HONAR-HA-YE-ZIBA
Year:2007 | Volume:- | Issue:30|Papers Count:14

College Of Fine Arts is one of the first colleges of Tehran University, which was founded on 1940/ 1319 A.H. Be can find out by researching in the early programs and plans of this college that it has been composed of programs of colleges of Fine Arts in Qajar era -specially in constitutional period-. Historical substructures of College Of Fine Arts consisted of: School of Fine Arts (Madrase-ye-Sana'ye-e- Mostazrafe) -which was established in 1911/1289 A.H by Muhammad Ghaffari (Kamal ul-Mulk )-, School of Music (Madrase-ye- Mosiqi), College of Music (Honarestan- e- Mosiqi), School of fine Arts (Honarestan-e- A'li-ye- Honarhaye Ziba)h. By the establishment of the Musical school of Shahnazi in 1930 -based on validation of supreme council of education (Shora-ye-A'li-ye-Ma'ref), modern education of fine Arts was emerged; It became another historical substructure for College Of Fine Arts. The administration of education improved the process of music education by the formation of school of Music. Finally by the influence of the suggestions which proposed by the members of supreme council of education and after changes made by Dr. Ali Akbar Siyasi in the article of association, Constitution was approved in 404th summit of supreme council of education. The approval was adopted while the council of Tehran University paid attention to the establishment of college of fine arts in various sessions, Sometimes considered as school of fine arts or as college of fine arts. However, it was due to such a background that the college of fine arts began in Mehr 1319/October 1940 to expand art education with the ministry of culture's agreement with annual budget of 100,000 Rials. Despite the shortage of potentialities and lack of sufficient budget and equipment in the college, the interest in the existence of the college made some of the professor of the school to teach voluntarily (without any payment). When the college of fine arts was just established due to insufficient educational spaces from on Shahrivar 1320/September 1941, its ateliers were moved to the western side of faculty of engineering- the new building- in Tehran University campus to decrease the problems. Then the establishment of the college of fine arts and its attachment to the university was considered and approved in the university council a temporary constitution for 1319-1320/1940-1941 academic year, in four articles was considered and approved. The university council was authorized to reform it, if needed. Author had attempted to analyze in this article establishing of College Of Fine Arts as a compress and trend of this college based on archive documents and records of university and other historical sources. In this Article, the founders of college's concentration on education of Music, Fine Arts and Theatre, has been highlighted. A report of educational constitution and list of first professors and educational schedule and elementary Constitution of this college are other Parts of article. In order to compare with the present schedule in the college of fine arts, the article has introduced the firs courses and marks of the college.

The emergence and development of any profession or discipline is closely tied to concerns about the formal education and training of those who are to be identified as professionals and academicians. Thus great importance should be attached to the need for urban planning education, particularly doctoral education, to be evaluated periodically and not only to correct the structure and content of the program, but also to adapt to the changing demands and to propose a new education agenda to best reflect the changing and evolving nature of the field. In urban planning, there has been substantial doubt about the nature, mission, knowledge and skills among professionals, academicians and the public since the establishment of the profession almost a century ago. This has been the case all over the world and in all dynamic planning departments". Planners encounter epistemological challenge of various ways of knowing and mode of expression. Doctoral programs are the right place to take these dim issues of the field as epistemological debates and by finding plausible answers to the critical questions, clear the way for the profession, professionals, as well for the educators themselves. From time to time, researchers and academicians have assessed the state of planning education, characterizing developments, eras, and critiques and even projecting future direction. The assessment of a planning program knowing its effectiveness in teaching and research and also its shortcomings-as well as changes necessary to improve its quality should be part of the education agenda. Establishment of the doctoral programs in various disciplines reached its highest level at the University of Tehran since the last decade. The purpose was to train high quality teachers and researchers to meet the increasing needs of the universities and higher education institutions, and to eventually decrease dependency on foreign countries for this purpose. One of these new programs was Ph.D. in Urban Planning. During the last ten years since the start of this program at the University of Tehran, some 40 students have joined the program, gone through several phases of education and research and all but a few graduated. It should be pointed out that over %75 of the graduates in this period are now actively employed by the accredited higher education/research centers of the country and the rests are also involved in the relevant professional and administrative activities of the field. On this basis a general conclusion can be made that the program has, to a large extent, achieved its primary goals. However in spite of the extensive experiences gained, lessons learned, and various problems brought up by students, graduates, and instructors, no evaluation has ever been made of the program, to critically document the program's shortcomings, and propose necessary changes to improve its quality. This research intends to evaluate the performance of the Ph.D. program in Urban Planning by using appropriate methods and suggest changes needed to improve the quality of the education and research in the program.

