The Hylian Architectural Tradition
“The only way you can build, the only way you can get the building into being, is through the measurable. You must follow the laws of nature and use quantities of brick, methods of construction, and engineering. But in the end, when the building becomes part of living, it evokes unmeasurable qualities, and the spirit of its existence takes over.”
— Louis Kahn
I particularly love the quote above, because it speaks to something that cannot be quantified, something that oftentimes leaves the observer without words. Meaningful art, beautiful landscapes, or moving poetry all unlock a portion of the human spirit that is the majority of the time contained. And this latent, powerful upwelling of soul is ineffable by its very essence. It seems as though certain worldly items can connect to this pocket of whatever-it-is, draw it out and channel it, and bring with it myriad emotions and thoughts, the chiefest of which is that of impassioned and inspired movement. And this movement need not be external. It sweeps throughout the body with a speed and power that is equal to that which sparked the movement in the first place. Our language reflects this movement toward the beautiful. We are drawn into things, brought low by an encountered object of splendor, and raised to the heights of the sublime. These descriptions are all lovely, but they cannot fully describe the innermost movements of the spirit, and this is why, at times, individuals are left speechless. Tolkien, along with a select group of his closest friends during their early school days, referred to this as the poetic fire of the hidden heart. It is something that is, by nature, unable to be expressed fully to others, and it may not even be comprehensible to the individual. It is the fundamental reality — the feeling — that exists beyond language — something stronger than words and even discursive thought.
— Louis Kahn
I particularly love the quote above, because it speaks to something that cannot be quantified, something that oftentimes leaves the observer without words. Meaningful art, beautiful landscapes, or moving poetry all unlock a portion of the human spirit that is the majority of the time contained. And this latent, powerful upwelling of soul is ineffable by its very essence. It seems as though certain worldly items can connect to this pocket of whatever-it-is, draw it out and channel it, and bring with it myriad emotions and thoughts, the chiefest of which is that of impassioned and inspired movement. And this movement need not be external. It sweeps throughout the body with a speed and power that is equal to that which sparked the movement in the first place. Our language reflects this movement toward the beautiful. We are drawn into things, brought low by an encountered object of splendor, and raised to the heights of the sublime. These descriptions are all lovely, but they cannot fully describe the innermost movements of the spirit, and this is why, at times, individuals are left speechless. Tolkien, along with a select group of his closest friends during their early school days, referred to this as the poetic fire of the hidden heart. It is something that is, by nature, unable to be expressed fully to others, and it may not even be comprehensible to the individual. It is the fundamental reality — the feeling — that exists beyond language — something stronger than words and even discursive thought.
Architecture as explorable space is magnificent in this regard. Investigating a painting is assuredly excellent, as we are once again drawn in by the individual brush strokes, or the particular hue of the sky, though we can never truly explore a landscape or still life painting. But one can explore architecture. Unlike the medium of painting, one can literally be drawn into a structure, walk its halls, descend into its secret haunts, or meditate under its peaceful arcades. Happily, this is also true (similar, though not exact) of the medium of video games, for, like a painting, one can examine its collocations of pixels or chosen light effects, but one can also traverse its distances and travel the depths and shallows of the in-game world. In many ways, video games such as these are bridges between mediums; yet, they are very much their own.
Hyrule Castle happens to be such a place that demands exploration. As it dominates the visible landscape of Hyrule, it subtly speaks of its magnificence, inevitably drawing the player slowly toward the end-game. We are tempted very early on with hollow promises that the castle is open to us, only to be transported away without notice, and we are left with a sensation that something is deeply unfinished. And for the majority of the game, various errands keep players in the hinterlands of Hyrule, far from the castle, though it is always in sight. Its very existence is a reminder, almost a temptation, of that which awaits us at the end. It is the center of the world, resting within sight of every provincial settlement, yet it is the one place that eludes us.
Thus, when the gates open and the barrier is destroyed, it is almost cathartic. Finally, the end is near, and the distant unknown finally made knowable.
