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Journal articles on the topic 'Architectural semiotics'
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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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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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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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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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Silchenkova, Lyudmila, Sergey Likhachev, Natalya Desyaeva, Tatyana Likhacheva, and Natalia Sheveleva. "Learning opportunities of urban space semiotics." SHS Web of Conferences 98 (2021): 03008. http://dx.doi.org/10.1051/shsconf/20219803008.
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The article deals with the study of the semiotic opportunities of the urban space as a learning tool. The authors analyze the literature on urban research and point to the significant interest of the education system in various manifestations of urban life: architectural, design, environmental, adaptational, etc. The notion of “city” in numerous studies usually means an environment full of different natural objects and structures. The latter should include houses, sculptural and architectural monuments, specially organized urban space, for example, the city center and its peripheral area marked with certain signs. Researchers insist that a city is a complex semiotic space in which a citizen lives and navigates. Various types of signs are actively involved in the organization of urban life (Ch. Peirce). Thus, iconic signs make it easy to navigate the city without resorting to decoding symbolic signs, i.e. without reading the signs and names of, for example, stores: a boot hanging next to the signboard allows one to determine that the citizen is in front of a shoe store. A child navigates such signs easily, however, participating in orienting activities on par with adults. The purpose of this article is to consider the city learning opportunities for helping young children to form the semiotic activity which is included in various types of educational activities. The novelty of the research presented in the article is confirmed by the lack of scientific publications that directly consider the educational opportunities of urban space semiotics. The main research method is the code reconstruction method. The figure of a child plays an important role in the study. The child acts as the central subject of perception of the city-textbook. Following the idea of the most prominent researchers of semiotics, the authors regard the city as a text for a child to read. The analytical part of the article is based on recording children’s impressions of the urban text.
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Sandin, Gunnar. "Construing Scandinavia: A semiotic account of intercultural exchange in theme park design." Semiotica 2020, no. 232 (February 25, 2020): 79–102. http://dx.doi.org/10.1515/sem-2019-0031.
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AbstractEvaluation of other cultures is a strong force in a culture’s definition of itself. Cultures are formed in encounters that include domination, conflict, and dismissal as much as appreciation and smooth exchange. In this paper, the construction of cultural identity is discussed, with reference to a Scandinavian Theme Park proposal made in cooperation between American design consultants and a local Swedish team of planners and visionaries. The image production in this design proposal, which never came to be realised in architectural production, shows that “Scandinavia” appears as a two-some dialogic construction that adopts stereotyped cultural identities, and that it was not brought to any wider public dialogue. In a semiotic account of this architectural decision-making, models of culture (Lotman. 1990. Universe of the mind: A semiotic theory of culture. London: Tauris.) are discussed in terms of the tripartition of culture into Ego-culture, Alter-culture and Alius-culture (Sonesson. 2000. Ego meets alter: The meaning of otherness in cultural semiotics. Semiotica 128(3/4). 537–559.; Cabak Rédei, Anna. 2007. An inquiry into cultural semiotics: Germaine de Staël’s autobiographical travel accounts. Lund: Lund University Press.), considered as a basic abstracted backdrop of what is meant by cultural difference. In this paper it is suggested that this tripartite view on culture, can be further discussed in reflection of post-colonial studies, notably through terms such as “mimicry” (Bhabha. 1984. Of mimicry and man: The ambivalence of colonial discourse. October 28. 125–133.) and “subalterity” (Spivak. 1988. Can the subaltern speak?. In Cary Nelson & Lawrence Grossberg (eds.), Marxism and the interpretation of culture, 271–313. Urbana & Chicago: University of Illinois Press.). The model of culture can furthermore be discussed through Peirce’s distinction between different stages and carriers of representation, adding to the cultural model an understanding of what it means, over time, for a culture to relate to an admired as well as to a neglected other cultural actor.
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Rusevych, Tetiana. "ARCHITECTURAL SEMIOTICS - THE SCIENSE OF SIGNS AND SIGN SYSTEMS." Architectural Bulletin of KNUCA, no. 20 (November 18, 2019): 174–80. http://dx.doi.org/10.32347/2519-8661.2019.20.174-180.
