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Without discussing the overlap between terms (colloqui-
ally, the term sign is often equated with the term symbol), the
mode of reference that is especially characteristic of archi-
tecture for which the meaning of the form arrives at imme-
diacy of > expression not only through a semiotic reference
to something outside of itself, but also through > form char-
acter and > atmosphere, is referred to here as an architectural
> symbol. Not unlike the > gesture, the > image, or > invi-
tation character, this specifically architectural form of sym-
bolism avoids the creation of an alienating remoteness from
reality, i.e. when we switch from the real world of concrete
signifiers to a remote meaning of the signified.
Basically, then, the spectrum of that which architecture
is able to denote, represent or narrate, is unlimited. Architec-
ture is distinguishable from other sign systems only in that
architectural signs necessarily rely on their specifically spatial
character, even when they – especially in pre-modern times –
erect an encyclopaedic conceptual edifice.> appeal, cellar, atmosphere, sound, sublimityAn intensity of experience in place of a multiplicity of stimuli
can be heightened by spatial simplicity. In terms of Gestalt
psychology, a simple > gestalt heightens the comprehensibility
of the basic form, so that perception can focus with greater
intensity on details. Simplicity opens up its value, however,
only in ways that are complemented by > complexity.
Simplicity underscores the serving function of architec-
ture, which provides an inconspicuous setting for everyday
life – itself sufficiently burdened with confusion and variety.
That which is preserved in architecture, enacted in it, is there-
by positioned at the centre of attention. As a fundamental
attitude, simplicity allows the situation of the tabula rasa to
develop – as discussed in Walter Benjamin’s essay ‘ExperienceSilence
Simplicity