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Oržikauskas, Gytis. "ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLISM OF CHRISTIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 234–46. http://dx.doi.org/10.3846/20297955.2014.994809.
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The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the independent artistic content which can translate more than architecture’s general appearance.
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Salura, Purnama, Stephanie Clarissa, and Reginaldo Christophori Lake. "Reflecting the Spirit of Modern-Indonesia Through Architecture: The Icono-Symbolical Meanings of Jengki Architectural Style Case Studies: Bandung Polytechnic of Health Building and Bumi Sangkuriang Meeting Hall in Bandung, West Java, Indonesia." Journal of Design and Built Environment 20, no. 2 (August 31, 2020): 13–26. http://dx.doi.org/10.22452/jdbe.vol20no2.2.
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The architectural discourse in Indonesia generally focuses on traditional architecture that represents specific regional icons, the synthesis of traditional architecture with European-style architecture, and modern architecture inspired by International Style. This research focuses on the architectural style in Indonesia which flourished in the 1950s, known as the Jengki architectural style. This architectural style is essential in the history of Indonesian architecture, considering that the style reflects the spirit of nationalism and post-colonial Indonesian. This research aims to explore the icons of Jengki architecture, by elucidating the architectural concepts that underlie the two oldest Jengki buildings in Bandung, West Java. The analysis showed that the characteristics of this architectural style shown by the configuration of architectural elements resembling the form of a pentagon, mostly asymmetrical in spatial layout, playful articulation of ornaments, and the use of local materials. The pentagon becomes an icon of Pancasila, which is a foundational principle of the new Indonesian state and symbolize the meaning of nationalism. Thus, the icon which also represents symbolic meaning becomes an essential aspect in the design of Jengki-style buildings in the future. This icon can be an alternative to be applied to modern buildings that are intended to display national icons, rather than particular regional icons. Besides enriching the architectural knowledge of Indonesian architecture, the results of this study are beneficial to architectural practitioners, stakeholders, and architectural conservationists as well
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Buivydas, Rimantas, and Jūratė Jurevičienė. "TOWARDS CLASSIFICATION OF SACRAL ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 30, no. 3 (September 30, 2006): 105–10. http://dx.doi.org/10.3846/13921630.2006.10697071.
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The paper presents the method of scientific investigation of sacral architecture in the frontier region of Lithuania with Byelorussia and Poland. It also reveals the achieved results and highlights guidelines for future research. The investigation was supported by Lithuanian Science and Studies Foundation and completed in 2005. The paper describes the established criteria of architectural evaluation and prepared digital database of the main sacral structures. The present work covers the analysed features: the interaction of confessional building traditions, the influence of professional architecture on local architecture, the peculiarities of territorial dispersion of sacral buildings. Architectural and material composition, interaction of buildings with their environment and other sacral structures, symbolism and authenticity of 106 objects were investigated. The results of the investigation could be applied in recording of cultural properties and preparing of cultural heritage preservation projects.
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Kowal, Katarzyna. "The Borobudur temple: the Buddhist architecture in Indonesia." Budownictwo i Architektura 18, no. 2 (November 18, 2019): 005–19. http://dx.doi.org/10.35784/bud-arch.550.
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The article presents the current state of knowledge about the Borobudur temple, a valuable representative of Buddhist architecture, located in Java, Indonesia. The author presents the genesis of the temple, the facts concerning its rediscovery after centuries of oblivion, and Buddhist cosmology embodied in the form of a three-dimensional mandala on which the architectural form of Borobudur is based. The author studies Buddhist symbolism of the architectural form, reliefs and sculptures created on the basis of regional patterns and local Javanese culture of everyday life. This temple is one of the most perfect examples of translation of Buddhist cosmology and symbolism into an architectural form. At the same time, it constitutes an intercultural and timeless masterpiece of architecture and sculpture which requires particular protection, also due to the influence it exerts on the life of local Buddhist religious minorities.
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Castilla, Manuel V. "Influencia del Humanismo en la arquitectura de los Jesuitas: Iglesia de San Luis de los Franceses de Sevilla." Liño 23, no. 23 (June 30, 2017): 21. http://dx.doi.org/10.17811/li.23.2017.21-29.
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RESUMEN:El análisis de la relación directa de los términos “estilo jesuítico” y “noster modus” con las teorías arquitectónicas del Humanismo como aglutinante de la llamada arquitectura de los jesuitas es una parte fundamental del trabajo. A partir de esta hipótesis, hemos utilizado la tipología de San Luis de los Franceses, (Sevilla), como ejemplo característico de la funcionalidad, ornato y lenguaje decorativo de la arquitectura jesuítica. Considerada como de las arquitecturas más notables de la Compañía de Jesús, es destacable su planta centrada en forma de cruz griega inscrita en un rectángulo, poco conocida en Sevilla. El diseño de la arquitectura basado en sus propias reglas constructivas ha sido un hito de la historia de arquitectura occidental. Esta forma de proceder respetaba el pensamiento humanista en el que la casa de Dios debía simbolizar la perfección, armonía, belleza e integridad del Creador.PALABRAS CLAVE:Humanismo; Arquitectura jesuítica; Barroco; Perspectiva Lineal; Noster modus.ABSTRACTThe analysis of the direct relationship of the terms “jesuit style” and “noster modus” (our way of proceeding), with the architectural theories of Humanism as a binder of what it is called Jesuit Architecture, it is also a fundamental part of this work. From this hypothesis, we used the typology of St. Louis of the French in Seville, as an example of ornamental and decorative language of Jesuit architecture. This church is considered one of the most remarkable architectures of the Society of Jesus. It is noteworthy its centered floor plan in the shape of a Greek cross inscribed in a rectangle. This is plan is little known in Sevillian Architecture. The design of the architecture based on Jesuitical construction rules has been a milestone in Western architectural history. This way of proceeding respected humanist thinking, in which the household of God was supposed to symbolize perfection, harmony, beauty and integrity of Creator.KEYWORDS:Humanism; Jesuit Architecture; Baroque; Linear Perspective; Noster modus.
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El Husseiny, Aly Mohamed, and Ahmed Aly El Husseiny. "Humanizing Architecture in a Materialistic World Using Symbols and Morals." Asian Journal of Behavioural Studies 3, no. 9 (January 5, 2018): 111. http://dx.doi.org/10.21834/ajbes.v3i9.66.
