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Semiotics of Architecture
yasraf amir piliang
Sign (1)
Uv F
St Name
S2S1 Sign Vehicle
(F) = Fungsi/use value
(St) = Type
(S2) = Token
Stone == signification system== communication system
St
F Name
R
O I
(Eco)
(Peirce)
Umberto Eco, A Theory of Semiotics, Indiana University Press, 1979
Sign (2)
Umberto Eco
denotatum
sign vehicle significatum
arch
sign arch
Morris
denotationform of inhabitation denoted utility utilitarian function
connotationaesthetic function architectural messageconcept of inhabitationideology
Charles Jenck
REFERENT
SYMBOL REFERENCE
substitutive
Sign (3)
Richard & Ogden
THOUGHT
SYMBOL
CONTENTCONCEPTSIGNIFIED
FORMWORD
SIGNIFIER
PERCEPTDENOTATUMTHINGACTUAL FUNCTION
REFERENT
Jenck ---------Saussure/Barthes
First Level
forms suprasegmentalspace propertiessurface rhythmvolume colouretc. Texture
iconographyintended meaningaesthetic meaningarchitectural ideasspace conceptsocio/religious belieffunctionsactivitiesways of lifescommercial goalstechnical system
Sr Sd
S
First Level
noisesmelltacticalitykineasthetic qualityetc.
iconologybetraved meaningslatent meaningsantrhopological dataimplicit functionsproxemicsland valueetc.
Signifiers(ExpressiveCodes)
Signifieds(ContentCodes)
Sign (4)
Sydney Opera House
IconIcon:
motivated
kubahtubehot-dog‘salman’angsa
bawangpipa‘hot-dog’doa‘angsa’
metaphor
Resemblance
Kesamaan
Transference
Transposisi
Imitasi
Mimesis
Index:lateral sign
kacapanahjendelatangga
lihatarahluar/dalamnaik/turun
indicate
Index
Orientasi
Arah
Posisi
Sebab-akibat
Aksi
Symbol:conventional
menaracross
masjid/islamKristen
arbitrary
Symbol
Arbitrari
Konvensi
Aturan
Kode
Kultural
monumental
Denotation Connotation
NaturalInnocent
LiteralLogic
EksplisitCommon sense
SingularDenotative meaning
CulturalValueSubjectiveEmotionImplisitInterpretativePluralConnotative meaning
Denotasi/Konotasi
The order of denotation refers to the common‐sense, obvious, literal meaning of the sign.Connotation describes the interaction that occurs when the sign meets the feelings or emotions of the users and the values of their culture.(John Fiske, Introduction to Communication Studies, Routledge, 1992.
Architecture, besides denoting a utilitarian function, refer to a certain conception of inhabitation and use, they may connote an overall ideology that has informed the architect’s operation.
(Umberto Eco, “Function and Sign: The Semiotics of Architecture”, dalam Neil Leach, Rethinking Architecture, Routledge, 1997
Denotasi/Konotasi Arsitektur
Denotasi
utilityhabitexpectationprimary function
Konotasi
ideologisymbolicsocial relationsocial statussecondary function
Metaphor
Implicit or explicit comparison between sign systems. The effect of metaphor is to ‘inject’meaning from one sign system to another. (1)
A process of transposition from one sign system to another. (2)
The basic principle of metaphor is “likeness”, often a new or innovative likeness between two (or more) things -- iconic
1. Tony Thwaite, Tools for Cultural Studies, MacMillan, 19942. John Fiske, Introduction to Communication Studies, Routledge, 19903. Sheldon Sacks, On Metaphor, University of Chicago Press, 1989
