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illumination. The character of knowledge accessible through this Illumination leads to an awareness of
transcendence, a topic explored by Hesova in 2012.

Illumination, in this context, transcends the boundaries of mere tangible materiality. It is a concept
that straddles the mystical, delving into dimensions beyond the physical and toward the spiritual. This
knowledge is not acquired through conventional means but through special insight—an experiential
journey often challenging to articulate. Furthermore, light carries profound significance in the Islamic
world. Notably, An-Nur (Light) is one of the names attributed to Allah S.W.T. Light, symbolically intertwined
with guidance (hidayah), has fascinated scholars for centuries, notably within Sufism (Hasnova, 2012).

The research also draws upon the concept of traditional Malay houses, often regarded as
repositories of local genius or “genius loci” (Rashid, 2014). These houses incorporate a unique interplay of
light and space, echoing Al-Ghazali’s philosophy as elucidated in Surah An-Nur 36:24. Here, light takes on
symbolic importance, offering a deeper understanding of the cosmos. Traditional Malay houses can be
seen as metaphors for the human experience, guiding inhabitants toward knowledge through the
illumination provided by the physical elements of the house, including the floor, walls, windows, and roof
(Abidin, 1981).

However, there exists a gap in translating these profound concepts into art practice, particularly
in the realm of architecture. The interconnection between the physical and spiritual dimensions often
remains elusive, preventing the essence from reaching the audience or user. To bridge this gap, the “Nur”
installation is proposed as a research tool. Installation art, with its potential to create dynamic and
immersive experiences, can serve as a conduit for heightened awareness. It enables viewers to engage
with the positioning and orientation of objects in a space and elicits bodily responses to the environment,
emphasizing the holistic experience. This aligns with Bishop’s perspective (2005) on installation art as an
endeavor to free the viewer’s perceptual experience and elevate their consciousness.

Moreover, installation art connects deeply with sensory experiences, often stirring viewers
emotionally and challenging them conceptually. It underscores the importance of context, whether in a
laboratory or gallery setting, and creates ecologically valid conditions that enhance the art experience
(Pelowski, 2018). In essence, it generates a sense of wonder in viewers, prompting them to perceive the
everyday world from new angles (Stone, 2019). These conditions, inspired by Merleau-Ponty, encourage
viewers’ heightened consciousness and inclusion in the artwork, representing an ethical stance (Bishop,
2005).

The "Nur" installation, in light of these conditions, endeavors to create a module for the notion of
illumination. It amalgamates Al-Ghazali’s philosophy with the concepts of light and space within traditional
Malay houses. This artistic endeavor seeks to bridge the gap between the physical and spiritual, enhancing
awareness of local wisdom within communities.

Research Objectives:

1. To thoroughly examine the meanings and knowledge embedded within the notion of illumination
as it pertains to traditional Malay houses.
2. To conduct a comprehensive analysis of the notion of illumination within the context of traditional
Malay houses through the medium of installation art.

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