Symbolic Meaning of Transparency in Contemporary Architecture : An Evaluation of Recent Public Buildings in Famagusta

The history of transparency in architecture demonstrates a long relationship between glass and architecture. Transparent glass architecture has become one of the significant characteristics of 20th century. It has been one of the materials, which were used extensively in construction; and caused a significant change in the built environment, specifically in the 21st century. Nowadays, glass can be seen as one of the basic materials used in contemporary buildings. The usage of glass in architecture, specifically in public buildings, has increased during the recent few decades, and this trend is still continuing. In addition, Modern architecture has grown rapidly around the world and it has been investigated from various aspects. However, relationship between architectural meaning and modern architecture has been one of the less investigated issues. Therefore, despite the many benefits of transparent architecture, looking for meaning is one of the important factors that need to be investigated. Since search for meaning has been one of the challenging issues for contemporary architecture, the purpose of this study is to find the link between transparent architecture and symbolic meaning in contemporary architecture to recognize how it is possible to bring these two together. To achieve this aim, the research method in this study consists of combination of quantitative and qualitative research methods, besides; literature review has been analyzed based on “content analysis method”. Under this scope, three famous transparent buildings in London have been selected as sample study. To compare and verify symbolic meaning of transparent buildings, in sample study, paper focused on recent transparent buildings in Famagusta. Accordingly, an interesting and arguable finding is that symbolism is interpreted differently by everyone and therefore it is a matter of view point. Although in general transparent architecture is symbol of modernity, but according to user’s viewpoints there is different symbolic meaning for each transparent building. This finding is a proof to this important issue that people need to have meaningful built environment, so they even assign meaning for buildings.


INTRODUCTION
Architectural glass concept plays an increasingly important role in contemporary modern building design. The concept of transparency as an architectural ideal has been well recognized in the history of modernism; also, there are a number of overlooked and particular buildings from this time (Murray, 2006). One of the main features of transparent modern architecture is the relationship between inside and outside. It means -a simultaneous perception of different spatial locations‖ (Rowe & Slutzky, 1982), which can create the situation of being away from secrecy, excellently evident and simply discovered.
Transparency has been an important subject in architecture. Using transparent material in architecture and creating a sense of immateriality is not certainly related to contemporary architecture. Since the nineteenth century is beginning the era of transparency which oriented towards the glass architecture. In fact, transparency and lightness are two important factors in modern architecture and over the last years, glass has become a main architectural element particularly in the design of contemporary public buildings in many cities around the world. With this expectrum, some of public buildings, for instance offices, generally became entirely transparent. Also, the other building types followed this concept depends on their functions (Vidler, 2003 a).
Therefore, now architectural glass is as an integral part of contemporary building's structure and style, which has grown around the world. Along with this Expansion, people need to have meaningful built environment and building that can be shown through symbols.
Symbols are used frequently in every society and are employed to represent something other than what they appear to be. According to Kenzo Tange, ‗There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart'. Besides, Symbolic meaning has been one of the important aspects of built environment that especially in modern and contemporary architecture has been less investigated. Transparent building can provide both aesthetic and symbolic meaning if designed properly. So, it is important to know how a symbolic transparent building can be created. Therefore, this study attempts to find the link between transparent architecture and symbolic value. Obviously, this aim, this endeavoring to become symbolic, is the potential for architecture.

Problem Statement
The modern style originated in the 1900s and has been used to this day in contemporary architecture. However, that word embodies so many different forms of architecture, which often symbolic meaning aspect of them has not been considered deeply. One of the main criticisms about modern architecture is that architecture is reduced to a functional and purely utilitarian role. The beautiful art's lines change their place to the inflexible and cold lines of geometry. This becomes an extremely predominant issue that is debated in today's architecture. Recently a great extent of criticism of modern architecture's affirmation on functionalism manifested (Radcliffe, 2007).
In view of that, modern architecture has grown rapidly and it has been accepted by all architects around the world, especially for developing countries. Architects have tried to imitate the Modern architectural buildings in the world, without considering the different effects on their cultures and their country. In some new designs, major preference placed on the physical aspects or design itself rather than meaning and symbolism. So, the main dilemma is to find the proper relationship between transparency and symbolic value in contemporary modern architecture.

Aim and Objectives
This study attempts to evaluate various aspects of transparent modern architecture in general and tries to look for symbolic value in transparent architecture and finding related important factors. Under this scope, the discussion generally centers around the problem of meaning in architecture in terms of both how it is defined conceptually and what it means for architecture and architectural design in particular. Consequently, this study tries to find a link between transparent architecture and symbolic value in contemporary architecture.

Research Questions
According to the aim and objectives, this study tries to answer the following questions:  How can contemporary architecture and meaning be brought together?
 What kinds of symbolic meanings are existed in transparent modern architecture?
 How symbolic meaning of a transparent building is going to be understood by users?

Limitations of Study
In investigating chosen public buildings in London, and in the sample study of Famagusta, study has been limited to evaluate and analysis transparent public buildings.
In addition, this study is limited to contemporary architecture. However, in order to study transparency in contemporary architecture; it has been needed to study the origin of it, which goes back to modern architecture.

Methodology
In this study, the method is mixture of qualitative and quantitative methodologies, which are literature review, survey, observation and distributing questionnaire. The thesis is made of two important parts of data collections: literature survey, and field studies ( Figure 1). Literature survey and reviews on the sources that are about the subject of the thesis: 1-Transparent Architecture 2-Symbolism and Architecture. In addition, it is included of analyzing three famous transparent building in London. Accordingly, to obtain result and find key factors, literature review has been analyzed through -content analysis method‖, which is one of the qualitative data analyzing methods. In addition, field study is consisted of observations, analysis of buildings, visualization in the form of photography and maps. Also, it will be followed by application of a questionnaire through the people and users.
Under this scope, sample study approach has been chosen to find the answer of research questions of this study. Accordingly, the three samples study's buildings are the examples of transparent buildings, and mainly focused on public buildings in Famagusta. Then, each of those samples is evaluated according to key factors that were derived from literature survey. At the end, conclusions are drown from the findings of the case studies (Figure2).
Accordingly, the approach of this study consists of these steps: 1. The method, which is applied in this study consist of both qualitative and quantitative.
2. Data collection is based on literature review, and two main chapter about Transparent Architecture and Symbolism were described. Results have been obtained through -content analysis method‖.
3. Through survey, three sample studies have been selected.

4.
Results of literature review were tested in the sample studies.
5. The selected transparent buildings were observed and studied.
6. Based on research questions questionnaire was proposed. 7. The obtained results from questionnaire were analyzed.

