THE THEORY OF COMPOSITION AS

THEORY OF SIGNS, SEMIOTICS

“A text is an open-ended universe

where the interpreter can discover infinite interconnections”

Umberto Eco1

Composition is defined and interpreted in different ways, depending on the chosen viewpoint

and focus. Our attention here will concern the cases where:

− the focus is on the informative function of the texts that are created and composition is

considered a means for thought exchange;

− the focus is on the overall communicative role of the work, on its interactive linguistic

function.

If we approach composition as a sign system defined via the respective criteria, the analysis

will focus on the means and ways of integrating the signs into one whole, and the

methodological basis will be semiotic.

Using a number of concrete examples below we will trace the analogies that can be drawn

between the theory of composition and the theory of signs, semiotics.

Case study: THE KHATYN MEMORIAL TO WORLD WAR TWO VICTIMS IN

BELARUS (Fig. 1; Fig. 2; Fig. 3)

More than 30 years ago, I had the chance to visit Minsk and the memorial complex to the

victims of World War Two, the village of Khatyn.2

The village of Khatyn was burned to the ground while all of its 147 inhabitants, of whom 75

children, were taken to a shed and burned alive by the Germans in 1943. The tragedy is

“retold” in a very apt manner by the use of a broad gamut of signs and symbols aimed at all

human senses. The memorial is perceived in a syncretic way, the information flows along all

sensory channels and shapes the perception by giving rise to spontaneous feelings,

associations, and images, and leaving deep traces in the memory.

It was spring and the coach was travelling along a soft country road surrounded by corn fields.

The open windows let in the aroma of fresh meadow flowers, birdsong and the humming of

bees. The smooth journey was disturbed by a distant bell toll. Slow, heavy, monotonous... A

funereal toll, steeped in anticipation of a graveyard. This toll was getting stronger, thicker,

tighter, and more restless by the minute.

The first message was thus encoded in the bell toll, intended to signify by auditory means the

psychological setting for grief. The bell toll imparted the sign of death.

The coach left the main road and after a sharp turn pulled up in front of a fan-shaped picture

of dozens of “bell towers” tolling for the departed. Before us was the ghost of the village of

Khatyn: 26 obelisks – 26 chimneys, each of them a sign above a fire. The chimney, as well as

the fireplace, are archetypal signs of the home.

The chimneys are transformed into bell towers whose toll marks the eternity above the fires

that have gone out forever.

The chimneys are also stelae. Each of them has a bronze slab inscribed with the names of the

owners of the burned house. The house is marked by its base, framed with concrete beams.

The grey colour of concrete is used as a sign of ash. Thus, meanings and senses are

superimposed on each other to form the poly-semantic sign-symbol of the empty hearth.

A six-metre high bronze sculpture of a man carrying a dead child looms alive at the backdrop

of the funereal landscape. The sculpture, called the Unconquered Man, is an iconic sign – it

depicts the only survival of the tragedy. This was 56-year-old village smith Joseph Kaminsky,

who, wounded and burned, recovered consciousness late at night. He found his injured son

among the corpses of his fellow-villagers but the boy died later in the arms of his father.

Joseph Kaminsky and his son are the actual prototypes of the monument, which stands at the

centre of the composition of the memorial complex.

The shed is depicted by big broken granite beams symbolizing the roof whose falling burning

weight buried alive the village inhabitants.

The black colour is again used as a sign – in the Slavic tradition it is associated with death.

The granite is associated with tombstones; the weight, with the human heavy grief; the broken

beams, with the human fates cut short; the lying lapidary shapes, with the eternal rest... All

signs that are used: symbols, icons, indexes, work to impart emotions of grief and mourning

and convey all sorts of meaningful associations related to death and irretrievable human loss.

The memorial complex includes several other thematic cores in addition to the dead village of

Khatyn.

“Khatyn was not the only village to be burned. Another 185 villages and their inhabitants

were burned on the territory of Belarus,” reads the inscription at the entrance to the unusual

symbolic graveyard, “Cemetery of villages”.

(Fig. 4)

In the cemetery, each of the burned village has its own symbolic grave, with an urn and an

eternal fire. Verbal signs have been used here - tomb inscriptions, as well as non-verbal signs:

archetypal sign-symbols signifying graveyard, as well as stelae, urn, flame. Colour

symbolism has been used as well: the black colour symbolizing death in the Christian

tradition; red, the colour of life and of the eternally burning fire; the grey colour of ash...

