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Journal articles on the topic 'Semiotics of architecture'
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Stamatovic-Vuckovic, Slavica. "Architectural communication: Intra and extra activity of architecture." Spatium, no. 29 (2013): 68–74. http://dx.doi.org/10.2298/spat1329068s.
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Apart from a brief overview of architectural communication viewed from the standpoint of theory of information and semiotics, this paper contains two forms of dualistically viewed architectural communication. The duality denotation/connotation (?primary? and ?secondary? architectural communication) is one of semiotic postulates taken from Umberto Eco who viewed architectural communication as a semiotic phenomenon. In addition, architectural communication can be viewed as an intra and an extra activity of architecture where the overall activity of the edifice performed through its spatial manifestation may be understood as an act of communication. In that respect, the activity may be perceived as the ?behavior of architecture?, which corresponds to Lefebvre?s production of space.
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Munro, C. F. "SEMIOTICS, AESTHETICS AND ARCHITECTURE." British Journal of Aesthetics 27, no. 2 (1987): 115–28. http://dx.doi.org/10.1093/bjaesthetics/27.2.115.
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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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Abdullah, Farid. "SEMIOTIKA = ILMU ATAU METODE : TELAAH BUKU ' HANDBOOK OF SEMIOTIK', WINFRIED NOTH, 1995." Jurnal Dimensi Seni Rupa dan Desain 8, no. 2 (September 1, 2011): 1–10. http://dx.doi.org/10.25105/dim.v8i2.965.
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AbstractThis paper is about Winfried Noth book, title " Handbook of Semitics," 1995. A handbook with ambitious objevtives of dealing with a broad field specturm of research, ranging from Advertising, Architecture, Comic, Photography, Music, Visual Communication , to Zoosemiotics. Aims to this book, as the author describe, s adventurous goal of a topographical survey, of some main areas of theoritical and applied semiotics. In this book, the approach to semiotic adopted is basically descriptive and pluratistic. The history aspect, the present state of the art, intends to be a systematic, comprehensive, and up to date. To understand this handbook, we must be a critical reader and at the end we can draw our own critical conclusion AbstrakTulisan ini adalah ulasan terhadap buku Winfries Noth yang berjudul " Handbook of Semiotics" terbit tahun 1995. Sebagai buku pegangan tentang semiotika, buku ini memiliki rentang kajian yang sangat ambisius, dengan cakupan bidang yang dikaji dari periklanan, arsitektur, komik, fotografi, musik, komunikasi visual, hingga tanda yang dikirimkan oleh hewan. Tujuan dari buku ini seperti yang diuraikan penulisnya, semacam pemetaan dalam semiotika teoritik dan terapan. Pada buku ini ,pendekatan semiotik yang dipakai adalah deskriptif dan pluratistik. Aspek sejarah seni, berusaha disusun secara sistematis, menyeruluh, dan kekinian. Untuk memahami buku pegangan ini,sebagai pembaca kita harus meletakakan diri sebagai pembaca yang kritisdan akhirnya kita dapat memperoleh kesimpulan yang kritis pula
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Marotta, Anna, Roberta Spallone, Massimiliano Lo Turco, Ursula Zich, Marco Vitali, Elena Marchis, and Martino Pavignano. "Visual Images and Language in Architecture: Signifier Semiotics and Meaning Semiotics." Proceedings 1, no. 9 (November 22, 2017): 964. http://dx.doi.org/10.3390/proceedings1090964.
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Kurokhtina, Sofia R. "The Visual Space of a City: A Semiotic Approach." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 20, no. 4 (November 23, 2020): 364–68. http://dx.doi.org/10.18500/1819-7671-2020-20-4-364-368.
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The article deals with the problem of visuality in the context of space from the point of view of visual semiotics. The choice of the problem determined the methodology, which is based on a semiotic approach. Visual semiotics uses induction as the main tool: analyzing individual elements of space, i.e. signs, it moves to the generalization of the results at the level of semiotics as a whole. The author believes that visual images captured in various architectural structures play an important role in shaping the social structure, the space of everyday communication, and the interaction practices of observing subjects. The purpose of the article is to characterize the basic principles of visual semiotics which reflect the theoretical understanding of urban architecture as a sign system. It is established that the main theoretical principles of visual semiotics in relation to space consist in the following provisions: first, visual artifacts which flood the city space are facts of communication, since they have a linguistic orientation and are perceived as signs. Secondly, the main property for a visual message is capacity – in a short period of time, the subject is able to perceive a much larger amount of information than from the text. And third, it is established that reading and generating new interpretations of urban space occur through everyday practices, during which the surrounding visual space is appropriated and personalized.
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Kostić, Miloš. "Semiotics of architectural: Detail between rationalisation and representation." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 59–70. http://dx.doi.org/10.5937/saj1801059k.
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The aim of this paper is to discuss the realm of values upon which thoughts on architecture have been conceived, through the drawings of architectural detail. Although modernism, which opposes technical detail and ornament, is still regarded as influential theoretical position, it neglects to address a broader meaning of a detail in architecture. The research disputes the opposition between an ornament and a technical detail, claiming that a detail in architecture is the more abstract term, which represents a certain level of design thought besides utility and embellishment. It is argued that both modern and traditional values from different aspects of societal and cultural activities, as for their changes were being referenced to the micro level of architecture, transforming the way of their presence through different visual representations of detail along the history and theory of profession. In this paper, the small-scale drawings are used as a medium a medium which reflects transdisciplinarity of the profession and its entanglement with the knowledge and dynamics of other fields of human activity such as philosophy, economy, religion, engineering, and arts.
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Stjernfelt, Frederik. "Mereology and semiotics." Sign Systems Studies 28 (December 31, 2000): 73–98. http://dx.doi.org/10.12697/sss.2000.28.05.
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This paper gives a fIrst overview over the role of mereology — the theory of parts and wholes — in semiotics. The mereology of four major semioticians — Husserl, Jakobson, Hjelmslev, and Peirce is presented briefly and its role in the overall architecture of each of their theories is outlined — with Brentano tradition as reference. Finally, an evaluation of the strength and weaknesses of the four is undertaken, and some guidelines for further research is proposed.
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Sverdiolas, Arūnas. "On the Edge of Meaning: the Thingness of Artwork." Semiotika 16 (July 29, 2021): 66–103. http://dx.doi.org/10.15388/semiotika.2021.9.
