Kapil Sinha REPORT

SEMIOTICS IN ARCHITECTURE: ARCHITECTURAL REPRESENTATION AND MEANINGS IN LEGISLATIVE BUILDINGS

KAPIL KUMAR SINHA SCHOLAR NO.: 2010BARC023

A DISSERTATION SUBMITTED AS A PART OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR OF ARCHITECTURE

DEPARTMENT OF ARCHITECTURE SCHOOL OF PLANNING AND ARCHITECTURE, BHOPAL.

9TH SEMESTER YEAR: 2014

SEMIOTICS IN ARCHITECTURE: ARCHITECTURAL REPRESENTATION AND MEANINGS IN LEGISLATIVE BUILDINGS KAPIL KUMAR SINHA SCHOLAR NO: 2010BARC023

A dissertation submitted as a part of the requirements For the degree of Bachelor of Architecture DEPARTMENT OF ARCHITECTURE SCHOOL OF PLANNING AND ARCHITECTURE, BHOPAL.

Dissertation Committee ……………………………….…………… Ar. Parama Mitra ………………………………………….… Ar. Saurabh Popli …………………………………………….

Teacher-in charge

Advisor/Guide

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Abstract Semiotics as a discipline has gained recognition in many sphere. Semiotics as a structural tool has been used for methodologically comprehending this process meaning formation, i.e. for the interpretation of architecture. Architecture is system of sign and symbols whose meanings are evolved from the interpretation of the society within which it is produced. Interpretations are provided by ordinary people, elite members of society and the architect himself. Interpretation are generally beyond the architect’s intention or control, therefore a strategy is required where the architect is engaged in the mechanism of interpretation thereby creating a meaningful architecture. Architecture has always been a media for representation of point of view. Since from history thoughts and ideas are part architectural expression. Architecture is a tool of transforming abstract concepts into physical reality. Symbolism becomes more important when it comes to designing of public built forms. Representing people of state and symbolizing state power is a part of legislative architecture.

Keywords: Semiotics, Symbolism, Sign, Legislative Buildings, Interpretation,

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ACKNOWLEDGEMENTS I am forever thankful to Prof. Rachna Khare HOD of Architecture to giving me an opportunity to present this report and her continuous guidance. I am always grateful to my mentor Prof. Saurabh Popli for his motivation, enthusiasm and guidance. I would also like to thank Ar. Parama Mitra for her encouragement and fruitful comments.

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CONTENTS

TITLE

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ABSTRACT

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ACKNOWLEDGEMENT

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CONTENTS

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LIST OF FIGURE

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1. INTRODUCTION

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2. SEMIOTICS 2.1 Architecture as Language

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2.2 Character of Sign and Symbol

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2.2 (i) Charles Jencks Model

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2.2 (ii) Giovanni K Koening Model

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2.2 (iii) Bonta’s Model

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2.3 Meanings of the Architectural Symbol

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3. CASE STUDY 3.1 The Manitoba Legislative Building 3.1 (i) Building Description

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3.3 (ii) Grand Staircase Hall

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3.3 (iii) Rotunda

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3.3 (iv) Conclusion

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3.2 Parliament House, Canberra 3.2 (i) Building Description

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3.2 (ii) The Design

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3.2 (iii) The Chambers

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3.2 (iv) Cabinet Room

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3.2 (v) The Forecourt

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3.2 (vi) The Great Verandah

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3.2 (vii) The Foyer

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3.2 (viii) The Great Hall

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3.2 (ix) Conclusion

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4. CONCLUSION

REFERENCES

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LIST OF FIGURE

Figure 1: The Semiological Triangle ................................................................................................................. 3 Figure 2 : Hindu temple Door at Angkor Wat.................................................................................................... 4 Figure 3 : Buland Darwaja,Agra........................................................................................................................ 4 Figure 4 : Bonta's Model (Architecture and its Interpretation) ......................................................................... 5 Figure 5 Stair Case............................................................................................................................................ 6 Figure 6 Speaker Chair in Parliament Seatings ................................................................................................ 6 Figure 7 The Palace Complex, Brasilia ............................................................................................................. 7 Figure 8; North Front Elevation ......................................................................................................................... 8 Figure 9 : Pediment at north elevation .............................................................................................................. 9 Figure 10 : The Golden Boy and the dome ...................................................................................................... 9 Figure 11 : Semi Circular Mural depicting World War I .................................................................................. 10 Figure 12 : Speaker Chamber Mural............................................................................................................... 10 Figure 13 : Grand Staircase Hall..................................................................................................................... 11 Figure 14 : Rotunda......................................................................................................................................... 11 Figure 15 : Parliament House, Canberra ........................................................................................................ 13 Figure 16 : Top View of Parliament House...................................................................................................... 14 Figure 17 : The Senate Chamber and House of Representative ................................................................... 14 Figure 18 : Cabinet Room ............................................................................................................................... 15 Figure 19 Mosaic Work in Forecourt ............................................................................................................... 15 Figure 20 : The Great Verandah ..................................................................................................................... 16 Figure 21 the Foyer ......................................................................................................................................... 16 Figure 22 the Great Hall .................................................................................................................................. 16

