Académique Documents
Professionnel Documents
Culture Documents
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
Alexandrine Press is collaborating with JSTOR to digitize, preserve and extend access to Built Environment
(1978-).
http://www.jstor.org
Architects
and
their
Symbols
Geoffrey Broadbent
Architectural
to Modern
shift continually
to the world
functionalism
paradigms
Movement
but
remain
symbols
though
to read some
of the journals
these
think,
the letters columns,
that architects,
especially
and researchers
seem to be completely
out
planners
of touch,
not only with each other but also with
their language
You'd
awful
days,
to describe
'the people'
whom
Architects
serving.
done
which
things
not
want,
and
all
three
and
are
planners
'the
have
certainly
most certainly
people'
themselves
the people
to be
supposed
don't
seem
to
it. Researchers
and
think
also
they
have
know
has
what
on
can
gone
wrong
they
to put things
be done
But most
right again.
architects
and planners
don't
to
seem to want
know.
most
of
the
research
which
is
They
ignore
published
their
what
or dismiss
too
irrelevant,
on
ideas
it as incomprehensible,
too trival, not
complicated,
focused
Researchers
problems.
argue
that
the
would
back,
correctly,
if
professionals
then they might
realize
that the
only listen,
which
have tackled
problems
they, the researchers,
everyday
that it is largely
ones;
really are the deep-seated
because
them
that
the professionals
they ignored
got so much
wrong.
They
may go on to argue
even further that if the gaps were to be closed
between
gaps
researchers
between
and
professionals,
and people
professionals
then
are.
people,
But often
have
and
some
of them
most
also
certainly
who
they are people
really care;
the best of intentions,
but they are far
10
working
within
a 'paradigm',
to use
that
Kuhn
He
in 1962
coined
pressures
was
on a
acting
about
scientists,
writing
apply also to architects,
planners
to every kind of group,
indeed
is that which
forces them to
the paradigm
to the norms
of their group.
If a scientist
to gain and retain the respect
of his
to get his work
in the
colleagues,
published
to get invited
to conferences
reputable
journals,
wants
and
so on,
general
accepts
that the
way,
know
he simply
has to work
within
that
in his field
framework
which
everyone
as 'correct'
at the time. Kuhn's
is
point
'normal'
but
in this
works
practitioner
always
are always
a few brave
spirits who
the paradigm
is wrong.
think
They
there
that
about
than
at it and
it, work
alternatives
eventually
better
which,
the going
greatest
paradigm,
hostility,
present
though
they
meet,
at first,
from
especially
may be
with the
those
who
have
on
they
too busy,
too preoccupied,
too set in their ways
even to want to engage
in that creative
dialogue
which
cause
to change.
all parties
are
might
They
each
Thomas
'normal'
scientist
knows
what
to do
and jogs
be closed!
It sounds like a lot of bloody-minded, not to say
hostile,
which
conform
The
the
would
word
phoniness
may change.
particular
group.
but the principles
and psychologists,
and
did
crassness,
oj honky-tonk,
the
scene
to challenge
the established
of
order
what
that
was
is how
dies away,
and
at first becomes
an Einstein
was
wrong
science
comes
what
the
along
new
to
a Heisenberg
wrong,
with Einstein
and so on.
progresses.
The
same
and
not
planning,
to mention
ENVIRONMENT
VOL 6 NO
AND
ARCHITECTS
as to just
how
why and
within
reputations
highly
suspicious
the task of showing
his view
such
those
its flaws
their
made
are so
paradigm
have set themselves
and
come
challenges
have
who
a particular
of those who
and
having
pondered
the going
beset
which
challenge
paradigm,
the status
responsible
precisely
from
what
paradigm
distress:
and
not
by
only
the problems
those
present
ideas
planning,
spokesmen
is that
But what
journalists.
quo, which
to attack
is open
of the great
One
directions?
that
much
if we
clearer
The
paradigms.
a catalogue
saw
styles
of architecture
history
done
and
Gropiuses
curtain-walled
large
panel
and
longer
its Le
its Mieses.
had
It also
tall
The
types.
its
thin
pre-cast
for filing
them
when
they
make
were
adapted
a Meccano
and
hospitals
of the Modern
so on.
All
these
were
sub-paradigms
it is hardly
made
their reputations
that those who
surprising
not to mention
their money
them,
designing
the ways in which
resent very much
journalists,
on
the one
them
But
with
Movement
and
hand,
some
and
researchers,
conviction
that
whether
on
the
other,
BUILT
ENVIRONMENT
tell
concentrated
how
of their
be the
is to say, they should
solution
direct and the cheapest
and any attempt
to
design
problem
This
'look
them
from the
say, any building
the greatest
That
suspicion.
reaction
and inevitable
like',
with
viewed
a natural
was
Small
it was an attempt
paradigm;
of 19th century
eclecticism.
fathers of the
that the founding
wonder
felt very
Movement
Loos
by Adolph
'Ornament
strongly
about
in this
first shot
and
particular
argument
in a famous
essay of 1908
he said,
Crime'.
Savages,
so it was
hardly
for instance,
Papuan,
should
been
been
have
themselves,
for 'filing'
at work,
people
concrete
somewhat
ones,
slabs
lower,
building
having
severely
to a previous
design
to curb the excesses
monasteries,
Corbusiers,
have
research
simplest,
to a particular
The
had
which,
has
heat
bleak
into practice.
applied
for it was a
vital questions,
are indeed
These
in
Movement
tenet of the Modern
deep-seated
and should,
be
that buildings
architecture
could,
not
Movement
solar
sheer
place.
particular
to show
and
Modern
colleges,
Modern
at any
and
research
such as Henry
had individual
architects,
obviously
cathedrals
and castles,
Yevele.
