DEFININGCIVICARTTHROUGHSEMIOTICCONNECTIONS StefanieLeontiadis,PolitecnicodiMilano,Italy Abstract Civicarthasbeendefinedasawaytoenhancecities,strengthenneighborhoodsandprovide color and character to public spaces.

. It provides aesthetic enhancement of public facilities, and ensures civic space and conservation of new and heritage art objects. Oftentimes confused with the term public art, characterized by individual artifacts that act within themselves and independently, civic art blends beauty and meaning with function, involves an artistic approach to creating the built environment, fosters feelings of identity and belonging, and serves as a key component of helping a city form an identity. It is the identification of formal elements within spaces, and appreciating them as mimesis or representation concepts with deep roots in the philosophical developments and teachings ofAristotle. The way in which civic art has been interpreted throughout history is a way of cognitive process that has much to do with the human phenomenology of a place and the design paradigms through architectural phases. Although modern design is contemporized in a broad existentialism of varying styles, the modes of constructing are intuitively based on modalities of civic art that are cognitively present in the minds of every architect with some artistic, historical and cultural awareness of civic art public urban spaces, forming the basis of environmental compositions of aesthetic beauty, in the sense of habitable experience. Thearchitect,consciouslyorunconsciously,designsatthesamecognitivelevelofmindsthat wereonparallelneurogenetic,ontogenetic,andphylogeneticlevelsofdesignparadigms. Semiotics, a field that studies relationships of signs to the things they refer, of signs to each other, and signs affecting those who use them, proposes theories, developed parallel to the philosophical logic of architectural phenomenology, suggesting new ground for the evaluation of modern urban public spaces and architectural environments. This thesis suggests several relationships between semiotic theories and the conceptual definitions of civic art in urban architectural design, demonstrating the modalities which architects use in theconstructionofthebeautyofcontemporarycities.

Introduction The essay is divided in different parts, where the semiotic importance of civic art is relevant to a) interdisciplinary courses of expression, b) important historical references of civic art definitions, c) modern interpretations and applications of the term, and d) civic art in an abstract relation to heritage evaluation and elements that play a role in the evaluation of such. This theoretical analysis helps to define Civic Art through semiotic connections, and intuitivelydemonstratestheproblemofanorganizationalsyntaxofcivicspaces. PartA:Civicartasinterdisciplinarycoursesemioticsofexpression Always in the context of public open urban architectural design and reference to the interdisciplinary nature of civic art demonstrations, one comes across civic art demonstrationsinavarietyofcontexts;asmonumentalfiguresinpublicopenurbanspaces, civic decorationsintheformofpaintings,sculpture, mosaics,etc, citystreetgraffiti,landart andperhapseventhedepictionofcivicspaceperceptionthroughmeansofpainting. Lewis Mumford, in his theoretical work Art and Technics, speaks of the abstraction of every work of art, which can never be entirely impersonal or meaningless1. So, whatever is positioned thoughtfully inside of the city forms an expression of direct consideration to the habitableenvironment,whetherthatiscompletelyharmonioustothecontext,orwhetherit seems as a randomization of existence, isolated or obsolete. For Mumford, civic art is a combination of technics; the expression of the automatic, the impersonal and the objective and of art; the expression of the neurotic, the selfdestructive, and the primitive andinfantilesymbolism.2 In reference to civic art in relation to the architectural monument within an urban setting, Rudolf Arnheim speaks in his book The Dynamics of Architectural Form of the inspiring feeling when visiting the remains of the Poseidon temple on Cape Sunion, high about the AegeanSea,oreventheoperahousebyJrnUtzonwhenapproachingSydneysharbor.The fascination of looking at an architectural piece and marveling at it as a type of civic art is a phenomenon that has acquired deep symbolic and interpretative meaning for people across the globe, and the choice of such forms and means of representation of cultural backgrounds and civic significance, create art forms of their own. The Palazzo Farnese in Rome,thenewcityhallin Boston,thecupolaofthe Pantheonandthepoetryincement by Pier Luigi Nervi, the glasscrystalline skyscrapers of New York, and the innovative forms of Le Corbusier3, are only a few examples of the potentialities of architectural expression to serveasmonumentalsymbolicfigures. The University City of Mexico is an example of the decorative arts serving not only as an affirmation of tradition and cultural importance of art, but also of the manifestation of the universality of civic art and its capability of embodying backgrounds and knowledge of diverse parts of the world, into an environment that inspires further matriculation and cultivation of existing wisdom. In fact, Pani and del Moral exposed the aim of the Universitys civic art demonstration as to create unity, physical and pedagogical, which would make for an ease of communication between the different schools4. The elements thatdevisethebeautyofcivicartincludeMiesianboxes,Corbusianslabsofglass,reinforced concrete, in addition to steel and brick, local materials (purple black lava, translucent obsidian, peculiar plants, colored stones brought from various regions of the republic). The decorations,includinglargefigurativemuralsandmosaicsbyOGorman,Rivera,DavidAlfaro Siqueiros and others, build on the configuration of the site plan in a unique and artful

