nadieh imani

Design process as a complicated subject, with so many different aspects and interpretations, has been discussed among thinkers and everyone has tried to propose their own views of design process. The design process is sometimes presented with a general view of design and sometimes with a specialized view in various fields such as architectural design, interior architecture, industrial design & etc. to avoid mistakes, the "general view" provides a comprehensive and general definition of the design process. The "specialized view" belongs mostly to thinkers in specialized disciplines and professional designers who offer practical definitions that meet the requirements of their field. Design process of "interior architecture" over the past few decades has usually been retrieved from "architectural" design process. But "interior architecture" can have a different design process due to fundamental differences with "architecture. Therefore, trying to recognition of design process of "interior architecture" is the core topic of this research and we are answering the question of “what is the relation of design process in architecture and interior architecture?” The purpose of this research is to know the role of problem solving and design thinking in interior architecture and its relationship with the architectural design process in moments of overlap and separation. For this purpose, at first, the phases of the design process were examined in general, and the general map of design process in architecture and interior architecture was obtained with many similarities. In the second stage, the differences between "architecture" and "interior architecture" in the general map of the design process showed that the "overlaps" and "distinctions" appear as "convergence" and "divergence". In the third stage, by analyzing each of the phases and steps of the design process in "architecture" and "interior architecture", we found examples of content differences and divergence of the design process. The differences were in the "design subject", "problem definition methods", "aspects of problem-seeking", "the ways of Problem solving" and "design languag ". In this way, we become aware of the basics of the difference between the content of the interior design process and the architectural design process.

"Interior architecture" as a professional and academic discipline, despite having an independent position, is mixed and intertwined with “architecture”. It can be said that until about a century ago, when "interior architecture" and "interior design" had not been formed, the arrangement and design of interior spaces were mainly related to the specialty of "architecture" and architects had the main responsibility for this work.  But after the changes and transformations that took place over the last two centuries, especially in the social, professional, and academic systems, specialties were formed with the names of "interior decoration", "interior design", and "interior architecture" respectively, and its specialists became the main bearers of the responsibility related to the arrangement and design of interior spaces. Today, interior architecture or interior design has such an independent position in the professional and education system that few can ignore its legitimacy. However, it is important to consider that despite the formation of an independent position for "interior architecture" (or "interior design"), due to its common nature and institution, it has a close and intertwined relationship with "architecture". Therefore, the relationship between interior "architecture" and " architecture" is the subject of this research. This research has been carried out in four steps. Since this article is about the position of interior architecture in relation to architecture, the recognition of interior architecture has been first discussed with a brief overview. Therefore, in the first part, a review of the formation of this specialty has been done in order to gain knowledge of interior architecture through genealogy and examine the course of its evolution. In order to achieve this purpose, it was investigated how the three specializations "interior decoration", "interior design" and "interior architecture" emerged. In the second part, there is a review of opinions in the field of the relationship between "interior architecture" and "architecture" and an attempt has been made to categorize these opinions. To better achieve this, abstract models have been used to explain these opinions. In the third part, by examining and analyzing these votes, the relationship of these votes with each other in a comprehensive model structure was examined. Finally, in the fourth part, with a critical look at the mentioned models, a new conceptual model has been explained to analyze the relationship between "interior architecture" and "architecture". The type of research is qualitative, and its methodology is analytical interpretive, and logical reasoning. This research concludes that the relationship between interior architecture and architecture from the angle of the concept of inside and outside is in the form of a spectrum that interior architecture from inside to outside, and architecture from outside to inside, are intermingled and have no boundaries. At the same time, these two specializations form a whole in a complementary relationship. This research can contribute to a more accurate understanding of interior architecture and clarify its relationship with architecture.