Metaphor
1. Transfer (replacement, substitution, translation), namely a process of transfer of one sign system to another.
2. Similarity (iconicity, analogy, likeness)
A Bsimilarity
transfer
Basic Principle
Wings Museum
The Wave Bolgen, Denmark
Codes
CodeThe convention may be implicit or explicit, and this is one of the (flexible) boundaries which separate technical codes from poeticcodes. (1)
Code are social constructions, shared by a group, the positions they provide for addresser and addresse are necessarily social positions. (2)
Code refers to systematic bodies of status or rules. Something secret—a set of figures or letters or symbols with arbitrary meanings. (3)
A code establishes the correlation of an expression plane with a content plane. (4)
1.Pierre Guiraud, Semiology, Routledge & Kegan Paul, 19882.Tony Thwites, Tools for Cultural Studies, McMillan, 19943. Arthur Asa Berger, Signs in Contemporary Culture, Longman, 19844. Umberto Eco, A Theory of Semiotics, Indiana University Press, 1979
1. Enggineering code2. Structural code
(bentangan, sistem lantai, sistem atap, kolom, fondasi, wiring, pencahayaan
Technical Code
1. Typological codes
2. Spatial types
(circular plan, open plan, labirin, pencakar langit)
Contoh: kamar tidur dekat wc
tangga tidak menuju jendela
Syntactic Code
1. Denote Primary Function(atap, jendela, tangga)
2. Connote Secondary Function(neo-Gothic, triumphal arch, tympanum, keong mas, sydney opera house)
3. Connote Ideology (dwleller)(kamar tamu, kamar tidur)
4. Typological Meaningberdasarkan tipe fungsional atau sosial
(rumah sakit, villa, sekolah, istana, stasiun kereta api)
Semantic Code
Codes (Jencks)Kode Content:
Tanda Way of Life
Tanda Aktivitas BangunanTanda Ide dan Kepercayaan TradisionalTanda Aneka Fungsi
Tanda Makna Sosio-antropologisIkon Kelas Sosial/ekonomiTanda Motivasi Psikologis
content/expressionCE
etnis, hunian, kenyamanan
change, personal, jual, beli, etc.
Ikonografi
use, aktivitas sosial, kemampuan struktur, lingkungan
proxemics, dimensi sosial, manusia
nilai lokasi, status sosial, prestise
kode seksual, gender, unconscious
Kode Expression:
Tanda Manipulasi Ruang
Tanda Surface Covering
Tanda Artikulasi Formal
topologi, lay-out, interior, eksterior, ruang kosong
ritme, warna, tekstur, proporsi, ukuran, smell, tacticle.
volume, massa, densitas
New Code
The aesthetic sign is generally iconic and analogical. Aesthetic signifiers are perceptible objects.
By virtue of their iconic character, aesthetic signs are far less conventionalized and thus far less codified and socialized than logical codes.
Overcoding is a new code that is apparently spoken by only one speaker, and understood by a very restricted audience; it a semiotic enclave which society cannot recognize as a social rule acceptable by everyone.
Such a type of private code is usually called an idiolect. The rule governing all deviations at work at every level of a work of art, the unique diagram which makes all deviations mutually functional, is the aesthetic idiolect.
(Umberto Eco, A Theory of Semiotics, Indiana University Press)
Aesthetic Code
Bahasa berkaitan pula degan ekspresi atau gaya bahasa. “Dialek” (dialect: dia-, antara + legesthai, berbicara) adalah adab atau cara mengekspresikan diri dalam bahasa atau seni, yang dibedakan berdasarkan ucapan, grammar atau vocabulary.
Dalam arti khusus khusus, dialek menjelaskan keragaman ucapan yang berbeda dari bahasa standard atau resmi atau pola ucapan dari kebudayaan di mana ia berada.
Dialect
Sociolect atau “dielek sosial” (social dialect), adalah keragaman ucapan atau gaya bahasa yang digunakan oleh sebuah kelompok sosial: menghasilkan dialek sosial (social dialect) dan “gaya sosial” (social style).
Sosiolek melibatkan keterikatan pada aturan, kode atau kebiasaan sebuah komunitas atau masyarakat, sebagai bentuk identifikasi individu-individu dengan kelompok sosialnya
Sociolect
“Idiolect” adalah “bahasa seorang individu yang diucapkan dalam gaya yang pasti dan konsisten”(Malmkjaer). Idiolectmenghasilkan “pola” atau “gaya individu”, yaitu ungkapan yang dilakukan secara berulang dan konsisten.
