In his reflection on the Inside the City interior educators conference (London, November, 2018), Andrew Stone acknowledged the growing confidence of interior designers in engaging with the city, which poses a natural conduit for the discipline’s inherent interdisciplinarity. Within this provocation, a central position is taken up by the concept of urban interiority. Breaking out of the confines of domestic and private interior space, urban interiority transposes the mobile notion of interiority into an urban context. This expansive understanding holds the potential to blur the boundaries between interior and urban design disciplines, and foster innovative thinking that goes beyond the fixed dualities of public-private or interior–exterior. Furthermore, this article approaches urban interiority as a spatial condition going beyond the classical understanding of interiority as the subjective feelings of our inner life. Hence, we construct a set of lenses as ways of seeing the spatial configurations of interiority in an urban setting: Time (Ephemerality-Adaptation), Movement (Bodies in Space-Accessibility), Transition (Boundary-Permeability). Using the arcades of Brussels as a test situation, the lenses framework offers a non-deterministic analyzing method by proposing different readings of the historical and analytical data collected through research on the material culture of the arcades, and spatial analysis of the sites through personal observations and cartographic layering. The knowledge gained through the implementation of these set of lenses will be a foundation for design principles which address the configuration of fundamental elements of interior public space.

中文翻译：

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超越公共空间的二元性思考：城市内部作为一组跨学科镜头的展开

在对 Inside the City 室内教育工作者会议（伦敦，2018 年 11 月）的反思中，Andrew Stone 承认室内设计师越来越有信心与城市互动，这为该学科固有的跨学科性提供了一个自然的渠道。在这种挑衅中，城市内部性概念占据了中心位置。打破家庭和私人室内空间的界限，城市室内性将室内性的移动概念转化为城市环境。这种广泛的理解有可能模糊室内和城市设计学科之间的界限，并培养超越公私或室内外固定二元性的创新思维。此外，本文将城市内部作为一种空间条件，超越了将内部作为我们内心生活的主观感受的经典理解。因此，我们构建了一组镜头，作为观察城市环境中内部空间配置的方式：时间（短暂-适应）、运动（空间中的物体-可达性）、过渡（边界-渗透性）。以布鲁塞尔的拱廊作为测试场景，镜头框架提供了一种非确定性的分析方法，通过对拱廊物质文化研究收集的历史和分析数据提出不同的解读，并通过个人观察对场地进行空间分析和制图分层。