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Journal articles on the topic 'Symbolism in architecture'
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1
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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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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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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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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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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Yeong, Yin Mei, Khairul Aidil Azlin Abd Rahman, Nor Atiah Ismail, and Nangkula Utaberta. "The Symbolism and Survivability of Royal Identity (RI) for the Upper Section of the Taoist Temple Built in the 19th Century in the Klang Valley, Malaysia." Journal of Design and Built Environment 23, no. 3 (December 26, 2023): 83–97. http://dx.doi.org/10.22452/jdbe.vol23no3.5.
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Taoist temples are considered a nation-specific religious and exceptional cultural landmark regionally. The design principle of the lower, middle, and upper sections of the physical building profoundly symbolised royal identity (RI). Scholars discovered that despite Chinese lineage positively recognising the importance of this symbolism, they were clueless about it, notably the configuration of the upper section. The objective of this paper is primarily to identify the design symbolism of the Taoist temple and assess the survivability of the RI for the upper section: 1) roof form; 2) ornamentation and 3) roof colour. Qualitative research was administered by conducting an observational study amongst the ten selected Taoist temples constructed in the 19th century in the Klang Valley. The results revealed that most of the design symbolisms inherited from the Southern region of Mainland China and RI were lessened. Interestingly, the samples synthesised the orthodox RI with indigenous local Malay vernacular architecture, the ventilated roof. The finding not only potentially intensifies the Chinese community by providing insightful knowledge, but it also eases the practical-knowledge gap amongst design practitioners and revitalises the tourism industry in the culture, arts, and heritage domains.
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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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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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Nicolau, Felix. "ARCHITECTURAL SYMBOLISM AS INTERSEMIOTIC TRANSLATION:." Belas Infiéis 3, no. 1 (October 8, 2014): 121–30. http://dx.doi.org/10.26512/belasinfieis.v3.n1.2014.11261.
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Campus novels describe isolated, almost autarchic utopias. In Malcolm Bradbury’s The History Man, this utopia is projected into a dystopian dimension by a functional and transparent architecture. The epoch is that of radical sociologists who fight against tradition, memory, privacy, and subtlety. The paper analyses the influence architecture can have on people’s minds and behaviours, or the damages inflicted by concrete-and-steel structures upon human configuration. This is a study about the excesses of structure.
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Ariff Hakimi, Hazwan, Nik Lukman Nik Ibrahim, and Nor Zalina Harun. "Theories of the Architectural Symbolism of the Traditional Mosque: A Preliminary Classification." Jurnal Kejuruteraan si6, no. 1 (October 31, 2023): 29–41. http://dx.doi.org/10.17576/jkukm-2023-si6(1)-03.
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The productive scholarship on the architectural symbolism of the traditional mosque expounded by the Traditionalist School at the end of the second millennium, which continued well into the third millennium by scholars exhibiting a strong Traditionalist influence or otherwise, is a testament to the subject’s importance to the development of Islāmic architecture. Despite its prolificity and agency, most studies on the subject remain theoretically arbitrary, if not deficient, rudimentary at best, and disjointed. To fill this theoretical gap, this article, for the first time, identifies, outlines and synthesises the many disparate theories of the architectural symbolism of the traditional mosque to establish a preliminary classification. It employs a hermeneutic reading of 32 significant theoretical and empirical studies on the architectural symbolism of the traditional mosque sourced from books, journals, conference proceedings, and periodicals available to the authors. By capitalising on the textual and comparative analyses, it is found that as many as 28 distinct theories of the architectural symbolism of the traditional mosque with their attendant symbolic dimensions and parameters were posited in all 32 studies, all of which can be consolidated into three broad theoretical frameworks. These findings present an original systematisation of theories of the architectural symbolism of the traditional mosque, which is instrumental in two ways: it encourages scholars to develop existing theories or establish new ones, and it assists Muslims in recognising and acknowledging the spiritual agency of their built forms while offering foreign readers another expansive and inspiring lens to view them.
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Mahmoudi Farahani, Leila, Bahareh Motamed, and Elmira Jamei. "Persian Gardens: Meanings, Symbolism, and Design." Landscape Online 46 (January 31, 2016): 1–19. http://dx.doi.org/10.3097/lo.201646.
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Culture and identity in a society can be represented in the architecture and the meanings intertwined with it. In this sense, the architecture and design are the interface for transferring meaning and identity to the nation and future generations. Persian gardens have been evolved through the history of Persian Empire in regard to the culture and beliefs of the society. This paper aims to investigate the patterns of design and architecture in Persian gardens and the meanings intertwined with their patterns and significant elements such as water and trees. Persian gardens are not only about geometries and shapes; but also manifest different design elements, each representing a specific symbol and its significance among the society. This paper seeks to explore Persian gardens in terms of their geometric structure, irrigation system, network construction and pavilions alongside design qualities such as hierarchy, symmetry, centrality, rhythm and harmony. In thesecond stage, the paper investigates the fundamental symbols and their philosophy in the creation of Persian gardens and in relation to the architecture and design.