"Interior decoration", "interior design", and "interior architecture" are known as three names that refer to specialties that are focused on the organization of interior spaces. The emergence of these three specialties takes place in a historical process; first "interior decoration" in the early nineteenth century, then "interior design" in the early twentieth century, and then "interior architecture" about four decades ago. The precedence and delay in the emergence and application of these specialties does not mean the complete replacement of the latter over the earlier one; however, in some cases and for some reasons, the former specialty has been replaced by the latter. In fact, these three specialties, despite their many similarities and commonalities, have different meanings and uses and in relation to each other, and they have created a relationship that is questionable and worth considering. So the main question of this research is what is the relationship between the mergence of "Interior decoration", "interior design", and "interior architecture".To answer the above question, first, the foundations and origins of each are examined and analyzed. This is because by finding the roots and recognizing the factors and conditions of each period, it is possible to identify the requirements and needs that have affected the emergence of each. These factors and conditions form a system in which they interact and are affected. As a result, their interaction leads to the formation and objectification of each of these specialties. After recognizing the way the three specialties are formed, their function and functional evolution have been studied in both the context of profession and education. In this way, the relationship between these three specialties is explained. Since the subject of this research is to know the origin of these professional areas and how it is formed, the main focus is on beginning to find the subject matter of these specialties that have lasted from the early nineteenth century to the late twentieth century. In the last two decades, these specialties have become more widespread in the profession and education, and so a careful study of this issue requires further opportunities. Therefore, the time period studied in this research is from around 1800 to 2000.So the goal of this study is to understand the relationship between these three titles. The methodology of this research is analytical, interpretive, and logical reasoning. This means that by searching, collecting, and organizing documents, and evaluating and interpreting data, a description of the origin and formation of these three specialties is provided. The findings of this study show how the factors influencing the formation and survival of "interior decoration", "interior design", and "interior architecture" operate and how they relate to each other. Since a relatively short time has passed since the introduction of these specialties, this research can help to understand each of these three areas of expertise more accurately and is effective in clarifying their position in relation to each other. Continuation of this research can help to develop the concepts and theoretical foundations of these specialties.

"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.

One of the main products of the fundamental efforts of the two main pillars of the university, namely the student and the professor, is presented in the form of "text". The text is a letter that is presented at the university with the titles of the dissertation, thesis, article, report, etc. On the other hand, universities are built with the aim of providing a platform for learning, and one of their most important goals is to expand the realm of knowledge and enable dialogue and exchange of ideas. In fact, "scientific texts" are the university media, and each university with its own texts opens the door to dialogue with thinkers. Therefore the study to identify strategies to increase the writing ability of students and university lecturers, is a fundamental issue that is the subject of the present study. The focus is on the study of the pillars and principles of the establishment of a central center within the university with the aim of teaching writing skills and improving the quality of art research skills in terms of writing. The question of how the center was formed at the University of Art, as a case of this study, captures the university curriculum in terms of the gap in writing, covers student deficiencies, and opens the door for faculty to request accurate textual reports from students. In the content of this qualitative research, using all the methodological capacities related to and appropriate to the present research, the theoretical grounds for establishing a writing skills center of the University of Art are provided and executive programs are presented for lecturers and students of all levels. The existing curriculum does not have the opportunity to teach "writing and spelling" and university professors do not have enough time to teach spelling. As a result, the textual output of the university, which is the fruit of the efforts of the professor and the student, becomes immature. In such an atmosphere, art research, and especially design research, which is based on thinking in art, and especially design, faces fundamental shortcomings. It is inferred that this "academic complication" is due to several reasons, one of which is the impossibility of dialogue and transmission of ideas through academic texts. What can be done to eliminate this complication? Curriculum, students and professors have shortcomings in the field of writing. The university program is not able to offer enough extra courses for writing due to the limited number of units. Therefore, the fundamental question of the present study is: How can the University of the Art improve the writing skills of its professors and students? In fact, the goals of leading research are inextricably linked to the goals of establishing the "University of Art Writing Skills Center" and are nothing more than a study to meet the goals of the in university center. 

 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.

This research explains and reads architectural spaces by the method of layered semiotics and uses it in reading theater in Tehran. It is assumed that "concept", "meaning", and "meaning" can be obtained by passing through multiple layers and by physical means. The main purpose of this study is how to read a building based on layered semiotics and to recognize the boundaries between the types of signs and codes that have semantic significance. The points obtained from the comparative study of architectural examples led to a new classification of signs in architecture and the appearance of semiotic issues in architecture, which is collected in a table below. To theory) and the part to the whole and on the other hand to the phenomenological and development of truth.The process of this research has reached the conclusion that to read the excellent projects of conceptual architecture, layered semiotics can be used and the city theater has several meanings in all layers of text, texture, intertextuality, code, and media. And its final reading required going through all the layers of coexistence.