It also had churches,
houses,
bridges,
and other
universities
the
past,
in itself
as:
to mention
loss,
so on;
penetration
Style
sterility of that International
the world,
been built right round
was
there
we
the work
of heat
by housing
the most
such
might call 'sub-paradigms'
of individual
architects,
particular
are what
in terms
and
'Functional'.
is
obviously
to Greek
and
problems
to take
areas.
I have been asked
in these particular
and
of identity,
sense
one the question
meaning
the researchers
have
of place to outline
what
as
of changing
styles, Egyptian
each of these
so on. Within
to Roman
walling
criticism
he suggests
could
become
themselves
the greatest
causing
caused
that status
paradigm,
from so many
of Kuhn's
advantages
other things
among
of style in the arts'
ways;
'notion
the
social
been
noise
of identity
the
Movement
of the Modern
aspects
have
which
to mention
those
of curtain
which
the practitioners
of
as
challenged
they are
of their
components'
'philosophical
but also
vocal
highly
who,
are
fields,
particular
itself, not
theoreticians
at this moment.
occurring
actually
in the past, those
all such changes
on
for them have concentrated
as with
In
largely
are
describes
deficiencies.
the
quo. Naturally,
finds them threatening,
even
of science:
how
closed
world
average
practitioner
in the comparatively
much
more threatened
architecture
on
deeply
SYMBOLS
And,
that
THEIR
having
to tattoo
'his
fired
called
tattoo
that
his skin,
his paddles,
boat,
on'.
But it
he can lay his hands
everything
man did not
that modern
a sign of civilization
also
go
on
surprising
tattooed
it.
was
in short
was
tattoo
himself,
for 'the
modern
man
who
tattoos
There
or a degenerate.
in which
are prisons
per cent of the inmates
eighty
is tattooed
dies at
If someone
who
show
tattoos...
himself
is either
a criminal
it
a murder.'
was,
though
Spurious
struck
argument
those who,
amongst
Loos's
chord
wanting
sympathetic
of
to the development
their contribution
make
were
to
the
architecture
change
paradigm
reacting
against eclecticism.
VOL 6 NO 1
to
11
SPACE
ARCHITECTS,
read
that, having
surprising
Le Corbusier
declare
should
it is hardly
the young
So
Loos,
not always
though
pretty,
more.
and never
responsible
of the mass
responsibilities
and directness
relation
personal
cold
to design
clients.
anonymous
of
architecture
modern
was
for such
architects
of anonymous
appearance
and
critics
neutrality
that
could
the
which
also
they
tended
to favour.
The
fact
than
traditional
buildings
in terms
of
not
to mention
costs,
really
capital,
was not
commitment,
visionary
commitments
above
all
of the
for the
campus
Every building
steel
box:
rectangular
two.
of the smaller
Two
as it
as they do, so similar
they 'carry',
one
is
same 'meaning';
the
yet
chapel
a
a filling station.
But what
the other merely
the
of values:
sense
strange
motor
to exactly
car
god God!
that
the same
equates
status
on the
even Mies's
were based
buildings
that buildings
do 'express'
acknowledgement
Neo
Admirer
as he was of Schinkel's
something.
in
the Altes
Museum
Classicism
especially
Yet
tacit
in architecture
trouble
running
the point:
for it is visionary
that lead to paradigm
was
functioning.
the services
with
that
much
became
basic
they
to
started
of a
same
its
since
has
happened
in
at the Beaubourg
to 'expressing'
approach
sees
when
steel
frame
had to be clad in
actually held the building up
So,
committed
structure
you
in the case
no
added
as you
a fictitious
of Seagram
other
even
but
purpose
to expressing
outside:
steel
I-sections
bronze
were
one
visual
effect.
that
paradigm
supposed
specifically
to have been fraught
the Modern
Movement
not to symbolize
with symbolism.
were
used
as symbols.
turns
Some
so often
that
the
Take
do
not
would
appearance
than
important
more
(The
as one
your
he still
once you
the visual
Given
the Miesian
Paris.)
there were times
structure
that
that')
the structure,
'express'
structure
actual
from
building
types themselves
to read them
we learned
and
to the
of technology
the application
expressed
of social
True
solution
practicalities
problems.
not loom
you are driven
by
very large when
12
were,
to serve
be
Rohe's
Looking,
concrete.
der
to a simple
combination
insisted
van
he first put
Mies
As
which
between
reduced
was
with
architecture
the socially
to the social
endowed
sterility
some
The
warmth
a more
up
society.
it in 1936:
The
as to how
face
such
and
all thinking
Presumably
put up houses that look
would
was
is reduced
there
his views
the extreme,
box which
to the simple
rectangular
specifically
to 'mean'
The
was not intended
anything.
I
ultimate
of such 'meaningless'
architecture,
each
had
cities.
At
architects
our
suppose,
The
too
or Gothic,
are to
XV, XVI,
styles of Louis XIV,
architecture
what a feather is on a woman's
head; it is
Pevsner
That
shifts.