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Guyer, Paul. "Susanne Langer on Architecture." Aesthetic Investigations 6, no. 1 (August 30, 2023): 52–68. http://dx.doi.org/10.58519/aesthinv.v6i1.13571.
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That human thought is essentially symbolic was Susanne Langer’s “new key” to philosophy. No approach might seem less promising for understanding our experience of architecture: apart from a few academics who have confused architectural drawing with architecture itself, most people think of architecture as comprising three-dimensional, physical objects built of wood, stone, steel, glass, and all sorts of contemporary composites, as real rather than symbolic as it can get. We should begin where she did, namely, by distinguishing what she called “discursive” and “presentational” symbolism. Langer’s main point is not merely that architecture provides ethnic domains, but that it provides images of ethnic domains
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Marakhina, Anastasiia Borisovna, and Angga Elpatsa. "The meaning and symbolism of the gonjong, a structural element of the roof of the traditional West Sumatran house of Rumah Gadang, in the context of semiotics." Manuscript 17, no. 3 (June 7, 2024): 161–67. http://dx.doi.org/10.30853/mns20240023.
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The purpose of this article is to reveal the meaning and symbolism of the structural component of the gonjong roof in the traditional Indonesian house of Rumah Gadang, using a semiotic approach. Gonjong, as a structural component of the roof, forms its expressive curved profile and is the most recognizable feature in the architecture of West Sumatra. This element lends itself to a variety of interpretations at different levels of perception and from different points of view. The scientific novelty of the study lies in the fact that this is the first attempt to study the meaning and symbolism of gonjong Rumah Gadang using a semiotic approach in Russian. The coverage of Indonesian architecture in the Russian scientific community can significantly expand access to knowledge about the architecture and culture of the Indonesian peoples for the Russian-speaking audience. The results of the study showed that the semiotic approach is applicable to architecture, in particular to the architecture of Indonesia, and gonjong has not only a utilitarian function as part of the roof, but also is a means of communication with certain meanings and symbols in the architectural system of the Minangkabau people.
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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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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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Kolbutova, Irina Dmitrievna. "The Cosmic Symbolism of the Church and the Mystical Liturgy of the Logos in Inauguration Anthems of Hagia Sophia and the Mystagogia of Maximus the Confessor." Eikon / Imago 11 (March 1, 2022): 215–32. http://dx.doi.org/10.5209/eiko.77083.
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This article is devoted to the search of the traces of the Jewish conception of the cosmological and mystical celestial tabernacle and the temple in the architectural symbolism of the Christian church represented in the Syriac sugitha and the Greek kontakion dedicated to the churches of Hagia Sophia in Edessa and Constantinople. These texts are characterised by the presence of an idea of the “bridal chamber” and by the re-comprehension of the mystical conceptions of an “animate architecture”, which leads to the the merging the boundaries between the architecture of the church and the soul, interpreted as a “little church,” which will be later developed in detail by Maximus the Confessor in his Mystagogia. Therefore, in the concluding part this work of St. Maximus is taken into consideration, where one can find the continuation of the Jewish-Christian mystical and theological conceptions, which in the writings of this author were interlaced with the Neo-Platonic and Neo-Pythagorean theories. By the numerological symbolism inherent in these theories Maximus the Confessor, probably, incorporated his conception of the soul representing the church into the general cosmological symbolism.
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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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Fan, Xinyuan. "Analysis of the Artistic and Cultural Characteristics of White Tibetan House in Xiangcheng County from the Perspective of Symbolism." Frontiers in Humanities and Social Sciences 3, no. 6 (June 20, 2023): 73–79. http://dx.doi.org/10.54691/fhss.v3i6.5147.
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As a cultural carrier, residential buildings can not only meet people 's material needs, but also convey the spirit. Symbolism is the soul of architecture. It conveys the good wishes and spiritual pursuit of human beings through architectural ontology, and has rich artistic and cultural characteristics. As a unique Tibetan architecture, the White Tibetan House, together with temples and crazy costumes, is known as the " three absolutes of the countryside and the city ' and is a symbolic symbol of the regional culture of the countryside and the city. Through the study of the white Tibetan houses in Xiangcheng County, this paper analyzes the symbolism contained in the three levels of ' shape symbol', 'object symbol' and 'color symbol' from the aspects of its overall structure, decorative details and color application, and further shows the rich plastic arts and profound national culture of the white Tibetan houses in Xiangcheng County.
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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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Firmansyah, Muhammad Alfian, and Ami Arfianti. "Kajian Tampilan Arsitektur Simbolik pada Taman Budaya Jawa Timur." ARSITEKTURA 21, no. 2 (November 6, 2023): 227. http://dx.doi.org/10.20961/arst.v21i2.76800.
