interior

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interior

1. Film, TV a film or scene shot inside a building, studio, etc.
2. Art a picture of the inside of a room or building, as in a painting or stage design
3. Politics of or involving a nation's domestic affairs; internal

Interior

 

(1) In architecture, the inner space of a building” (residential, public, or industrial building) or a particular area in a building, such as a vestibule, foyer, room, or hall. Interiors are functionally designed to answer the demands of man’s activities. The function of an interior determines its architectural structure (absolute dimensions, shape, proportion, lighting, rhythm and relative scale of support distribution, windows, doorways, projections, niches, and the articulation of walls) and the arrangement of its furnishings.

In order to influence the mood or emotional state of its occupants, an interior is organized artistically in terms of both its architectural composition and its furnishings. It is designed to conform to a building’s layout, spatial structure, and basis of design. However, it is also possible to construct an interior that, to a certain degree, is architecturally independent from the rest of the building. The use of additional structural elements, such as suspended ceilings, raised floors, and partitions, makes it possible to vary spatial dimensions within different sections of a building and to transform the interior (as in Japanese houses).

Murals, reliefs, statues, mosaics, and stained-glass windows are designed to decorate interiors and to conform to the architecture. The ornamental designs and the subjects depicted on decorated panels often give specific expression to the underlying scheme of the interior. An interior’s furnishings include works of decorative and applied art that are organically united with the architectural space. The architectural composition of an interior often provides for its division into different parts, or zones, for different purposes (for example, the naves, transept, and chancel of a cathedral; the circle, pit, and stage of a theater). The different zones are accentuated to a large extent by the furnishings and their arrangement.

A relatively large interior is perceived gradually. As a person enters an interior, its various parts (and their combinations) are revealed, enabling the designer to allow for the many different aspects of the interior’s architectural and artistic structure. The apprehension of the entire complex of inner spaces of a building or structure is more complex and extensive. The architects and artists of the 17th and 18th centuries were particularly adept at combining large groups of official and residential suites of rooms into an integral artistic structure; a subtle mixture of moods and nuances are harmoniously unfolded, blending with the surroundings that are seen through the windows.

Contemporary architects are very interested in problems of interior design. These problems include the functional and aesthetic arrangement of an interior that relates to its environment. Architects are also seeking to solve the problem of designing an interior that serves a definite purpose but has the potential to fulfill multiple functions. Architects and artists must find solutions to these difficult problems that will provide comfort to man and also answer his high aesthetic demands.

(2) A genre of painting that flourished in the works of 17th-century Dutch (P. Saenredam and E. de Witte) and Flemish painters. In the 19th century, Russian painters of the Venet-sianov school began to use this genre. Interiors often play large roles in genre painting and historical painting.

I. M. GLOZMAN

interior

[in′tir·ē·ər]
(mathematics)
For a set A in a topological space, the set of all interior points of A.
For a plane figure, the set of all points inside the figure.
For an angle, the set of points that lie in the plane of the angle and between the rays defining the angle.
For a simple closed plane curve, one of the two regions into which the curve divides the plane according to the Jordan curve theorem, namely, the region that is bounded.
References in periodicals archive ?
For Levinas, on the contrary, the infinite reaches of the Other, the Other's interiority insofar as it cannot ever come to light exhaustively, remains therefore, in Benjamin's terms, unquotable in its entirety by history (such an interiority has no "entirety," being an infinite potentiality).
Politics in Interiority, First Assignment: People Think
55) Lamb remarked that Dilthey's awareness of our presence to self in history resonated in part with Lonergan's references to interiority and a metamethod.
Moreover, a tacit premise accompanying the assumption that characters are psychologically complex is that their interiority is not marked or symbolized externally--at least not most of the time.
I contest that it is with the exercise of the intensity of constitutive force inherent in our subjective interiority that we can create singularity within us: "those intentional and voluntary actions by which men [.
If the two levels are separate, then in fact the narrative audience's belief in Hamlet's interiority has no necessary connection to our belief in other humans' interiority.
Here interiority is revealed in silence and through the slightest of gestures, rather than through actions and words.
Strikingly, in Du Bois's enunciation, the black subject seems to possess no genuine interior and therefore, as much as double consciousness is a contemplative idiom, it is insufficient as a concept of interiority (it "yields no true self- consciousness" [11]).
Chapter 4, "Constructions of Conscience," reports on the search for dramatic representations of motives, intentions, and thoughts, a crucial inquiry given the elusiveness of interiority in early modern texts.
Stage villains often use the metaphor of the hardened heart to refute their own interiority as they 'insist that they have a vacuum where others have a conscience, a deep-seated sense of the divine, tender fellow-feelings, and a heart' (133).
She is more than willing to speculate about the grounded silences and manifest absences in a painting of her focal subject Alice Barnham--merchant's wife, silkwoman in her own right, mother of four--and to do so compellingly, yet while withholding any warrant of the interiority we would claim for ourselves, since this is not part of the material record she examines.
A number of articles in this volume revisit the concept of anagnorisis or recognition, a theme central to issues of subjectivity, sensibility, and interiority (though apparently not divinity) in writings by such figures as Prevost (Alison Roberts), Sade (Alain Schorderet), Riccoboni (Emilie Cauvin and Olivier Delers), and Voltaire (Nathalie Kremer).