Hyrule Castle happens to be such a place that demands exploration. As it dominates the visible landscape of Hyrule, it subtly speaks of its magnificence, inevitably drawing the player slowly toward the end-game. We are tempted very early on with hollow promises that the castle is open to us, only to be transported away without notice, and we are left with a sensation that something is deeply unfinished. And for the majority of the game, various errands keep players in the hinterlands of Hyrule, far from the castle, though it is always in sight. Its very existence is a reminder, almost a temptation, of that which awaits us at the end. It is the center of the world, resting within sight of every provincial settlement, yet it is the one place that eludes us.
Thus, when the gates open and the barrier is destroyed, it is almost cathartic. Finally, the end is near, and the distant unknown finally made knowable.
Like the castle town nestled up against the steep walls encircling the fortress, the architectural setting of this stronghold is principally medieval, from the turrets to the tapestries. I do not want to linger upon the castle town, mostly because it is impossible to truly explore in-game due to the restrictions on the camera, but I do wish to address the northern face of the courtyard that accentuates the castle so perfectly. In the center of the plaza, there is a cascading fountain aligned axially with the approach to the castle. Unsurprisingly, this is adorned with the crest of the Royal Family created out of grey stone. A tall arcade of drop arches on both sides of the court frame a large archway, which leads across the bridge to the inner courts. The spandrels of these arcades are highly embellished, featuring leaf-like wings. Every third column (which is technically more a pier than a column) rests underneath the gentle billowing of a crimson standard. The arcade supports what should be a very familiar entablature last seen in the Temple of Time, whose figures move toward the gate and terminate facing one another over the gently-pointed archway. Crossing the threshold of the palace, pausing a moment to once again stare curiously at the seven strange figures lining this path, we approach the monumental gateway to Hyrule Castle.
This inner staircase area, resting between the two gates, is a highly-enclosed space which features many of the same motifs and embellishments seen in the plaza just outside. But, within the HD remake of this game, a new relief can be found in this area, lower on the walls and near the bases of columns. Like the entablature in the plaza, this relief series takes the form of a procession, though the imagery here is much more understandable, and it contains the symbols that we have come to expect in Zelda games. A procession of many races marches toward the Triforce, which hovers in the sky, emitting a golden light rendered in simple lines throughout the entirety of the relief. The first panel depicts a spear-wielding Zoran warrior to the left, standing in front of an adult Oocca with wings outstretched; a young Oocca, perhaps a child, floats above the elder's head, while a human stands just behind. This human appears to be holding either a rod or staff in his right hand, while his left hand holds some sort of strap or chain. The boy that accompanies him, and who is present in each panel, bears a shield carrying the mark of the Triforce and a short sword at his belt. His attire appears like that of the Kokiri, hinting that he is likely the Chosen Hero of the Gods, or some archetypal or past incarnation of Link.
This inner staircase area, resting between the two gates, is a highly-enclosed space which features many of the same motifs and embellishments seen in the plaza just outside. But, within the HD remake of this game, a new relief can be found in this area, lower on the walls and near the bases of columns. Like the entablature in the plaza, this relief series takes the form of a procession, though the imagery here is much more understandable, and it contains the symbols that we have come to expect in Zelda games. A procession of many races marches toward the Triforce, which hovers in the sky, emitting a golden light rendered in simple lines throughout the entirety of the relief. The first panel depicts a spear-wielding Zoran warrior to the left, standing in front of an adult Oocca with wings outstretched; a young Oocca, perhaps a child, floats above the elder's head, while a human stands just behind. This human appears to be holding either a rod or staff in his right hand, while his left hand holds some sort of strap or chain. The boy that accompanies him, and who is present in each panel, bears a shield carrying the mark of the Triforce and a short sword at his belt. His attire appears like that of the Kokiri, hinting that he is likely the Chosen Hero of the Gods, or some archetypal or past incarnation of Link.
Each panel in this series is separated from the others by means of a single column, and there are three in total, which is likely a symbolic representation of the Triforce and the sacred nature of the number three within Hyrule. The second panel is flanked on each edge by a being that bears an uncommon resemblance to one of the Rito found predominantly in the Hyrule of Wind Waker. These bird-like humanoids raise one wing, as if in greeting, and, between the pair of them, two women with long hair and dresses bear urns or vases to the site of the Triforce. The Chosen Hero follows in attendance, likely as a protector.