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<p><em>The cultural center is a place used to accommodate all arts and culture activities. The East Java Cultural Park is a building complex designed to promote and preserve East Javanese culture. In appearance, the East Java Cultural Park at first glance applies the Javanese architectural style. However, in this building it is not yet known to what extent the Javanese architectural appearance was used. This research was conducted to identify the Javanese architectural appearance of the TBJT building. Qualitative research using a descriptive critical method approach was applied to this research. Data was collected through direct observation, interviews and analysis of literature related to the application of Javanese architectural symbolism in TBJT. The results of this research are that TBJT has a symbolic meaning in Javanese architecture which can be seen from the appearance of the TBJT building. However, this application does not fully follow the rules of Javanese architectural appearance because there is an amalgamation of other styles, namely colonial architecture. It is hoped that this research can provide a deeper understanding of the application of Javanese architectural symbolism to the appearance of the East Java Cultural Park.</em></p>
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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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Bushati, Etleva. "Meaning and Symbolism of Industrial Architecture in Albania." Rocznik Filozoficzny Ignatianum 29, no. 4 (December 29, 2023): 203–24. http://dx.doi.org/10.35765/rfi.2023.2904.14.
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Industrial architecture represents the evolution of technology, the growth of industry and the presence of new urban forms in the context of the city. The Albanian industrial history dates back to 19th century. The country’s industrial sector has experienced significant growth and transformation particularly during the socialist period from 1945 to 1990. Industrial facilities and complexes built over 50 years impacted the urban and social development of Albanian cities. Their architecture is characterized by a mix of different styles, including socialist realism and functionalism. These styles reflect the political, social, and economic history of Albania. The buildings, which include factories, mines, and power plants, are scattered throughout the country and their symbolism is multifaceted. They represent Albania’s aspirations to modernize society and build socialism. Moreover, industrial architecture in Albania has been the subject of different approaches and attitudes. Some argue for its preservation as part of the country’s cultural heritage, while others advocate its demolition and replacement with more modern structures. In this context, this paper investigates the meaning and symbolism of industrial architecture in Albania and its impact on the country’s identity and cultural landscape, referring to the city of Tirana. Industrial architecture in Albania plays a significant role in the country’s cultural landscape and identity. Its symbolism is complex and multifaceted, representing both the achievements and the challenges of Albania’s industrial past, as well as the communist doctrine. As Albania continues to evolve and modernize, the preservation and interpretation of its industrial heritage will remain a crucial issue for its people and policymakers.
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Silva, Luiza Osorio G. "The Myth of the Mundane: The Symbolism of Mud Brick and Its Architectural Implications." Journal of the American Research Center in Egypt 56, no. 1 (December 2020): 181–97. http://dx.doi.org/10.5913/jarce.56.2020.a012.
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The Egyptological truism that mud brick was simply mundane limits our understanding of the material and how it functioned in architecture. In order to explore the possible meanings of the brick medium beyond its tie to the mundane and its practical functions, this study focuses on the symbolism of brick objects. This can be seen in the presence of model bricks and brick molds in foundation deposits, in the molding of bricks by the king in foundation rituals, in the personification of bricks as a goddess of birth and the use of ritual birth bricks, and in the placement of magical bricks in tomb walls. Together with textual references that speak of the connection of mud to the inundation and the creation of the world, this symbolism suggests an association of the mud-brick architectural medium with creation and life cycles, and thus neheh time, as well as archaic architecture. This reinterpretation will be used to re-evaluate the employment of bricks in the specific contexts of the Middle Kingdom pyramids, temple annexes, and royal palaces. The architectural use of bricks will also be contextualized in matters of materials choice more generally, highlighting the need for both brick and stone in cosmologically significant architecture.
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Woszczenko, Katarzyna. "Green Color of the Facades of Orthodox Churches of the Podlaskie Voivodeship in the Context of Sacred Architecture and Theology." Rocznik Filozoficzny Ignatianum 29, no. 3 (September 29, 2023): 131–50. http://dx.doi.org/10.35765/rfi.2023.2903.9.
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The purpose of this article is to present interdisciplinarily the connection between architecture and theology. The research was conducted using manuscript sources (inventory cards of architectural and construction monuments from the collections of the Provincial Monument Protection Office in Białystok), printed materials, as well as subject literature and internet sources. Photographic inventories of the sacred objects were carried out, as well as conversations with clergymen. The aim of the research was to verify the hypothesis that theology has a significant impact on shaping the architecture of Orthodox churches. Symbolism in the architecture of churches encompasses many aspects, including the color scheme of the facades. The Podlaskie Voivodeship has the largest number of Orthodox churches in Poland. These areas are associated with wooden architecture due to the easy availability of raw materials. The attribute of wooden Orthodox churches in this area is the variety of colors on their facades.
Colors have a rich theological symbolism that is often associated with the cult of saints. It is particularly visible in icons. The study covered seven green churches in the Podlaskie Voivodeship, in the towns of Anusin, Koźliki, Narew, Pasynki, Trześcianka, and Tyniewicze Duże. Among the studied objects, one is currently green, and the others had this feature in the past. The temples were described in terms of dating, plan shape, and facade color occurrence. The research showed a connection between the green color of the facade and its theological symbolism. An architect of an ideal temple analogous to those included in the study should combine the art of aesthetic design with the principles of theology. The synergy of architecture and theology is necessary in such objects, and thanks to it, they are beautiful.
