#symbolicspace

[elfuegointerior]

160425

Soñé que vivía en una casa con muchísimas salas y varios cuartos que se conectaban por medio de escaleras, unos arriba de otros. Las salas daban hacia un gran jardín. Pensaba que el lugar quedaba perfecto para rentarlo como un complejo estudiantil, ya que también había varias cocinetas al aire libre. Salía a caminar y cerca encontraba un museo, una escuela de francés y una universidad.

I dreamed that I lived in a house with many living rooms and several rooms connected by staircases, stacked one over another. The living rooms opened out to a large garden. I thought the place would be perfect to rent out as student housing, especially because there were several outdoor kitchenettes. I went out for a walk and nearby I found a museum, a French language school, and a university.

Interpretación simbólica: Este sueño parece hablar de posibilidades de expansión, comunidad y conocimiento. La casa con múltiples salas, cuartos y escaleras sugiere una mente compleja, en crecimiento, con muchos niveles de pensamiento o emoción. Las salas abiertas al jardín representan apertura y fertilidad mental o creativa. El deseo de rentarla como espacio estudiantil señala un impulso de compartir, de crear un ambiente donde otros también puedan crecer.

Las cocinetas al aire libre evocan una noción de vida práctica y compartida, mientras que los espacios externos (museo, escuela de francés, universidad) representan herramientas o caminos de aprendizaje disponibles a tu alrededor, como si el inconsciente te recordara que estás en un entorno fértil para aprender, enseñar o colaborar, aunque aún no lo estés aprovechando del todo. La caminata y el hallazgo de estos lugares podrían interpretarse como un suave llamado a salir al mundo.

Me queda la sensación de que tal vez en mi subconsciente tengo ganas de habitar, aunque sea por unos días un lugar así.

[normally0]

Architecture as Sign: A Semiotic Approach to Space, Meaning, and Cultural Intervention

In architecture, the transition of an object from raw material to meaningful artifact is not merely a physical act but a semiotic one. It is this transformation that turns stone into a "club" or a natural hollow into a "cave"—a shift in perception where human intentionality and cultural frameworks shape how we see and interact with the world around us. The process involves the mind's intervention, reshaping our relationship to natural materials without necessarily altering their physical form. This transformation is fundamentally semiotic, relying on signs and symbols to encode new meanings.

The interplay of mind, signs, and objects underscores the interdependency of how we define these concepts. Through intentionality, an object is imbued with new significance. This is not merely an intellectual exercise but one rooted in human history and everyday experience. The transformation of a horizon into a meaningful boundary or a landscape into a cultural profile shows how even our most basic interactions with the environment are deeply symbolic.

In the realm of architecture, these processes unfold on a grand scale. The Modernist assumption that architecture is a functional response to industrialized society—seen in the idea that buildings are shaped by "inevitable, logical" forces—misses the inherent value systems architecture conveys. Far from being value-free, every structure embodies an ideological stance, consciously or otherwise. The design of a building is a form of meaning-making, where spaces are organized and interpreted according to a specific worldview.

Historically, classical architecture emphasized the representation of nature through ornamental forms, suggesting a mimetic relationship between the built and natural environments. Yet even this imitation was complex and often ambiguous, as certain classical elements derived only loosely from nature. This reveals a deeper principle: architecture is not merely a mirror of the natural world but a reinterpretation of it, imbued with human ideas and social orders.

Modern architecture, particularly in totalitarian contexts, illustrates how buildings can become overt political symbols. The avant-garde movements of the 1920s, including Constructivism, embraced advanced forms that symbolized the ideology of a new social order. The push for "minimum existence" dwellings, for instance, reflected not only practical responses to urban problems but also a broader political vision about how people should live. This example illustrates the extent to which architecture is embedded within broader ideological systems, where even the simplest design choices carry the weight of political and social narratives.