History says that on the territory of present-day Belarus alone nearly 2,500,000 people were

killed during the Nazi occupation and the hostilities, which is equal to 25-30 per cent of the

pre-war population of the country. One in every four nationals of Belarus perished during

World War Two.

In the text of the memorial complex, this fact is signified at the end section of the complex,

the Memorial Square.

(Fig. 5)

A square of three birch trees symbolizing life stands in the centre. There is an empty nest in

which instead of a birch we have eternal fire burning in memory of each fourth Belarusian

killed in the war.

Next to the Tree of Life is a list of 433 villages burned by the occupation soldiers and restored

after the war.

Let us try to explain the analogies and parallels that can be drawn between the theory of

composition and the theory of signs - semiotics, or semiology, and the specific aspects of

interpretation.

The traditional notion holds that principally, composition deals with the artistic organization

of form and space, which is done using various means and techniques that affect human

perception (these are for example, proportion, scale, contrast, shade, light, colour, texture,

etc.), with the purpose of achieving a given artistic effect.

However, from the point of view of the semiotic approach, the focus is on the meaningful and

emotional organization of form and space in thematic texts, on the basis of signification, the

introduction of different kinds of signs (icons, indexes, symbols), and the coding, using

different keys or codes to read these texts in order to achieve adequate communication

between the objects in the environment and the recipients.

Thus, it is incorrect to claim that “the direction in which the abstract composition is headed is

opposite the semiotic,” or that “other disciplines deal with semiotics in architecture”.3 It is just

the so-called “abstract composition” deals with the organization of form according to the

requirements of our physical being. In this sense, we refer to the opinion of Rudolf Arnheim,

according to whom architecture belongs to those occupations whose results offer organization

of form and of our physical being, as well as of our mind.4

Therefore, semiotics, semiology, the theory of signs, is one of the faces of the theory of

composition. It simply treats architecture as language.

If the composition of the Khatyn memorial is interpreted as an abstract organization of form

and space, it will then become evident that the figure of the square with varied dimensions is

used repeatedly on different planes, with particularly stable proportions. One can even say

that the square is at the basis of the entire composition: it is the individual house, the “graves”

of the villages, the urns (which are cubes), the Memorial Square, the nests of the birch trees

and the eternal flame, etc.

From the point of view of semiotics and the organization of the meaning of the text of the

memorial complex, the square is used as a symbol. The symbol of the square has many

meanings, but first and foremost – and this is true for most cultural traditions – the square

signifies land. Furthermore, the square conveys the notion of a standstill, it symbolizes

coming to a stop. Sacred spaces are in the shape of a square, and these include altars, temples,

cities... Another semantic association with the square is used here as well, the numerical, the

figure of the square; with the cross – the Christian symbol of death and of the crucifixion of

Jesus Christ...5

An interesting question to ask is which is the code to read the text of the Khatyn memorial?

Or, put more precisely, where is the code given most clearly and distinctly?

From the point of view of the formal abstract composition, this undoubtedly is its centre, the

sculpture. It is emphasized with the location (the geometric centre), with the scale of the

figure, the vertical contrast with the other volumes, and the contrast between the organic and

the rest abstract geometric shapes, etc.

In the composition of meaning, this is the only sculpture of piety depicting the surviving

smith and his dead son. From a semiotic point of view, the sculpture is a sign icon, a sign

image, which even has actual prototypes. This sign cannot but be interpreted properly, it is

read unequivocally, denotationally. The code of the memorial complex is the image of the

unconquered man, who holds the knot of opposition of sorrow and anger, power and glory,

grief and despair, firmness and determination, the collision between life and death.

Rudolf Arnheim writes that architectural symbolism begins to come into play when a

building's design uses shapes that carry a conventional meaning. The most compelling

symbols are born from the most elementary sensations, inasmuch as they relate to the basic

human experience. Arnheim calls this symbolism, which has deep roots in the most powerful

universal human experience, spontaneous symbolism. Most successful are those architectural

solutions that relate to primary, spontaneous expression. In the open symbols, which in

semiotics are called signs indexes, signs icons, and signs symbols, the directly captured

analogy between the visual characteristics of the object and its spiritual essence derives from

the most generic attributes, such as height or depth; openness or enclosure; outgoingness or

withdrawal; comparability in scale, proportion, contrast, and other purely abstract notions. It

is these that become the things to be captured by the so-called “abstract composition”.