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Евстратенко, Анжелика Владимировна. "THE ROAD SYMBOLISM IN THE ARCHITECTURAL CONCEPT." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(27) (April 2, 2021): 25–47. http://dx.doi.org/10.23951/2312-7899-2021-1-25-47.
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В статье рассматриваются вопросы эволюции архитектурного пространства сервисных объектов в зонах влияния транспортных коммуникаций под воздействием мировоззренческих подходов. Автомобильная дорога – это общедоступный и нередко первичный носитель культурных традиций региона. Проблема философского познания смысла архитектуры как формы культуры в целом и в приложении к теме исследования связана с развитием общественных идей и прогрессом инженерно-строительной сферы. Формирование зданий и сооружений в полосе отвода крупных автомобильных трасс характеризуется целым рядом особенностей, среди которых можно отметить значимость природного и агрокультурного ландшафта, малоэтажность застройки или вовсе ее отсутствие, протяженность создаваемого ансамбля, важность знаковой коммуникации. Значимость их как объекта исследования в рамках семиозиса до сих пор не была оценена в полной мере. Актуальность работы обусловлена важнейшей ролью архитектуры в визуальной коммуникации, ценностно-практическом восприятии и эмоционально-чувственном освоении пространства крупных автомобильных дорог. Целью автора является анализ семиотической роли формируемого придорожного обустройства при смене главенствующих парадигм. Исследование базируется на анализе фактологических данных через призму фундаментальных концепций. Рассматриваются отдельные примеры влияния философско-культурологических воззрений на формирование архитектурно-планировочной структуры придорожных объектов. Все они демонстрируют то, что архитектурные объекты в придорожном пространстве не безликие объемные сооружения, призванные удовлетворять сиюминутные потребности участников дорожного движения, а эстетико-психологические формы организации придорожных территорий, в определенной степени диктующие поведенческие паттерны пользователей. Функции архитектурного пространства тесно связаны с физиологией человеческого восприятия и должны строиться с учетом визуальных свойств среды. При предварительном ситуационном анализе потенциала участка местности и формируемого образа придорожных объектов для «встраиваемости» архитектурных объектов в динамично меняющийся ландшафт необходимо учитывать средовые детерминанты и ландшафтные ценности; расположение относительно крупных городских поселений, прилегающей застройки (при наличии), оси трассы и открытых пространств; динамическую перцепцию пространства, линии обзора и коридоры видимости при движении транспортного средства; точки преимущественного обзора объекта; визуальные и аудиальные связи основных функциональных зон и линии трассы. Форма существования и идейное наполнение дороги – это символ хронотопа современности, а ее архитектурное обустройство – основной механизм трансляции культуры. Поэтому важно найти метод сохранения культурной идентичности в приложении именно к данному типу коммуникационного пространства. Проведенный анализ позволяет рекомендовать принципы обустройства автомобильных дорог: учет влияния местных традиций, аттрактивное интегрирование, использование топографии местности и выразительных свойств ландшафта, толерантность архитектуры, экологическая и социальная ответственность, чувство контекста, пригодность к трансформации, вырабатывание дизайн-кода и брендинг. В обозримом будущем, по нашему мнению, время в пути будет трактоваться как полезный опыт, познавательная и развивающая деятельность, отдельный вид досуга. Можно говорить о дальнейшей трансформации коммуникационного пространства в полезное или эффективное и иных подходах к его наполнению. Вероятные сценарии развития придорожных зданий и сооружений в зависимости от исходных условий местности заключаются в обеспечении обусловленных внешних и внутренних визуальных связей сервисных зон и их оптимальной архитектурно-пространственной организации. Практическая значимость работы состоит в возможности использования результатов в дальнейших исследованиях развития придорожной архитектуры и выявлении позитивных и негативных сценариев ее восприятия. The article discusses the evolution of the architectural space of service objects in the zones of transport communication influence under worldview approaches. The highway is a publicly accessible and often primary carrier of the region's cultural traditions. The problem of philo-sophical knowledge of architecture as a form of culture in general and as applied to the research topic is connected with the development of public ideas and the progress of the engineering and construction industry. The construction of buildings and structures in the right-of-way spaces of large highways has a number of features, including the importance of natural and agricultural landscapes, low-rise buildings or their absence, the length of constructed complexes, the im-portance of sign communication. The importance of these features as an object of research with-in semiosis has not yet been fully assessed. The relevance of the work is conditioned by the cru-cial role of architecture in visual communication, the value-based practical perception and emo-tional and sensory exploration of the space of major highways. The author's aim is to analyse the semiotic role of the roadside development, the role being shaped when the dominant para-digms change. The research is based on factual data analysis through the prism of fundamental concepts. Some examples of how philosophical and cultural views influence the formation of architectural and planning structure of roadside objects are considered. The examples demon-strate that architectural objects in roadside spaces are not faceless, voluminous structures de-signed to meet the immediate needs of road users, but rather aesthetic and psychological forms of roadside area organisation that to a certain extent dictate user behaviour patterns. The func-tions of the architectural space are closely linked to the physiology of human perception and must be built on the visual properties of the environment. The preliminary situational analysis of the potential of the area