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Introduction In a society like ours, there is always clash between old and new, religion and secularism, evolution and revolution, tradition and modernity, craft and technology. Diverse attitude of our people towards technologies, tastes, values, and source of inspiration is the problem the architect has to face and it becomes challenge for the architect to express them. The task of architect is to create a built form that is easily identifiable by people of the society as their own. Architects designing in such a society have always dilemma of what language to use in order for architecture to depict people’s beliefs, traditions, culture and identity; and how to represent them in reality1. The discussion of Architecture has always revolved around the relationship of form and functions. Function has been held to give meaning to form, while form has been held to express function. In fact, this proposition has formed the rational basis for architecture discourse within avant garde theory for the last century. This proposition assumes that the meaning of the architectural forms is the result of natural expression. Function is one aspect, and only one, through which form achieves meaning, denotation. Beyond that, an architectural form express meanings which are beyond its function. These Expressions are most relevant to a society and its culture. The meaning of Architecture can only exist within its cultural specificity of time and place. In his Elements of semiology, Roland Barthes writes,” A truly meaningless architecture remains outside realms of culture and thus it would cease to be architecture”2. Architecture is a cultural product, and its meaning is understood when we study architecture as cultural system, a system of sign and symbols, through which people identify with their environment and then their environment becomes meaningful. Meanings in architectural forms depends upon the process of interpretation, which is shaped by the society. It is argued that architecture is generally has two level of messages. The first message is for the ordinary peoples; second is for the members of the elite who possess the knowledge which enables them to grasp the more sophisticated message. The former message gains the world wide acceptance and has a wider social base. The built form hence becomes not just the housing of people but also the representation of society and its culture.

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Amer A. Moustafa, Architectural Representation and Meaning R. Barthes, Elements of Semiology and writing Degree Zero

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Semiotics

Architecture as Language Semiotics is the science of studying systems of sign within a culture and society. The culture can be understood as a system of communication. Semiotics has always been challenge to architecture. It has been argued that architectural objects are not made to communicate but rather to functions. For example roof serves to cover, and a stair serves movement from one level to another. According to a research it concludes that architecture is experienced as communication, even though it is recognized by functions.3 Man needed shelter from wild weather and aggressive animals, man finds recess in a mountain, cave. Later, he look around and see enclosed space that might be vaulted; an idea of a cave comes to his mind. The cave for him is cut off space wherein he can protect himself from rain and attacking animal. When next time he seeks shelter, his idea of shelter is cave. There is an association as the semiotics term goes, developed in his imagination that cave is where one can get shelter and safety. He can later recognize a cave as idea of shelter and safety is suggested to him without his intending or needing to take shelter. The model of cave is codified on an individual level as idea of shelter. As a human being, he should be able to represent the idea verbally or by illustration. Roland Barthes writes that: “as soon as there is a society, every usage is converted into as sign of itself. For example the bulb is used for the purpose of lighting, but this use cannot be dissociated from sign of innovation or idea or thinking. The bulb symbol becomes sign function, it communicates the function to be fulfilled.4 In fact, in architecture apart from the possible function of the object, various other meanings are attached with that object, which is interpreted by viewer and to use them in their own way.

Characterization of Sign and Symbols Architecture is system of signs and symbols, and it is important to categorize these signs. For this semiological triangle was developed by O.K. Ogden and I.A. Richards from the theory of Ferdinand de Sassures, a leading figure in field of semiology. According to this triangle each sign has to be seen as two entity; a signifier (graphic equivalent) and a signified (the concept). The relation between signified and signifier is always changing according to preference of individual. The letter dog is a signifier that evokes the signified dog to the person who know English. The two entities of the sign are unified by the social 3 4

Umberto Eco, Function and Sign: Semiotics of Architecture R. Barthes, Elements of Semiology and writing Degree Zero

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convention. Saussure proposes that the relation between the whole sign and what it refers to is arbitrary. Each sign in a system has meaning by virtue of its differences from all other signs. Ogden and Richard developed Sasure’s notion of sign. The two sided entity was developed into a three sided model, the semiological triangle. The model is composed of Sassure’s signifier (symbol) and his signified (reference) and they added a third element referent (actual object). Their triangle proposes that, in most cases, there is no direct relationship between symbol and referent.

