Natural lighting on the altar expresses a sacral feeling because natural light and dark light make a monumental impression.
Figure 6. Natural lighting on the altar
Source: Authors, 2020
4) The church form with an extended axis according to the liturgy procession will give the impression of sacredness in the building;
The procession of the liturgy is the procession of the last supper. In this, the procession requires an elongated direction to perform the ritual (Figure 3).
Figure 7. The form of the church with an elongated axis
Source: Authors, 2020
5) On the altar brighter than others will give sacredness in the liturgy procession;
Altar with lighting conditions gives the sacred impression while in Nave not too much lighting due to muffling the sound from outside the building.
Figure 8. The lighting at the altar is brighter than each other
Source: Authors, 2020
6) The height of the building will give a monumental expression as the house of God.
In addition to playing dark light gives a considerable impression also the height of the building can provide a tremendous effect with a height of at least ten times the height of a human being (Stroik, 2012; Trisno, 2017). The impact of this monumental gives the impression of being sacred.
Figure 9. The height of the building as a monumental expression
Source: Authors, 2020
Expression of forms based on the spatial of the liturgy function (Exterior)
Form following the liturgical function produces the expression of the building form reflecting the liturgical function. This three-dimensional reflection is called an ideogram (Trisno, 2017) (Figure 10). Observers and users interpret the meaning of the building according to the expression of the building's form. Observers who see from a distance will be different from the users in it, to be fully described, the building's expression must be based on the building's distance.
The distance of the building is three/two times the height of the building or the width of the building. This building can be seen as a whole and can also see the surrounding environment if the height of the building is one distance from the building, the observer can see the details of the building (Ashiara, 1971).
Figure 10. The Ideogram of the Architecture of the Catholic Church in Three Dimensions
Source: (Trisno & Lianto, 2020)
Observation of path & place begins with an understanding of worship activities that are understood as symbolic activities. It illustrates the journey of humans from the state of profane to sacred to form a relationship with the Creator (Barrie, 2010). In addition to the precise boundaries between spaces that embody rituals, including spatial sequences based on the concept of hierarchy, it is strongly believed that geometric form and proportions are often used for the design of sacred buildings.
The principle of sacral building regulates the relationship between parts and the whole, based on Vitruvius's opinion. It can be concluded that one of the basic principles governing the relationship between part and the whole is through symmetry (Morgan, 1914). This principle is the basis for emphasizing the harmonious relations between parts to form something whole as a whole. This relationship is also related to semiotic signs.
Semiotic comes from Greek semion, which means sign. Semiotics is the sign's study. A sign is a form of simplification of the intent of a concept or object that often cannot be conveyed through words. Semiotics provides an understanding of the elements that form a sign and what rules govern them. The expression of form catholic church building has a connection with the semiotics of Pierce; namely, the meaning of the symbol is a sign that has been recognized and known by the public in general. While the meaning of the icon is a sign that has represented, and finally, the index is a causal relationship between the icon or symbol (Zoest, 1993; Sobur, 2006). For example, if the sign of the Cross is the body of Jesus, it can be said to be a symbol of Catholicism, whereas if the sign of the Cross alone means the icon of Christianity, and is called an index if a building has a cross icon or symbol of the patron saint. The building is interpreted as a church.
The formation of sacred space can be identified as elements that contain symbolic meaning. Hoffman has two groups of sacred space markers, which he calls architectural element identification and archetypal identification (Hoffman, 2010). The following will be explained briefly about both; (1) Identifying architectural elements, basically identifying sacred architectural elements can be classified into two. First, identify architectural aspects from outside the site or the yard. Second, identification of architectural elements in the site or the yard; (2) Identification with archetypal, archetypal categories are symbols that are either realized or not by the observer, containing sacred values.
So based on the expression of the form that accommodates the function of the liturgy (Exterior), we obtain indicator values for the following research;
1) Is sacredness still obtained if it is outside the site (Figure 11)?
The observer is outside the site, a procession travelling from the profane to the sacred. The distance of the observer outside the site is approximately two or three times the height of the building.
Figure 11. Outside the Site Two Times the Height of the Building.
Source: Authors, 2020
2) Is sacredness still obtained if it is inside the site (Figure 12)?
The observer is inside the site, a procession from the profane to the sacred. The distance of the observer outside the site is approximately one times the height of the building.
Figure 12. Inside the site one times the height of the building
Source: Authors, 2020
3) Is this building sacred because of its symmetrical shape (Figure 13)?
After the observer almost reaches the sacral building, its symmetrical composition will give a sacral impression.
Figure 13. This building is symmetrical
Source: Authors, 2020
4) The patron saint of Mary found in this church building will add to the sacredness (Figure 14)
When the observer goes to the main door, Mary's patron saint is seen, which means that the main entrance is the boundary transition from profane to sacral so that this transition can give the impression of sacredness.
Figure 14. Church Buildings with Symbols or Icons from the Embodiment of Saint Mary as the Patron Saint
Source: Authors, 2020
5) Does this Cathedral church follow the ideogram (Figure 10)?
The ideogram is a three-dimensional manifestation of a liturgical (spatial) procession which expresses the form of a sacred Catholic church building (Trisno & Lianto, 2020).
The meaning of the Catholic church
Meaning can be interpreted as a particular purpose derived from a meaning understood based on one's thoughts (Tjiptadi, 1984). The analogy of meaning with language functions that lead to architectural works' formation already exists (Jakobson, 2010). In general, architectural works that use semiotic linguistic meanings have been utilized, and this causes an exciting discussion between art theory, architect practitioners, and linguists (Leach, 1997).
The discourse of postmodern architecture to uncover this problem in the meaning of architectural works has begun to be implemented (Terragni, Tafuri, & Eisenman, 2003; Wigley, 1995). So the view that the meaning by using semiotic architecture in interpreting architectural works through observations and their use has been recognized by architecture.
Architects need various efforts to direct observers and users to interpret this hypothesis in simulations of two and three-dimensional devices to understand architectural works' meaning (Lazutina, Pupysheva, Shcherbinin, Bakseev, & Patrakova, 2016).
The meaning of building work is an intellectual process because all of these building ideas have been recorded in the observer's thoughts (Proust, 2012). The observer's mind helps enrich and explain architectural works by increasing logic and bringing truth within reach of reasoning. The observer's logic only views the truth and falsity of the sign that might occur (Zoest, 1993).
On the other hand, each formation of architectural forms already exists about the collective memory of observers or building users. The architectural form is a manifestation of the creator's identity who has been recorded in the collective consciousness of the observer or user. It can be stated based on direct marking features that conceptually signal specific meanings (Preziosi, 1979).
The meaning of architectural forms is related to the substance of architectural expression, and this is related to ideas that will be conveyed to the observer or user. This sign of architectural expression was received by the observer or user (Marotta, et al., 2017).