and the image of roadside objects to “embed” architectural objects into the dynamically changing landscape must take into account the following: the environmental determinants and landscape values; the location of relatively large urban settlements, adjacent buildings (if any), road axes and open spaces; the dynamic perception of the space, the lines and corridors of visibility when a vehicle is moving; the points of the preferential view of the object; the visual and audial links between the main functional areas and the highway line. The form of existence and the ideological content of the road is a symbol of the chronotope of modernity, and its architectural arrangement is the main mechanism for transmitting culture. It is therefore important to find a way to preserve cultural identity in the application of this particular type of communication space. The analysis allows recommending the principles of highway develop-ment: consideration of the impact of local traditions, attractive integration, use of topography and expressive properties of the landscape, tolerance of architecture, environmental and social responsibility, sense of context, suitability for transformation, development of design code and branding. In the foreseeable future, the author believes that travel time will be treated as a use-ful experience, a learning and development activity, and a separate type of leisure time. We can speak about further transformation of the communication space into a useful or effective one and about other approaches to filling this space. Probable development scenarios for roadside buildings and structures, depending on the initial conditions of the terrain, are to provide condi-tioned external and internal visual connections of service areas and their optimal architectural and spatial organisation. The practical significance of the work lies in the possibility of using the results in further studies of roadside architecture development and identifying positive and neg-ative scenarios for the perception of this architecture.
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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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Isanović, Nusret. "KA'BA – THE PROTOTYPE WORK OF ISLAMIC ARCHITECTURE." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 6 (December 15, 2008): 99–115. http://dx.doi.org/10.51728/issn.2637-1480.2008.99.
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The Ka’ba in Mekah and the Prophet’s house in Maddinah are the archetypes of Islamic architecture. They are situated in, for Muslims, most sacred places (al-haramayn). The Ka’ba represents the beginning and the Prophet’s mosque the end of forming a fundamental cultural matrix, or in other words macroparadigm, of the People of the Book as a basis for amalgamating all the crucial forms of spirit generating on the principles of Tawhid, on the consciousness about God’s uniqueness, transcedency and unexplicable. Although they have nothing in their premodial form to place them in the world of art, these archetype Islamic buildings, obviously not characterized by an immanent artistic form will become the fundamental starting point of Islamic art through their symbolism and powers concealed in their universal spiritual and religious meaning. Symbolism which is inseparable part of these buildings, their form and theolatrous sense, ¨holds the seed of all that a sacral Islamic art would present¨. In this paper we try to show that Ka’ba in Mekah, like an archetype of Islam and axial point of its religious and sacral architecture, has fundamental importance in creating a spirit and unique historic being of Islamic art. The paper stresses the importance of Ka’ba in developing a unique nature of architectural expression of Islam. Ka’ba, together with the Prophet’s mosque in Maddinah, not only determined the uniqueness of spiritually-aesthetic nature of Islamic architecture and its historicallyartistic expression, but it also became a starting point of new experience of architectural space, as well as marked new perspectives of its clearly different understanding in the horizon of Islamic civilization. Keywords: Ka'ba, Islamic Architecture, Islamic art, Prophet’s mosque in Maddinah
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Zhirov, Vladimir K., Elena G. Mitina, and Anastasia V. Ishchenko. "Enlightening Significance of Landscape Architecture in Russia: Sacred Symbolism and Educational Environment." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 8–25. http://dx.doi.org/10.37816/2073-9567-2022-65-8-25.
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The main milestones in the evolution of relationship between man and nature are reflected in social functions of landscape architecture through different periods of its historical development. It is largely associated with gardens and parks educational activity, which harmonious combination of ancient sacred and modern educational symbolism distinguishes them from other architectural forms. The present study discusses the historical development of Russian landscape architecture, considered in the context of the relationship of sacred and educational functions. The authors examine formation process of the educational role of Russian landscape architecture from the Ancient World to modern times: at the stages of its implementation through the ancient Slavs sacred buildings, monastic and apothecary gardens creation, the development of a system of botanical gardens and ecological parks. The analysis of the evolution of these relations allows us to conclude that the sacred and educational functions of Russian landscape art, having begun earlier than others, are not only developing to the present days, but also having a close relationship precisely in the discourse of the enlightenment at all stages.
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Neonbasu, Gregorius, Reginaldo Christophori Lake, Pilipus Jeraman, Kolawole O. Morakinyo, and Oluropo Stephen Ilesanmi. "Architecture in Anthropological Perspective: Structural Reflection on Local Architectural Dynamics." Local Wisdom : Jurnal Ilmiah Kajian Kearifan Lokal 16, no. 1 (January 15, 2024): 18–28. http://dx.doi.org/10.26905/lw.v16i1.10868.