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Architectural schools of design overwhelmingly adapt to cultural backgrounds of societies they target. This paper distinguishes between ideologies that generated Western, contemporary architecture, and on the other hand, the values of traditional Arab communities. The paper aims at parrying architectural plastic formations that are irrelevant to the local Arab discourse. The paper rediscovers a value oriented architecture that is capable of moving spiritual feelings towards the built environment, even if its formalistic and visual attractiveness is controversial. The paper demonstrates examples of what can be called “sincere” architecture rather than stunning and sight-startling products that apparently or superficially hold value.Keywords: Human architecture; spiritual architecture; symbolism; social building; experiencing architectureeISSN 2398-4295 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
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Yussupova, Akmaral Ardasher, Liu Songfu, Ardasher Namazbay, Farzad Pour Rahimian, and Ahad Nejad Ebrahim. "ORNAMENTAL ART AND SYMBOLISM: ACTIVATORS OF HISTORICAL REGENERATION FOR KAZAKHSTAN’S LANDSCAPE ARCHITECTURE." International Journal of Architectural Research: ArchNet-IJAR 11, no. 3 (November 22, 2017): 193. http://dx.doi.org/10.26687/archnet-ijar.v11i3.1358.
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The use of symbolism in contemporary architecture is increasingly gaining momentum, especially so in the Eastern countries currently undergoing rapid economic development. Sociologically, this phenomenon can be related to a desire to manifest a vast wealth of national art and respond to the globalisation and unification of world culture. Taking this tendency as a prompt, this study explores different ways of implementing symbolic ornaments in landscape architecture. Traditionally architecture has been defined through and judged against culturally acceptable criteria that set the norm for appropriate form and expression. Yet, technical advances have altered this process and contributed to a certain level of oblivion of traditional architectural form. Thus, the meaning of many Kazakh ornaments has been lost through time. On one hand, this paper collects historical information on the semiotics of Kazakh ornaments and on the other hand, it conducts field studies focusing on the cultural tradition of the native people in Eurasia. The study introduces the use of symbolism in landscape architecture as an aspiration for luck and prosperity which then dictates the quality of the landscape compositions. The findings show that the use of symbolic ornamentation in architecture is not bound to specific geographic areas but rather motivated by broader underlying principles. Through analytical exploration of different cultures and their use of symbols in architecture, this study identifies four main categories of architectural symbolism relating to floral, zoomorphic, geometric and cosmogonic patterns. Each nation then recognises its own identity in the semiotics of those patterns and incorporates them in the urban realm as part of its cultural legacy.
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Permilovskaya, Anna B. "Mythology of the russian orthodoxy and wooden church architecture." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 151–58. http://dx.doi.org/10.20323/1813-145x-2021-2-119-151-158.
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This research topic is the initial stage of new work. The influence of the mythopoetic worldview of Russians and Orthodoxy on the architectural structure and symbolism in the concept of wooden temple building in the northern and arctic territories is considered an integrative scientific field in the article. This is founding a confirmation in the organization of the cultural and sacred landscape, in historical traditions and legends about the choosing of a place for the building of a temple (chapel). As well as the special status of «sacred» and «roadside» groves of trees, the selection of these trees for construction in a sacred meaning and using of individual parts of these temples as a community center and place for ancient rituals. The lexis, connected with the folk architecture, indicates the anthropomorphic nature of the architectural space of the temple. The construction, as it were, is assembled from «large», qualitatively significant components of the human body: head, neck, face, eyes, kokoshnik, forehead, rib, human bust, etc. This tradition is preserved and strengthened by the circumstance that since ancient times, the proportions of the human body acted as a tectonic (building) model of the entire architectural structure. The research substantiates an algorithm for the interactionof the mythopoetic worldview and the Orthodoxy on the architectural structure, and the significance of church architecture. The temple occupied a central place in the sacred space of the northern peasant world. The conducted research made it possible to convincingly prove that wooden churches are a symbolic heritage of the Russian North and the Arctic. The pinnacle of the development of wooden architecture, embodied in the northern temple architecture, was a natural result of ancient Russian architectural – constructional traditions and a reflection of the talent of the Russian people, which allows us to translate the concept of «Russian carpenter» into the category of «Russian architect».
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Irwin, John, and Ananda Kentish Coomaraswamy. "Symbolism of Indian Architecture." Journal of the American Oriental Society 105, no. 1 (January 1985): 177. http://dx.doi.org/10.2307/601572.
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Benghida, Nassiba, and Leila Sriti. "Towards a Stylistic Characterization of the French Colonial Architecture Produced in Southern Algeria. Case Study of Public Buildings." Resourceedings 1, no. 2 (November 27, 2018): 147. http://dx.doi.org/10.21625/resourceedings.v1i2.330.
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Algeria, like the other Maghreb countries, had a long period of colonization. At independence, most Algerian cities inherited an important architectural legacy, which appears mainly at the level of public buildings and more clearly in institutional buildings to symbolize the presence, power and domination of France on the colonized Algerian territory. This architecture was expressed in a particular stylistic register based on the re-employment of architectural elements used in the local architecture and on the import of western exogenous models, whether historical or modern.
Most studies which were interested in colonial architecture in Algeria have focused on northern cities. According to these studies, the colonial architectural legacy has been identified with a set of formal characteristics concerned with the so-called neo-Moorish style (or arabisance). However, the question of the stylistic identification of the colonial architecture produced in the south of the country remains posed. Have a unique style been adopted for all Algerian territory, in this fact a Moorish one? Or was each region characterized by its own style (a local style)? Does the institutional colonial architecture produced in the south of the country admit a specific style compared to the north of the country? Can we speak about a Saharan colonial architecture?
To answer these questions, a comparative study was carried out on a corpus of some public buildings facades dating from the colonial era. The facades were selected in various regions of Algeria. The objective of the study is to identify the formal characteristics of the colonial public Saharan buildings readable in the facades and, then, comparing them with the dominant styles adopted in the institutional architecture of northern cities.
The preliminary results obtained from the morpho-stylistic analysis of the facades indicate that the neo-Moorish style that predominated in the treatment of public buildings in the north of the country differs from the style adopted in the south of the country. The analysis also identified architectural constants and variations among the major Saharan regions.
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Pantelić, Bratislav. "Nationalism and Architecture: The Creation of a National Style in Serbian Architecture and Its Political Implications." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 16–41. http://dx.doi.org/10.2307/991214.