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Semiotics and philosophy both claim the status of a meta-language, hence enter into a dialogue with one another and each tries to translate the other into its own language. Contemporary analysis of material culture is informed by the so-called linguistic turn, which was performed by structuralism and affected all humanities. Ferdinand de Saussure’s semiology and the semiotics of Algirdas Julien Greimas and his colleagues work in this area by extrapolating the notion of the text to various fields of inquiry. The problematics of archeology, architecture, and other artifacts demand thinking through the issue of the matter. The paper provides proof that, in its attempts to respond to this demand, semiotics either stays within the frame of the idealistic semiotic existence of an indeterminate status or deploys metaphysical rudiments-and-supplements.
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Lakawa, Agustin Rebecca. "SEMIOTICS ANALYSIS OF BETAWI VERNACULAR ARCHITECTURE AT SETU BABAKAN, JAKARTA." International Journal on Livable Space 3, no. 1 (February 28, 2018): 23. http://dx.doi.org/10.25105/livas.v3i1.2926.
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<p><em>In traditional societies, it is not too difficult to integrate the style and symbols of a house because they have a common language of the same yet mutually understandable style. However, this can not be applied nowadays with the development of pluralistic cultures encountered by Betawi people. Semiotic enables community to reflect on various related issues in the form of architecture and spatial arrangement</em><strong><em>. </em></strong><em>This research was conducted to obtain information that will be used to complement semiotics analytical methods. Field data collection methods are done both visually through recording of buildings and orally through interviewing some of the residents.</em><em> </em><em>This research uses semiotics analysis model derived from Ferdinand de Saussure which was adapted by Charles Peirce and used by Charles Jencks. Semiotics discussion on the style of Betawi house at Setu Babakan area consists of four major parts: building orientation, zoning, building typology, and building ornament. The result of this study confirms that there are several changes on the four major parts to support the shift of the village into a cultural village. These changes represent the sign of adaptability of the community to support the preservation and maintenance of Betawi house in this cultural village.</em></p><em>Keywords: style and symbol, vernacular architecture, Betawi traditional house</em>
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Krampen, Martin. "Semiotics in Architecture and Industrial/Product Design." Design Issues 5, no. 2 (1989): 124. http://dx.doi.org/10.2307/1511519.
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Lakawa, Agustin. "SEMIOTICS ANALYSIS OF BETAWI VERNACULAR ARCHITECTURE AT SETU BABAKAN, JAKARTA." International Journal on Livable Space 3, no. 1 (February 12, 2019): 23. http://dx.doi.org/10.25105/livas.v3i1.3883.
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<p><strong><em>Abstract</em></strong></p><p><em>In traditional societies, it is not too difficult to integrate the style and symbols of a house because they have a common language of the same yet mutually understandable style. However, this can not be applied nowadays with the development of pluralistic cultures encountered by Betawi people. Semiotic enables community to reflect on various related issues in the form of architecture and spatial arrangement<strong>. </strong>This research was conducted to obtain information that will be used to complement semiotics analytical methods. Field data collection methods are done both visually through recording of buildings and orally through interviewing some of the residents. This research uses semiotics analysis model derived from Ferdinand de Saussure which was adapted by Charles Peirce and used by Charles Jencks. Semiotics discussion on the style of Betawi house at Setu Babakan area consists of four major parts: building orientation, zoning, building typology, and building ornament. The result of this study confirms that there are several changes on the four major parts to support the shift of the village into a cultural village. These changes represent the sign of adaptability of the community to support the preservation and maintenance of Betawi house in this cultural village.</em></p><p><em> </em></p><p><em>Keywords: style and symbol, vernacular architecture, Betawi traditional house</em></p>
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Brandt, Per Aage. "Towards a planetary semiotics." Cadernos de Campo: Revista de Ciências Sociais, no. 28 (June 2020): 77–95. http://dx.doi.org/10.47284/2359-2419.2020.28.7795.
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There exists a universal ecology-based stratification of levels of activity and meaning-making in human societies, a stratifying architecture that determines existing levels of social experience, types of sign functions and semantic functions in language, and finally the mental principles of human subjectivity. The planetary ecology of civilization is therefore constitutive of human semiotics. The following is a short outline of a theory of meaning based on these observations.
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Muşat, Bogdan, and Răzvan Andonie. "Semiotic Aggregation in Deep Learning." Entropy 22, no. 12 (December 3, 2020): 1365. http://dx.doi.org/10.3390/e22121365.
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Convolutional neural networks utilize a hierarchy of neural network layers. The statistical aspects of information concentration in successive layers can bring an insight into the feature abstraction process. We analyze the saliency maps of these layers from the perspective of semiotics, also known as the study of signs and sign-using behavior. In computational semiotics, this aggregation operation (known as superization) is accompanied by a decrease of spatial entropy: signs are aggregated into supersign. Using spatial entropy, we compute the information content of the saliency maps and study the superization processes which take place between successive layers of the network. In our experiments, we visualize the superization process and show how the obtained knowledge can be used to explain the neural decision model. In addition, we attempt to optimize the architecture of the neural model employing a semiotic greedy technique. To the extent of our knowledge, this is the first application of computational semiotics in the analysis and interpretation of deep neural networks.
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Burian, Jarka M., and Marvin Carlson. "Places of Performance: The Semiotics of Theatre Architecture." Theatre Journal 42, no. 3 (October 1990): 395. http://dx.doi.org/10.2307/3208100.
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Susilo, Daniel, and Mega Primatama. "City Architecture as the Production of Urban Culture: Semiotics Review for Cultural Studies." Jurnal Humaniora 30, no. 3 (October 2, 2018): 248. http://dx.doi.org/10.22146/jh.29117.
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This article aims to describe correlation between city's architecture as urban culture and cultural studies, specifically in semiotics. This article starts from Chris Barker's statement about city and urban as text in his phenomenal book, Cultural Studies, Theory and Practice. City as a complex subject has been transformed as the representation of urban culture. In the post-modernism view, urban culture as cultural space and cultural studies' sites have significantly pointed to became communications discourse and also part of the identity of Semiology. This article uses semiotics of Saussure for the research methods. Surabaya and Jakarta has been chosen for the objects of this article. The result of this article is describing the significant view of architecture science helps the semiotics in cultural studies. In other way, city's architecture becomes the strong identity of urban culture in Jakarta and Surabaya. Architecture approaches the cultural studies to view urban culture, especially in symbol and identity in the post-modernism era.