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The objective of this study is to discuss the role of an anthropological perspective in architecture as well as structural reflection on the dynamics of architecture in relation to society. An anthropological lens can be used to study architecture as a manifestation of human culture in order to better understand the complex interactions between humans, the environment, and social structures. This research takes an anthropological approach to understanding architecture and investigates the dynamics of architecture as a cultural product influenced by social, technological, economic, and political changes. An analysis of the physical structure of architecture that reflects social structure, symbolism, and representation in architecture as a reflection of society is used to explain structural reflection. Case studies encompass vernacular, religious, colonial, and sustainable architecture. Understanding architecture from an anthropological standpoint allows humans to recognize the significance of cultural identity, the preservation of traditions, and their relationship with the physical environment as an art form in development.
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Mamiev, Mikhail E. "The Model of the World in the Architecture of the Nuzal Temple." Vestnik of North Ossetian State University, no. 4 (December 25, 2022): 75–83. http://dx.doi.org/10.29025/1994-7720-2022-4-75-83.
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The article is devoted to the identification of a three-level Indo-Iranian model of the world in the architecture of the Nuzal temple. This corresponds to the theory of three functions formulated by J. Dumisil for Indo-European and, already, Indo-Iranian society and confirmed by researchers in the most important spheres of Scythian-Alan culture. Unfortunately, the semantics of the Alanian religious architecture remains unexplored, so the article attempts to consider it on the example of the medieval Nuzal Church – a reference temple that has great historical significance and carries architectural and semantic features of the widest range of monuments of the Alanian religious tradition. The architecture of the monument is considered from the point of view of religious symbolism, which is the basis of church architecture. The complex symbolism of the Orthodox church involves a comprehensive consideration of its constituent elements. In our case, we are talking about the architectural appearance, fresco painting and funerary character of the Nuzal church. As a result of the conducted research, following the social structure of society, mythology, traditional worship, choreography, heraldry, the concept of ternarity manifested itself in religious architecture. The architecture of the temple contains the idea of a three–level universe, a World Mountain – with divine, human and chthonic spheres that correspond to three social functions – religious (judicial), military and productive. The tribe of Tsarazonta, which owned the Nuzal cemetery, was in the paradigm of this three-functional system. The conclusions drawn seem to be quite justified, since the historical immutability of the idea of an ideal social structure reproducing the three-part structure of the universe traditionally had the character of a worldview axiom for the Scythian-Alanian culture.
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Lörincz, Simina Anamaria. "»Non è altro lo edificare se none un piacere uolunptario …«." architectura 51, no. 2 (March 1, 2024): 129–41. http://dx.doi.org/10.1515/atc-2021-2002.
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Abstract In a time concerned with the emancipation of architecture from the mechanical arts to the liberal ones, Filarete challenged the mainstream rational-objective approach by proposing a poietic definition of architecture which spanned beyond craft and science. »Non è altro lo edificare se none un piacere volunptario…« is not yet another account of architecture, but it has become its supreme definition, possessing an almost universal value and demonstrating a vision ahead of its time. This paper investigates the multiple facets of this definition by situating it in the context of Renaissance architectural practice and within the framework of Filarete’s architectural treatise. Humanistic to the core, this definition transcends the usual anthropomorphic perspective on architecture (regarding the proportions, styles or expressions derived from the human body) and goes beyond the rational-material approach, addressing the sphere of sensitivity or even the realm of the spiritual. For Filarete, architectural creation is a true poietic act, consecrated to symbolism and emotion, while genuinely rooted in its manual, material dimension.
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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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Chakma, Kabita. "The Androgynous House: The Symbolism of Chakma Domestic Architecture." Architectural Theory Review 6, no. 2 (November 2001): 12–27. http://dx.doi.org/10.1080/13264820109478428.
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Kochetkov, V. V. "International political symbolism of the architecture of government buildings." Moscow State University Bulletin. Series 18. Sociology and Political Science, no. 1 (January 1, 2015): 109–26. http://dx.doi.org/10.24290/1029-3736-2015-0-1-109-126.
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Mykhalevych, V. "TEMPLE SYMBOLISM IN THE ARCHITECTURE OF MIDDLE AGES EUROPE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2019, no. 1 (November 1, 2019): 13–19. http://dx.doi.org/10.23939/sa2019.01.013.
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Ariff Hakimi, Hazwan, Nik Lukman Nik Ibrahim, and Nor Zalina Harun. "Examining the Symbolism of the Ascension (Mi‘rāj): Relationships Between Traditional Malay Prose Narratives (Ḥikāyāt) and Traditional Malay Mosques in Melaka." Jurnal Kejuruteraan si6, no. 1 (October 31, 2023): 259–69. http://dx.doi.org/10.17576/jkukm-2023-si6(1)-22.