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From the mid-nineteenth century until the late 1930s the dominant architectural mode in Serbia was a local historicist style termed Serbo-Byzantine. At first it was used only for churches but was soon extended to schools and then to all types of buildings. Although mostly based on academic revivalist forms, this idiom, which purportedly drew its inspiration from Balkan medieval architecture, did, on occasion, display distinctly local characteristics. Although part of a pan-European trend. Serbian historicism was detached from architectural developments elsewhere. Unlike other Romantic-era revivalist movements. Serbo-Byzantine architecture was not sponsored for its picturesque or romantic qualities but above all for its symbolism. It was widely believed that forms derived from the national monuments of the Middle Ages symbolized Serbian statehood and contained ethnic and religious attributes representative of the Serbian nation. Architecture in Serbia was thus primarily a means for articulating national policy and a powerful instrument for maintaining the national and religious unity of a widely separated group of people. Ideologists of the national program even believed that the definition of a style particular to the Serbs was a matter of national survival. Such political bias was conditioned by ethnic and territorial disputes among the various ethnic groups in the Balkan dominions of the Hapsburg and Ottoman empires. After 1945 the new Communist authorities proscribed historicism as nationalistic and promoted a utilitarian brand of nonornamental architecture which contained no national overtones. Serbian historicism, however, demonstrated unusual vitality; resurgence of nationalism in the 1980s was accompanied by a spate of church building in the Serbo-Byzantine style, which reasserted its position as the canonical style of the Orthodox church.
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Roskam, Cole. "Situating Chinese Architecture within “A Century of Progress”." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 347–71. http://dx.doi.org/10.1525/jsah.2014.73.3.347.
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Situating Chinese Architecture within “A Century of Progress”: The Chinese Pavilion, the Bendix Golden Temple, and the 1933 Chicago World’s Fair explores the overlooked role played by Chicago’s 1933 World’s Fair in China’s twentieth-century architectural development. The exposition initially represented a valuable opportunity for China’s recently established Guomindang administration to highlight its new political agenda via a national pavilion that would also symbolize the country’s search for a modern, uniquely Chinese architectural expression. Numerous financial and geopolitical obstacles would eventually prevent official Chinese participation, and two unofficial structures were completed instead on China’s behalf: a privately financed Chinese pavilion and a piece-by-piece reconstruction of an eighteenth-century Qing replica of a Tibetan Buddhist shrine, the Golden Temple, sponsored by the Chicago-based industrialist Vincent Bendix. Cole Roskam investigates the transnational forces that produced these buildings at the fair and argues that the event should be considered an important new point of inquiry in the study of Chinese modern architecture.
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Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (March 2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.
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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Djarot Purbadi, Yohanes, Reginaldo Christophori Lake, and Fransiscus Xaverius Eddy Arinto. "The Symbolic Regionalism on The Architectural Expression Design of Kupang Town-Hall." Journal of Design and Built Environment 20, no. 3 (December 31, 2020): 71–84. http://dx.doi.org/10.22452/jdbe.vol20no3.5.
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This study aimed to explain the synthesis design approach of the architectural expression in the Town Hall building of Kupang city. This is necessary due to the need for Town Halls, as public facilities, to reflect technically correct building standards, environment, and the aspects of political symbolism. Kupang Town Hall design uses the roof image expression of the Timor, Flores, and Sumba ethnic architecture in a harmonious composition and this means it is an example of an ethnic architectural synthesis in a modern building which represents a function, meaning, modernity, and local cultural identity. This research employed the social semiotics method to examine the design in relation to the surrounding social life context and the design was found to be produced from the symbolic regionalism approach which involved mixing the architectural images of Timorese, Flores, and Sumba ethnicities to modernize and conserve ethnic architecture and represent the cultural identity of East Nusa Tenggara. This, therefore, means architectural synthesis methods which are established on the symbolic regionalism approach have the potential to be used in designing public facilities in different places of Indonesia to reveal local cultural identities in modern buildings through symbolism based on an ethnic architectural image.
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Gecas, Saulius. "BETWEEN SYMBOLISM AND METAPHOR." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 283–92. http://dx.doi.org/10.3846/20297955.2014.999432.
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The article provides a discussion of symbolic aspects and uses of metaphors in Massimiliano Fuksas architecture. Despite of the fact that his architectural projects are very different they are sculptural and abstract leading to ambiguous reflections. The author argues that each architectural project of Massimiliano Fuksas can be related to certain metaphors and level of symbolisation. His metaphors are often metaphors for our feelings, they are emotionally understandable and yet not so easy to name. The article is an attempt to expose and analyze them.
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Hall, Michael. "What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 78–95. http://dx.doi.org/10.2307/991563.
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In a challenging but little-studied article published in Architectura in 1985, David B. Brownlee argued that the religious concept of the development of doctrine influenced the belief of architects in the Anglican Church in the 1840s that they should attempt to "develop" architecture in a radical new direction. The result was the style we now call "High Victorian." This article takes up Professor Brownlee's argument in two ways. First, it looks at how architects in the 1850s sought to create a progressive style by drawing on ideas and images from contemporary science, specifically geology, for which development was also a key word. Second, it addresses the question of why the idea of development fell so suddenly from favor in avant-garde architectural circles in the 1860s. It argues that as science and religion withdrew into their separate spheres, architects turned instead to an ideal based not on historical development but on the imitation of a stylistic paradigm. This approach was influenced by High Church belief that the sacraments, most importantly the Eucharist, were the material realization of a timeless supernatural reality. Changing attitudes to time and precedent had important consequences for the way architects viewed restoration, archaeology, and the use of historical models.
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Ahmadzadeh Siyahrood, Sanaz, Arghavan Ebrahimi, Javad Ghiasvand, and Mohammadjavad Mahdavinejad. "THE FACTORS CONTRIBUTING IN SPIRITUALITY DEFINITION OF IRANIAN MOSQUES." Journal of Islamic Architecture 5, no. 4 (December 21, 2019): 198–208. http://dx.doi.org/10.18860/jia.v5i4.5254.
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Islamic mosques in Iran, similar to other Islamic nations, are reflections of visual beauties and typical examples of symbolic integration and relationship with strong beliefs and geometry. Scrutiny of these relationships provides a broader and profound perception of the design paradigm of these sacred masterpieces, which not only have been responding to the functional aspect of holy places but also represent an aesthetic model of architectural geometric perfection. This paper aims to survey this paradigm with a focus on its basic concepts and geometric origins; in this regard, it seeks to address the ensuing questions: what are the fundamental ideas in the design of mosques? How and which methods were used have been reflected in the architecture of mosques? How has the geometry assisted the architecture of mosques? What is the geometry role in the accomplishment of those basic concepts? To this end, after stating the fundamental concepts and dominant ideology in the design of mosques and the progress factors of Islamic architecture, their architectural features, spatial organization, and relations with geometry had been examined. The research hypothesis is that monotheism and divine unity are the original concepts of the architecture of mosques and this type of architectural design tries with the help of a range of abstract arts, symbolic materials, various methods, and science of geometry symbolize these ideas to create a sacred atmosphere and place which could be an intermediate spot for the human to achieve that divinity and unity.
