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page145from Building Ideas
functional and symbolic form – is inverted
in the case of the Expo pavilions, as they have no function except to symbolize
their sponsors. This conclusion is based on the earlier definition of an
architectural sign as denoting a function, such as the example of a staircase
whose literal meaning would be the possibility of walking up it or down it. The
principal theme that emerges in Eco’s writing on architecture recalls Barthes’
idea of the “free-play” of signifiers – the interpretation of buildings can
never be controlled by the designer, just as the author cannot predetermine the
reader’s reading. Eco finally recommends that the architect must design for “variable
primary functions and open secondary functions”15, in the hope of inviting the
user’s creative engagement, or reappropriation, as Barthes had recommended with
language.
Notwithstanding
any ambiguity in the translation from language to architecture, these ideas
have had a huge influence on architectural theory. Fundamentally, this thinking
showed a new concern for the role of the interpreter, previously neglected in
the modernist emphasis on functional norms. Rather than analyzing user
requirements and letting technology take care of the rest, the 1960s saw the reappearance
of the question of meaning – a concern with how buildings were understood by
their inhabitants and the role of history in this process of interpretation. A
series of important books appeared from a variety of different sources that
addressed a similar shortcoming in mainstream modernism. This consisted of a
perceived poverty of expression in architectural form, resulting in a lack of
engagement between buildings and their users. The first of these books,
Complexity and Contradiction in Architecture, was written by Robert Venturi,
and set out to reassess the lesions of history in architecture which he felt
had been suppressed within modernism. The Architecture of the City, written by
the Italian Aldo Rossi, also appeared in 1966. In this book urban form was
considered as a series of historical layers, based on
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At 2021-11-02 20:28:57,
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Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
Kati Närhi
Tammi
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Ruoka
Kakkua pullaa, leipää ja
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