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Huang, J., and H. J. Zhou. "Analysis on the Application of Architectural Semiotics in Design." IOP Conference Series: Earth and Environmental Science 510 (July 14, 2020): 052023. http://dx.doi.org/10.1088/1755-1315/510/5/052023.
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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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Wu, Tong. "The Spatial Signification of Shanghai Shikumen Longtang." Chinese Semiotic Studies 11, no. 1 (January 1, 2015): 1–37. http://dx.doi.org/10.1515/css-2015-0001.
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AbstractIn this paper I claim that the spatial structural system of Shanghai Shikumen Longtang constitutes a sign system based on its architectural semiotics. The paper focuses on the structure of the architectural space, including the interactive relationship between the architectural spatial structure and its residents. The research agenda undertakes a theoretical study of modern architectural semiotics by means of syntactic and semantic analyses of the spatial structure of Shanghai Shikumen Longtang, including as well an analysis of the pragmatics of meaning in production and reproduction in Shanghai Shikumen Longtang. The application of spatial language grammar in the analysis reveals the meaning of the sign system of the architectural spatial structure and pragmatic communication of Shanghai Shikumen Longtang, decodes the profound and intricate signification in the spatial system of Shanghai Shikumen Longtang and suggests a deeper and broader view for recognizing the underlying meaning system of the Longtang in the urban space of modern Shanghai City.
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Fedorov, Viktor Vladimirovich, Mikhail Viktorovich Fedorov, and Dmitry Aleksandrovich Hanygin. "Visual Semiotics of Inequality in the Structure of an Architectural Text." Ethnic Culture, no. 2 (3) (June 20, 2020): 78–82. http://dx.doi.org/10.31483/r-74906.
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The article is devoted to the consideration of the architectural environment as a form of materialization of social existence. It is noted that the architectural text of a large city contains special subject and spatial inclusions – loci of power. The article focuses on the relations of topological segregation – the disproportionate distribution of structural elements in the space of a populated place. This is a set of obstacles in choosing a place, and at the same time a condition for the formation of a social hierarchy of urban spaces. Methods. In the course of the work, the problem and thematic, structural and functional and comparative and historical methods to identify basic concepts of architectural spaces of power were applied. Results. It is shown that social inequality and topological segregation occur in the city in a “natural” way, since it embodies various facets of inequality inherent in society. The typology of constantly reproducible principles of organization of architectural objects and spaces of power such as monumentality, static character, conciseness, verticality, hierarchy, the presence of a central structure, tradition, consistency, syncretism is clarified. It is shown that the emerging signs of inequality, embodied in architectural and urban planning decisions, participate in the formation of the social structure, reproduce and transform its value and semantic content. The basic principles of the organization of architectural objects and spaces of power are considered. Models for implementing these principles in the process of creating new loci of power are proposed. It is concluded that the hypothesis put forward by the authors that loci of power are the spatial embodiment of complex mechanisms for maintaining the dynamic balance of the social system is confirmed by the results of research on the semiotics of inequality in the structure of the architectural text.
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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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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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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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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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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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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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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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Seif, Farouk Y. "Mutual mimesis of nature and culture: A representational perspective for eco-cultural metamorphosis." Sign Systems Studies 38, no. 1/4 (December 1, 2010): 242–69. http://dx.doi.org/10.12697/sss.2010.38.1-4.09.
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Since the beginning of history humans have attempted to represent nature and culture through mimesis. This article focuses on the teleological aspects of mimesis and offers a different perspective that transcends the notion of sustainability into an eco-humanistic metamorphosis of culture and nature. Drawing from semiotics, phenomenology and architectural design the article challenges the polarization of mimetic representations of nature and culture, which are inclusive and homomorphic phenomena, and offers insight into the mutual mimesis of nature and culture. Two different empirical observations substantiate the theoretical perspective: 1) a tradition advanced by the Egyptians’ stylization of visual representations of the mimicry of nature and culture; and 2) a current architectural design activity that integrates the mimesis of nature and culture. The article makes the case for a theoretical approach that integrates mimetic principles in creating a sustainable environment and an authentic ecoliving. The article concludes with ethical implications on the way we perceive the mutual resemblances in nature and culture, and on our semiotic understanding of the teleological aspects of mimesis.
