اندیش نامه معماری داخلی
پیاپی 3 (پاییز و زمستان 1403)

The interplay between interior and exterior spaces has long intrigued scholars and designers. Historically, interiors were seen as private domains, while exteriors were linked to public functions. However, these traditional definitions have evolved, prompting a reassessment of the boundaries between these realms. This article redefines urban space, traditionally public, through the lens of interiority—a quality often associated with privacy—by examining how interiority manifests in urban contexts. The study begins with an exploration of interiority, analyzing its theoretical dimensions and its capacity to transcend physical architecture. Interiority is presented as a temporal and perceptual experience rather than a mere physical enclosure, allowing it to emerge in open urban environments. This perspective broadens the scope of interiority from private spaces to public urban spaces, challenging conventional boundaries. Next, the concepts of "public interior space" and "urban interior space" are investigated, focusing on their intersections with public and private domains. These hybrid spaces create new opportunities for interaction, engagement, and a sense of belonging, blurring traditional distinctions. Employing a descriptive-analytical methodology and theoretical insights, the research identifies the diverse ways interiority manifests in urban settings. Specific urban examples, illustrated through images, demonstrate the physical and psychological dimensions that shape the perception and realization of interiority. The findings highlight two primary dimensions of urban interiority: physical and psychological. The physical dimension encompasses architectural elements and spatial arrangements that define urban interior spaces, while the psychological dimension fosters a deeper connection between individuals and their surroundings. Together, these dimensions create environments that transcend functionality, enhancing emotional well-being and fostering a sense of comfort, familiarity, and belonging. This duality helps alleviate alienation and disorientation in urban settings, enabling individuals to redefine their identity within their environment. The study emphasizes the importance of integrating interiority into urban design, suggesting that spaces attuned to both physical and psychological dimensions can foster richer, more meaningful urban experiences. By blurring the boundaries between public and private realms, these spaces promote unity and coherence in fragmented urban landscapes. The article concludes that incorporating interiority into urban design can create human-centered environments that support personal and collective engagement while enhancing the emotional and psychological connection between individuals and the modern city. This integration offers a pathway to reimagining urban spaces as places that not only serve functional needs but also inspire creativity, social interaction, and cultural expression, providing opportunities for identity formation, connection, and meaningful engagement within the complexities of contemporary urban life.

Stone Mosque of Tark has a different interior space compared to other Iranian mosques because of its interior architectural features; The placement of the tomb inside the mosque, the numerous altars and the lotus ornaments, which have been worked in large numbers and in different dimensions inside the altar, tomb and columns. It is worth noting that in addition to the spatial arrangement and interior elements, the ornaments of this mosque play a significant role in shaping its concept. In other words, in this mosque, the ornaments are not decorative and superfluous to the original work, rather they have become a means of completing an artwork and even a means of forming and creating it, because in Iranian art and architecture, being beautiful is associated with creating; The word “honar”, meaning art in persian, is “ho n are” which means creating beautiful, and the word “araye”, meaning ornaments in persian, is derived from the Indo-European root “ar”, meaning to place together, and is considered the main component of the word “art” and “honor” and, consequently, to make beautiful. For this reason, the main goal of this research was to explain the concept of the Stone Mosque of Tark according to its interior architectural features. In other words, this research aims to reveal the concepts hidden in this mosque through the analysis of the interior architecture of the Stone Mosque of Tark and its ornaments. Based on this, in order to understand the concept of the Stone Mosque of Tark, this research investigates and describes interior architectural elements of this mosque, including its ornaments and motifs. It should be mentioned that in addition to the form of each motif, its concept and meaning should also be considered. In this way, this research investigated the mentioned characteristics with the descriptive-analytical method and gathered information through field and library studies. This research after investigating the Literature review, has first described the Stone Mosque of Tark, then it has analyzed its interior architecture and its ornaments and motifs, and finally led to the conclusion that this building is a school-tomb-mosque, and the purpose of the founder or founders was to create a space-place for transcendence and evolution, as it can be seen from the interior space and its ornaments that the mentioned tomb belongs to their Qutb, and the various altars of those teachers who made their students rise and bring blessings to everyone.

