ARCH417ArchitectureasSymbolicForm
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The document examines the contributions of Vitruvius, particularly his work 'De Architectura,' which blends historical architectural knowledge with personal insights. It discusses architectural symbolism and the manipulation of formal language by architects, contrasting it with vernacular construction. Additionally, it touches on semiotic theory through Peirce's types of signs, with examples from art and architecture, highlighting the evolution of architectural expression from the past to contemporary interpretations.
![one could argue...
• that it is the ability of the architect to manipulate
the formal language that distinguishes the learned
from the amateur product
• vernaculars [tend to follow methods of construction]
• architects tend to use a self-conscious vocabulary of
forms](https://image.slidesharecdn.com/arch417architectureassymbolicform-151123171847-lva1-app6891/85/ARCH417ArchitectureasSymbolicForm-9-320.jpg)
ARCH417ArchitectureasSymbolicForm
- 1. Architecture as Symbolic Form ARCH 417 Fall 2015
- 2. MarcusVITRUVIUS Pollio (c. 90 - c. 20 BCE) • military engineer and ballistics expert for Julius Caesar between 58 and 51 BCE, which allowed him to visit Greece, North Africa and Gaul (France) • one constructed work that we know of, a basilica in 29 BCE in Umbria • De Architectura (On Architecture), written 30-20 BCE combines the history of ancient architecture and engineering with the author's experimental work on various subjects In De Architectura , written 30-20 BCE
- 3. Vitruvius Classical Orders Book IV of De Architectura 20 BCE
- 5. orders • system of proportions for a structure • a symbolic system as well, with metaphorical resonances
- 6. The Erechtheum, "Porch of the Maidens" on the Acropolis,Athens, Greece, 421-406 BCE The original caryatids have been replaced with replicas.
- 7. Laugier, 'the primitive hut' in Essay on Architecture, new edition, 1755
- 8. David CHIPPERFIELD, "Sticks and Stones, An Intervention," Neue Nationalgalerie, 2014-15
- 9. one could argue... • that it is the ability of the architect to manipulate the formal language that distinguishes the learned from the amateur product • vernaculars [tend to follow methods of construction] • architects tend to use a self-conscious vocabulary of forms
- 10. Old State House Boston, MA 1713
- 12. Thomas JEFFERSON,Virginia State Capitol, 1785-92
- 14. analyzing the I mark http://identitystandards.illinois.edu/graphicstandardsmanual/generalguidelines/ge neralguidelines.html#illinoismarkversions MORE INFORMATIONATTHIS LINK
- 15. Charles Saunders PEIRCE (“purse”) (1839-1914) American thinker, mathematics, science, logic, semiotics http://www.iupui.edu/~peirce/
- 16. three types of signs types • icon: represents the object through some similarity or resemblance • index: represents the object by being a physical trace of it • symbol: represents the object by convention (social agreement) examples • example of icon: smiley face, • example of index: fingerprint • example of symbol: pretty much all of language, in which words have no necessary relationship to the concept they represent
- 17. explanation of three of Peirce’s sign types
- 18. index: a type of sign that is physically connected to its making
- 19. index: a type of sign physically connected to its making
- 20. Robert RAUSCHENBERG, AutomobileTire Print, 1953 paint on 20 sheets of paper mounted on fabric, 16 1/2 in. x 264 1/2 inches, SFMOMA, © Robert Rauschenberg Foundation / Licensed byVAGA, NewYork, NY use of indexical marks in art
- 21. GabrielOROZCO Chicotes (Whips) 2010 installed at theTate Modern use of indexical marks in art
- 22. Christoph NIEMANN, Coffee, NewYorkTimes blog, December 2, 2008
- 23. Ferdinand de Saussure Born Geneva, Switzerland, 1857 Trained in ancient and modern languages at the University of Geneva and later, the University of Leipzig. Taught in Paris and Geneva. FERDINAND DE SAUSSURE
- 24. Taught at University of Geneva, during academic years 1906-7, 1908-9, 1910- 11. First published 1916 by a team of students who carefully collated their lecture notes. COURSE IN GENERAL LINGUISTICS
- 25. Older conception
- 26. …gives way to the new.
- 27. sign • Sign=signifier + signified • Signifier (discrete visual element) • Signified (meaning)
- 28. Charles Moore, Piazza d'Italia, New Orleans, LA, 1978
- 34. Venice Biennale, 1980 "La Strada Novissima" photographed for Domus magazine and published in their April 1980 issue
- 35. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Left, a drawing by RobertA.M. Stern; right, a drawing by Michael Graves
- 36. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Proposal by Rem Koolhaas (OMA)
- 37. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Oswald Mathias Ungers' façade
- 38. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Left, façade byThomas Gordon Smith; right, façade byVenturi, Rauch & Scott-Brown
- 39. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Hans Hollein's façade
- 40. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Left, a drawing by Franco Purini and LauraThermes; right, a drawing by Massimo Scolari
- 41. Domus 605 / April 1980 1st InternationalArchitecture Exhibition, The Presence of the Past. Left, a drawing byArata Isokazi; right, drawing by Frank O. Gehry
- 42. Domus 605 / April 1980 1st International Architecture Exhibition, The Presence of the Past. Michael Graves' façade under construction