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Marcos, Carlos L. "CSH Program o el American way of life. Iconos domésticos californianos de los 50." VLC arquitectura. Research Journal 8, no. 1 (April 30, 2021): 61. http://dx.doi.org/10.4995/vlc.2021.14762.
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<p class="Cuerpo">After World War II a new order emerged amongst the ruins, the devastation and the Allied triumph. The United States, more than any other country, emerged as a new world power with an optimism founded on victory as much as on its untouched territory and on its economy boosted by the military industrial complex. Architecture in the 50s could not avoid being part of the American dream. Would it be possible to find an architectural image to embody such an aspiration? In other words, would it be possible to conceive an architectural iconography tuned with technology, progress, freedom, individualism, and the familiar image for domestic architecture capable of assuming the symbolism and the characteristic optimism of the American way of life? That was the goal pursued by John Entenza, editor of the influential Arts & Architecture journal, and advocate of the Case Study House Program. The glazed box could assume much of the imagery associated with a new way of life for various reasons. Indeed, it served as an iconography for the domestic architecture of the period inspired in industrialisation or in the hybridisation of steel and the balloon-frame constructive system as a pretext diversely reinterpreted in the Case Study Houses later to become icons of a Californian modern domesticity.<em></em></p>
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Ottino, Pierre. "L'habitat des anciens Marquisiens : architecture des maisons, évolution et symbolisme des formes." Journal de la Société des océanistes 90, no. 1 (1990): 3–15. http://dx.doi.org/10.3406/jso.1990.2862.
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Mafakher, Farshad. "Post-Postmodern Urban Architecture based on Jacques Lacan’s three orders." Ukrainian Journal of Ecology 8, no. 1 (February 15, 2018): 266–72. http://dx.doi.org/10.15421/2018_211.
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<p>Developments in modern architecture coincided with developments in scientific and aesthetic approaches of modern time with modernity demanded in all scientific fields. Aesthetic views in modern architecture tended toward clear and simple ways of viewing, therefore it was brought to visual brevity and urban scales and details were created in buildings and urbanism. Visual brevity and its interaction with time and pace in the course of changing views at the time of evolution of modern architecture and romantic thoughts date back to nineteenth century, revealing naturalistic architecture pinnacle in architectural works. Visual brevity prioritized destination with no slightest doubt and the architect’s image (the imaginary) evolved in modern architecture. On the other hand, through environmental same-concept with living organism of nature, visual brevity created organic architecture. The criticism of postmodernism, compared with modernism, considered premodernism forgotten images, discussing time and pace in modern criticism in terms of concentrated, deconcentrated or skipping human and followed deliberative time and pace to evaluate architecture and urbanism works, the inspiration of which was the architect’s postmodern images. Postmodern symbolism (the symbolic) stemmed from forgotten memories. Regarding this, with a closer look, modern and postmodern developments are analyzed considering Jacques Lacan’s three orders. Post-postmodern realism (the real) toward a vague non-sense world in real world is the aesthetics particular of this era. Lack of same- concept in this type of aesthetics resulted in lack of a clear specification source. Hence, continuous research is required. </p>
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Mankus, Martynas. "MANIFESTATIONS OF SYMBOLISM IN ARCHITECTURE OF POSTMODERNISM." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 274–82. http://dx.doi.org/10.3846/20297955.2014.998853.
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The article analyses expression of symbolism in Lithuanian postmodern architecture. It discusses the concept of symbolism and transformations of its meaning in comparison to the period of modernism as well as examines its most significant aspects in semantic understanding of postmodernist architecture. The article seeks to disclose the forms of symbolism represented in Lithuanian architecture by the end of the 20th – the beginning of the 21st century. It searches for the most expressive examples of Lithuanian architecture of the given period by clarifying the character of postmodernist use of symbols. Attempts have been made to trace the expression trajectories of symbolism in contemporary architecture that have been influenced by postmodernism.
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Wang, Jun-Yang. "Site, programme, and tectonic expression: Hua Li’s Xinzhai Coffee House." Architectural Research Quarterly 24, no. 4 (December 2020): 314–26. http://dx.doi.org/10.1017/s1359135521000014.
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In contemporary Chinese architectural culture, Hua Li’s work stands out as a phenomenon. His architecture demonstrates little in the way of formalistic eccentricities, cultural symbolism, or indeed the ‘Chineseness’ that some others seek to pursue. Instead, what interests the architect is, most of all, the quality of material, construction, space, and place [1].
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Бузыкина, Юлия Николаевна. "Review of: Sacred Architecture of Byzantium. Art, Liturgy and Symbolism in Early Christian Churches. London; New York: I. B. Tauris & Co Ltd, 2014. 446 p. ISBN 978-1-78076-291-3." Theological Herald, no. 2(37) (June 15, 2020): 351–56. http://dx.doi.org/10.31802/2500-1450-2020-37-2-351-356.
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Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические периоды соотносятся с архитектурной эволюцией, а также с образным наполнением церковного пространства. Эта отличительная черта работы сообщает ей необходимую полноту. Для Патрикиоса архитектура, литургия и священное изобразительное искусство представляет собой единое целое. Чтобы учесть все компоненты целого, автор делит повествование на следующие главы: церковь и государство; сакральная архитектура; великолепные церкви; духовное искусство; литургия и Евхаристия; символизм в архитектуре и искусстве. The book by Nicholas N. Patrikios ("Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches") is a generalizing work on Byzantine architecture from the era of Constantine to the fall of Constantinople. Its importance lies not only in the fact that the author has worked through a huge array of material - 370 monuments, dividing them into seven types (p. 48) and tracing the evolution of each of them in general and in detail, but also in the fact that the author takes into account the relationship between the architectural typology and the content of the building, demonstrating how the features of the liturgy in different historical periods correlate with the architectural evolution, as well as with the figurative content of the church space. This distinctive the feature of the work gives it the necessary completeness. For Patrikios architecture, liturgy and sacred art of constitutes a single whole. To take into account all the components of the whole, the author divides the narrative into the following chapters: church and state; sacred architecture; magnificent churches; spiritual art; liturgy and Eucharist; symbolism in architecture and art.
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Buivydas, Rimantas. "FROM SYMBOLISM TO METAPHOR IN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 219. http://dx.doi.org/10.3846/20297955.2014.997592.
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Fauzi, Fahrur, Misnal Munir, and Rizal Mustansyir. "Symbolism in the aesthetics architectural of Plosokuning mosque Yogyakarta." Research, Society and Development 9, no. 11 (November 19, 2020): e41491110058. http://dx.doi.org/10.33448/rsd-v9i11.10058.