Figure 1: The Semiological Triangle According to Charles Jencks, semiological triangle addresses the relationship between the three sides of the triangle: symbol, reference and referent5.

Charles Jencks Model In architecture, forms can be symbol, a reference, and referent. If a door is taken as an example Door is a symbol which communicates access (referent) then the referent is the hard thing to define. Is it the physical reality of the door as an object? But in case what is relation between referent and reference if door refers to the function in fulfills, there is no separation between referent and the symbol.

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Charles Jencks, Meanings in Architecture

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Figure 2 : Hindu temple Door at Angkor Wat

The problem get more difficult when we apply this model, the triangle to the Buland Darwaja (Victory Gate) such a gate is a symbol, while it denotes a passage, but it clearly connotes “Victory” or “magnificence” of it. Here the reference would replace the referent; otherwise the referent is simply the symbol in itself. Therefore, the semiological triangle does not characterize an architectural sign.

Figure 3 : Buland Darwaja,Agra Giovanni K Koening Model Another approach to characterize the architecture sign is given by Giovanni K Koening. He defined the architectural sign from the perspective of behaviorist, observing that he would be able to influence the behavior of the people living in neighborhood.6 This influence would be more profound and prolonged than the verbal order like “sit down”. 6

G Dorfles, Structuralism and Semiology in Architecture

5 According to Koening Architecture is a system of “sign vehicles” that promotes certain kinds of behavior. Hence the architecture signs has to be verified on the basis of response sequence that architecture creates. The meaning of architectural form in this respect depends on the corresponding behavior. This approach is not appropriate for characterization because it is dependent on human responses, which may vary. Human responses are not always recorded through history so it is not available to research the meanings of signs. Bonta’s Model According to this approach developed by Bonta, the term indicator is introduced. An indicator is directly perceivable event so that it is possible to learn something about other events which are not directly perceivable.7 For example When queue of car s are jammed in road, a sudden sound of siren and image of police car can be inferred as something unusual happening, it might be accident, fire etc. thus the driver makes the way for the Police car to move. This is a direct perceivable event that suggest some accident. The Traffic signal on road are different type of indicators. Traffic signals are indicators that are supposed to fulfill two conditions. Firstly they are deliberately produced by signal to transmit some kind of information. Secondly they are recognized by the driver as such to communicate a certain message. Signals therefore have form and meaning; interpreter and emitter. Index is another kind of indicator that is not used by the emitter deliberately to communicate. Indexes are understood by the interpreter as unintentional part of the emitter. Unlike the traffic signals meaning of index is dependent on individual past experiences and socio cultural boundaries. Another kind of index is intentional indexes that are intentionally on the part of the interpreter, but not perceived as such by the interpreter. Pseudo Signals are indicators that are believed by the interpreter to have been intentionally produced by the emitter without there being so. Different types of indicators according to their intentionality is classified in the Bonta’ Model.

Figure 4 : Bonta's Model (Architecture and its Interpretation) In architecture indicators operates within a system of expressions which consist of signals, indexes, pseudo-signals and intentional index. System of expression in architecture could be any combination of these indicators, while in Verbal language expressive system only composed of signals. In architecture Indicators are in continuous change, architectural form that are signal in one context could become index in another context. The context could be time period or geographical ones or both. 7

J.Bomta, Architecture and its Interpretation

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Meanings of the Architectural Symbols According to Bonta’s model, there are indicators that communicates i.e. signal and pseudo signals; and ones that indicates i.e. indexes and intentional indexes. Communicative signals can be considered to be have two levels of meaning i.e. denotation and connotation. Architecture form can be an indicator of a conventionally denoted meaning i.e. its functionality. For example a stair denotes the function of moving from one level to another level. This codified relation is expected to be understood by everyone so that relation between form and function is fulfilled. An architectural form therefore should not only make function possible but also it should communicate function to its user. This communication habits are established in a specific culture.