Brief Overview of Globalization in Architecture
Since transparent architecture has become a global phenomenon, and a new generation in architecture; it is worthy to do a brief study on globalization and its effects on architecture of the 20 th century. Furthermore, in order to study transparency in contemporary architecture, this thesis tries to study the origin of it, which goes back to the Modern architecture.
Throughout history, architecture has changed rapidly around the world, and it varied basing on time and the architect. During the 20 th century, architecture has grown universally therefore; architects committed the process of formation of an immense shift.
Under this scope, facing the globalization process raises two key questions. What does globalization mean in architectural terms? Moreover, how has globalization changed architecture? (Eldemery, 2009) The -globalization‖ term was introduced in the latter half of the 20 th century; but globalization and its conceptual features did not attract the popular awareness until the latter half of 1980s (Chris, 2006). The phenomenon of globalization has attracted more considerable attention than almost all other issues in recent decades and it still is used in various contexts, by many people to reach different goals (Eldemery, 2009).
There are many definitions about the globalization phenomenon. According to Robert Adam (2008), ‗globalization is a collective rubric under which a series of changes in society, economy and politics occur and these changes affect everything from nations' operation to the daily life'. In addition, According to Bello (2007), the phenomenon of globalization goes much further, as the world is often dominated by global corporation.
Within the passage of time and progression of technology ever scenario of life is continuously changing, cultures are combining exclusively, mix cultures are emerging and it also has effects on socio-political qualities. In this situation, architecture cannot stay isolated. Therefore, globalization is another key matter that all architects confront.
As McNeill (2008) points out, the global architect discovers the growing importance of globalization processes of urban transformation, built environment and the architectural practice (McNeill, 2008). Giddens (1990) defined globalization as -the intensification of worldwide social relations that link distant localities in such a way that local happenings are shaped by events occurring many miles away and vice versa‖ (Giddens, 1990;p. 21). According to Giddens, globalization and modernization are intimately linked to each other. The most observable form that modernization is talking today is globalization. In this progression, globalization is assumed as a discourse of information that raises awareness of the relations between varieties of life's scales (Oncu & Weyland, 1997).
Consequently, the new millennium is dealing with two issues, in a situation that globalization works as a multidimensional phenomenon: first, the tension between the globalization's forces, which has been extensively argued as an exclusive contemporary trend; and second, the impact of globalization on local architecture and the attempts in order to demonstrate local identity and individuality throughout architecture. Architects frequently find themselves between the two opposing forces, which exist as an outcome of past or present divergent cultures and architectures, together with their present values and methods of diction (Eldemery, 2009).
Architecture only plays a slight part in human affairs. It does, however, bring together much, which is essential for society in general: technology, art, shelter, social function, economics, science politics, and many others. As a result, architecture performs as a mirror to society (Adam, 2008). Architects have tried, since the beginning of the 20 th century, to connect the design to the illustration of a special analysis of society and its upcoming tracks, in a symbolic way. That was a non-material, psychological and even cosmological analysis in most of the cases. Conversely, the society can be taken reflective of architecture, and this could be the vision in opposite way. It is possible to consider architecture as a natural feedback of present social issues, both politically and economically (Mahgoub, 2004).
With globalization, Modernism conquered the earth. Globalization is becoming the favored idiom for characterizing current era. Just as the depression of cold war I, Space Age, and the roaring 20's are used to portray particular period in history; globalization describes the contemporary economic, cultural and political, status. The term globalization has just become common in two previous decades, and academic critics who used this phrase during the 1970s precisely recognized the freshness of employing this term (Bello, 2007). Under this scope, the historical growth of globalization in architecture, very closely put through the dominance of Modernism. Modernist ideas had always been determined to establish in global scale (Adam, 2008). In the early 20th century, many architects disputed that the modern age demanded new architecture in response to new industry, technologies, mobility, and social and political orders. Thus was born the -International Style,‖ epitomized by German architects Mies van der Rohe, Walter Gropius, Le Corbusier and others. Gropius claimed in 1919 that, -One day there will be a worldview, and then there will also be its sign, its crystalarchitecture.‖ By 1932 it had been identified as the -International Style‖ and, although this was really a development of -parallel experiments‖ between nations, it was presented as a -contemporary style, which exists throughout the world, unified and inclusive‖ (Eldemery, 2009;Oncu & Weyland, 1997).

Modern Architecture in the 20 th Century
Frequently, the word -Modern‖, which comes from the Latin root -modernus‖, has been used frequently to mention the avant-garde, radical, progressive or even revolutionary movement since World War II. This word means "just now," even though the term was not broadly used before the 15 th century, when it presented a distinctive way to identify the stage after the Renaissance, from the medieval and ancient worlds. Moreover, it meant "new-fashioned, not antiquated or obsolete‖. It also comprised the term -contemporary‖ as transforming from sense of -now‖ to -just now‖. Afterward, on the way to the end of the 18 th century, the term reached a lot closer to the "new art" of the upcoming century. Consequently, the definition of -modern‖ spread out, as result of the so-called alteration (Denzer, nd).
The 20 th century is very significant with its innovations in technology and science, warfare (World War I, World War II), socio-cultural and politic transformations.
Moreover, some of the most considerable events of the 20 th century, which are representatives of the modern era, were urbanization, capitalism, industrialization, and mass media (Henry Russell, 1987). The Modern movement, which appeared in the beginning of 20th century in architecture and industrial design, reacted to sweeping alterations in technology and society. It was the effect of industrialization, which has begun since the 18 th century, and also declines historical patterns. Some principles were mainly supported by modernism such as Rationalism and organic architecture.
Additionally, a new world of machinery and new generation of cities, made artists to think further more about their environment. This new world soon transfigured the way we distinguish, depict and contribute to the world (Denzer, n.d). Modernist ideas have permeates all forms of design, in various ranges from graphics to architecture, just as being a key penetration in literature, music and art. Numerous modern designers insistently asserted that they follow no "style." Modernism was surely more than a style; it was a new worldview, contingent by new discernments of time and space (Weston, 2001).
Under this scope, by the end of the 19th and the beginning of the 20th century, architects started to quit earlier periods' methods and tended to create ulterior form of architecture, relevant to function, regarding to modern movement, in the West. After World War I, the forenamed trend went under the name of International Style, building up simple, geometric forms and plain facades without any dedication or referencing from the historical examples. By the end of World War II, this method was asserted in cleanlined, unembellished glasses and curtain walls, in high-rise buildings and large-scale housing projects (Modernism, n.d). Obviously, rejection of previous styles is the considerable point in this part.
Deserting the "forms of the past" by the pioneers of modern architecture was more than ornamentations or motifs; it also was about some previous common space notion like "linear perspective of the Renaissance" or Baroque style patterns. Particularly, the modernist notion in architecture was in contradiction with the synthesis that academicians made out of the official architecture of Europe's 19 th century. Design elements of old layouts, which are out of style, could not match with the new lifestyle in an open world, appropriately. After rejection of former "styles", it was necessary to originate the "new language of forms", by referring to new circumstances of life (Ciucci, 1981).
Regarding to a number of architecture scholar's thoughts, first and foremost, the Modern architecture was stimulated by technological and engineering improvements, and the usage of new materials like iron, steel, concrete, and glass in order to generate new construction techniques, as a stage in the industrial revolution. So, the Crystal Palace by Paxton in Great Exhibition of 1851 (Fig.3) , Galerie des machines by Dutert (Fig 4) also Louis Sullivan's steel skyscraper (Fig.5), Wainwright Building in Missouri, US around 1890, showed the first attempts toward Modern Architecture, clearly (Frampton, 1992). Modern Architecture happened to be a feedback to a number of styles from the Victorian age and afterward Art Nouveau, including lots of ornamentation and embellishing details at the end of 19 th century. Additionally, the modern movement's philosophy had numerous resources. One of the important facts in this progress, and the first major architect of modern time who stated the idiom -Form Follows Function‖ was the American Louis Sullivan. Sullivan destined to take away embellishment from functionalist architecture, afterwards the building could simply enter to its target; making buildings from the inside to out was the thought, which the standard led to, enjoining the required structure the form and then its external look (Denzer, n.d).
Therefore, he gave his building a radical modern appearance by using large glazed facades and low decoration. Besides, he insisted on his slogan, -form follows function‖, until it became the principle for the whole modern architectural movement (Gregotti, 1983).
Tracing Sullivan, Viennese architect Adolf Loos, persisted that decorations should not be applied to functional matters; and doing so meant wasting capital, effort, and material. He brought up a manifesto appointed as -Ornament and Crime‖, which was his argumentation about the fact that he believed prevention of embellishment was "a sign of spiritual strength." This essay became one of the basic manuscripts to the modern movement. By the 1920s, modern designers started to open up to new technologies and the opportunity of mass manufacture; afterwards the focal theme of modernism became the aesthetic of the machine. Two faces that cultivated the industry's language were: Walter Gropius and Le Corbusier (Benton, 1986).
It was definitely expected from new material and technologies to transport new architectural forms to cities (Colquhoun, 2002). The Bauhaus School of art and architecture in Germany ( Figure 6) played the main role in the beginning of Modern architecture; it was established by Walter Gropius in 1925-6. This building includes clean lines and simple elemental shape. Common materials, no embellishments or decoration; forms expressed their function and set on a pinwheel plan with glaze corners offering an ever-changing progression of solid and transparent (Gregotti, 1983).
Gropius aimed to connect art to technology, therefore to decline historical standards he trained a new generation of designers and architects to and adopt the ideology of modern industry. Rationalization was the considered issue by Bauhaus in design. The motto that contained aim of the modernists was: "Form follows function"; which was to mutate architecture's major principle to Constructionalism and Functionalism (Fleming & Honour & Pevsner, 2000).  . Le Corbusier cited that -the house should be a machine for living in‖. Modernist architects employed glass, steel and concrete in building design, and that gave them the chance to do radical building designs, for instance the skyscraper, by which these materials made it believable to reach this scale of design pattern. Buildings like these without a doubt, redefined the urban context timelessly. He and the community of modernist architects dare said that a house should be as pure as a well-designed machine in terms of its form, in order to supply its function (Benton, 1986).