manner, further embellished by terraces, and large central open spaces that bring together similarities to the ancient Mexican cities such as Monte Alban and Teotihuancn. The intention behind the civic art elaborations of the University City is beyond sole aesthetic appearance; it goes as far as representing the Mexican nation and offering inspiration for universal art appreciation through awakening the senses of the students multicultural backgrounds; this overall approach resembles some of the best examples of the InternationalStyleatthattime5. The implementation of artistic work inside of public urban environments is another interesting topic here. Camillo Sitte through the meticulous demonstrations of piazzas of the medieval period, emphasized that sculpture should be placed following rules of irregularityandperceptualfeelingduringonsiteexperience.Forhim,thesolutionrarelyfell in the boundaries of symmetry and centrality, but would rather follow askew lines, with objects strategically positioned offcenter, where the eye would be guided by the compositionalanglesformedbysurroundingelements. The civic art expressed in Giorgio de Chiricos surrealist piazza paintings, is one form of civic art that has significant and symbolic meaning for the interpretation of public open urban space environments. Expressing spaces of a peculiar appeal, these paintings convey a mixture of despondency and elation, depicting a fascination of an empty stage waiting for the actors to come on and begin their performance. It is very interesting to compare and contrast the similarities between Giorgio de Chiricos paintings and the public open environments of Luis Barragns creations, which seem to have acquired the semiotic characteristics of the Italian artist. Such similar characteristics that create these special quiet settings of urban silence, include the flat and unornamented walls, the doors and windows cut directly into the thick plastercoated walls left unarticulated by frames or moldings, the sharp contrasts of light and shadow, the certain temporal ambiguity, the long shadows and clock hands, the uncertainty of time and date, and the cold clear light along with the air of silent melancholy. In both artists cases, these elements achieve in signaling irrecoverable pasts, and a stageset aspect of largely vacant piazzas and arcades; places as settings for human action, but with very little going on inside; the controversy of the human presence and the dialectic with absence. In relation to human presence, De Chiricos environments are ones of mysterious silhouettes, appearing as shadows from offstage, as statues,orasmannequinsanddummies.Barragnonhisside,withhisincompletewallsand gates of isolating character, brings forward the full heat of the space and the corporeality hiddenbyshadows,hintingtothenostalgicspiritoftheunattainableanddreamy. WhichbringsustotheextremearticulationofLandArt,aninterestingmovementemanated in the United States in the late 1960s and early 1970s, where figuring and carving on the ground takes place, and the designer interprets the direct linkage between landscape and hiswork.Manyatime,landartfiguresfollowtheexistingpatternsoftheland,beingtraced asblueprintsinquestofcreatingmemoriesofpastexistingcontours.TheintentionsofLand Art was initially a movement of disapproval towards the modern developing movement of machinery, artificiality, plastic aesthetics and commercialized architecture that was evolving during that time in America. Pursuing natural simplicity through concepts of minimalism, geometrical simplicity and organic expressionism, the movement has also spreadinEurope,andotherpartsoftheworld.WhereLandArtusuallybecomespositioned in the countryside, intended to reveal its pure concept from a birds eye view, it would be interesting to see this same idea developed inside the urban fabric more, where the Art will partake in the traces of the memories of the urban ground, and offer a public experience of subconsciousinvestigation.