Today, no trace remains of the harem quarters of the Tehran Citadel, buildings that once served as the royal residence for Qajar kings and their wives. These spaces were where the royal family's domestic life unfolded, carefully guarded to prevent outside access. Consequently, the lives of the women who resided there were shrouded in mystery, hidden from public view. This secrecy sparked immense curiosity, particularly among foreign travel writers, who speculated about life within the harem. As a result, we only have limited pictures and maps to imagine its appearance, and there are few detailed descriptions of it. This article explores the structure of the citadel's harem and its interaction with the lives of its residents. By applying Rapoport's views, we found that the residents' lifestyle directly influenced the design and structure of the space, with the position of women playing a key role in shaping it. To address the article's central question, we focused on understanding the position and role of the king's wives within this unique environment. In this effort, we defined the concept of the harem and investigated the general status of court women, tracing the historical evolution of the harem system over time. We examined the evolution of the royal harem's structure based on primary sources, from the Karim-Khan Zand period to its eventual destruction during the Pahlavi dynasty. Through this investigation, we found that this section of the citadel developed into a glorified residence for the shah’s female associates during the reigns of Fath-Ali Shah and Naser al-Din Shah. This expansion was facilitated by the large number of wives they kept in their court and the financial resources available to support them. However, the glamour of the royal harem in the late Qajar period is less documented, largely due to the significant decline in royal income. In the final section, we identified key factors illustrating the position of the king's wives within the harem's dynamic and evolving structure. Ultimately, we concluded that the collective lifestyle of harem women contributed to its complexity and expansion. The divisions within this structure were shaped by the status of each court lady in relation to other women, the king, his mother, and the household's servants. Women of higher status enjoyed more privileges, including larger, more luxurious living spaces and a greater number of servants to attend to them. Residences for servants and eunuchs were carefully designed to support their responsibilities in serving and protecting the harem's women, ensuring the maintenance of their positions and status.

The wide range of studies on the role of sound in indoor spaces has led to the development of relevant regulations in many countries, the results of which are the preparation of standards in the area of ​​acoustic comfort. Although the studies of recent years show that reducing the sound in the source does not necessarily mean an increase in sound comfort, and in most cases, the discomfort caused by the sound is not only determined by the frequency content or by the equivalent level value of the sound, but the user's perception can also be effective.  The present article, with the aim of categorizing the literature on the subject, tries to unify the theoretical foundations of the topic of acoustics and housing, which in fact can be used to find suitable solutions to the problem of spatial arrangements in the interior architecture of residential spaces of the apartment type, which The type of upstream goals is around the present topic. As mentioned, the wide range of studies on the role of sound in indoor spaces has led to the development of relevant regulations in many countries, the results of which are the preparation of standards in the area of ​​acoustic comfort. Although the studies of recent years show that reducing the sound in the source does not necessarily mean an increase in sound comfort, and in most cases, the discomfort caused by the sound is not only determined by the frequency content or by the equivalent level value of the sound, but the user's perception can also be effective.. The purpose of this research, which is a review article; the classification of studies in the field of acoustic optimization in contemporary apartment housing is actually done in terms of methodology. The first category is known as spatial simulation, so that in the simulation, building elements or architectural spaces are considered by the researcher. Another group of simulation researchers, whose main focus is different from the simulation of building forms or architectural spaces, is on active noise control methods, which are actively focused on sound structures and related equipment, including microphones, etc. . However, some of the related researches that take the third approach of acoustic simulation, their main focus is on the material. Finally, after categorizing the studies carried out in this field, it can be pointed out which of the approaches to find a solution to the problem has more theoretical scope than other approaches and which of the approaches, according to the current situation in the country.

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.

The first graduate of interior architecture joined the Official Experts Center of the Judiciary in 1972 to provide expert opinions in construction-related disputes. Before the Civil Code (1928), informal dispute resolution with the presence of knowledgeable or trusted individuals was common in Iranian society. With the enactment of the Civil Code and Civil Procedure Code (1928 and 1939), significant changes were introduced to the legal framework. These codes stipulated that the court could utilize expert opinions in specialized cases, marking a transition from informal to formal dispute resolution mechanisms. Since then, the role of the official building expert has evolved to provide specialized opinions to various natural and legal persons both inside and outside the courts. The rapid urbanization and modernization of Iranian cities led to an increase in the construction of new buildings and the transformation of existing structures. This development, coupled with the changing needs of society and evolving architectural practices, made the necessity of creating an interior architecture field in Iran apparent. With the emergence of interior architecture and interior design expertise in architecture and the increase of activity in this field, the discipline of interior architecture was added to the building group of the Official Experts Center .The central question of this article examines how interior architecture expertise established its position as a separate field in the Official Experts Center, particularly considering the complex interplay between legal requirements, professional expertise, and evolving construction practices. To address this question, the research first examines the state of dispute resolution before the Civil Code, analyzing the traditional methods and their transformation into modern legal frameworks. It then traces the development of the new judicial system in Iran and the formation of the Official Experts Center of the Judiciary, highlighting the institutional changes that accommodated new forms of expertise. The research concludes that the increasing complexities of the construction industry and the multiplicity of factors involved necessitated specialized knowledge in interior architecture. The presence of specialized interior architecture experts has contributed to resolving construction-related disputes and enhanced the quality and accuracy of expert opinions in this field. This development not only improved the resolution of construction-related disputes but also contributed to the professional recognition of interior architecture as a distinct discipline within both the construction industry and the legal system .The evolution of interior architecture expertise within the Official Experts Center reflects broader changes in Iranian society, including the modernization of professional practices, the increasing complexity of built environments, and the growing recognition of specialized knowledge in legal proceedings. This transformation has helped establish a more comprehensive and nuanced approach to resolving construction-related disputes, particularly those involving interior architectural elements.