Charactreristics of Modern Architecture
The first absolute and clear break in the history of architecture was characterized by Modern architecture; which its main definition is far from tradition. The modern architecture is one of the most important eras in the progression of architecture, by means of its characteristics (Benevolo, 1971). Knowing the Le Corbusier principles is vital to understanding the world of modern architecture. His creation of the ‗Domino house' was innovative in architecture, capable of being influential on the world for centuries ahead ( Figure 10). Moreover, this innovation is applied entirely in both architectural and urban design (Corbusier, 1954). So, there is a single modular unit which is called Dom-ino (also known as -Domos-innovation‖). This unit can be repeated in various organizations to create a more complicated whole that has this ability to serve an infinite amount of purposes. This style of architecture ‗allowed for more open spaces in designs". The goal was creating an appropriate combination between exterior and interior parts of buildings. According to Schulz (2000), this propensity led to a huge move towards a new style of architecture. Additionally, many consider the Villa Savoye as Le Corbusier's seminal work who is Swiss architect -5 points of architecture‖ became the principles for guiding many of Le Corbusier's designs, as he described it. Referring to the Le Corbusier's "five points" of new architecture's manifesto, the bases of modern architecture can be illustrated in the villa, that is one of the most renowned ‗International style' example which is easily recognizable.
The points were illustrated best in Le Corbusier's domestic architecture are ( Figure 11): (1) pilotis, or ground-level supporting columns elevating the mass off the ground.
(2) Free plan, made possible by the elimination of load-bearing walls.
(3) Free facade, the corollary of the free plan in the vertical plane.
(4) Long horizontal sliding window, provide even illumination and ventilation, and finally (5) Roof garden, made possible by the reinforced Concrete, provides more area for domestic use on the land retrieve the space for including a garden area (Corbusier, 1986). Figure 11. Five Basic Points of the New Architecture-Le Corbusier-. (Danielson, 1996) Beside this explanation, "free plan" was one of those mentioned points which continuity and transparency of place were emphasized. This idea is essentially important for Modern Architecture's theory. He also pointed to "free façade" in relation to free plan, which brought the opportunity to use glass in larger scales in buildings. Therefore, the interaction between internal and external spaces, and the relation of them to the nature are emphasized, rather than a conventional composition that already existed (Schulz, 2000).
These formerly mentioned ideas are considered as the new points of architecture. Le Corbusier also prescribed the other new architecture's points, which are listed as: "pilotis", "the roof garden" and "the horizontal window". According to Colquhoun, (2002), using the modern technology and decoding the principles of new architecture achieve freedom which is presented by each point. Accordingly, the Villa Savoye can be named as a perfect example of a building that these five points are incorporated in.
Probably it is Corbusier's most famous building from the second decade of 20 th Century (1920s); it enormously influents on international modernism. This house defined the course in various ways that modern architecture was to take in the 20th Century ( Figure   12).

History of Transparency in Architecture
Glass has been used by civilizations since the ancient times. The history of glass in architecture dates back more than two thousand years ago, the time when glass sheets were first produced in Rome (Slessor, 2001). So, Romans began examining glass technology and started utilizing glass in architectural design (Richard, 2011). Many historians see the history of architecture as mixed with the social matters in times.
Therefore, an era such as the medieval times is observed via the prism of spirituality.
Many of these structures let the light to enter to a great degree. Another example is the Renaissance, when there was an appeal for open spaces in buildings in a way that it would be visible from a fixed viewpoint (Radcliffe, 2007).
In order to recognize role of glass in architectural design, it is essential to look its primary usage. Glass just appeared in small openings when first was utilized in architecture and construction. By improvements in construction techniques, the usage of glass began to change from its medieval decorative use to the shape that simply functioned as a part to let the light inside the buildings (Wheeler, 2005). Large glasses were first used in architecture at the Gothic church. While large sheets of glass were not achievable yet, stained glass windows, made by smaller pieces of colored glass created large areas of transparency that lit up dark spaces; it also provided an ornamental appeal.
According to Slessor (2001), these windows have an applied function; they are a way of portraying scriptural scenes and stories. These windows interconnected bible's stories to an uneducated population and slighted the architectural tendency of searching for weightlessness, brightness and also transparency, through glass (Slessor, 2001).
The next immense step in glass architecture is nineteen's century. By this time, large sheets of glass were produced, and improvements in building materials let architects to use larger areas of glass in building design. In addition to new capability of mass production of large panes, the potentials for utilizing glass in construction became almost limitless (Wheeler, 2005). As the tendency of using glass in conservatoires, rooms and other structures raised, the building that became inspiring was the Crystal Palace ( Figure.13), which was built in 1851 in London to take part in the Great Exhibition. Also, addition, it characterizes the most striving glass architectural developments of its contemporaries. This huge and remarkable building, devoted to new technology, architecture and art contained 300,000 sheets, or more than one million feet of glass. This all were possible by steel arches that the held the sheets of glass together (Wigginton, 1996). Historically, the main role of glass in architecture has been established in respect of light's transition. Actually, one of Le Corbusier's major official manifestos was that -architecture is the masterly, correct and magnificent play of masses brought together in light‖. Light is one of the architecture's true crude materials. Glass allows the light in as it reflects the light, which is the phenomenon of glass in architecture (Corbusier, 1986).

Influence of Transparency in Modern Architecture
-Ideas concerning transparency are one of the most relevant features of our time‖ (Forty, 2000;p.10). Modern architecture is frequently identical by openness and transparency, which glass façades only present the aesthetic feature of it. In terms of façade construction, today's transparent glass façades have transformed from metal façades with glass incorporates to self-regulating fringes borders between inside and outside. Transparency is not only representative of being spectacular, but also needs connotation to generate symbolic architecture.
During the age of "new architecture" ,1910s and 1920s, transparency, remarkably, was a signifier of modernity, not only technically but also artistically and ethically (Whiteley, 2003). Conversely, the issue of transparency in architecture was developed since the late 19 th century due to few causes and factors. The technological development of that time by helping to produce large glass sheets, was the main support for introduction of the issue of transparency (Vidler, 2003 a). Although it was not possible to mass manufacture at that time, the other concern was the quality of glasses. So, the idea of dematerialization and transparency was dominant during this time and architects around the world tried to use glass to create ‗honest' buildings where the sense of light and space was the focal concern (Grass, 2011). On the other hand, transparency was used to show the clarity in architecture. To make transparent space means that there is no secret to hide, so concern of the space and all the details are shown; that was supposed to be the reflection of the society (Hassan Ali, 2011).
In an age discernible by greater and more extravagant office buildings and skyscrapers, the tendency began to utilize glass on external walls for more imposing and light releasing designs. One of the first buildings that used full glass external walls was the Fagus Factory in Germany (Figure 14), built in 1911 (Rob, 2003). This urban shoe factory was a work of Walter Gropius, in order to hold up the entire glass facades, he used a tinny steel structure to meet the client's demand of a smart vision. Also, one of the utmost achievements in glass architecture in 20 th century is the new Hayden Planetarium that exists in the American Natural history Museum, located in Manhattan that opened to the public in the beginning of 2009 ( Figure 15). There is a steel sphere of the planetarium, an 87-foot structure that can embed 585 people. Its breathtaking point is that it seems to levitate in the center of an amazing glass cube (Wigginton, 1996). Usage of glass in architecture undoubtedly has passed a long distance from its start.
Furthermore, at the beginning of 21st century, glass buildings, which are let the natural light enter, became symbols of green life (Hayatt, 2004). Continual improvements in glass and other building materials carried on raising the potentials for usage of glass in architecture and nowadays the results are several spectacular buildings (Annette, 2003).
The contemporary glass productions are stronger; and more insulated glass has led to even more use of glass in architecture. Other innovations in use of glass have also provided the possibility for it to be used less as a building material and more as a design feature in houses across the globe. Entire buildings and entire walls contain glass in their construction. Nowadays glass is applied in any part of constructions, from roofs to stairways or internal walls, as a result of its strength and safety (Wheeler, 2005).
Utilizing glass in elevators, walkways or safety walls around rooftops help to open up views. Contemporary glass is also much easier to preserve even than the ones that have been used the year before. Developed exterior glasses are coated in order to remain safe from dirt and also prevents from stabbing, also it help to get clean after every rain (Gonya, 2011).
By considering characteristics of modern architecture and opportunity of using glass in any place in the world of architecture, symbolization of the speed up momentum of globalization in the field of architecture in possible by the sleek facades of mega capital, which caused changes in the skylines of main cities all over the globe (Figure 16).