When the civilization of man appeared, before any job, architecture was created and the Persian combined this with their technology and their art, so that their name and reputation is always exist. According to these famous honors, the contemporary architects don’t pay attention to nowadays reality. Time is flying and just a nation can be successful that understand the needs of society and also could realize the age and location of his community in this position. With the advance of technology of creating and construction and the appearance of new forms of building that need very complicated competition of math, architecture has become for every one without technology knowledge, impossible. The contemporary architects should know about aesthetics, engineering, psychology, economics, biology and in general programming. But these architects have influenced the classic custom and have been trained just like an artist. He learns and most of the time his information about the first necessary instruments for using modem technology is limited. With shrinking technical capability important decisions regarding the design of the built environment are increasingly not made by architects, meaning that architects have increasingly less control and influence over the design of the built environment. Nowadays and with the new teaching at architecture universities (after creating industrial revolution and unconscious events that create at this age or at that past) the relation of architecture and technology specially new structures either in teaching area or planning area has happened and in many other cases these two area has considered as two separate areas. Also in teaching area, the structures curriculum is taught separately from the remainder of the architecture program. Structures instruction is rarely, if ever, fully integrated into the broader architecture curriculum. In particular, creative structural design and application is left out of most architecture design studio courses. In continuation, with consideration of the diversion of the paths of architecture and structure engineering, attempt in closing their paths began and continues until today. In the meantime, a number of architecture was able to create novel buildings compatible with the industry, technology and the modern life. In this way, architecture employed technology to allow architecture to be in harmony with the changing needs of the society as far as possible. In ancient Iran, architectural and structural experts were the same people and could have been called architect- engineers. However in contrast, in the modern times, architecture and structure engineers fallows completely in different paths. At this article, we try to imply changes of compatibility of structure engineering and architecture at west and Iran, also imply the necessary of compatibility of structure and space applicably, attract other architects and engineers of structure and the way to coordinate them as closely as possible.

The primary objective of earthquake resistant design is to prevent building collapse during earthquakes thus minimising the risk of death or injury to people in or around those buildings. Because damaging earthquakes are rare, economics dictate that damage to buildings is expected and acceptable provided collapse is avoided. Earthquake forces are generated by the inertia of buildings as they dynamically respond to ground motion. The dynamic nature of the response makes earthquake loadings markedly different from other building loads. The concept of dynamic considerations of buildings is one which sometimes generates unease and uncertainty within the designer. lack of information on earthquake-resistant methods is the basic reason for construction damages of residential buildings in rural area. However, economical and financial shortage is the most important factor for limitation of execution of these methods. In rural areas, that sustain major damages in earthquakes, economical problems do not allow for construction of buildings according to the building codes for earthquake-resistance houses. Easier and inexpensive methods that are appropriate for rural area and correspond to their level of technological ability are necessary. At the present time, governmental organizations are building houses for survived citizens of Bam earthquake and some citizens of the region are starting the building of their houses. Therefore, suggestion of a sound method based on economical and technical ability of the area and people is necessary. In this investigation, the effects of earthquake on the buildings in Zarand and the failure of residential buildings of this region have been studied. This part of research aims to define" which parts of buildings are more vulnerable in earthquake or cause the damage to other parts of buildings. This investigation has identified mechanical weakness of construction materials in addition to the weakness of local human resources in executing earthquake-resistant buildings. Construction in rural regions is not usually accomplished by skilled workers. Therefore, methods must be sought that their nature does not allow wrong execution. The investigation carried out in this research showed that two parts of buildings are the most vulnerable parts of local buildings: roof that could not resist in earthquake because of its high weight and not having integrity and wall that could not support itself and even roof against lateral loads. Therefore, a construction system with lightweight roof and lateral resistant walls is necessary. The paper explains to what extent buildings in Zarand have been stable during the earthquake. The paper indicates that design and supervision method of building during the construction period must be revised and improved; and a basic change in construction methods is necessary. The paper suggests a new method based on local materials and resources. Being economical is one of the most important features of the proposed solution. Therefore, it would be compatible with the financial resources of residents of the region. The paper indicates that only the compatibility of the construction method with local economical abilities can lead to a practical and appropriate method. The other benefits of the suggested method are speed and ease of construction. The proposed construction method would be executable with local human resources easily.