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Susilo, Daniel, and Mega Primatama. "City Architecture as the Production of Urban Culture: Semiotics Review for Cultural Studies." Jurnal Humaniora 30, no. 3 (October 2, 2018): 248. http://dx.doi.org/10.22146/jh.v30i3.29117.
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This article aims to describe correlation between city's architecture as urban culture and cultural studies, specifically in semiotics. This article starts from Chris Barker's statement about city and urban as text in his phenomenal book, Cultural Studies, Theory and Practice. City as a complex subject has been transformed as the representation of urban culture. In the post-modernism view, urban culture as cultural space and cultural studies' sites have significantly pointed to became communications discourse and also part of the identity of Semiology. This article uses semiotics of Saussure for the research methods. Surabaya and Jakarta has been chosen for the objects of this article. The result of this article is describing the significant view of architecture science helps the semiotics in cultural studies. In other way, city's architecture becomes the strong identity of urban culture in Jakarta and Surabaya. Architecture approaches the cultural studies to view urban culture, especially in symbol and identity in the post-modernism era.
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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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Cakaric, Jasenka. "Paradigm of the urban space semiotics." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 167–78. http://dx.doi.org/10.2298/fuace160517012c.
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The urban space unites two parallel dimensions in its substance - the inner human one and the real physical one. While interpreting this thesis, we proceed from the semiotic perspective via an analysis of the source of the town's semiotics by approaches which allow creation of a global basis of pertinence in the comprehension of the urban space as a context which unites reality and ideas. In that way, searching for their place and function in the system of symbols, that is, determining the elements which make the semiotic structure of the town and influence man's perception of material environment is the main task of this paper. The analysis has shown that the presence of urban signs leaves its spatial imprint on the authentic identity of the physical structure, but that there are also contemplative elements which found the notion of town. What we are talking about here are the lifestyle, culture, tradition, social relations, politics, ideology, technical praxis, technological achievements, economic trends, social practices. It is precisely the synergy impacts of these elements and geometric appearances of the physical structure that, as we have concluded, make the semiotic structure of the urban space. Man perceives this synergy by means of strength of his own being, while articulations of the functional spaces and signs of the town's architecture, each of them marked by their inner energy, enable him to reassert himself as a spiritual being. We are convinced that the approach to the reflections about the urban space semiotics that has been shown in this paper, can make a contribution to the understanding of the general urban experience, as well as a contribution to the general theory of urban design.
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Vasilski, Dragana. "Semiotics and Aesthetics as a Discourse on Architecture. Case Study: Minimalism in Architecture." Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS) 6 (2021): 283–97. http://dx.doi.org/10.24308/iass-2019-6-024.
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Letouze, Patrick, and David N. Prata. "Do We Need an Interdisciplinary Approach to Bring Consumers' Desires to e-Market?" International Journal of Information Systems and Social Change 5, no. 2 (April 2014): 1–12. http://dx.doi.org/10.4018/ijissc.2014040101.
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In 2012, the internet advertising revenue in the United States of America reached a total of 36.6 billion dollars, a growth of 15.2% when compared to 2011. The efficiency of a marketing strategy relies in the ability to understand and to direct the consumers' desires. In this work, the authors propose an approach that combines the Internet-Based Information Consumer Theory (IBICT) with semiotics to bring consumers' desires to e-Market. Hence, we present IBICT's framework as a collective network set based on a semiotic human-machine approach. For implementation purposes, we propose a text mining architecture towards IBICT's framework, which leads to an IBICT's architecture, and an Interdisciplinary Research Project Management (IRPM) approach to determine IBICT's dimensions.
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Kang, Xue, Gabriella Medvegy, and Yufang Zhou. "Spatial narrative research with architecture as the media." Pollack Periodica 17, no. 1 (March 25, 2022): 173–77. http://dx.doi.org/10.1556/606.2021.00398.
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Abstract With the development of economic globalization and the information age, architecture has gradually become a kind of seal of politics, capital and culture, and is divorced from the spirit and life experience of the existing places in the region. Therefore, the field of architecture constantly seeks new research paradigm from the interdisciplinary perspective and reconsiders the creative activities of architecture. From the late last century, with the introduction of architecture by postmodern philosophy, semiotics, geographical psychology, phenomenology and cultural anthropology, there has been a cross-research between architecture and narratology. The recent research hopes to conduct an in-depth analysis of the theory of architectural spatial narrative and its development in the context of complex disciplines, and to research spatial narrative as a design methodology for architecture.
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Chrisylla, Meielisa. "SIMBOLISASI PADA RANCANGAN ARSITEKTUR GEREJA KATOLIK SANTO PETRUS DAN GEREJA KATOLIK SANTA PERAWAN MARIA TUJUH KEDUKAAN DI KOTA BANDUNG." ARTEKS, Jurnal Teknik Arsitektur 1, no. 1 (December 5, 2016): 1. http://dx.doi.org/10.30822/artk.v1i1.79.
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Title: Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in BandungAs 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 toanalyze and decipher its architecture to preserve sacredness. The research methodology that was employed was qualitative methods using Peirce’s semioticprinciples 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 thearchitectural planning of a Catholic Church. The purpose of this research is to find the most dominant sacral expression between Santo PetrusChurch and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.The results of this study were that sacral expression in terms of (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form are more dominant in the Santo Petrus Church compared to the Santa Perawan Maria Tujuh Kedukaan Church.Keywords: Peirce’s semiotics, sacral expression, catholic church
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Perin, Gavin John, and Linda Matthews. "Organizing Architectural Atmospheres." International Journal of Creative Interfaces and Computer Graphics 10, no. 1 (January 2019): 16–29. http://dx.doi.org/10.4018/ijcicg.2019010102.