Looking at a different spectrum and from the demonstrative point of view of unorganized art, street graffiti may be characterized as a type of randomized and rebellious type of civic art that takes place in the urban neighborhoods by means of expressional semiotic depictions of ideas, concepts, symbols, or embellishing scenes. Often connected with serious crime, aggressive civic behavior, forceful liberalism and anarchic moves, urban graffitiisusuallyfoundintunnelandtraindwellings,expressingpointsofviewsofadifferent stand. Some forms of street graffiti have been thought worthwhile to become preserved as an integral part of a citys history, however the debate on qualitative and preplanned significance comes into play, raising the subjective question of urban art, or urban blight? New York, being an expressionist city of such semiotic demonstrations of the spirit of the citizens, anxious to express themselves and have their emotions witnessed by others, brings forth of couple of civic art examples of significant importance. One of these took place on Spring Street, in the nineteenth century, outside of the NoLiT building, whose exterior bore two decades of spray paint and wheat paste artwork, often being the attraction point of numerousartappreciatorswhowonderedabouttherebelliousandexpressionistattitudeof the civicstreet creators. Another example istheLongIslandCitybuildingknownas5Pointz, whichhousedgraffitiartiststudiosforsixyears,butclosedafteracollapsedstairwellledthe Department of Buildings to demand one million dollars in repairs, which couldnt be afforded. Dwelling on this interdisciplinary course of semiotic expression mentioned above, it is interesting to compare and contrast the points of view towards the effects of art of Plato and Aristotle, both of which believed that art is strong enough to influence the morality of a person and hence the approach that one holds towards sciences and the speculation of live. Plato, in the Republic, states that the more one indulges in emotions aroused by representation, the more likely one is to suffer the effects of an unbalanced soul, and ultimately the development of a bad character6. While Aristotle also agrees that art can change ones perceptions, he believed that it could do so in a positive and beneficial way, producing emotional catharsis7. This claim is based on the speculation that by exploring onesemotions,thepossibilitiesofbeingmorerationalineverydaylifearegreater. PartB:Civicartinthehistoricaltimessemioticsoftradition In order to understand and analyze the problem of syntactic representation of the public open urban spaces, it is helpful to speculate architectural theorists and practitioners who scrutinized on the problem during specific circumstances and periods. This becomes very structural in the extraction of compositional frameworks of civic art thought in reference to publicopenurbanspaces. In reference to the matter of perceptual beauty in spaces, Vitruvius spoke of the three guidelinesofcivicbeautyandlogic;firmitas(stability),utilitas(utility)andvenustas(beauty), which have been fundamental in determining modalities which civic art uses in the construction of beauty of the cities. On the matter of venustas, Leon Battista Alberti was one of the first to clearly demonstrate hierarchical importance in the evaluation of civic elements, putting in first place a wellmaintained temple positioned on the highest point of acity8.Furthermore,heemphasizesaconsistenttheory;fortofollowaconsistenttheoryis the mark of true art9, giving justice to Charles Mulford Robinsons writings in his book Modern Civic Art or the City Made Beautiful where he speaks of a joint worthiness of impulse and execution, else the act is not recognized as art10, hinting to the extraction of rational results along with strong impulses and artistic perceptions. In other words, one can have all the theoretical ideas in the world of what civic art is, with strong impulses and