This article tends to review an aspect of Iranian architecture beyond abstract sciences. The spatial order was the same spiritual reality; the hidden pattern and sub pattern which apart from providing a comprehensive structure, explained and connected the experimental facts to metaphysical truths. This order compared to what we call a place was everywhere. It was a pattern that placed and disposed instead of being placed. As an applicable, the architecture, its imaginary conception and Eidos without paying attention to its output and sensibility is a waste of time. The spatial order as a chain that connected the sensible and insensible, was the organization and spatial arrangement which produced events and operations in which "Being" was acquired. An order which also provided dos and don'ts of life and movements pattern. This order reminds something more than functionalism. According to documents, Iranian architecture's spatial order was inspired by the spatial order of the universe. In this order it's not possible to separate part from the whole or the fixed from the changeable. Each portion was settled in a part of "Place" by its own real being. That's the reason this order has advantages such as vertical axis, being centripetal and directional and revealed the differences between parts by nature which leads to differences in places. The hierarchical order of creation caused that in the spatial order of Iranian architecture, spaces and access to them were settled according to their importance and hierarchical concept. And it had two other parts the centripetal and vertical axis spatial order. The centripetal spatial order arranged spaces around a covered or uncovered center and the vertical axis spatial order settled spaces around a vertical axis. The spatial order presents different shapes after defining sensible aspects and architectural structure. I use this opportunity to define, seven concepts in a particular structure, in order to explain truths about the spatial order of Iranian architecture compared to modem architecture which relies completely on the scientific mind of its compiler. 1- Reviewing beyond description: in reviewing valued ancient architecture one should listen to the speech of that architecture. In other words we should let them whisper to our soul. 2-Spatial order beyond function: this order brings about asylums through which we get the opportunity to create different function. 3- Hierarchical beyond border: this order tries to elevate from the horizons of mere living and material being to a higher rank in hyperphysical being. 4-direction beyond axis: In this order choosing direction by measure character of the building leads to non-measure character which is different to what we know as axis in modern architecture. 5-Vertical axis beyond height: the structure of vertical axis in this order presents Divine way which takes place in a particular space in the place. It is different to abstract height. 6-Centripital beyond centre: In this order the center from which the creation has begun can polarize spaces around itself. This centre is different to what we call geometrical entre. 7-Ascension beyond movement: In the Iranian architecture spatial order, being centripetal and having vertical axis explains the moment of union and solitude. A trip to learn about existence independent from physical movements. Provoking such feelings and qualities is among highest values of Iranian architecture.