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The article outlines an alternative type of digital drawing technique for architecture called chromatic mapping. This new procedural drawing technique redefines the theoretical frameworks of digital design practice by manipulating the formal and spatial capacities of data captured in the image. The ensuing discursive and practical changes to architectural design practice deliberately leverage the ability of image-based software to gather, collate and modify real-world data. The pixel is central to chromatic mapping because it is the medium that translates form and space into color. This alterative definition of form as visual data contests the orthodoxy that only the line can delineate form and reactivates the issues surrounding the role of the image in architectural production. While maintaining digital architecture's ambition to reduce the procedural and formal consequences of postmodern semiotics, this new drawing technique recalibrates the part images play in architectural production by activating image data to foreground drawings that simulate architecture's atmospheric qualities.
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De Vos, Jozef. "Marvin Carlson, Places of Performance. The Semiotics of Theatre Architecture." Documenta 10, no. 3 (April 21, 2019): 256–58. http://dx.doi.org/10.21825/doc.v10i3.10845.
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Kruger, Loren. "Places of Performance: The Semiotics of Theatre Architecture. Marvin Carlson." Modern Philology 88, no. 4 (May 1991): 485–87. http://dx.doi.org/10.1086/391919.
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Erçetin, Arzu, and Gamze Akbaş. "SEMIOTIC DISCOURSE OF PLACE: EXAMPLE OF SHOWROOMCommunication is defined as the flow of information in its simplest form. Utilizing the indicators and referring to another situation with the help of these indicators while providing its flow is a result-or." International Journal of Research -GRANTHAALAYAH 7, no. 7 (July 31, 2019): 297–303. http://dx.doi.org/10.29121/granthaalayah.v7.i7.2019.767.
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Communication is defined as the flow of information in its simplest form. Utilizing the indicators and referring to another situation with the help of these indicators while providing its flow is a result-oriented study discipline. This discipline is defined with the name of Semiology and it is a field of science based on meaning. Semiotics, shaped by behavior patterns "coded" by a particular society, it is associated with the process of interpretation. The fact that codes come together and form a whole of meaning unity and cause influence on different fields such as literature, advertising, cinema, caricature, painting and architecture. Hence, semiotics, which forms a message to be transmitted to the other party, possesses an extensive field of study. The meaning, interpretation and association of these messages with different factors fall within the scope of this discipline. Especially in order to comprehend that architecture is a communication tool, the physical factors and the approaches of the society producing these approaches should be reviewed together. This highlights the place of interior design in semiotics. In this study, interior design is evaluated within the scope of semiotics and a place reading is performed.
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Sunarti, Sri. "Semiotika untuk Memahami Makna Arsitektur Ragam Hias." ATRIUM: Jurnal Arsitektur 7, no. 1 (June 29, 2021): 45–57. http://dx.doi.org/10.21460/atrium.v7i1.146.
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Title: Semiotics to Comprehend The Change in The Meaning of An Ornament Semiotics is the science of a sign that consists of the structure of the signifier and the signified. As a medium of communication, a sign serves as a stand of something else or represents an expression message from the maker or owner to another party (interpretant) to be able to read. (Peirce, 1986 as cited in Chandler, 2007). Ornamental architecture is a work of art as a sign that is a medium of communication to viewers or related parties, which contains meaning that is not yet known or understood. The unknown meaning is caused by several types (1. decoration of new creations; 2. historical breakdown; 3. transfer of context; 4. correction of meaning due to discrepancies). Given that ornamental architecture is a sign of a grammatical "text", it is possible to interpret it using the same scientific approach of signs. Presumably, semiotics is deemed appropriate even though the results of the interpretation are not absolute. The accuracy and experience (object, location, specific time) of the sign interpretant greatly determine the result of the meaning of the sign, besides the influence of the possible socio-cultural, economic, political, religious, technological background factors, typical forms, masses and evaluators. The success in interpreting the sign proportionally becomes a reference in behaving or acting or placing ornamental architecture more proportionally. This is where the role of semiotics is very helpful in interpreting the sign of ornamental architecture as a basis for further action. Therefore, all things around that are signs related to our lives can always be treated appropriately.
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Boroch, Robert. "Rethinking Milton Singer’s semiotic anthropology: A reconnaissance." Semiotica 2018, no. 224 (September 25, 2018): 211–22. http://dx.doi.org/10.1515/sem-2016-0119.
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AbstractThe article discusses the possibility of using the cognitive tools of semiotics (theory of signs) for theoretical considerations of social structures from the anthropological perspective. In the literature on the subject, this approach is defined as semiotic anthropology, a term coined by Milton Singer. The article emphasizes the possibilities, untapped within Singer’s work, of further epistemological research within the scope of the “cultural theory of signs” and reduction of the paradigms of research on culture from philosophical and philological as well as anthropological and ethnographic paradigms to a semiotic paradigm, enabling the analysis of meanings of cultural messages (as broadly understood), from architecture and painting and even eating habits (e.g., cooking) to systems of values and literature. In this sense, semiotic anthropology represents the position of “mild holism” and becomes a tool supporting the exploration of culture.
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Salakhutdinova, V. S., and N. A. Novinskaya. "EMPIRICAL FEATURES OF PERCEPTION OF ARCHITECTURAL SPACE AND FORM." Engineering and Construction Bulletin of the Caspian Region 112 (2021): 58–62. http://dx.doi.org/10.52684/2312-3702-2021-36-2-58-62.
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The creation of the unity of the architectural composition from many components, the origin of the whole image is one of the main tasks of architecture. The article presents the results of the study and analysis of the mechanisms of empirical perception of architectural space and form. The chronological sequence of research on the topic among domestic and foreign architects and researchers has been derived. Analysis of the current situation, classification of problems, search for available solutions. The article is devoted to the calculation of the roles of various types of human perception of architecture in the general system of human life. A classification of the psychoemotional impact of various types of architecture patterns on a person is proposed. The authors consider the architectural space and form also from the standpoint of semiotics. At the end of the article, the conclusions of the work are formulated and substantiated, and ways of applying the results obtained are proposed.
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Freitas, Eduardo Pacheco. "O desenvolvimento da arquitetura gótica a partir da filosofia escolástica." Nuntius Antiquus 9, no. 2 (December 31, 2013): 201–20. http://dx.doi.org/10.17851/1983-3636.9.2.201-220.
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This paper aims to explore the onset and peak of the development of Gothic architecture, religious art and architecture eminently urban, between the twelfth and thirteenth centuries in the medieval West, in a socio-religious Catholic hegemony. The message sent to the faithful through the Gothic architecture, replacing Romanesque, indicates in this case a major change in mindset, since we consider the importance of semiotics in art, architecture and urban space.