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Stojiljković, Danica, and Jelena Ristić Trajković. "Semiotics and urban culture: architectural projections of structuralism in a socialist context." Social Semiotics 28, no. 3 (March 8, 2017): 330–48. http://dx.doi.org/10.1080/10350330.2017.1300084.
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Kurjenoja, Anne Kristiina, Melissa Schumacher, and Janina Carrera-Kurjenoja. "Landscape Sensitizing through Expansive Learning in Architectural Education." Land 10, no. 2 (February 3, 2021): 151. http://dx.doi.org/10.3390/land10020151.
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Expansive learning is a teaching–learning method adopted by the Department of Architecture of Universidad de las Américas Puebla, Mexico, to introduce architectural students to the field of landscape sensitizing. This approach has been especially valuable considering the particular cultural and natural values of the Mexican landscapes. In it, architectural students are introduced to co-configuration strategies along with co-working methods with the participation of specialists and local stakeholders and community on the “barefoot” bottom-up basis. The community of Tochimilco, Puebla, was selected as a case study through which students can learn how vulnerable rural landscapes and their natural environments can be protected, constructed, and developed. Therefore, studying natural landscape and environmental conditions of Tochimilco through data collection, fieldwork and student workshops was carried out to reinforce the understanding of landscape features, values, semiotics, and meanings in a Socio-Ecological System of landscape (SES) framework. In this context, the expansive learning processes revealed the potentiality of architectural students to become environmental facilitators for future design and planning projects to trigger sensitizing and comprehensive approaches. In these terms, architectural education prepares students to recognize and be aware of natural values, landscape narratives and the “barefoot” relationship between the landscape and the human being occupying and cultivating it.
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KHARCHENKO, К. S. "ECOLOGY OF ARCHITECTURAL (NATURAL-ANTHROPOGENIC) ENVIRONMENT UNDER ABIOTIC ENVIRONMENTAL TRANSFORMATIONS." Ukrainian Journal of Civil Engineering and Architecture, no. 1 (June 24, 2021): 109–16. http://dx.doi.org/10.30838/j.bpsacea.2312.230221.110.725.
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Formulation of the problem. Ecology is understood as a science that studies the environment and its relationship with human activity, as well as a means of reducing anthropogenic pressure. Architecture ecology, as a branch of architectural science, needs to expand the methods of studying the regime of environmental factors, as well as trends in their regional change. The purpose of the article is to study the directions of improving methods for determining the characteristics of an architectural space, which can provide a basis for determining environmental performance indicators. When designing local zones of recreational gullies, parks, forests, one should take into account the environment of the transforming and transgressive influence of micro-, meso-, and macrobiogeocenosis systems. Results. Based on the study of experience, it is proposed to systematize the environment from the point of view of ecology. In particular, the following types of architectural and ecological space are distinguished: according to the composition of the material basis − natural, quasi-natural, artificial, combined; by the state of ecological balance − ordered, unstable, violated; after interaction with others − open, half-open, closed, isolated, hermetic; in accordance with the structure − central, peripheral, borderline, linking; from the point of view of energy-informational impact on a person − Biopositive (beneficial), neutral, extreme and pathogenic. Scientific novelty and practical significance. The research carried out by the author has somewhat changed the approach to systematizing the environment from the point of view of ecology. The types of architectural and ecological space are theoretically substantiated. Practical significance dedicated to the concepts of architectural space and issues of its topology, morphology and semiotics, as well as in works on the study of the composition of architectural space, highlight certain aspects of architectural ecology.
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Lagopoulos, A. P. "Postmodernism, Geography, and the Social Semiotics of Space." Environment and Planning D: Society and Space 11, no. 3 (June 1993): 255–78. http://dx.doi.org/10.1068/d110255.
