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This article examines Stéphane Mallarmé poetry as an artifact, emphasizing that its meaning and function as social object are inseparable from its typographic configuration. Moving beyond aesthetic considerations, it argues that layout and spatial organization actively participate in the construction of poetic meaning. These elements operate as cultural markers that shape interpretive boundaries under an indeterminate order. Drawing on Mallarmé, the study highlights a relational, material and context-sensitive conception of the artwork. The poem emerges as a site of liminal negotiation between intrinsic formal properties and external interpretive pressures.