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Stevanović, Vladimir. "Phenomenologies of architecture." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 89–106. http://dx.doi.org/10.5937/saj1401089s.
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This paper, in terms of analytic aesthetics, conducts a meta-discussion on the ways of using the term and notion of phenomenology in the discourse of architectural theory. The assumption is that one cannot argue with precision and certainty that the theorists who concern themselves with phenomenological thinking in the context of architecture target the same topics and problems. If in the architectural theory there is a parallel development of a number of different phenomenologies, the central issue becomes their mutual compatibility. Analysis conducted will open the possibility of consideration of the cases in which these phenomenologies are instrumentalized for the purpose of advocacy and promotion of certain stylistic and morphological architectural concepts. Such explicit sympathies for some architects and styles mostly evidence an affirmation of personal taste and subjective preferences of architectural theorists of phenomenology. Identifying, examination and interpretation of contradictions in phenomenologies of architecture, and then of their instrumentalizations, shall be conducted in relation to a broader theoretical and social context, starting from the second half of the twentieth century. This period chronologically determines the discussion, for it is then when the constitutive interaction of phenomenology and architectural theory happened. In this respect, variations in the phenomenologies of architecture shall be considered in their relation to: 1) architectural theories and practices of high modernism and postmodernism such as positivism, semiotics, abstraction and figuration; 2) socio-historical context that includes the dominance of liberal capitalism, consumerism, the consequences of technological progress, mass culture and populism, as well as media hyper production.
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VORONTSOVA, Yulia Sergeevna. "SEMIOTICS OF OPTICAL ILLUSIONS IN COMMUNICATION AND RECREATION PUBLIC SPACES." Urban construction and architecture 5, no. 2 (April 15, 2015): 15–18. http://dx.doi.org/10.17673/vestnik.2015.02.2.
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The purpose of this article is to examine the optical illusions as visual metaphors in architecture and design of public spaces. Metaphor, in this case, is defined as a key element in the interpretation of meaning and visual images. In the article the semiotic significance of optical illusions in the context of contemporary architecture and design is examined and the correlation between the optical illusions classification by resources and the interpretation of signs and symbols of perception optical effects is revealed. The article gives examples of use of optical illusions in communicative field of public spaces demonstrating the importance of semiotic meaning of optical effects in modern design.
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RAHARJA, I. Gede Mugi. "East and West Cross Cultural Semiotics. On Taman Ujung Bali Architecture." Cultura 14, no. 1 (November 1, 2017): 159–69. http://dx.doi.org/10.3726/cul.2017.01.15.
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Arnau Amo, Joaquín, and María Gutiérrez Mozo. "Semiotics and deconstruction in architecture: a note on language and inhabitation." Estoa 6, no. 10 (January 1, 2017): 117–25. http://dx.doi.org/10.18537/est.v006.n010.10.
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Londré, Felicia Hardison. "Places of Performance: The Semiotics of Theatre Architecture by Marvin Carlson." Comparative Drama 24, no. 2 (1990): 189–91. http://dx.doi.org/10.1353/cdr.1990.0023.
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Pane, Imam Faisal, Hilma T Fachrudin, Hesti Fibriasari, and Aurora S Lubis. "Architectural Design by Considering Communication Systems with Observer (Case Study: KLIA Internasional Airport)." Britain International of Exact Sciences (BIoEx) Journal 2, no. 1 (January 3, 2020): 11–18. http://dx.doi.org/10.33258/bioex.v2i1.111.
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The development of architecture along with the development of situations and conditions that exist in the community. In this postmodernism era, architectural design is not only based on one paradigm, but is more free to choose the architectural design figure that will be achieved. The development of this infinite design can be studied or appreciated through a communication approach between an architectural object and an observer. The architectural design of this era can have different meanings among observers. This proves that the communication system does not guarantee the meaning of a building. This system only runs that the building can be interpreted based on a communication system in the form of a sign like the one in Semiotics. Using qualitative and quantitative descriptive methods in seeing the current development of architecture. This gives the conclusion that architectural design not only has a meaning but many meanings in accordance with the design paradigm used.
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Jones, Paul. "Putting Architecture in its Social Place: A Cultural Political Economy of Architecture." Urban Studies 46, no. 12 (October 16, 2009): 2519–36. http://dx.doi.org/10.1177/0042098009344230.
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As well as being shaped by bureaucratically codified state regulations, architecture is also fundamentally conditioned by the broader political-economic context in which it is commissioned, designed and understood. However, drawing attention to these noncodified regulations can be controversial, as it necessitates questioning the complex social production of architecture, in the process challenging those discourses that position architecture as a practice concerned primarily with the design of socially meaningful form and meaning. Such discourses have been problematised elsewhere and, building on these contributions, this paper suggests a framework for taking seriously architecture’s distinctive relationship with aesthetics and semiotics while also maintaining a sense of architects’ position as a cultural élite working in definite political-economic contexts. Drawing primarily on theories associated with Pierre Bourdieu and cultural political economy, the paper uses the case of iconic architecture to illustrate this argument. The central role of architecture in recent place-marketing strategies is understood as a resonance between the agendas of high-profile architects and those political and economic agencies ‘selling places’. The role of architecture in providing a culturalised frame within which economic transformation is embedded is a crucial consideration here. In short, this paper suggests the necessity of a non-reductionist, political-economic foundation to the regulation and built environment research agenda.
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Chrzanowska-Kluczewska, Elżbieta. "Linguistica generale czyli o obecności terminologii językoznawczej w opisie dzieł sztuk wizualnych i architektury." Biuletyn Polskiego Towarzystwa Językoznawczego LXXVI, no. 76 (December 31, 2020): 51–69. http://dx.doi.org/10.5604/01.3001.0014.6665.