Biological basis of the village Maymand has been originally shaped in Kerman- Sahrbabak mountain one of the most prosperous cultural, historical and natural fields of the province inside it through interaction between man and nature. Little rain, severe and dry climate, stingy natural context, fertile soil. Wealthy mines have all contributed to creation of an elegant ecosystem providing local residents generously with its natural benefits and hallenging them to overcome natural difficulties as well during four thousand years of its existence on the planet. The history of human life in the central areas of the plateau goes back at least to four thousand years ago. Hence, all remainders of the past contain a noticeable amount of cultural and scientific heritage undoubtedly worth being studied, extracted and represented to the world by researchers. The heritage mentioned above is not only a rich intellectual wealth for the experts but something also devoted to the entire society and must be interpreted appropriately so as to be understood by the people of different ages and social classes. Since such an ancient source of knowledge could provide us with a reliable basis for scientific developments in the future, our efforts should not only be restricted to physical preservation of the remainders so as to delay their inevitable process of erosion. Instead, the central concepts that should necessarily be followed in this regard are awareness of the people over their ancestral resources of knowledge - always in harmony with their surrounding environment -and their application in our contemporary era. In its five year activity, the National Heritage and Tourism Organization's base at the village of Maymand has been very active in training local and visiting trainees for various research and practical tasks, alongside restoration and protection of the building fabric of the village. Management policies in the area of the restoration of the building fabric of Maymad, which is categorized as a significant structure because of its carved out of rock architecture, has had considerable influence in providing a better introduction of the village, as well as improved provision of information to visitors, which ultimately leads to improvements in the local life. The policies that have been undertaken by the National Heritage base (in which the author is a member) have become the ingredients of a model for designing within the fabric of the village and optimum use of the deteriorated and derelict physical entities of the village. These results and the essay that will follow are the results of field studies and a trial and error method carried out for the past few years, which ultimately present the issue that by considering the authentic and vernacular models found in Maymand, effective steps can be taken towards the revitalization of this historic village; as well as adopting the same models as a guide for dealing with other rural fabrics.

Deconstruction can be considered now as an integrated part of architectural theory, practice and history. It was over 20 years since Derrida's first books were published and his ideas and thoughts have started to trace in architectural discourse. Then, for about a decade from late 1980s to late 1990s, it was full of enthusiasm for deconstruction as a theoretical/practical approach to architecture. This Paper is concerned with the role and influence of deconstruction in contemporary architecture together with the study of deconstructivism and its roots in philosophy, art and architecture. An overview on 20th century major architectural theories shows that the effective life time of theories have been diminished from 40 years of Modernism to 20 years of Post modernism and 10 years of Deconstructivism. Nevertheless, this reduction of duration does not indicate the less importance of the shorter life time theories but indicates the acceleration of changes in architectural beliefs through the time. It should be noted that deconstruction was introduced to Iran contemporary architecture with a delay in early 1990s from a different pathway and process comparing its origin in the west. However it is not a focal point of this paper but it is required to be discussed in another article on deconstruction relation to Iran contemporary architecture. The fact that there is an undoubted link between deconstruction and deconstructivism requires a deep understanding of deconstruction itself if there would be any itself within deconstruction. It is difficult to define deconstruction with the words of western metaphysics because it is the same thing that is under the sharp criticism of deconstruction. Meanwhile, certain definitions of deconstruction are presented with reference to Jacques Derrida and others including Barbara Johnson, John D. Capputo and Paul Ricoeur. It is followed by a precise and brief discussion on the very idea of deconstruction focusing on the metaphysics of presence and its pivotal theme namely logo centrism. Following an overview on Deconstruction in art and architecture the roots and background of Deconstructivism are studied and the relevant samples to visual arts and architecture are identified. Certain art and architecture movements and/or styles of 1910s and 1920s including Dadaism, De stijl and Constructivism should be considered in genealogy of deconstructivism. It should be also noted that there is a difference between deconstruction and deconstructivism i.e. the difference between a philosophical/critical sort of thinking and a kind of architectural style. Deconstructivism has been acknowledged as an architectural style from 1988 especially after the Deconstructivist Architecture exhibition at the Museum of Modem Art in New York and the relevant debates on the term of deconstructivist. Deconstructivism was a call for a new approach to architecture for exploring different responses for may say old architectural questions without denying the values of the past, not for the future but to apply at the present. Although the period of enthusiastic approach to deconstructivism is terminated, but deconstructive thinking about architecture is still going on. At the end of the paper, a brief conclusion is followed by the notes are referred within the text and the complete references are included.