Music is an abstract art with specific quantitative and qualitative characteristics that can have positive effects on humans, including children. The effect of music as an enriching art on the child's sense of hearing has always attracted the attention of the field of music education to facilitate it by the different methods. On the other hand, the design of a child's educational space is an important problem for designers. Therefore, in the present article, these two fields: the considerations of learning music and the quality of educational space for children, form the main basis of the research and answer the question of "How to create a effective space in the interior design for children to learn musical concepts?". For this purpose, the research is based on a qualitative strategy and logical reasoning. First, the theoretical foundations of the child's cognitive development and effective theories in this field were examined, and by explaining the effect of music on the child, various methods of music education and their classification were proposed. The next step was to identify the theoretical foundations of educational space design for the child in terms of shape, color, proportions, materials, and light by examining the components affecting the child's spatial perception. Finally, according to the direct and indirect methods of teaching music to the children and determining the necessary environmental considerations, it was identified how to design a suitable place for teaching musical concepts. From a methodological point of view, theories of children's development in music education were used to clarify design issues, and at the end, design solutions were proposed to display some musical concepts in the form of interior architectural elements in order to create a musical environment for children. For this purpose, based on studies can be manifested in general aspects of architecture and music, and also according to the major division of music education for children (direct and indirect education). Children can learn music directly by experiencing different instruments which are designed to familiarize them with different sounds of instruments as well as the way the sounds are produced and transmitted. Natural elements such as plants and water also illustrate the fantasy aspect of music. Furthermore, according to studies on the tendency of children to symbolize and play to learn different concepts at the age of 3 to 7 years, one of the main solutions is through symbolizing and representing simple musical elements such as rhythm and repetition in the design of walls or openings. For instance, using dimensional and color proportions to evoke the rhythm of 2/4 and the texture of the music in the design of the wall pattern, which can be an acoustic tile or the floor pattern which allows the child physical activity during music education or symbolizing musical components such as notes. This article can be a prelude to a more detailed consideration of the fact that the components of interior architecture can be designed as an educational strategy and are compatible with the conventional methods of teaching music which can pave the way for further studies.

Interior design is one of the disciplines associated with architecture that plays a role in the design and construction of a building. The relationship between interior design and architecture is a pervasive issue today. Since interior design was not separated from architecture in the past, while it is now independent of architecture. The main question of this research is the relationship between these two and their continuity and coalescence. Searching for this question began by exploring the etymology of interior design discipline, i.e. knowing its origin and evolutions. In other words, the design of interior spaces has been studied from the past to current times with recollecting historical events. The recognition of factors forming the interior design profession was provided by reviewing the changes of designing interior spaces from the past to the renaissance period, its transformation in the post-industrial period and also recognition of the emergence of the decoration profession. Then, the way of transforming this profession to discipline and its specialized characteristics in relation to architecture concluded to recognizing the status of interior design discipline in current situation.

This article addresses the question of the relationship between the history of Iran and the late antiquity. A concept that has been debated in Western historiography for decades in the field of Roman and Byzantine studies; however, it has not yet found a place in Iranian historiography. Therefore, in the first step, after reviewing the opinion of several researchers in this field, we will discuss the periodization in the history of Iran. Then, in order to be able to give a more accurate view of the relationship, we will look at the issue from a historical perspective, political-administrative, religious, cultural and economic structure. The research method of this article is text analysis and comparison of theories; in addition, its sources are divided into two categories: primary sources, including historical texts, and secondary works, i.e., contemporary research. In the end, our emphasis is on continuity issue, especially in the field of culture Moreover, our suggestion is to consider the period of “Iran in Late antiquity" from the beginning of the Sasanian to the end of the first Abbasid period and the rise of the Seljuks, and it means that from about the third century to the end of the tenth century AD decade. A history that includes the late antiquity of the Westerners. In addition, one of the achievements of this research can be a proposal for periodization of the history of Iranian art and architecture.

Problem statement:

 The vast body of academic research on State-housing sector relationship has shown various ways by which the State manipulates and controls the housing sector in Tehran. But the image of this phenomenon in the eyes of the state has remained rather vague or even invisible.

This study investigates the definition of “Tehran’s housing” by the state – as the sole owner of the right of law-making for material space in its territory – in texts in which the state has defined this phenomenon.

As the state – the sole owner of the right of law-making for material space in its territory – tries to define and control Tehran’s housing by various degrees of policy and law-making form programs and policies to concrete detailed laws, it produces a rather vast spectrum of texts which both explicitly and implicitly define “Tehran’s housing”. Among these texts, master plans have the significant quality of being both Comprehensive and concrete in defining Tehran’s housing. This article tries to reveal the State-produced image of Tehran’s housing by analyzing discursive articulation of Tarh-e Samandehi-ye Tehran (TST) as Tehran’s first post-revolutionary master plan.

