Bachelard argues that the house is the original ‘universe’ of human life and the refuge of the human imagination. He explores in detail how the house’s structure, such as the cellar and the attic, is linked to memory and emotion. He suggests that the experience of space transcends its geometrical properties and becomes a projection of human life and psyche. The cellar, for example, symbolizes the depths of the subconscious, while the attic symbolizes upward spiritual exploration. This symbolism makes the house an externalization of our psyche.

Enclosed spaces such as drawers, wardrobes, and chests are described as containers that hold memories. Through these everyday objects, Bachelard reveals how the tension between concealment and revelation triggers imagination and emotion. For example, he points out that empty drawers are unimaginable because our minds tend to fill them up. This exploration of ‘fullness and emptiness’ reflects the human desire for the unknown and potential possibilities. He emphasizes that the experience of space is not limited to the physical dimension, but is a combination of perception and imagination. Through metaphors such as ‘nests’ and ‘shells’, he explores how the world can be perceived through a narrowing of the self, leading to a more intimate, inner state. The ‘corner’ is described as a place where one can curl up and feel safe, symbolizing shelter and tranquillity.

He proposes a phenomenological analysis of the ‘inner-outer dichotomy’, which explores the interaction between internal space (e.g. the house or the body) and external space (e.g. the universe or nature). He argues that the imagination blurs the boundaries between the two and integrates them through creative thinking.