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The nucleus of postmodern philosophy and theory is derived primarily from French neostructuralist writings. The ontological foundation of such literature is the idealist rejection of the possibility of knowing reality and, as a consequence, the enclosure of the subject within the signifying universe, which in turn results in the exaltation of the signifying processes as the only social processes. The same emphasis, but through nonverbal means, is demonstrated by postmodern architectural and urban design. In geography, however, postmodernism is interpreted differently. In two recent books (by Soja and by Harvey) the postmodern era in human geography is related to the heightened importance of space for social reality and theory. But the split of geography itself between Marxist geography on the one hand, and behavioural and humanistic geography on the other, shows the pertinence of the signifying dimension for the field of geography. In this paper, it is argued that the roles of space and meaning are equally important for geography, and it is proposed that an analysis of the signifying aspect of space may be achieved through semiotics, currently the most complete and sophisticated theory of meaning and culture. The main problem for geography, which is addressed in the final section of this paper, is the integration of a renewed version of the semiotics of space with an equally renewed Marxist geography, the most powerful explanatory approach to geography we have at our disposal.
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Yu, Min. "A Study on Systematic Interface Formed from Composition of Architectural Space." World Construction 6, no. 1 (May 2, 2017): 1. http://dx.doi.org/10.18686/wc.v6i1.82.
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This paper is about the study on systematic interface formed from composition of architectural space from three aspects, intermediary material representation of interface, systematic expressions of interface semiotics and improvisation of interface design. Rational utilization of the mutual interdependence of construction factors of spatial interface is proposed for effective enclosure, limitation, guidance and organization. This is beneficial in realizing the ordered combination of multilevel space, so that the changes and development of space can be conducted in an orderly manner under the organization of various interface elements. This can also avoid the one-sided subjectivity of “either this or that” in the train of thoughts of composing, to form a holistic comprehension towards spatial configuration.
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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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Goh, Robbie B. H. "The Experience Megachurch: Lakewood, Hillsong, and The Pragmatics and Semiotics of “Inspiration”." Journal of Religion, Media and Digital Culture 9, no. 1 (May 1, 2020): 33–58. http://dx.doi.org/10.1163/21659214-bja10009.
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Megachurches, although differing in terms of denominational affiliation (or relative lack thereof), spatial logic, liturgy, teaching, and congregational demographics, share the common trait of size and are often fast-growing churches as well. This is particularly true of what might be called (following scholarship on the “experience economy”) the “experience megachurch”: those with a broad attractive appeal, large and growing congregations, and relative freedom from traditional Christian spatial-architectural constraints, rituals, and denominational histories. Such experience megachurches share an emphasis on offering their congregations an “inspiring” experience of the reality of God’s existence and presence in the church. Applying theories of pragmatics, semiotics, and bodily discipline, this article examines two experience megachurches (Lakewood in Houston, U.S.A., and Hillsong, headquartered in Sydney, Australia) to offer a taxonomy of megachurch praxis.
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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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Kotlyar, E. R. "ETHNO-CULTURAL PARALLELS IN THE SEMIOTICS OF THE ARCHITECTURAL DECOR OF MODERN STYLE PERIOD IN SIMFEROPOL." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3 (2019): 98–112. http://dx.doi.org/10.23951/2312-7899-2019-3-98-112.
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Ovadija, Mladen. "Artaud’s Hyeroglyphic Sign and Böhme’s Aesthetics of Atmosphere: The Semiotic Legacy of the Avant-Garde’s Recognition of the Materiality of Sound." Recherches sémiotiques 35, no. 2-3 (August 31, 2018): 97–113. http://dx.doi.org/10.7202/1051070ar.
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Materiality of the sign/sound in theatre appears when various sensory materials remain on the side of the signifier, not trying to reach the signified but energetically pulsating from the stage instead. The semiotics of sound would benefit from exploring the process where the theatrical sign or sound is caught naked in its flight between deliverance and reception, not yet clothed in its signifying dress. Such a semiotics follows oral/aural signs becoming other signs in the area where the senses signify. I suggest that voice and stage sound/noise figure as catalysts of an intermedial flux between sensual, visual, kinetic, and architectural elements of performance, marking a legacy of the avant-garde recognition of the materiality of sound. I demonstrate this using Artaud’s concept of a hieroglyphic idiom as the “expression in space [in which] objects themselves begin to speak through the collusion of objects, silences, shouts and rhythms,” and through Boehme's aesthetics of atmospheres as the art of the set that creates a poetics/technèof postdramatic theatre focused on orality/aurality.