Figure 5 Stair Case If Architectural forms denote its functions it should also connote idea of this function. As mentioned before cave for early man denotes the function of shelter. As time passes meaning associated with the cave got changed since the functional denotation changed with the tome A chair communicates that a person can sit on it. It denotes its function i.e. one can sit on it.A chair with ornamentation on the other hand would communicate more information. Although its primary function is sitting but some special features in its design i.e. bigger in size, decorated makes it connote that the person sit on it is of special dignity. This connotative meaning may overpower the denotative meaning. Considering in India throne might not necessarily connote authority, but ‘democracy’, ‘power’.

Figure 6 Speaker Chair in Parliament Seatings

7 Meaning in architecture are purely based on the cultural context.8 Le Corbusier and Ozanfant have distinguished the sensation to form in two category i.e. primary and secondary. Primary sensation is purely determined by color and shade; and are constant, universal for all men regardless of their race, class, and creed. While Secondary sensation are based on individual’s background and culture. Primary sensation are supposedly more significant than secondary ones. But the meaning are socially bounded. For example in Brasilia palace complex was built of primary shapes, all in light colors and simple pattern. The congress hall was composed of two semi spheres and rested on a flat plane. Therefore these shape should release same sensation of harmony and balance. But what happened was differ from what Corbusier wished. The two high rise of the palace complex symbolized the waste of money spent on the project. It is though because meanings are purely based on cultural and social context, which the high rise, was not accepted by the peoples.9

Figure 7 The Palace Complex, Brasilia

In architecture usually mix up occurs. Generally speaking symbol is an architectural form that have connotative meanings, meaning that are beyond denotative functions. In semiological triangle we have seen that when it is applied to architectural forms it is always difficult to separate symbol from referent. Now in case of Bonta’s diagram which classifies indicators according to two criteria their intentionality by the emitter and their perception by the interpreter. So we can say an architectural forms are symbol when its communicative message is perceived as being intended.

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Amer A. Moustafa, Architectural Representation and Meaning Amer A. Moustafa, Architectural Representation and Meaning

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Case Study 1. The Manitoba Legislative Building Manitoba Legislative building is a remarkable monument to masonic architecture and ancient temple design. Its iconography, replete with arcane imagery and estoric lore, honors numerous deities from the classical and ancient near eastern world. The building’s principal architect is Frank Worthington Simon. Building Description The building is a steel frame construction on concrete caissons. The steps are granite while exterior walls are tyndall limestone. The roof is flat with a tar and gravel covering. The building has an H shaped plan with the ministerial and civic service offices in the wings and the grand staircase, public rotunda, and legislative chamber in the center connecting the four wing. The overall dimension are 328 ft by 337 ft and height of the dome is 240 ft. There is a small but spacious entrance which opens up into a very large, two story grand staircase hall. This is the most dramatic space along the axis. The grand staircase leads to a smaller, more enclosed rotunda space. The exterior display a combination of classical and non-classical details. The north front elevation shows two wings and the central projecting portico with six fluted ionic columns, a pediment, and a sculpted tympanum flanked by a pair of Egyptian sphinx. The female figure of Manitoba sits full front in the middle. Two figures of Labor and capital, clasp a jar from which a stream of water fertilizes the earth. Next is a ploughman and a horse, tilling the soil balancing the bull. Between this and Manitoba is a man and woman bringing the fruits of the soil balancing the family group.

Figure 8; North Front Elevation

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Figure 9 : Pediment at north elevation The two sphinxes on either side of the main pediment, represent Wisdom and Knowledge. The irregular shaped octagonal dome over a square colonnaded drum is again placed over the rotunda. The four large groups at base of dome represent Agriculture, Labor, Science and Art. The fifteen foot Golden Boy, perched on top of the dome variously representing success, progress, enterprises and eternal youth

Figure 10 : The Golden Boy and the dome The east side of the pediment shows a group of two figures on either side of the pediment representing Peace. The two seated figure flanking the east entrance la Verendyre, the Canadian explorer and Lord Selkirk founder of the red River Settlement. The West elevation also shows a group of two figures represent General Wolfe and Lord Dufferin, third governor General of Canada. Interior Walls are tyndall limestone with element of the both classical and non-classical details. There is a semicircular mural over the entrance to the legislative Chamber subjected on Canada’s War Record depicting story of World War I.

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Figure 11 : Semi Circular Mural depicting World War I The ceiling of the Legislative chamber depicts the ancient code of law, the five codes of law, and the ten virtues. Behind the speaker chair figures are present which represents Courage, Vigilance, Sacrifice, and loyalty; five great legislators; and a scene showing justice flanked by wisdom and knowledge and other figures of humanity and the tree of life.

