{"product_id":"mimarlik-ve-dil-gunther-fischer","title":"Architecture and Language","description":"\u003cp\u003e\u003cstrong\u003eGünther Fischer's \"Architecture and Language\" at Arketon...\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGünther Fischer's book \"Architecture and Language,\" which addresses the relationship between architecture and language and is considered a distinctive work in architectural theory, has been published with a translation by Fatma Erkman Akerson. Edited by Aykut Köksal, the revised new edition of the book has taken its place among Arketon Publications. \"Architecture and Language\" is among the interdisciplinary studies that advanced along the path opened by linguistics in the 20th century. The work, penned by architect and academic Günther Fischer in 1991, includes a preface written for the German edition by the renowned architectural theorist and historian Jürgen Joedicke, and an introduction written by the author for the Turkish edition. In his preface, Jürgen Joedicke states:\u003c\/p\u003e\n\u003cp\u003e\"With the emergence and widespread adoption of semiotics, and particularly with the works of Max Bense and the Stuttgart School, attempts were made in Germany to explain the phenomenon of meaning-making in architecture through semiotics and communication theories, and these attempts yielded very interesting results. In this context, I would also like to mention that the tripartite structure of the sign was very simplistically translated into architectural language as 'form and arrangement,' 'meaning,' and 'effect.' Furthermore, the double functionality of the sign was also considered; in addition to referring to a specific object (denotation), the sign could also evoke emotional images (connotations). The context in which it was situated also influenced the sign, meaning that a sign could acquire entirely different meanings depending on where it was located, even if it itself remained unchanged. Umberto Eco provides a classic example for this situation: A red flag in front of a crowd of people walking in a city carries completely different meanings than a red flag hoisted on the mast of a boat on the coast.\u003c\/p\u003e\n\u003cp\u003eHowever, these initiatives in Germany remained at a rather abstract level and could not be translated into a language that could appeal to architects. Furthermore, it was not tested how concretely such observations would be useful in the project production process.\u003c\/p\u003e\n\u003cp\u003eWhat makes Günther Fischer's work different are the connections he establishes between architecture and architectural practice. Fischer, himself an architect, looks at theories with a critical eye, investigating the values that theories can add to an architect's work. Fischer covers a wide range, focusing on semiotics, linguistics, and perception psychology, and develops theses arguing that there are structural similarities between language and architecture by providing many concrete examples.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479910643,"sku":"9786259443195","price":944.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Fischer-Kapak-5.jpg?v=1745919539","url":"https:\/\/yemkitabevi.com\/en-us\/products\/mimarlik-ve-dil-gunther-fischer","provider":"YEM Kitabevi","version":"1.0","type":"link"}