A Proposal in Search of the Form of the Theory: Monument for Mihri Rasim (original) (raw)
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Contribution to comprehending symbolism and meaning of architectural form
MATEC Web of Conferences, 2017
Architectural form and space, from the very beginning of their creation, weren't only elements reflecting mere act of building; as the act of human actions, they included proper symbolic presentation of a creator's perception of the world. The initial point is that each physical, therefore each architectural form, speaks volumes on more than just their purpose, so it can have symbolic meanings, being proved in history of architecture for such a long time. While observing architectural form, these two questions impose. The first question refers to identifying usable purpose of particular facility, in other words, its function. The second question imposes to identify what are the things that we are reminded of concerning that particular facility. This second question represents search for the meaning in each form that mankind instinctively longs to identify in order to comprehend the world we live in. No matter if we are in natural or building area, everything we are surrounded by has got specific forms recalling certain associations. The aim of this paper is to indicate that pictures appearing as a consequence of close forms and designs represent associations and they should not be compared to symbols. The goal of this research is to contribute to clearer seeing of symbolism of architectural form, in which situations it exists and whether it exists in contemporary architectural forms. This work is based on elements of Gestalt observation theory.
ABSTRACT In the scope of the 2013 IDA Congress Istanbul, which was cancelled due to “force majeure”, it was proclaimed that the Organizing Committee preferred to write the theme of the congress, that is “design dialects”, within quotation marks since it was used as a metaphor. Following this remark, the Committee aluded to the legend of Babel and how human beings came to speak diferent languages. The legend had it that, wrote the Committee, the Babylonians set out to construct a great tower since they shared a common language enabling them to do, make and produce without limitations. Afterwards, the God, being displeased by such endeavour, impaired human beings’ ability to create by destroying their common tongue and turned it into multiple, incomprehensible dialects. This shatering of one single language into several different ones, confused Babylonians and paralyzed their purpose. Even though not being an argumentative person myself, I would like to open the topic of 2013 IDA Congress Istanbul as a discussion in three interrelated parts. Firstly, I wil propose employing “design as metaphor” rather than “design dialects” as the title of the paper suggests. Secondly, I wil discuss Kojin Karatani’s phrase “architecture as metaphor” whilst juxtaposing it with that of “design” aided by Bruno Latour’s insights on the concept of design. Relating the first and the second moves to each other, I finally will suggest that “design dialects as a metaphor” still stays within the limits of “architecture as metaphor” but not that of “design”. I wil introduce Actor-Network Theory (ANT) as a means to understand and analyse the human centeredness of both “design dialects” and “architecture” as metaphors. Keywords: Design as metaphor, architecture as metaphor, ANT (Actor-Network Theory), modern epistemology, foundationalism. ÖZET 2013 yılında IDA (Uluslararası Tasarım Birliği) tarafından İstanbul’da düzenlenmesi planlanan ancak “mücbir sebepler”den dolayı iptal edilen uluslararası tasarım kongresinin kapsamında, Organizasyon Komitesi, kongrenin teması olarak belirlenen “tasarım lehçeleri”ni özellikle tırnak içinde yazmayı tercih etiğini çünkü bu ifadenin bir metafor olarak kullanıldığı beyan etmiş ve bu uyarının ardından, insanların nasıl olup da farklı diler konuşmaya başladığını dile getiren Babil efsanesini anlatmaya girişmişti. Efsaneye göre, demişti Komite, Babil halkı görkemli bir kule inşa etmeye girişti çünkü kullandıkları ortak dil onları sınırsızca edip eylemeye ve üretmeye muktedir kılmaktaydı. Babil halkının bu girişiminden hoşlanmayan Tanrı, insanoğlunun yaratma yetisini, sahip oldukları bu ortak dili bozup çok sayıda, anlaşılmaz lehçeye ayırarak bozguna uğrattı. Tek bir dilin pek çok farklı dile parçalanması Babillilerin kafasını karıştırdı ve amaçlarını felce uğratı. Her ne kadar münakaşa etmekten hoşlanan biri olmasam da, kongre temasını birbiriyle ilişkili üç bölüm halinde tartışmaya açacağım. İlk olarak, metnin başlığından da anlaşılabileceği gibi metafor olarak “tasarım lehçeleri” yerine metafor olarak “tasarım”ı önereceğim. İkinci olarak, Bruno Latour’un tasarım kavramına ilişkin öngörüsünden yararlanarak “metafor olarak tasarım” kavramını, Kojin Karatani’nin “metafor olarak mimarlık” kavramı ile yanyana getirerek tartışmaya açacağım. Son olarak ise, ilk iki hareketi birbiriyle ilişkilendirerek “metafor olarak tasarım lehçeleri”nin hala daha “metafor olarak mimarlık” kavrayışının içinde yer aldığını göstereceğim. Her iki metaforda da söz konusu olan insan-merkezciliği anlamak ve çözümlemek adına Aktör Network Teorisi’ni (ANT) devreye sokacağım. Anahtar Kelimeler: Metafor olarak Tasarım, Metafor olarak Mimarlık, ANT (Aktör-Network Teorisi), modern epistemoloji, temelendirmecilik.