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Współczesne językoznawstwo, choć czerpiące od lat swą terminologię z innych dyscyplin naukowych, w XX wieku stało się dawcą terminów dla opisu dzieł sztuk wizualnych. Ważny impuls dał temu trendowi Benedetto Croce (1902), postulując linguistica generale jako wspólną platformę dla filozofii języka i estetyki. W opinii historyka sztuki Jana Białostockiego (1980/2009) nie tylko traktat Crocego, ale też europejski strukturalizm (Roman Jakobson, Roland Barthes) przyczyniły się do intruzji terminologii językoznawczej na obszar teorii sztuki, prowadząc do „paralingwistycznej wersji” semiologicznych badań nad estetyką. Z kolei Mieczysław Porębski (1986/2009b), krytyk sztuki i semiolog, nazwał to podejście „semiotycznym”, sam uczestnicząc w wieloletniej dyskusji dotyczącej możliwości opisu tekstów wizualnych na sposób „projęzykowy”. Poniższy artykuł przedstawia w zwięzły i bardzo selektywny sposób obóz naukowy zwolenników podejścia semiotycznego (zatem w głównej mierze lingwistycznego) do analizy dzieł sztuk wizualnych i architektury – uczonych reprezentujących różne szkoły i tradycje: a) semiotykę/strukturalizm, b) filozofię sztuki, filozofię języka i logikę formalną, c) podejście retoryczno-figuratywne (z korzeniami m.in. w teoriach Barthesa i Jurija Łotmana), obejmujące również odrębny paradygmat językoznawstwa kognitywnego wraz z tropologią multimodalną, d) skandynawską semiotykę piktorialną (Görana Sonessona), wreszcie e) semiotykę społeczną z jej gramatyką i modalnością wizualności, powiązaną z różnymi teoriami komunikacji. Artykuł stawia następnie pytanie o status zapożyczonych terminów językoznawczych w teorii sztuk i architektury, dzieląc je na trzy klasy: 1) terminy metaforyczne niesystemowe (ekfraza architektoniczna, poetyka architektoniczna Madeline Gins i Arakawy, 2) adaptacje terminologiczne, czyli częściowo metaforyczne terminy systemowe (gramatyka wizualności Gunthera Kressa i Theo van Leeuwena), oraz 3) terminy metaforyczne systemowe (tropologia w wizualnej poetyce kognitywnej i studiach nad multimodalnością; Andrzej Niezabitowski zastosował je do subdyscypliny architektury zwanej architektoniką). Z tym powiązana jest kwestia statusu języka naturalnego jako metajęzyka opisu wszelkich innych systemów semiotycznych (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Łotman, Mark Johnson). Autorka artykułu stoi na stanowisku semiotycznym, upatrując w obecności terminologii językoznawczej w teorii sztuki i architektury dowodu na transmedialność tekstów werbalnych i wizualnych w Łotmanowskiej semiosferze oraz na konieczność opracowania szerokiej platformy metodologicznej do ich wszechstronnego opisu, postulowanej również przez Alinę Kwiatkowską (2013) w obrębie studiów kognitywnych nad percepcją wzrokową i multimodalnością. Linguistica generale: linguistic terminology in the description of visual artworks and architecture. Summary: Contemporary linguistics, for years drawing its terminology from other fields of study, in the 20th century became a donor of its own terms for the purpose of describing the visual arts. An important stimulus for this trend came from Benedetto Croce (1902), who postulated linguistica generale as a common platform for the philosophy of language and aesthetics. In the opinion of art historian Jan Białostocki (1980/2009), it was not only Croce’s treatise but also European structuralism (Roman Jakobson, Roland Barthes) that contributed to the intrusion of linguistic terms into the theory of art, leading to a “paralinguistic version” of semiotic studies in the area of aesthetics. In turn, Mieczysław Porębski (1986/2009), an art critic and semiologist, called it a “semiotic attitude” to art, engaging himself in a prolonged debate on the possibility of approaching visual texts in a “pro-linguistic” manner. The following article gives a concise and very selective presentation of advocates of the semiotic (mainly linguistic) approach to analysing visual artworks and architecture. The researchers listed represent various schools and traditions: a) semiotics/structuralism, b) philosophy of art, philosophy of language and formal logic, c) a rhetorical-figurative approach (with its roots in the theories of Barthes and Jurij Lotman, among others), including also a different paradigm of cognitive linguistics and multimodal tropology in particular, d) the Scandinavian school of pictorial semiotics (Göran Sonesson), and – finally – e) social semiotics with its grammar and modality of visual representations, related to various theories of communication. Next, the article poses the question about the status of terminological borrowings from linguistics and the related fields present in theoretical considerations on the visual arts and architecture, dividing them into three classes: 1) metaphorical non-systematic terms (architectural ekphrasis, architectural poetics of Madeline Gins and Arakawa), 2) terminological adaptations, that is partly metaphorical systematic terms (Gunther Kress and Theo van Leeuwen’s grammar of visual design), and 3) metaphorical systematic terms (tropology in visual cognitive poetics and multimodal studies; Andrzej Niezabitowski on their application to a new subdiscipline of architecture, viz. architectonics). A related issue is the status of natural language as a metalanguage in the description of other semiotic systems (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Lotman, Mark Johnson). The author of this article assumes a semiotic stance, perceiving the presence of linguistic terms across the theory of art and architecture as a proof of transmediality of verbal and visual texts within the Lotmanian semiosphere This calls for development of a broad methodological platform for their comprehensive study, postulated as well by Alina Kwiatkowska (2013) within cognitive studies on visual perception and multimodality. Keywords: linguistica generale, linguistic terminology, the visual arts, architecture, metaphorical vs. systematic terms, metalanguage, transmediality
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Parajuli, Bishwo Raj. "The Semiotics of Contemporary Visual Texts: A Study in New Rhetorical Analysis." Journal of Business and Management 5 (December 1, 2018): 80–84. http://dx.doi.org/10.3126/jbm.v5i0.27392.
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This paper explores the semiotics of selected typical visual texts of our time and their implicatures. Some theoretical and conceptual tools for textual interpretation with regards to textual elements exist. However, contemporary visual texts are still prospective area of study. Considering such gap, I have chosen the visual texts that we encounter in our day to day and professional life. For delimitation purposes, only three types of visual communication events have been discussed, selected brochures of academic institutions, selected printed advertisements, and selected billboard advertisements. The analytical tools are predominantly critical discourse of the various motifs, images, structures and persuasive strategies used in the texts. The basic architecture of the discussion part is based on thick descriptions of the textual contents highlighting the semiotics of each. Findings of the study focus on semiotic implications and connotations of the key rhetorical elements. The major finding of the study is most of the visual texts principally try to glorify, glamorize and even exoticize the product or service. The conclusion derived is nothing like absolute conclusion. It is just an array of possible interpretations that pave path for a new discourse like– should we take them for granted? All in all, this is a new rhetorical analysis by outlook.
