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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



(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.



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 ?
To do this, I turn to Lonergan's notion of interiority and generalized empirical method.
Rather than defining sovereignty through criteria imposed from without, I define subjective sovereignty through a notion of self-relational interiority.
We know, for instance, that as narrative audience we should grant the vixen interiority because the opera shows her in Conversation with other animals--just as we know as narrative audience to grant James Bond certain nearly super-human capacities because of the genre he shows up in.
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]).
Remorse, regret, despair, anguish, pity, joy, hope, and compassion represent the elements in what we understand as the spiritual landscape, the conceptual possibilities that have to do with human interiority.
These are irrelevant questions for his construction of early romantic interiority under pressure.
Three years in the making, The Top of His Head is Mettler's attempt to integrate ideas of interiority and intuition into a more conventional narrative film.
One of the test cases for this question has always been the development of interest in the interiority of the mind/psyche/soul in the creation of new sciences of the mind at the close of the nineteenth century and the parallel/concomitant/ following interest in such interiority in literature, the visual arts, film, opera, and other cultural institutions and practices.
The most mysterious interiority he longs to penetrate appears to be that of the other, here represented by the woman's vagina.
I invite you to follow the path of your life as we explore the part that reading may play in making us who we are: in our interiority, that conversation we are always having with ourselves; in significant turning points in our lives; in our desire for intimacy, with others, with God, with ourselves; in our hopes for union and communion with all.
Tim explained: "In a way, it's akin to watching paint dry but what they were trying to do was get the experience of becoming the material and becoming more aware of their interiority as the clay dried around them.
The challenge for Herbert was understanding how God's grace could be salvific if it were less than fully material, while maIntaining the importance of sacramental interiority.