By examining architecture through the lens of semiotics, we see that every element—from material choices to spatial arrangements—is a signifier of deeper meanings. This understanding urges us to rethink how architecture functions in society, not merely as a solution to material or functional problems but as a communicative act that shapes cultural, political, and existential understanding.

Architects, therefore, must become conscious of their role as creators of signs, using space not just to build but to signify and critique the cultural systems they inhabit. This recognition opens the door for more radical, reflective design approaches that question the existing narratives and ideologies embedded in our built environments, ultimately proposing new ways to engage with the world around us.

Incorporating the perspectives derived from semiotic theory, this analysis aims to provoke new thinking on how architecture can serve not only as a practical art but as a form of cultural intervention. Through signs and symbols, architecture becomes a medium for expressing—and challenging—the social and political forces that shape our lives.

[biointernet]

Symbolism of Melencolia I by Albrecht Dürer

The lie is in our understanding, and darkness is so firmly entrenched in our mind that even our groping will fail. Albrecht Dürer As I grew older, I realized that it was much better to insist on the genuine forms of nature, for simplicity is the greatest adornment of art. Albrecht Dürer Symbolism of Melencolia I by Albrecht Dürer 1514 engraving by Albrecht Dürer The print's central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. More about Time Symbolism Symbolism of Melencolia I by Albrecht Dürer Other objects relate to alchemy, geometry or numerology. Behind the figure is a structure with an embedded magic square, and a ladder leading beyond the frame. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title.

Symbolism of Melencolia I by Albrecht Dürer Decoding art: Dürer's Melencolia I This famous image is packed with meaning. Find out what each of these objects symbolizes, and how they relate to the overall theme of melancholy. Special thanks to the Minneapolis Institute of Art Albrecht Dürer, Melencolia I, 1514, engraving (Minneapolis Institute of Art) Figure of Melancholy: “Melancholic” is one of the four humors (see Father of Time). It was the least desirable humor because it was responsible for depression, apathy, and even insanity. The advantage of being melancholic, however, was that this humor tended to be associated with the most creative and intelligent individuals. It was believed that carpenters, mathematicians, artists, and grammarians all tended to be melancholic.

Symbolism of Melencolia I by Albrecht Dürer Hammer: Carpenter. Compass: Mathematician. Putto with notebook: Grammarian. Keys: Power. Purse: Wealth. Bell: Eternity Bat: Darkness. Boiled bats were recommended by the ancients as a remedy for melancholy Wreath: Made from a plant which was believed to be a cure for excessive melancholy Comet: Sign of Saturn, the god affiliated with melancholy Magic square: Orderliness of numbers, each line (horizontal, vertical, diagonal) adds up to 34. Thought to be a talisman to attract Jupiter (The god who could heal the effects of Saturn) 1514: The year of the death of Dürer’s mother. Also the date of this print

Symbolism of Melencolia I by Albrecht Dürer SYMBOLIC SPACE In many of his works Dürer strove to create the illusion of three-dimensional space, choosing different compositional devices for a variety of narrative goals. This interest in carving out perspectival space is manifested in his 1511 series The Life of the Virgin and other woodcuts made during the same period. These works chronicle the life of Mary, from the courtship of her parents to her assumption into heaven. The narratives unfold in architectural and landscape settings, which serve to frame the action and heighten its subdued drama. The interplay between outside and inside, inclusion and exclusion, and heaven and earth are key to understanding the events that unfold within these invented spaces. Unlike the highly emotive and chaotic compositions of the Apocalypse woodcuts, these are calm, contemplative, earthbound, and uniformly static.

Time Symbolism https://www.clarkart.edu/exhibitions/durer/content/symbolic-space.cfm https://en.wikipedia.org/wiki/Melencolia_I Time symbolism Symbolism of Melencolia I by Albrecht Dürer

Bunter Graphik Almanach 2 Symbolism of Melencolia I by Albrecht Dürer

Symbolism of Melencolia I by Albrecht Dürer Symbolism of Melencolia I by Albrecht Dürer

Die Symbolik in Durers "Melancholie" Die Symbolik in Durers "Melancholie" National Gallery of Art: One of Dürer’s three “master engravings,” Melencolia I has been linked by scholars to alchemy, astrology, theology, and philosophy, among other themes. Perhaps the most prevalent analysis suggests the engraving represents the melancholy of the creative artist, and that it is a spiritual self-portrait of Dürer himself. From ancient Greek times through the Middle Ages, melancholy was considered the least desirable of the four humors that were believed to govern human temperament. Alleged to suffer from an excess of black bile, melancholics were thought to be especially prone to insanity. Renaissance thought, however, revamped the status of the dreaded humor by connecting it to creative genius as well as madness. https://www.nga.gov/collection/highlights/durer-melencolia.html MHC Research Read the full article

[rebeccakonforti]

Porte #10 120 x 70 cm, Acrylique sur toile 2015 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contemporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei (à Ventenac, Languedoc-Roussillon, France) https://www.instagram.com/p/B4HKBkPoABG/?igshid=z7lfwm576uf9

[nymphaevm]

[streetasamedium]

Henri Lefebre - The Production Of Space

"Representational Spaces: space as directly lived through its associated images and symbols, and hence the space of 'inhabitants' and 'users', but also of some artists and perhaps those, such as a few writers and philosophers, who describe and aspire to do no more than describe. This is the dominated - and hence passively experienced - space which the imagination seeks to change and appropriate. It overlays physical space, making symbolic use of its objects. Thus representational spaces may be said, though again with certain exceptions, to tend towards more or less coherent systems of non-verbal symbols and signs."

[elfuegointerior]

070425

Soñé que visitaba a mi hermana, vivía en un complejo habitacional como de diseñador. Los edificios, paseos, andadores y jardines parecían un templo de piedra, con algunos detalles pintados como murales antiguos. Había uso de tecnología, como algo salido de Prince of Persia: una caminadora que en realidad era una enorme rueda de piedra que giraba, y al montarte en ella, era como una banda caminadora de aeropuerto.

Este sueño combina lo ancestral con lo moderno, lo íntimo (visitar a tu hermana) con lo fantástico. El complejo habitacional tipo templo podría simbolizar un espacio de contemplación, sabiduría o reconexión espiritual. La tecnología integrada, como la rueda de piedra, representa el movimiento, el paso del tiempo o el avance interno. Puede hablar de una etapa donde sientes que el crecimiento no es lineal, sino un recorrido que mezcla historia, familia, y herramientas nuevas para avanzar.

I dreamed I was visiting my sister. She lived in a designer-like housing complex. The buildings, walkways, gardens, and paths all looked like a stone temple with some painted details resembling ancient murals. There was the use of technology too — something out of Prince of Persia: a treadmill that was actually a giant spinning stone wheel. When you stepped onto it, it worked like the moving walkways in airports.

This dream blends the ancient with the modern, the personal (visiting your sister) with the fantastical. The temple-like housing could symbolize a space of contemplation, wisdom, or spiritual reconnection. The integrated technology, like the spinning stone wheel, may represent movement, the passage of time, or internal progress. It might reflect a stage in your life where growth isn't linear, but a journey that mixes heritage, family, and new tools for moving forward.

[rebeccakonforti]

Porte #13 90 x 90 cm, Acrylique sur toile 2015 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contemporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei (à Ventenac, Languedoc-Roussillon, France) https://www.instagram.com/p/B4HJ0Tho-vv/?igshid=usikvre1h2d3

[rebeccakonforti]

Porte #9 120 x 80 cm, Acrylique sur toile 2015-2019 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contrmporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei https://www.instagram.com/p/B3ysQmNIWRE/?igshid=5jjr1zq1v8sv

[rebeccakonforti]

Porte #9 120 x 80 cm, Acrylique sur toile 2015-2019 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contrmporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei https://www.instagram.com/p/B3ysQmNIWRE/?igshid=1i5xj8n8bz1vs

[rebeccakonforti]

Porte #1 120 x 80 cm, Acrylique sur toile 2014 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contrmporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei https://www.instagram.com/p/B3ysHauobVH/?igshid=1mkgkik7ljst4

[rebeccakonforti]

Porte #11 120 x 80 cm, Acrylique sur toile 2015 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contrmporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei (à Ventenac, Languedoc-Roussillon, France) https://www.instagram.com/p/B3yr45SoUXO/?igshid=1b9cyvq4ac11v

[rebeccakonforti]

Porte #4 140 x 80 cm, Acrylique sur toile 2014-2019 Vue de l'exposition "Hétérotopie" avec Romain Ruiz-Pacouret et Rébecca Konforti dans la cale de la Marie-Thérese, Ventenac en Minervois pour le festival horizon d'eau 2019. Production Frac Occitanie Montpelier #painting #artcontemporain #contrmporaryart #door #Tür #zeitgenössischKunst #contemporaryart #otherspace #youngartist #symbolicspaces #fracoccitaniemontpellier #régionoccitanie #horizonsdeaux3 #malerei (à Ventenac, Languedoc-Roussillon, France) https://www.instagram.com/p/B3ypXn2o3Xn/?igshid=sczkhimjt7sc

[rebeccakonforti]

Porte #11 (120 x 80 cm, Acrylique sur toile, 2015) Vue de l'installation Hétérotopie, cale de la Marie-Thérèse, Ventenac-en-Minervois, 2019. . . . . . Production du Frac Occitanie Montpellier et soutient du Frac Occitanie Toulouse pour le parcours Horizon d'eaux 3 le long du canal du midi. #fracoccitaniemontpellier #région occitanie #horizond'eaux3 #artcontemporain #zeitgenössisch Kunst #contemporaryart #otherspace #youngartist #symbolicspaces (à Cave Coopérative de Ventenac) https://www.instagram.com/p/B3wTu51o9lO/?igshid=2gppyu36nbnb

[rebeccakonforti]

L'ombre du jardin. Peinture sur papier marouflé sur mur. (2ème partie de l'installation) Dimensions variables 2019 Vue de l'exposition Night Cube chapitre 2 : espace des sens, exposition en collaboration avec Kaliane Meret et avec le soutien du Frac Occitanie Montpellier et le Frac Occitanie Toulouse pour Horizon d'eaux 3 le long du canal du midi. Crédits photos : Rébecca konforti #fracoccitaniemontpellier #regionoccitanie #jardinantiquemediterraneen #horizond'eaux3 #artcontemporain #zeitgenössisch Kunst #installationart #wallpainting #contemporaryart #otherspace #youngartist #symbolicspaces (à Jardin antique méditerranéen) https://www.instagram.com/p/B3OmQsLo8-c/?igshid=euits1r98x32

[rebeccakonforti]

L'ombre du jardin Peinture sur papier marouflé sur structure de bois. Dimensions variables 2019 Vue de l'exposition Night Cube chapitre 2 : espace des sens au Jardin antique Méditerranéen de Balaruc-les-Bains en collaboration avec Kaliane Meret et avec le soutien du Frac Occitanie Montpellier pour le parcours Horizon d'eaux 3 le long du canal du midi. Crédits photos : Rébecca Konforti @kalianemeret #fracoccitaniemontpellier #regionoccitanie #fracoccitanietoulouse #jardinantiquemediterraneen #horizondeaux3 #artcontemporain #zeitgenössischkunst #installationart #wallpainting #contemporaryart #otherspace #youngartist #symbolicspaces #installationart (à Jardin Antique Mediterraneen) https://www.instagram.com/p/B2EObgMojWL/?igshid=195lomkikruj4