Definition of Transparent Architecture
Architectural transparency is understood as building development, the use of open and transparent material, or the combination of form and meaning, is one of the important features of twentieth century building practice (Murray, 2006). The context of building is based on the presumption that it is possible for a transparent building to be the key, which has the ability to make the inhabitant feel attached to the society; and the spreading of the predetermined can help to generate a social building, it is also possible to happen vice versa (Hassan Ali, 2011).
Sigfried Giedion, among others, has observed that -Transparency is a fundamental quality of artistic production that can be traced back to the origins of art and architecture‖ (Vidler, 2003 b;Roset 2008). In addition, Adrian Forty identified Transparency in his dictionary as -key twentieth century architectural term while at the same time acknowledging the tendency to discuss transparency in its material sense rather than its theoretical metaphoric ones‖. Furthermore, he recognized that -the term transparency is widely used within the architectural world and a term we are all familiar with; it's also a term we rarely seek to analyze for its exact meaning or application‖ (Forty, 2004;p.54).
Sometimes it is difficult to summarize and categorize the different definitions of transparent architecture because of the wide range and several interpretations of the term transparency (Ascher, 2003). One of the important interpretations of transparency that is often used in transparent concept and architectural world is making indoor and outdoor spaces continuous and create a visual connection between spaces (Hayatt, 2004). There are different ideas of the term transparency as they are defined by diverse architecture critics such as literal transparency and phenomenal transparency which are identified by Row and Slutzy (1982). The transparent concept can provide clarity among different architectural elements, which is significant for the perception of a design (Rowe & Slutzky, 1982).
In addition, the early modernist situationwhere the expressionless impartiality was the way to reach a civic public persona-was now inverted. For a while, the flat glass exterior was the most abstract and impartial communal façade imaginable, it also cruelly exposed inner spaces of the building to public view. This is a peculiar consequence of the more common aesthetic code of the term that Colin Rowe and Robert Slutsky called -phenomenal transparency‖ in 1956; Phenomenal transparency is -the capacity of two figures to interpenetrate without optical destruction of each other‖ (Rowe & Slutzky, 1982). Through phenomenal transparency, an object of the public territory and one previously transferred to the private territory suddenly appear on the same level. This interpenetration or simultaneity is made up by the flat glass sheet, which terminates the separation the depth (distance) between the public and private realms, placing them in the same level of perception. Then suddenly, a united space comes up a space as an assembly of objects that are limitlessly uncovered and are open to each other and to the public observation. The older Kantian notion of a public sphere as a neutral platform without set apart interests (objects) unexpectedly becomes quite problematic. And transparency, if installed successfully, ultimately makes architecture to move from the facades to the design of interior objects (Rowe & Slutzky, 1982).
Following on Row and Slutzy, According to Peter Rice's book Structural Glass, transparency is categorized in three different parts. The first one is -need to allow light to penetrate the walls of a dwelling‖ (Rice & Dotton, 1995). So, here visual connection has a minor role. Improving the glass technology could make the size of the pieces of glass bigger. -Allowing for a better view to the outside‖ (Rice & Dotton, 1995), is second way of transparency that create visual connection between inside and outside which is very similar with -a simultaneous perception of different spatial location‖ or literal transparency (Rowe & Slutzky, 1982). About the third definition of transparency by Peter Rice, -Architects and designers extended their designs to include not only immediate surroundings, but also views in the distance; expression of the transparent surface of glass‖ (Rice & Dotton, 1995). This form of transparency is directly connected to the building's aesthetical properties and is found in many industrial design and late modernist projects (Rice & Dotton, 1995).

Classifications of Transparency
According to Row and Slutzy, transparency can be attained by two ways: i) Literal transparency, ii) Phenomenal transparency.

i) Literal transparency
Literal meaning of the word -transparency‖ according to dictionary is: -clear, honest, truthful, not vague and easy to understand‖. By analyzing the meaning of transparency and also relating it to architecture, next ideas may appear: Clear can be interpreted as a clear design that is not difficult to understand in a three or two-dimensional world.
Honest can explain the bright and reachable architecture as it was the aim of modern architecture with the impression: -if I am able to see and have access to a space then I am able to control that space‖ (Forty, 2004). Taking a position in a specific design method could be an opportunity for an architect by controlling a space. A closed design is not almost static, accessible and monumental, also it is not possible to be penetrated (Hassan Ali, 2011).
On the other hand, Literal transparency was introduced by Row and Slutzy, (1982): according to them, literal transparency means -previous to light‖ and -describes a condition that allows one to see into or through a building‖ ( Figure 17). Nowadays it is possible to make a self-determining glass wall, as a result of development of frame construction to fix enormous glass sheets. Buildings can have a skin glasses around them, solid wall with windows are not only options any more. Although the window might be the main part, -this window is the wall itself, or in other words, this wall is itself the window‖ (Kepes, 1994). In addition, Literal transparency is generally used to explain the material situation of translucency within a building. Also, architects often used literal transparency to explain certain optical qualities in their architectural buildings. Literal transparency in architecture means -a simultaneous perception of different spatial locations‖ (Rowe & Slutzky, 1982).  (Roest , 2008).

ii) Phenomenal transparency
Between 1955 and 1956, Robert Slutzky and Colin Rowe wrote an article entitled: -The apparent space between solid objects‖, its discussion was introduced by a question from Gyorgy Kepes's Language of Vision 1944.
According to Kepes (1994), -if one see two or more figures overlapping one another, and each of them claims for itself the common overlapped part, then one is confronted with a contradiction of spatial dimensions. To resolve this contradiction one must assume the presence of a new visual quality. The figures are endowed with transparency: that is they are able to interpenetrate without a visual destruction of each other‖ (Kepes, 1994;p.41). In addition, phenomenal transparency is more complex than literal transparency ( Figure 18). This kind of transparency -refers to space, depth, and organization‖ (Rowe & Slutzky, 1982). According to Rowe the definition of phenomenal transparency means -an inherent quality of organization‖ Also, they brought another impression about the phenomenal of transparency, which says that -even if we are not able to see the behind layers we are able to construct an image of it‖ (Rowe & Slutzky, 1982). So, Literal transparency depicts the material quality of being seen through, while phenomenal transparency explains the perceptual quality that permits the mind to distinguish the fundamental leading or spatial concept‖ (Rowe & Slutzky, 1982).