The
anything
PEOPLE
successful,
(1923):
sometimes
AND
a deliberate
It is extremely
symbol.
of capital,
and
running
in Park
but it originated
costs,
in terms
wasteful
maintenance
Avenue
in New
business
success
York
where
in exactly
BUILT
it came
the same
to symbolize
as the
way
ENVIRONMENT
VOL
6 NO 1
ARCHITECTS
AND
THEIR
SYMBOLS
ENVIRONMENT
VOL 6 NO 1
13
SPACE
ARCHITECTS,
AND
PEOPLE
multinationals
wherever
presence
the grey,
Leslie
proved
actually
pack
sun
requisite
courtyards
and Trace,
storey
City
go
slab,
Sir
multistorey
housing
Land
Use and Built Form
in the early
more habitable
1960s
that
rooms,
their
Studies
you
with
had
could
the
penetration,
by putting
four-storey
across
the same area of land
(see March
1968).
courtyards
councillors,
housing
for
concrete
Martin's
already
they
it to symbolize
in the world.
As
use
habitation.
managers
But
architects,
much
more
could
to dozens
of other examples
in
point
Movement
of building
methods
types,
of construction
and so on of which
the known
the Modern
deficiencies
their
can
only
be
explained
designers
gave to symbolism,
the realities
of practical
architecture
by the precedence
rather than to
and
practical
The
fact
a 'functional'
arguing
that
case
with it by
they got away
for building
or, more
which
was not
an economic
case
true merely
serves to show
that the
necessarily
in
themselves
were
mere
arguments
symbols,
the motions,
as it were.
For the
going
through
likely,
there
is in much
prose,
everyday
'Well,
more
master
words
that
that
there
were
together,
namely
the latter included
speech,
blow
me,
ways
and
ordinary,
evident
surprise:
for
speaking
prose
been
than
two
poetry
with
exclaimed,
I've
only
even
know
which
was
the idea
of style
(but
all manner
of things)
shifters
nettle.
have
grasped
at style and
to be accepted
ENVIRONMENT
it!'
VOL 6 NO 1
AND
ARCHITECTS
but
as things
to be embraced
with
as the very stuff of which
architecture
is made.
If science
itself is subject
to styles in
then
the form of Kuhnian
paradigms
why try
to pretend
that architects
can avoid
it? For even
those
those movements
that see it as superficial
movements
concerned
with laser participation,
reluctance,
enthusiasm
involvement,
community
advocacy
so on they too are fashion-like
strictest Kuhnian
sense!
Those
are looking
at style again
in its 'Post
manifestations
not only historians
include
theorists
mention
in the
who
Modern'
and
and
planning
paradigms
but
also
not to
architects,
practising
rarer creature,
the genuine
And there is no doubt
that
much
that
theorist-practitioner.
THEIR
SYMBOLS
of the avant-garde
were attacking
the kind of architecture
building
the number
liked.
Try counting
built
houses
in Britain
them,
that
they were
most people
of 'modern'
between
the wars
Jeremy
and
then
this with
compare
the number
of
or rented
which
were built and bought
gables,
the same period.
of them,
it is true,
Most
during
were built
without
benefit
of architects,
but they
were in the direct tradition
of the 19th century
Arts
and
Movement
Crafts
unabated,
Modern
There
were
indeed
which
survived,
the heroic
right through
Movement.
days
such
architects,
'rogue'
of the
as
the Modern
Cardigan Bay
Movement
pretended
to do
the
Portmerion
an Italian
on
hill-village
the coast
of
of
by the most tight-lipped
of
whom
prefabricators,
many
enjoyed
privately
its sheer human
the delights
of Portmerion
scale
even
and humanity
it was diametrically
though
have
1.
2.
as Post
described
such
while
vernacular,
'movement'
and
Green
the vernacular
not
Maguire,
of Norwich
has
to Darbourne
thanks
and
Murray
as Taylor
now
and
to mention
become
Darke,
the Essex
most
hostile.
beings,
is still
Those
not to mention
possessions.
We should
therefore
in and around
spaces
abstraction
5.
to speak.
that idea at which
suppressed
as a person
point architecture
simply stopped being interesting
for most people.
But once we admit that buildings
inhabitable
4.
Architecture.
Buildings
Therefore
Functionalism
3.
Modern
revered
their plants,
statues
an English
about
modesty
most
of this.
The
are continental
ones,
spectacular
examples
as Daniel
Port Grimaud,
a holiday
Spoerri's
which
he started
on the Gulf of
village/marina
such
Saint
and other
as early as 1966.
It is in a sense a
Tropez
'Radburn'
with
layout
pedestrian
'fingers'
into the water,
lined with
'vernacular'
reaching
houses
base
on their
open
roads of Radburn
which
the motor
not
to
the marina
itself;
There
in
is nothing
really new in these basic premises
for the central
one as we shall see had
of Moore's,
been
used
Let
for at least
us start
with
2000
years.
the practitioners:
those
who
but
even
ENVIRONMENT
at the
time
when
he and
others
Grimaud
other
sides,
onto
but
of Cartesian
but on the human
geometry,
body and the way we sense spaces.
Whether
we like it or not, the spaces and shapes of
contain certain psychic qualities.
We
buildings
perceive
where
vehicular
houses
houses
have
have
boats.
cars,
The
the Port
glossy
magazines
sound
But
sun
insulation,
in terms
shading
and
of
so on,
this is
even
no,
especially
in economic
anonymous
'cemetery
VOL 6 NO 1
suburb'
in which
ARCHITECTS,
SPACE
AND
PEOPLE
16
BUILT
ENVIRONMENT
VOL 6 NO 1
ARCHITECTS
AND
THEIR
SYMBOLS
La Petite Cathedrale
so many
early
based
To
holiday
Mediterranean
called
La
so they
but
Manzanera,
included
experiments
on the local
do
at Calpe
housing
coast.