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Plosokuning Mosque is the mosque with the most authenticity preserved compared to the other four Pathok Negoro mosques. Therefore, the disclosure of the symbolic value of the architectural aesthetic of the Plosokuning Mosque is a representation of environmental conservation efforts and historical buildings in Indonesia. The research method used was hermeneutics-philosophical with methodical elements: induction-deduction, internal coherence, holistic, historical balance, and heuristics. The methodical elements examined the architecture aesthetical meaning and the symbols attached to Plosokuning Mosque; in line with it, internal relations was searched and discovered, not isolated from the environment and its historical continuity, and then compiled findings about symbolism in the aesthetics of the mosque's architecture. The results showed that symbolism in the architectural aesthetics of the Plosokuning Mosque is an expression of the concept of Javanese cosmology and Javanese Islamic mysticism (Kejawen). In Javanese cosmology, humans are described as a microcosm (jagad cilik), the universe as a macrocosm (jagad gedhe), and the palace as the center of the cosmos. Kejawen is a complex of Javanese Islamic beliefs mixed with previous teachings, particularly Hindu and Buddhist teachings; The Plosokuning Mosque has elements that are integrated together as a symbol of the means for human contemplation towards insan kamil (perfect human). Thus, the top position of human being is makrifatullah (knowing Allah). It can be concluded that the aesthetic architectural related to the religion matter.
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Peng, Bo. "Considerations on Design of Ecological Architecture." Advanced Materials Research 1051 (October 2014): 656–60. http://dx.doi.org/10.4028/www.scientific.net/amr.1051.656.
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Ecological architecture usually symbolise the sustainability of modern cities. With the improvement of living standard, people have higher requirements for the energy consumption.The sustainable living environment becomes a great research project. This paper introduces the concept and characteristics of ecological architecture, analyses the problems in the development of ecological architecture, presented the basic principles of ecological architecture design and discusses the strategies of ecological architecture design.
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Gnatiuk, Liliia. "THE SYMBOLISM OF IMRE MAKOVECH'S METAPHORICAL LANGUAGE IN THE FORMATION OF SACRED SPACE." Urban development and spatial planning, no. 77 (May 24, 2021): 113–22. http://dx.doi.org/10.32347/2076-815x.2021.77.113-122.
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The article analyzes the iconic temples of the twentieth century designed by the Hungarian architect Imre Makovec. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated with various types of spiritual forces, thanks to the forms of objects of the visible world, they can be strengthened or weakened.
The understanding of the harmony of forms in the formation of the sacred space is presented.
The architecture of sacred buildings erected according to the principle of organic architecture is considered. It is determined that the forms created by Makovech do not belong to any of the "languages" of architectural expression that have been created so far.
The article presents a view on the mysterious nature of the connection of people in society – close to the types of connections that connect religious communities, as well as the concept of architecture as a bridge between heaven and earth, which also changed the approach to a building as an exclusively material object.
The forms of individual sacred structures and the ways of organizing their interiors were analyzed, which made it possible to conclude that the ideas of reviving the unity of the surrounding landscape, the tendency to use local materials (primarily wood), but also a more general, philosophical attitude, allows us to consider architecture as an element that binds forces space with human life.
The use of the metaphorical language of Makovech's architecture is considered based on the world of visual human products and their iconographic distinctive features. Revealed the need to take into account the relationship between certain forms and messages, through them are transmitted to the formations of the sacred space.
An attempt is also presented to adapt the principles of modernism to the needs of the shaping of the sacred space. The tendencies of the formation of the sacred space in the twentieth century are revealed, namely: anthroposophical; continuation and development of Christian symbols.
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Bałus, Wojciech. "Space and Beholder in Nineteenth‑Century Sacred Architecture." Porta Aurea, no. 19 (December 22, 2020): 221–30. http://dx.doi.org/10.26881/porta.2020.19.11.
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Na idealne doświadczanie gotyckiej i neogotyckiej świątyni w XIX w. składają się dwa różne elementy. Z jednej strony wymagało ono fizycznego ruchu po wnętrzu kościoła (doświadczenie kinestetyczne), a z drugiej – niemal całkowitego pozbycia się ciała, aby człowiek wchodzący do świątyni mógł się duchowo wznieść do niebios (doświadczenie „ekstatyczne”). Ruch fizyczny oraz zmysłowe doświadczanie służyły przede wszystkim rozszyfrowaniu symbolizmu tkwiącego w przestrzennej strukturze kościoła, jego architekturze, dekoracji i wyposażeniu jako chrześcijańskiej drogi życia (chrzcielnica – początek życia, nawa główna – ziemia, Ecclesia militans, chór – niebo, Ecclesia triumphans). „Wzloty”, choć rozpoczynały się od kinestezji i efektów odbieranych w ciele, miały się sublimować w czysto duchowe doświadczenie – na granicy wręcz całkowitego wyswobodzenia się z ciała, ponieważ rodziły się na skutek pionowego ukierunkowania wręcz eterycznych wnętrz przenikniętych światłem, w których faktyczny układ przestrzenny w tym momencie nie miał znaczenia. Pierwszy zatem z tych elementów łączył doświadczenie z konkretną przestrzenią architektoniczną, podczas gdy drugi – pozbawiając budowle ich materialności oraz wyraźnie wydzielonych przestrzeni, przekształcał je w metaforyczne wstępowanie na niebiosa. Obie formy odbioru świątyni opierały się na wierze w „chrześcijańską rzeczywistość”. Ten szczególny typ rzeczywistości wymagał nie tylko wiedzy na temat zasad symbolizmu, lecz także metafor, które wynikały z odkrywania w architekturze odniesień do tego, co stanowi nadprzyrodzoną niebiańską rzeczywistość. Właśnie dzięki symbolice świątynia mogła być postrzegana jako „chrześcijańska droga życia”, a dzięki włączeniu pierwiastka zakorzenionego w religijności – być doświadczana jako „alegoria życia mistycznego” czy „petryfikacja naszej religii” – „rodzaj kościoła duchowego”, jak to nazwał w swoim sonecie Wordsworth.
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Nabil Guirguis, Marianne, Khaled M. Dewidar, Shaimaa M. Kamel, and Maged F. Iscandar. "Categorization of symbolism in religious architecture; a case study of the Coptic Orthodox church architecture." Alexandria Engineering Journal 59, no. 1 (February 2020): 533–45. http://dx.doi.org/10.1016/j.aej.2020.01.031.
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Chrisylla, Meielisa. "Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in Bandung." ARTEKS : Jurnal Teknik Arsitektur 1, no. 1 (July 14, 2019): 1–14. http://dx.doi.org/10.30822/arteks.v1i1.20.
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As a place of holy worship, a Catholic Church should posses a sacred interior and exterior expression. Modernization has caused a good deal of this sacred expression of the Catholic Church to fade. As Catholic Church is a place of worship that supports all liturgical activities, semiotic theory are used to analyze and decipher its architecture to preserve sacredness.
