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Sacred Space at Home: Architecture with Soul (Volume 1) [Anne Knorr] on leondumoulin.nl *FREE* shipping on qualifying offers. In this soulful and beautiful book.
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But what kind of subconscious story are you creating inside the home? And perhaps more importantly, how can we transform our space into something sacred, a place that tells a story that is distinctly our own? One that centers around healing, transformation, and psychic-based interior design. For the past 17 years, Elana has worked with clients to transform their space and facilitate healing in the home. She would use her talents and her psychic abilities to help others transform their homes and lives. Some things may need shifting—psychically and literally. A lot of the work Elana does is pretty much traditional interior design, but with a different mentality attached to it.

She looks at not only the functionality and beauty of the design objects, but the symbols of the space and intentionality behind them. Very minimalistic. Elana began listening to the space and what the story was telling her. After sitting down with the home owner, she uncovered stories of an abusive childhood, a dictatorial father, and a rather cold upbringing that trickled over to his existing relationships. He always felt like he had eyes looking over him, a residual feeling of judgement, as if he could never live up to the expectations of his ultra-successful father. Interestingly, his design choices were actually mirroring that pattern of behavior—that part of his past.

Really oversized and mostly of individual people, not even duality. Although the artwork was interesting, nearly 90 per cent of the imagery was not joyful or supportive. Now, this is where it gets a bit nuanced. After all, some were investment pieces, and some the client was devotedly attached to. It was about re-configuring these images, integrating them in a healthy way to fit a new narrative within the home.

Reshaping their stories, so to speak. The signs and symbols that cover the floors—in the tapestry of Berber culture the mother goddess in all her figurative and geometric appearances and motives for example—survive in the decorative patterns used in the ancient mosaic floors and, till today, in ceramic floors, and the design of industrial oriental rugs.

Footnote 6 The ground of the house of man is covered and cleaned by signs that are at once symbolic and magical; they exorcise the dark forces that hide underneath, and organize the stage of human life. Of Daedalos—the mythical first engineer-architect—we know very little, but one of the inventions that made him famous is a dance floor in Crete: the sacred space where human existence, symbolically represented by ritual dance, is performed. Reproduced with permission of the artist.

This figure is not covered by Creative Commons Attribution 4. Copyright: the artist. The second means to construct an artificial interior is the wall. A borderline, a ditch, a barbed wire, a hedge, a running fence, a threshold, glass screens. But a wall works, in any case, very differently from floor or ceiling, which are about the place of Man in the Cosmos. The walls are used to divide the realms of day and night, man and woman, men and animals, the living and the dead, Communism and Capitalism, Mexico and the United States.

The cemetery gate and wall is in this case quite significant and illustrative of this situation. But the walls first of all organize horizontally and subdivide the world of man socially and culturally; they affirm the differences in wealth and power, create distance between the bodies, assign a place to the families of the tribe, to the men and women, to the grownups and the children. And they distinguish between eating and sleeping, dirty and clean, the public and the private.

The kind and materiality of a wall furthermore determine the degrees of intimacy, the conditions for what can be seen or heard publically and how the personal life can be screened off the eyes and opinions of others.

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The roof separates the World Below from the Sky Above. To sleep in the open air, under the stars, certainly is an unforgettable poetic experience and an adventure, but mankind first needs a roof over its head. One feels very well the difference between the low, flat ceiling of a living room and the monumental dome of a church painted blue with golden stars representing the firmament.

A ceiling one can almost touch is very different from one with lots of empty free space above the heads. Therefore, ceilings used to be marked off the walls with mouldings, and to be covered, just as the floors, with signs and painted figures, scenes and occasionally the heavens itself. The average commercial modernist architecture easily forgets the ceiling, or treats it as the backside of the floor above, as nothing but a white flat surface.

But the ceiling is the last thing one looks at the end the day and the end of life! To pass away under a dome, or under a vault It is certainly possible to build even less , more minimalistic. Vernacular and pre-modern architecture use even more essential pyramidal or conical volumes, consisting of only a roof and a floor, with no walls. Circular houses, nothing but a dome, living inside a sphere. All these primitive forms and buildings are architecturally very strong.

Sacred Space at Home: Architecture with Soul (Volume 1)

The expressionist architecture of Bruno Taut, Hermann Finsterlin, the Endless House by Frederick Kiesler, the organic architecture of the fifties and Zaha Hadid, they all avoid boxes and corners while inventing continuous spaces. Hence, there are good reasons to use rectangles— quadri —to look at the world, and to take apart floors, walls and ceilings, and mark them.

The sky is not the distant, looking to the sky is not looking at the horizon, the distant is not an abyss. It makes sense to structure the field of vision in front, rear, left, right. Footnote 7 The basic reference for experiencing what is up and down, front and back, left and right is, of course, the body.