The whole
with
is now
complex
to live.
had
people
experimented
the Spanish
what
particularly,
'read'
Disneyworld
on
films,
their
which
we
on
draws
the local
shall
be analysing
in earnest,
with
build
some
(1964),
their
Pontoise,
shall
'carries'
they
the local
The
still
a new
analyse
meaning
of Meritxell
Church
Then
this
La
(1971)
and
too
which
so on.
have
been
dismissed
as
few
'serious'
architects
at the
time
would
anything
seen,
rather,
like
serious
in Peter
architecture.
Blake's
words
They
were
as 'honky
in design
Yet,
phoniness'.
they
of more analysis
had been the subject
the
using
full panoply
of design
method
from
the
techniques
than
environment
other
Space
Programme
any
in the world.
And that analysis
extended
obviously
tonk,
crassness,
BUILT
ENVIRONMENT
VOL
6 NO
Yet,
effect
and
at least
as Le
serve
Corbusier,
Movement
paradigm
Gropius
knew,
changes
and
roofs
of keeping
the purpose
others
of the
built don't
buildings
unless
someone
writes
on
draws
looks
Modern
Articles
in 1976
in Andorra
Romanesque,
Bofill
group
Paris
outside
later
and
of place.
Then
Cathedrale
for
Petite
town
can't
Disney's
so the basic
systems
in clip-on
glass-reinforced
plastic
or whatever.
'like'
Cinderella's
castle
of Disneyland
out the rain!
at Reus
in
housing
to establish
managed
and sense
You
know
the visible,
that, unlike
symbolic
Except
'structure'
of, say, Mies's
Seagram
building
for visual
I-sections
the GRP
(bronze
effect),
in ways
started
to
they
Gaudi
the Barrio
of identity
with
grew
sense
ambitions
Cergy
we
later.
of the lowest-cost
in which
Europe,
coherent
environment
mean.
concrete
villas
holiday
and Xanadu,
(1964),
to mention
steel-frame,
Plexus,
vernacular
not
they should
unless
you
in journals
the world,
and
even
whereas
books
buildings
mentioned
go
right
stay in one
to
started
The buildings
I have
place.
become
because people
wrote
paradigm
changers
about
them:
Alison
and Peter Smithson
on Port
those committed
to the old paradigm
Naturally,
dismissed
both
the buildings
themselves
and our
about
the
crassness,
writing
'honky-tonk,
phoniness'.
breached
But
by one
the ramparts
had already
of the theorist-practitioners:
been
in addition
to teaching
at
who,
Venturi,
the University
of Pennsylvania
also ran a practice,
Venturi
and Rauch.
The first of his major
Robert
17
SPACE
ARCHITECTS,
AND
PEOPLE
Disneyworld
had
Architecture,
been
by the Museum
published
of
in architectural
for the Baroque
polemic
but it was
history,
as an architecture
really
of
other
buildings
in which
book,
with
he attempted
within
of the Baroque
principles
the Modern
Movement.
careful
exercises
contradictory.
The Venturi
from Las
obviously,
the epitome
each
of them
were,
team's
solemnly
well,
next
complex
book
were
set up
having
somewhat
was
Venturi,
the
of
rather
a basic
broke
it
and
studied
had
to Las
gone
the architecture
Nevada,
Vegas,
of 'The
Strip'.
of hotels,
things,
other
among
a large entrance
stuffed to
lobby,
with one-armed
tables
bandits,
point
consists,
Strip
with
blackjack,
craps
and
roulette,
for
Keeno
before
such
even reaching
as the Stardust
reception.
all
Hotel,
which
wings.
are
But
some
bedroom
equally
anonymous
the shed, as Venturi
says, is decorated
attempt,
Las Vegas
Scott-Brown,
they
poker,
as
of 'honky-tonk,
crassness
and
The book
is a bold expression
of some
ideas.
students
bursting
of his
to reinterpret
the mainstream
a deliberate
Vegas (1972),
to shock
those who
saw
phoniness'.
rather subtle
18
Most
in which,
he then
symmetry,
with results
which
a selection
their
The
Venturi's
and
where
Izenour
facade
and
which
of course
also
a programmed
sign at the kerbside
is highly
visible
to motorists
as
The Strip.
they cruise
along
It was from this and other
Venturi
coined
his term
the
examples
'decorated
that
shed'
ENVIRONMENT
VOL
6 NO 1
ARCHITECTS
AND
THEIR
SYMBOLS
practice
means
that
given
architectural
any
of the
is one
most
efficient
planners
thus exercised
his
States).
Having
he then feels free to 'decorate'
his
responsibilities
treatment
which
shed, that is to give it a surface
will give 'meaning'
to his building,
much
as the
to an otherwise
identity
Hotel.
Venturi
contrasts
signs give
Las Vegas
This
derives
from
his most
with
extreme
in reverse,
a homage
as
(1974),
Junkyard
to the worst
of what
Blake
could
find in
'honky-tonk,
American
typical
was
example
crassness,
commercial
a poultry-stand
phoniness'
of the
strip. Blake's
prize
on Long
New
Island,
thus
'read'
its function
selling
poultry
as to how buildings
the analysis
meaning,
issues
their
actually
of which
that
BUILT
ENVIRONMENT
(1949)
so on,
and
were
concerned
with
while
the others,
including
such
as
philosophers
the actual
were concerned
with
(1906-11)
of the message,
or other
with how
words
for us.
their meanings
symbols
actually
'carry'
in their very different
Peirce
and Saussure,
ways,
content
were
each
looking
for what
they
called
a general
for' or
which
'stands
something,
anything,
reminds
us of something
else. So a sign can be
or spoken,
a gesture,
a diagram,
written
word,
drawing
and, most
or a picture,
a jacket,
a tie or a motor
a
a
car,
has
of researchers
in semiotics,
the province
or
and related
areas.