The research methodology that was employed was qualitative methods using Peirce’s semiotic principles and their implementation in Church architecture. The principle was then used to analyze two case studies in every detail of their draw up. The area of planning encompassed: (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form. This analysis employed semiotic principles that were elaborated with Catholic Church principles to create a guideline in the architectural planning of a Catholic Church.
The purpose of this research is to find the most dominant sacral expression between Santo Petrus Church and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.
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Klimova, Larisa, and Marina Plotnikova. "Actual trends of architectural forms and graphics in the costume design context." E3S Web of Conferences 210 (2020): 16008. http://dx.doi.org/10.1051/e3sconf/202021016008.
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This article is devoted to the study of the graphic trends and design activities’ relationship for a costume designer with modern architectural forms, as a source of inspiration and style formation for these subject-spatial creativity areas. The purpose of the article is to identify the specifics of the associative trends’ relationship in modern costume design with architecture and graphics. Identification of this specificity will help in establishing the relevant interdisciplinary connections in design education. To achieve this goal, the authors set the following tasks: 1) analysis of modern trends in costume formation based on identifying the features of the architectural forms’ influence on the modern costume design; 2) analysis of the general structural and graphic solutions between the modern presentation of architectural forms in the costume design by means of its graphic content. The authors proceed from the idea of the modern phenomena interaction in costume design, its graphics and architectural forms. In the analysis of the modern graphics and architectural forms’ main features in the conceptual solution to the costume design, common features of interaction are revealed. Changes in the art and design activities in the direction of graphic symbolism and imagery are revealed on the example of modern trends in architecture. The results of the study on the introduction of interdisciplinary communications are tested in classes on design in the material’s project implementation, special graphics and concepts in design.
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Zuba, Karolina. "The spirit of modern sacral architecture." Budownictwo i Architektura 14, no. 2 (June 9, 2015): 131–38. http://dx.doi.org/10.35784/bud-arch.1659.
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Sacral architecture, due to its special function, is able to tremendously influence the society. Being a phenomenon for ages, it has undergone many changes alike the church liturgy, which to some extent impacts the church architecture. In the modern sacral architecture it is possible to distinguish two main tendencies in creating objects of temples. The first one is entirely modest – simplicity of form and interior. The second tendency, which may be described as the opposite of the former, presents monumentalism usually connected with rich symbolism. Modern temples also show references to historical forms. Another factor which may influence the form and function of the sacral object is the religious beliefs of its author.
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Gubba, Neelima, and Esther Kiruba Jebakumar. "Egg as an Organic Building Material a Comparative Study and Understanding in Indian Context." Key Engineering Materials 803 (May 2019): 267–71. http://dx.doi.org/10.4028/www.scientific.net/kem.803.267.
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Indian architecture is a development of many distinct features which are inspired by its ancient vernacular techniques and the features brought by its migrants. It has attained the symbolism and importance due to its unique fusion of these building construction techniques. A comprehensive approach is necessary to understand and identify many examples of Indian architectural past to achieve the unique quality in the future of architecture. Using Eggs in the Building Finishing and Ornamentation work has been used extensively in different parts of India. Egg is an organic material which is sustainable and which has been passed on from generations. In this paper, a comprehensive review of the methods and techniques of using Eggs are documented to bring the awareness and propagate the use of this versatile material. The use of Egg waste as an additive to concrete has also been investigated.
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Kader, Zeinab Feisal Abdel. "REFLECTIONS OF NUMBER SYMBOLISM ON EGYPTIAN SACRED ARCHITECTURE." ERJ. Engineering Research Journal 35, no. 3 (July 1, 2012): 265–73. http://dx.doi.org/10.21608/erjm.2012.67177.
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Koch, Ebba. "THE TAJ MAHAL: ARCHITECTURE, SYMBOLISM, AND URBAN SIGNIFICANCE." Muqarnas Online 22, no. 1 (January 1, 2005): 128–49. http://dx.doi.org/10.1163/22118993-90000087.
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Koch, Ebba. "The Taj Mahal: Architecture, Symbolism, and Urban Significance." Muqarnas Online 22, no. 1 (March 22, 2005): 128–49. http://dx.doi.org/10.1163/22118993_02201008.
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Hagras, Hamada Muhammed. "THE FUNCTIONS AND SYMBOLISM OF CHINESE MINARETS: A CASE STUDY OF THE HUAISHENG GUANGTA." Journal of Islamic Architecture 6, no. 2 (December 9, 2020): 68–76. http://dx.doi.org/10.18860/jia.v6i2.10209.
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The Huisheng mosque in Guangzhou is one of China's oldest mosques; its initial construction dates back to 627. The minaret of the mosque is one of the surviving earliest examples of Islamic architecture in China. The Chinese minarets were built with a form of a wooden low-rise Chinese pavilion. In the case of Guangta, it was built by brick directly on the street with such a great height. The unique architectural form of Guangta raises many questions about its location, architecture, and function. The study traces the historical texts of the minaret to clarify its historical functions. It attempts to understand the minaret's meanings, the hidden symbolism, and its historical roles to serve the Muslim community as a religious minority in the city, on the one hand, as well as its cultural contributions on the other hand. There are several methods to achieve its objectives: the historical, the descriptive, and the comparative analytical approach. These approaches proved that the minaret played many roles associated with its form and architecture. In addition to its religious functions, it is entrusted to inform Muslims at prayer times. The minaret was also used as a control tower if the Muslim community in the city was exposed to external or internal threats and served as a lighthouse to facilitate Muslim maritime trade. Further, it carried a religious symbolism as it was a symbol of Islam itself within the local Chinese society that was not ruled by Muslims.
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Perry, Barbara A. "The Israeli and United States Supreme Courts: A Comparative Reflection on Their Symbols, Images, and Functions." Review of Politics 63, no. 2 (2001): 317–40. http://dx.doi.org/10.1017/s003467050003120x.
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Judicial architecture and iconography play important roles in the symbolic lives of courts. Political scientists have noted that symbols of justice, judicial objectivity, and neutrality convey to the public “legitimizing messages” about the judiciary. In the United States these legitimizing symbols frequently expressed themselves through the temple-like attributes of courthouses. Modern architects, however, have rejected this classic paradigm and replaced it with dignified, yet open, edifices. The Israeli Supreme Court building, dedicated in 1992, is an outstanding example of such innovative design. Its emblems of legitimacy include historical, religious, and judicial symbolism. Within a comparative framework, this article explores the unique architectural images of Israel's high court and argues that they may help it to survive the fractious Israeli political milieu into which the tribunal has inserted itself.The symbolism of judicial structures can convey voluminous messages about classic themes in the study of law, history, and politics. Judicial images reflected in court architecture and art may reveal the importance of the rule of law, judicial independence, and judicial power in a political and legal culture. The physical manifestations of a court structure, and how they are transmitted to the public, may also influence media and other public perceptions of tribunals, judges, and their decisions. The architecture of the Israeli Supreme Court building, which opened to rave reviews in 1992, adds two other facets to this mix, namely, religion and historic location.