Material and Spatial Transparency
Following to Literal and phenomenal Transparency, the concept of transparency is to be categorized into two predominant types, Material and Spatial transparency. The term of material transparency is about using materials, which are transparent. It means literal transparency, which began while glass and mirror introduced to the world. Material Transparency (literal transparency) means, previous to light, let one to see inside or through a building. Basically, material transparency means seeing through material, in the other word it is visible and clear from the one side to the other. By using transparent material in a building, controlling the space will be possible. Although this may be realized as spatial transparency, it makes it possible through material transparency (Hassan Ali, 2011). Spatial transparency can be classified into phenomenal transparency. The concept of Phenomenal transparency is having an image of a building, object, or some twodimensional surfaces it is also possible to see the image without those names. Spatial transparency is a kind of transparency that can be made by material transparency or by designing an explicit building, which its usage is clear (Hassan Ali, 2011).
In addition, Gyorgey Kepes has done some investigations about the characteristic of transparent material and the ways it can be used in architecture and art. In order to generate a design that is able to integrate the highest possible number of spatial vistas, contemporary architecture takes the advantage of transparent quality of artificial materials. The relationship between interior and exterior spaces becomes closer; and each perspective of the building gives widest visual comprehension of space (Kepes, 1994). According to user's view points, value judgment of an architectural building is based on the interaction between the person and the representation of the object or building in the built environment. As a result of the interaction between the individuals and the product, a value judgment is always accompanied by an effective response and an assessment about the level of quality or value of product. Therefore, there is not an absolute scale in user's heads for measuring values of architectural buildings. The judgment of value is relative, dependent on environment and surrounding values (Volker, 2011).
If one presumes architecture as alteration of social, scientific, ideological, religious or philosophical values into concrete physical forms, then it will make it possible to see the physical forms as mediums of visual communication for human (Krampen, 1979;. According to Lang (1987), the data captured from the environment has symbolic features that give it value, ambient qualities that draw emotional reactions, and motivational messages that infuse needs. To him, the built environment can be perceived to communicate a diversity of meanings and interpretation, which are numerously possessed in any artifact or surrounding; from being applied to being symbolic (Lang 1987).
However, role of architecture is reduced to a functional and purely utilitarian during contemporary time. The beautiful art's lines change their place to the cold and inflexible lines of geometry. This becomes an extremely predominant issue that is debated in today's architecture. Recently a great extent of criticism of modern architecture's affirmation on functionalism manifested (Rimmer, 1997;Lampugnani, 2011). Therefore, architecture should recuperate its ability to express value, so the designers are much responsible; they should find a way to create valuable designs. Obviously, it is necessary for the designer to have valid design criteria, so that the design can reach to its target.
Under this scope, symbolic value is an option, which would give this opportunity to users to judge architecture. In fact, the human mind takes -images‖ from a concept or buildings' form, and provides them meaning and judging them by the symbolic forms of the mind (Smith, 2006). Therefore, the importance and role of architectural forms emerges, in order to create valuable architectural examples.

Importance of Form, Function, Meaning
According to Eisenman -an architect should always be able to answer the question ‗Why does this building look like this'? With a nod to historical example or cultural meaning‖ (Jackson, 2008). Nowadays, the answer is because it can be produced by the computer, or because of imitations and globalization from other countries. Today, often modern architecture's focus is increasingly on -spectacular meaning‖, architectural building icon with no meaning (Smith, 2006).
Obviously, in the format of a traditional skill, knowledge of architecture was transmitted through the spoken word and also by practical demonstration for most; and it was depending on the place and was affected by geographic boundaries. Consequently, roots of all the rituals, myths, social norms were tightly in the instant local context, but architectural knowledge went free from the sense of place by the printed word, when it allowed the discourse to go up to an abstract conceptual stage, where it could be argued in terms of matters such as form, expression, proportion, character and meaning. Since the written idea could have come from a long distance, the source of knowledge may possibly come from an unknown source (Smith, 2006). In this sense, it became possible to discuss meaning by the terms, which were out of the immediate local background.
Therefore, by going back to its roots in antiquity, the typology of the primitive hut; or by the theories adopted from another field, such as sociology or linguistics, meaning of architecture became justifiable (Rimmer, 1997).

Definition of Symbol
Symbolism has permeated every aspect of human life. Nearly everything for example, a building, a movie or a painting has its origins in some sort of symbolism or, on the contrary, resorts to symbolism to express itself. Symbolism advanced as an art movement by the late 19 th century, having its roots in arts and literature. This movement was a great reaction in contrast to both naturalism and realism notions, in favor of spirituality, dreams and imagination (Alford, 1955).
According to Oxford English Dictionary, -A symbol is something that stands for, represents, or denotes something else.‖ symbols with meaning inscribed in it can be termed as symbolism. Symbolism means, to represent something in symbolic form, or to ascribe the symbolic meaning or symbolic character to something (Mukerjeea, 2008). In addition, Symbolism is the practice or art of using a word or an object to represent an abstract thought or idea. It could be a motion, place, person, object or word with symbolic meaning attached. Conversely, a symbol itself is something, which is representative of something else by affiliation, role or resemblance (Wood, 2011).
Symbol also can be a sing, which is written to represent an invisible thing, or it can be two different attitudes, intended or unintended. Remarkably, language is a system of spoken or written symbols that one can communicate. Every word is obviously a symbol; for example, the four characters of the word -book‖ represent a sound just like the way that a tangible object does. Similarly in writing, symbolism means usage of a word, a description or a phrase, which represent a stronger and deeper meaning than what the words are presenting themselves. Then, the written text can be transformed into a very powerful tool or instrument, by such meaning (Romaniuk, 2009).
The term symbolism is very ambiguous and has been represented or interpreted in many different forms, such as in political religious, color, mathematical, writing, advertising, (literature), music, poetry, architectural buildings, and even everyday life. However, tangible meaning must be traced to it. From a critical look, it can be seen that symbolism is found almost everywhere; but contingent on when something represents more than its actual meaning (Avis, 2005). Among others, as example, it is going to look briefly at three basic and different types of symbolism such as use of symbolism in religion, color, and architecture to gain more insight on how they are correlated respectively.
Initially, religious symbolism is stated as the use of images, texts, or actual existing objects to indicate an efficacy or Faith. The common used instance is the use of objects in order to symbolize -faith‖ in various religions such as cross for Christianity and the   Symbolism is also traced in colors. Several research have illustrated that most colors are symbolic. Symbolism in colors is used to bring out the meaning it stands for such as when black is used to represent death or evil, white far life and purity, red to symbolize blood, passion, danger, or immoral character, purple for royal color, yellow for violence or decay, and blue for peacefulness and calm. However, other people, culture, tradition, or custom might view it from a different point of view, although inscribing symbolic meaning into it (Romaniuk, 2009).
According to Ernst Cassirer, The diverse outcomes of culturelanguage, art, scientific knowledge, myth, and religionbecome components of one major problem-complex: these multifold efforts, directed towards a single goal, which is to transform the passive world of mere impressions, the world that spirit seems imprisoned in it at first, into the world of pure expression of human spirit.
According to Hall (1996), -It seems we have a natural tendency to create symbols in the way we are thinking or in art…‖ (Hall, 1996;p.52). Therefore, symbol's usage does not belong to specific era or a certain society. According to Mitford (1996), human is surrounded by ideas, signs, and images, which are frequently very symbolic, apart from the type of their society or community, whether they have not changed by time or commercialized. Since the prehistoric times, signs and symbols have been an essential part of societies and cultures. Some scholars such as Eliade rely on significance of symbols for being ‗homogeneous with human existence' (Eliade, 1991in M.Sani, 2009 (Eliade, 1991in M.Sani, 2009p, 53).
In order to define symbolism, Grabar (1979) compared ‗symbol' and ‗sign' and ‗image' with each other; by making such division, he stated that between these three issues, symbol has a significant place, because symbols comprise various -charge‖ values that are given to them. Additionally, symbolic meaning is based on predetermined conventions, behaviors, or agreements, which object does not contain them directly but they are in those who share it (Grabar, 1979in M.Sani, 2009. Obviously, the confusion over the essence of symbolic meaning has been more than other stages of meaning. That is the reason, which can help to identify concepts that image, sign and symbol are representing; concepts that are mostly used interchangeably.