These
derive
from
semiology,
been
One
of analysts,
the Information
ways.
group
Theorists
such as Weiner
Shannon
and
(1948),
Saussure
Own
it were,
Weaver
anonymous
his 'shed'
elsewhere
(1977),
so let me just
outline
one
or two
points.
VOL 6 NO 1
19
SPACE
ARCHITECTS,
First
of all,
it must
that
admitted
be
of terminology
problems
the founding
between
disagreement
enormous
as to
a few
relevance
are
which
general
points
to architecture.
Saussure,
of
obviously
for instance,
he selects
speech
Saussure
goes
of words;
indeed
column.
This
to describe
he likens
also
two
a word
two
performs
plays
word
a sentence:
also
column
of column,
Corinthian
because
of the place
of column
types.
whole
and
so on.
structure,
these
of Saussure's
One
around
key
but
particularly
and
it.
concepts
is at least
2000
architecture,
there
are
the
two
are linked,
inextricably,
to form
what
20
something
else.
Saussure's
should
into
incorporate
the
to
the thing
'sign'
'referent'.
still
triangle',
probing
their
they developed
one of the most
the meanings
useful
'semiological
in
devices
of things:
signified
referent
signifier
Where:
than
architectural,
We
words
thing you
that most
Saussure,
is more
of
construction
and
of building,
the vernacular
of the monumental,
other
Any
'attached'
with him
while
agreeing
the thing you see, the
on to argue
hear and so on, have gone
of us, most of the time, are having
our
since
a sign
know
described
may even hear of a politician
as 'architect'
of a particular
so
we
policy,
clarify
of all
for ourselves
what
'architect'
means
because
so on.
that
it occupies
in the
And similarly,
us of architecture,
reminds
architectonic,
Others
of
range
to Saussure,
the meaning
we know
according
a whole
of its position
within
a word
because
the word
for
scheme
of words:
'architect',
instance,
ideas or concepts.
thoughts,
tell us what
are
thoughts
'carries'.
up,
as a
We
will
But an Ionic
it is a part of the syntax.
reminds
us that there are other kinds
Doric,
it is Ionic
such
to the various
road 'signs'
the point
in fact makes
'sign'
For in a Saussurean
view it is not just
very well.
to a pole,
at the
attached
that disc or that triangle
make
a column
to
are attached
thoughts
and so on. The road
to a (classical)
functions:
on the
hand
one
on
'language'.
uses we
or
most
which
of the going
style; the
of a system,
as in his
the components
from the available
he uses
way
sign'.
whom
dictionary
each of us
makes
a language
available,
we
also
certain
words;
ways
prefer certain
prefers
attaches
the
them together.
Saussure
of putting
uses and there are
term speech to those personal
in the use an
in architecture:
obvious
parallels
makes
touch
hear,
whatever,
describe
which
architect
see,
or
picture
It is,
is something
we
in his terms,
speech. A language,
the words
in the
as it does,
all share, including,
them
and a set of rules for stringing
dictionary
of the resources
But from the whole
together.
individual
a building.
certainly,
which
we
that
therefore,
a television
a diagram,
one,
even
fathers
PEOPLE
a drawing,
and most
even,
are
there
and
AND
is that
signifier
the sounds
of a spoken
an idea;
conveys
on paper
form a written
the marks
which
= the
or written
the
word,
spoken
or whatever
diagram,
drawing,
picture,
by
which
the ideas are being
conveyed
signifier
of
referent
can
We
understand
a lot
more
about
our
Point
Ronan
say, about
a picture,
words
and
my
and
illustrate
my picture
it
are
the
the
'signifieds'
'signifiers'. They signifyideas
about a block of flats in London. And that block
of flats
still exists
as a thing,
BUILT
that
is, a referent,
ENVIRONMENT
VOL 6 NO 1
AND
ARCHITECTS
which
can
you
go
and
it has
also
see,
touch,
But
things;
about
how
come
to 'stand
for'
SYMBOLS
or
photograph,
THEIR
a lot
of
it is for young
unpleasant
inhumanity
machine-made
into
people
such
environments,
of the 'great
heat of
the fading
white
to a very dull glow
indeed.
Ronan
technology'
in itself to a
in other words,
is a 'signifier'
Point,
about
set of ideas.
complex
we can go into deeper
and deeper
Obviously
this one device:
the
by using
layers of meaning
of
and
Richard's
sign
Odgen
three-part
highly
it can no
there comes
a point
where
it describes
only one type
help us because
That
is where
Charles
Sanders
Peirce
comes
limitations;
longer
sign.
for he,
in,
once
with
went
on
of
his extraordinarily
mind,
complex
as saying
that there were
record
triangle
only one.
represents
he would
exceedingly
turgid;
coin a new
if he could
word
Peirce's
is
language
use an existing
never coin a
never
one,
three;
ambiguous
had some
amazing
insights
has proved
sign-groupings
and
his writing
impenetrable.
and one of his
to be
fruitful.
is so
But
he
many
exceedingly
feature
of
it, the crucial
you think about
one type of sign is that we have to learn
we have to learn the relationships
rather,
When
Saussure's
it. Or,
a certain
a particular
letter on paper
represents
of
letters
makes
that a particular
grouping
to
the
that this word,
a certain
word,
according
or
refers to a certain
definition,
dictionary
thing,
that
sound,
And
that goes
meaning.
of a language,
which
is why we
difficulties
with
those foreign
languages
at least
'carries'
a certain
we
to learn.
such
which
not
uses
as this
signifier,
learned.
words
have
Peirce
shows
you
in your pocket
value
and
symbolic
which
note
or the inclination
for signs
'symbol'
the
between
relationships
the signified
other
of ordinary
admits
you
time
the word
in which
Among
the
had
and
the
things
referent
have
to be
the
they include
the membership
card
language,
to a particular
the ticket
club,
have paid to ride, the coin or
which
which
carries
a certain
therefore
can
be
used
to
ENVIRONMENT
VOL
6 NO 1
21
SPACE
ARCHITECTS,
in this
such
sense,
as the church,
the cathedral,
the
or the mosque.
