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INTRODUCTION

 Looking at the literature, one can argue that architecture, as a discipline, ventured into certain
pursuits in linguistics, semiotics, and semantics in 70sand 80s. Architects who generated text as
products well, have contributed to the development of a substantial infrastructure attesting
architecture is also about a textual expression, on the basis of the pioneering works of structural
linguistics and semiotics.

 Language is a system of signs and indicators.

 And it certainly is not synonymous with word. Language is social andgeneral, while word assumes an evolving
standing; it is variable and specificto individuals.

 Language is based on two distinct axes and two distinct developments:synchronic and diachronic.
The construct gets varied and distinctive through duos of concepts, leading to the development of new
meanings.
TRENDS IN MODERN ARCHITECTURE
 The movements that defined the spirit of twentieth century design and modem architecture were founded on the
principles of eliminating any 'symbolic significance' and 'culture specificity' associated with the symbols of any given
culture, 'pure forms' created through the understanding of structural principles, 'technical feasibility' for mass
production and the requirements of the industrial society born in the later half of the Nineteenth Century.

 Modern; as a style or characteristic design was never associated with any one particular style for too long.

 With the many movements that characterized the progress of the new century only the International style emerged as
the culminating style of the many modern movements in architecture.

 Masters of the modem movement believed in a style stripped of all historic references and adhered instead to the new
industrial aesthetics.

 They sought to identify global coherency through a standardized single style couched in the void of vernacular cultural
symbolism! Later, this lead to the failure of modernism since the objective of internationalizing architecture
contradicted with the idea that architecture as a symbolic cultural product is culturespecific.

 Failure of modernism eventually paved the way for the reintroduction of cultural symbolism that later evolved into
Post Modernism.
 The language practiced by artists and architects of a time is given over to the era in which they exist. Therefore, the
image of the society that fashioned itself, after the turn of the century was based on the fashion in vogue; the
'machine-aesthetics’.

 The emptiness that remains now is ready to be filled with a new symbolic architecture of the forth coming era.
However, abandoning of Modernism in favour of culture-specific Post Modernism establishes the universal
preference of mankind to express themselves and their culture symbolically; even through their architecture.
SYMBOLISM OF COLOURS
The use of colors is symbolic in every culture since colours correlate message and image and are high impact signifiers in
any cultural communication of which they form a part.
Color symbolism of various cultures is tabulated as given in Table
Comparison of Colour Symbolism in Different Cultures SYMBOLISM OF NUMBERS

SYMBOLISM OF FORMS
FORMS FROM NATURE
Nature provides an ideal source for architectural forms which are variations of the basic shapes like cone, cube, cylinder,
sphere and pyramid. Besides, these forms are platform independent, free from cultural bias and effective in projecting global
images. The Sydney Opera House, Australia and the Lotus Temple, New Delhi are examples that use natural shell shapes in
their roof structures thereby, effectively signify global ideals

Communication in architecture can also be accomplished through geometric symbolism. Symbol here is an important part of
such architectural designs and a way such buildings "talk" and communicate.

Symbolic heavenly forests


SYMBOLISM OF LIGHT AND SHADE

 Light is one of the revealing elements of life that signifies life itself, whereas 'dark' signifies death and the
frightening existence of things beyond the reach of human senses which exercise power on the living.

 The relevance of life-death symbolism is established in the studies on the 'Batammaliba' architecture and the
'Kabili' house.

 Light is the visual counterpart of heat and there is creation of depth due to proper division of light and shade
with which the form of the object is revealed.

 Sharply separated areas of homogenous brightness promote neither 'shadow effect' nor 'three-dimensionality'
whereas, visual contrast in colour, texture, sculpted details or simple highlights impart visual significance and
makes a visual expression overstated
SYMBOLISM IN LANDSCAPING
Landscape elements too bear role of signification in various cultures around the world. Architecture of the built and
landscape compliment one another in creating symbolically charged environments that makes meaningful the rites,
rituals and their daily choreography

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