The final panel shows all three humans together, suggesting a bond between them — and likely this is to show that they are the race closest to the gods. [1] The woman in the relief has lost her vase, and she and the large Goron seem deeply engaged in greeting and conversation. The Goron which sits before the humans carries his tribal mark — the symbol of the Goron Ruby — and he seems, in some way, to have special knowledge of what is occurring, seated, as he is, like a sage of old. We cannot be sure of the era which is depicted in this series of reliefs, but, given the seeming peace and contact between all the races of Hyrule, it may be that this rendering shows the age before the establishing of Hyrule, and before the conflict of the Dark Interlopers. [2] Irrespective of its era, it manifests what is probably a deeply-held desire for all Hyrulean races: that of a worldwide peace.
The final panel shows all three humans together, suggesting a bond between them — and likely this is to show that they are the race closest to the gods. [1] The woman in the relief has lost her vase, and she and the large Goron seem deeply engaged in greeting and conversation. The Goron which sits before the humans carries his tribal mark — the symbol of the Goron Ruby — and he seems, in some way, to have special knowledge of what is occurring, seated, as he is, like a sage of old. We cannot be sure of the era which is depicted in this series of reliefs, but, given the seeming peace and contact between all the races of Hyrule, it may be that this rendering shows the age before the establishing of Hyrule, and before the conflict of the Dark Interlopers. [2] Irrespective of its era, it manifests what is probably a deeply-held desire for all Hyrulean races: that of a worldwide peace.
The courtyards which ring the castle are intense in their subtlety. They possess an atmospheric quality of quietude, encompassed and created by the high curtain walls which surround them. A subdued rain falls through curtains of vapor, finally landing upon the tall pines and low shrubs. Three monuments to the Goddesses and their Triforce feature prominently in this main garden, reaching upward in the pattern of a chain that eventually frees itself to end in a golden triangle. These shrines demarcate the three main paths throughout this section of the castle’s landscape. Divided into four distinct areas, the layouts of the enclosures are roughly symmetrical. Straight paths branch out from the approach to the castle gates, leading to smaller iron doors emblazoned with the Royal Crest.
Since the sealing off of the castle after the conquest of Zant and his dark god, large portions of wall lie in crumbled heaps, and a general aura of age and disrepair permeates the air. Tucked away beneath the crenellated walls are transitory, haphazard Bokoblin constructs, meant to shelter and protect their goods and mounts. Given the number of guard posts and storerooms within these courtyards, it becomes apparent that these defenses were once heavily manned by Hylian soldiers. Likely, they also served as a barracks and training ground, as the raised platform upon which Link defeats King Bulblin for the final time demonstrates so well. [3] Apart from their pleasant quiet, they also served the dual function of housing the garrisons of Hyrule.
Since the sealing off of the castle after the conquest of Zant and his dark god, large portions of wall lie in crumbled heaps, and a general aura of age and disrepair permeates the air. Tucked away beneath the crenellated walls are transitory, haphazard Bokoblin constructs, meant to shelter and protect their goods and mounts. Given the number of guard posts and storerooms within these courtyards, it becomes apparent that these defenses were once heavily manned by Hylian soldiers. Likely, they also served as a barracks and training ground, as the raised platform upon which Link defeats King Bulblin for the final time demonstrates so well. [3] Apart from their pleasant quiet, they also served the dual function of housing the garrisons of Hyrule.
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Within the eastern (or western, depending on your game version) courtyard is a rough Triforce etched into the lawn and covered with scattered leaves. Its corners and joints are all marked by winding columns of light grey stone that support the gale-powered turbines found primarily in the Forest Temple of Faron Woods. I like to think that some Hyrulean explorer discovered those ruins deep within the woods, took notes on the mechanical developments therein, and brought back his designs for the benefit of the Royal Family.