Arnheim argues that the work of architecture - as a whole and in every part - acts as a

symbolic affirmation which relays – through feelings – qualities that are fundamental for

human existence. Both the artist and the architect focus mainly on the commonly accepted

metaphoricity of expression.

However, in addition to these “open”, apparent symbols, architecture uses the so-called

conventional symbols.6 These are sign symbols meant for a limited circle of recipients who

are initiated in their meanings. An example of this is the religious symbolism7 whose

messages are only understood by those who are initiated in the respective faith and know the

concrete religious language. Such is the masonic symbolism, accessible only to the brothers

who have been initiated in the respective degree of the fraternal organization.

Unlike the theory of abstract composition, the theory of the sign systems – semiotics, is not

restricted to spontaneous symbolism alone, but is concerned with all types of signs, including

conventional ones, because its goal is communication at all levels.

It should be noted that the advent of Postmodernism in the late 1970s in arts was accompanied

by the emergence of the so-called “double coding” where texts target at the same time both

the mass and the initiated, for example, professional architects. Post-modern buildings

“speak” simultaneously to architects and architecture connoisseurs who understand the

architectural language and read the architectural conventional signs, and to all the rest who are

interested in comfort, strength, traditions, prestige, fashion, etc.

Apparently, the semiotic aspects of composition stand out most prominently where certain

themes are being evolved. It is by no accident that Charles Jencks, who deserves the biggest

credit for introducing semiotics in the realm of contemporary architectural knowledge through

the publication of a series of monographs, including Meaning in Architecture (1969), The

Language of Post-Modern Architecture (1977; 1978; 1980; 1984; 1991); Signs, Symbols and

Architecture (1980); The New Paradigm in Architecture (2002); The Iconic Building (2005)8,

sets out his philosophy of the semiotic approach in the architectural composition using as an

example his own home in London, the so-called Thematic House.9

Jencks' Thematic House is the object of a special study published in an extra edition of the

Architecture and Urbanism magazine, which explains the total symbolism in its design.10

The

house was totally done over according to a symbolic programme, which assigns meaning to

the smallest detail. Reviewers say that Jencks' Thematic House in London, a reworking of an

1840s townhouse, fulfills his view that modern architecture can embody personal symbolism.

The entrance room, called the Cosmic Oval, is meant to suggest the Big Bang. On its walls,

huge, fiery figures of Thomas Jefferson, Hannah Arendt and Pythagoras debate and ponder.

Most of the other rooms illustrate a specific theme, with arcane borrowings that range from

Baroque to Art Nouveau. Depending upon the viewer's taste, this microcosm of the universe

is either a messy, eclectic riot of styles or a dream vision. An influential architect and critic,

Jencks discusses Egypt's pyramids, Chinese gardens and Gaudi's buildings as examples of

symbolic architecture...11

Analyses could be performed on emblematic examples from architectural sites and designs

developed according to consciously coded thematic programmes. First among these would be,

for example, Jencks' Garden of Cosmic Speculation in Scotland, or even the Parc de la

Villette in Paris designed by Bernard Tschumi,

Case study: THE PARC DE LA VILLETTE, PARIS, FRANCE, BERNARD TSCHUMI12

(Fig. 6)

... but here we shall dwell on not so popular examples in order to demonstrate that

composition is interpreted as a sign system irrespective of whether or not this act is

consciously recognized. The matter of achieving successful and proper communication is in

the skill and command of the architectural language, in the art of coding information, sensual

and rational.

Case study: THE LEAF CHAPEL, 2004, JAPAN13

(Fig. 7; Fig. 8)

The Leaf Chapel, which sits within the grounds of the Risonare Resort in Kobuchizawa,

Japan, has been designed to be used for wedding ceremonies of people of different religions,

without being associated with any particular faith. This is achieved by the apt use of signs and

symbols coded in which are meanings valid for any marriage.

The explanations the authors provide about their project attest to the conscious application of

the semiotic approach.

The chapel is formed by two leaves – one glass, one steel, – which have seemingly fluttered to

the ground. One leaf is fragile and transparent white, while the other is solid and coloured in

bright blue. One leaf embodies femininity, and the other, masculinity, which unite into one

whole similar to Yin and Yang. Yin and yang are polar opposites. Harmony is the unity of

opposites – Dao.