We
have learned
by our
within
a
culture
that
experience
any
particular
AND
and so on where
by steps, canopies
you go in. It
can indicate
by its plan which
way you have to go;
museums
and exhibition
are
art galleries,
pavilions
often planned
so as to force you around
a set
so on probably
was
and find a nave,
go inside
that it is
and so on we know
windows
pointed
If we
as a church.
roof,
cross
an altar
aisles,
still used
as a church.
If, on
find
the altar
been
that
has
the other
that
it has
been
converted
Conversely,
if we
church.
have
see
a new
say,
and
don't
it indicates.
You
could
take
just what
from the most primitive
of cultures,
anyone,
him in a building
around
a set route
planned
the route indicated
he would
have to follow
form,
an arts centre.
strangely
shaped
learned
from
our
that
experience
have been
and,
church.
comes
The
have
trouble
to be
constant.
is that
with
symbols
their meanings
card
membership
cannot
learned,
Your
because
runs
out
they
'prevent'
to mean
used
of'
in front
'go
change
for
ago,
use one
of everything
of sculpture,
that
was
what
than
the
for a 'cultural'
more
appropriate
of the Greek
and
the Fascist
the re-use
1930s
orders?
But
Communist
building
then in
signs
have
their
value.
referring.
the wind,
indicates
A weather-vane
a rap
on
the door
indicates
that
someone
like
another
Saarinen's
of Le
Corbusier's
Ronchamp
Sometimes
with
Air
Saarinen's
or even
Venturi's
Le
duck,
Corbusier's
have
but
crab
as,
say,
Church
Wright's
sometimes
with
it isn't,
caution.
And
which
I have
of likeness
as
likenesses
such
shell;
to be used
kinds
other
is appropriate
Terminal,
then
are derived
buildings
The
pattern.
Again,
more
hotting
one
is 'like'
the same
the other
in terms
there
is much
more
to it, but
as more
The
Italians
started
His
the direction
'like'
what
look
as a duck;
building
the roof
prayer;
development
simpler.
and
state.
churches,
is symbolized.
the face of it, even
of Peirce's
is, on
to 'read'
learned
what
bubble
dictators
some
idea
when
different
no
icon
Peirce's
obviously
there are
mathematics,
by
with
gallery,
a university,
that is to say for any
an athenaeum,
for Greece
was seen as the
'cultural'
building,
not
he had
have
TWA
because
he would
actually
think of Venturi's
stay
unless
put
and
for churches
built
buildings
except
if when
in such strange
we go
And,
shapes.
again,
has an altar, a font
inside we find that it actually
that it really is a
and so on, then these confirm
few
Corbusier's
houses
were planned
The point
about
an
promenades'.
in the way Peirce
uses the term is that you
have to learn it; you know, from its physical
index
that there
away,
used
the sanctuary
our experience
into,
of Le
as 'architectural
taken
where
is a stage with curtains
from
to be, then we know
some
route;
we
hand,
a drawing,
A building
too
book,
temple
built
PEOPLE
more
of
very
small.
pragmatic.
Anglo-Saxons
The first, key
tend
to be
collection
so much
in
Frampton,
Alan
Colquhoun,
BUILT
ENVIRONMENT
Norberg
VOL 6 NO 1
AND
ARCHITECTS
THEIR
SYMBOLS
Schulz,
Jencks
collection.
book
what
the others
discussion
'spitting
discussion
no
had
written;
and
means
in her
snarling'
continued
Janet Daley
review.
But
it
called
still
the
and Robert
Venturi
was by
to say
practitioner
(and
teacher)
from it. As Venturi
himself
something
the only
he learned
said:
Another
architecture]
the subtleties
were
Obviously
on to say:
he wished
We
space.
they
were,
but
then
he went
which
studied
considering
Some
meaning
a way relevant for architecture...In
logy [sicjin
my day
it was a game in abstraction,
without
the elements of
association
and past experience
and their effects on
perception.
Academic
work
has
proceeded
apace
and
some
There
have
International
been
conferences
significant
for Semiotic
Association
of the
Studies
ENVIRONMENT
VOL 6 NO
had
mention
semiotics
sessions
on
architecture,
not
to
on architectural
meetings
specialized
at Castelldefells
near Barcelona,
Ulm
and
Germany
out in Spanish
with
other
been
published
key
so on.
The
Castelldefells
papers
in
came
in 1967
and some
of them,
together
in the subject,
have just
papers
as Signs, Symbols
and Architecture
was organized
whose
meeting
by Martin
Krampen
in the Urban Environment
has just appeared,
Meaning
while
to the area, Juan
another
key contributor
23
SPACE
ARCHITECTS,
and
its Interpretation,
press:
Meaning
this
Environment,
Tomas
and
time
in
collection
edited
Dick
by myself,
Bunt
one's
above
all,
doubts
'Post
'Language',
has done
has
been
'softened
up'
possible
of
his definitions
about
or even
Modern'
than
more
'Architecture',
with the
any other
of Venturi's
book
to
the
bring
arena.
