The semiotomic philosopher Roland Barthes declared that the author was dead and his readers were born. This means a sense of skepticism about author-centered writing in literature, and that readers and critics must also change their reading attitudes.... The semiotomic philosopher Roland Barthes declared that the author was dead and his readers were born. This means a sense of skepticism about author-centered writing in literature, and that readers and critics must also change their reading attitudes. In architecture, too, author-centered design appears. Architects sometimes try to express their will and concepts strongly through their work. However, this architecture is oriented toward identity, self-revealing, self-centered, and eventually without inspiration. On the other hand, the signifier does not result in a single meaning, and it is textual architecture that allows readers to enjoy the pleasure of deciphering. The purpose of this study is to investigate the possibility of unilateral or unintelligent potential and meaning generation by architect 's will when seeing architecture through Roland Barth' s mythological analysis. In particular, we will analyze the works of Rem Koolhaas, SANAA, Sou Fujimoto and Peter Zumthor to see if they are free from the will of the architect and can obtain the user's true freedom. Prior to that, we first examined the theoretical study of Roland Barth. Barth's semiotic theory is divided into structuralism and de-structuralism. The period of structuralism can be regarded as broadening the applicability of semiotics analysis in that the view of popular culture was linguistically viewed from the perspective of 'mythologies' influenced by Saussure and Hjelmslev. Architecture can also be used as a methodology to look into a kind of symbolic system. In the period of Barth's de-structuralism, from the declaration of the birth of the reader influenced by Bakhtin's dialogism and Kristeva's intertextuality, to the physical language of Punctum, the text opened the possibility of the pleasure of creating meaning for the reader himself. In architectures such as Robert Venturi and Herman Hertzberger, there has been a flow of pursuit of a space that can accommodate various activities without being boring by communication with the public or residents. Would not it be possible to turn contemporary architecture into a textual view through Barth's structuralist mythologies? Based on these preconditions, if Barth's de-structuralism appears in the architectural text, then it is possible to extract the properties and recombine them into the 'birth of the resident' and 'architect without architecture' declaration. Through the preceding theoretical considerations, we have hypothesized three possible characteristics of text in architecture. First, it is the intertextuality of the detail elements. Text is not described solely and its meaning is created by its relationship to other texts. The overall shape of the building is not important, but the arrangement and relationship of the elements within it is more important for meaning formation. In the case of Herman Hertzberger, the architectural details that can be used for various purposes gave great consideration to users. However, the detailed elements do not exist separately but operate as a complete program by the interaction between the elements. Second, architecture can work with texts through polyphonous characteristics. As in the case of the venturi, not only obscures the respective meanings but also can produce various meanings through the heterogeneous mutual opposition of the various symbols of different meanings. It is also important that each symbol be able to produce its own voice without losing personality. Third, it must work as physical text. To do this, it must be an emotional space that leads to cooperation with other senses beyond visual limitations. Reading the physical text of punctum becomes possible only when the body of the subject is actively involved in the architectural space. Based on these theoretical considerations, we analyzed the works of Rem Koolhaas, SANAA, Sou Fujimoto and Peter Zumthor. 1) In Rem Koolhaas's architecture, there are many expressions of overlapping, sequential, mixed, and connected expressions. Through this, the polyphonous tendency in which various subjects coexist is prominent. 2) In the architecture of SANAA, various elements are fragmented in one space or the boundaries of adjacent spaces are transparently processed so that various behaviors overlap. Through this, it is possible to grasp the various elements connected at a glance, and to feel one atmosphere. Looking at the textual viewpoint, it is polyphonous and mutual textual. 3) The architecture of Sou Fujimoto was made up of a whole space using only simple and partial signatures. Each part alone does not form a meaning, and it has a mutual textual meaning through the relationship between the parts. It is also a physical text in which space becomes meaningful only when the user's senses are actively intervened. 4) In Peter Zumthor's architecture, the multi-layered senses were activated, creating a more relaxed atmosphere for the physical text to emerge. In this case study, Rem Koolhaas, SANAA, Sou Fujimoto, and Peter Zumthor have found that they represent textual characteristics in various ways in contemporary architecture. We have reclassified the expressions of the individual architects in terms of polyphony, intertextuality, and physicality, which are the basic concepts of text for participation and reinterpretation of the user 's active meaning creation. Through this, we sought to comprehensively characterize the texts of contemporary architecture. Contemporary architects are suggesting various ways to cope with the diversified society. In particular, the eclectic of their architecture can be described as 'architecture without architect'. It seems that the architect's argument starts from the posture of stepping backward and trying to realize the architecture by the user. There are two major ways to do this, but it must be accompanied by a 'empty signifier' that allows the user to determine the unfinished signatures and a 'physical text' that can be read with the senses. Sometimes the textual characteristics are maximized when these two methods are accompanied. In this respect, Roland Barth 's mythologies architectural analysis presents a new perspective on the contemporary architecture as a text. The textual approach of architecture also establishes a textual relationship between the architect 's plan and the user' s phenomenological interpretation. I hope that this will be used in both architectural analysis and design approaches. In the future research, we intend to elaborate the results of the detailed study of the textual architectural design methodology through the wider examples of contemporary architecture. As a result, we want to reveal the potential of various interpretations by users in contemporary architecture.
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