(Fig. 9)

The glass leaf with its delicate lace pattern motif emulates a pergola and the structure holding

it up reminds one of the veins of a leaf which slowly become thinner the further they get from

the central stem. The transparent part looks like tulle stretched over the veined leaf structure.

The white steel leaf, perforated with 4700 holes, each of which holds an acrylic lens, is

similar to bride’s veil made of delicate lace. During the day light filters through the lenses and

projects a lace pattern onto the white fabric inside. When it gets dark and the lights inside the

chapel are turned on, the branches and leaves perforated on the steel stand out even more

prominently. The sky with its countless stars seem to fill the interior of the chapel. Seen from

the outside, the chapel shines softly and seems to emit the heavenly light of the matrimonial

mystery.

A number of symbols stand out thus far. The first one, which is rendered in many ways in

order to ensure redundancy of the information, which in turn guarantees that the message is

understood, is the branches and the leaves. In all cultural traditions they signify the following:

fertility, eternal renewal, vitality, flowering, bearing fruit, etc. which, in a sublime way,

successfully refer to the meaning of marriage and family.

The second symbol is the bride's veil, the delicate lace, the stretched tulle. Everywhere in the

world the bride's veil is a symbol of maiden purity, modesty and innocence. The bridal veil is

diaphanous and ethereal, with a delicate floral pattern, and creates a sense of mystery,

particularly when it goes down in front of the bride's face. The veil is the boundary of the

bride's world, it is her shelter and protection. At the wedding ceremony the groom lifts the

veil by which act he captures, takes under his wing, joins... The kiss is a sign for sealing this

contract of unity.

Here is how these meanings have been coded architecturally:

At the end of the ceremony when the groom lifts the bride’s veil for the kiss the “steel veil”

magically opens too, revealing the pond and the enchanting nature beyond. The opening takes

place inaudibly for only 38 seconds. We would like to note that water is a very powerful

female symbol in all cultural traditions, and almost invariably first and foremost symbolizes

fertility. Water in Japanese gardens carries the meaning of the soft female power called yin.

This meaning is reinforced by the evergreen pines that are the embodiment of fertility,

longevity and the eternal divine harmony of nature.

Then the wedding party carefully walks on the stepping stones across the pond where the

lawn surrounded by trees welcomes them for the champagne toast. Stone in Japanese gardens

is the mountain and the male power yang.

The lifting of the “steel veil” takes the ceremony to the real world, opens vistas of beautiful

paths and goals. The beautiful panorama opening in front includes the sacred Mt. Fuji, the

Japanese Alps, and pine forests.

Through the use of signs and symbols, the scenario of wedding ceremonies has been aptly

translated into a universal architectural language. The authors' message is read with tangible

pleasure, given the wide presence of the site in the Internet.

Case study: NIRVANA CHAIR, engineer Adrian Thornber 14

(Fig. 10, Fig.11)

The next example we will analyse in order to trace the interpretation of composition as a sign

system is a modern and unique chair created by an English designer and called “The Nirvana

Chair”.

This chair, or rather a hammock, swing, chaise longue, bench, or all together, is, in our view,

a telling illustration of Arnheim's view that the connection between function and form

translates the object's function into the language of perceptual expression. The visible

capability of form to convey the mode of use of the respective object is unmistakeably

captured by perception.

The visual analogy with the spiritual state called “nirvana” has been achieved in a tangible

way. Let us try to trace this analogy, decipher the signs in the visual text on the basis of this

code.

Fairytale wedding (Fig. 12)

Nirvana is a state of transcendence and an imperturbable stillness of mind after the fires of

passions and desires have been extinguished, an end to suffering, supreme happiness, this is

the feeling of sensual elation.

The transcendental state is a state of having overcome gravity, separation of the soul from the

body, ascension, soaring in white fluffy clouds...

The first visual impression for weightlessness and lightness comes from the suspended

hanging construction. The vertical hanging of the diaphanous wire mesh creates an impression

of lightness and gliding in the air.

The sitting person, wrapped tenderly in the white sheepskin, looks like a feather carried by the

mesh cradle. The smooth, fine, shining metal curves that diffuse the light look like the five

fingers of a hand whose palm tenderly holds the peacefully recumbent stress-free body. One

readily reads the visible ability of the form to contain, to wrap, to pamper and protect.