And what
the public
exception
into
debate
'meaning'
is more it did so in an extremely
illustrated
and provocative
way.
readable,
well
It is from
Charles
in particular
that the idea of
work
not
in architecture
made
Time magazine,
meaning
And it
the Sunday
colour
to mention
supplements.
rather than the
from those sources,
is probably
Jencks's
that
of the researchers,
work
semiotics
found
have
their
Nathan
Silver
(1980),
tongue-in-cheek
possibly
certain
from
ideas
into
way
everyday
is thematic. I've
happens in the front hall
master bedroom entirely out of my narrative.
of
cut the
levels
have
no conversation
floor.
to mention:
Not
The
building
of course,
Well,
Yet such
examples.
very stuff of which
Most
who
the street.
addresses
decisively
he is quoting
trivia,
extraordinary
in the trailer
pretentious
are the
applied,
changes
Richard
paradigm
of all was
said,
some
widely
to a television
are
made.
course,
Beaubourg
the red,
Rogers
of the building
together
in a sentence.'
the words
green
'express'
and
blue
the idea
much
as
systems
the escalators
pipes of the
painted
of servicing.
They
indicate
the way
up!
Venturi's
in a curious
to
way,
to everyone
a Laplander
Negro,
ball (one of the most
on Earth a Frenchman,
a
a
sphere in the form of a billiard
of
perfect human materialisations
Frenchman
well
might
think
of the
according
to Le
according
to Le
Corbusier
would
to
games
to
respond
Corbusier,
because
'reads'
them in the same way,
they have
everyone
for
no particular
Therefore
we
meaning
anyone.
must consider
what
Le Corbusier
calls 'secondary
which
from
vary
If I hold
up a primary cubic
the same primary
some black geometric
individual
A Papuan
would
In other
words
particular
its surfaces;
The
cultural
the primary
by the way
places
context
form
one
into
treats
one decorates
Venturi's
shed.
literally
to do it. Robert
of course,
is how
question,
in which
Contextualism
design
are derived
colour
and
from
forms
the context
which
it
Of
Take
relates,
programme
the components
we put together
Moore.
this
shed;
I place
spots on the cube, I
release in a civilised man an idea of dice to
immediately
which
play with, and a whole series of associations
follow.
would
And:
upper
Charles
and
to person
person
or
his
cultural
they depend
upon
capital
of
He
an
what
hereditary
gives
example
capital'.
he means:
for instance,
quotes
some
examples
What
The
Stern
'because
They include:
'Architect Talk'.
sensations',
discourse.
architectural
architecture
decorated
PEOPLE
Americans
in the Built
Llorens.
the field,
Yet
is another
there
and Behaviour
AND
2.
scale;
allusions.
Stern
sees
this
eclecticism
but
it may
established
and
successful
of trying
which
may
a matter
mood
fragments
3.
from
Ornamentalism.
as far more
involve
than
the re-use
mere
of
But above
all, it is
types.
to recapture
an appropriate
of
involve
the incorporation
the past
into
Stern
BUILT
the new;
concerns
himself
ENVIRONMENT
with
VOL 6 NO
ARCHITECTS
AND
THEIR
SYMBOLS
surfaces
in the case
which
are walls,
of
their
white-painted
crumbled
eventually
in other
while
obviously
As he
of design
be containers.
they would
the decora
sees it there is no need even to justify
tion of a visible
surface.
We
need complexity
and
kinds
elaboration
and
is no
there
reason
this
why
Rough
problems.
right in themselves
is open
obviously
cannot
to charges
then
frame.
So
it was
more
more
greyer,
to perfection
conscious
insist
indulgence.
Certainly
to those who
are still
Modern
Movement
paradigm.
it will
be
in the
living
But isn't that
any
approved
without surfaces
building
the
Modern
Movement
by
to 'honky-tonk,
susceptible
ness'
as their Post-Modern
The
white-walled
supposed
and so on.
'like'
are not
buildings
they look like them?
why should
alternative
surfaces
followers
BUILT
machines,
But
began
which
to use
ENVIRONMENT
Le
once
VOL
1920s
had
holes,
liners
liners,
the
and
his
realized
so
that
got
to use
they
No
one
could
around
used
were
somehow
that
concrete,
conceive
hostile
even
finish;
which
it seldom
as a
exposed
a drabber,
it was
when
was
cast
it would
so
drab,
looking
grey and hostile,
to make
it more
had to be done
used the
did they do? They
find for the formwork
they could
knot
marks
left the board
showing:
So
what
boards
joints,
grain,
was supposed
to ensure
concrete,
phoni
to be.
even
roughest
and then
This
were
Atlantic
And
as
just
Atlantic
Corbusier
they
and
seem
successors
of the
the surfaces
were
crassness
villas
to look
and
on
something
'human'.
when
the idea
'honest'
finish.
except
surface
an approach
Such
and
cracked
streaked,
plaster
too
their
had
they
certainly
all
stone and rough
brick were
warts
gaps,
splinters,
to give 'human
scale'
that it would
weather
and
all.
to the
of course,
it did nothing
and so on. But,
gracefully
is no more
of timber
of the kind.
The graining
for concrete
than sea shells,
doggie
appropriate
and from a distance
or wicker
marks
work
paw
is not timber;
it looks
as drab as ever. For concrete
6 NO 1
25
SPACE
ARCHITECTS,
Yet
board-marked
recognize
Loos
we
and
do
need,
Morris
fact:
well,
all knew
in another
it, while
I might
have argued
that
paper
are so constructed
as to demand
if we
are
to see
surfaces
at the moment
enough
obviously
on
its own.
gives
literally
meaningless.
should
why concrete
photographic
we are going
decorate,
we
and
openings
is
subject
meaning
Board-marked
There
look
the
analogy,
to ornament,
might
as well
from
so on.
and
But
concrete
on
that it is
beyond
is no reason
simply
timber
or,
'negative'
of timber.
texture,
or otherwise
do
so in a way
that
a
If
skin-deep
in this
is no
more
his principles
can
Decoration
but
case,
for instance,
at work,
Contextualism
forms
together
26
ripped
the
tacked
than
be
Gothic,
place.