Analyzing discursive articulation of Tarh-e Samandehi-ye Tehran uncovers an image in which a complex assemblage of people, population, housing, Tehran, and the ideal image of the state in urban scale being produced simultaneously under the gaze of the contemporaneous state, irreducible neither to the economic nor the formal aspects of housing.

The present study was conducted to answer how the concept of civic landscape can be realized. The civic landscape has incorporated democratic attitudes into urban landscape design and planning. Civilization, as a political-social discourse, is a way of creating a shared space for individuals to communicate on the basis of differences and disagreements. Landscape, as an interdisciplinary nature, inherently reflects the extent and limitations of social justice in space. Thus, explaining the concept of civic landscape does not mean providing an absolute definition, but seeking the factors that make the concept of civilization in space in general, and landscape in particular meaningful.

The purpose of this study is to explain a conceptual framework of civic landscape based on ideas and concepts of civilization in landscape architecture.

This is a descriptive-analytical study which has used the library method in collecting information. With the help of content analysis, the main concepts of the research are categorized and adapted to the concepts of landscape. Thus, at the first stage, the relationship between space and dimensions of civic society, and then the opportunities and constraints that may strengthen or weaken political-social discourse in the process of space planning are analyzed. Next, the place of society in the landscape design process is questioned by how democratic and social activities along with professional knowledge of environmental planning are needed. Finally, inspired by the three principles of civic society, the dimensions of the civic landscape are explained.

Inspired by the three dimensions of civic society (public opinions, institutions, movements), the civic landscape is divided into three characteristics that are compatible with the principles of civilization in terms of purpose, structure and concept. From this perspective, the purpose of civic landscape is the act of civilization, its structure is social construction, its concept is the concerns and ideals of civic society.

Architecture is not only building, technology, and drawings, but also discourse, meaning, communication, and concept, i.e. thinking and thought. This paper reconsiders the well-known aesthetic questions, this time in the field of Architecture; do the theoreticians act better than architects in thinking about architecture? Is there any specialized field in architectural thought that makes it intangible for philosophers? Are there any concepts in architecture that cannot be translated into language? Is architecture like other arts contributed to the enterprise of understanding the world equally like different sciences? This paper, organized thematically, has examined some of the major contemporary theories of art and architecture to find out the nature of architectural thought especially what does constitute architectural thought? In other words, how architectural thought does relate to writings such as theories of architecture? In the first part, we consider the ubiquity of architectural thought, whether in theoretical or practical issues. This ubiquity has made architectural thought indeed complex and complicated. Do we need a special pattern of thought to think about architecture? We come to differentiate between several forms of architectural thought. Three kind of thinking can be recognized in architecture discipline. Here, we will introduce major media type for each form. The first form of architectural thought is philosophical thinking with the subject matter of architecture and with the question about the nature of architecture, which was generally introduced to architects and architecture schools after 1960’s. Although it reveals those characteristics of architecture that are not well considered, naturally it is limited to concepts. The second form of architectural thought is the way in which architects deal with the questions of design, which became recognizable by introducing the word “design” into architecture nomenclature, in modern times. The main focus of practices in this field is the methodology of design. Anyway the analogy between what happened in the architects’ mind and thinking has been made in order to find out architects’ way of creating. The third form of architectural thought is the way in which architecture, by its existence and its presence, has affected human experience, perceiving, and understanding of the world. This form of artistic thought entered aesthetics vocabulary after Heidegger’s Philosophy & Nelson Goodman’s theory. Actually this form of thought can be pursued in several language metaphors and expressions that are related to the architecture. The second part of the paper is dedicated to the relationship between architectural thought and the architecture theory. Therefore, we will compare theory in architecture with theory in sciences and humanities; although architectural theory is the best conveyor of thoughts and the best way of connection to other human experiences in art, philosophy and sciences, as Wittgenstein experienced, knowing the best theories about architecture cannot make a person an architect. Therefore, it might be that architects experience another form of thinking which is somehow analogous to thinking and cannot be translated into theories. Despite the fact that theories can talk about each three forms of architectural thought (in considering the meaning of architecture, analyzing designers’ thought, and recognizing the architecture effects on mind), they cannot represent architects’ mind totally.