The curves of the metal construction are segments of a circle and the base of the chair is a full

or an almost full circle. As Arnheim writes in his analysis of Mies van der Rohe's Barcelona

chair, curves and circles are the lines that create the impression for visual stability, given that

“circles are the hardest, most inflexible curves”.15

Furthermore, convexity as a dynamic visual

feature expresses the form's ability to contain.16

The convexity of the visual boundary

contains what is in the form around its centre. In this way, the geometric convex-concave

curves carry immanent signification, which is aptly applied in analogy with the function.

The sheepskin – black or white, is designed to be dual, to have two sides, and is associated

with the sensation of softness, fluffiness, tender touching and caressing... In addition to all

these, the sheepskin is a sign for cosiness and warmth. It draws from the subconscious the

primary connection with the animal kingdom, calls up associations for lamb, rabbit, downy

bird, for powder and nest... And finally, the sheepskin conveys a feeling of luxury, lavishness,

extravagance and magnificence.

Thus, the designer has succeeded in covering a large section of the semantic field of the

notion of nirvana and in instilling a tangible perception for this rather elusive state of the

spirit, even for a verbal description.17

It can be said in conclusion that interpreting composition as a sign system could be extended

to both the historical plane, as well as to the latest examples of the architectural and design

practice. Such an interpretation would be very productive in tracing the connection between

code and style, between interpreted semiotic models and personal creative creeds,

embodiment of authors' compositional practices; in tracing the various national schools in the

context of the semiotic approach to composition.

But even the interpretations analysed above of the theory of artistic composition, such as the

theory of sign systems, in our opinion prove the current point of view of semiotics in favour

of augmenting the tools of the modern architectural and design practice.

Broadening the field of scientific knowledge via semiotics and introducing the semiotic

approach when dealing with artistic composition becomes an objective and irreversible

process directly affecting all arts, including architecture and design.

Architect Dobrina Zheleva-Martins, PhD

1 Еко, Умберто „Интерпретация и свръхинтерпретация”, Изд. Наука и изкуство, София, 1997, с.38

2 http://en.wikipedia.org/wiki/Khatyn_massacre ; http://khatyn.by/en/

3 Попов, Павел, „Композицията като абстракция”, Изд.АrchLIBRI, София, 2007, p.20

4 Арнхейм, Р. „Динамика архитектурных форм”, Москва, Стройиздат, 1984, с.86

5 Виж „квадрат” в: Шевалие, Жан и Ален Геербрант, „Речник на символите”, /превод от френски/ Изд.

къща „Петриков”, София, 1995г. Том І, с. 459-464 6Арнхейм, Р. „Динамика архитектурных форм”, Москва, Стройиздат, 1984, с.144-147

7 Виж: Николаиду, Д., Б. Виана и Д. Желева-Мартинс, „Семантика на православния храм –

пространство, терминология, визуализация” – В: „Архитектура” 2001, №3, с.43-47 8 Charles Jencks, The Iconic Building - The Power of Enigma, Frances Lincoln, London, 2005; The

New Paradigm in Architecture, Yale University Press, London, New Haven, 2002; The Post-Modern

Reader, Editor, Academy/St. Martins, 1992; Towards A Symbolic Architecture, Rizzoli, NY; Academy,

London 1985; Signs, Symbols and Architecture, edited with Richard Bunt and Geoffrey Broadbent,

John Wiley, NY and London 1980; The Language of Post-Modern Architecture, Rizzoli, NY 1977,

revised 1978, Third Ed. 1980, Fourth Ed. 1984, Fifth Ed. 1988, Sixth Ed. 1991, Academy Editions

London 1977, 1978, 1980, 1984, 1991; Meaning in Architecture, editor with George Baird and

contributor, Braziller, NY 1969; http://www.charlesjencks.com/books-3.html 9 „Thematic House” (with Terry Farrell), London, 1979-84

10 Charles Jencks, Extra Edition of„A&U” (Architecture and Urbanism), January, 1986, Tokyo, page 16–31

11„Towards A Symbolic Architecture”, Rizzoli; 1st Edition. edition (September 15, 1985

http://www.amazon.com/Towards-Symbolic-Architecture-Charles-Jencks/dp/0847806596 - From Publishers

