The presence of the individual in the spatial environment is the starting point according to which the preposition in suggests a spatial definition that alludes to an interiority of space. Interior spaces are primarily defined by a certain structure, meaning the surrounding walls, the floor, the ceiling and the openings. Inside of an interior space, the physical presence of the individual meets the materiality of space, co-existing along with the transience of time. In this scheme, the key of interest is the approach of space from the very limits of its structure towards the content of objects it holds. Inside a closed space and opposite to objects, the individual is capable of correlating himself with the visual surroundings, thus being a subject over them. In the case where the interior space is empty the situation is to be re-examined and the initial condition of the interiority of space re-evaluated.
The aforementioned features are the structure of this research work. The subject was studied and elaborated according to the critical theory of postmodernism, mainly referring to minimalistic and conceptual genres of European and American art. The composition of references and examples aimed to further reinforce the understanding of interior space, both as a concept and a spatial fact.
-OVERVIEW-
Chapter II
Interior, Presence, Convex & Concave
The approach of interiority begun with an analysis of kinaesthetic perceptions regarding being inside and outside. The concave and the convex are not static diagrams, on the contrary, they represent two different modes of being in space. In the case of the concave, a hypothetical body rotates itself and outlines thus a curve. In the case of the convex, the body moves on a circular trajectory that points to a centre.
A full rotation of an axis suggests a complete enclosure of space in space.
(selected reference)
Chapter III
Space, Limits, Points, Content-Subject-Object
The human body exists in space and in time. Its existence takes place here & now as well as there & then presenting as a result different associations (spatial and temporal) which require an accordingly-tuned sensibility for them to be perceived.
The immanence of the term space is narrowed down and redefined according to its actual (physical) limits. The planes of the walls, floors and ceilings enclose a part of space that we specify as interior space.
The interiority of space depends on the interrelation between the perception we have regarding its physical dimensions and qualities and the intellectual projections we make about them.
Enclosure of space often entails having content, objects that we syntactically and orderly define as such because of our role as subjects upon them.
(selected reference)
Chapter IV
Void, Missing Subject
The empty space reclaims the status of the void. The concept of interiority is re-approached in terms of the invisible, the imperceptible and the problematics of the entrance and exit. Under these scopes, interior space reclaims the state of a temporal construction.
Chapter V
Epilogue
The reference to Mallarmé’s poem regards to the term of the Vers which means both verse and towards. The reading course translates into a process of continuously re-directing the sequences of words against the blank spaces around them. The poem in this sense becomes the process of reading itself, a process depended on the direction one sets and the time that the reading unfolds along.
The interiority of space resembles a process of intent, a desire to acknowledge oneself spatially, not in indefinite space, but in an intimate portion of it.
(selected reference)