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" The Eternal law of interior "

  The first mankind's attempt to arrange a living area, to make up an interior is "furnishings" of a cave. I would call such furnishings "archaic interior". Along with the function a great part is played by psychologism here. That is to say, the environs.
  Thus, what's the difference between the interior and the exterior, the "small architecture" and the "big one"? In the interior psychological considerations take the upper hand over functional ones. In a limited space, such as a dwelling house or office, a stress is of consequence, resulting from well-delineated areas-those of walls, a ceiling, a floor. Ideally, these areas are pure planes, lacking in any relief.
  Nervous cells of the human brain, being functionally perfect, complete their activity in the cortex, where the final analysis of any activity of the organism takes place. There is no tissue further than the cortex, where the signal could be transferred for analysis. Therefore, the information is limited within the bounds of cortex, within its relieved convolutions. This shape enables the neurons to move in a more flexible manner, to come up with the most "plastic" solutions to daily problems.
  In a word, plastics has always been of prime importance in art. It is a better form of psychologism in interior, than colour stimuli. Colour is good as a background, but when coming to the fore, it becomes irritating, regardless of the hue and saturation. The ancient paid more attention to plastics than to colour not without reason.
  Talking about colour, the revolutionary change dates back to the Middle Ages, beginning in the stained glass of Gothic churches. Great architects and artists yielded to the temptation of the magic rays of Gothic rose windows. Thus the way was paved for the latter prophets of colour (impressionist and abstract artists).
  We should bear in mind, however, that Gothic colour schemes don't come to the fore, leaving predominance to forceful, voluminous plastics. If we turn our attention to the surrounding ever-changing life, we'll readily notice the fluency and mutability of colour. Colour is not so steady as form.
  The interior of a building should correspond to the general laws of global life, should serve to continue the exterior, as it were. But the limitation of the interior space is to be made up for by psychologism. The designer's task is to create in the interior an image of global life. When inside, one should sense that, before he entered, someone had already been there. This is felicitously conveyed in the theatre through gesticulation and mime. Plastics is fundamental for the stage, you can't create an image without it.
  While the actor's emotions ceaselessly oscillate during the performance, producing a favourable background, mood (analogous to the effect of colour in painting), the shape of a gesture, the moment of a body posture generate an effect of a "constancy matrix".
  A sculpture enables us to ponder, analyse a composition to a greater extent than an abstract painting. Superfluous colorism distracts our attention from the idea-image. But art bears a spiritual purpose in the same way as yoga seeks to concentrate an adherent on the existential problem.
  To contemplate surrounding reality, to find beauty there, it is necessary to concentrate one's attention on a single entity, on something unified. The very concept of beauty is identified with the single, the whole, which, at the end of the day, brings us to the idea of God.
  The plasticity of interior can be produced in different ways - by light design, by arrangement of planes or by accessories.