Methodology
This research method is quantitative with close-ended answers (Creswell, 2014, p. 43) that is; (1) Sacred; (2) Neutral; (3) Not sacred. The population taken is to define a population (Gulo, 2010). Following the meaning of the Catholic church with five categories of respondents (purposive sampling), namely; (1) Cathedral Church users; (2) Cathedral church administrators; (3) Architecture students; (4) Architects; (5) Other observers. The intended user is the Cathedral church's people/caretakers. While the observers referred to here are architects, architecture students, and other observers. Architects and architecture students can be made observers because, in this study, the subject of discussion on sacredness can already be understood by architects and architect students. In general, they already know the theories of sacredness. Simultaneously, other observers are the general public who are neutral and can only understand the sacredness based on logical analysis alone. A minimum of 50 respondent sampling represents one category group. The total sampling for the five categories of groups is 250 respondents (Champion, 2011).
Instrument and data collection using questions distributed by an online survey to get confirmation from the sampling identity via WhatsApp or Email, questions are input into Google Forms ( https://www.google.com/forms/about/ ) to manage the answers of the respondent sampling into statistical survey data to be analyzed to get conclusions. These conclusions and findings confirm each other or contrary to the hypothesis (Creswell, 2014, pp. 264-269). Questions in groups based on theory taken from the sublimated hypothesis are indicator values:
a. Variables of the liturgy function of the Catholic Church (Interior); (1) There are symbols in the form of sculptures and paintings in the interior will increase the sacredness; (2) Sanctuary (altar) is higher than the other what feels a sacred impression; (3) Natural lighting on the altar gives the impression of sacredness; (4) According to the liturgy procession, the form of the church with the longitudinal axis will provide the feeling of sacredness in the building; (5) On the altar, brighter than others, will give sacredness in the liturgy procession; (6) The height of the building will give a monumental expression as the house of God.
b. Variables of form expression based on the liturgy function (Exterior); (1) Is sacredness still obtained if it is outside the site; (2) Is sacredness even got if it is inside the site; (3) Is this building sacred because of its symmetrical form; (4) The patron saint of Mary found in this church building will add to the sacredness; (5) Does this Cathedral church follow the ideogram. Research questions for respondents can be seen in the following link: https://docs.google.com/forms/d/e/1FAIpQLSfr6xYHspDtxx_cJx4szItRuUvXVCNYfjYeINVp13PgJpui-A/viewform?vc=0&c=0&w=1&usp=mail_form_link
Analysis of The Cathedral Church and Results
This neo-gothic style cathedral is analyzed based on a hypothesis. This hypothesis connects the liturgical function with the expression of the building's form, which is interpreted by the observer or its users, whether the building is sacred. It also answers research questions, namely, looking for religious indicator values of the Catholic Church before the Second Vatican Council. So to achieve this goal, sampling is needed to analyze the indicator values.
A sampling of questionnaire respondents is grouped by; gender, age, user, and observer. The initial age limit taken is 18-25 for observers at the level of undergraduate/postgraduate students, and for other users ages, 18-25 are considered adults. A sampling of the user respondents is the people and administrators of the Cathedral church because as the people and administrators of the Cathedral church, there is a possibility that the users of the Cathedral church will answer this building to be sacred; this is due to being influenced psychologically without realizing it. But there is also the answer is not sacred because they feel there is something uncomfortable while carrying out ritual activities (Gervais, 2013), so sampling this user respondent also needs to be a respondent. Simultaneously, the observer respondent sampling is obtained from respondent sampling, the architect and student of architecture. As other observers who function as a balancing and neutral character require a sampling of other respondents (outside of cathedral church users, architects, and architecture students) because the sampling of these other respondents in analyzing thinking is based only on logic.
Data validity is achieved if the minimum sample size is 250 respondents (Champion, 2011) But in reality, the number of samples obtained was 331 respondents. The average of the five groups of this sampling category is; (1) Cathedral church users are 15.7% or 52 respondents; (2) Officers of the Cathedral church are 17.2% or 57 respondents; (3) Architecture students are 16.3% or 54 respondents; (4) Architects of 15.7% or 52 respondents; (5) Other observers are 35.1% or 116 respondents (Figure 15).
Validation, if the number of 800 people is at least 250 respondents or in the percentage of 31.25% (Champion, 2011). Sampling results showed 331 respondents (41.38%) or greater than 250 respondents. In Uma Sekaran and Roger Bougie's table explained if the number of respondents between 250 to 331 means that the capacity of the cathedral church ranges from 750 to 2400 people (Sekaran & Bougie, 2016, hal. 263-264), so this sample data is valid.
Analysis of the sampling of respondents to answer this questionnaire research variable with the following description:
a. Respondent data from users and observers
1) Users and observers
In Figure 15, the most dominant percentage was respondents from observers (others), reaching 35.1%. In comparison, the lowest respondents were users (people of the Cathedral church) and observer respondents (architect) by 15.7%, the total of all sample respondents was 331 respondents.
Figure 15. Graph of user and observer respondent
Source:
2) Gender respondents from users and observers.
In figure 16, the male gender is 53.6%, while women are 46.4%.
Figure 16. Gender graph of respondent sampling
Source:
3) Age respondents from users and observers.
In figure 17, the most age of the respondent sampling is 40-50 years (29.2%), while the smallest is over 50 years (23.2%), and ages 18-25 and 40-45 years are almost as close to 23.8%.
Figure 17. Age graph of the respondent
Source:
b. Results indicator of the liturgy function of the Cathedral Church (Interior)
1) There are symbols in the form of sculptures and paintings in the interior that will add to the Sacredness (Figure 4).
In Figure 18, almost all respondents, both users, and observers stated that 88% of respondents were sacred; those who answered neutrally were 10.8% of respondents, while 1.2% said they were not sacred. So it can be concluded that the symbols of the cathedral church are sacred.
Figure 18. Graphs of symbols in the form of statues/paintings create sacredness
Source:
2) Sanctuary (altar) is higher than the other, whether it feels sacred impression.
In figure 5, the elevation of the Sanctuary (Altar) gives the impression of being sacred. As many as 92.8% of respondents stated that they are sacred. In comparison, 7% of respondents stated neutral, and 0.2% said they were not sacred (Figure 19). So the Sanctuary (Altar) is elevated, giving the impression of being sacred.
Figure 19. Altar height charts create sacredness
Source:
3) The natural lighting on the altar gives the impression of sacredness
The natural illumination of the altar gives the impression of sacred (Figure 6) because the intensity of lighting in Sanctuary is the brightest lighting compared to Nave and Narthex of the respondents' answers saying that sacred 87.3% of respondents, neutral 10.5% of respondents and not sacred 2.2% of respondents (figure 20). So the natural lighting on the altar is said to be sacred.
Figure 20. The natural lighting graphics on the altar create sacredness
Source:
4) According to liturgy procession, the church's form with an extended axis will give the impression of sacredness in the building.
The longitudinal axis starts (Figure 7) from Narthex, Nave, and ends at the Sanctuary. Sanctuary is the culmination of a series of processions of the Catholic Church's liturgical program giving the impression of being sacred because 82.2% of respondents stated they were sacred, 16.3% of respondents said they were neutral. In contrast, those who stated were not sacred as many as 1.5% of respondents (Figure 21). So the longitudinal axis can be said to be sacral.
