A of Adelaide, formed in 1923 by the

A memorial is a special place built for resemblance
and is a protest which fills in as awareness for a memory of something, usually
a person or an event. Popular memorials include landmarks, art such as
sculptures, paintings, statues, fountains and even entire parklands. Most
common types of memorials are gravestones, plaques and war memorials honouring
those who have died in wars. Memorials began as a simple meaningful act for a
family, friends or even strangers, to reflect and mourn to one’s life that suffers
a loss from sickness, tragic accident or even war. Today, strategies in architecture
from structuralism and post-structuralism such as: presence and absence,
reflection and semiotics, are used to propose memorials and further improve the
effects that memorials have on people who are part of a club or that may just be
walking past a national memorial. This essay will conduct a critical analysis on
the concepts and theories of how presence and absence, semiotics, and
reflection, structuralism and post-structuralism, and deconstruction are used to
reflect on how the Rotary Club of Adelaide can apply to those concepts of
members or as a whole. The chosen case study that will be analysed regarding
the key concepts is the Rotary Club of Adelaide, formed in 1923 by the charter
president of the Rotary Club of Melbourne, located
in the Adelaide oval, War memorial Dr in Adelaide, South Australia. Two chosen
analytical diagrams will be used to support the case study to show loss and
gain of the club’s population and progressive growth over key years.

 

The journal written by Geoffrey Broadbent ‘A Plain
Man’s Guide to the Theory of signs in architecture’, demonstrates structuralism
and the concept of semiotics of ‘sign and signifier’ with ascended the
understanding of how signs, images, structures and buildings stood as more to
an in depth meaning of creation and analysing how buildings bring a meaning to
which that should be understood in an order to appreciate its presence. It is
discussed my Broadbent (1977) that the theory of signification that is quoted
from Ferdinand de Saussure, who is a Swiss philosopher, and an American surveyor
named Charles Peirce who created a general understanding of the theory of signification.
The meaning of Semiotic is pictures, words, diagrams, rain, smoke, clouds,
physical form and/or buildings that are described as a form of Semiotics. The way
that semiotics is understood is by separating the three levels of function. Pragmatic
is the first level; its containment is how the founder/creator intends to carry
out their signs or meanings of the purpose it serves, therefore by presenting to
the community the meaning and understanding how it can be construed by
signs/messages represented by the founder. The second level of function is
Semiotics; this is consisted of how the meaning of messages is delivered out to
the public. Syntactic is the last function which is the combination of signs to
demonstrate a way in which how the club demonstrates its function to the
community. It is specified by Broadbent (1977) that rectangular openings which are
supported; have a relation to the arrangement of units in space of the syntagmatic
relations. There are two parts that can be simplified to a more understandable
form; signified and signifier. The signified is the conceptual aspect, the
unseen part of the signs, which also may be referred to its absence. The signifier
is physical presence of signs or materials that the club may have used.

 

As known in architectural language, structuralism and semiotics
can be thought as “rationalism”. The meaning of a thing (or something) consists
of not only the thing its self but in relation to other things. This
analysis of Darryl Hattenhauser’s article ‘The Rhetoric of Architecture: A
Semiotic Approach’ analysed by Geoffrey Broadbent on semiotics discusses
concepts in semiology is viewed of signs which consist of the signified and
signifier. It is discussed by Hattenhauer (1984) that the signified is the
message conveyer and the signifier is the form and both terms transpire
together and can only be divided conceptually. One might know the meaning of
signifier but may not understand the other meaning of signified, accordingly
stated by Hattenhauer (1984) that to understand the signifier, you must get an
understanding of the deeper meaning of the term signifier. A great example
would be the dots and dashes of the Morse code can be understood not by the way
they are arranged and the way they are related. By applying this theory of rationalism
to architecture, Juan Bonta who is as architectural historian, shows that buildings
can underline horizontal and straight lines, but such an underlining can appear
only if a building is compared to another building. A comparison to Frank Lloyd
Wright’s Wainwright building and Louis Sullivan’s Sullivan Center Building, they
both seem to underline more horizontal and straight lines comparing to the
Sullivan Center which has wider, shorter windows to make the horizontal lines
stand out more.
To a non-architect’s perspective of understanding the knowledge of modern
architecture, they are uninformed in the repetition of the practices of the
code of the architect. Modern architects attempt to be more efficient,
rational, and more functional of structures of the bones of their buildings, to
someone who is uninformed in modern architecture may not be able to recite the
meanings behind signified and signifier which may result in the creation of
their own analogical theories of structures that they may know of. The readings
of modern structures are representational as it is tried to be interpreted to a
form which is not understood, accordingly they recognise it as what they believe
it may resemble.

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