highest artistic perceptions, yet if not able to execute a rational result, cannot be named a masterofhiscraft. Camillo Sitte, in his The Art of Building Cities, composes a schematic framework of components that classify public open urban spaces as artistically and perceptually sound, with reference to historical signs that demonstrated order following specific, unorderly parameters. Sitte, fond of irregularity and plans that are designed due to perceptual evaluationonthesite,ratherthanmeticulousdraftingcompositionsontheboard,speaksof the square seen as a room which should form an enclosed space. He strongly criticizes regularity and obsessive ordering, the central and isolated placement of churches and monuments, and the small scale design without an artistic involvement, fearing that urbanism of the modern movement might become too deeply involved in technicalities, ignoring the value of the picturesque and the basic principles of art.11 These theories were followedbyanumberofarchitectssuchasKarlHenriciandTheodorFischer,andspecifically practiced by the Germans; however, the rapid development of the modern movement quickly took over, with Le Corbusier being known for his energetic dismissals of Sittes works. For Raymond Unwin, the beauty of a space is not a simple matter, as it must first and foremost spring from the spirit of the artist infused into the work. Investigating further the writings of this renowned Italian author, artist, architect, poet, priest, linguist, philosopher andcryptographer(titlesthatonlyaddtohiscapabilityofsemioticinvestigation),wereadin TheArtofBuildinghisconceptionsofwhatmakescivicart,whichaboveall,isthecreationof spaces that abide to a consistent theory; for to follow a consistent theory is the mark of trueart.12Hepointsoutthecommonfaultsofarchitectstochangetheconsistenttheoryof an environment to suit their personal tastes and understandings, but rather should investigate the reasoning and intentions behind every line and every formation of space, for the arts were born of Chance and Observation, fostered by Use and Experiment, and matured by Knowledge and Reason. This comes in interpretative agreement with Leo Tolstoysdefinitionofartasawayofindirectsocialcommunication. Werner Hegemann, another great theorist and practitioner investigated deeply through his American Vitruvius the qualities of civic art, and began to establish frameworks of spaces that exhibited aesthetic and psychological qualities of artful environments. Extensively looking into the studies of Camillo SItte on regularity, enclosure, and compositional arrangement of elements, he goes further to speak about informal beauty and the psychological perception of aesthetic changes. For example, he speaks of the informality of a style once it is abandoned, when in fact it is a type of communication preparatory to the next organized style13. These changes of aesthetic appreciation run parallel to the development of human evolution, and Hegemann knows well when he expresses mans need to form a relationship to the building, linking oneself with the ground, walls and the ceiling,whetherthatistheroofortheopensky. PartC:Civicartinmoderntimessemioticsofinnovation But even throughout the modern movement, although the symbols and signs of constructions, reference to concepts in more abstract ways, Lewis Mumford makes a good case in finding association of the sense of security in an urban dwelling, to the existence of symbols in that specific place. This justification is based on the cold and unidentifiable character that the modern worlds sometimes starts to take and furthermore speaks of the need for symbols, in order to be able to abstractly retrieve parts of the environment that