Behind the castle is a different area entirely. It appears far older than the previous segments of horticultural niceties, and far gloomier. The rain falls harder here, and the lichen and moss upon the roots, rocks, and trees seem to have found an age-old home in this forgotten court. Deciduous trees and long grasses border a faded dirt path, and sunken headstones with worn etchings break the vertical continuity of this passage with their chipped and broken faces. Around the bend, a pallid green ghost-light illumines the turrets above and the walls below, and statues speak of a cursed swordsman and a sacred tree. |
Returning to the central courtyard, the prominent aspect of this castle is the keep, ringed in stone and flanked by six smaller turrets arranged radially around it. This vertically-colossal edifice belies its inner smallness. Its octagonal design and neatly arranged hallways connect in many places to the outer walls, so as to facilitate the rapid movement of troops to positions where they are most needed. The structure is built in receding layers, tapering toward the top. Large blocks and giant order pilasters and columns constitute the majority of the outer façade, but they are by no means the most dominant feature of the castle. Slightly above the iconic blue roofs and crenellated walkways are truly gargantuan flying buttresses; they connect with the outer turrets most precisely, which means that the turrets are not only defensive but structural in essence. Without such monumental buttressing (though I doubt that these could actually withstand the prodigious load and thrust upon them without collapsing), the central tower could most certainly not stand firm. At this point in the analysis, it should be quite apparent that the centuries preceding the Era of Twilight were halcyon days for the Hylians. From the age of Ocarina of Time, this castle has grown exponentially, both in layout and in sumptuous detail.
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Pushing open the main doors, a half-lit room comes slowly into view. The dim light, coming from the few torches on the mezzanine level of the castle, shows a truly immense room, decorated opulently, yet making little sense architecturally. No rooms or halls are accessible from this first floor, and a partial staircase shows what might once have been a functional point of entry to the upper levels. The floor and walls are all made of fine marble of a variety of colors, ranging from white, to cream, to an olive green. The marble is highly polished, and many of the tiles are engraved with a beautiful filigree done in an image of leaves, twigs, and vines. The columns and pilasters here were likely inspired by the Corinthian Order of columns, the last of the three Classical Orders of Architecture; in many ways, the Corinthian Order draws from the other two orders, especially the Ionic, with its volutes — the small scrolls that decorate the corners of the capital. [4] Like Corinthian capitals, which draw from the acanthus plant for their decorative elements, these Hylian capitals also show an embellishment derived from a plant, which is echoed in much of the entablature of this room.
The amount of detailing in this room is incredible. Nearly every surface carries some sort of filigree or arabesque, and the deeply-coffered ceiling above, half domes below, and decorative arcades all show an astounding mastery of architectural planning and construction knowledge. One of the most noticeable aspects of this room comes in the form of metalwork; large, golden chandeliers, adorned with hanging crystals and covered with elegant markings, hang from various parts of the ceiling, providing a counterpoint to the golden torches below on the mezzanine. In all, this room succeeds at its purpose, which is the common purpose of all entry halls: it shows an estate's design and architectural tastes, and it also inspires awe and wonder.
The amount of detailing in this room is incredible. Nearly every surface carries some sort of filigree or arabesque, and the deeply-coffered ceiling above, half domes below, and decorative arcades all show an astounding mastery of architectural planning and construction knowledge. One of the most noticeable aspects of this room comes in the form of metalwork; large, golden chandeliers, adorned with hanging crystals and covered with elegant markings, hang from various parts of the ceiling, providing a counterpoint to the golden torches below on the mezzanine. In all, this room succeeds at its purpose, which is the common purpose of all entry halls: it shows an estate's design and architectural tastes, and it also inspires awe and wonder.
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Further rooms show all of these same details, but they also add a few additional embellishments to our analysis. Obviously, all following chambers, barring the throne room high above, appear smaller, and more functional than the initial entry hall. Many of them have barrel vault ceilings, complete with coffering similar to that of the first hall, while at the same time demonstrating a simplified design in the undecorated bricks of the wall. Paintings of the castle appear in most every room, and weapons upon the wall — specifically three spears behind a metal shield bearing the Wingcrest — are found flanking many doorways. Suits of armor and tapestries complete the decorative landscape of the middle levels of the castle, and all passages lead to the outer wall of the courtyard, which holds the only point of access to the uppermost stories. Leading up to the throne room is a series of chambers in various stages of disrepair; in many places, the floors and stairs have collapsed, and several areas show the remnants of battle. Finally, we come to a landing with two doors: one leading to the castle treasury, and the other, to the throne room.