Idiolek adalah “penciptaan kode radikal (code making), yang melibatkan perubahan kode (code changing), sehingga menciptakan “fungsi-tanda yang idiosyncratic dan orisinil”. Ekspresi membawa pada situasi “deviasi dari norma-norma umum” dan kode-kode sosial yang ada. (Eco)
Idiolect
Penemuan moderat (moderate invention), yaitu modifikasi kode yang sudah ada, untuk mengubahnya atau menemukan kode-kode yang secara parsial baru.
Penemuan radikal (radical invention), yaitu penemuan kode yang revolusioner, yang sama sekali belum dikenal, dipahami dan t dimaknai (“lukisan abstrak dan tak dimengerti”, dst.).
Penemuan ironik (ironic invention), yaitu penemuan kode-kode melalui rekombinasi kode-kode yang sudah ada melalui mekanisme “kode ganda” (double coding) dan intertekstualitas, untuk menghasilkan perbedaan.
Inovasi Kode
Bee, Korea
Lilypad, Asadov Alexander
Lima Kode
Roland Barthes, S/Z, Hill & Wang, 1974
KODE CHARACTERS
Hermeneutics Enigma, Question, Delay, Conclusion
Semantic Connotation, Seme
Symbolic Contrary, Antithesis
Proairetic Sequences, Time, Narrative
Cultural Knowledge, Wisdom
Hermeneutic Semantic Symbolic Proairetic Cultural
Double Coding
Intertextuality is a transposition of one or more systems of signs into another, accompanied by a new articulation of the enunciative and denotative position.
Any signifying practice is a field (in the sense of space traversed by line of force) in which various signifying systems undergo such transposition
A text is constructed as a mosaic of quotations; any text is theabsorbtion and transformation of another.
Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art, 1989.
SrN Sr3 Sr2 Sr1
IntertextualityIntertextuality
Two verbal works, two utterances, in juxtaposition, enter into a particular kind of semantic relation, which we call dialogical. Dialogical relations are (semantic) relations between all the utterances within verbal (or visual) communication.
Two languages, two sign systems, two codes intersect one to another in creating a new semantic field.
Mikail Bakhtin, The Dialogical Imaginations, 1990
Jencks, What is Postmodernism?, 1986
CODE A
CODE Z
CODE AZ
Double Coding
Keyakinan akan titik balik sejarah (historical reversal), dengan merayakan pandangan ke masa lalu (nostalgia)’
Merayakan prinsip ‘peminjaman’ (borrowing), daur ulang (recycling), pengkopian (copy), mimesis, rekontekstualisasi, danreinterpretasi)
Bersifat ‘anti‐sejarah’ (anti‐historic), yaitu sejarah sebagai ‘garis linier kemajuan’.
Pastiche
Sebuah komposisi seni di mana ungkapan karakteristik seniman yang ada diimitasi untuk membuatnya tampak absurd,
Parodi adalah imitasi yang bermuatan kritik, kelucuan, kejanggalan
Karya asli disimpangkan arahnya, sehingga menghasilkan efek-efek kelucuan.
Linda Hutcheon, A Theory of Parody, The Teaching of Twentieth Century Art Forms, Methuen, 1985
Parodi
Segala jenis seni palsu (pseudo‐art), senimurahan, seni tanpa selera, selera rendah atau seni rendahan.
Selera rendah dimanifestasikan oleh lemahnya ukuran atau kriteria dan sensibilitas estetik pada satu karya.
Gillo Dorfles, Kitsch: The Antology of Bad Taste, Studio Vista, 1969
Kitsch
Sr1 Sd1
Sr2
SrN
Sd2
SdN
Love
Differance
Difference
Delay
Flower
Death
Bank
War
‘Gram’ : ‘a structure at the same time a movement, which can not be seen in the scheme of a binary opposition.
Differance: a free play of difference, that is, a free movement from one signifier to another indefinitely.
Spacing: a kind of interval between two or more terms (passive/active, etc.) in the condition of indecidability.
‘Diseminasi’ (dissemination): a condition of nothingness or emptiness of meaning as the result of the deconstruction of the relation between signifier and signified.
Deconstruction
Deconstruction gains all its force by challenging the very values of harmony, unity and stability, and proposing instead a different view of structure: the view that the flaws are intrinsic to the structure and cannot be removed without destroying it.
Andreas Papadakis, Deconstruction, Academy Editions, 1989
Conclusion