The sacred space

“Talking about sacred spaces let me say that, there is no sacred space without human presence, because men are part of the universe, part of that divine creation, part of that whole. That sacred space depends on the individual perception.
Darkness and emptiness are the most important characteristics when talking about space. It is in the dark where the sense of sacred acquires cosmic dimensions.
Japanese specialty has a strong experimental component. For example during a trip the most interesting thing is the journey itself, on the road from one place to the other rather than the destination point.”

Miguel Ángel Orozco Media

When talking about space, we are talking about one of the most complex issues within plastics, architecture or landscaping.

At first we can recognize two spaces:
INTERNAL SPACE, it is the one that is produced from the skin to the interior, it is a space full of volumes, lines, shapes,…

EXTERNAL SPACE, it is the one that is produced from the skin to outside the body, it can be close or distant, it is the one that allows our communication with the others and with the environment.

The architectural space is considerate as emptiness until “the plastic” or “the scale” convert into space.

CONCEPTUAL SPACE, it is straightly vinculated with the perceptive space, it can be defined as the mental map we have in mind, the plan stored in our memory.

FUNCTIONAL SPACE can be defined as the space we use and where we move.

Today, we will talk about it, taking into account the previous mentioned types of spaces in order to redimension it.
Internal and External spaces are strenghtly vinculated to each other as well as the man who lives in them.
The idea of a green space inside the house has a high relation with our own vital needs of enjoying and perceiving nature.
To decorate a green space, patio, terrace or garden ourselves or with a professional, the first rule is to take into account what we really want to see when enjoying that green space and why. It is a mental attitude of an internal search that makes me convert that empty space from memories and review shapes, colors and smells who live in our own imagination and at some point and for some reason they were pleasant and unique.
If we take the oriental example we can see that for a Japanese the esthetic appreciation of space it is absolutely bind to an unconscious time feeling.
A Japanese book starts where an occidental book ends, a Japanese reader turns the pages from left to right; then he believes the right as the past and the left as the future, meaning the time develops from right to left.

Zen gardens designs have its origin at a particular point. In this situation it is a drop of water that falls into the pond flat surface. When the drop of water crashes with the pond surface makes a disruption causing concentric circular waves spread out of the same surface; this simple physical fact has been the starting point to design the very well known Zen gardens.
The image of this area symbolizes the relationship between our mind and our thoughts. The smooth pond surface symbolizes mind and reflects reality, but as soon as the drop falls the thought produces undulations in the water surface changing the reality.
This active and moving inquiry, is the previous step to design, the individual through its own esthetic appreciation related with its own feelings and thoughts modifies the surface and turns into its own surface.

The landscaper or decorator needs to capture the essence in order to outline the space between that place without taking into account symmetrical or asymmetrical shapes, unique or plural, of warm or cold colors, of the perennial or not perennial species, minimalist or Baroque, he will always be faithful to the imaginary raised by those who will enjoy the landscape that somehow already existed, and it belonged to whoever dreamed.


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