Figure 21. The axis lengthens in the liturgical procession creates an impression of sacredness
Source:
5) On the altar, brighter than others will give sacredness in the liturgy procession.
Altar lighting in the Sanctuary with artificial and natural light must be brighter with Nave and Narthex (Figure 8) because at the altar of illumination has a meaning in the liturgy procession, which is to illuminate the people from the power of darkness (Trisno, 2017). As many as 90.7% of respondents stated that they were sacred, 6.7% of respondents reported neutral, and those who said they were not sacred were 2.6% respondents (Figure 22). So natural and artificial lighting on the altar gives the impression of being sacred.
Figure 22. Brighter altar lighting on Nave creates an impression of sacredness
Source:
6) The height of the building will give a monumental expression as the house of God.
The building (Figure 9) dramatically affects the sacredness because the church is the house of God while the house is a house for humans. To distinguish it is the height of the building, the more sacred. 85.2% of respondents stated God's house, 13.3% of respondents reported neutral, and those claimed were not God's house 1.5% of respondents (Figure 23). So the height of the building can be said to be sacred.
Figure 23. The height of the building creates an impression of sacredness
Source:
c. Results indicator of form expressions based on the liturgy function (Exterior)
1) Is sacredness still obtained if it is outside the site?
Sacredness outside the site (Figure 11) with the aim is as the profane's identity to the sacral that is seen with a distance of two or three times the height of the building, in this distance, it is expected that this building still gets its sacredness. As many as 75% of respondents said they were sacred, 18.7% of respondents said they were neutral, and those who said they were not sacred were 6.3% of respondents (Figure 24). So the expression of form outside the site can be said to be sacred.
Figure 24. Sacredness is seen outside the site
Source:
2) Is sacredness still obtained if it is inside the site?
In the site, it can affect the value of building sacredness (Figure 12), from the results obtained which stated sacred is 70.2% of respondents, while 22.6% of respondents stated neutral, and those who stated were not sacred 7.2% (Figure 25). So the expression of form in the site is said to be sacred.
Figure 25. Sacredness is seen in the footprint
Source:
3) Is this building sacred because of the symmetrical form?
The symmetrical form is an embodiment of the sacred building (Figure 13) from the questionnaire results, stating that sacral is 78.6% of respondents. In comparison, those who state neutral are 18.4% of respondents, and the remaining 3% of respondents declare not sacred (Figure 26). So the expression of this symmetrical form is said to be sacred.
Figure 26. The symmetrical form makes the building sacred
Source:
4) The patron saint of Mary found in this church building will add to sacredness.
The patron saint that is Mary is in this building can give the impression of being sacred to the building (Figure 14), from the respondents' sampling answers that stated sacral was 83.4% of respondents. In comparison, 14.8% of respondents stated neutral, while those who claimed not to be sacred were 1.8% of respondents (Figure 27). So the protective Santa on the expression of the form of this building will add to the sacredness.
Figure 27. The patron saint of Mary adds to the sacredness of the building
Source:
5) Does this Cathedral church follow the ideogram?
The ideogram of the Cathedral church is upside down. It should be in front of the Cathedral church lower than the back, but in front of it is higher (Figure 10), so those who declare are sacred are 38.6% of respondents. In comparison, those who say neutral are 45.2% of respondents, and the last one states they are not sacred 16.3% of respondents (Figure 28). Therefore, the cathedral form of the cathedral church is said to be incompatible with the ideogram so that the sacredness of the cathedral church's outer space is said to be less sacred.
Figure 28. The cathedral does not follow the ideogram
Source:
Table 2. Recapitulation of respondents the sample of user and observer
No
1
Here are symbols in the form of statues and paintings in the interior that will add to the sacredness.
88.0%
10.8%
1.2%
2
Sanctuary (altar) is higher than the other, whether it feels a sacred impression.
92.8%
7.0%
0.2%
3
The natural lighting on the altar gives the impression of sacredness.
87.3%
10.5%
2.2%
4
According to the liturgy procession, the church's form with an extended axis will give the impression of sacredness in the building.
82.2%
16.3%
1.5%
5
On the altar, brighter than others will give sacredness in the liturgy procession.
90.7%
6.7%
2.6%
6
The height of the building will give a monumental expression as the house of God.
85.2%
13.3%
1.5%
87.7%
10.8%
1.5%
Results indicator of form expression based on liturgy functions (Exterior)
1
Is sacredness still obtained if it is outside the site
75.0%
18.7%
6.3%
2
Is sacredness still obtained if it is inside the site
70.2%
22.6%
7.2%
3
78.6%
18.4%
3.0%
4
The guardian saint of Mary found in this church building will add to the sacredness
83.4%
14.8%
1.8%
5
38.6%
45.2%
16.1%
69.2%
23.9%
6.9%
78.4%
17.4%
4.2%
Based on the analysis of Table 2, it can be summarized as follows:
a. The average percentage of the liturgy (Interior) function
Variable questions from the liturgy function of the Catholic church after the recapitulation of the respondent sampling, which states sacred is 87.7% of respondents, which states neutral is 10.8%, and which states it is not sacred 1.5% (Figure 29). From this data, it can be said that the function of the cathedral church (Interior) is very sacred so that the space that houses this function can be said to be an expression of its supposedly sacred form.
Figure 29. Average percentage liturgy function (Interior)
Source: Elaboration of
b. The average percentage form expression (Exterior)
Question Variable of form expression (form based on the liturgy function) after a recapitulation of respondent sampling, which states sacred 69.2% of respondents, which states are neutral as much as 23.9% of respondents. In comparison, those who claim are not sacred 6.9% of respondents (Figure 30). Even though the form expression is only an ideogram incompatible with sacredness, this building's expression can still be said to be sacred. This sacred liturgy function can even accommodate the expression of the sacral form.
Figure 30. Average percentage form expression (Exterior)
Source: Elaboration of
c. Total percentage of the liturgy (Interior) and form expression (Exterior) functions
The total percentage of liturgical functions (Interior) and form expression (Exterior) are 78.4% of respondents stated sacred, 17.4% of respondents stated neutral, and those who said were not sacred 4.2% of respondents (Figure 31). So this combined total can be said to be sacred.
Figure 31. Total Average percentage liturgy function (Interior) and form expression (Exterior)
Source: Elaboration of
Conclusions
Based on an analysis of 331 sampling respondents. It can be confirmed that the Cathedral church is following research hypothesis, namely; that there is a relationship between the function of the liturgy (Interior) and the expression of the form of the building (Exterior) to be interpreted by the observer or the user who will give the impression of being sacred. The expression of the form of the building (Exterior) is sacred if the liturgy procession (Interior) sacral by itself. The container that houses this function will become sacred. The observer or the user will interpret this sacredness.
From this confirmation, the taking of theories to be used as variables for research questions is significant because both the average presentation of the liturgy function (Interior), the average form expression presentation (Exterior), and the total combined function of the liturgy (Interior) with the form expression (Exterior) of the user and the observer declare sacred. There is a slight deficiency in the Cathedral church made before the Second Vatican Council is the incompatibility of one Indicator of the form expression (Exterior), namely ideogram. It can be traced in Figure 10, which states that sacral is 38.6% of respondents, while that state is neutral is 45.2% of respondents, and which states is not sacral is 16.1% of respondents. Unfortunately, the Cathedral church should have an average percentage of the liturgical function (Interior) and form expression (Exterior), reaching more than 78.4%.