Sign and it"s Different Forms "Symbol, Icon, Index"
According to Goldwater (1979), sign is -something, which stands to somebody for something in some respect or capacity‖ (Goldwater 1979, p. 17). This description clearly defines sign's function. The relation between sign and represented object can be situated in dimension of icon, index or symbol. Icon is a sign that resembles to the object, whereas an index sign directly refers to the object with an existential linkage (Goldwater, 1979).
Although definitions always contain an arbitrary element, but there should be a distinction between signs and symbols. Symbols include signs for they incorporate implication, but symbols overcome pure signs. Symbols are alive and dynamic; they are the invention of creative imaginings. . Symbols create a linkage between what is called routine and superior, the precise fact and the widespread truth, the present moment and infinity. They cannot be artificial or invented at will. A sign does not have such strength.
In addition, sign is anything that exists in favor of something else; it represents a subject such as, an idea, an experience, an emotion, an object or a thing, etc. instinctive reaction or conditioned reflex-like routinely stopping at red traffic lightnonetheless symbols need some existential participation (Crow, 2003).
Moreover, sign has literal meaning, its meaning is easy and simple; substance of conventional agreement between people who use that specific sign, whereas a symbol has complicated meaning; it has "literal" meaning and in the same time, extra meanings further than the literal (Smith, 2006).
On the other hand, According to Erman (2004), the symbol is a sign which association with its object is a matter of culture, convention, habits, agreement, individual and social values. A symbol can indicate more than one meaning in the addressed mind and it varies from other sign groups with this characteristic. Symbols are polyphonic; this means that each object can have a number of symbolic meanings (Erman, 2004;Jarosinski, 2002). Consequently, Symbolic forms are the -highest objective truths‖ that are -accessible‖ to the human spirit. -A symbolic form is a true unity of consciousness, as a unity of time, space, objective synthesis, etc‖ (Cassirer, 2004;p.87).
Jung discriminates symbol and sign by bringing up the statement that a symbol always implies a beyond: -A specific expression for a known object always will be a pure sign and it won't be a symbol at all. It is, therefore, quite impossible to create a living symbol, i.e. one that is pregnant with meaning, from known association‖ (Jung 1964, p.232). In the course of differentiating between symbol and sign, Mitford also claims that symbols have a profounder meaning. In addition, a symbol is the linkage between the function and the sign, the two words are frequently used interchangeably, but in most of the time symbol has a profounder meaning, the nature and manifestation of a symbol is to represent or reflect something more insightful than its reality (Mitford, 1996 in M. Sani 2009). Obviously, one of the potentials of architecture has is this purpose itself, to struggle in order to become symbolic. After dealing with concept of the symbol concept, it is time for exploring the course of constituting the symbolic meaning in the architecture.
A building might not be entitled a real architecture unless it meets spiritual meanings or minimum symbolic. These kinds of buildings probably can meet the needs for -material‖, but they cannot carry the sense of place over their inhabitants. Hence, the need for symbol and signs is not something fantasy, some buildings are in serious need of it, or it is necessary to exist sometimes. In the case of modern transparent buildings, symbols are important in terms of achieving the symbolic meanings.

Architecture and symbols
It is possible to use Architecture for symbolic aims too. Use of buildings in order to convey symbolic messages is not a new case. Actually, it has a very long history with its roots in early times. Consequently, the design of some buildings has been done in order to be symbolic. According to Rimmer (1997), Symbolic forms obviously constitute one's world and culture. Also, symbolic forms are the -true sources of light, the prerequisite of vision, and the wellsprings of all formation‖ (Rimmer 1997, p.5).
Architecture can play an illustrative role by representing meaning through the built environment. This points out that the buildings are able to represent and connect to socio-cultural traditions or express one's opinions and ideas. Rapoport, (1990 b) clarified statement, when he declared that -a variety of cultural or symbolic values can be expressed in a building through choices in materials, colors, forms, sizes, furnishings, and landscaping‖ (Rapoport, 1990 b). Indeed, symbolic characteristics can be seen in every category of buildings, from huge monumental ones to small normal houses. Each type of architecture may have different symbolic qualities, but relatively every building transmits some symbolic messages.
Architectural works or buildings can generate our communal and singular mental imagery by means of the emotions they evoke. Natural objects such as trees, woods, birds, ship, human being, vegetation, mountain, body of waters and flowers have been preferred symbols in expressive designs for example, birds' wings have been used several times in order to represent airports, which are related to the act of flying.
Santiago Calatravca is a famous Spanish architect and he is known for joining symbolism in his drawings by inspirational natural forms. For instance, the full length of building of the main terminal in Lyons Satolas Airport, France is bridged by a steel truss designed very likely to an animal skeleton, which is most obviously expressive of a bird and symbolizing flight, as delineated in Figure 25 (Rmaniuk, 2009). According to Kenzo Tange, -There is a powerful need for symbolism, and that means the architecture must have something that appeals to the human heart‖ (Erman, 2004).
The symbolic performance is defined by symbolic meaning of the user and it is an element of building performance. Therefore, the symbolic meaning arises in the user's mind, relying on physical quality of the buildings (Erman, 2004).
-In architecture, clearly, buildings are imbued with and embody multileveled and multipurpose meaning and messages‖ (Rimmer, 1997). They provide structure and form, and also text, context and meaning to social and cultural life. Consequently, symbols can be defined as semantic usage of recurring symbols or imageries within a work to create an additional level of meaning. Symbols give meaning to a plant, object and animal; likewise, symbolism is the practical use of any iconic representation by careening particular conventional meaning (Rimmer, 1997;Jarosinski, 2002).
Moreover, human provides meanings to the images that it received from objects and by his symbolic mind. Also, spatial relations between human and buildings are created by means of symbols more than forms; and more than being seen as form, architecture is seen as symbol. Therefore, a modern or transparent building's concept should be inherently symbolic or carry meaning; also its meaning is established by the ideas, images, and feelings, which it rises in the mind of visitors (Rimmer, 1997).
If every construct is innately symbolic, then to create something blatantly representative is irrational, since it becomes an artificial (Jarosinski, 2002).

Symbolism and Transparent Buildings
The Architecture's value is based on its meaning. Trying to minimalize architecture to It could be discovered from previous parts that design of some buildings is meant to be symbolic in nature. Likewise, the facades, interiors, building materials, colors, forms, furnishings, and landscaping of some of these transparent buildings have symbolism in their expression; it could be cultural, historical, and religious or communicate, architectural significance or resemblance of other objects.

 Canadian War Museum in Ottawa
The renewed Canadian War Museum's façade which is placed in Ottawa and designed by Moriyama and Teshima, which has many raw concrete walls both inner and outer side of the building and also the broke up concrete in addition to angled glass walls.
This facade represents the ship's bow and symbolization of the Canadian navies and their role, which they played during war. The windows that are placed on the building's roof equally have a symbolic meaning devoted to it in "international Morse code ". This clarifies in detail, the phrases "Lets we forget", and "N'oublions jamais", that are English and French respectively as showed in figure 26 (Moriyama. 2003). From the former example, it can be understood that architectural symbolisms can have a universal meaning; and also can be very subjective in their inferred response and they may be a result of individual's skills, and opinions. Having considering symbolism and architectural symbolism from a general point of view (Moriyama, 2003).

 Reichstag building dome
There is a huge glass dome with a 360° view of the surrounding cityscape of Berlin   The Dome symbolizes that the people are above the government, as was not the case during National Socialism. The futuristic and transparent design of the Reichstag dome makes it a unique landmark, and symbolizes Berlin's attempt to move away from a past of Nazism and instead towards a future with a heavier emphasis on a united, democratic Germany (Chametzky, 2001).So, this transparent dome is symbolizing accessibility of democracy process ( Figure 28).

 Glass house, Philip Johnson
Masterpiece of Philip Johnson -the Glass House‖ is another example of transparent symbolic buildings ( Figure 29). As Jarosinski (2002) mentioned, -it is compared to a dream and conceptualized as containing encrypted and embedded representations of the self‖ (Jarosinski, 2002). It is symbolism of The Dreams' Interpretation; in the same time it is the theoretic and methodological pattern for this approach to design-as-dream. A mirror that reflects a lens, an image that focuses it, and a prism that discloses its parts, the Glass House turns a clear eye onto its maker (Jarosinski, 2002). Accordingly, modern architecture should have a universal language system to create a symbolic concept (modern building). Therefore, each transparent building should have a structural key; and an idea behind its concept, which can generate a symbolic architecture. Symbols should rely on profound memories and one's perception of the spiritual world also, sympathetic with our tradition and origins. This is done by diverse symbolic forms inherent in our mind: through art, religion, history, philosophy, etc (Smith, 2006). Additionally, a building is nothing less than the symbolic representation of the tradition, values, culture, and creativity levels of the special country in which it stands.
In order to examine the results of literature review, some architectural critiques related to famous transparent contemporary buildings in London has been explored in the following section.