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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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Suárez, Luis Alfonso de la Fuente. "ARCHITECTURE: THE DESIGN OF AN EXPERIENCE / ARCHITEKTŪRA: PATIRTIES PROJEKTAVIMAS." CREATIVITY STUDIES 6, no. 1 (June 28, 2013): 1–20. http://dx.doi.org/10.3846/20297475.2012.691908.
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In a multidisciplinary way, this research takes the topic of our experience of buildings considering what all human beings have in common: the sensorial organs, the body, and a brain predisposed for responding to buildings in a relatively similar way. We will treat the different processes that arise in us in our encounter with a work of architecture. This article is divided into the discrete but interacting steps that characterize all human cognition: from the early processes of the acquisition of information from the environment, to the most complicated thoughts and feelings about architecture. From the points of view of physiology, perception psychology and semiotics, we look for the way the human constitution molds our experience of things. The intention is to use that knowledge creatively in architecture: to design according to the way we experience buildings. Santrauka Šio tyrimo tikslas – iš daugiadalykės perspektyvos pažvelgti į statinių patirtį, aptariant, ką bendra turi visos žmogiškosios būtybės: jutimo organus, kūną ir smegenis, kurių funkcija yra sąlygiškai panašiai reaguoti į statinius. Nagrinėsime architektūros darbuose iškylančius skirtingus procesus. Šis straipsnis padalytas į tarpusavyje sąveikaujančias dalis, apibūdinančias visą žmogiškąjį pažinimą: nuo ankstyvųjų informacijos įgijimo iš aplinkos procesų iki pačių sudėtingiausių su architektūra susijusių minčių ir jausmų. Žvelgdami iš fiziologijos, suvokimo psichologijos ir semiotikos perspektyvų, bandysime nustatyti, kaip žmogaus konstitucija lemia mūsų su daiktais susijusį patyrimą. Sieksime įrodyti, kad architektūroje žinojimas yra kūrybingas procesas: projektavimas priklauso nuo mūsų požiūrio į statinius.
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Sutrisno, Moh, Sudaryono Sastrosasmito, and Ahmad Sarwadi. "POSI BOLA OF JAMI MOSQUE AS SPATIAL TRANSFORMATION SYMBOL." Journal of Islamic Architecture 5, no. 4 (December 21, 2019): 181–88. http://dx.doi.org/10.18860/jia.v5i4.5226.
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Palopo city space as the center of Tana Luwu cannot be separated from the significance of the oldest kingdom in South Sulawesi. The entry of the Islamic religion in Luwu was marked by the Jami Mosque, which is located at the zero points of Palopo city. The preservation of pre-Islamic heritage and after the entry of Islam in the present tends to not a dichotomy in two different meanings. The research is aimed to explore the semiotic meaning of the Jami Mosque, which has become an icon in Palopo City. The research used the ethnomethodology method within the framework of the semiotics paradigm to obtain contextual meaning as well as the application of a new approach in architecture semiotics study. The results show that the Jami Mosque keeps the complexity of meaning, which can be the foundation of conservation philosophy and planning of the built environment. The cosmos axis of Palopo city space and the territory of Luwu become the central point of religious civilization, especially in Islamic cosmology. The space transformation is represented by ‘posi bola’ (house pole). The symbolic ‘posi bola’ moves from the palace to the Jami mosque as the axis of Luwu space in the Islamic era. The horizontal slice of the pole has implications on the particular geometrical patterns of Luwu. The elements of structure and construction of buildings become a symbol of Islamic teachings.
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Asadpour, Ali. "DEFINING THE CONCEPTS & APPROACHES IN VERNACULAR ARCHITECTURE STUDIES." Nature: National Academic Journal of Architecture 7, no. 2 (December 2, 2020): 241. http://dx.doi.org/10.24252/nature.v7i2a8.
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Abstrak_ Makalah ini membahas arsitektur vernakular dalam hal konsep dan pendekatan dalam studi. Keragaman definisi, sikap, dan preferensi telah menghasilkan berbagai pendekatan dalam beberapa dekade terakhir. Mengenali perbedaan ini dapat membantu untuk mendapatkan pemahaman yang lebih dalam tentang kondisi saat ini dan cakrawala masa depan dalam penelitian. Tujuan dari penelitian ini termasuk mengidentifikasi dan mengkategorikan pendekatan dominan terhadap arsitektur vernakular. Metode penelitian yang digunakan adalah kualitatif dan deskriptif. Hasil penelitian mengidentifikasi lima kecenderungan yang dianggap arsitektur vernakular sebagai objek estetika, fenomena biologis (jenis dan evolusi), substansi material-fisik (penjelasan fisik), realitas budaya-sosiologis, dan akhirnya sebagai fenomena antropologis. Pendekatan-pendekatan ini merepresentasikan perpindahan dari dokumentasi ke interpretasi, objektivitas ke subjektivitas, dan primitif ke biasa dalam studi. Fenomenologi, hermeneutika, semiotik, studi gender, dan feminisme menetapkan cakrawala baru bagi penelitian arsitektur vernakular. Evolusi sikap dapat dijelaskan di bawah perubahan paradigma penelitian dari positivisme ke post-positivisme dan fenomenologi.Kata kunci: Arsitektur Vernakular; Desain Iklim; Budaya; Sosiologi; Tipologi. Abstract_ This paper addresses vernacular architecture in terms of concepts and approaches in studies. The diversity of definitions, attitudes, and preferences has led to a variety of approaches in recent decades. Recognizing these differences can help to obtain a deeper understanding of today's conditions and future horizons in research. The objectives of this study included identifying and categorizing the dominant approaches toward vernacular architecture. The research used a qualitative and descriptive method. The results identified five tendencies considered vernacular architecture as an object of aesthetics, a biological phenomenon (types and evolution), a material-physical substance (physical explanations), a cultural-sociological reality, and finally as an anthropological phenomenon. These approaches represented the movement from documentation to interpretation, objectivity to subjectivity, and primitive to ordinary in the studies. Phenomenology, hermeneutics, semiotics, gender studies, and feminism set new horizons for vernacular architectural research. The evolution of attitudes can be explained under the change in research paradigms from positivism to post-positivism and phenomenology.Keywords: Vernacular Architecture; Climatic Design; Culture Sociology; Typology.