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The upper image on the left shows the exterior of the throne room. In itself, it is the size of a small castle, and it forces us to recognize the true immensity of this structure. This castle-sized chamber rests upon two distinct layers below, each of which is far larger than the throne room and all its towers and spires. We have come to the pinnacle of Hylian civilization itself.
The first stages of the final battle with Ganondorf take place in the throne room, a huge space between open-air arcades and a vaulted ceiling high above. Gothic windows, very similar to those found within the Temple of Time, let in light above the doorway and in the clerestory of the apse behind the throne. The vaulted ceiling also carries with it a clerestory of short, semicircular windows which rests above an entablature bearing the sacred Triforce on a background of filigree. Two barrel-vaulted aisles flank the nave, and they are held up by the arcade on one side, and a simple colonnade on the other. Royal-blue tapestries flutter in the wind, and eerie clouds can be seen hovering in the sickly sky beyond the empty arches. Far and away the most beautiful thing to be found in the throne room is the statuary group found directly above the throne. It depicts the Wingcrest in stone, with a gold Triforce at center, made out of precious metal. Encircling the Triforce, on stone clouds and winds, are the Three Goddesses themselves, depicted in the act of breathing life into the world. Ganondorf, not one to be overpowered even by the gods themselves, has desecrated this sacred space, shattering the very images of the Goddesses, and exerting his perceived power over them. Of course, in time, evil finds its bane, and in the closing off of two worlds from one another, Hyrule is restored again to peace, resting once more in the light of the gods.
Notes and Works Cited:
[1] Arakawa, M. The Legend of Zelda: A Link to the Past Nintendo Players Strategy Guide. P. 64: Nintendo Of America, 1992. Print.
"The Hylians' long ears enabled them to hear special messages and as the chosen people, they were also given special psychic and magical abilities that they in turn passed on to their descendants. Their extraordinary ears allowed them to not only hear the faintest sounds around them, but also words telepathically transmitted over time and space by other Hylians."
[2] Gombos, Michael, and Akira Himekawa. The Legend of Zelda Hyrule Historia. Milwaukie: Darkhorse, 2013. 113. Print.
"Long, long ago, the people of the world were filled with piety, and the land knew many years of peace. Before long, however, conflict began to arise in the sacred realm called Hyrule. People began to appear who were proficient with magic, and they attempted to control this sacred realm with their powers."
[3] Something strange, which likely has no meaningful explanation, is that a design from the Palace of Twilight can be found on this raised training platform. How this should have come about is impossible to determine.
[4] Craven, Jackie. "About the Fascinating Corinthian Column." ThoughtCo. N.p., 25 Sept. 2016. Web. 25 Mar. 2017.
[1] Arakawa, M. The Legend of Zelda: A Link to the Past Nintendo Players Strategy Guide. P. 64: Nintendo Of America, 1992. Print.
"The Hylians' long ears enabled them to hear special messages and as the chosen people, they were also given special psychic and magical abilities that they in turn passed on to their descendants. Their extraordinary ears allowed them to not only hear the faintest sounds around them, but also words telepathically transmitted over time and space by other Hylians."
[2] Gombos, Michael, and Akira Himekawa. The Legend of Zelda Hyrule Historia. Milwaukie: Darkhorse, 2013. 113. Print.
"Long, long ago, the people of the world were filled with piety, and the land knew many years of peace. Before long, however, conflict began to arise in the sacred realm called Hyrule. People began to appear who were proficient with magic, and they attempted to control this sacred realm with their powers."
[3] Something strange, which likely has no meaningful explanation, is that a design from the Palace of Twilight can be found on this raised training platform. How this should have come about is impossible to determine.
[4] Craven, Jackie. "About the Fascinating Corinthian Column." ThoughtCo. N.p., 25 Sept. 2016. Web. 25 Mar. 2017.