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Werning, Stefan. "Walk-Through Corporate Aesthetics: Design Affordances in Tech Workspaces." Open Cultural Studies 3, no. 1 (January 1, 2019): 428–41. http://dx.doi.org/10.1515/culture-2019-0036.
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Abstract The article at hand analyses the aesthetic dimension of contemporary “tech companies,” particularly how their characteristic rhetoric of creativity, collaboration and disruption is built into the aesthetics of the physical work environments. For that purpose, proceduralist reading and environmental storytelling, usually applied to analyse meaning-making in digital game spaces, are adapted to conduct a comparative spatial affordance analysis on material from Officesnapshots, one of the largest online repositories for workspace documentation. Expanding upon earlier definitions of spatial affordances as quasi-textual features, the article defines the design elements of tech offices as a continuation of verbal and (audio-)visual corporate rhetoric employed by companies like Google, Facebook or Etsy. It thereby contributes a material-semiotic dimension to current debates about the epistemic implications of these software platforms, which José van Dijck summarises using the term “platform society.” Besides game and play studies, elements of architectural semiotics and cultural analyses of support spaces (e.g. Kracauer 1999 and Moran 2005) as well as broader concepts such as the politics of theming (Freitag 2017) or the embedding of digital technologies into physical spaces (Kitchin and Dodge 2011) complement the theoretical framework.
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Tavşan, Cengiz, Niloufar Akbarzadeh, and Laurence Carmichael. "The effect of language patterns on architectural forms (From the perspective of semiotics on Zaha Hadid’s works)." Cogent Social Sciences 4, no. 1 (January 1, 2018): 1507085. http://dx.doi.org/10.1080/23311886.2018.1507085.
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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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Cambridge, Nicolas Adam. "High Teas, High Collars and High Rise Buildings in a ‘High-Context’ Culture: The Semiotics of Japan’s Project of Modernity." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 11. http://dx.doi.org/10.21018/rjcpr.2016.3.212.
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<p>This article addresses a paradigm shift in Japanese society during the late nineteenth and early twentieth centuries – focusing on the encounters with Western culinary, sartorial and architectural practice experienced by a ‘high-context’ culture (Hall, 1976). The main discussion documents the differentiated reception of these changes – valorised by reformers for whom engaging with the outside world was key to their project of modernity, but treated with suspicion by members of the proletariat who feared for the purity of traditional Japanese values. The manner in which the resulting tensions were mediated through the print media and imagery of domestic visual culture is interrogated using a prism of semiotic analysis and the findings located within a contemporary context to suggest that Roland Barthes’ analytical approach to the country as an ‘empire of signs’ (Barthes, 1982) retains its original traction.</p>
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Demuru, Paolo. "Hyper(in)visibility and urban-mediatic populism in São Paulo: a sociosemiotic approach." Semiotica 2021, no. 239 (February 4, 2021): 61–80. http://dx.doi.org/10.1515/sem-2019-0092.
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Abstract The aim of this article is to tackle the sociosemiotic strategies through which the relation between power and visibility is articulated in today’s metropolitan São Paulo. Drawing on the theoretical-methodological framework of Greimasian and post-Greimasian semiotics, the following hypotheses are put forth: (1) contemporary São Paulo is characterized by a true visual hypertrophy, which manifests itself, all at once, in both its architectural and mediatic landscapes; (2) in São Paulo, power is hypervisible and apparently transparent; (3) the excess of images, gazes, and perspectives produces, in São Paulo, dense and wide areas of topological, mediatic, and social invisibility; (4) the predominant visibility in São Paulo can be qualified as a “populist” visibility. Based on these assumptions, this article intends to contribute to the consolidation of a critical debate on the visual matrices of power and on social processes of exclusion and inclusion currently in place in global metropolises. Likewise, it is intended to contribute to the elaboration of a theoretical-methodological framework capable of understanding and addressing the complexity of the phenomena that characterize such debate.
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Dymchenko, M., N. Brykova, and I. Lokonova. "Architectural form as a subject of cultural communication." E3S Web of Conferences 281 (2021): 02003. http://dx.doi.org/10.1051/e3sconf/202128102003.