Interior designers and architects, during their academic training, are exposed to a diverse curriculum that encompasses subjects such as design processes, aesthetics, art history, and engineering sciences. These areas of study provide them with a comprehensive understanding of the technical and creative aspects of their profession. However, one significant gap in their formal education is the lack of training in effective communication with clients and understanding the dynamics of the designer-client relationship. This omission is particularly critical, as professional design practice heavily relies on collaboration with different clients. The success of any design project is contingent on the interaction between the designer and the client, with the final outcome reflecting their combined input and shared vision. Despite their extensive academic preparation in design, many interior designers face unanticipated challenges when transitioning to professional practice. Without prior training in client communication, they often struggle to establish and maintain professional and effective relationships with clients. In the absence of structured guidance, designers resort to developing individualized approaches through a process of trial and error. While some succeed in cultivating effective methods, others, lacking sufficient awareness of how to navigate these relationships, encounter difficulties that may impede project success. This essay seeks to investigate the acquisition of essential skills for effective client communication, addressing the professional challenges designers face in this domain. The discussion begins with an exploration of communication mechanisms, emphasizing aspects such as persuasive strategies, the influential traits of the designer, potential areas of disagreement, and other relevant factors. Following this, attention is directed to specific skills that can be acquired to improve communication, including presentation techniques, verbal fluency, and the ability to handle constructive feedback. In conclusion, establishing a professional relationship with clients requires designers to deepen their understanding of both the client's needs and their own personal and ethical characteristics. By cultivating skills such as presentation abilities and verbal proficiency, designers can foster mutual satisfaction and contribute to the successful realization of optimal design outcomes. This dual emphasis on self-awareness and skill enhancement is essential for bridging the gap between academic training and professional practice in interior design projects.

Museums play a vital role in preserving and representing history, serving as cultural and educational platforms that bridge the past and present. War museums, in particular, hold the responsibility of narrating the complexities of conflict and its far-reaching impacts on human societies. This article explores the strategies adopted by museums to portray war, emphasizing the importance of going beyond the mere display of military artifacts to include narratives that highlight the human, social, and ethical dimensions of war. A critical aspect of war museums is the integration of victims' stories and personal accounts, which can humanize the experience of war for visitors. By incorporating these elements alongside the reconstruction of historical scenes and employing interactive technologies, museums can create immersive and emotionally engaging experiences. These approaches deepen visitors’ understanding of the multifaceted realities of war and encourage them to reflect on its broader implications. The article identifies several challenges that museums face in their attempts to represent war. Among these are the need to balance respect for victims while attracting diverse audiences, the influence of cultural and political contexts on the narratives presented, and the difficulty of maintaining historical accuracy while making the content accessible and engaging. Addressing these challenges requires innovative exhibit designs and careful content curation. Technological advancements have provided war museums with new opportunities to enhance their displays. By blending traditional artifacts with digital storytelling and augmented reality, museums can create dynamic exhibitions that resonate with modern audiences. This technological integration enables museums to present war not only as a historical event but also as a catalyst for ethical and philosophical discussions. War museums also serve as spaces for public education, offering insights into the consequences of conflict while promoting values such as peace, coexistence, and empathy. These institutions play an important role in shaping public understanding of war and its ongoing relevance in contemporary society. They encourage visitors to critically evaluate the causes and effects of war, fostering a deeper appreciation for the fragility of peace. Additionally, war museums act as bridges between the past and future, preserving the memory of historical conflicts while inspiring discussions about their implications for current and future generations. Thoughtful design and storytelling can empower visitors to connect emotionally with the narratives, encouraging them to think critically about the human cost of war and the moral dilemmas it raises. In conclusion, war museums transcend their role as repositories of historical artifacts to become platforms for dialogue, reflection, and education. By addressing the challenges of representation and leveraging innovative technologies, they can inspire meaningful discussions about war and its impact on humanity, ultimately contributing to a more informed and compassionate world.