nieodzownym elementem sztuki, a więc też architektury, która również potrzebuje . Ideogramy architektury, Między znakiem a znaczeniem (Ideograms of archi-. W architekturze współczesnej detal jest częścią dzieła. i luźno związane z architekturą, mogą być bez większe . [4] J. Krenz, Ideogramy Architektury. Między. Jacek Krenz, Gdansk University of Technology, Faculty of Architecture, Faculty Member. Studies Architecture, Painting, and Drawing.

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Skip to main content. Log In Sign Up. Between Sign and Meaning. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher or author, except in the case of a reviewer, who may quote brief passages embodied in critical articles or in a review.

The essence of architekhury is not to see or argue, but to interpret. Michel Foucault, Les mots et les choses. Between Sign and Meaning Architecture needs meanings in of creativity which is ldeogramy beginning of order to become a valuable element all meanings, can be looked for in the of culture in the environment of space.

A person Creation of the architectural form whom I should thank here is Mr. Ale- has always been the main field of my xander Wallis, who turned my atten- theoretical and practical interests.

In the book Architecture of a feeling that such most meaningful the Meanings I pointed out architekktury the processes take place at the crossro- essence of architectural forms derives ads of different disciplines of Art. The- from its semantic layer. Now I would ir diffusion and mutual influence legiti- like to concentrate at the stages pre- mates the important power of creation ceding the emergence of the final that concerns not only an individual form of design, and present methods piece of art but — in general — builds and tools useful to build the sphere of a lot of tendencies and styles.

Many meaning in architecture. All other representa- writing is to a writer. With time, sket- tions, whether three-dimensional or ching becomes an almost intuitive the real model, come at a later. Drawing accom- nal process. The intention is transla- panies each stage of the design pro- ted into lines, graphic traces are cal- cess.

It is not only an essential tool led to life to crystallise and give it a and medium, it also determines form, certain shape. With the first which is treated as a way of explo- lines, a gradual morphologisation of ring, trying out variants and searching the idea takes place.

The drawing is for form, enhances the way we see therefore a significant, possibly the with a cognitive reflection, thanks to most significant beginning of the pro- which we may comprehensively eva- cess, which enables the creation of luate the subsequent stages of deve- forms, to be followed by the verifica- lopment of a given concept.

Each ver- tion of their rightness. It is the visu- sion brings hidden dimensions, ide- al imagining of design thought and as and things to the surface. It helps the designer develop a con- cept, which evolves gradually, aided throughout the process by sketches. A drawing com- interpretations possible. Sketches, ments and registers specific stages especially in the initial stage, are an in the course of designing, and then invaluable aid, making possible the presents a final solution to the pro- quick verification of the correct- blem.

It is also often successful in ness of a given solution, its relation helping with the search for solu- with surroundings, and its function tions. Particularly helpful here, are and structure.

A sketched form of synthetic forms of drawing, such plans and cross-sections allows for as the sketch and the ideogram. Sketches and ide- on the quintessence of form and ograms are also used to present a meaning. The sketch and sign seems more apt here: However, on damental qualities aside, attempt to the design level, we can say the ide- additionally encompass a layer of ogram is a lapidary, conceptual guide meaning, to convey content.


An ide- in the process of creating architectu- ographical drawing combines the ral spaces, which allows one to not activity of both brain hemispheres: At the same the left ,which conducts verbal ana- time it is a simple and effective means lysis; the right, which bases on thin- of communication between partici- king in images.

As we will see further, ideograms It plays a significant role in the defi- can speak of the form they represent nition, the conceptual-visual crystal- in a variety of ways.

This depends on lisation, and the communication of many factors which will be discus- meanings contained in an architec- sed; however, in general we may sta- tural work. As a graphic sign, it is, in te that they indicate a degree of meta- itself, a symbol, a mental shortcut in phorisation and a way of distributing the place of a complicated whole. It accents of meaning. They can act is the quintessence, the core, and at as a symbolic representation of the the same time, an indicator for artistic architectural concept of a building, expression.

Drawing on the Right Side of the Brain. Introducing order requires the Every designer, as they gain expe- evaluative identification and orga- rience, works out their own individual nisation of general concepts. Such network of such meanings and classi- a need stems from the longing for fiers. They are the of negative ones, is a system of classi- ones that indicate whether the boun- fiers which are to be helpful in deter- daries of professional ethics plagia- mining the quality and significance of rismor simply good taste, have been the meanings we intend to write into transgressed.