The presented article is going to investigate the meaning of function in architectural Functionalism and its roots. A survey on the history of the meaning and application of "function" as a theoretical term in architectural theory is done as a prerequisite for rethinking the concept and the role of "function" in Functionalism. The study is believed to be of great importance for today's architecture because the current concepts, and even ideas, in architectural theory are still under the dominance of their predecessors in the early 20th Century Modern architecture, in which Functionalism had unquestionably a leading role. This article is prepared in three major parts. In the first part, the history of "function" through the theoretical history of architecture is briefly studied. Through this study, the root of function is referred to the ancient times and the definition of Vitruvius for architecture. This review shows that the root of the concept of function is "utilitas", and thereby "utility", which continued throughout centuries by a number of theorists. In the second part, the context of function in architecture is investigated since the application of the word ''function'' in architectural theories. In this part, the roots of different meanings of function in the context of six applications of the word since the mid eighteenth century to the late nineteenth century are studied. This investigation provides a clear explanation for different conceptions of function in contemporary architecture. In the third part, the meaning of function is studied through the ideas of those architects and critics whose names are categorized under ''functionalism'' or are believed to take ''function'' as their point of departure in their architectural theories or practice. In this part, the two important key quotations, Le. "Form follows function" by Sullivan, and "House is a machine for living in" by Le Corbusier, which have influenced the concept of Functionalism in twentieth century are mentioned and compared. The analysis of the deeper meaning of function in the mentioned quotations, that have been the slogans pros and cons of Functionalism, shows that Sullivan and Le Corbusier had very little if any common conception of function in mind. the former applied function with a more biological and organic metaphor and tried to define architecture through the organic relation of form and function, while the latter considered architecture as a machine which had to fulfill accurately the requirements of itself and the man living inside. Therefore, the comparison of these two sentences has lead to achieve a clearer clue to the plurality in the meaning of function, all representing one Functionalism. The study serves to show that Functionalism has made use of a variety of meanings and concepts within a single term, Le. function. Today not all conceptions of ''function'' in Functionalism seem to be equally referred by architects and critics in their accounts of Functionalism in architecture. The appreciation of the wider array of the meanings of function in Functionalism will certainly help us to establish a more-or-less clearer understanding of ''function'' and Functionalism. It provides us with a concrete context for our contemporary confrontation with the concept of function in architecture.

This article presents a part of the author's study of nanotechnology on the future of architecture. First, it considers the scientific aspect of architecture and clarifies the relationship between the subject to architecture, by a survey in fixed principles and concepts of architecture and words of great architects. In the end it presents the examples of the use of this technology and introduces the qualities that can be achieved by the architects in the future. In addition through this study they explained the importance of this subject by considering the positive and negative effects of this technology. They predict that nanotechnology will change the architectural principles and it will remove some limitations and shortages such as standards and untransformative materials like brick and concrete. When scientists are examining things at the nanoscale, they find that materials operate differently than they do in our familiar world. Different electrical and physical interactions come into play at the nanoscale, so scientists need an understanding of many different disciplines when working in nanotechnology. A fusion of chemistry, physics and engineering, nanotechnology is the manipulation and assembly of material with atomic precision. Traditionally, products are constructed by cutting or etching away material from substances to make them smaller. Nanotechnology takes something small and builds it from the ground up by adding to it. By developing materials at the molecular level, scientists can create new forms of matter that are stronger and more elastic, refract light differently, have different electrical characteristics, and even respond to their environment. These unique properties will help scientists use nanotechnology to generate scientific breakthroughs in electronics, life sciences and materials. Nanotechnology solutions are already found in a range of commercial products. Nano clays improve the physical characteristics of plastics and provide ultra-hard coatings for eyeglasses. Life scientists are already using nanotechnology to advance healthcare. Unusual forms of matter called "quantum dots" help diagnose disease and discover new drugs. Nanotechnology can remove worthless stuff and pollution from the environment, also it can dramatically prevent to waste resources that, it itself merely can cause to decrease the final price of the most of products processes and steps of operations. Nano technology is not potentially good or bad, like all developed technologies in the world, but to what makes it useful or useless, is the way that human applies it, in his life. So it is clear that, the more technology is capable and applicable, the more it needs to be controlled, in order to be applied in the best way for people and promotes the quality of their life. If we don't correctly control nanotechnology or if we use it in the wrong way, it can cause to irrecoverable outcome. Although this technology will indicate a new ways, we should be aware of environmental problems, try to reduce the pollution through green products and decrease the use of diminished sources and energies. We should try to study carefully the potential effects of different use of nano particles on human's health and environment, in order to control its harmful effects in the future.

