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panse and freedom of the outside. The development of the
individual requires both a delimited space and the possibility
of outward expansion. The relationship between inner and
outer, finally, bears countless additional implications of every-
day and existential relevance, and harbours numerous meta-
phors, beginning with the distinction between self and world,
all the way to the distinction between what is currently ‘in’ or
‘out’.
Literature: Baecker 1990; Van der Laan 1983; Venturi 1966,
Waldenfels 1990> concept (architectural), measure, order, proportion, read-
ability, theme (architectural)
> access, axis, context, square and street, structure, urban de-
signInside begins with the shadow of a tree, and extends all the
way to the constriction of a cell. In its most sparing form,
the interior is only implied, for example by a cloud of steam,
a cone of light, a zone of sound, or when, in close proxim-
ity to a building, one enters its > space shadow. When one
steps onto a specially treated floor surface, into the protected
zone formed by the angle of two walls, or beneath a roof, one
already has an impression of an interior, of being protected
from the elements, provided with dryness and warmth. The
feeling of being indoors ranges from the merest suggestion
formed by a minimum of constructive elements, and all the
way to the extreme of a space that is ‘turned inward onto it-
self’, that is to say, a fully introverted room. This character of
being ‘withdrawn into itself’ results first of all from structural
traits, for example through extensive > closure, through the
containing contour of a > cavity, or through > centring, that
is to say, an orientation towards the innermost spatial core.
Decisive secondly are the elements of furnishings and materi-Intellectual pleasure
Interconnectedness
Interior