Symbolic Meaning of Contemporary Transparent Buildings in London
In this respect, it is tried to find the world's most famous contemporary modern transparent buildings. Accordingly, London has been selected as the cradle of modern architecture. It is a well-known city for its magnificent and historic buildings designed by some of the world's most famous architects. Since the century turned, a new type of architecture, mostly using concrete, steel and glass has become an increasingly significant part of the ever-changing cityscape. This Transparent modern architecture is a highly visible characteristic of the city and absorbs the attention from all over the world. The office tower with 40 stories and 180m height has a specific form, is joined to the cluster of high rise buildings that symbolizes the center of London"s financial; and It is the first environmentally distinctive tall building (Hayatt, 2004). Many activities such as gatherings, presentations and other take place on the flexible mezzanine of the restaurant with a full 360 panoramic view of the city and beyond. This is a radical building in terms of technical issues, architecture and social and spatial features. This office building is not likely to any other building in its category both from the inside and outside (Powell & Grant, 2006).
The Gherkin has an extremely unique form, which is basically a prolonged and curved shaft with a rounded end, similar to a stretched egg. It is one of the world's most rare buildings, because of its egg-like shape. The egg shape is symbolic, and this came from the time that egg was once considered as the perfect shape, the symbol of absolute and perfection (Figure 33 & 34). Besides, on the outside, the building is covered consistently with glass panels, which are rounded off at the corners. Its lens-like dome at the top serves as a sort of observation deck.
With a circular plan, the building widens as it rises from the ground surface, and then narrows towards its top. This is a responding form for specific requirements of the small site. The tower looks less bulky than a formal rectangular block, shaped by equal floor areas; the narrowing of the building's layout on the ground level decreases the reflections while increasing the daylight penetration at this level and advancing its transparency. The floors on the mid-levels provide larger areas to accommodate offices; and the amount of sky's reflection is minimized because of the tapering top of the tower (Hayatt, 2004).
Moreover, the press have always been criticizing and admiring this unique structure.
Also, some criticism has been given in terms of the urban design and contextual relationships of the building; and also about architectural scale and its aesthetic expression (Lewis, 2006). This skyscraper is placed in the central part of a low rise and midrise area; and -it is impossible to notice its variations of orientation exposures because of the rounded …it doesn't drag any consideration from its neighbors‖, according to the architect Roger K. Lewis, who is also a professor at University of Maryland (Lewis, 2006).
Finally, it is undeniable that Gherkin has a high level in Identity of London and it is significantly important to London culture. It has been on the cover of Newsweek, in advertisements for London's Olympics bid; and it was the set of some movies such as Match Point, Basic Instinct and Bridget Jones (Powell & Grant, 2006). Famous and successful figures of the events industry selected the Gherkin as the winner of -COOL venue awards‖, at 2012. The awards focus on venues, which have "Charisma, Originality, Style, Innovation, Sex Appeal, Authenticity, and Uniqueness" (Grant, 2009). The building of London City Hall, designed by Foster and Partners, is located in the zone that is known as More London (Figure 35). Seven major buildings comprised More London and the area was designed in order to prepare efficient quality office space for the workers, within the new business community in City of London. This building is part of the urban development project that is giving a new face to its surrounding ( Figure 36) (Norton, 2003).

Key aspects of symbolic meaning in Gherkin Tower
It is noteworthy that the purpose for design of London City Hall was also to create a new landmark for London. Foster and partners created the building to reach visual and conceptual significance. The uniqueness of the form reveals immediately by the spherical shape of its structure that leans towards south direction. Moreover, River Thames and other buildings of More London are in the outlook of London City Hall ( Figure 37). The clarity of the view to structures located on other side of the river and presence of the tower bridge is a contribution to magnitude of London City Hall as landmark (Freiberger, 2007). Conventionally there is no back or front defined for the building (Figure 39 & 40). The surface of the spherical shape of the building is approximately 25 percent less than a cubic form with the same volume. As the floor plates are stepped inwardly from the highest level to bottom, the building leans back to the south; and these moves are naturally providing shading from the strongest direct sunlight (Marmot, 2004). Authority. It brings the visitors close to the working of the democratic process and this clarifies that London City Hall is a highly public building. This building carries a fine complex of office spaces, shops, cafes and public spaces within design landscapes to a part of the riverbank that has not been developed for decades (Norton, 2003).
The transparency of the democratic process, proceeded by the London authority was  Under this scope, it should be feasible for the public to witness local authority's function; and it is obvious by the spiral path going upwards to the boardroom. The building should also appear transparently to its surroundings and symbolize the transparency of the democratic process. In order to rich this goal, the whole surface of the building is covered by glass. According to literature review, symbolically it is same as Foster's previous design (Reichstag building).
At the end it can be said, the Foster design on the southern side of the river Thames near the Tower Bridge is deliberately an iconic building. Its shape, -a skewed sphere of glass, sometimes reminding of a head-shape-is justified for two types of function: environmental, decreasing the total amount of glazed area of the building; and democratic, by the ascending internal ramp, which the whole building designed around and is a symbolic walkway for people to rich above the arguing chamber of their elected representatives (Pearman, 2002). Shard tower is a mixed-use -vertical city‖, which provides a broad range of facilities and amenities to citizens and visitors from round the world. This is a building designed by Renzo piano architects, which has a place in one of the most exiting cities' skyline ( Figure 44). The Sellar property foretasted that the Shard is going to be the most dynamic building of the capital and it will catch all universal attention to the London Bridge Quarter (Douglas, 2011). According to Irvine sellar, -The shard at London Bridge Quarter has redefined London's skyline. It's a symbol for the capital, recognizable throughout the world‖ (Sellar, 2012).

Key aspects of symbolic meaning in London City
The building is also assigned as the shard of glass; and the tallest building existing in the west of Europe. The construction process of the building was started at 2009 and continued until March 2012. -The shard of glass‖, its nickname was originally chosen by English Heritage department; and its intention was to insult the building because the Shard Tower was thought as a knife stabbed the historic London's heart. -"a shard of glass through the heart of historic London" (Moazami & Rahimi, 2008). It is ironically stuck on its site and now it is used by developers in the field of marketing. According to Sellar, "From here, you can look out on more than a thousand years of history" (Sellar, 2012).  The shard, regarding to its form and also transparent façade, is the Best metaphor to showing modern London; it also contains plenty of Illuminati numbers and symbols.
The tower was not designed to be an ordinary high-rise building, it is neither static nor conventionally rectangular, but instead, it is rising inspirationally. Shard Tower is transparent and looks like a shard of light. It is able to reflect the changes that happen in a day, the year or in weather (Knöfe, 2012).

He tapered the building because -I don't believe it is possible to build a tall building in
London by extruding the same shape from bottom to top' it would be too small at the bottom and too big at the top‖ (Douglas, 2011). Also, symbols are dangerous. High-rise buildings are frequently aggressive and overconfident symbols of ego and power, hermetic and selfish. As Renzo piano claims, the tower has a generous shape at the bottom and it is narrow on top ( Figure 46); it is disappearing in the air like pinnacles of the 16 th century or like a pole on top of a tall ship (Figure 47). Architecture of the shard tightly based on the form of London's historic poles and spires (Douglas, 2011).  each skyscraper serves as a symbol. This glass tower is intending to show that London is able to confront the financial crisis, or even if not, it is how the London's Mayor Boris Johnson expressed it one year ago (Sammy, 2012). Also Knöfe, (2012) reaches another scenario, which can be the worst one, is that -the glass wedge will simply become a symbol of the fact that everything in London is growing fancier and more expensive, and that it's time for old England‖ (Knöfe, 2012); with its eroding working class, to discard the city and its excessive living costs. Accordingly, Sellar says his -skyscraper will change London --and not just for today or tomorrow, but for centuries (Sellar, 2012).
On the other hand, -Architect Renzo Piano said: Up until now the building was ours.
Now the building is yours.' This building is not going to be a symbol of power‖ (Douglas, 2011). The possible meaning to be understood is that the building is not just a "merely symbolic" object, but also a symbol of power; because the human's power is now practically being harvested (Douglas, 2011).

