The church has a gothic style with natural and monotonous colors. The digital art installation
delivered a modern style with abstract forms and gleaming bright colors. The creation of the
installation generated a novelty surfacing the form, due to high contrast expression came (coming)
from the shape and color substance. This novelty also happened at the level of meaning.
In a church, light is a symbolic representation of God’s presence. The darkroom symbolized
the sinned human since sins are identical to miseries and despair. When a human repents, he feels
God’s presence and guidance within himself, like the light that comes into the darkroom. The light
in a gothic church comes from the stained-glass composition.
In the Chevalier installation, the installation art’s lines, surfaces, and colors produced luminescence that replaced the divine light. In this case, the light had no spiritual meaning, but a profane
frenetic world of material. It is like congregations worship in a church while their minds are not on
God but on their agendas, business, and worldly pleasures. Their body is in the church, but they have
their mind on other places. This fractured-identity characteristic represented by the dual-coding
existed within the art installation.
4 DISCUSSION
The digital element in a Heterotopia space takes part as an open variable. It delivers a continuously
changing image causing the whole image of space unclear due to its dynamic. Basically, form and
space’s meanings have a singular and static relation, because the image and meaning narration
are statics. The digital element makes the image of space temporary, as well as the perception it
generates. Thus, space becomes transitional. When the floor, walls, and ceiling elements come in
the form of a digital screen or panel, what is space?
Interior design’s discipline understands space as a physical element consisting of tangible and
measurable elements of floor, walls, and ceiling. This discipline also gives a comprehension of
interiority seeing space in a more fluid understanding. It considers the imaginary space that does
not always have complete physical components, but proffers the feeling of being sheltered, protected,
and surrounded like being under a tree or walk in a narrow roofless corridor between buildings.
What if the floor, wall, and ceiling elements can no longer be clearly defined when meaning has no
longer become important compared to the shifting space image itself? The physical-digital hybrid
space phenomenon brings back the space theory to the Lao Tzu philosophy that things always
change and one remains unchanged is the way of becoming (Ven 1995).
Space is organic and existential because space is formed from the inside out, starting from
imaginary personal space to hybrid physical and digital space. However, the interpretation of space
is existential, depending on the context of being and time of humans who experience it. According to
Heidegger, the spatial experience is phenomenological as Das sein is spatial and Das sein spatiality
or lived spatiality or place is a representation of being in the world (Wollan 2003). When the
meaning of space becomes unstable and unclear, it leads to a paradox. However, space becomes a
medium to reflect or critic (criticize) when the meaning displayed on the surface differs from the
one existing within the user’s perception. When the museum users experience the historical space,
not all of them treat it as a learning space, but as a background visual collage for self-existence
in the social media, a space for spiritual pilgrimage, a space for dating, a pre-wedding photoshoot
space, or a space for a fashion show. The same thing when a church is enabled as an art piece
display space. The real space that is paradox like a utopian at the real–physical site, contested and
inverted, is a Heterotopia space (Sajjad 2019).
5 CONCLUSION
The users obtain the ambiguous, temporary, transient, and illusive values of a Heterotopia space
when they understand that those characteristics represent the actual reality of space as a unity
of opposing characteristics. The being and not-being, static and dynamic, superficial and hidden
252
delivered a modern style with abstract forms and gleaming bright colors. The creation of the
installation generated a novelty surfacing the form, due to high contrast expression came (coming)
from the shape and color substance. This novelty also happened at the level of meaning.
In a church, light is a symbolic representation of God’s presence. The darkroom symbolized
the sinned human since sins are identical to miseries and despair. When a human repents, he feels
God’s presence and guidance within himself, like the light that comes into the darkroom. The light
in a gothic church comes from the stained-glass composition.
In the Chevalier installation, the installation art’s lines, surfaces, and colors produced luminescence that replaced the divine light. In this case, the light had no spiritual meaning, but a profane
frenetic world of material. It is like congregations worship in a church while their minds are not on
God but on their agendas, business, and worldly pleasures. Their body is in the church, but they have
their mind on other places. This fractured-identity characteristic represented by the dual-coding
existed within the art installation.
4 DISCUSSION
The digital element in a Heterotopia space takes part as an open variable. It delivers a continuously
changing image causing the whole image of space unclear due to its dynamic. Basically, form and
space’s meanings have a singular and static relation, because the image and meaning narration
are statics. The digital element makes the image of space temporary, as well as the perception it
generates. Thus, space becomes transitional. When the floor, walls, and ceiling elements come in
the form of a digital screen or panel, what is space?
Interior design’s discipline understands space as a physical element consisting of tangible and
measurable elements of floor, walls, and ceiling. This discipline also gives a comprehension of
interiority seeing space in a more fluid understanding. It considers the imaginary space that does
not always have complete physical components, but proffers the feeling of being sheltered, protected,
and surrounded like being under a tree or walk in a narrow roofless corridor between buildings.
What if the floor, wall, and ceiling elements can no longer be clearly defined when meaning has no
longer become important compared to the shifting space image itself? The physical-digital hybrid
space phenomenon brings back the space theory to the Lao Tzu philosophy that things always
change and one remains unchanged is the way of becoming (Ven 1995).
Space is organic and existential because space is formed from the inside out, starting from
imaginary personal space to hybrid physical and digital space. However, the interpretation of space
is existential, depending on the context of being and time of humans who experience it. According to
Heidegger, the spatial experience is phenomenological as Das sein is spatial and Das sein spatiality
or lived spatiality or place is a representation of being in the world (Wollan 2003). When the
meaning of space becomes unstable and unclear, it leads to a paradox. However, space becomes a
medium to reflect or critic (criticize) when the meaning displayed on the surface differs from the
one existing within the user’s perception. When the museum users experience the historical space,
not all of them treat it as a learning space, but as a background visual collage for self-existence
in the social media, a space for spiritual pilgrimage, a space for dating, a pre-wedding photoshoot
space, or a space for a fashion show. The same thing when a church is enabled as an art piece
display space. The real space that is paradox like a utopian at the real–physical site, contested and
inverted, is a Heterotopia space (Sajjad 2019).
5 CONCLUSION
The users obtain the ambiguous, temporary, transient, and illusive values of a Heterotopia space
when they understand that those characteristics represent the actual reality of space as a unity
of opposing characteristics. The being and not-being, static and dynamic, superficial and hidden
252