The findings in this study are; (1) Although the cathedral church building (1901) was founded before the Second Vatican Council, there are still a few imperfections, namely this church is not following the function of the liturgy so, that the expression of the form of this building does not reflect the function of the liturgy. This three-dimensional reflection of the liturgy is called ideogram; (2) The expression of the form of the Catholic church can be said to be sacred if the concept of its form follows the function by paying attention to sacred indicator values both interior and exterior.
Rudy Trisno
Abstract
According to Pope Benedict XVI, the Catholic building church after the Second Vatican Council reduced the value of sacredness so that the sacredness of the expression of the form of a Catholic church is considered to fade. This statement from the Pope is exciting to be an issue for researchers to search for indicator values of the Catholic Church's sacredness before the Second Vatican Council. The Cathedral Church was founded before the Second Vatican Council. This study's method is a quantitative method by taking as many as 250 respondents who were grouped as users and observers as defining the population and purposive sampling to determine the impression of the sacredness felt by respondents through several indicator values. The conclusions obtained in this quantitative analysis are the sacred indicator values of the church received from; (1) Variables of the liturgy function; (2) Variables of form expression. The findings in this study are: (1) The Catholic Church founded before the Second Vatican Council is still imperfect; that is, this church is not following its ritual function. (2) The expression of the Catholic Church's form can be said to be sacred if the form's concept follows the function by considering indicator values of sacredness.
Keywords
Catholic Church; Relation of Form and Function; Jakarta Cathedral Church; Sacredness indicator values
Introduction
The building of the Catholic church before the Second Vatican Council (1962-1965) could still be felt a sacred impression both on the interior and exterior. After the Second Vatican Council, many new building forms of the Catholic Church have adapted to technological developments. So that the expression of this Catholic church building does not become sacred anymore, of course, this is contrary to the primary purpose of this church building made (Trisno & Lianto, 2018).
The development of technology and building materials develop following the age spirit (Jodido, 2005). The progress of technology has made the expression of the building of the Catholic Church fade. The expression of these diverse forms led Pope Benedict XVI to call for the return of the sacredness of the building of the Catholic church. (Mc Namara, 2011; Smith, 2007; Srisadono, 2012). So it requires indicator values that can represent an impression of the church's sacredness from the point of view of several respondents.
The main problem is the incompatibility between the function (of the liturgy of the Catholic Church) with the form's expression if it is simplified again that the form does not follow the function of the Catholic church (Trisno & Lianto, 2019). This central problem could cause the waning form of the Catholic church. That way, the form of sacredness is reduced both for the interior and exterior order.
The Catholic Church carrying out the liturgy function is a sublimation of the repetition of the procession of Jesus at the time of the last supper (before the time of Jesus died on the Cross, which was betrayed by his student, Judas Iscariot). After knowing the primary function of the liturgy of the Catholic Church, the expression of this architectural form accommodates this specific activity, namely liturgy. So this form of expression accommodates particular activities, namely liturgy, that also displays specific form expressions, namely expression forms of sacred liturgical processions. This expression form is always open to being interpreted similarly or differently by the user or observer (Hoed, 2011).
The expression form the Catholic Church is broadly divided into; first, the expression of the form is in line with the liturgy so that its sacred value is reflected; second, the form's expression is not in line with the liturgy so that the value of its sacredness fades. Associated with the expression of this second form, the observer and the user expressly say the form fades.
If scrutinized, the phenomenon of the fading expression of the sacral form of the Catholic church architecture is very carefully related to architecture, namely the absence of relations inline between aspects of the liturgy function with the expression of architectural forms. Therefore, it is necessary to know the right indicator values to deal with sacred forms in the church. In the future, advances in architectural technology and material will result in increasingly diverse architectural forms of expression.
Cathedral Church
Cathedral Church is the first Catholic church in Jakarta and the church before the Second Vatican Council, and Ir. P. A. Dijkmans first designed this church then continued Tromph in 1891 (Hueken, 200 years of the Catholic church in Jakarta (200 tahun gereja Katolik di Jakarta), 2007). It has a length of 60 meters and a width of 20 meters, cross-form plan like the churches in medieval times, with the capacity of 800 peoples. The church is neo-gothic with its stone construction, while the ceiling is made of wood to anticipate earthquakes. This church was initially given the name Santa Maria has been appointed to Heaven, which was inaugurated on April 21, 1901, by Mgr. E. S. Luypen S.J. Then the main church is called "Cathedral" because there is a cathedral, the bishop's throne (Fauzi, et al., 2011).
The location of the cathedral church in Jakarta is adjacent to the School, Soccer Field, and Istiqlal Mosque (Figure 1a). Three dimensions include a roof, ceiling, wall, and structure (Figure 1b). Floor plan and section from the Cathedral church (Figure 2).
Figure 1. Site Plan and Three Dimension
Source: Authors, 2020
Source: Authors, 2020
A research search with the title "Indicator values of the Sacredness of Jakarta Cathedral Church, Indonesia" needs to be done, with the aim of whether other researchers have ever done the same thing. With the hope, that state of the art and the novelty of this research can be achieved. The keywords to explore this research are Function and Form expression (Table 1).
Table 1. Research Examined Using the Keywords Sacredness Indicator values, Catholic Church, Relation of Form and Function
No
Title
Description
Source
1
The relationship between architectural form and meaning in Santa Theresia Catholic Church, Jakarta, Indonesia
Architectural forms are influenced by composition, mass from, inner space, and building elements.
International Journal of Civil Engineering and Technology
(Salura, Fauzy, & Trisno, 2019)
The Concept of Scared Space and Its Application in Architecture
This paper discussed the concept of sacred forms
Melintas Journal
(Srisadono, 2012)
Semiotics and Church Architecture
This study uses a Greimas semiotic approach to reading the form of the Catholic church
Kok Pharos Publishing House
4
The Modern Church In Rome: On the Interpretation of Architecture and Theological Identities 1950-80
Aspects were affecting the outside form and inner space, informing the house of God.
Dissertation University of Texas
5
The meaning of natural lighting on altar case study: Cathedral Church and Church of the Light
The lighting function on the altar gives the essence of sacredness.
International Journal of Civil Engineering and Technology
(Trisno & Lianto, 2018)
The Sacred In-between The Mediating Roles of Architecture.
The embodiment of the form of the sacred space based on the hierarchy and sequence of the Catholic church
Routledge Publishing (Barrie, 2010)
Primordial and Trans-Gender Architecture of the Pohsarang Church: A Study Phenomenologist.
Study the phenomenology of architectural forms in the Catholic church.
Dissertation, Parahyangan Catholic University.
Architecture.
Identification of elements of architectural forms in religious buildings and their symbolic meaning
The Kent University Press (Hoffman, 2010)
9
Catholic Church is the divinity symbol with a case study of Santa Theresia church in Jakarta, Indonesia.
The architectural form that produces the ideogram, the ideogram is obtained from the liturgical function of the Catholic church.
International Journal of Engineering and Technology (Trisno & Lianto, 2018)
10
Tracing The Urban
Cultural Landscape Structure of Manila Sacred Space: A Case Study Of Malate Church Grounds, MUHON
Description of the church's site on aspects of the user's movement, site dimensions, types of components, site elements, and the surrounding environment.
A Journal of Architecture, Landscape
Architecture and the Designed Environment
(Nadal & Galingan, 2012)
A Liturgical Relation with the Spatial Configuration
and Architectural Form of the Catholic Church
This study searched for a spatial concept of the architectural form of the Catholic church. This study found a reading tool to analyze the Catholic church.
International Journal on Advanced Science, Engineering and Information Technology.
(Trisno & Lianto, 2020)
Based on the description of Table 1, it can be concluded that the research with the title “Indicator values of the Sacredness of Jakarta Cathedral Church, Indonesia, Indonesia" has never been examined. With this research, it is expected to fill the void of existing research so that the novelty value of this research can be sought.
The theory of sacred architecture values
There is a harmonious relationship between the building's function with the expression of the building's form in architectural design (Salura, 2015). To see the sacral architecture starts closest to the farthest to feel the sequence of sacredness (Hoffman, 2010).
The building of the Catholic church in performing rituals or liturgies is a repetition of the last supper, repetition of this liturgy with the intention that the event can be remembered by his people, for the sacrifice of Jesus until he died on the Cross to save humankind (Martasudjita, 2011).
If connecting Salura's view with Hoffman's view in identifying sacred buildings, there are three steps (Salura, 2015; Hoffman, 2010); (1) Identification of architecture outside the site; (2) Identifying architecture within an area; (3) Identifying architecture in buildings. Salura and Hoffman's views in identifying these sacred buildings can be grouped inside buildings and outside buildings when users and observers interpret these buildings according to meanings that may be different (Hoed, 2011).
The hypothesis is made that the function (liturgy) follows the building's form, which is interpreted by the observer or user whether this building is sacred or not. The expression of the form of the building to be holy if the liturgy procession function is sacral by itself, the container that houses this function will become sacred, by the observer or the user will interpret this sacredness.
From this hypothesis, theories are sought to be able to produce research indicator values that are used in the field to analyze research. Based on this hypothesis, three steps are arranged to get the Indicator values; (1) The liturgy function of the Catholic Church (Interior); (2) Form expression based on the container of the liturgy (Exterior) function; (3) Meaning of the Catholic church.
The liturgy function of the Catholic Church (Interior)
The church is sourced from the procession of the last supper. The liturgy procession is a journey from profane to the sacral that covers from the front door of the main called Narthex proceed to the sitting room called Nave and the climax of the liturgy called the Sanctuary. In this Sanctuary, the floor height is higher than the Nave floor (Figure 2) (Srisadono, 2012; Martasudjita, 2011). Sanctuary is a climax of this liturgical procession, according to Eliade, as a sacred manifestation of the Mundi axis, which can be interpreted as a centre of the world (Eliade, 2002). This procession can be concluded that the movement's direction extends precisely to carry out liturgical processions, while the altitude at the Sanctuary is the centre of the world.
In the General Guidelines of the Roman Misale (PUMR), it is stated that the liturgy consists of four stages, namely the opening rite, the liturgy of the word, the Eucharistic liturgy as the culmination of the liturgical celebration, and the closing rite (Liturgi, 2000).
However, history records that since the church period, the liturgy's beginning always begins with the preparatory stage. People dip their fingers in holy water vessels by making the Cross's sign. It is done before entering the church building (Hahn, 2011).
Liturgy procession stages: First, the preparatory phase, where people personally prepare to enter the church. Second, the opening rite, the people are in the seating area. This rite aims to unite people who are assembled and prepare people to listen attentively to God's word in celebrating the Eucharist. Third, the word's liturgy, which is a symbol of God who speaks, and the people respond. Fourth, the Eucharistic liturgy, this concept which underlies the Catholic faith is Jesus, who saves man by giving His life through His sacrifice on the Cross. Fifth, the closing rite, following its name, serves to end the whole series of Eucharistic celebrations and lead people to return to the struggle for daily life to carry out their mission in the world (Figure 3).
Figure 3. Zoning and Liturgical Process
Source: Authors, 2020
The division between sacred and profane is a process of grouping the hierarchical zoning, which according to Jones this division is essential to be able to give the impression of a sacral because this division distinguishes the quality of space, this division is not only horizontally but also vertically (Jones, 2000). Sanctuary, both according to Eliade and Jones, are axis Mundi as the centre of the world, so the monumental scale of the Sanctuary is essential to give the impression of a sacred. The height inside the building to get the impact of a sacred is ten times the human's height (Stroik, 2012; Trisno, 2017).
Lighting and sound dampening factors are essential in church design because dark lighting, according to Ashiara, will give a monumental impression (Ashiara, 1971). Lighting conditions in the Sanctuary area can provide a sacred appearance to this building (Jones, 2000; Trisno & Lianto, 2018).
Symbols are interpreted as objects or signs to represent something. In general, images that have a concept are not visible (Hueken, 2003). The symbol can be applied to decorative elements or ornaments as religious symbols. This ornament, which is a symbol of Christian diversity, is not just decoration but also a deep symbolic meaning with various history and specific purposes.
Of course, the symbols used are related to liturgical processions such as the statue of the Virgin Mary, Jesus, Saint or Patron Saint, the Cross, and the Painting of the Procession of Jesus at the time of the Cross (Suptandar, 1995). All symbols in the interior space give meaning to the liturgical procession and give the impression of Jesus at the last supper (Trisno & Lianto, 2018).
So based on the liturgical function of the Catholic Church (Interior), the following indicator values for research are obtained;
1) There are symbols in the form of sculptures and paintings on the inside will add to the sacredness;
The purpose of the symbols to add a sacred atmosphere while undergoing the liturgy process involved symbols in the form of Pieta statues and pictures when Jesus experienced the procession on the Cross.
Figure 4. Symbols in the form of sculptures and paintings
Source: Authors, 2020
2) Sanctuary (altar) is higher than others to feel a sacred impression;
This more upper floor division distinguishes the quality of the sacred Sanctuary (altar). This division not only horizontally but also vertically.
Figure 5. Sanctuary (altar) is higher than the others
Source: Authors, 2020
3) The natural lighting on the altar gives the impression of sacredness;
Natural lighting on the altar expresses a sacral feeling because natural light and dark light make a monumental impression.
Figure 6. Natural lighting on the altar
Source: Authors, 2020
4) The church form with an extended axis according to the liturgy procession will give the impression of sacredness in the building;
The procession of the liturgy is the procession of the last supper. In this, the procession requires an elongated direction to perform the ritual (Figure 3).
Figure 7. The form of the church with an elongated axis
Source: Authors, 2020
5) On the altar brighter than others will give sacredness in the liturgy procession;
Altar with lighting conditions gives the sacred impression while in Nave not too much lighting due to muffling the sound from outside the building.
Figure 8. The lighting at the altar is brighter than each other
Source: Authors, 2020
6) The height of the building will give a monumental expression as the house of God.
In addition to playing dark light gives a considerable impression also the height of the building can provide a tremendous effect with a height of at least ten times the height of a human being (Stroik, 2012; Trisno, 2017). The impact of this monumental gives the impression of being sacred.
Figure 9. The height of the building as a monumental expression
Source: Authors, 2020
Expression of forms based on the spatial of the liturgy function (Exterior)
Form following the liturgical function produces the expression of the building form reflecting the liturgical function. This three-dimensional reflection is called an ideogram (Trisno, 2017) (Figure 10). Observers and users interpret the meaning of the building according to the expression of the building's form. Observers who see from a distance will be different from the users in it, to be fully described, the building's expression must be based on the building's distance.
The distance of the building is three/two times the height of the building or the width of the building. This building can be seen as a whole and can also see the surrounding environment if the height of the building is one distance from the building, the observer can see the details of the building (Ashiara, 1971).
Figure 10. The Ideogram of the Architecture of the Catholic Church in Three Dimensions
Source: (Trisno & Lianto, 2020)
Observation of path & place begins with an understanding of worship activities that are understood as symbolic activities. It illustrates the journey of humans from the state of profane to sacred to form a relationship with the Creator (Barrie, 2010). In addition to the precise boundaries between spaces that embody rituals, including spatial sequences based on the concept of hierarchy, it is strongly believed that geometric form and proportions are often used for the design of sacred buildings.
The principle of sacral building regulates the relationship between parts and the whole, based on Vitruvius's opinion. It can be concluded that one of the basic principles governing the relationship between part and the whole is through symmetry (Morgan, 1914). This principle is the basis for emphasizing the harmonious relations between parts to form something whole as a whole. This relationship is also related to semiotic signs.
Semiotic comes from Greek semion, which means sign. Semiotics is the sign's study. A sign is a form of simplification of the intent of a concept or object that often cannot be conveyed through words. Semiotics provides an understanding of the elements that form a sign and what rules govern them. The expression of form catholic church building has a connection with the semiotics of Pierce; namely, the meaning of the symbol is a sign that has been recognized and known by the public in general. While the meaning of the icon is a sign that has represented, and finally, the index is a causal relationship between the icon or symbol (Zoest, 1993; Sobur, 2006). For example, if the sign of the Cross is the body of Jesus, it can be said to be a symbol of Catholicism, whereas if the sign of the Cross alone means the icon of Christianity, and is called an index if a building has a cross icon or symbol of the patron saint. The building is interpreted as a church.
The formation of sacred space can be identified as elements that contain symbolic meaning. Hoffman has two groups of sacred space markers, which he calls architectural element identification and archetypal identification (Hoffman, 2010). The following will be explained briefly about both; (1) Identifying architectural elements, basically identifying sacred architectural elements can be classified into two. First, identify architectural aspects from outside the site or the yard. Second, identification of architectural elements in the site or the yard; (2) Identification with archetypal, archetypal categories are symbols that are either realized or not by the observer, containing sacred values.
So based on the expression of the form that accommodates the function of the liturgy (Exterior), we obtain indicator values for the following research;
1) Is sacredness still obtained if it is outside the site (Figure 11)?
The observer is outside the site, a procession travelling from the profane to the sacred. The distance of the observer outside the site is approximately two or three times the height of the building.
Figure 11. Outside the Site Two Times the Height of the Building.
Source: Authors, 2020
2) Is sacredness still obtained if it is inside the site (Figure 12)?
The observer is inside the site, a procession from the profane to the sacred. The distance of the observer outside the site is approximately one times the height of the building.
Figure 12. Inside the site one times the height of the building
Source: Authors, 2020
3) Is this building sacred because of its symmetrical shape (Figure 13)?
After the observer almost reaches the sacral building, its symmetrical composition will give a sacral impression.
Figure 13. This building is symmetrical
Source: Authors, 2020
4) The patron saint of Mary found in this church building will add to the sacredness (Figure 14)
When the observer goes to the main door, Mary's patron saint is seen, which means that the main entrance is the boundary transition from profane to sacral so that this transition can give the impression of sacredness.
Figure 14. Church Buildings with Symbols or Icons from the Embodiment of Saint Mary as the Patron Saint
Source: Authors, 2020
5) Does this Cathedral church follow the ideogram (Figure 10)?
The ideogram is a three-dimensional manifestation of a liturgical (spatial) procession which expresses the form of a sacred Catholic church building (Trisno & Lianto, 2020).
The meaning of the Catholic church
Meaning can be interpreted as a particular purpose derived from a meaning understood based on one's thoughts (Tjiptadi, 1984). The analogy of meaning with language functions that lead to architectural works' formation already exists (Jakobson, 2010). In general, architectural works that use semiotic linguistic meanings have been utilized, and this causes an exciting discussion between art theory, architect practitioners, and linguists (Leach, 1997).
The discourse of postmodern architecture to uncover this problem in the meaning of architectural works has begun to be implemented (Terragni, Tafuri, & Eisenman, 2003; Wigley, 1995). So the view that the meaning by using semiotic architecture in interpreting architectural works through observations and their use has been recognized by architecture.
Architects need various efforts to direct observers and users to interpret this hypothesis in simulations of two and three-dimensional devices to understand architectural works' meaning (Lazutina, Pupysheva, Shcherbinin, Bakseev, & Patrakova, 2016).
The meaning of building work is an intellectual process because all of these building ideas have been recorded in the observer's thoughts (Proust, 2012). The observer's mind helps enrich and explain architectural works by increasing logic and bringing truth within reach of reasoning. The observer's logic only views the truth and falsity of the sign that might occur (Zoest, 1993).
On the other hand, each formation of architectural forms already exists about the collective memory of observers or building users. The architectural form is a manifestation of the creator's identity who has been recorded in the collective consciousness of the observer or user. It can be stated based on direct marking features that conceptually signal specific meanings (Preziosi, 1979).
The meaning of architectural forms is related to the substance of architectural expression, and this is related to ideas that will be conveyed to the observer or user. This sign of architectural expression was received by the observer or user (Marotta, et al., 2017).
Methodology
This research method is quantitative with close-ended answers (Creswell, 2014, p. 43) that is; (1) Sacred; (2) Neutral; (3) Not sacred. The population taken is to define a population (Gulo, 2010). Following the meaning of the Catholic church with five categories of respondents (purposive sampling), namely; (1) Cathedral Church users; (2) Cathedral church administrators; (3) Architecture students; (4) Architects; (5) Other observers. The intended user is the Cathedral church's people/caretakers. While the observers referred to here are architects, architecture students, and other observers. Architects and architecture students can be made observers because, in this study, the subject of discussion on sacredness can already be understood by architects and architect students. In general, they already know the theories of sacredness. Simultaneously, other observers are the general public who are neutral and can only understand the sacredness based on logical analysis alone. A minimum of 50 respondent sampling represents one category group. The total sampling for the five categories of groups is 250 respondents (Champion, 2011).
Instrument and data collection using questions distributed by an online survey to get confirmation from the sampling identity via WhatsApp or Email, questions are input into Google Forms ( https://www.google.com/forms/about/ ) to manage the answers of the respondent sampling into statistical survey data to be analyzed to get conclusions. These conclusions and findings confirm each other or contrary to the hypothesis (Creswell, 2014, pp. 264-269). Questions in groups based on theory taken from the sublimated hypothesis are indicator values:
a. Variables of the liturgy function of the Catholic Church (Interior); (1) There are symbols in the form of sculptures and paintings in the interior will increase the sacredness; (2) Sanctuary (altar) is higher than the other what feels a sacred impression; (3) Natural lighting on the altar gives the impression of sacredness; (4) According to the liturgy procession, the form of the church with the longitudinal axis will provide the feeling of sacredness in the building; (5) On the altar, brighter than others, will give sacredness in the liturgy procession; (6) The height of the building will give a monumental expression as the house of God.
b. Variables of form expression based on the liturgy function (Exterior); (1) Is sacredness still obtained if it is outside the site; (2) Is sacredness even got if it is inside the site; (3) Is this building sacred because of its symmetrical form; (4) The patron saint of Mary found in this church building will add to the sacredness; (5) Does this Cathedral church follow the ideogram. Research questions for respondents can be seen in the following link: https://docs.google.com/forms/d/e/1FAIpQLSfr6xYHspDtxx_cJx4szItRuUvXVCNYfjYeINVp13PgJpui-A/viewform?vc=0&c=0&w=1&usp=mail_form_link
Analysis of The Cathedral Church and Results
This neo-gothic style cathedral is analyzed based on a hypothesis. This hypothesis connects the liturgical function with the expression of the building's form, which is interpreted by the observer or its users, whether the building is sacred. It also answers research questions, namely, looking for religious indicator values of the Catholic Church before the Second Vatican Council. So to achieve this goal, sampling is needed to analyze the indicator values.
A sampling of questionnaire respondents is grouped by; gender, age, user, and observer. The initial age limit taken is 18-25 for observers at the level of undergraduate/postgraduate students, and for other users ages, 18-25 are considered adults. A sampling of the user respondents is the people and administrators of the Cathedral church because as the people and administrators of the Cathedral church, there is a possibility that the users of the Cathedral church will answer this building to be sacred; this is due to being influenced psychologically without realizing it. But there is also the answer is not sacred because they feel there is something uncomfortable while carrying out ritual activities (Gervais, 2013), so sampling this user respondent also needs to be a respondent. Simultaneously, the observer respondent sampling is obtained from respondent sampling, the architect and student of architecture. As other observers who function as a balancing and neutral character require a sampling of other respondents (outside of cathedral church users, architects, and architecture students) because the sampling of these other respondents in analyzing thinking is based only on logic.
Data validity is achieved if the minimum sample size is 250 respondents (Champion, 2011) But in reality, the number of samples obtained was 331 respondents. The average of the five groups of this sampling category is; (1) Cathedral church users are 15.7% or 52 respondents; (2) Officers of the Cathedral church are 17.2% or 57 respondents; (3) Architecture students are 16.3% or 54 respondents; (4) Architects of 15.7% or 52 respondents; (5) Other observers are 35.1% or 116 respondents (Figure 15).
Validation, if the number of 800 people is at least 250 respondents or in the percentage of 31.25% (Champion, 2011). Sampling results showed 331 respondents (41.38%) or greater than 250 respondents. In Uma Sekaran and Roger Bougie's table explained if the number of respondents between 250 to 331 means that the capacity of the cathedral church ranges from 750 to 2400 people (Sekaran & Bougie, 2016, hal. 263-264), so this sample data is valid.
Analysis of the sampling of respondents to answer this questionnaire research variable with the following description:
a. Respondent data from users and observers
1) Users and observers
In Figure 15, the most dominant percentage was respondents from observers (others), reaching 35.1%. In comparison, the lowest respondents were users (people of the Cathedral church) and observer respondents (architect) by 15.7%, the total of all sample respondents was 331 respondents.
Figure 15. Graph of user and observer respondent
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2) Gender respondents from users and observers.
In figure 16, the male gender is 53.6%, while women are 46.4%.
Figure 16. Gender graph of respondent sampling
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3) Age respondents from users and observers.
In figure 17, the most age of the respondent sampling is 40-50 years (29.2%), while the smallest is over 50 years (23.2%), and ages 18-25 and 40-45 years are almost as close to 23.8%.
Figure 17. Age graph of the respondent
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b. Results indicator of the liturgy function of the Cathedral Church (Interior)
1) There are symbols in the form of sculptures and paintings in the interior that will add to the Sacredness (Figure 4).
In Figure 18, almost all respondents, both users, and observers stated that 88% of respondents were sacred; those who answered neutrally were 10.8% of respondents, while 1.2% said they were not sacred. So it can be concluded that the symbols of the cathedral church are sacred.
Figure 18. Graphs of symbols in the form of statues/paintings create sacredness
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2) Sanctuary (altar) is higher than the other, whether it feels sacred impression.
In figure 5, the elevation of the Sanctuary (Altar) gives the impression of being sacred. As many as 92.8% of respondents stated that they are sacred. In comparison, 7% of respondents stated neutral, and 0.2% said they were not sacred (Figure 19). So the Sanctuary (Altar) is elevated, giving the impression of being sacred.
Figure 19. Altar height charts create sacredness
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3) The natural lighting on the altar gives the impression of sacredness
The natural illumination of the altar gives the impression of sacred (Figure 6) because the intensity of lighting in Sanctuary is the brightest lighting compared to Nave and Narthex of the respondents' answers saying that sacred 87.3% of respondents, neutral 10.5% of respondents and not sacred 2.2% of respondents (figure 20). So the natural lighting on the altar is said to be sacred.
Figure 20. The natural lighting graphics on the altar create sacredness
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4) According to liturgy procession, the church's form with an extended axis will give the impression of sacredness in the building.
The longitudinal axis starts (Figure 7) from Narthex, Nave, and ends at the Sanctuary. Sanctuary is the culmination of a series of processions of the Catholic Church's liturgical program giving the impression of being sacred because 82.2% of respondents stated they were sacred, 16.3% of respondents said they were neutral. In contrast, those who stated were not sacred as many as 1.5% of respondents (Figure 21). So the longitudinal axis can be said to be sacral.
Figure 21. The axis lengthens in the liturgical procession creates an impression of sacredness
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5) On the altar, brighter than others will give sacredness in the liturgy procession.
Altar lighting in the Sanctuary with artificial and natural light must be brighter with Nave and Narthex (Figure 8) because at the altar of illumination has a meaning in the liturgy procession, which is to illuminate the people from the power of darkness (Trisno, 2017). As many as 90.7% of respondents stated that they were sacred, 6.7% of respondents reported neutral, and those who said they were not sacred were 2.6% respondents (Figure 22). So natural and artificial lighting on the altar gives the impression of being sacred.
Figure 22. Brighter altar lighting on Nave creates an impression of sacredness
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6) The height of the building will give a monumental expression as the house of God.
The building (Figure 9) dramatically affects the sacredness because the church is the house of God while the house is a house for humans. To distinguish it is the height of the building, the more sacred. 85.2% of respondents stated God's house, 13.3% of respondents reported neutral, and those claimed were not God's house 1.5% of respondents (Figure 23). So the height of the building can be said to be sacred.
Figure 23. The height of the building creates an impression of sacredness
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c. Results indicator of form expressions based on the liturgy function (Exterior)
1) Is sacredness still obtained if it is outside the site?
Sacredness outside the site (Figure 11) with the aim is as the profane's identity to the sacral that is seen with a distance of two or three times the height of the building, in this distance, it is expected that this building still gets its sacredness. As many as 75% of respondents said they were sacred, 18.7% of respondents said they were neutral, and those who said they were not sacred were 6.3% of respondents (Figure 24). So the expression of form outside the site can be said to be sacred.
Figure 24. Sacredness is seen outside the site
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2) Is sacredness still obtained if it is inside the site?
In the site, it can affect the value of building sacredness (Figure 12), from the results obtained which stated sacred is 70.2% of respondents, while 22.6% of respondents stated neutral, and those who stated were not sacred 7.2% (Figure 25). So the expression of form in the site is said to be sacred.
Figure 25. Sacredness is seen in the footprint
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3) Is this building sacred because of the symmetrical form?
The symmetrical form is an embodiment of the sacred building (Figure 13) from the questionnaire results, stating that sacral is 78.6% of respondents. In comparison, those who state neutral are 18.4% of respondents, and the remaining 3% of respondents declare not sacred (Figure 26). So the expression of this symmetrical form is said to be sacred.
Figure 26. The symmetrical form makes the building sacred
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4) The patron saint of Mary found in this church building will add to sacredness.
The patron saint that is Mary is in this building can give the impression of being sacred to the building (Figure 14), from the respondents' sampling answers that stated sacral was 83.4% of respondents. In comparison, 14.8% of respondents stated neutral, while those who claimed not to be sacred were 1.8% of respondents (Figure 27). So the protective Santa on the expression of the form of this building will add to the sacredness.
Figure 27. The patron saint of Mary adds to the sacredness of the building
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5) Does this Cathedral church follow the ideogram?
The ideogram of the Cathedral church is upside down. It should be in front of the Cathedral church lower than the back, but in front of it is higher (Figure 10), so those who declare are sacred are 38.6% of respondents. In comparison, those who say neutral are 45.2% of respondents, and the last one states they are not sacred 16.3% of respondents (Figure 28). Therefore, the cathedral form of the cathedral church is said to be incompatible with the ideogram so that the sacredness of the cathedral church's outer space is said to be less sacred.
Figure 28. The cathedral does not follow the ideogram
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Table 2. Recapitulation of respondents the sample of user and observer
No
1
Here are symbols in the form of statues and paintings in the interior that will add to the sacredness.
88.0%
10.8%
1.2%
2
Sanctuary (altar) is higher than the other, whether it feels a sacred impression.
92.8%
7.0%
0.2%
3
The natural lighting on the altar gives the impression of sacredness.
87.3%
10.5%
2.2%
4
According to the liturgy procession, the church's form with an extended axis will give the impression of sacredness in the building.
82.2%
16.3%
1.5%
5
On the altar, brighter than others will give sacredness in the liturgy procession.
90.7%
6.7%
2.6%
6
The height of the building will give a monumental expression as the house of God.
85.2%
13.3%
1.5%
87.7%
10.8%
1.5%
Results indicator of form expression based on liturgy functions (Exterior)
1
Is sacredness still obtained if it is outside the site
75.0%
18.7%
6.3%
2
Is sacredness still obtained if it is inside the site
70.2%
22.6%
7.2%
3
78.6%
18.4%
3.0%
4
The guardian saint of Mary found in this church building will add to the sacredness
83.4%
14.8%
1.8%
5
38.6%
45.2%
16.1%
69.2%
23.9%
6.9%
78.4%
17.4%
4.2%
Based on the analysis of Table 2, it can be summarized as follows:
a. The average percentage of the liturgy (Interior) function
Variable questions from the liturgy function of the Catholic church after the recapitulation of the respondent sampling, which states sacred is 87.7% of respondents, which states neutral is 10.8%, and which states it is not sacred 1.5% (Figure 29). From this data, it can be said that the function of the cathedral church (Interior) is very sacred so that the space that houses this function can be said to be an expression of its supposedly sacred form.
Figure 29. Average percentage liturgy function (Interior)
Source: Elaboration of
b. The average percentage form expression (Exterior)
Question Variable of form expression (form based on the liturgy function) after a recapitulation of respondent sampling, which states sacred 69.2% of respondents, which states are neutral as much as 23.9% of respondents. In comparison, those who claim are not sacred 6.9% of respondents (Figure 30). Even though the form expression is only an ideogram incompatible with sacredness, this building's expression can still be said to be sacred. This sacred liturgy function can even accommodate the expression of the sacral form.
Figure 30. Average percentage form expression (Exterior)
Source: Elaboration of
c. Total percentage of the liturgy (Interior) and form expression (Exterior) functions
The total percentage of liturgical functions (Interior) and form expression (Exterior) are 78.4% of respondents stated sacred, 17.4% of respondents stated neutral, and those who said were not sacred 4.2% of respondents (Figure 31). So this combined total can be said to be sacred.
Figure 31. Total Average percentage liturgy function (Interior) and form expression (Exterior)
Source: Elaboration of
Conclusions
Based on an analysis of 331 sampling respondents. It can be confirmed that the Cathedral church is following research hypothesis, namely; that there is a relationship between the function of the liturgy (Interior) and the expression of the form of the building (Exterior) to be interpreted by the observer or the user who will give the impression of being sacred. The expression of the form of the building (Exterior) is sacred if the liturgy procession (Interior) sacral by itself. The container that houses this function will become sacred. The observer or the user will interpret this sacredness.
From this confirmation, the taking of theories to be used as variables for research questions is significant because both the average presentation of the liturgy function (Interior), the average form expression presentation (Exterior), and the total combined function of the liturgy (Interior) with the form expression (Exterior) of the user and the observer declare sacred. There is a slight deficiency in the Cathedral church made before the Second Vatican Council is the incompatibility of one Indicator of the form expression (Exterior), namely ideogram. It can be traced in Figure 10, which states that sacral is 38.6% of respondents, while that state is neutral is 45.2% of respondents, and which states is not sacral is 16.1% of respondents. Unfortunately, the Cathedral church should have an average percentage of the liturgical function (Interior) and form expression (Exterior), reaching more than 78.4%.
The findings in this study are; (1) Although the cathedral church building (1901) was founded before the Second Vatican Council, there are still a few imperfections, namely this church is not following the function of the liturgy so, that the expression of the form of this building does not reflect the function of the liturgy. This three-dimensional reflection of the liturgy is called ideogram; (2) The expression of the form of the Catholic church can be said to be sacred if the concept of its form follows the function by paying attention to sacred indicator values both interior and exterior.