give us reference points to our subconscious thinking. Elements such as the environment, the surrounding landscape, cultural heritage, and traditional values perhaps, should be at leastpresentinasubtleandharmoniouswaytoremindusoftheirpresence.Mumfordgoes furtherontosaythatthesekindsofproblemsofmodernorientationandidentificationmust develop around a philosophy capable of reorienting each society, displacing the machine and restoring man to the very center of the universe, as the interpreter and transformer of nature, as the creator of a significant and valuable life, which transcends both raw nature andhisownoriginalbiologicalself.14 Colin Rowe, was one of the first architects to openly start identifying the problems of the lackofsemioticreferencestomodernarchitecturaldesign,andsoughtouttodevelopduring his time at Cornell University an alternative method of Sitte rules, fragmentally blended together through the reassemblage of collaged and superimposed pieces.15 In Collage City, he begins to analyze successful plans of existing cities, and moves on with his own interpretations of collision and contamination of diverse parts, evidently nostalgic of the nineteenth century eclecticism, and stressing the need of modern architecture to abandon itspuristconceptionsandallowmorehistoricalinfluencesforitssuccess.16 Kevin Lynch stresses imageability and independence from practical functionality, as well as the will of meaning and symbolization. His theory of constructing mental maps inspires art proposed as a sort of grid, made up by reference points, independent from aesthetical or ideological evaluations within the city.17 In this case, a web of associations overlapping an urbantissuebymeansofanartisticprojectcreates animportantbaseforappropriationofa place. Taking this further with his last book Good City Form, he describes more tightly the relationship between the history of urban form and the reasoning behind it, setting up the descriptionofCivicArtcityformationintothreenormativemodelsthecosmicmodel,the practical model and the organic model, that in essence deal more with perceptual motivation,andlesswithpoliticaloreconomicreasoning.18 Later in the modern movement of the 1970s, the evolution of phenomenology and the writings of Martin Heidegger and Christian NorbergSchulz with his Genius Loci: Towards a Phenomenology of Architecture, the concept of dwelling is brought up from a different perspective of a space that gathers all its surroundings components through perceptual awareness and existentialist interpretation. This investigation becomes important in the elaborations of first and foremost the concept of orientation, and then identification. The semioticrelationshiphere that providesembodimentofthedwellerinsideof thecivicspace is his ability to recognize fundamental traces of the surroundings, and identify what he sees by certain signs and recognizable elements.19 Extending this interpretation into the further elaborations of Umberto Eco, we come to approach the same problem of identification ponderingonhisjourneytoformlogicthroughwhathecallsphotomechanicalexplanation of forms in the field of semiosis. Making a direct analogy to musical theory and the recognition of melodies in which sophisticated intertwining of intervals and notes20 take place, Eco speaks of civic art in architecture as the production of threedimensional objects destinedprimarilytobecontemplatedratherthanutilizedinsociety,suchasworksofart.21 In pursuit of theorizing the concept of civic art, it is noteworthy to reference the contributions of Mark Jarzombek, who in his book The Psychologizing of Modernity makes his individual links between ranges of emotional comfort, and of a basic structure to the fabric of their contact22. This is very enlightening in the understanding of abstract forms that take place in the modern world, and Nietzsches writings on mans will to emancipate contemporary design from existing norms and accepted moral and pedagogical systems. The above mentioned concepts were strongly developed with the realization of the Gestalt

psychology, primarily investigated in the Berlin School, and the elaboration of the form formingcapabilitiesofoursenses,furtherenhancedwithperceptualconceptsofemergence, reification, multistability and invariance. Mark Jarzombeks interpretation of perception and its relation to civic art is identifiable when he writes about perception being non arbitrary,butlinkedtothesameepistemologicaldomainastheartworksthemselves23.He stresses that to analyze art, we should not acquire the knowledge beforehand, but should empathetically commerce with its representational interiority. Jarzombek clearly expresses the inferiority of art history to art psychology, as the latter emphasizes with the intentions of art, whereas the former works on a basis of preexisting knowledge and analyticalpredictability.Anidealspeculationwouldbeofcourse,themarriageofthetwo,in pursuitofourunderstanding. PartD:Thesemioticevaluationofheritage Each culture, through its course of history, has specific ways of developing its own rules and patterns of likeness and civic space adaptability. These likenesses depend upon various degrees of classification, some of which have to do with the evaluation of proximity, the matter of scale and proportion, the adaptation to certain materiality, the development of form through their perceptual influences, specific stimulations of symbols and meanings, and references to analogies and allegories depending on backgrounds and tradition. These factors are normally influenced by religion, environmental surroundings and landscape, history within a culture and in relationship and communication to other cultures, temperamento (which may become a profound term, influenced itself by other numerous factors). But in fact, what we mean my culture or civilization, is by rule, a groups capacity to produce methods of creation, communication, improved living conditions, and embellishment of more erudite conceptual thinking. An organized culture will find ways to rise above nature by working on artificial substitutes that will improve technical conditions and spiritual growth, developing concerns of excellence in arts, letters, manners, scholarly pursuitsandmanyotherfieldsofsciences. Since each culture undergoes its own process of such complex development, each also has differences in pursuing methods of visual representation. However, it has been argued whether a certain development of forms has been a result of certain narrative patterns within a civilization, or whether the narrative patterns have been a result of representing natureandideasinacertainway.ThiscontradictionisevidentinprofessorHanfmannsand Gombrichsideas,asthefirststatesthatwhenclassicalsculptorsandpaintersdiscovereda convincing method of representing the human body, they set up a chain reaction which transformed the character of Greek narration 24, while the latter suggests that when classical sculptors and painters discovered the character of Greek narration, they set up a chain reaction which transformed the methods of representing the human body and indeed more than that.25 However complex this issue may seem, it is interesting to study some of the semiotic qualities that culturally affect civic architectural design, or to examine whether architectural design has been influenced by cultural concepts. In any case, the matter is much too complex and synthetic, so the goal is to suggest a memorandum and briefdescriptionofimportantsemioticcriteriaforthedesignofcivicspace. The primary concern might very well be that of geometric system identification of certain cultural designs, directly influenced by their fundamental art qualities of representation, which from its part, is directly affected by the way in which that culture has commit to

memory perceived ideas and concepts. For example, the lack of rigidity in the features of cave art is a seizing phenomenon that according to Gombrich, may be related to the ambiguousperceptionofformsthatwereslowlydiscoveredandmeticulously progressedby the following generations, varying by culture. It is not coincidental that the more exact the articulation of forms is in many cultures, there seems to be synchronization with that culturesprogressionoftechnologyandagriculture,asisnotedinNeolithicart.26 On urban scale perceptions in relation to the environment it is interesting to speculate the symbolic qualities of different visual heights applied by different cultures, often depending on the amount of dignity that comes from staring at certain monumental forms of hierarchical significance. Also, monumental elements may mean vary in meaning. As an Italian writer of the sixteenth century, Lodovico Dolce, observed, the clock towers serve to hold bells, but in some ways they also signify vanity, as the proverb says: far campanili in aria.27 Hence, when trying to find logic in the compositions of form, the perceptual interpretation might vary, as the difference between symbolization and representation is oneofuse,ofcontext,andofmetaphor.InArtandIllusion,Gombrichspeaksofsignification and meaning from the point of view of man, who sees the world as symbols where the distinctionbetweenrealityandmakebelieveisitselfunreal.28 Ernst Gombrich goes much in depth on this issue of cultural representations and means of symbolic conceptualization. One interesting speculation from the point of view of Egyptian art, is the careful rendition of animals and figures of different races, while when undergoing renditionsoftheirownkind,thefiguresweremoreconceptualandabstract,revealingaless keenness for careful observation, as if the more detail information was too familiar to depict. From the point of view of diagrammatic art, Gombrich explains, this makes absolute sense, as there is no need to elaborate on known facts. To go even further, this habitual readingofdiagrammaticdrawingsandtheattainedabilitytoencodedrawingswithease,,is a result of Greek training on perspective visual analysis, yielding us to become extremely accustomed to looking at photographs and illustrations, and interpreting them as actual reality.29 We have reached a point where realism is the illustration of concepts that already seemtobediagrammatizedinsideourminds. The diagrammatic interpretation of reality, or the realistic illustration of diagrammatic concepts,mayverywellbeasymbolicmeansofdecodingenvironmentalforms,andforming visuallanguages.ArchitecturalsymbolismhasdevelopmentalfeaturesintheRomanperiod, where the ability to convert phenomena to symbols was considered an accomplished style, in Roman stilus, that later became what the newer generations called fluent pen. Fromthis,deriveswhatclassicaleducationsomuchstressedupon;theabilityofastudentto express and persuade ideas, similarly to how the ancient teachers and rhetoricians applied to styles in speech and writing. It is not surprising that diagrammatic and symbolic art, described by Gombrich as awareness of language of prose30 is also strongly linked to poetry (the awareness of language and prose), and iconology, which deals with images in allegory,symbolismandinvisibleworldofideas. The conclusions to gather from the use of semiotic references by different cultures, is that according to the development of each group of mindsets (jointly influenced by landscape, climate, traditions, religious beliefs, etc), the limits of interpretations will be very elastic. This happens not only because the acceptance of an agreement is difficult to attain, but because what follows is the dilemma of an appropriate symbolic representation of that concept. Pondering on this thought, it is always interesting to dwell on the story of Babel, which involves the interpretation of empty space by different cultures gathered together,