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The saying that the Islāmic ritual prayer (ṣalāh) epitomises the ascension (mi‘rāj) of the believer has prompted some scholars to interpret the Prophet Muḥammad’s Ascension (Mi‘rāj) in the traditional mosque’s symbolism in the Islāmic world, including those in Melaka. Despite being original in the Traditionalist sense of the word, their allusions to the symbolism remain methodologically deficient and conceptually limited. Given these circumstances, this article examines the symbolism of the Mi‘rāj in the traditional Malay mosques in Melaka through the traditional Malay prose narratives (ḥikāyāt) which manifest the symbolism of the same. It employs a hermeneutic reading of MSS 2968 Risālat Laṭīfat fī Bayān al-Isrā’ wa-al-Mi‘rāj (1767), the earliest known manuscript narrating the story of Prophet Muḥammad’s Mi‘rāj in the Malay world as well as case studies of three significant and contemporaneous Malay mosques in Melaka, namely Masjid Tengkera (1728), Masjid Kampung Hulu (1728), and Masjid Kampung Kling (1748). By capitalising on the combination of textual, document, and comparative analyses, it was found that there is a correlation between the text and the buildings, in which the symbolism of the Mi‘rāj is manifested in several external and internal architectural elements of all three mosques. These findings present the unity of the traditional Malay-Islāmic heritage generally and the productive relationship between literature and architecture particularly through a provisional methodological and conceptual framework which endeavours to establish the basis for future research on the subject.
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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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Singh, Raj Kishor. "Symbology and Codes in Dan Brown’s Origin." Molung Educational Frontier 14 (July 22, 2024): 242–62. http://dx.doi.org/10.3126/mef.v14i01.67923.
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This paper explores the intricate web of symbology and codes found within Dan Brown's gripping novel, Origin. As a renowned master of blending history, art, science and religion, Brown weaves a tale that captivates readers with a labyrinth of symbols and enigmatic ciphers. Through an analysis of key elements in the narrative, this study aims to shed light on the significance of symbolism and cryptographic puzzles as essential devices in the plot's development. Drawing upon Brown's signature writing style, the paper examines the role of religious symbology, ancient texts and iconic art and architecture, intertwining them with scientific theories to craft a compelling narrative. The central focus lies in the protagonist, Robert Langdon, a symbologist, whose expertise in languages and linguistics plays a pivotal role in deciphering messages and solving the mystery at hand. Jean Moréas' Symbolist Manifesto (1886) is a foundational text in the development of literary symbolism. In this manifesto, Moréas emphasized the importance of symbolism in art and literature, advocating for a departure from naturalism and realism. He proposed that artists should focus on conveying emotions and ideas through symbols, rather than direct representation. Applying Moréas' theory of symbolism, the researcher analyzes how Dan Brown employs symbols and codes as key elements in Origin. By analyzing the relationship between language and technological innovation, the study aims to unveil how these elements converge to heighten the intrigue and suspense in the novel. It delves into the significance of linguistic techniques and cryptic passages, as tools for building suspense and enriching the reading experience. Langdon reveals meanings and ideas inherent in symbols and codes and demystifies the concepts- "Where do we come from?" and "Where are we going?"
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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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Linda, Svitlana. "Symbolism of the renaissance sculpture: Aedicule of Sholts-Volfovych townhouse in Lviv." BUILDER 293, no. 12 (November 24, 2021): 23–25. http://dx.doi.org/10.5604/01.3001.0015.5120.
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The specific conditions of architectural development in Lviv promoted the expansion of the Renaissance traditions in the architecture in the XVI century. The local traditions considerably influenced the classical forms as well as techniques suggested by the Italian architects. As a result, the architecture of Lviv had taken the peculiar features that reflected the character of an indigenous revival. A significant feature of a Renaissance townhouse in Lviv lies in its abundant decoration. as it was created according to the symbolic ideas and was filled with the philosophic content. The façade of Sholts-Volfovych apartment house situated in 23, Rynok Square in Lviv deserves special attention. The abundant exterior design includes the composition «Epiphany», located in the aedicule of the second floor. Using the principle of hermeneutics the article presents the author’s interpretation of a symbolic meaning of this sculptural composition, based on the Gospel texts and is connected with the Renaissance meditations about a human place in the world and his/her relationship with God.
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Shrimplin, Valerie. "Borromini and the New Astronomy: the elliptical dome." Culture and Cosmos 08, no. 0102 (October 2004): 413–22. http://dx.doi.org/10.46472/cc.01208.0261.
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The cosmological view of the universe has frequently been reflected in art and architecture, especially in the cosmological symbolism attached to domed architecture, which relates to the traditional perception of the flat earth covered by the dome of heaven. Examples range from Byzantine churches to the revival of domed architecture during the Renaissance, and the decoration of the domes themselves also often alludes to astronomical symbolism. The reflection of contemporary perceptions of the universe in art developed dramatically during the Renaissance alongside the changing view of the universe, instigated by such thinkers as Copernicus, Kepler and Galileo. While Copernicus challenged the accepted order in his heliocentric system, Kepler further demonstrated that the ordering of the movement in the universe was in fact based on elliptical rather than perfect circular motion. Contemporary with Kepler’s writings, the work of the Baroque architect Borromini appears to have been influenced by the enormous changes in world view, cosmology and astronomy of the age. His major architectural works reflect seventeenth century scientific developments and are often based on schemes of mathematical precision. His use of the elliptical dome in preference to traditional classical and humanist precepts, such as the perfection of the circular form, appears to be related to the changing cosmological view and it seems unlikely to be a coincidence that that the predilection for elliptical domes in ecclesiastical architecture comes in at about the same time as Kepler.
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Dharmatanna, Stephanus Wirawan. "ARCHITECTONIC REGIONALISME DALAM ARSITEKTUR OSING." ALUR : Jurnal Arsitektur 6, no. 2 (October 1, 2023): 115–26. http://dx.doi.org/10.54367/alur.v6i2.2605.
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Architectonic regionalism is an approach that seeks to incorporate regional identity into contemporary architecture. This study focuses on the application of architectonic regionalism in Osing architecture, a traditional architecture style found in the Banyuwangi region of East Java, Indonesia. Using a qualitative research method with a descriptive approach, the study analyzes three case studies of modern buildings - Hotel Sahid Osing, Blimbingsari Airport, and Polytechnic Banyuwangi Hall - that showcase reinterpretation, modification, and innovation of local architectural elements. The study finds that the architectonic regionalism approach in Osing architecture prioritizes the use of traditional materials such as wood from local mangrove forests, and construction techniques that are adapted from local practices. The topography of the site is also considered in the design process, with the buildings being responsive to the natural landscape. Moreover, local cultural values and symbolism are incorporated into the architecture, reflecting the unique identity of the Osing community. The findings of this research highlight the importance of preserving and promoting regional architectural traditions in the context of modern architecture. The reinterpretation, modification, and innovation of local architectural elements in contemporary buildings can contribute to the sustainability and cultural preservation of the region. Furthermore, the architectonic regionalism approach in Osing architecture serves as a case study for understanding how regional identity can be manifested in modern architectural design, and its implications for sustainable development and cultural heritage preservation.
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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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Marino, Maria Fernanda García. "Carthusian symbolism in Architecture and Art: San Lorenzo of Padula." Resourceedings 2, no. 3 (November 12, 2019): 76. http://dx.doi.org/10.21625/resourceedings.v2i3.629.
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The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the theme of martyrdom and angels (the creatures closest to God), present within the monasteries of the order, both for what interests the architectural structure of buildings. Always the same as themselves, especially for the design, distribution and function of the spaces, which as a whole and in particular, they reflect, strictly and everywhere, the immutability of the Carthusian Rule, never changed since the foundation of the order in 1084. Following the model of the first monastery, built on the Chartreuse massif, in Grenoble (France), made by St. Bruno of Cologne, new settlements were erected and spread throughout Europe, with an exponential growth that does not suffer interruptions until the end of eighteenth century and that, left a deep and unequivocal cultural mark in the territory on which they extended. The Charterhouse model, a kind of Earthly Jerusalem like an imitation of the Celestial Jerusalem, can be well included in the universe of utopian architecture, but of the possible ones, where spirituality became tangible reality and where the sacredness of space conceived and built by the monks puts us in touch today the man with sensitive and perceptible experience, the so-called hierophany.
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Jones, Andrew. "Local Colour: Megalithic Architecture and Colour Symbolism in Neolithic Arran." Oxford Journal of Archaeology 18, no. 4 (November 1999): 339–50. http://dx.doi.org/10.1111/1468-0092.00088.
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Pradini, Purnama Sakhrial. "DESIGN OF PASAMAN CULTURE CENTER USING MINANGKABAU SYMBOLISM ARCHITECTURE APPROACH." Journal of Architectural Research and Education 5, no. 1 (March 21, 2023): 19–34. http://dx.doi.org/10.17509/jare.v5i1.55442.
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Pasaman is one of the districts in the province of West Sumatra, Indonesia. The district capital is located in Lubuk sikaping, which is dominated by the Minangkabau ethnic group. Minangkabau is one of the tribes that is famous for its culture, language, special food, traditional houses, and various branches of art. However, over time, this art has begun to be abandoned. The entry of foreign culture is one of the factors that affect the decline in public interest in Pasaman Regency towards Minangkabau culture.In Pasaman itself there are still a small group of cultural circles who are still trying to preserve Minangkabau culture which the Pasaman local government is currently paying attention to, such as holding inter-nagari festivals. From this it can be seen that there are still people who care about Minangkabau culture in Pasaman, to preserve this culture it is necessary to have a Pasaman culture center as a forum that is able to regenerate public interest in Minangkabau culture, a gathering place for culturalists and art connoisseurs to continue to preserve culture. The Minangkabau architectural concept approach aims to give the nuances of Minangkabau customs, strengthen the image as a means of preservation and promotion of art and culture and its unique form will attract visitors to come and show the regional context through symbols as a characteristic of Minangkabau in Pasaman.
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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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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.