2013
The congregation Mosque, Masjid (from Arabic, sujúd = prostration to God) is one of the most important institutions of Muslim world, also the predominant built form of Muslim architecture. Having a basic spatial configuration to create “shelter” for prayer, it is evoking how the simple space bears meaning that generates symbolism. This paper tries to de-construct and re-construct the Mosque as a representative built form. By using our Design Proposal for the Central Mosque of Prishtina as Case Study , we emphasize an “organic” approach towards Mosque design through a methodology of integral contextualization and conception as the new “typology”, by re-interpreting the traditional symbolic repertoire of structural and spatial elements / grammar of Mosque, towards novel spatial scenarios and narratives in the realm of phenomenology of architecture. Generating meaning which connects the tradition and contemporary perception is the ultimate goal of this approach, aside a higher spatial,...
Concept of Metaphor in the Memorial Architecture. Case Study Memorial Center “Donja Gradina”
САВРЕМЕНА ТЕОРИЈА И ПРАКСА У ГРАДИТЕЉСТВУ
This paper discusses the phenomenon of metaphor as an instrument of significance and expressionin the memorial architecture. The metaphor enables an indirect transfer of meaning via analogy. Inthe wider sense it represents expression of meaning via something else. The original linguistic form,the metaphor in architecture deeply permeates creative thought process, understanding and structureof perception alongside the end reception of the work. The metaphor as the type of architecturalcommunication initially appears as the conceptual system in the creation process and then in thereception phase i.e. conceptual interpretation of the sense and meaning through its expressiveattributes. This research shall be divided in two basic parts. The first part of the paper shall presentthe theoretical framework of metaphor considerations as an architecture concept. The second partshall be designed as qualitative research through case study.
Development of the form and meaning relationship in Architecture
Iraqi Journal of Architecture and Planning
Many architectural literatures and studies emphasized on the relationship between Form and meaning. Ihat relationship varied through historical periods as a result of the natureof thinking changes reflecting specifically on that relationship. The research aims to verify the nature of relationship between form and meaning through historical and philosophical approaches in architecture. The research hypothesizedvariation of structural principles of that relationship To achieve the research's aim, It was subdivided into three parts. The first, historical dealt with a greek, gothic, romanesque, renaissance, and Baroque architecture, While the second part displayed the modern and contemporary architecture (post-modernsim and deconstractivism).
Sacred, profane and geometrical symbolism in architecture
This paper start from two assumption: 1. the illuminist thought has represented a turning point in Western history, but its has “frozen” inside its “rational domain” part of our spirituality; 2. this cultural attitude is an intrinsic necessity that characterize the final time of culture, and we can read these aspect through the artistic, architectural, musical, etc. symbolism. The built environment, with its geometrical symbolism, talks about the culture that has generate it, and express the intimate values of a culture. So, if in the past the built environment was interconnected with their physical and spiritual surrounding, the contemporary has express the excessive power of mechanical culture determining the loss of human identity in favour of “artificial identity”. This artificial structure has transferred its cultural reductionism also to urbanism and architecture caused laceration of society and deformation of ethical and esthetical values. This new design represent and symbolize new values like hedonism and a devoid sense of nothing, and are sculptural expression of a society. I’ll demonstrate because this happen today, what we can learn from the past, and i propose a new approach, structured on holistic way and able to demonstrate that the science can and must married the beauty and spirituality.
2017
The present research is an understanding of the phenomena of significance, as that which defines the work of art, observed through three different types of art: architecture, painting and sculpture. Comprehending architecture as an art, the connections between the arts, and the new paradigms that are emerging as a new art (that sees no distinction between the three arts), is a way of critically understanding and qualifying the artistic creation. The overall problem is defined by a lack of awareness of the real role of art and the general lack of significance in the contemporary world of both architecture and plastic arts, which have created a gap between the observer and the arts in general, leaving the deeper needs of existence completely unaddressed. The underlying question of the research, ‘What defines significance?’ is deeply connected to the main objective of the research: to perceive the phenomenon of ‘signification’, through the different fields of creations in a comparative and cross-disciplinary research (using architecture, painting and sculpture, their interdependences, connections and specific contributions towards the phenomena of signification), in order to clarify common grounds and define a series of properties, values, qualifiers and principles that sustain the meaningful creation and ground human existence. As for the methodology applied, it consists of a mixed method research with a dominance of qualitative methods: using the case study methodology as one of the main cores of the research. Re-considering significance, from both within (design practices) and from without (meaning the observation from the outside of the observed perceptual phenomena) the artistic creation, philosophically, practically and aesthetically allows for new connections, new critical assessments, new perceptions, notions and new methods to come into being, that allow us to define significance (and the artistic object) in a new light. The aim of the research is thus to clarify what the significance of the artistic object is, which, as the work will show, develops consciousness (in both the creator and the observer) and is in fact at the core of the creation of a more sustainable world that helps humanity evolve into new realms of existence: psychologically, emotionally and spiritually.