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The aim of the article is to investigate the architectural form self-representation processes in the spatial experience of culture. Theoretical and methodological prism of the research is the semiotic concept of architecture of W. Eco and the concept of E. Panofsky correlating with it and explaining the nature of the Gothic architectural form evolution. The architectural reality self-definition problem in the context of the historical development of cultural and anthropological experience spatial codes is considered. On the basis of W. Eco’s semiotic concept of architecture we propose the vision of architectural object as a form in which the signifier - the “grammar” of architectural text - is treated as a signifier in the unity of meanings, functions and structures of the work. Architectural form in this capacity is described as a subject of socio-cultural communication, an individual link in the spatial code mediation chain of this or that tradition. On the basis of the comparative analysis, we have demonstrated the similarity of semiotic approach to the essence of architecture and Gothic architectural thinking of E. Panofsky. It shows the relevance of this methodology for modern architecture theory allowing to reveal the processes of architectural reality affirmation. The significance of the results for the theory of architecture consists in the fact that the heuristic significance of Eco’s semiotic conception of architecture was substantiated by E. Panofsky’s conclusions concerning the essence of Gothic form-building. The notion of architectural form as a subject of cultural communication greatly extends the architectural reality affirmative nature notion.
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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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Torres Tricárico, Luciano, Paulo dos Santos Pires, and Marinês da Conceição Walkowski. "Spaces for Collaborative Arrangements as Social Sustainability in Rural Accommodation in Brazil: Pouso dos Paula." Sustainability 11, no. 12 (June 12, 2019): 3236. http://dx.doi.org/10.3390/su11123236.
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Studies of collaborative arrangements are usually based on socioeconomic interpretations, with little research exploring the socio-spatial perspective. The assumption is that space (as an epistemic category) can promote collaborative arrangements. Thus, the objective of the research was to describe the spaces of rural accommodation establishments as a sign of collaboration, which is understood as a socio-spatial entity. For this purpose, Pouso dos Paula (Nova Friburgo, RJ, Brazil) was the object of the study. This study was qualitative, exploratory, and descriptive in nature with a phenomenological approach. Primary data was collected from websites, leaflets, and videos about the object of study and in situ (photographic and architectural survey and reading of space). Secondary data was collected from the literature. The data collected were analyzed in the light of the theory of montage, based on the idea of abduction of Peircean semiotics. The results showed collaboration in spaces of the rural accommodation studied, which generally signifies and reveals spatial conditions for carrying out civic initiatives, meets social demands, and for gives rise to collaborative arrangements in rural areas which, together, can lead to political empowerment in rural Brazil, which are understood as a factor of social sustainability. The originality of the study lies in the recognition of the role of space of rural accommodation in promoting social sustainability.
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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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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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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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Chrisylla, Meielisa. "Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in Bandung." ARTEKS : Jurnal Teknik Arsitektur 1, no. 1 (July 14, 2019): 1–14. http://dx.doi.org/10.30822/arteks.v1i1.20.
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As a place of holy worship, a Catholic Church should posses a sacred interior and exterior expression. Modernization has caused a good deal of this sacred expression of the Catholic Church to fade. As Catholic Church is a place of worship that supports all liturgical activities, semiotic theory are used to analyze and decipher its architecture to preserve sacredness.
The research methodology that was employed was qualitative methods using Peirce’s semiotic principles and their implementation in Church architecture. The principle was then used to analyze two case studies in every detail of their draw up. The area of planning encompassed: (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form. This analysis employed semiotic principles that were elaborated with Catholic Church principles to create a guideline in the architectural planning of a Catholic Church.
The purpose of this research is to find the most dominant sacral expression between Santo Petrus Church and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.
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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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Kozlovs, Normunds, and Ilva Skulte. "VISUAL STREET ART: MESSAGES OF RIGA STENCIL GRAFFITI." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 694. http://dx.doi.org/10.17770/sie2020vol5.4807.