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Hendry, Holly. "Amputated Architectures." Architectural Research Quarterly 18, no. 4 (December 2014): 396–402. http://dx.doi.org/10.1017/s1359135515000135.
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Holly Hendry is a sculptor based in London. Graduating from the Slade School of Art, University College London in 2013, Hendry was the inaugural Woon Fellow at Northumbria University, a significant prize for young and emerging artists. Hendry held a twelve-month residency at Baltic 39 in Newcastleupon-Tyne, culminating in her first solo-show at Gallery North, Hollow Bodies. Her work is concerned with the spatial, material and structural qualities of architecture and how space is experienced in historical and contemporary contexts. Currently in the first year of a two-year sculpture MA programme at the Royal College of Art, London, Hendry sat down with reviews and insight editor Ed Wainwright to discuss the intersections of art and architecture, the architecture of hollowness and the cut, and how her sculpture interrogates architecture for its silent symbolism.
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Stanimirović, Mirko. "An interview with Božidar Manić about temples." Arhitektura i urbanizam, no. 51 (2020): 117–27. http://dx.doi.org/10.5937/a-u0-28739.
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This paper presents an interview with architect Božidar Manić. The topics of conversation are: the rules for building Serbian Orthodox churches in the 21th century, the relationship between tradition and traditionalism within Orthodox architecture, the influence of the liturgy on the shape of a church, the symbolism of the dome, the development of Serbian sacral architecture, and recommendations for designing modern churches. The talks within the project "Temples about temples" are designed to overcome the current crisis of criteria for building Serbian Orthodox churches, through the cooperation of all participants in the construction of a temple. Through conversations with contemporary architects, the author tries to advance the future creation of ambiences, cities and shrines. The most important conclusions of the conversation with Božidar Manić are: tradition and traditionalism are not the same, there are no binding rules related to the architectural form of a church, the temple space should enable undisturbed worship and the altar must be on the East, separated from the nave.
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Calaza-Martínez, Pedro, Nuria Freire-González, and Camilo Blanco-Pampín. "Sacred Landscapes in Galicia: Small Religious Architecture and Symbolism." Acta Horticulturae et Regiotecturae 22, no. 1 (May 1, 2019): 8–13. http://dx.doi.org/10.2478/ahr-2019-0002.
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Abstract Cultural landscapes are multi-layered entities that constantly endure changes and transformations, especially in Europe due to its ancient history and anthropized nature, which reveals itself not only in physical elements, but also through immaterial heritage. This paper aims to analyse the connection between sacred landscapes, small religious architecture and folklore, focusing on the origin and transformations of several places in Galicia (northwest of Spain). Galicia is defined by its rich flora and fauna, a management of its land based on smallholding and the social idiosyncrasy of its people, defined by strong symbolism and the religious tradition that is reflected in a great amount of small sacred architecture. All this provide a paradigmatic territory for this research, allowing an approach to the case studies from the point of view of landscape architecture, assessing the small sacred architecture elements, their background, symbolism and associated vegetation. It is worth mentioning that, although vegetation had a very strong meaning and symbolism in the sacred history of Galicia, nowadays it only appears in 26% of the analysed case studies.
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Kristiadi, Adimas. "STUDY OF THEORY, METHOD, APPLICATION OF GOTHIC CHURCH ARCHITECTURE." ARSITEKTURA 16, no. 2 (October 31, 2018): 165. http://dx.doi.org/10.20961/arst.v16i2.20998.
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<p><em>The architecture of Gothic church is the outcome from creation process of knowledge by human in 12<sup>th</sup> – 15<sup>th</sup> Century which originating from France, which one the evolution from Romanesque church architecture (10<sup>th</sup> – 13<sup>th</sup> Century). The word of “evolution” is being a keyword and be a reason of Gothic church, to change characters from Romanesque church architecture are monastic buildings (not large), heavy in appearance, simple in construction to be a larger and finer, much details and symbols, construction and ornament is advancing and improving, there is an effort to enter natural lighting. There is competition in 12<sup>th</sup> – 15<sup>th</sup> Century about bigger and magnificent building of church in Europe. The method is literature studies with analytical descriptions. The results are: 1) The basic theory of evolution is dignity, Gothic church architecture is built with the intention of giving honor of the highest to God. The concepts are verticalism, transparent, religious symbolism. The methods is following the concepts that are heighten (heightening structure), mitigate (lightening structure), brighten (natural lighting), symbolize (enrich symbols). The application is realized with: floor plan as cross, pointed arch, ribbed vault, flying buttress, pinnacles, flamboyant decoration, large windows filled with rich stained glass.</em></p>
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Goodsell, Charles T. "The Architecture of Parliaments: Legislative Houses and Political Culture." British Journal of Political Science 18, no. 3 (July 1988): 287–302. http://dx.doi.org/10.1017/s0007123400005135.
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The architecture of houses of parliament and of legislative chambers in countries around the world is analysed for its relationship to political culture. It is argued that parliamentary buildings and spaces (1) preserve cultural values of the polity over time; (2) articulate contemporaneous political attitudes and values; and (3) contribute to the formation of political culture. Preservation is illustrated by how parliament buildings occupy sacred sites, symbolize the state and assure the continuity of legislative traditions. Articulation is exemplified by reflecting the relative importance of the two legislative houses and making expressive statements about the role of parties, executives and individual legislators. Formation can be affected by the physical dimensions of chambers, the arrangement of seats, aisles and lecterns, and spatial relationships between houses and the parliament versus the executive. It is concluded that the advent of television broadcasting of parliamentary sessions may make these architectural features even more important in perpetuating, manifesting and shaping political culture.
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Allahham, Abeer. "Metamorphosis of mosque semiotics." Archnet-IJAR: International Journal of Architectural Research 13, no. 1 (March 18, 2019): 204–17. http://dx.doi.org/10.1108/arch-11-2018-0001.