The body experience fills up and clarifies what these words mean. But how can such a formless, unconfined subjective space be contained within such a compact, confined body-thing?

Gardens of the Righteous: Sacred Space in Judaism, Christianity and Islam

The interiority and the exteriority, the thinking and extended substance Descartes , the attributes of Thought and Extensiveness do not interrelate? Can we visualize and see what we are? Footnote 9 Being someone is like dwelling in a body? Architecture does, then, not picture what we are but rather what and how we would want to be. An interior has to be too large for the body and to make room, maybe also to express a personality, but always to accommodate the World. From within the interior one needs to sense or see the Outdoors, and be able to situate the interior in the World.

The geometry of the rectangle—width, height and depth, or floor, wall, ceiling—provide theretofore a basic structure that is covered with stories, told by the views through the windows, the fire place, the columns and arcades, Chinese pottery, globes, encyclopaedias, televisions, wallpaper and landscape paintings on the wall. An interior is a miniature model of the world. The picture invites the beholder to follow the diagonal leading from the woman to a little girl in the background, before an open door, lifting one foot to look a bit better, further.

This is how the image is opened up, just as the pictured interior is: the gaze of the beholder is directed towards what he cannot see himself but what the girl is contemplating, the Outdoors, the World. A view through a window is always a pars pro toto experience, it always is a picture that somehow symbolizes the World. Outside there is a World, but there is also Light. A glass cube can only in a limited sense be called an interior. A hole in a wall is not necessarily meant to provide a view, but can serve just to let the light in, as is the case in most religious architecture.

An interior can, thereby, not symbolically relate to the World, but function as a metaphysical machine and connect to the Principles that Reality is made of. Outside the light reveals the world, but remains itself invisible. The light itself becomes visible —softened, filtered, dispersed, on the walls and floors. Interiors then not only connect to the World, or the Distant, but also to an unworldly, metaphysical Beginning, an Origin, something that exists before there were things. Alberti already wrote that in religious building the windows have to be small and placed high, so that the soul is not distracted by what is going on in the world.

But even then, if the light comes without a view, it works. Thence the importance of the facade in architecture. This is the opposite of what alabaster window panels do in an interior. The architectural imagination can express itself most radically in projects and unrealized buildings. Other examples are: the harness, the wetsuit, the capsule, the burqa, the tortoise shell, the helmet or the bunker. Enveloping a body certainly is one of the first functions of clothes: cloths cover and shield.

But clothes do not organize space and they are not architecture. The basic images of completely customized spaces certainly exert a fascination on the architectural and artistic imagination, as evidenced by numerous works of art.

In his oeuvre, the two basic forms of a strong, centred interior the sphere and the cube peep up continually, with the ball-in-cube, or the sphere, the strongest symbol of interiority, contained inside the strongest and simplest model of a defined, constructed space, as its limit. Interiors without inner space, without play, with no possibility to be inside with somebody or something and relate to an outside at the same time, so that every entry entails violent penetration.

Reproduced with permission of the Gallery Hufkens Brussels. This figure is not covered by the Creative Commons Attribution 4. The other extreme is the rampant, infinite interior. See for example the morose, stifling interiors of Henri De Braekeleer, the late baroque perspective theatrical sets of palace rooms by the Bibbiena family, and above all the Carceri of Giambattista Piranesi Fig.

The Carceri picture a limitless inside, an inside without outside, where one can wander endlessly in all directions while at the same time being imprisoned or trapped. Reproduced with permission of the copyright holder, Ghent University Library. A house is built first and then decorated. Architecture and interior design may relate in many ways, and divide labour in many ways.

But it is essential that an interior is not built, that an interior is composed after the construction is finished, and that this cannot be taken up by the architect.


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The means of Architecture are very strong and impactful, but not very subtle and not very varied. Curtains divide and close more subtly than windows and shutters, folds soften the straight lines, go swiftly in and out. It is the interior design and the appointments that articulate and express both the forces that enter the interior and those who push outwards.

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It is the interior decoration that transforms the inside and outside into changing tides, and thereby keeps the sharp and static architectural separations elastic and flexible. One can read the sculptures of Antony Gormley as a fundamental and almost philosophical inquiry into the relationship between interiority and exteriority, between subjectivity and objectivity. I went under the sheets, pulled my head and arms out of my long nightgown and, turning myself into a bag, I squeezed myself inside, like a foetus. I hugged my chest—and repeated to myself: my little house Antony Gormley, Home , How to cite this article : Verschaffel B The interior as architectural principle.

Palgrave Communications. Mircea Eliade, "Le symbolique du centre", in Images et Symboles. Essais sur le symbolisme magico-religieux, Gallimard, Paris, , pp.