About Famagusta
Famagusta is located on the east coast of Cyprus Island on Mediterranean Sea, which is the second large city in North Cyprus; with the population of approximately 6,000 and harbor. The city accommodates several remarkable historical monuments, as a part of architectural and cultural heritage of the Island from its long, ironic, unique and turbulent history; including the fortifications that are considered to be one of the most valued ensembles of medieval architecture in the world. New urban developments have been surrounded the historical core of the city, formally or informally as the centuries; and the new layout is drastically different than the traditional layout (O¨ nal, Dag˘lK ,DoratlK, 1999).

Historic Development of the City
From the first century AD the urban development of Famagusta has been shaped and continued in seven particular eras until the contemporary situation of Gazimagusa. the British (1878British ( -19601960-1974 and the time after the 1974's war‖ (O¨nal, Dagli ,Doratli, 1999).
After the Venetians era, the Ottomans came to the island, and afterwards the British Accordingly, in the late 1960, Famagusta became one of the best-known international centers of entertainment and tourism. On the other hand, there were structures that assigning the features of British colonialism; these buildings are reflecting contemporary tendencies in architecture, and they were mostly located in Varosha. In this period, Famagusta's Architecture reflects a wish to join history and modernism chasing the progress. From its background, as a small harbor in the 7 th century, in the 1970s Famagusta had become a town displaying the global tendencies of the modern architectural movement (Saeidi & Oktay 2012).

Method of Evaluation in Samples
The reason for choosing Famagusta in order to be evaluated is that it has been Accordingly, the study was conducted using questionnaire (Appendix 1), which has been dealt with 40 peoples to find out if symbolic meaning of these buildings can satisfy, them or not. It should be mentioned that at first the questionnaire was carried out by ordinary users. The first results showed that they don't have enough related education.
Accordingly, it this method has been continued by educated responders. Afterwards, data collection started by observations, recorded by photography, in order to analyze the transparency and architectural meaning in forenamed buildings because of their special facades. The aim is to evaluate the problems of symbolic meaning in this kind of transparent buildings to find a connection between the transparent architecture and symbolism. Consequently, the results of literature review, which obtained based on -content analysis method‖, have been applied in four sample study buildings.   of building shows that glass has been major material in the concept of the structure, and it has been beautifully used. It is a massive building, with a linear plan created by angular forms with straight lines. Moreover, the total façade of the building is covered by glass, which gives its impact on beautiful landscape. It is a fine example of modern architecture, outstanding within its mostly traditional neighborhood. The fully glazed cover of the building lets the users enjoy better external consciousness; moreover, it benefits from the daylight (figure 57). Accordingly, this building is symbol of modernity, economic growth and technology of the city.  This question has same concept as previous one, but it has been limited in Famagusta city. As it has been shown in the bar chart, the smallest percentages of the peoples were satisfied with the globalization of transparent architecture in Famagusta city. While more than 50 percent of them were not satisfied. In compared with the previous question, there is strong contrast between peoples idea. In generally they are agreeing with globalization of transparent architecture in the world, along with this, for them there is concern about keeping their vernacular architecture and their culture. Accordingly, they preferred to see just a few signs of transparent architecture in the Famagusta as symbols of modernity.

150%
Yes No       In this question, the important features of designing a meaningful transparent building have been asked. The obtained result showed that -unique style use of glass‖ is the most important factor among the other choices. Also, -using large amount of glass in façade‖ is located in the second place, which is showing that to create a symbolic transparent building, using a huge glass façade is not the most valuable factor.   Lemar Supermarket : The highest percentages (approximately 33%) is related to -being honest‖, because of its function and expectation of people from a shopping mall and after it -Evident, Freedom and accessibility‖ were voted by people. also, -technology‖ , -economical growth of the city‖ and -power‖ were added as symbolic meaning by people ( figure 59). Itimat Station: According to the above chart, the highest percentage is related to -accessibility 35%‖ and second highest percentage is -freedom 20%‖, which is exactly because of function of the building. So, the result of the questionnaire is confirming the effects of function on people's understanding of symbolism (figure 60).

DIAGRAM ANALYSIS  Finding
Last question is purposed as a personal question, which investigates the most symbolic transparent building among the four case studies in Famagusta, north Cyprus. According to the above chart, highest percentage (53%) is related to -Ezic restaurant‖ compared to other choices, which is because of its function and unique form, also special lighting and interior design. Also, Second highest percentage (41%) is related to -Lemar supermarket‖. because of its huge glass building scale, also it is the newest transparent building in the city. In comparing Lemar and Ezic together, we can get to this result easily that / the result is the proof to this important issue that good architectural design has the most influential effect than transparency on making a building symbolic. As a significant part of modern world, transparent architecture has a deep root in Modern architecture. Hence, in order to find the roots of contemporary transparent architecture, Modern architecture should be concerned. Usage of glass in architectural buildings developed with the globalization and its forces in the world of architecture. In contemporary architecture, transparent or glass buildings have been frequently applied everywhere, from simple housing units to large public buildings. It can be said, transparency and usage of glass in buildings is an obvious sign of modernity.
Beside these architectural developments over the world, people need to have meaningful built environment and building. Accordingly, Architectural meaning can be shown through symbols, also form has a fundamental role to invest meaning to architecture.
Indeed, symbolism is very broad and complex issue and it can be found almost everywhere. It is depends on many factors, so there is no single expression of symbolism. In fact, -symbolism‖ could be seen as a system of ideas, which is effective in the people's interpretation of different things such as architectural buildings.
Under this scope, Architecture and its symbolic values are based on so many factors, such as ‗form of the buildings', ‗Idea behind the concept', ‗universal patterns', ‗past experiences', ‗functional aspects', ‗context', and ‗user's viewpoints', which effects on impression of architecture. These factors are changeable from time to time. They were different for diverse types of buildings, different people, and various times.
In view of that, study focused on analysis of three famous contemporary public transparent buildings in London. The chosen buildings with monumental character, heavily borrowed their shape and forms from universal patterns. As a result of analyzing the buildings through content analysis method, three factor of ‗key structural and idea behind the concept', ‗deliberately symbolic building (contrasting a building with the aim of having a symbolic building)' and ‗referring to a universal patterns', were the most effective factors in creation of symbolic value for transparent buildings in London. An important finding is that the famous transparent buildings in London have been constructed at first with the goal of being a symbolic building. To achieve this goal, ‗form' of building has been the most important factor in creation of symbolic value in three sample buildings in London (Gherkin Tower, London City Hall, Shard tower). So, this buildings are a kind of symbolic and meaningful architecture. In addition, the architects erected these buildings to show the modernity and to be as a landmark for the city. So, transparent architecture is certainly symbol of modernity. These findings would reinforce the outcome of literature review.
Accordingly, to investigate these findings, three transparent buildings in Famagusta have been analyzed. Based on the obtained results from the literature review and analysis the buildings, Ezic restaurant by gaining more credits by people can stand as a highly symbolic transparent building comparing to the other transparent buildings in the city.
This finding comes from its ‗unique form and function', also ‗importance of concept of architectural design', such as ‗special lighting' and ‗interior design' and etc. In addition, the second symbolic transparent building in Famagusta is New Lemar super market, which is the ‗biggest and newest' transparent building in the city.
Under this scope, to comparing Ezic restaurant and New Lemar supermarket, the most important result is that symbolic value of a transparent building is not just related to the extensive usage of glass in facade. In addition, Ezic restaurant with smaller glass façade has more symbolic meaning than Lemar. This finding can appear as contradiction between these results. Accordingly, the most important point is that designing a modern building with a huge glass façade is not the most valuable factor to create a symbolic transparent building. There are other basic important factors, too. Such as, Form, Function, lighting, material, interior design. Furthermore, how to use glass and how to create a great architectural building is the most noticeable factor. So, ‗Form' and Based on all of these findings, it is possible to put the concept of meaning forward as an essential aspect of architecture. However, creating transparent architecture that is not able to associate to the users should be considered as construction and not architecture. Therefore, the essential duty of architects is to design for meanings, sine people need to assign meaning to their buildings. INTRODUCTION: Good morning / afternoon .I am from EMU Architectural department, this paper is contain some questions, which are aimed to evaluate the symbolic value of contemporary transparent buildings, within New Lemar supermarket which has transparent façade (glass façade). May I ask you a few questions: For statistical purposes only, would you please tell me your: