On the ontology of the existing:

Metaphysical – Physical – Metaphysical

This is the template of Existence.

The metaphysical is both the cause and the effect. The physical is the bridge between two metaphysical realms. It is an instrument for crossing over.

We can think about these instances of Cause and Effect in the context of two Forces. One that pushes us and the other that pulls us. One that deconstructs and fragments, and the other that distills and reconfigures (conceptualizes).

In a simplified sense, the pushing force can be thought of as negative (in terms of architecture, moving away from external negative influences), while the pulling force is positive (in terms of architecture, the values we aspire to).

Architecture as a Metaphysical Idea

From caves to skyscrapers, from agricultural fields to landscape design, architectural practice has undergone significant transformations. What initially served to protect us from external influences – the Cave – has now become an exponent of our public (or private) Persona – the House – Apartment.

Although the prevailing idea is that architecture is a practice primarily reserved for the “privileged” – historically institutions, churches, or the ruling class – because they were the only ones who could afford it, the truth is that, to a greater or lesser extent, we are all architects. Each of us has an inherent need for aesthetic space. The same can be said of philosophy. While we might argue that not everyone is a chemist, biologist, or physicist, we are all, in some way, philosophers.

Each of us seeks something more from a space than merely pragmatic or utilitarian functions. We look for stimulation, inspiration, a sense of intimacy, a sense of identity, or protection from the “negative” influences of the chaotic outside world. Space tends to be purposeful. However, how does this purposefulness shift in meaning when we move beyond its most banal (initial) functions and approach transcendental interpretations – or at least comparative inquiries.

Architecture and Linguistics

Just like the genesis and evolution of language, architecture has followed a similar path. Language moved from individual terms (Structuralism – de Saussure), through syntax (generative-transformational linguistics – Chomsky), to discourse. From the smallest meaningful unit to the largest interconnected system. Architecture evolves the same way. From simple huts, through ornamental cathedrals – seen as a series of micro-ornaments – to buildings as macro-ornaments. This type of progression appears across many scientific disciplines. It also exists within artistic movements. Architecture simply follows the natural spirit of development.

Claude Lévi-Strauss explained the development of language as follows:

First, we linguistically label what is dangerous to us. After that, what is useful to us, and finally, what has no significance to us.

A similar development can be observed in architecture. In the beginning, we built simple shelters – as basic protection from the elements. Then we introduced decorative elements into these shelters. Through aesthetic symbols, we began to express our ideals, desires, and visions. Eventually, architectural space became an arena for creative play and conceptual exploration. Space ceased to be purely functional. It became a medium of expression. Through its form, we began to think about the world, ourselves, and our place in the universe.

Architecture and the Psyche

Compartmentalization is a term that originally emerged from architectural practice. Separated parts of a larger system that can function autonomously without mutual influences. If one part collapses, the other remains intact. This is a defense mechanism that, in its ontological definition, is conservative, not progressive. Although the term is architectural, it found greater application in psychological practice, particularly Freudian. What problems does this approach create?

When parts become separated from the whole, they begin to oppose each other as a result of the desire for sovereignty. This is most visible in education. In many schools, especially universities, we can observe how subjects stand almost opposed to each other. Professors will defend their department as the most important to the point of denying others. This creates an inner conflict that does not lead to a common goal. Recognizing natural connections between subjects is essential for the growth of knowledge. But compartmentalization goes against this, and therefore becomes a major obstacle.

A similar problem has occurred in architecture. By the definition of aesthetic epochs, we have reached the stage of the “macro-ornament” – where the entire object is one ornament, one message, one idea. However, its parts no longer relate through a deeper grammar. They are only stylistically connected into a visual shell. That shell is merely form, not meaning. Aesthetics have become ethics. Form has replaced content.

In the majority of cases, juxtaposition has remained the only rhetorical figure through which architecture is explained.

Room Analysis and Their Metaphysical Causes

Every room, every space we occupy, carries a certain metaphysical meaning far beyond its physical functions. It’s no wonder that in the psychoanalysis of dreams, rooms-spaces are taken as representatives of parts of the psyche. Rooms are reflections of internal states and symbolic messages that people unconsciously or consciously embed into the space. They function as physical forms of our thoughts, needs, and emotions, and their configurations can have deep consequences on our psychological state and inner world.

For example, the living room may symbolize social interaction, gathering, and sharing experiences. But it is also a place that projects our image to the outside world – how we want others to see us. In that sense, the living room is the space through which our public Persona is expressed, while the bedroom, in contrast, represents the inner self, a place of intimacy, regeneration, and introspection. Symbolically, the bedroom can be associated with retreating into the unconscious, similar to returning to the state of sleep and inner dialogue.

The kitchen, as the center of daily activities, becomes a space of transformation – a place where raw materials become something new, where physical food symbolizes the creative process. The kitchen is a metaphorical space of alchemy, the transformation of ideas into action. Similarly, hallways and passages can be seen as transitional phases of life, connecting different aspects of our being and moving from one state of consciousness to another. Hallways are bridges.

In conclusion:

Architecture is a metaphysical mirror. Just as rooms reflect our inner worlds, so too is every architectural object a result of the evolution of society, culture, and the individual. Space becomes not just a physical shelter but a medium for expressing (exploring) our philosophy of life, our relationship to the world, and ourselves. In this synthesis of the material and immaterial lies the true power of architecture – not only to shape our world but to guide us through it, connecting us to the deeper layers of existence.

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Symbolism as a Universal Structure

Symbolism is not just an artistic movement or personal preference. It is not merely an aesthetic phenomenon of a particular era. Symbolism is a universal psychological structure that shapes human consciousness. No matter how much we lean toward the analytical or rational, the fundamental way we understand reality is symbolic.

The symbol, as the core expression of human existence, is never simple or singular. Even when our perception of reality is fragmented into individual parts – analytical labels, specific details – the symbol itself is not lost. It remains intact, threading through all these fragments with its deeper, unifying essence. Our use of language to mark the world is just one expression, one aspect of the symbol. It serves to describe what we might call symbol-thought – a fundamental idea that shapes our understanding of reality.

The symbolic nature of language manifests itself in everyday experiences. When someone watches a film but fails to grasp its essence, they have not succeeded in deciphering the symbol embedded in the film. The symbolism of the film is often broken down into symbols within symbols, or what we can call symbolic morphemes, components that form the totality of the symbolic discourse. Understanding the entirety of symbolism is a process, an active act of interpretation.

Interpretation as a Psychological Process

Interpreting symbols is not merely a mental activity or a voluntary task of consciousness. It is a fundamental function of existence. The interpretation of reality, through the symbols that represent it, is one of the core psychological processes. It does not require conscious effort but is a continuous, natural, and biologically ingrained process. We constantly interpret the world through symbols, without pause. This is our primary means of understanding existence. As a result of this uninterrupted process of interpretation, we define what we call Existence.

The very act of symbolic interpretation is not a choice, it is an inevitable part of human consciousness. Everything we perceive, we experience as a symbolic representation of reality, and through these representations, we shape, redefine, and affirm our understanding of the world.

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Modular houses have increasingly found their place in the real estate market recently. This was expected, given their simplicity and affordability.

Of course, modular houses can offer a range of advantages, but they also come with their drawbacks. From an architectural perspective – not as mere construction, but from the viewpoint of aestheticians – we present five major problems that are predominant with such buildings: four aesthetic problems and one logistical misconception.

Aesthetic Problem No. 1 – Design Limitations and Their Implications

Modular houses often have design limitations. This arises, among other things, as a result of a market previously dominated (until recently) exclusively by the construction industry, which is industrialized rather than creative.

Although almost every company producing modular buildings can execute the designs of any other (we’re talking about small-scale, relatively simple projects), they are generally limited to a range of similar designs that all resemble “simplified mid-20th century American suburban houses.”

This might not seem like a problem, but considering today’s radically different definitions of what a house represents, this issue raises further questions.

A house has become an extension of our personality, or more precisely, our public Persona. This is the modern definition. Previously, such a definition was reserved for the highest echelons of society. Today, when nearly everyone can read Marcus Aurelius’ Meditations and find themselves identifying with Caesar’s problems, we can observe that everyday awareness (life) has elevated beyond mere profane existence. On one hand, this shows how far we’ve advanced as a civilization; however, with this progress comes an increase in expectations – not only from the world but also from ourselves.

A house is no longer just a shelter or a practical space, but a symbolic exponent of our aesthetic judgments and ethical values.

For aesthetic or ethical views to be visible, we need more than a historically simplified stylization of the status quo. A personalized language is required – one that reflects the individual’s views and perception of the world, particularly of what is considered “beautiful” and “good.”

These judgments cannot emerge from prefabricated, generic forms that dominate the modular housing market, as individuality is lost, and the value of unique (individual) elements disappears.

Aesthetic Problem No. 2 – Lack of Connection to the Environment

Modular houses often suffer from a key aesthetic issue – a lack of integration with the natural environment and local culture. Although their universality and flexibility are marketed as advantages, this approach leads to architecture that often feels alien in its surroundings. Rather than adapting to the specifics of the terrain and social context, modular houses typically follow pre-defined models, resulting in a discordant presence in the environment.

Modern architecture demands interaction with nature, not only for aesthetics but also for ecological sustainability and connection to the surroundings. In modular houses, however, this often falls short. The design, meant to be universal, rarely considers the specific features of the landscape, such as topography, vegetation, or climate. The result is a uniform structure that appears unnatural in rural settings, while in urban areas, it may seem generic and soulless. This architectural disconnect often gives the impression that a modular house was “placed” into a space rather than growing organically from it as a natural extension of the landscape.

Instead of expressing local identity through design that reflects specific cultural and historical references, modular houses often appear as “products,” devoid of uniqueness and local symbolism. This sense of architectural “detachment” not only contributes to the aesthetic issue but also reduces the sense of belonging and connection to the surroundings.

Aesthetic Problem No. 3 – Material Quality

The quality of materials used in modular houses can vary, and they are often inferior to those used in traditional construction. This can lead to issues with durability and house maintenance, among others.

Modern solutions are also sustainable solutions – eco-friendly and sensor-friendly. It’s no surprise that the so-called Japandi style has found its place in the normative standards of interior architecture. The combination of natural and natural.

What modern materials lack is that primal, paternal pleasure of the tactile sensations of wood and stone, which connect us to our collective memory of the primal home. This memory is an ontological part of home architecture.

Despite the first impression of familiar house forms, modern modular homes imply a “mass” product. Cheap plastic, excessive metal, and concrete blocks strongly suggest a “product,” impoverished of its authenticity and original spirit, which should not seek a place in the definition of home. This impoverishment is not a consequence of the number of “mass-produced” houses but lies in the architectural deficiencies themselves. The architecture is cheap, not the house itself. The house is no longer “the thing” but has become “the stuff.”

Aesthetic Problem No. 4 – Standardization of Proportions and Disruption of the Human Experience

One of the less obvious but very significant aesthetic issues with modular houses is their tendency toward standardization of proportions and dimensions, which often disrupts the human experience of space. By its nature, modular design tends toward uniformity and efficiency, but this rationalization of space often comes at the expense of the subtle yet important dimension of architecture – its emotional and perceptual experience.

Traditional architecture, over centuries, has developed an understanding of how proportions and spatial dimensions affect our physical and psychological state. Architectural elements such as ceiling height, hallway width, and window size are not arbitrary – they are carefully designed to create a certain feeling, whether it be grandeur, comfort, intimacy, or openness. Modular houses, however, due to their production-oriented nature, often overlook this complexity in favor of rationalized standards that dictate universal dimensions and relationships within the space.

In addition to physical proportions, there is also the problem of uniform rhythm in the arrangement of interior and exterior elements – ornaments, or more precisely, their lack or complete absence. Due to their prefab nature, modular houses often have a predictable and mechanical rhythm in the structure of facades, windows, and other elements. This repetitiveness of monolithic constituents, although economically justified, creates monotony that can lead to psychological fatigue and a loss of interest in the space. In architecture, rhythm and variation of elements are key to creating a dynamic space, allowing users to connect with their environment on an intuitive level. Modular design, however, often leans toward uniformity, which can result in a mechanical space devoid of life and soul.

Logistical Misconception

Although modular houses are often advertised as a cheaper alternative to traditional houses, costs can be high, especially when considering the expense of delivering the modules to the location. The costs are even higher if shipping from another country is involved.

Many people mistakenly assume that local assembly companies only build houses from their portfolio. Modular houses are a construction system. This construction system is known to all building companies and consists of prefabricated parts related to the structure and infill, the so-called sandwich walls. If a local construction company can build one, they can build almost any house that falls under the same construction principle and similar scale.

What people often don’t know is that they can submit their own house plan and request something entirely different from what’s offered.

This flexibility allows for the creation of a house that truly reflects the owner’s taste and identity, avoiding generic and standardized designs that often fail to express individuality. In this way, modular construction ceases to be limited to company offerings and becomes a tool for customizing a house to the specific user experience.

Modularity and Authenticity: Between the Universal and the Personal

Modular houses confront us with the question of what it means to have a home in an era of quick solutions and mass production. While they offer efficiency and affordability, they remind us of the fundamental tension between the universal and the specific, between the general and the personal. Through them, we challenge ourselves: how do we create a space that is not just a physical structure but a bearer of our inner worlds, our values, and our ideals? A home, as more than just a shelter, becomes an extension of our identity, a space where our inner and outer realities meet. Modular houses encourage us to recognize that the real challenge is not in building walls but in creating a space that reflects our deep, authentic connection with the world and with ourselves.

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Caesar, as the main protagonist, architect, and artist, has the power to freeze time (the moment), which explicitly points to well-known definitions of art, such as ‘Eternity captured in a moment.’ That moment can last longer or shorter. It can be a picture, a film, a book, or something else. To show the extremity of this definition, in the movie, time is frozen, and it absolutely stops, so that we may become aware of the eternity behind the movement.

However, as the film develops, we notice a contradiction. Caesar’s City of the Future is a city of Kinetic Architecture, a City of Movement. This negates the first definition of art that was previously established—static Normative Value.

This shift from static and timeless to dynamic and temporal can also be found in the level of philosophical discourse in Foucault’s Theory of Science, as well as in many others, especially in the 20th and 21st centuries. The new paradigm nullifies the previous one, just as the next one will nullify the current one. Value is no longer ontologically permanent but exists only within a certain time (for a certain time). After that time, it loses value and becomes non-value.

Such reflections align with ‘process states’ and modern perceptions of the world and axiology.

Dave Chappelle gave a speech that encapsulates the modern perspective on values in a few words:

‘People are trying to replace the ideas of good and bad with better or worse, and that is incorrect. Good and Bad is the compass, it helps you find the way, and the person that only does what’s better or worse is the easiest type of person to control. They are a mouse in the maze that just finds the cheese.’

In the continuation, you will find an architectural-drawing heuristic analysis of this ‘problem,’ with the hope that its (de)construction will open new fields of understanding of static and dynamic values.”

1. Phenomenon – in itself – Constituent

2. Story – as a series of Phenomena

To reduce both subjects of observation (both the Phenomenon and the Story) to their minimal extremes, we will observe them as two-dimensional images.

1. Phenomenon

“Now is a boundary—it is before and after. And time is that which, according to a certain order, exists both before and after. Now is a boundary, not a part of time, for a part measures a whole, and time is not composed of present moments. For now is not a part of time, just as a point is not a part of a line (the point, rather, is the boundary of the line), and now is not a part of time but a boundary. Therefore, no present moment can be before or after itself; nor can there be a now that extends, because then part of that present moment would be in the past, and part in the future.” – Aristotle, Physics, Book IV, 10 (218a, 10-23)

The phenomenon in itself pertains to particularity (singularity). A single object, outside the context of the Many. The phenomenon, in itself, is static in nature. Its incompleteness (openness) on both sides—the side of the beginning and the side of the end—gives the impression of dynamism. In truth, the beginning and the end do not exist; there is only the present state.

We explain this present state through the Point. The Point is what constitutes its existing ontology. The Point arises as a consequence of contextual content, and its future also dissolves into contextual content. The Point has no characteristics except position, and it is not Content, although it is composed of it and dissolves into it. The Point is purely spatial.

The Point arises as a consequence of the End of the preceding and continues into the Beginning (undefined) of the next. Thus, geographically, it is located between the End and the Beginning, not the Beginning and the End.

With the addition of time, the Point (Phenomenon) gains historicity—the Origin of becoming—Past, and it gains a Future—the direction of participation. However, when this point is stretched through time, it is no longer a spatial ontology but a temporal one; ergo, it is no longer merely a point, as its extension stretches into both Future and Past.

With this addition of the temporal category, the Point transforms into a Story.

2. Story

Beginning – Middle – End

A Story consists of 3 points because only in this way can its objective movement be determined.

Unlike the Point, a Story is a closed (Completed) system. A clear Beginning, Development, and End.

The foundational Point of a story is not the initial or the final but the Developmental. The Developmental Point constitutes the story and its complexity, ergo it cannot even be called a Point, but rather Content.

As a consequence of the complication of the story’s developmental part, a New Point is synthesized—the Novum Point. This Point is Content-based in its function but also geographical (like the other non-content-based points) in its fundamental definition.

Commentary:

What makes a Story “more interesting” than a Point is its dynamic (mutable) nature. Immutability in the modern era loses its value. Perhaps because the idea of basic ontological (immutable) values is fading, or it is less noticeable due to its static configuration. Transitory (temporal) values are becoming the new ontology.

Constituents set in this way bring us back to the question of the Individuation of Archetypes. Are Archetypes Completed, in Process, or both simultaneously, with their manifestation depending solely on the position of perspective?

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1. Theory

Chapter 1.1: Introduction to Architecture as Language

The Role of Architecture in Shaping Our Aesthetic Judgment

Architecture, like language, has a powerful ability to communicate without the use of words, or rather, through the use of its own vocabulary. Through nuances, rhythms, and contrasts, architecture establishes a dialogue among elements that can be interpreted like a story.

Each spatial element has its own “voice,” whether it’s a pillar supporting a wall, a window allowing light, or doors inviting entry. In this dialogue, architecture shapes our perception of the environment, creating an ambience that can be inspiring, mystical, or even enigmatic.

Through form, context, and function, architecture speaks the language of symbols. Each element carries deep semantics, from traditional symbols to specific references. Through this symbolism, architecture becomes more than a physical phenomenon—it becomes a narrative connected to collective experience.

The fundamental role of architecture in shaping the environment makes it a key language (tool), through which we can transcend the mundanity of everyday life and establish a relationship with something greater. “Man is a city in miniature” B.B. These terms speak with a silent language, yet a powerful image, of architecture as an intellectual construct with allegorical values and moral messages.

Considering its mode of participation, architecture constructs internal aesthetic norms within us—introtectures. Internal laws by which we determine relationships of completion-incompletion, balance-load, open-closed, etc. These aesthetic laws extend deep into our subconscious, hence the constant presence of houses, squares, and magnificent buildings in our dreams. In dream analyses, Jung often compares the house to the psyche, showing the importance of architecture through which the subconscious communicates or self-explains. Ultimately (even through dreams), architecture is an objective reference to human participation in the world of nature (both conscious and subconscious), making it one of the fundamental human extensions in the history of civilization.

Chapter 1.2: Symbolism of Oppositions

In architecture, the symbolism of opposition represents a language that transcends the physical characteristics of space and ventures into the realm of abstract meaning. Oppositions, such as open-closed, fluid-static, or light-dark, become key elements of architectural grammar. This (tripartite) structure of dual terms (thesis – relation – antithesis) portrays the phenomenon in its entirety.

The presence of oppositions in architectural language is not merely a matter of grammatical logic but also of profound semantic richness. For instance, the contrast between broken lines and straight ones can symbolize the relationship between chaos and order. These oppositions communicate with the viewer on an intellectual level by assigning concrete meanings to concrete forms, thus creating new terms recognized later as sentences or linear narratives.

The symbolism of opposition is not strictly confined to visual antonyms. These contrasting sets can be viewed as conceptual ideas such as balance, opposition, and diversity. Through understanding this symbolism, architects become storytellers who surpass material reality and build bridges to universal principles that shape our understanding of aesthetics and ethics.

Chapter 1.3: Architecture and Psychology

The effect of space on the human psychological state is de facto evident. Depending on specific needs, space can stimulate productivity, relaxation, interaction, etc. For example, a space with plenty of natural light and open vistas often evokes a sense of expansiveness and freedom, while well-designed enclosed spaces can provide a feeling of security and intimacy. Both fulfil the task of a “study”, but depending on the preferences and character of the user, the choice is radically different.

The psychology of space deals with the concepts of privacy and social interaction. Like private and public personas, the balance between openness and closedness is a significant factor in creating thoughtful environments. The balance between opposing sides of the same set is a relationship that the architect strives for. Architecture becomes a formative medium that responds to our mental needs, inviting us to connect with space on a level that transcends physical dimensions and seeks overlaps with metaphysical laws.

Architecture and the psychology of space are closely intertwined, making our homes, workplaces, and public spaces reflect our emotional contents, our historicity, our tendencies, human creativity, and ultimately divine principles. As Jung also says, “Consciousness is historical.” Through a versatile approach that takes into account psychological aspects, architects become concept-builders of spaces that not only meet functional requirements but also establish reference frameworks through which the psyche moves and individualizes daily.

Chapter 1.4: Archetypes in Architectural Expression

Archetypes, universal symbols and forms present in the collective unconscious, are the foundation of architectural grammar. By using archetypal images, architects can establish deep connections between space and humans, creating architectural expressions that resonate on an inherently spiritual level.

One frequent archetypal image is the “oasis,” which represents a place of safety and renewal. This archetypal image can be recognized in images of relaxation spaces, such as inner courtyards or green roofs. The use of the archetype of “journey,” or man as homo viator (man as a traveler), can be reflected in spatial arrangements that lead users through a dynamic series of rooms, creating an experience of traveling within the space itself or a journey through oneself. Individual architectural elements carry specific archetypal narratives: Staircases as symbols of individuation (especially spiral ones) | Chimneys as symbols of alchemical transformation (Santa Claus comes down the chimney) | Doors and windows as the boundary between the outside and inside, and their transit points | Basements as exponents of the subconscious | Rooms as exponents of the Psyche | Closets as symbols of intimacy, etc.

Archetypal signs, like the circle representing wholeness or the square referring to stability, provide architects with powerful tools for communicating specific principles. For example, a circular form can dominate the design of an art center, reminding visitors of the cyclical and continuous flow of creativity and inspiration. On the other hand, square shapes, with clear sides, can be emphasized in the construction of institutions that wish to convey a sense of stability and order, such as a bank or a legal institution.

The use of archetypes, or better yet, the interpretation of archetypal representations in architectural expression, opens doors for deeper understanding between creators and the created; the created and the understood. Architects become translators of collective symbols into material realities, creating architectural poetry that transcends current trends and leaves a lasting imprint on the map of human memory.

Chapter 1.5: Architecture and Philosophy

Architecture, as the language of space, often acts as a physical realization of philosophical concepts, conveying thoughts and ideas through forms and structures. This connection between space and meaning expands the boundaries of perception and redefines architecture as a narrative discipline that can carry moral messages.

One philosophical concept often present in architectural works is the idea of “unity in diversity.” A well-crafted architectural language places this “diversity” under a unified (stylistic) roof. This “style” is not an aesthetic shell that envelops the form but is a visual, rhythmically articulated, systematically derived reflection of philosophical-aesthetic values.

An aesthetic-logical system, which recognizes and understands all aspects of its values, serves as an objective foundation on which the first line is drawn—the Initial Context.

Architecture is an artistic reflection on the relationship between the individual and society, history, and the future. Architecture, in its first definitions, is a mirror of the epoch in which it was built. Parametricism, deconstructivism, neo-structuralism, etc., are just some of these modern mirrors. Throughout history, from antiquity to the Renaissance, from the Renaissance to modern times, architecture writes its self-portrait, which is also the self-portrait of humankind. From simple windows and doors, through columns and arches, to ornaments and sacred meanings, architecture, like Plato’s Republic, becomes a picture of man on a large scale. Enigmatic Image, full of complexities and anomalies, which in its core strives for balanced meaning.

2. Process

Chapter 2.1: Constructing Narratives

Client stories become the inspiration for space, and their aesthetic judgments and references are the initial context of our creation. Aesthetic judgment here should not be taken in narrow definitions. It ranges from immediate aesthetics (preference for sweet or salty food) to metaphysical sympathies.

Eidetic Dictionary

In the creative process of architecture, research, conceptualization, and transformation of ideas into spatial realities are key steps. In this process, the Eidetic Dictionary plays a crucial role as a morphological study of the development of the Euclidean language of architecture. Through this approach, designers use geometric shapes and symbols to represent complex ideas and concepts. Here’s how this process works in minimal grammar, thus a simplified exponent:

1. Identification of Opposites: Start by identifying pairs of geometric shapes that differ, such as squares and circles. These pairs represent opposing concepts or ideas, such as stability versus change.
2. Assigning Meanings: Once the opposing pairs are identified, assign symbolic meanings to each shape based on their inherent attributes and associations. For example, squares can symbolize tradition, while circles can represent innovation.
3. Combining Shapes: Arrange the shapes into meaningful compositions that convey deeper layers of symbolism and narrative. Experiment with different arrangements, such as placing a circle within a square or overlapping shapes, to explore the dynamic relationship between opposing concepts.
4. Creating Narratives: Use these arrangements to construct allegorical narratives or stories within architectural designs. Each composition tells a visual story, conveying complex ideas and themes through the language of geometry and symbolism. For example, a circle breaking out of a square can signify the need for change in the current status quo, or its breakthrough.
5. Refinement and Iteration: Continuously refine and iterate the compositions to ensure clarity, coherence, and effectiveness in conveying the desired ideas and narratives. Seek feedback from colleagues or stakeholders, evaluate the compositions against established design principles, and make adjustments as needed to enhance the visual and conceptual impact of the design. The goal of these translations is objectivity (in assigned semantics) and coherence in relationships.

Chapter 2.2: Architecture as Reflection – Definitions

Postulate 1: Architectural Algorithm in Practice

Architecture is a reflection. Reflection is a mirror of the present filtered through the lens of historical knowledge (the past). The duty of architecture is to create a harmonious relationship between the historical and the contemporary. The schematism and dynamics of this relationship are recognizable both in architecture and in humans. Thus, architecture, as an extension of man, should be a place where man recognizes himself.

The human extension is not, nor should it be, arbitrary. “No one is good by chance; virtue must be learned,” Seneca.

To transfer value, the value must have its language.

Postulate 2: Story-Telling-Design: Notation of Meaning

“Narrative Design” is a space that transcends arbitrariness by creating structural narration. The design thus becomes a transmitter of semantics or meaning. A new narration is articulated through ideas.

Postulate 3: Heuristic Game

It is known that our subconscious detects, analyzes, and processes most of the stimuli and phenomena that surround us (context/discourse). Simultaneously, consciousness resonates with a small part of external bits (selection). Narrative Design erases this invisible line of separation between the conscious and the unconscious by introducing eidetic (visual) logic or the visibility of causal relationships. The system (design) is created by conjugating the smallest particles (morphemes) according to visual, logical laws, and their progress can be tracked to their resolution. By following the multiplication from the original unit to the final design, it is possible to trace the laws and use them as a basis for thinking—visual logical analogy. This pattern is evident in any inductive or deductive scientific analysis. As a pictorial representation of the scientific modus operandi, design, as a principle, is a constant reminder of the interrelationships of values, their dynamics, variations, and final solutions. The design thus becomes more than the sum of its parts and becomes an original ornament. Design becomes a new concept.

Postulate 4: Educational Apparatus

Educational apparatus – The Big Picture – The same pattern that applies to music, a sentence, a book, or a movie, applies to visual stimuli. A child looking at a shape that is planned, not arbitrarily obtained, and that stands in a systematic relationship with the whole (macro-image) offers a structural experience of the phenomenon, i.e., it’s understanding on the level of visual logic from beginning to end, from detail to totality, from multiplicity to one, and vice versa. This is an insight into Totality or Wholeness. An insight into the Big Picture recognized through cause and effect. Systematic subconscious connections of larger images with smaller ones teach children comparative analysis and derivations, i.e., recognizing universal patterns. Participation in this type of visually-imaginary heuristic game encourages structural creative thinking by assigning basic directions.

Postulate 5: Horizon of Expectations

The user as a writer of new stories – Interpretation of a work of art. A story can have multiple narratives, and their number is limited only by the observer’s imagination and eloquence. Design is a phenomenon of “ego in the mirror,” and as a reflection of ourselves, it provides new conclusions and perspectives that unfold before our eyes in the space that surrounds us. Architecture, as a psychological self-portrait, reminds us of the principles embedded in it and, as such, functions as a driving idealistic image – the image of the Hero.

Postulate 6: Critical Regionalism

Architectural design is a “living” system that has its history. This historicity is the given context. The embodiment of the genius loci becomes the primary formative language, existing as the first grammatical law in the creation of architectural morphemes. The final instance (morpheme) should offer a novum (replica), not just be a continuation (affirmation) of the given architectural sentence. This novum is a condition for progress.

3. Practice

In the following pictorial descriptions, you will find the most basic explanations and visual logic behind our practice.

The main Ideas behind Sentences and Morphemes.

Uniting the Logical-Architectural Imago

Eidetic Exponents:

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Is there a connection between the development of Humans and the development of Architecture? We believe so, and we will outline our argument.

Collective Unconscious – First Stage of Development

The World of Archetypes – The World of Platonic Ideas: This is the starting point. The prevailing psychological theory is that a baby’s mind (psyche) is made up entirely of the collective unconscious, and its ego is not yet formed. This means that the filter of semantics does not exist yet. Everything is seen as a unified whole, rather than as separate entities (context – starting point). However, as Jung says, “differentiation is Creation,” and according to the natural progression of human life, symbols begin to gradually form. Just as with people, the design of any building starts from this collective whole – the Platonic-Euclidean world – from which simple forms are distilled to become the building blocks of future compositions. These forms are pure and unaffected by ego projections; they are recognized through the universal qualities of Platonic ideas – Triangle, Rectangle, and Circle.

In a similar vein, this approach of atomizing into the most basic forms, akin to Platonic ideas, allows for an understanding of the ontology of contextual existence in which something is created and articulated, laying the groundwork for the development of more Complex Compositions.

Persona 1.0 – Duality – Second Stage of Development – Deconstruction

The will is formed, and personal perspectives take shape. The once indivisible whole becomes dualistic. There is One “I” that is made up of Multiple internal elements, while the external Many, has a strong philosophical implication of the One.

Architecture exists in two dimensions: horizontal and vertical. It also has two ontological voids: doors and windows. It has two walls, one vertical, and one horizontal. These are some of the simplistic views on simple Dualism behind reduced Architectural work. However, these oppositions do create initial dynamics that stand as a basis for the nature of architecture.

Duality as the First Principle must be seen as a cohesive entity in order to convey its dynamic purpose.

Persona 2.0 – Second Stage of Development – Integration

“And those who want to remain pure must understand that they must cleanse themselves in dirty water” F. Nietzsche.

What does this sentence mean?

Our initial understanding is that “dirtying” oneself is a necessary component of growth and maturity. To lead a proper life, we must be open to both dirty water and swimming in it. Those who seek individuation must also be ready for conflict.

“Cleansing in dirty water” refers to the concept of the anti-example. With this non-example, Nietzsche introduces a broader ethical framework that is different from dualistic ethics (good-bad). Instead, it is a three-fold framework (good – not-good – whole).

We cleanse ourselves in dirty water, not pollute, as Nietzsche’s image shows. Nietzsche was ahead of his time when he understood this idea. Cleansing through conflict.

Analysis of the quote:

In our world, everything is imbued with meaning. This meaning encompasses not only the positive examples of a phenomenon but also its negative counterpart. These two polarities exist in a singularity, forming two sets and a relation in between. The concept of negation (anti-example) is therefore one of three ontological parts of the phenomena.

Although it can be challenging, it is possible to master the art of following positive examples. A moral compass is something we all strive for, but learning from negative examples is more difficult. These examples are not easily defined and are often reduced to our own interpretation and some form of representation, such as an image, sound, or language.

The negative example stands in contrast to the positive one, yet defining this contrast can be challenging. It encompasses everything that is not the positive example, creating a broad spectrum of potential negative examples. These examples, when understood, contribute to the foundation of our understanding, offering lessons that cannot be gleaned from positive examples alone. By embracing and interpreting these negative examples, we build the ‘intro-structure’ of our comprehension.

Given that negative examples are prevalent in our world, it is important for a wise person to learn how to use them. These negative examples, interpreted and located on the inside of infinity, are necessary building blocks for the intro-structure of our understanding. This delicate balance, once understood, shapes the foundation of our inner logic and guides our external expressions. It is in this nuanced integration, where abstract ideas meet tangible realities.

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1. Introduction to the Eidetic Dictionary and architecture:

The Eidetic Dictionary is a unique tool used in the field of architecture to understand, analyze and recreate the underlying concepts of different designs. The Eidetic Dictionary is based on the idea that geometric shapes and forms can be used to allegorically represent abstract concepts and ideas. This means that the Eidetic Dictionary uses a system of geometric symbols and relationships to encode the meaning of different concepts, allowing architects to understand and interpret the underlying ideas behind their designs.

The Eidetic Dictionary is built around the concept of oppositions, which are pairs of geometric shapes or forms that are in some way opposite or complementary. For example, one opposition might be a circle and a square, which are opposite in the sense that they have different shapes and proportions. Another opposition might be a straight line and a curvy line, which are opposite in the sense that they have different orientations and forms. By understanding the relationships between different oppositions, architects can gain a deeper understanding of the concepts that underlie their designs.

The Eidetic Dictionary is an important tool for architects because it helps them to think more deeply about the concepts that shape their designs and to create more meaningful and effective architectural solutions. By using the Eidetic Dictionary to encode the underlying concepts of their designs, architects can create more coherent and harmonious architectural projects that are better able to meet the needs of the clients. Additionally, the Eidetic Dictionary can help architects to better understand the designs of other architects and to analyze the underlying concepts of different architectural styles and periods.

One interesting aspect of the Eidetic Dictionary is its similarity to Plato’s theory of Forms. In his philosophy, Plato argued that there exists a realm of eternal and perfect Forms, which are the true essence of all things. He believed that these Forms were the ultimate reality and that the material world was simply a shadow or imitation of the world of Forms. The Eidetic Dictionary can be seen as a way of understanding the underlying Forms or concepts that shape our built environment, and of using these Forms to design and interpret architecture. In this sense, the Eidetic Dictionary can be seen as a modern-day version of Plato’s theory of Forms, applied to the field of design.

Overall, the Eidetic Dictionary is a powerful tool that can help architects to design more meaningful and effective architectural projects, and to better understand the underlying concepts and ideas that shape the built environment. It is a valuable resource for anyone interested in the field of design and can help to deepen our understanding and appreciation of the normative aesthetical standard that surrounds us.

2. Understanding the concept of oppositions in the Eidetic Dictionary:

The Eidetic Dictionary is a unique system of design and interpretation in architecture that utilizes the mechanism of reducing complex ideas and concepts to simpler geometric shapes and forms. This approach allows for the creation of a visual language that can represent complex ideas and concepts through the use of geometric shapes and forms.

Oppositions are a central aspect of the Eidetic Dictionary, as they help to define and understand the geometric shapes and forms used to represent complex ideas. Oppositions refer to the relationships between different concepts, and they create meaning and context within the dictionary. In this system, oppositions can be represented by a variety of geometric shapes, such as the square and the circle, which act as common unifiers and exponents of the chosen pair.

One common example of opposition in the Eidetic Dictionary is the opposition between masculinity and femininity, which can be represented by the geometric shapes of a square and a circle, respectively. The square is often associated with masculinity due to its straight lines and angles, while the circle is often associated with femininity due to its soft, curved lines. This opposition has a long history in Western culture and can be traced back to the ancient Greeks, who used these shapes to represent male and female deities. The philosopher Plato also believed that the geometric shapes of a square and a circle represented opposing concepts, with the circle representing the perfect, eternal, and unchanging, and the square representing the imperfect, temporal, and changing.

Another common opposition in the Eidetic Dictionary is the opposition between logic and emotion, which can also be represented by the geometric shapes of a square and a circle. The square is often associated with logic and reason due to its structured and orderly appearance, while the circle is often associated with emotion and feeling due to its fluid and organic nature. This “opposition idea” has roots in classical philosophy and can be found in the works of many philosophers and artists.

Other oppositions that can be represented in the Eidetic Dictionary include major and minor, hard and soft, plan and goal, movement and stillness, element and whole, and fluidity and rigidity. All of these oppositions can be represented visually through the use of geometric shapes, and they can be used to represent a wide range of complex ideas and concepts in the design and interpretation process in architecture. By understanding the concept of oppositions in the Eidetic Dictionary, architects and designers can create a visual language that can effectively communicate complex ideas and concepts through the use of geometric shapes and forms.

3. Deriving concepts and creating sentences in the Eidetic Dictionary

One of the key aspects of the Eidetic Dictionary is the ability to intuitively derive concepts from geometric shapes and forms. This process involves analyzing the shapes and forms in relation to the oppositions they represent, such as masculinity and femininity, logic and emotion, or movement and stillness. By understanding the oppositions represented by the shapes and forms, architects and designers can gain insight into the underlying concepts and ideas that the design is trying to communicate.

For example, a small circle inscribed within a larger square might represent the feminine principle within the masculine principle. Similarly, a small square inscribed within a larger circle might represent the masculine principle within the feminine principle. Alternatively, if a straight line (representation of logic in opposition to a curved “fluid” line that is a representation of emotion) is pushing a circle, or a square is pushing a circle, this could be a suggestion of the logic influencing the emotion. On the other hand, fluid lines that push a straight line, or small circles that push a large square, could represent the influence of emotion on logic.

In addition to understanding the oppositions represented by geometric shapes and forms, architects and designers can also use the grammar of the Eidetic Dictionary to create sentences that represent complex ideas and concepts. The grammar of the Eidetic Dictionary is based on the idea that the relationships between shapes and forms can be used to create more complex sentences that represent more complex ideas and concepts.

To create sentences using the Eidetic Dictionary, architects and designers can start by selecting a pair of geometric shapes or forms that represent an opposition, such as a square and a circle. They can then analyze the relationship between the shapes and forms and determine how they can be combined to create a sentence that represents a complex idea or concept. For example, a sentence that combines a square and a circle might represent the opposition (the conflict) between logic and emotion. However, if the sentence encapsulates the relation between the oppositions, it can be a representation of the “whole”. Thesis – Relation – Antithesis.

In Hindu philosophy, the concept of duality is central to the understanding of the world and the self. The yin and yang symbol in Taoism represents the interconnectedness of opposing forces and the belief that one cannot exist without the other. Similarly, the Eidetic Dictionary uses oppositions to represent the interconnectedness of different concepts and ideas and the belief that one cannot be fully understood without considering its relationship to its opposite.

4. Advanced techniques in the Eidetic Dictionary and architecture

The Eidetic Dictionary is a powerful tool for understanding the underlying concepts and ideas behind architectural designs. However, it is also a complex and nuanced system, and there are advanced techniques that can be used to further unlock its potential.

One advanced technique in the Eidetic Dictionary is the use of allegory to create more complex and nuanced representations of ideas and concepts. Allegory is a literary device that uses symbols to represent abstract concepts or ideas, and it can be used in the Eidetic Dictionary to create more nuanced and multi-layered meanings.

For example, an architect could use the geometric shape of a spiral to represent the concept of transformation or change. Individuation and rhythmical circular repetitions of events are also portrayed by the same symbol. By using the spiral as a symbol in the Eidetic Dictionary, the architect could create a more complex allegory that represents the transformative nature of the design.

Another advanced technique in the Eidetic Dictionary is the use of rhythm and repetition to create a sense of overall theme. Rhythm and repetition can be achieved through the use of geometric shapes and forms that are repeated in a regular pattern, creating a sense of order and unity within the design. These echo visuals enhance the initial value that goes throughout the design.

For example, an architect could use the geometric shape of a tree to represent the concept of growth and sustainability, due to its ability to regenerate and adapt to its environment. By repeating the tree shape throughout the design, the architect could create a sense of unity and coherence within the overall design – the Forest effect – a new aesthetical ornament.

Overall, the use of advanced techniques in the Eidetic Dictionary can help architects and designers to create more complex and nuanced representations of ideas and concepts within their designs. By using allegory and rhythm and repetition, architects and designers can create designs that are rich in meaning and symbolism, communicating complex ideas and concepts in a visually striking and engaging way. Just be creative with your natural language, and the sky is the limit.

5. Case Studies

The concept of oppositions and their representation through geometric shapes and forms is not unique to the Eidetic Dictionary. Many philosophers and linguists have explored the idea that oppositions are a fundamental part of human thought and language. For example, the linguist Roman Jakobson argued that oppositions play a central role in the structure of language and communication and that they are the building blocks of meaning. The philosopher Jacques Derrida also explored the concept of oppositions in his work on deconstruction. He argued that all forms are incomplete and open to various interpretations. According to Derrida, architectural forms can also be treated as “differentials,” meaning they have the potential to differentiate themselves from other forms and change over time.

In addition to these philosophical and linguistic references, there are also numerous examples from art and literature that demonstrate the use of oppositions and geometric shapes to convey meaning. The poet Wallace Stevens, for example, often used geometric shapes and forms in his poetry to explore the relationship between the natural world and the human mind. Similarly, the artist Piet Mondrian used geometric shapes and forms in his abstract paintings to explore the relationship between form and meaning.

Overall, the use of oppositions and geometric shapes and forms to represent complex ideas and concepts is a longstanding tradition in many fields, and the Eidetic Dictionary is just one example of this trend. The ability to translate from one language to another, such as from a semantic language to a visual language, is crucial for creative expression. By understanding the concept of oppositions and the ways in which they can be represented through geometric shapes and forms, we can gain a deeper understanding of the world and the way we think and communicate.

6. Resources for Further Study

“The Red Book” is a book written by Carl Jung, a Swiss psychiatrist and psychoanalyst, between 1914 and 1930. It is a record of Jung’s psychological and spiritual development and contains his ideas on the nature of the psyche. It was not published until 2009, many years after Jung’s death. It is considered a central work in Jungian psychology and is often studied by scholars and practitioners of Jungian analysis.

“Modern Art 1770-1970-2000” is a renowned book written by two leading Italian art historians, Giulio Carlo Argan and Aquile Bonito Oliva. It covers modern art’s chronological and artistic development and comprises two autonomous studies with different methodologies and ideological approaches.

“History of Beauty” is a book written by Umberto Eco. The book is a reflection on the cultural history of the concept of beauty, its evolution and its significance, as well as its historical and cultural meanings. The author analyzes the different forms of beauty that have been valued and developed through different historical periods, cultures, and artistic movements.

“A Theory of Semiotics” is a seminal work written by Umberto Eco, a prominent semiotician, philosopher and literary critic. It is considered a classic in the field of semiotics, providing a comprehensive and systematic approach to the study of signs and symbols and their role in communication. The book is an important resource for those interested in understanding the theory and practice of semiotics.

“Syntactic Structures” is a book written by Noam Chomsky, an American linguist, philosopher, historian, social critic, and political activist. The book lays the foundation for the study of transformational-generative grammar, which Chomsky developed in the 1950s and 1960s.

“Gradoslovar” is a book written by Bogdan Bogdanović, a Serbian architect, town planner and theoretician. The book is written in a Dictionary style, with each entry providing a definition, explanation, and vocabulary illustrations of architectural symbols and motifs. Overall, it is a very informative and insightful book for those who are interested in the symbolic meaning of architecture.

“The Republic” is a work by the Greek philosopher Plato, it’s one of his most famous and widely read books. It is a political dialogue in which Plato presents a vision of an ideal society ruled by philosopher-kings. The book is divided into 10 books, and in it, Plato considers the nature of justice and the ideal structure of the state.

“Timaeus” is another famous book written by Plato, it is a dialogue between Socrates, Timaeus of Locri, and Critias. In this book, Timaeus presents a cosmogony or account of the origins of the universe. The book also covers the nature of time and space, the nature of matter, the nature of the soul and the relationship between the soul and the body.

Overall, there are numerous resources available for those interested in the use of geometry in architecture. Whether you are an architect, designer, or simply someone who is interested in the intersection of architecture, psychology, and literature, these resources can provide valuable insights into the ways in which geometry can be used to create symbolic and complex allegories in architecture.

7. Conclusion

In conclusion, the Eidetic Dictionary is a tool for architects and designers to communicate complex ideas and concepts through the use of geometric shapes and forms. By analyzing the shapes and forms in relation to the oppositions they represent and understanding the grammar of the dictionary, architects and designers can create highly nuanced and sophisticated designs that are rich in meaning and symbolism.

In addition to the basic techniques of the Eidetic Dictionary, there are also advanced techniques that allow for the creation of even more complex and sophisticated designs. These advanced techniques include the use of archetypes, geometrical semiotics, and the concept of “differentials” to imbue buildings with character and personality.

The use of the Eidetic Dictionary and a deeper understanding of the psychological and symbolic dimensions of architecture can greatly enhance the design process and create truly impactful and memorable buildings. As such, it is important for architects and designers to continue to study and explore these concepts in order to push the boundaries of what is possible in the field of architecture. Overall, the study of the Eidetic Dictionary and its applications in architecture offers a rewarding field of inquiry that has the potential to greatly enrich our built environment and the human experience.

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Aesthetics of Complicated Sentences – Movement

Honouring the Past, Building the Future: The Role of Bushido in Modern Architectural Practice

Architecture, like all forms of art, is a reflection of the values and philosophies that define a culture. In today’s world, where modernity often seems at odds with tradition, the ancient code of Bushido offers a compelling framework for architects seeking to harmonize the past with the present.

Bushido: A Code of Ethical Conduct

Bushido, the way of the warrior, is a Japanese code of ethics that has influenced various aspects of Japanese culture for centuries. At its core, Bushido emphasizes virtues such as honor, courage, loyalty, and respect. These principles, deeply embedded in the Japanese psyche, are more than just guidelines for martial life—they represent a holistic approach to living that values integrity and balance in all aspects of existence.

In architecture, these virtues translate into a commitment to craftsmanship, where every structure detail is considered and executed with care. The concept of honor in Bushido, for example, can be seen in the architect’s dedication to preserving the cultural integrity of a site, while courage might manifest in the boldness of innovative design choices that push the boundaries of conventional aesthetics. Just as Bushido encourages the samurai to cultivate inner and outer strength, architects are called to balance the internal logic of their designs with the external environment, ensuring that each building resonates with its surroundings while standing as a testament to human ingenuity.

The Intersection of Bushido and Architecture

The connection between Bushido and architecture lies in the shared emphasis on integrity, balance, and the seamless integration of form and function. Just as Bushido calls for a harmonious balance between action and contemplation, modern architecture can strive to balance innovative design with respect for historical and cultural contexts. This philosophy is particularly evident in the way architects approach the integration of traditional elements with contemporary techniques. The balance of yin and yang, a concept often explored in the context of Bushido, finds a parallel in architectural practices that aim to harmonize light and shadow, open and closed spaces, or natural and artificial materials.

For instance, the philosophy of individuation discussed in various theories emphasizes the development of a unique identity while remaining connected to a larger cultural narrative. This mirrors the Bushido warrior’s journey towards self-mastery while maintaining loyalty to a greater cause. The architectural design, therefore, becomes a process of individuation, where the building is not just a physical structure but a manifestation of a deeper philosophical and cultural synthesis.

Furthermore, the concept of Ma—a Japanese aesthetic principle emphasizing the space between elements—can be seen as an architectural manifestation of Bushido’s balance between action and contemplation. Ma is not just empty space; it is an intentional pause that gives meaning to the surrounding elements. These empty constituents are conditionals for the symphony.

Integrating Philosophy into Design

The pursuit of perfection is a core tenet of Japanese culture, as famously depicted in “The Last Samurai,” where the character Katsumoto reflects on the dedication of the samurai to achieving perfection in every action, no matter how small. This pursuit of excellence, deeply rooted in the philosophy of Bushido, is also reflected in the practice of architecture, where every design decision is a step towards creating a harmonious and efficient structure.

The Japanese tea ceremony is a profound embodiment of a philosophy where each movement is intentional, efficient, and harmonious. This balance between form and function, where beauty emerges from simplicity and purpose, mirrors the ideals in architectural design. The aesthetic appeal of the ceremony lies not just in its grace but in the underlying efficiency—a concept that architects strive to replicate by creating spaces that are both physically and metaphysically efficient.

This principle extends beyond architecture and can be observed in technology, such as in the evolution of computer processors. Newer processors, which consume less energy while delivering greater performance, are considered more aesthetically pleasing than their power-hungry predecessors. This reflects a broader aesthetic rule: the most beautiful things are those that consume the least, embodying pure efficiency. In both architecture and technology, the ideal is a form that gives more than it takes, harmonizing function, sustainability, and beauty.

Conclusion: A Path Forward Through Minimalism and Cultural Integrity

By focusing on the essence of movement, and by integrating philosophical principles into the design process, architects can create environments that honour the past while embracing the future. This philosophy of design is not just about creating spaces; it’s about crafting experiences that connect people to the deeper cultural and philosophical currents of mind.

In the broader context of architectural philosophy, the principles of Bushido can serve as a guiding force for architects striving to create spaces that are not only visual but also semantically rich. By embracing these timeless values, architecture can transcend mere functionality, becoming a medium through which we explore and express the human condition. The future of architecture, therefore, lies in its ability to honour these ancient principles while adapting them to meet the evolving needs of modern society.

Explore how these ideas are brought to life in projects like Knotting Duality in Zhejiang and Puzzles of Complexity in China, where the principles of minimalism and cultural integrity are woven into the fabric of the architectural design.

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Architecture is a living symbol. A symbol built from the memory of the ancestral cave we come from, and the fractal edifice we aspire to. In the interspace of history and the future, memory and anticipation, reality and fantasy, the architectural symbol is the imago of the process ego that strives for the absolute. In this sense, architecture can be seen as a manifestation of the “eternal return,” the idea that history repeats itself and that the present is always connected to the past (Nietzsche).

Architecture is an extension of the image of man, ergo an extension of the image of life. Architecture is not just a physical structure, but a reflection of the present and a manifestation of historical knowledge. It has the power to create harmony between the past and present and to serve as a place where one can recognize themselves.

Ideal, as an image, is a formative tool, not an instance on the path of individuation. Architecture mediates between opposing extremes by negotiating the tension between practical needs and guiding ideals. It connects the physical and spiritual, the material and intangible, functioning as a form of “dialectical synthesis,” reconciling opposing forces and resolving contradictions (Hegel). The architect Louis Kahn famously said, “A great building must begin with the unmeasurable, must go through measurable means when it is designed and in the end must be unmeasurable”

In conclusion, architecture describes and defines the world in which we live, by creating physical manifestos of our ideals and dreams. It allows us to build a world reflecting who we are and what we aspire to be. As a mirror of “self-realization”, it is a vital part of the individuation process, helping us define and express our unique identities and values. Jean-Paul Sartre observed, “Man is nothing else but that which he makes of himself”

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Symbolism in Architecture: Crafting Spaces that Speak

Architecture is more than the physical act of constructing buildings; it is the art of shaping spaces that communicate with the human spirit. At its core, architecture harnesses symbolism to create environments that resonate on a deep, subconscious level. Through the thoughtful use of forms, materials, and spatial relationships, architects can craft structures that go beyond mere functionality, becoming vessels of meaning and narrative.

Archetypes as Foundations

To understand the power of symbolism in architecture, we must look to the archetypes—universal symbols embedded in the collective unconscious. These are the foundational elements that inform the design of spaces, drawing on ancient patterns that have been etched into human experience over millennia.

Imagine a community space that blends the essence of the past with the vibrancy of the present. Here, the design subtly evokes the timeless archetype of the “village square,” a place where individuals come together to form a collective whole. This isn’t just a functional gathering spot; it’s a symbolic representation of communal life, where tradition meets modernity in a seamless dance.

The Language of Forms

Symbolism in architecture operates through a visual language—a carefully constructed grammar of forms, materials, and spatial dynamics. This language speaks to us not just on a conscious level, but on a deeper, more instinctual plane. The challenge for the architect is to balance the literal and the symbolic, creating spaces that are both functional and rich in meaning.

Consider a museum where the walls seem to whisper stories of both the past and the future. This space is designed not just as a repository of artifacts, but as a living narrative, a place where visitors can engage with history in a way that feels immediate and relevant. Here, the architecture itself becomes a medium for storytelling, weaving together different temporal realities into a cohesive whole.

Evolving Symbolism

Symbolism in architecture is not static; it evolves with time, adapting to new cultural and societal contexts. A building that once symbolized power might, over the years, come to represent resilience or transformation. The most successful symbolic architecture is that which remains relevant, resonating with different generations while preserving its core meaning.

Imagine a structure that challenges our perceptions, blurring the line between the real and the imagined. This is a space where architecture takes on a phantasmagoric quality, inviting us to question our assumptions about what is tangible and what is not. Such a design doesn’t just occupy physical space; it inhabits the mind, prompting us to explore the boundaries of our own understanding.

Conclusion

In the architecture we create, symbolism isn’t just an afterthought—it’s the essence that breathes life into the spaces we inhabit. By tapping into the deep well of archetypal imagery, we transcend the mundane and craft environments that speak directly to the human spirit. Each structure becomes a dialogue between form and meaning, where every line, every material choice is infused with intent. In this way, our buildings do more than house—they communicate, they resonate, and they invite us into a story that is as old as time yet ever-evolving. Here, architecture is not just a profession; it is a mythic journey, where each project is a step towards understanding the deeper truths that lie within and around us.

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