All terms com- bine information with an evaluation. Such classifiers serve the designer The list of classifiers below is only and the recipient equally, as first they a beginning and a proposition: It is on these grounds that both par- ties, the author of the design and its 2 The role of antonymy in teaching architecture is discussed by Krzysztof Bizio in Antynomiczny character nauczania architektury. An antonymic ideogram which shows, in a metaphorical way, an at- titude towards rain.

On the one hand archi- tectural operations aim to protect from the rain, on the other, rainfall is a necessary sour- ce of water and it brings freshness and joy. Rain in Architecture and Urban Design. Ideogram and interpretation 81 Picturing concepts: Foucault square circle presents four figures which we will use here. Conveniencia — appropriateness, order based on the association of and matching of things of similar proper- ties within a system.

Aemulatio — emulation, similarity.

Jacek Krenz

Analogia — a more subtle repro- concavity convexity duction of the relation, opening to interpretation. Sympatia — the farthest proximity leading to a common identity.

The above principles, together with the aesthetic categories listed in the preceding chapter, give indi- superficiality penetration cations for the conceptual search for the principles of composition. The last one lives by its own laws, inclu- ding the correct use of, among others: It Pedro Martins, UBI is one of the basic figures of human creativity and a significant proper- ty of our perception.

Contrast gives notions clarity, helps in their ordering and classification. By emphasising the differences between notions, bipola- rity makes it easier to capture and define meanings. It reveals indiscer- nible properties of the idea and the unity fragmentation object, enhancing them with a bro- ader perspective. Ideogram and interpretation 89 1.

JK Principle of composition: Indicates focal elements, organises them in a superior order in the form of a setup of smoothly connected internal and external spaces. Thanks to the freely flowing volume, walls and surfaces, the entire layout acquires an aesthetic homogeneity, while the irregular meandering allows each segment to be individualised to some degree, facilitating identification. According to authors the aluminum roof flows freely between trees as smoke.


Tools drawing convention and technique. It determines di- dation for determining the style and rection, describes a plane, based on mood of the drawing. By using a thick various configurations and principles pencil, we obtain a distinct stroke, whi- of ordering classification, rhythm, di- le a pen, marker or rapidograph give stances, etc.

A moving point creates ordinary strokes of a rather homoge- a line. A shifting line creates a plane nous thickness. Similarly, vigorous stro- the concentration of strokes gives a kes can give a more bold effect than shaded surface. These ste- gosz, reotypes were created as the result of the multiple association of particular symbols with a particular category of phenomena. They exist in the indivi- dual as well as the collective conscio- usness or subconscious of all societies connected by a community.

They are abbreviated, simplified, slightly eva- luative, often symbolic images of the elements of environment. Frutigier discusses indepthly the elements of the geometry of ideograms and the relationships between elements in Man and His Signs.

Liungman presents an extensive catalogue of ideograms in Thought signs: The book is a very thorough source of ideograms of the western world, from Cro-Magnon engravings to contemporary graffiti. Large fragments are also available on the Internet: The type of tool used affects the type of line and, in effect, the cla- rity of the ideo- gram: However, it should be noted that the recipient is also significant, and we should also keep them in mind when choosing the right technique and method of presentation.

To attain a suitable degree of simpli- fication, it is important to take note of means of expression, such as: We can also turn to effects obtained by using trans- formations: The formula shows the levels of applying the ideographic method.

Jacek Krenz – Wikipedia

The upper section refers to three A, B, C ways of using ideograms in the cre- ation of an architectural form, the lower — in its perception. However, the idea of the the meander as a schema. The drawing reflects a direct likeness of the volumes and their location with respect to each other, the space around them — the loose, sketchy black architekturj and signs resemble musical notation. The following has been outlined: We see the line of the roofs of subsequent halls, situated around a central square.

The lowest line indicates the location of the park, a harmonious counterpoint for the buildings which rise above it. The shapes resemble the waves of resounding sounds, as when playing music.

At the marketing stage, it is en all participants of the design process. Later, thanks to its bes the relationship between the spa- shortcut-like quality, it is also a useful ce and its user. Piotr Szulc, GUT Ideograms metaphorically shows how the architectural form in mimetic way ideotramy prets a rocky desert landscape: Raw sculptural architekhury em- phasize the spectacular scenery of the surroundings.

The theme ideogray arbitrary, however it When creating the ideogram, one is suggested that it be a motif inspi- should start by capturing the most red by culture literature, film, music, important traits of the recipient and etc. In analy- and spatial environment. Next, these words are can be favourite or well-known artists represented through graphic forms 2 Basista A.: Composition of a work of architecture.

Models of indi- vidual houses were put together to form the model of the city on a scale of 1:

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