HARTAIXX2016-V014300

Summary

This script delves into the relationship between architecture and language, highlighting the influence of 20th-century linguistic theory on architectural interpretation. It discusses Saussure's theory of the sign, emphasizing the arbitrary relationship between signifier and signified, and explores the connotative levels of meaning as expanded by Roland Barthes. The script further examines Charles Sanders Peirce's modes of signification—symbol, index, and icon—with a focus on the diagrammatic quality of Peter Eisenman's Holocaust Memorial, which abstractly represents the systematic atrocities of National Socialism.

Takeaways

• 🏛️ The relationship between architecture and language has a rich history, and the 20th century saw a significant focus on how linguistic theory could interpret architecture.
• 🗣️ Ferdinand de Saussure's theory of the sign is foundational in architectural theory, emphasizing the arbitrary relationship between the signifier (sound/image) and the signified (concept/idea).
• 🔍 Saussure's theory allows for the understanding of signs beyond just linguistic, including graphic and spatial elements, which can refer to something else.
• 📚 Roland Barthes expanded on Saussure's theory by introducing the concept of connotation, where a sign can have additional layers of meaning beyond its literal sense.
• 🖼️ Barthes used the example of a black soldier saluting the French flag to illustrate how signs can carry ideological messages at different levels of interpretation.
• 📘 Charles Sanders Peirce contributed to sign theory by identifying three modes of signification: the symbolic, which requires consensus; the index, which is a direct trace of an effect; and the icon, which resembles what it represents.
• 🗺️ Peirce's concept of the 'diagram' as a special kind of icon is particularly relevant to architecture, as it captures the structural relationships of parts within a system.
• 🕍 The Holocaust Memorial by Peter Eisenman is suggested to operate as a 'diagram' in Peirce's sense, abstracting the structural relationships of the Holocaust system.
• ⏳ The operations of abstraction in Eisenman's project, such as repetition, randomness, and the temporal experience, contribute to its diagrammatic representation of the Holocaust.
• 🔒 The project's use of a grid, ground, and the erasure of names are specific abstract operations that intensify the memorial's connection to the systematic nature of National Socialism.
• 📖 Understanding Eisenman's Holocaust Memorial through the lens of linguistic and semiotic theory provides a deeper insight into its abstract representation of historical atrocities.

Q & A

What is the relationship between architecture and language that was highlighted in the 20th century?

In the 20th century, there was a growing interest in treating architecture as a language and using linguistic theory to interpret and understand architectural designs, which became an integral part of architectural theory.

Who is Ferdinand de Saussure and why is he significant in the context of architecture and linguistics?

Ferdinand de Saussure was a Swiss linguist who lectured on linguistics around the turn of the 20th century. His work, published posthumously by his students, significantly influenced architectural theory through his theory of the sign.

What are the two components of Saussure's theory of the sign?

The two components of Saussure's theory of the sign are the signifier, which is the sound or image that refers to something, and the signified, which is the concept or idea that the signifier represents.

Why is the relationship between the signifier and the signified considered arbitrary according to Saussure?

The relationship is considered arbitrary because there is no natural, causal, or functional connection between the signifier, such as the word 'cat', and the signified, the concept of a domesticated animal.

What is semiotics and how does it relate to the concept of the sign?

Semiotics is the study of signs and symbols and their use or interpretation. It extends the concept of the sign beyond linguistic signifiers to include graphic and spatial elements that can refer to something else.

Who is Roland Barthes and what did he contribute to the theory of the sign?

Roland Barthes was a French theorist who elaborated on the theory of the sign, particularly focusing on the formal aspect. He introduced the idea that a signified can also function as a signifier, allowing for layers of meaning and connotations.

What is the difference between the literal level and the connotative level in Barthes' interpretation of signs?

The literal level refers to the direct and stable relationship between the signifier and the signified, while the connotative level involves additional layers of meaning and associations that can be more complex and resonant.

What is an example of how Barthes used the concept of connotation to interpret an image?

Barthes used the example of a magazine cover featuring a young black soldier saluting the French flag. At the connotative level, he interpreted this as an ideological message about French unity and patriotism, despite criticisms of French colonialism.

Who is Charles Sanders Peirce and what are the three modes of the sign he identified?

Charles Sanders Peirce was an American linguist who identified three modes of the sign: the symbolic, which requires a conventional understanding; the index, which is a direct trace or effect; and the icon, which resembles what it represents.

What is the difference between an index and a symbol according to Peirce?

An index is a direct trace or effect of an object and does not require an interpreter to be present, such as a bullet hole indicating a shot. A symbol, on the other hand, requires a conventional understanding and an audience to interpret its meaning, such as a bald eagle representing American spirit.

What is a diagram according to Peirce, and how does it relate to the concept of an icon?

A diagram is a special kind of icon that captures the structural relationships of the parts of what it represents, rather than just looking like it. It operates not because of its resemblance but because it shows the connections and relationships between elements.

How does the concept of a diagram relate to the Holocaust Memorial project mentioned in the script?

The Holocaust Memorial project is suggested to operate as a diagram in its status as a sign, capturing the structural relationships and systemic nature of National Socialism that led to the Holocaust, through its operations of abstraction and design elements.

Outlines

00:00

🏛️ The Intersection of Architecture and Language

The relationship between architecture and language has a long history. In the 20th century, this interest was intensified as architectural theory began to incorporate linguistic theory to better understand architectural concepts. Ferdinand de Saussure, a Swiss linguist, introduced the theory of the sign, comprising the signifier (sound image) and the signified (concept). He emphasized the arbitrary nature of this relationship, which forms the basis of semiotics. This theory is crucial in analyzing representations, such as the Holocaust Memorial.

05:01

🔍 Roland Barthes and the Staggering of Signs

Roland Barthes expanded on Saussure's theory in 1957 with his essay 'Myth Today'. He introduced the idea that a sign can become a signifier for another level of meaning, leading to multiple layers of connotation. Barthes illustrated this with an example from a Parisian magazine cover, where a black soldier saluting the French flag signifies both patriotism and deeper ideological meanings about French colonialism. This theory highlights the complex and resonant nature of signs.

10:01

🔗 Charles Sanders Peirce and Modes of Signification

Charles Sanders Peirce further developed the theory of the sign by introducing three modes: the symbolic, the indexical, and the iconic. Symbols rely on collective consensus (e.g., the bald eagle as a symbol of American spirit). Indices are direct traces of effects (e.g., bullet holes as evidence of shooting). Icons resemble their referents (e.g., statues). Peirce's theory emphasizes the material and interpretive aspects of signs, differing from Saussure's purely symbolic approach.

🌐 Diagrammatic Representation in Architecture

Peirce's concept of diagrams, a special type of icon, is used to explain how abstract representations can convey structural relationships. A map is an example of a diagram that shows the relationships between parts of a city. The Holocaust Memorial by Peter Eisenman is argued to function as a diagram. Its abstract operations, such as repetition and scale, create a deep structural relationship to the system of National Socialism and the Holocaust. This interpretation emphasizes the memorial's experiential and temporal qualities.

Keywords

💡Architecture and Language

The concept of 'Architecture and Language' refers to the relationship between the way buildings and spaces communicate and the way language does. In the video, this relationship is explored through the lens of linguistic theory to interpret architectural forms, emphasizing the communicative power of architecture as a 'language' that can convey complex ideas and emotions.

💡Ferdinand de Saussure

Ferdinand de Saussure is a Swiss linguist known for his foundational work in semiotics, the study of signs and symbols. His theory of the 'sign' is crucial in the video, as it provides a framework for understanding how elements of architecture can represent ideas, similar to how words represent concepts in language.

💡Signifier and Signified

In Saussure's theory, the 'signifier' is the physical form of a sign (like a word or image), and the 'signified' is the concept it represents. The video discusses the arbitrary nature of this relationship in architecture, suggesting that the forms of buildings do not have a natural connection to the ideas they convey but are instead understood through social convention.

💡Semiotics

Semiotics is the study of signs and symbols and their use in communication. The video uses semiotics to analyze architecture, considering how architectural elements can function as signs that carry meaning, much like words in language do.

💡Roland Barthes

Roland Barthes is a French theorist who expanded on Saussure's ideas, particularly in his essay 'Myth Today.' The video references Barthes to discuss how the meaning of a sign (or architectural element) can be layered, with literal and connotative levels that can carry ideological messages.

💡Connotation

Connotation refers to the associative or symbolic meaning of a sign beyond its literal or direct meaning. In the context of the video, connotation is used to describe how an architectural element can carry additional, often ideological, meanings that resonate with viewers on a deeper level.

💡Charles Sanders Peirce

Charles Sanders Peirce is an American linguist who contributed to the theory of signs by proposing three modes of signification: the symbolic, the indexical, and the iconic. The video uses Peirce's theories to explore different ways in which architecture can signify, beyond the symbolic agreement of signifier and signified.

💡Symbol

A 'symbol' in Peirce's framework is a sign that requires a conventional understanding between the signifier and signified. The video uses the example of the bald eagle as a symbol for American spirit, illustrating how architecture can also use symbols to communicate shared cultural values or ideals.

💡Index

An 'index' is a sign that is directly caused by its object, such as a bullet hole indicating a gunshot. The video suggests that while architecture may not often function as an index in a direct sense, the materiality and presence of architectural elements can index historical events or conditions.

💡Icon and Diagram

An 'icon' in Peirce's theory is a sign that resembles its object, and a 'diagram' is a special kind of icon that represents the structural relationships of its object. The video argues that the Holocaust Memorial operates as a diagrammatic icon, abstractly representing the systematic relationships inherent in the Holocaust through its design.

💡Abstraction

Abstraction in the context of the video refers to the process of reducing complex realities to their essential forms or concepts. The Holocaust Memorial is discussed as an abstract architectural form that captures the systematic horror of the Holocaust through its design elements, such as repetition and scale.

Highlights

The relationship between architecture and language has a rich history, especially in the 20th century, where linguistic theory became integral to architectural theory.

Swiss linguist Ferdinand de Saussure's theory of the sign is a key influence on architectural theory, emphasizing the arbitrary nature of the relationship between the signifier and the signified.

Saussure's theory suggests that the signifier (e.g., the word 'cat') has no natural or causal connection to the signified (the concept of a cat).

Semiotics extends beyond linguistic signifiers to include graphic and spatial signifiers, broadening the concept of what can be considered a sign.

French theorist Roland Barthes introduced the idea that a sign can become a signifier at a different level, such as a black cat symbolizing bad luck beyond its literal meaning.

Barthes' concept of connotation allows for a sign to have multiple layers of meaning, adding complexity to its interpretation.

American linguist Charles Sanders Peirce expanded on Saussure's model by identifying three modes of the sign: symbolic, index, and icon.

A symbolic sign, like the bald eagle representing American spirit, relies on a conventional understanding between the audience and the sign.

An index, such as a bullet hole, is a direct trace or effect of an event and does not require an interpreter to be present to signify its meaning.

An icon is a sign that resembles the thing it represents, like a statue of a soldier, which operates in an iconic mode.

Peirce introduced the concept of a diagram, a special kind of icon that captures the structural relationships of the parts of the thing it represents, like a map.

The Holocaust Memorial by Peter Eisenman is suggested to operate as a diagram, capturing the structural relationship to the system of National Socialism that produced the Holocaust.

Eisenman's project uses operations of abstraction that are particular to its effect, emphasizing the relentlessness and enormity of the Holocaust.

The project's abstraction operations include repetition, randomness, temporal quality, and the scale, contributing to its diagrammatic relationship to the Holocaust.

The namelessness of the victims in the Holocaust Memorial contributes to its abstract quality, avoiding a direct or narrow interpretation.

The deep structure of the abstraction in the Holocaust Memorial is likened to a diagrammatic relationship, reflecting the systemic nature of the event.

Transcripts

you

the thinking about the relationship

between architecture and language

actually has a very

history but in the 20th century the

interest in architecture as a language

and how linguistic theory could help

interpret architecture was focused and

it became a very important part of

architectural theory which we still use

today I think understanding this

linguistic theory can help us further

understand the nature of the abstraction

of the Holocaust Memorial the first is

the Swiss linguist Ferdinand de Saussure

who gave lectures in linguistics right

around the turn of the 20th century in

the first decade of the 20th century and

whose work was published by his students

after he died so sewer is one of the

most important influences on

architectural theory in this regard

because of his theory of the sign in

some ways Sicilian theory of the sign is

is very very simple there are two

components to so sewer sign one is the

signifier the other is the signified the

signifier is just a sound image or it's

graphic equivalent just a acoustical

image that refers to something outside

itself that's something that concept

that idea that condition is called the

signified now there's a lot of slippage

between the signifier and the signified

there's no there's no direct natural

relation there's no causal relation so

sewer said that the relationship between

the signifier say the word cat and the

signified say the concept of cat or the

concept of domesticated animal is

arbitrary there's no natural or causal

or functional connection but it's the

very arbitrariness that that that makes

this theory of the sign so robust we we

now in in semiotics think not just of

linguistic signifiers but we think of

graphic signifiers we think of we think

of spatial signifiers anything that can

refer to something else can be called a

signifier and when we think about the

interaction of a representation

the thing representing and the thing

being represented when we think about

that relationship we're in the realm of

the sign now that the theory of the sign

can be elaborated one of the most

important elaborations really attending

to the formal aspect of the theory of

the sign was made by the French theorist

Roland Bart in 1957 in an essay called

myth today what Bart noticed is that

because of this resonance this this

slipperiness this arbitrariness between

the signifier and the signified that

that a signified or or a sign let's say

if the if the sign is a unit the unit of

signifier and signified that sign can

become another signifier in other words

the very arbitrariness is also a kind of

robustness that makes a signified or

sign also function as a signifier I'll

give an example if at a literal level

the signifier the sound image cat refers

to the concept of the domesticated

animal at another level at a kind of

allegorical or what Roman Bart called a

connotative level a cat a black cat say

can be itself the signifier of bad luck

so the first level the literal level is

a fairly stable relationship but the

second level the level of connotation

can have even more resonance so Bart

imagine this or he sort of diagram this

idea is a staggering of the side and in

principle the sign can keep staggering

and keep referring to greater and

greater and more complex associations

and connotations I'll give you the

example that Roland Bart himself gave of

these two levels once at a barber shop

at a Parisian barber shop he came across

a copy of the magazine parried match

this is sort of like the The Life

Magazine of Paris of the 1950s on the

cover was an image of a young black

soldier dressed in French

army uniform saluting the French flag so

it so an African French soldier dressed

in military uniform now at the literal

level the sign is simply that French

African dressed in French military

uniform salute saluting the treacle or

that's the literal level at the

connotative level Bart says he actually

makes a kind of ideological reading of

the level of connotation which is that

the French African demonstrates to black

and white French people alike

that whatever the unpatriotic criticism

from the far left is about French

occupation of Algiers that friendship

France is a great country whose Patriots

include French Africans as well as white

French so you see at that point at the

level of connotation the associations

and the work of the sign actually

becomes ideological this is not to say

that ideology can't happen at a literal

stage at the first stage there could be

as it were ideology all the way down but

it's what what's interesting about marks

your comment is that is that it's an

understanding of ideology that's based

on the structure of the sign on the form

of the sign not the content so it's not

it's not the particular content of

French occupation of Algiers that Bart

is interested in that's just one example

it's the form that staggered repetitive

form reiterative form that that the sign

can take that he's interested in we come

now to a third moment in the theory of

sign in the work of the American

linguist charles sanders purse purse

thought that there were three distinct

modes to the sign the first mode which

he called the symbolic is really the

only mode that Saucer himself considered

so purse in some way is expanding on

Saussure's model a symbol is a sign that

requires this conventional

consensual understanding of the

signifier signified relationship let's

say the bald eagle is a symbol for

American spirit the bald eagles got

nothing to do directly causally

functionally with American spirit it

just that means that Americans and

others as a kind of collective consensus

agree that bald eagle is going to stand

for is going to represent is going to

signify American spirit so symbol

requires and the symbol to do its work

as a sign requires an audience it

requires an interpreter an interpreter

of some sort either individual or

collective has to be present for the

symbol to operate for the symbol to do

its work of representing the second sign

or mode of signification that purse

refers to he called the index the index

is different from the symbol in a couple

of ways the index is the direct trace of

an effect of one object on another say a

bullet-hole

is an index of the fact that a bullet

has been shot so the bullet hole is an

index and an index unlike a symbol does

not require the interpreter to be

present the bullet hole is an index of a

shot whether or not anyone sees it

smoke is an index of fire whether or not

there's someone there to see and

interpret the smoke the trace of the

index is always a material trace it can

be visible it can be acoustic for

example the knock on the door is an

index of someone at the door but the

unlike a symbol which let's say a statue

of a unicorn which doesn't actually

exist can still be symbolic of unicorns

an index requires a material trace the

final mode of signification or the final

kind of sign for purse is what he called

the icon an icon simply

looks like the thing that it represents

so a statue of a soldier holding a rifle

in a helmet in a uniform looks like a

soldier holding a rifle in the uniform

so that statue does its work as a sign

in an iconic mode what's more

interesting for us is that Perce

recognized that there were special kinds

of icons which didn't just look like the

thing itself but actually captured the

relationship of the parts of the things

so for example a map is a very special

kind of icon a map doesn't look like the

city that it's signifying it is still a

signifier on the city but not because it

looks like the city but because it shows

the structural relationships of the

parts of the city connected by the

different monuments the different plazas

the different buildings connected by a

transportation network

it shows the structural relationship of

its parts this special kind of icon

purse referred to as a diagram so a map

of a city is a special case of icon

which Purse called a diagram a map

operates as a diagram not because it

looks exactly like the city that it's

representing but because it captures the

relationship of the parts of the city I

want to argue that I cements project for

the Holocaust Memorial is also a diagram

or better that in its status as a sign

it operates according to what Perce

called a diagram think again of the

different operations of abstraction the

repetition the event or the temporal

experiential quality of the project the

grid the ground and finally the names of

the erasure of names now these are very

particular operations not every abstract

architecture a piece of abstract art

would necessarily have those same

operations of abstraction they are

abstract operations but they're very

particular in their effect because the

effect that they produce

the relentlessness the repetition the

randomness the temporal quality the

scale the enormity of the scale and the

relentlessness the namelessness of its

victims we don't want to cut this too

narrowly or make this too direct but but

but the effect of those different

operations of abstraction the deep

structure of of that abstraction is as a

diagrammatic relationship to the system

of National Socialism itself at least

insofar as it produced the the Holocaust

the genocide