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Leone, Massimo. "City of Nostalgia: The Semiotics of Urban Retrotopias." Chinese Semiotic Studies 15, no. 1 (February 25, 2019): 77–94. http://dx.doi.org/10.1515/css-2019-0005.
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Abstract The Casa da Nostalgia, or “Nostalgic house,” in the Taipa area of the special administrative region of Macau, is a museum devoted to temporary exhibitions reconstructing everyday life in the city, especially in the epoch of Portuguese ruling. Just opposite the museum, on the other side of a large pond, a giant casino, the Venetian Macau, reproduces Venice both with its external architecture and its interior design. The article analyzes these two urban settings in order to develop a semiotic understanding of as many ways of symbolically reconstructing cities. On the one hand, cities can be reconstructed in a nostalgic form; the essay inquires on the origin and the consequences of urban nostalgia; on the other hand, cities can be reconstructed as ersatz. The article further investigates the dialectics between predominantly temporal or prevailingly spatial urban reconstructions, with reference to the socio-cultural dynamics that have changed Macau in the last decades. The article concludes with the methodological suggestion that the study of urban re-constructions requires the combined efforts of several disciplines, jointly investigating why, how, but also to what effect cities are re-built.
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Tuerk-Stonberg, Jacquelyn. "Magical Amulets, Magical Thinking, and Semiotics in Early Byzantium." Old World: Journal of Ancient Africa and Eurasia 1, no. 1 (September 13, 2021): 1–23. http://dx.doi.org/10.1163/26670755-01010004.
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Abstract The term ‘magic’ is problematic. Magic studies have rapidly developed in recent decades and have suggested various ways of understanding the term, especially regarding objects from the medieval Roman Empire, Byzantium. Two early Byzantine amulets (as case studies) display conventional semiotic structures, which include persuasive analogy, speech-acts, and show-acts. Persuasive analogy, speech-acts, and show-acts – and how they organize information – operate also in religious, medical, and philosophical examples. Accordingly, art, archaeology, and texts of ritual power exemplify intersecting communities of thought and various types of social practices. Magic studies is interdisciplinary, and it encourages critique of modern assumptions regarding authority and of our intellectual colonization of times past. This essay is broad with several object examples across media, written as a conference presentation. Another approach to these semiotic structures on magical amulets – with examination of fewer objects and wider attention to the historiography of magic studies – will appear in the forthcoming Oxford Handbook on Byzantine Art and Architecture, ed. Ellen Schwartz.
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Knowles, Steve. "Brexit, Babylon and Prophecy: Semiotics of the End Times." Religions 9, no. 12 (December 3, 2018): 396. http://dx.doi.org/10.3390/rel9120396.
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This article examines the predilection some Christian premillennialist preachers and teachers have with the semiotic association of geopolitics and biblical prophecy concerning the end times. This was epitomised in the run up to the United Kingdom’s referendum on continued membership of the European Union in June 2016. Since its inception, many premillennialists have interpreted the European Union as the place where the Antichrist emerges. Material objects associated with the European Union such as architecture, sculptures, currency and even posters, have been routinely highlighted as providing clear signs of the coming eschaton. Prophetic links between the European Union and satanic agencies, purported to be behind the ambition for an expanding European confederacy, ensured that many premillennialists voted to leave the European Union or were advised to do so in light of such prophetic signifiers. Utilising Webb Keane’s notion of representational economies, I argue that a premillennialist representational economy drives the search for signs in the everyday, and specifically those associated with the European Union. In this case, such semiotic promiscuity ratified the need to leave the European Union.
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Wang, Di, Ying Li, and Hui Ma. "The Recombination of Time and Space, Architecture, Visual Image and Formal Language - Practice of Accessories Manipulation of “Collage” in Indoorspace Environment Design." Advanced Materials Research 450-451 (January 2012): 90–93. http://dx.doi.org/10.4028/www.scientific.net/amr.450-451.90.
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Based on the theories of architectural typology, formal language of interior design, architectural semiotics and design aesthetics, this article, with social survey, illustrates the development overview and prospects of “collage” design technique in space environment through large amounts of data and study and deeply demonstrates the creativity and innovation of accessories approach of “Collage” in space environment.
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Figurny, George N. "Phenomenological Approaches in the Theory of Architecture in the Context of Modern Cognitive Science." Voprosy Filosofii, no. 6 (2021): 65–73. http://dx.doi.org/10.21146/0042-8744-2021-6-65-73.
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The article is a fragment of the scientific research devoted to the analysis of modern approaches to the understanding of architecture. It considers the problems of phenomenological approach to architecture. Applied to architectural issues, the phenomenological approach can be considered as very productive and promising, but only as it appears to be practiced by K. Norberg-Schulz and J. Pallasmaa. The article notes the fundamental unity of views, which is demonstrated by representatives of the phenomenological approach, despite the individual specificity of the each representative’s position. Probably, the integrity and depth of the phenomenological concept (in its “primordial form”) is consonant with the comprehensiveness of each individual act of perception. The author also draws attention to the significant circumstance, that the phenomenological approach is in fundamentally irreconcilable contradiction (conceptual and methodological) to the numerous attempts by “architectural semiotics and structuralists” to explain the whole by breaking it up into “semantic fragments”. He analyzes the correlation between the position of representatives of the phenomenological approach to architecture and scientific views in the sphere of modern psychology and analytical philosophy. The article notes the basic similarity of the phenomenological concept with M. Polanyi’s theory of “tacit knowledge”, in which those kinds of knowledge (and also practical skills) are considered and which cannot be formalized (partially or completely) for the purpose of transferring to others. The author also offers for consideration the introduction of concept of “phenomenology of semi-instinctive behavior in its dynamic formation”.
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Van Assche, Kristof, Martijn Duineveld, Harro De Jong, and Aart Van Zoest. "What Place is this Time? Semiotics and the Analysis of Historical Reference in Landscape Architecture." Journal of Urban Design 17, no. 2 (May 2012): 233–54. http://dx.doi.org/10.1080/13574809.2012.666207.
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