اندیش نامه معماری داخلی
پیاپی 2 (پاییز و زمستان 1401)

"Interior architecture" and "interior design" are two titles that refer to the knowledge or profession that deals with the arrangement of interior spaces. The use of name "interior design" is about a century old, but only some decades have passed since the appearance of the name "interior architecture". Today, both of these titles are used both in the field of knowledge and in the profession. The purpose of this article is to address the relationship between interior architecture and interior design. To achieve this goal, the existing definitions of these two have been compared, and by analyzing the similarities and differences between interior design and interior architecture, the nominal or intrinsic difference between these two names has been examined. In the end, the pathology of using these two names has been discussed. The type of this research is qualitative and its method is analytical and interpretive. From this research, it has been concluded that It can be said that there are three types of opinions or three types of approaches regarding the relationship between interior architecture and interior design. The first group is the group that believes in distinguishing interior design and interior architecture. In the definitions provided by this category, interior architecture has a distinct meaning and function from interior design. As a result, the experts of this group, in addition to confirming the legitimacy of interior architecture, have given it an independent identity . The second group of opinions in this regard is related to the group that considers interior design and architecture to be the same. This group does not deny the legitimacy of interior architecture, but they believe that there is no distinction between interior architecture and interior design as if interior architecture was a title that had the desire to replace interior design in order to validate interior design, but it was not successful. As a result, both titles are used today. Therefore, the application of each of these two titles is based on an agreement that is different in different countries, and this matter has an agreement or contractual aspect . The third point of view in this regard is an approach that fundamentally questions the legitimacy of interior architecture and considers it a threat to the professional and academic position of interior design. The experts of this category believe that using the title interior architecture is ambiguous and confusing, because there is not enough distinction between this title and interior design . Considering the above conditions, it is necessary to form a consensus council and make a comprehensive and international decision to explain the definitions and functions of these two titles, which will be the benchmark for the actions of all professional organizations and educational centers; This can help to resolve the existing confusion and raise the status of this area

‘The concept of taste’ is one of the prominent concepts in art and architecture. This concept is widely used in various fields, such as interior architecture: from deciding on the quality and overall quality of the interior space to determining the materials of the place, choosing furniture and arranging the elements of the interior space, we can trace the presence of ‘taste decision’. On the one hand, it seems like a simple and obvious concept that is present in our daily product selection experience. On the other hand, due to its complexities and dependence on various factors, it seems that it is necessary to pay attention on this complex and complicated issue; With this question, ‘what meaning(s) of taste can be found in art and architecture-interior architecture? The purpose of this research is to understand the different semantic layers of taste to clarify its meaning and provide a way to enter into the discussion about it. For this purpose, the research started with the linguistic study of taste. Then, the origin of taste since it penetrated into art and architecture and the changes and transformations it has undergone until now, were explored. In other words, the way and process of the transformation of the concept of taste from long ago to the present day was followed in order to recognize different explanations and interpretations. So, this research is focused on reviewing the background of the concept of taste from the beginning of searchable moments to the fields of art and architecture-internal architecture; The three main fields of philosophy, social sciences, and psychological sciences provide the possibility of knowing the different layers of the concept of taste so that different dimensions and contexts can be explained. Studies show that almost two important milestones can be identified in the genealogy of taste in art and architecture: first, it is the moment of its emergence in the field of art and architecture, which is used instead of the word ‘judgment’. In this era, the concept of taste created a great change in understanding of subject-object relationship. The second one is the moment of its entry into the field of social sciences. This time, the concept of taste had become a means to understand consumer behavior. From the sum of these studies, it seems that five general concepts are hidden in different semantical layers of taste: beauty, distinction, lifestyle, fashion, and preference. Each of these layers, while being continuous, has a specific meaning range in a specific field; And they show us a certain aspect of taste, which will be briefly mentioned here. The concept of beauty is more theoretical and philosophical. In the philosophical discussions of taste, these two terms are mostly together. The other four terms are related to when taste comes together with choice and emerges. The concepts of distinction, lifestyle, and fashion have more social meaning and each of them shows how social conditions and status can affect taste. And finally, it should be said that when we use preference, the goal is mostly to understand the internal conditions and activities and developments in the brain.

Memorials are defined as statues with different features in art and architecture determined by human presence resulting in memories. Memorials are heavily associated with meaning. Creating meaning and the degree an individual is influenced by a memorial is associated with their sensory perception and them being unified with the artwork. Different elements such as subject, form, context and the quality of presence play an important role in creating meaning, perception and interpretation. This article questions the aspects that influence the way we understand memorials. It starts with discussing the process of creating meaning. Then, it investigates the role of memorials in art as an artwork and also as a piece of architecture that involves a function in order to reveal its dual nature in both areas. The article then discusses the significance of perception from the perspective of semiotics, denotation and connotation. Analysing a variety of cases with this lens provides a tool to categorise memorials in four thematic groups: burials, events, concepts and commemoration. Finally, the article explains that the relation between inside and outside creates further categories to identify memorials in relation to creating menaing; solid, hollow and active. 

Interior architecture is difficult to define, since it touches and comprises so many other disciplines. By looking at this indefinable term from four different angles, this paper tries to come closer to a clearer profile of interior architecture as a discipline of its own.

The concept of the general and general economic lifestyle is a comprehensive and coherent collection that fosters social, cultural, and social components and is influential in the formation of behavioral patterns, mental tendencies, and the life atmosphere of the people of the society. Due to the fundamental changes in the structure of the community and the way of life during the Qajar and the first Pahlavi period, a direct and substantial connection between the way of life and the house’s architecture. In this research, it is possible to study and examine the course of its impact on the houses of the Qajar and the first Pahlavi period in Tabriz city. has been prepared. Therefore, the purpose of this research is to know the influencing factors of society on the process of changes in life and architecture in the patterns of houses and to analyze and describe the differences. Thus, through a descriptive- interpretive method, through field and library observations, 45 houses from the Qajar and Pahlavi period of Tabriz city where it was possible to visit and collect documents, there is a selection and related investigations. In the next step, to achieve the goal of the research, the spaces (Courtyard, Entrance, Porch, Howzkhaneh, Tanbi, Kallhei, and Stairs) in the houses studied in the form of patterns of three physical systems (location, formal order, and access) and the ways they together were compared. Examination of the findings showed that despite the differences and changes that have gradually appeared in the houses of Tabriz since the middle of the Qajar period, the houses of the Qajar period have a strong connection with the traditions of the past and have a single spirit. In fact, it can be said that the process of changing houses intensified from the end of the Qajar period and especially the first Pahlavi period due to the change of government from Qajar to Pahlavi and the start of Reza Shah’s authoritarian modernization. These changes were first revealed in the houses’ outer shell and the house’s non-main fronts and were gradually transferred to the house’s main facades and components and spaces. In other words, it first appeared in the form of decorations in houses, and was done gradually by removing some spaces.

Mutallib-khan mosque is an abandoned and derelic building in the city of Khoy, north-west of Iran. It was built in 1839 with intentions to Serve as a mosque, in which muslims say their prayers in congregation, and also as a tomb for the proprietor and patron of it, Mutallib-khan himself. But upon his unfortunate demise, the building remained incomplete, and the architect’s work remained undone. without a dome or any kind of roof or closure for about two century, it has been susceptible to any and every kind of damage, ranging from natural predicament to mankind misuses and has always been desolated. The buildings interior space is completely open to the Element and therefore it is fair to say that it does not have an interior space with a quality that house an interior function. On the other hand the very exposure of the building has always been the abode to sun, and daylight has always been present, and this has brought a quality to the space for the past two centuries that has become the quintessence of the building: it’s character. This article studies ways in which it is possible to rehabilitate the building through redefining an interior space. The framework of this studies is divided into four main sections. In the first section the building itself is studied from an architectural and historical point of view. Second section is dedicated to a comparison between two extremes in how to treat a classic building in rebuilding its dome. In the third and fourth section methods and approaches to designing a dome-like shell is studied, in the context of iranian domes and contemproray shells. The outcome of these four sections is a generic proposal of a two layer transluscent dome with an interior geometry of a catenary arch, and an exterior shape of a Chamaneh arch that could be 3D printed directly on the building.

The Julfa New Julfa churches in Isfahan were established during the Safavid era with the arrival and settlement of Armenians in this city. The construction of these churches in Isfahan, characterized by Safavid architectural elements, coincided with the construction of Western-style churches featuring Baroque architectural features. This simultaneity, considering the significant geographical distance and prevailing architectural styles of the two regions, raises multiple questions regarding the construction of churches between these two locations. One of these questions pertains to the interior architectural perspective: How can we delineate the relationships between the Julfa churches in Isfahan during the Safavid era and the churches of the Baroque era in Europe? With the aim of shedding light on the architectural characteristics that define a church’s interior design in two geographically distant locations with differing design and construction principles, this study embarks on an exploration. To achieve this, we begin by providing a general overview of church architecture, delving into the concept of a church, its significance in architectural contexts, and the ritualistic aspects and religious etiquettes within Baroque architecture. Subsequently, given the impracticality of gaining access to all of the Julfa New Julfa churches, only the churches of Vank and Beit al-Ham were examined in this study. Using a comparative study methodology between these two categories of churches, the interior architecture was analyzed in terms of floor plans, sculptures, narratives within the structures, ceilings, storytelling in frescoes, and lighting. Between Julfa churches and Baroque-era churches, despite significant geographical differences and distinct architectural features, there is a discernible correlation and direct relationship in terms of the quality of design and spatial organization. This correlation is evident in the conscious utilization of elements and principles of interior design to convey the meaning of Christian ritual and religious perception, highlighting the coherent essence of these spaces