Weekly, December, Copyright 1985 12

В огромния комплекс влизат Музей на науката, Град на музиката, голям изложбен павилион, зала за

рок концерти, кафенета, беседки, информационни павилиони, театрални сцени... Вплетени са елементи

от фотография, кино и хореография. Чуми замисля "Ла Вилет" като особен супертекст – деконструкция

на текста на системи от линии, точки и повърхнини. 35 конструкции, оцветени в яркочервено,

разположени в правоъгълна мрежа служат за репери-ориентири за посетителите; Мрежата от червени

сгради - знаци е разсечена от кръстовидна фигура на двете тесни алеи, покрити с навеси - от север на юг

и изток на запад. Оригинален и ефектен "Ла Вилет" става любимо място на парижани и един от

символите на града. http://www.tschumi.com/projects/3/; http://www.archidose.org/Feb99/020199.htm 13

Klein Dytham Architecture, Leaf Chapel by Klein Dytham Architecture, Japan, 12 Aug 09, In:

http://archide.wordpress.com/2009/08/12/leaf-chapel-by-klein-dytham-architecture-japan/ 14

Sculptural Seating in Stainless Steel Nirvana :- An ideal condition of rest, harmony, stability and joy

http://www.nirvanachairs.com/Adrian%20Thornber.html 15

Арнхейм, Р. Динамика архитектурных форм, М., 1984, с.182 16

ibid. стр.179 17

Авторът на Nirvana Chair, инженер Adrian Thornber демонстрира девиза „Nirvana :- An ideal condition of

rest, harmony, stability and joy”

LITERATURE

Еко, Умберто „Интерпретация и свръхинтерпретация”, Изд. Наука и изкуство,

София, 1997

Мемориалeн комплекс «Хатынь» - http://khatyn.by/en/ ; http://www.khatyn.by/ru/about/

http://en.wikipedia.org/wiki/Khatyn_massacre

Попов, Павел, „Композицията като абстракция”, Изд.АrchLIBRI, София, 2007

Арнхейм, Р. „Динамика архитектурных форм”, Москва, Стройиздат, 1984

Николаиду, Д., Б. Виана и Д. Желева-Мартинс, „Семантика на православния храм –

пространство, терминология, визуализация” – В: „Архитектура” 2001, №3, с.43-47

Jencks, Charles:

The Iconic Building - The Power of Enigma, Frances Lincoln, London, 2005;

The New Paradigm in Architecture, Yale University Press, London, New Haven, 2002;

The Post-Modern Reader, Editor, Academy/St. Martins, 1992;

Towards A Symbolic Architecture, Rizzoli, NY; Academy, London 1985;

Signs, Symbols and Architecture, edited with Richard Bunt and Geoffrey

Broadbent, John Wiley, NY and London 1980;

The Language of Post-Modern Architecture, Rizzoli, NY 1977, revised 1978, Third

Ed. 1980, Fourth Ed. 1984, Fifth Ed. 1988, Sixth Ed. 1991, Academy Editions

London 1977, 1978, 1980, 1984, 1991;

Meaning in Architecture, editor with George Baird and contributor, Braziller, NY

1969

Jencks, Charles, Extra Edition of„A&U” (Architecture and Urbanism), January, 1986,

Tokyo, page 16–31

Tschumi, Bernard, Parc de la Villette, Paris, 1982-1998 –

http://www.tschumi.com/projects/3/

Klein Dytham Architecture, Leaf Chapel, Japan,

In: http://archide.wordpress.com/2009/08/12/leaf-chapel-by-klein-dytham-architecture-japan/

Thornber Adrian, Nirvana Chair, http://www.nirvanachairs.com/

PUBLICHED IN FULL:

Желева-Мартинс, Д, “Теорията на композицията като теория на знаците.” – В:

“Постижения и тенденции в развитието на съвременния дизайн и декоративно –

приложните изкуства”, Сборник материали от научна конференция НХА, София,

2010 , Издава НХА, София 2012г , с.39-49

Zheleva-msrtins,D. “Theoriata na kompoziciata kato teoria na znacite” – V: “Postizhenia I

tendencii v razvitieto na savremennia dizain I dekorativno – prilozhnite izkustva”, Sbornik

materiali ot nauchna konferencia Nacionalna Hudozhestvena Akademia, Sofia, 2010, Izdava

NHA, Sofia, 2012, s.39-49