Stern's
course,
Xanadu,
is
Allusionism),
yet in a
(Stern's
almost
more easily than
be changed
if the Langs
move
out and the next
in their
Of
to use
can
So,
wallpaper.
owners
prefer, say,
Palladian
mouldings
is
but
'like'
allusions
which
way
that
worked
out relationship
of public
to guest
bedroom
parts, of master
corners
for various
family functions,
views
brain
and pattern
they need
at cornice
and
perspective
the transitions
us texture
private
odd
rooms,
of
kind
and
a carefully
and
that
properly,
to reinforce
mouldings
the eye
texture
PEOPLE
with
concrete,
a fundamental
AND
square
cross.
double
of which
is a splendid
of
example
for the basic
apartment
it is made
could
have been put
You
can group
four
ways.
to form a larger square,
or a
apartments
You
can group
to
form
a
eight together
in many
arm
cross
and,
given
BUILT
a steel
frame,
ENVIRONMENT
such
VOL 6 NO 1
AND
ARCHITECTS
floor
could
have been piled vertically
layouts
a pyramid,
a straight-up-and-down
tower,
and
so
on.
But
Bofill
and his
an inverted
pyramid,
basic
THEIR
form
building
by
it an icon)
have called
them a rather blocky
would
(Peirce
But that gave
the outline
so they 'softened'
building,
on
drawing
the local
de Ifach,
of their
analogy
the rock.
with
at a particular
looked
across
the
else. So they
in the distance,
the Penon
the overall
drew
visual
Xanadu
nowhere
at the rock
bay
and
to locate
wanted
by
for their
vernacular
pantiled
the whole
thing in
they painted
to which
that khaki-green
the Spanish
countryside
in the summer
sun. That
is the clearest
burns
after
roofs,
which
I know
example
of Contextualism.
for instance,
in,
Petite
Cathedrale
scheme
for
to design
Pontoise.
Asked
a whole
suburb,
Cergy
a department
with shops,
schools,
store, parking,
and so on, they thought
immediately
apartments
of a shopping
mall form rather like the great
protected
grouped
up
it would
the weather;
social
encourage
and
over
the
the apartments,
of the gallery,
would
top
straight-sided
But
it didn't
somehow
seem
that
suburbs
of Paris?
de France
the greatest
is of course
started
as a classical
But
it occurred
then
architectural
glory
the Gothic
of the
so
cathedral,
Galleria
was
are spectacular
examples
at many
scales.
been applied
but
what
transformed
These
have
at Santa
Club
Faculty
for instance,
Barbara,
of Contextualism
extraordinary
example
from Santa
Barbara
elements
itself, from
to International
Colonial
is an
in which
Spanish
are drawn
Style modern,
the most
into the form of the Club.
And perhaps
in New
of all, his Piazza
d'Italia
controversial
is intended
Orleans,
community.
as a focus
It is centred
on
a fountain
of
redolent
colonnades
by classical
of Charles
As one might
expect
grandeur.
and
it is wistful
and wise,
gentle
powerful,
surrounded
Roman
Moore,
was
once
a seedy
part
of New
Orleans
has
literally
BUILT
of identity
The Piazza
again.
has become
the focus for an extensive
a sense
ENVIRONMENT
Stern,
renewal.
Venturi
Moore,
and
Bofill
and,
just occasionally,
architects
are still
prose
But most
speaking
poetry.
know
they
writing
like Monsieur
the
they are trying to 'express'
or the services
drawing
(Rogers),
Jourdain,
whether
structure
(Mies)
to nature
their
by board-marking
to machines
Foster
Norman
by using
or and this, of course,
is the most
surfaces
to the
allusions
these days drawing
popular
All such architects,
whether
'vernacular'.
they
allusions
are
concrete,
whether
the
semiotic
or one
games
know
can
the rules.
out
spelled
and while
they
One
The
know
rules
in the various
some,
'honky-tonk,
are playing
of this game
I have
are being
mentioned
books
no doubt,
crassness,
it or not,
like
it or not,
will
resist,
phoniness'
screaming
until
their
them.
also
while
interaction,
of urban
scheme
to form
colleagues
place and
SYMBOLS
REFERENCES
Blake, P. (1972) Walt Disney World. Architectural Forum,
June. Reprinted in Finch, P. (1973) The Art of Walt Disney.
Abrams, New York.
Blake, P. (1974) God's Own Junkyard. Holt,
Winston, New York.
Bofill, R. (1978)
Reinhart &
Paris.
Broadbent,
Architectural
Signs, Symbols
VOL 6 NO 1
27
SPACE
ARCHITECTS,
Gropius, W. (1956)
Unwin, London.
for
Krampen,
London.
Le Purisme.
4.
L.
Books,
Odgen,
Smithson,
Le Corbusier
(1670)
Brunswick,
Shannon,
Moliere
Vernacular:
(1920)
Kuhn,
Le Corbusier
PEOPLE
RIBA
AND
Signs of occupancy.
Architectural
Post Modernism.
Venturi,
edition, 1968).
and
MIT
Meaning. Routledge
Peirce, C.S.
28
BUILT
ENVIRONMENT
VOL 6 NO