Maquette model11/20/2022 As for the stakeholders, this research can be a source of knowledge about the architecture of the Catholic Church which is in line with Catholic values.Guangzhou JJ Building Model Co., Ltd. The benefit for practice is that this understanding can be the basis for designing Church architecture. The research also produced methods to interpret the expression of architectural form in general and specifically on the architec-ture of Catholic Church. This research contributes to the development of scientific architecture, namely by providing an understanding of the study of semiotics in reading the architecture of the Catholic Church. showed that the Salib Suci Church was dominated by indexical and iconic sign, while in Bunda Pemersatu Church, all of the architectural composition as well as its elements was tend to be symbolical which specifically expresses Catholic values. Second, interpreted the meaning which is created, both on the exterior and in the interior which is based on the theory of semiotics. The method used for this research are: First, described the building based on the theory about the scope of the building. This study aims to describe all the relationships between the architecture of the Catholic Church and its meaning. Indeed, the silent dialogue enacted into the architectural space with the beholder will allow us to reconstruct the hidden messages that individuals or groups meant to communicate to posterity. By focusing on each of these elements in its context and on the ways they all interacted with the surrounding architecture and church decoration, this paper will highlight their value as visual objects capable to immortalize the piety, power, or presence of the patron. Either separately or in connection, they were able to convey strong messages of patronship to the viewer. However, each had its own communicative power and peculiar use. There, portraits, inscriptions, and monograms emerge as the primary instruments used in a complex strategy of visual communication. The late antique churches of Ravenna offer an extraordinary field to understand how patrons left their mark on decorative programs of ancient buildings. Accordingly, specific elements of the décor were designed as means capable of bearing the patron’s memory. This specific type of architecture depicted was created after the building itself was completed.īetween Late Antiquity and the early Middle Ages, lay and cleric alike felt the need to be remembered in the monuments they sponsored. The main question is whether the Byzantine architects used actual model/maquettes for constructing their churches and if so, could these models/ maquettes have been used for the architecture depicted in founders’ portraits? In other worlds is the representation in the donor’s hand the image of a built church or its maquette, produced as a project model? The different aspects of the problem we analyzed - the legal, technical and symbolic functions of these representations support our assumption that the architectural design model/maquette did not serve as a specimen for representations of architecture on founder’s portraits. Although it is commonly used to designate the depicted architecture in the hand of the church founder, the expression 'founder’s (ktetor’s) model' is often confusing and misleading. The text deals with some terminological problems concerning the so-called founder’s model.
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