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Purpose Compared with its status in Islamic history, the mosque today has become a distinctive phenomenon, perceived as an identity vessel of contemporary Islamic architecture that conveys sacred metaphysical meanings. Since the advent of modernity Muslim societies has become increasingly secularized; the relationships of the sacred–secular and the divine-based demythologized knowledge have been deformed. The mosque was glossed over as the sole contemporary sacred edifice that bears metaphysical/Islamic connotations with cultural continuity. Its architecture, meanings and function have gone through a process of metamorphosis, particularly the state mosques. The contemporary mosque as such is facing a “semiological deterioration.” State mosques today are symbolic statements and communicative messages of their rulers’ power and national sovereignty, with a subsidiary role for worship, i.e., the sacred has turned into a secular power metaphor. This led to a state semantic confusion accompanied by a loss in the deeply rooted collective cultural codes of the sacred. The purpose of this paper is to investigate the metamorphosis of the semiological connotation of the contemporary mosque, with a special focus on grand state mosques, and its effects on the architecture of the contemporary mosque. Design/methodology/approach This paper is theoretical research (no case studies included). Findings The metamorphosis that the contemporary mosque is experiencing today as a religious edifice with symbolic connotations and architectural iconism is but an effect of the changes that occurred in the concept of the scared and its relationship to the secular in contemporary Muslim communities, as a result of modernity. Such conceptual changes led to altering the deeply rooted cultural codes to be replaced by new intentional codes, used today as vehicles of communication in mosque architecture, especially in grand state mosques. Contemporary state mosques with its new symbolism and semantic meanings have contributed to redefining the concept of the contemporary mosque in general. Originality/value Mosque architecture today receives a significant importance. Many conferences and awards are dedicated to celebrating this phenomenon. Attempts to define the criteria and style of the contemporary mosque architecture are mounting. However, rarely there are studies that defy such attempts in a critical manner. This research seeks to criticize such approaches by highlighting the essence of the transformation in mosque architecture and its relationship to the concepts of the sacred and the secular, from a semiological perspective.
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Kumhan, Dionisius, Agus Saladin, and Enny Supriati Sardiyarso. "SYMBOLIC MEANING OF LAMOHOLOT’S TRADITIONAL ARCHITECTURE IN ILE APE, LEMBATA ISLAND, EAST NUSA TENGGARA." International Journal on Livable Space 1, no. 1 (August 2, 2016): 11. http://dx.doi.org/10.25105/livas.v1i1.4704.
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<p align="left"><strong><em>Abstract</em></strong></p><p><em>Besides climate, economic, politic, social and cultural factors, belief/religion factor has an influence on the shape and meaning of traditional house. Lamaholot tribe’s traditional house in Ile Ape, Lembata Island is rich of architectural symbolism. The relation between the shape and the physical symbolic meaning willbe described in this articles. Through qualitative approach, it isfound that the space structure of Lamohot’s traditional house is the manifestation of social stratifications status and community’s belief system, both horizontally and vertically.</em></p><p><em>Keywords: Shapes, meaning, architecture elements of traditional house, Lamaholot tribe.</em></p>
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Bremner, G. Alex. ""Some Imperial Institute": Architecture, Symbolism, and the Ideal of Empire in Late Victorian Britain, 1887-93." Journal of the Society of Architectural Historians 62, no. 1 (March 1, 2003): 50–73. http://dx.doi.org/10.2307/3655083.
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This article explores the relationship between architecture and imperial idealism in late Victorian Britain. It traces the development of the Imperial Institute in the South Kensington section of London from conception to completion, considering the proposals that surrounded the scheme in relation to the sociopolitical context within which it emerged. Sources such as letters, guidebooks, newspapers, journal articles, official publications, and government documents are drawn upon; from them an interpretation of the building is offered that moves beyond issues concerning style and patronage to broader cultural implications. The institute evolved as a consequence of the changing circumstances then affecting British foreign and imperial affairs, and commonly held beliefs relating to empire were reflected in the building's architecture. Analysis of the leading ideas that shaped the scheme formally and spatially reveals that the edifice was intended to stand literally as an emblem of the apparent strength and unity of the British empire. The importance of the institute as an architectural idea, therefore, lies not only in its attempt to give symbolic form to a concept of empire that was at the heart of late Victorian concerns, but also in the way it sought to mark and distinguish London as the center and capital of that empire.
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Romanova, O. V. "FORMATION OF THE FOLK DECOR IN THE TRADITIONAL RESIDENTIAL ARCHITECTURE OF THE SLAVIC AND ROMANIAN PEOPLES." Bulletin of Odessa State Academy of Civil Engineering and Architecture, no. 81 (December 7, 2020): 33–41. http://dx.doi.org/10.31650/2415-377x-2020-81-33-41.
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Abstract. Issues are discussed regarding the means of decorative and artistic expression in folk architecture (ornamental and plastic decor, artistic carving and painting, artistic forging), which are characterized by a certain symbolism that has developed in traditions. The type of the original form (natural, objective, constructive), which is the basis of the ideological and creative concept, is not always obvious, especially in geometrized, complexly stylized contours, that is why it is recognized only as a result of stage-by-stage research. The process of forming a decorative element is read through visual and morphological analysis. The author formulated the following research objectives: to discover the connection between the initial form and the final artistic image in the decor of traditional residential architecture; to identify the varieties of initial forms ‒ figurative prototypes; to reveal the course of compositional complication in the process of forming decorative means of expressiveness; provide relevant illustrative examples. The article examines the architectural decor used both on the residential building itself (wall planes, pediments, pilasters, etc.), and within the estate. Sometimes there are no analogues, and the creation of decorative furnishings is conditioned by a clear adherence to natural samples, and in some compositions there may be direct borrowings (citation) of stylistically established and well-known examples inherent in urban buildings. Comparing the samples of a certain ornamental motif, it is noticed that the drawn version can subsequently form the basis of the relief or sculptural variants, and the prototype shape predetermines the place (by the similarity of the contour features) for placing the decor. Hence - important observations about what kind of people may be inherent in the use of certain artistically designed architectural details. The table illustrates decorative elements of residential buildings and estates (stylization and transformation of the original form, the development of constructive and compositional design). Examples of the formation of folk decor in the traditional residential architecture of the Slavic and Romanic peoples (Ukrainians, Russians, Bulgarians, Moldavians, Romanians) are given. Conclusions are made and prospects for further research on this topic are highlighted.
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Pavlova, O. Y. "SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE (part 1)." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 17–20. http://dx.doi.org/10.17721/ucs.2019.1(4).03.
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The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy- sis to the material of G. Hegel’s aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms of culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to "localize the Numinous". The sav- age efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the "The Accursed Share", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly-ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural prac- tice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that pro- vided a balance of other cultural practices.
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Hosseinabadi, Sanaz. "The Fourth Dimension in Architecture: Sacred Geometry and Symbolism." International Journal of the Image 1, no. 1 (2011): 157–68. http://dx.doi.org/10.18848/2154-8560/cgp/v01i01/44171.
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