Figure 12 : Speaker Chamber Mural

Grand Staircase Hall (Room of Protection) It is called room of protection because of its five distinct protective icons 1. Two Bronze Bison, 2. Fourteen Lion Head, 3.Eight Cattle skull, 4.Head of Medusa, 5.Head of Athena. In the ancient world each figure was venerated for its unique power to protect from bad luck and evil. On the third floor supporting a cornice of the north wall is a reproduction of the Caryatid Porch on Athenian Acropolis. The figure carry a scroll and key in their hands which is to represent the Hermetica, a text on magic, alchemy and astrology. Thus it represents wisdom of light in ancient mysteries of Egypt.The staircase hall is most fascinating feature is sunlight entering through ceilings ritually empowering each five protection icons.

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Figure 13 : Grand Staircase Hall Rotunda (Room of Transformation) Above the staircase Hall there is a circular balustrade regarded as the Legislative Altar which depicts the temple of Persephone, whose altar is precisely the same as legislative building. The Rotunda has five patterned rosettes, eight Corinthian columns and lighting fixtures with thirteen bubs. These number (5, 8, and 13) are sequence of Fibonacci Series which is shown to produce the golden proportion, a divine constant by the Greeks and is the basis of temple structure in Egypt as well as the gothic Cathedrals.

Figure 14 : Rotunda

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Conclusion The Manitoba Legislative building is encoded with powerful images intended to guide, direct, shape and inform the lives of the people who act as representatives in government. The Building is a statement about hopes and dreams, history and culture of Manitoba which is depicted by symbolic metaphors, ancient ideology and Masonic philosophy. The message hidden in its form is multilayered and employs symbolism in a context. According to Jencks model in the case of Manitoba Legislative building Architectural form acts as referents in most of the cases where architect has put the thing directly into form so that there is no difference between the Symbol and Referent. While analyzing with the approach of Giovanni K Koening where he defined symbols from users point of view. Taking the example of the grand staircase hall which is also known as room of protection, though its functionality does defines its possibility of protection but its form has coding of protection because of the presence of protecting icons which makes this place more influential. Now through Bonta’s Model, In this case there is an emitter who is intentionally communicating a message and there is an interpreter who is unintentionally receiving the message, so the symbols used are intentional index. While in some cases where form are derived from scale and function the message are pseudo signal because emitter is unintentionally communicating message which is received by the interpreter intentionally.

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Parliament House, Canberra

Figure 15 : Parliament House, Canberra Building Description Parliament House in Canberra is home to federal Parliament. Architects Mitchell/Giurgola & Thorp have created building that is a meeting place for members of parliament and a symbol of Australia’s democracy. It is a place where decisions that shape the nation are made, a site for celebration, memorial and sometimes protest, and above all a building for the people It is 300 meter long and 300 meter wide and is the biggest building project undertaken in Australia since the 1960 The Design Design is based on two huge curved walls, each 460 meters in length which divides the parliament house into four zones. The House of Representatives, senate chamber, public space and executive government wing. Capital hill site was reserved for the people for a ceremonial public building called the capitol, which would celebrate the achievements of the Australian people. Its elevated position above parliament house symbolizes parliament is accountable to the people, who oversee their representatives. The two chambers-the house of representative and the senate are located on a line known, as The legislative axis in the members’ hall at the very center of the building beneath the Australian Flag, visible through glass skylight. This intersection is half –way between two chambers. It symbolically brings together the different elements that make up Australian Democracy- the people, the members of parliament, and the government- under the unifying symbol of the flag.

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Figure 16 : Top View of Parliament House The Site The incorporation of the building into the landscape is a key element of the design. Parliament could not built on the top of the hill as this would symbolize government imposed upon the people. The building should nest with the hill, symbolically represent rise out of the Australian landscape, as true democracy rises from the state of things.

The Chambers The two curved walls in parliament house also separate the two chambers, a division that physical represents Australia’s Bicameral parliamentary system in which laws can only passed if both houses agree. Each chambers has a distinctive architectural style. It can also be seen in the rooftops of both the chambers are angular and are finished with the red terracotta tiles. This tile is reference to the red tiled rooftops of many Australian homes The colors gradually lightens up as it get closer to the ceiling, where it combines with the natural light from the skylight to give chamber an airy, floating quality. Architect intended that this be a metaphor for free and open society.

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Figure 17 : The Senate Chamber and House of Representative

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Cabinet Room The room is located on the ground floor of the parliament house opposite the prime minister’s office. While it is one of the few rooms that has no natural light, the cabinet doesn’t resemble bunker. Rather it has a simple ‘leanness’ that is intended to represent democracy. The architect compared the room with its smooth, understand and elegant surfaces, to a large ship.

Figure 18 : Cabinet Room The Forecourt The fore court is the main entrance to Parliament House, is designed to invite people into building to observe the democratic process. The large open space, it is framed by two walls that appear to be outstretched as if in gesture of welcome. The Forecourt is paved with stone and red gravel, with a large ceremonial pool at its center. In the middle of this pool is a granite mosaic created by Indigenous artist Michael Jelson. Jagamara. The mosaic sits on an island symbolizing the Australian continent. The natural colors and hard surfaces of the Forecourt evoke the ancient land, while the mosaic refers to the Indigenous presence in Australia. The Forecourt space represents the period in the country’s history before European settlement.

Figure 19 Mosaic Work in Forecourt

The Great Verandah The great Verandah pays tribute to the tradition of the verandah in Australian Homes, which gives shelter from the sun and rain and is the place where guest are welcomed and farewelled.

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Figure 20 : The Great Verandah The Foyer The foyer is designed to be a cool and tranquil space in contrast with the open forecourt. Natural light filters from windows and skylight through 48 columns clad in grey green marble. The column creates an impression of space opening and closing, just as walking through forest.

Figure 21 the Foyer The Great Hall The Great Hall is a large space designed for ceremonial and other official occasions. Described as a ‘warm timber envelope’, it features a central skylight, and floor and wall paneling made from various Australian timbers. Known as the room of the land, the Great Hall conveys a sense of how the physical environment has shaped Australia.

Figure 22 the Great Hall

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Conclusion Parliament House is a landmark building which has become an icon of Canberra with the flag mast. The fundamental significance of the building lies within concepts of making a national place. It function both as working place for the parliament and as symbol of national unity and commitment to democratic process of government. The building form reflects the history, cultural diversity, development and aspiration of the nation. The building particularly the curved wall and flagpole is a strong symbolic element in the landscape. According to Jencks model, thoughts or concept is expressed through symbols and thus creating a difference between symbol and referent. Though the symbols and referent is not the same in this case, message coded is successfully passes to the interpreter. The building has strong message of unity and aspiration coded in its form which is more influential and profound than some written message. According to Bonta’s Model message coded in the architectural form is signal; since it has intentional emitter and intentional interpreter in most of the built forms. While in some case like use of red roof tile in the ceiling is a case of intentional index where emitter is intentional but message is unintentionally interpreted by interpreter.

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Conclusion Every architectural form is associated with some meanings. It may be calculated respond to direct need of the human or it may be symbolic code encoded it, but associated meaning are an essential requirement for effective communication.10 The studied example are successful iconic architecture produced by the great architects. Both the examples are very different in approach of symbolization of values, history, people etc. Both the buildings have almost same form of expression but are different in the form of content. The Manitoba Legislative building uses referent to connote the national identity in architectural form while Parliament House, Canberra uses symbols for the same expression. In the study of these two building it is established that culture is composed of an integration of sign and symbols operating within a society. Architecture is also a sign system like science, language, religion etc.11 Hence understanding how this system operate would achieve better communication between design and society. It is very important understand that interpretation is an action which is developed within society, and designer have very less control over the formation of meaning. The emitter produces indicators, but it is up to the interpreter to decide whether the message have same meanings the emitter intended. In this study two approaches are studied it is up to the Interpreter whether the former approach can communicate message successfully or the later one. We should bear in or mind that final judgment of the meaning of architecture is up to the interpreter i.e. society or the user. Architect work is measured in the scale of social consensus where the society’s taste matches the meaning associated to the architectural form.

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M. Salim Ferwati, Semiotics as a guide for Architectural formation Amer A. Moustafa, Architectural Representation and Meaning

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REFERENCES

1. Architectural space and greimassian semiotics, Kkristina juodinyt-kuznetsov 2. Essay on semiotics and architecture; "explaining the meaning of the symbols in Architectural, Mohammad Ali Sargazi 3. Function and sign: the semiotics of architecture, Umberto Eco 4. Masonic interpretation of Manitoba legislative building, Frank Albo 5. Architecture as language – semiotic componential analysis of architecture à la Charles Jencks, http://stadtinnenarchitektur.de/?p=410 6. The semiotics of the new parliament house, indyk, i. 7. www.nationalcapital.gov.au/index.php?option=com_content&view=article&id=254&Itemid=24 8. www.aph.gov.au