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The modern urban space is inevitably the site of different striking messages from advertisement to graffiti. The last are used as an alternative medium of subculture, even if majority of the public fails to notice it or else interprets it, contrary to culture’s ordered world of meanings, as chaotic “dirt” more closely related to nature than culture. The discourse of messages found in the public space - on the façades of surfaces forming urban space, can be interpreted in a countercultural code and is for the subculture of graffiti itself, a battle taking place for the aesthetization of the public space. This is the answer provided by the rebellious sons to the “fathers of the city”, who possess money and power with which to design urban public space using architectural means. The generation of sons, who are excluded from this real estate discourse due to a lack of means, put into play the only thing they own, i.e. their body, which they subject to the danger of imprisonment, because graffiti is an illegal activity, which in legal terms is interpreted as vandalism, a view that also prevails within the mass media. In this paper we analyze the meaning of visual messages of Riga stencil graffiti using social semiotics' methodology (Kress & Leewen, 1996; Jewitt & Oyama, 2004). We find that the utilization of the street as an alternative and independent medium in the form of civil disobedience manifested through the translation of radical political ideas, thus to a certain extent performing the work of propaganda, is an example of creative idealism.
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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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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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Hasrianti, Hasrianti. "PEMAKNAAN ARSITEKTUR VILA YULIANA DI SOPPENG, SULAWESI SELATAN DENGAN ANALISIS SEMIOTIKA." JURNAL WALENNAE 17, no. 1 (July 4, 2019): 71. http://dx.doi.org/10.24832/wln.v17i1.375.
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The object of the research is the Vila Yuliana colonial building in Soppeng Regency.This paper aim is to find out the meaning of the location of Vila Yuliana and the using of local architecture in Vila Yuliana. The method research that was used is an induktive qualitative method. Data analysis used a semiotic approach. The research phase beginned with a survey and ended with interpretation of the data. The analysis result show that the Vila Yuliana’s architectural elements is have some symbolic value. Not only to get an interesting view of the location, with any reason it is also to combine elements of colonial architecture with local architecture. On the contrary, Vila Yuliana contained political messages, especially to show the dominance of the power of the Dutch Indian government. Objek penelitian adalah bangunan kolonial Vila Yuliana di Kabupaten Soppeng. Tulisan ini bertujuan untuk mengetahui makna dibalik keletakan Vila Yuliana dan penggunaan arsitektur lokal pada Vila Yuliana. Metode penelitian yang digunakan adalah metode kualitatif induktif. Analisis data menggunakan pendekatan semiotika. Tahap penelitian diawali dengan survei dan berakhir dengan interpretasi data. Hasil analisis menunjukkan unsur-unsur arsitektur bangunan Vila Yuliana memiliki nilai simbolik. Bukan hanya sekedar untuk mendapatkan pemandangan menarik dari keletakannya, juga bukan tanpa alasan memadukan unsur arsitektur kolonial dengan arsitektur lokal. Dibalik hal itu, Vila Yuliana mengandung pesan politis, terutama untuk menunjukkan dominasi kekuasaan pemerintah Hindia Belanda.
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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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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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Medway, Peter. "Semiotic processes in architecture." International Journal of Technology and Design Education 5, no. 2 (1994): 171. http://dx.doi.org/10.1007/bf00766815.
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Castilla Roldán, Manuel V. "Aspectos semióticos en el lenguaje visual de la hibridación arquitectónica chino-europea." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 561. http://dx.doi.org/10.5944/signa.vol28.2019.25070.
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Este artículo analiza conceptos relacionados con el signo arquitectónico, y presenta una reflexión sobre aspectos semióticos del lenguaje visual de una de las obras de arte más importantes de la arquitectura en la dinastía Qing (S. XVIII): el Palacio Yuanying Guan (Vistas a un Mar distante). Se han utilizado conceptos y estructuras semióticas para interpretar la expresión de sus formas arquitectónicas y formular una comprensión posterior de dichas formas, convirtiendo cada elemento en una herramienta de comunicación.This article analyses some concepts related to the architectural sign and presents itself a semiotic reading of one of the most important works of art of the architecture in Qing dynasty (18th Century): the Yuanying Guan (View of the Distant Sea) pavilion. Semiotic structures were employed to interpret the expression of architectural forms and formulate a subsequent understanding of these forms by turning each element into a communication tool.