Today it is generally accepted that any outstanding architectural work is a constitutive moment of cultural heritage. The worth of a built architectural work depends on several facts such as time, place, life style, techniques and current temporal architectural paradigms. Through passing the time, the building may be let useless and in the danger to be destroyed and even annihilated. Therefore it needs to be updated and revitalized. Since the revitalization of a historical building changes in its inside causes, the basic problem in this field is that of the interior design and its relation to the architecture. It must be interrogated: What is the function of the interior design concerning the revitalization of the historical building? How should it be performed in order to preserve historical values of the buildings? Through experiences and approaches in the interior design, the inquiry attempts to study carefully three cases of revitalized and into museum converted residential houses. The first one is Music Museum that is established in a house from second-Pahlavi period with the intention of exhibit and introduces Iranian music. The second one is Moghadam Museum, which is established in Dr. Mohsen Moghadam’s family house from Ghajar’s period. This museum is the first academic museum in Iran and contains a precious collection of art works and archeologically discoveries. And the last case study is Saba museum which is established in a house of the late master of Persian music: AbolhassanSaba (1902-1957). Saba Museum is the first Iranian biographical museum. Through comparison these three museums it is attempted to introduce the methods of the interior design in performing the revitalization of an old building, and discuss its place and importance. Each case study is divided into two sections. The first section gives a brief account of the changes until the present state, and describes the present situation as well as the architectural and interior design characteristics. From the life–style view-point the second section analyses the inside structure and quality and finally compares the old form of the interior space with the new one. When it comes to revitalizinga historical building, there is no general criterion. Each interior design project brings withit a unique combination of challenges, problems, strengths and weaknesses, which have possibly never seen before. On historic buildings, how much of the old should be conserved? How far should the renovation either imitate or diverge from the original? What sort of new technologies and materials are compatible with old structures and finishes? These are just some of the questions, which inevitably arise in revitalizing. The comparison of three case studies shows that in confrontation to the historical buildings, the interior designers have several approaches according to their view point concerning the preservation and presentation the building’s values. Dealing with the converting a house into a museum two important matters must be kept in mind: the presentation of the values contained in the historical building and the presentation of the precious collection of things, which must be placed in the museum.

Considering the significance of understanding architectural works in terms of history, theory and architectural criticism, a great deal of researches have been dealing with the study of architectural works and expressing one’s understanding of that work. Although the study of issues such as “perceiving an architectural work” and seeking for the “standards and steps for understanding an architectural work” begins with analysis of the building, the fundamentals of these issues are deeply rooted in the theoretical bases of Architecture and so they inevitably belong to the realm of theory. In other words, the issue of “Understanding an Architectural Work at the time of perception”, on one hand is related to direct study of the work ()building)(itself, and on the other hand, it is linked with the richness of architectural thoughts that form the sources for quality and quantity of creating desirable places in the real world. Therefore, the knowledge on the aspects of “understanding an architectural work” and possessing “the principles and standards” for coming to an understanding of the architectural work plays a significant role in validity of quality of the visitor’s understanding of the architectural work, and lack of the principles and standards in coming to an understanding of the architectural work will cause the taste of an individual to influence the understanding and it will lead to the invalidity of the understanding of the visitor. But, how an architectural work is understood and what are its dimensions and aspects? This is the main question of this article and it deals with understanding the architectural work and its achievements. In response to this question, this article mainly deals with the steps of perception a work, i.e. “the building”, the approaches to realization, and theoretical bases of the issues proposed with regard to the problem of understanding an architectural work and its achievements in the field of architecture. The study of the modern paradigms on “understanding the architectural work” reveals that a major part of the discussions raised on this matter are rooted in philosophy, philosophy of art and linguistics and they have focused on understanding the literary works and the art works and then, they have been introduced into the field of architecture after a short delay. Hence, it is inevitable to step into the field of philosophy and philosophy of art from an epistemological aspect, while studying the issue of “understanding the architectural work”. So, this article starts with a review of the approaches to realization of a work in contemporary theories and paradigms, and later it will deals with the steps in understanding a work in the field of architecture. Then, the established standards for understanding a work and understanding an architectural work will be analyzed. Therefore, it will be possible to determine to what level of understanding the scholar will come through any one of these approaches. So, this article offers the different steps of visiting and understanding architectural works and their achievements, the significance of speaking with “the architectural work” in understanding it, the reason behind the necessity for questions and answers in perceiving the work and stepping beyond the structure of that work and pondering on the nature of the architectural work.