who choose to solve the problem as the raising of the basis of human action beyond the safetyofthecommonground.31 Conclusion In conclusion, when one studies the different approaches of semiotic interpretations of civic art,therealizationismadethatthedifferentapplicationsareinfactnotsodiversewitheach other. When investigating the different semiotics of expression, the historical considerations, the priorities since the modern movement, and the civic art application accordingto heritage preferences,likesandbeliefs,onefindscommongroundsofenduring formalistic artifacts, execution of rational results, expressive social communication and interpretation, symbolism and meaning, construction of places of consciousness, emotional comfort, and interpretational connectivity of human evolution, always in dialogue with the natural surroundings. The concepts all speak of a semiotic dialogue between man and environment,adjustingaccordingtotime,circumstances,andemotion.Theultimategoalof this dialogue is security. Through the various means studied above, this security seeks binding properties with the environment, in pursuit of a sense of comfort, safety and protection. This binding of spaces, often a matter of figure and ground relationships, is achieved by means of compositional rules that form syntax of civic art, or by applying civic art elements that aid in compositional comfort. Either way, the solution is one of semiotic relationships in the urban setting that bonds, hybridizes, classifies and frames urban elementsinmeaningfulwholes. References
1 2

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Rudolf Arnheim, The Dynamics of Architectural Form, University of California Press, Berkeley, Los Angeles, London:1977. QuotedinEstherMcCoy,TheNewUniversityCityofMexico,inArtsandArchitecture,August1952,p.21. BarragnFoundation,LuisBarragn;TheQuietRevolution,2001,p.21,104,106. Plato,Republic,HackettPublishingCompany:1992(orig.320bc). Aristotle,Poetics,CosimoClassics:2008,(orig.335bc). A.R.Turner,RenaissanceFlorence;TheInventionofaNewArt,HarryN.AbramsInc.,NewYork:1996.

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13

WernerHegemann,ElbertPeets,TheAmericanVitruvius;AnArchitectsHandbookofCivicArt,NewYork:The architecturalbookpublishingco.:PaulWenzeil&MauriceKrakow:31East12thStreet:1992(orig.1922),p.27. LewisMumford,ArtandTechnics,ColumbiaUniversityPress,NewYork:1952,p.17,159.

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ColinRowe,FredKoetter,CollageCity,TheMITPress,Cambridge:c.1978. KevinLynch,TheImageoftheCity,TheMITPress,Cambridge:1970,(orig.1960),p.4. KevinLynch,ATheoryofGoodCityForm,TheMITPress,Cambridge:1981,p.7398.

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20 21

19

UmbertoEco,ATheoryofSemiotics,IndianaUniversityPress,Bloomington:1979,p.50.

Umberto Eco, Function and Sign: Semiotics of Architecture, in The City and the Sign; An Introduction to UrbanSemiotics,ColumbiaUniversityPress,NewYork:1986,p.57. MarkJarzombek,ThePsychologizingofModernity;Art,ArchitectureandHistory,CambridgeUniversityPress, UK:2000,p.24. Jarzombek,op.cit.,p.40. Hanfmann,GreekNarration,p.74. ErnstH.Gombrich,ArtandIllusion,PrincetonUniversityPress,NewYork:2000,p.129. Gombrich,op.cit.,p.109.

22

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27

Gombrich,op.cit.,p.99. Gombrich,op.cit.p.121,123. Gombrich,op.cit.,p.9. Arnheim,op.cit.,p.34.