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successive transformations of “archetypal”
buildings. Rossi’s book was only translated into English in 1982, but his work
had in the meantime become internationally famous. The Architecture of the City
had appeared in Spanish and German in the early 1970s, around the same time as
another landmark work, what became the book Collage City written by Colin Rowe
and Fred Koetter, which appeared as a journal article in 1975. This work also
looked at traditional cities as a palimpsest of layers, as Roland Barthes had
suggested in his analysis of literature.
The
historical depth that all these writers were searching for in architecture was
disappearing from the new “functional city” and their intention was not just to
preserve it but to reinvent it as a method for making new buildings in the
contemporary context. The effect of this reassessment of the principles of
modernism was to open the way for linguistics in architecture – the
possibilities for readdressing the relations between form and meaning were
taken up with great interest around this time.
A
good summary of this process was provided by Geoffrey Broadbent in his essay
published in Architectural Design in 1978. Entitled “A Plain Man’s Guide to the
Theory of Signs in Architecture”, the piece contained a systematic treatment of
the field’s major figures,along with explanations of their competing
terminologies. He made a distinction between the two main areas of influence in
architecture, using Saussure’s division between syntactic and semantic. He
described how the two fields might be pursued independently of each other,
leading to contrasting expressions of form. The first, the syntactic view of
architecture, with its emphasis on structures, is dismissed as hermetic
activity – the preoccupation with the rules of formal combination is seen as
ignoring what buildings actually mean. The shortcomings of this criticism will
be considered later in more detail, but for the moment it is worth noting
Broadbent’s conclusion. He regards the semantic dimension of language as
inescapable for architecture, as even so-called neutral structures will
inevitably carry meaning.
One
of the first manifestation of this semantic tendency in architecture was the
collection of essays published in 1969, entitled
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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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