Unlike various other fields, design is occasionally quite difficult to define the goals, it's Purpose, and the methods entailed in due theoretical and scientific terms. When thoughts designers in particular if they concern themselves not just with designing, but also, with theoretical issues, then there is always a wrangle over finding that common definition as to what "design" means in the first place. This is more surprising if we bear in mind that at since the end of the 1970s there has been a wide-ranging consensus at what is specific to design, can be designated as concept of "product language". Now known as, other concepts are used instead (e.g. design semiotics, product semantics, semantic surplus value, etc.). However, the methods are more or less identical. Still the question is, what are the objectives, for precisely this seems to have become somewhat neglected. Reason enough to ask what the current state of things is in the domain of "product language" and what new perspectives are possibly emerging there. In the discussion of objectives, the focus is always on lending greater precision to scientific insights, differentiating and perfecting them, something which is reflected in the specialist literature. There are substantial shortcomings in this regard in the field of design; indeed, in Fact one might be forgiven for thinking that actually we are witnessing retrogression. In this context, we should ask what becomes of the "product language" if, as always claimed, its objects disappear – which they naturally do not - or only change, for example: Hardware increasingly becomes software, In addition the design of products, the development of concepts and strategies becomes more important, the image of the company and communication becomes more important than the products themselves, the services are considered to be more important than the production of goods itself. Today, that the briefing for designers is changing. four areas are defined in which the design is active: Product and process design (this includes classical industrial design), Product and process planning (this includes compiling design concepts, images, product lines, corporate design), Design management (This includes, among other things, tying design into the innovation processes), Design research (Including the application of the new procedures and media, implementing insights from other disciplines). This is clearly understood that developments  require a differentiated, in-depth and expanded understanding of language which are emerging rapidly; and it is visible in areas that have to date hardly been affected by such matters. Thus, product language of course no longer revolves solely on a discussion of the individual products and if s design details. The tools of practical work today have little bearing as objects of research.

Siyah galam, "literally black pen" is a term used by the sixteenth - century Persian writers on painting for line drawing, practiced as an autonomous genre- though none of the painters they mention is credited with preponderant expertise in it. Such line drawing by the early fifteenth century was already highly esteemed, as witness the exquisite marginal ornament of the Divan of Ahmad Jalayer (Baghdad, c.1410). Siyah galam is the signature that appears on a number of leaves in the albums H.2153 and H.2160 in the topkapi sarayi library in Istanbul. The features that characterize the paintings signed siyah galam are also subject to debate, but scholars at least agree that both the signed and the anonymous paintings in H.2152, H.2153, H.2154 and H.2160 can be grouped by specific common stylistic elements, sources for which may be found in all part of Eurasia. The style of siyah galam picture is distinguished by a distinct linearity and a manner of expression strongly influenced by drawing. The powerful and expressive manner of drawing in these pictures probably gave rise to this unusual designation» black pen. Colour in these pictures is subordinated to line and serves only to increase its effect, so that the designation siyah galam is entirely intelligible. The refined sense of line produces a form of modeling which, in the service of a brutal realism, tries to establish well marked plastic and spatial values. The relationships between the Chinese and siyah galam paintings also provide additional data for discussing the problem of the transmission of forms. The study of siyah galam method did much to amplify the history of Persian painting as it could be charted from the illustrated book. The unusual format of the marin paintings allows us to suggest the date function of the diwan paintings. The characteristic style and the often unusual subjects combine with the form to make these paintings seem more typologically isolated than, in fact, they are. The paintings of the Divan are closer to siyah galam form. they were an original response to the late 14th - early 15 century interest in marginal space and the framing of the text all of the margin drawings of Divan, use what would be called the siyah galam method. The paintings are essentially black ink drawings touched by color. The ink was manipulated to create dark or light lines so as to emphasize features while de-emphasizing others. This study aims to revive interest in the siyah galam method in Persian painting by calling attention to selected works of its most talented members in Jalarid, limurid and Safawid period. The article will treat only those works which best represent the siyah galam style in Persian painting.

This study has concentrated on state of transforming the concept and dream to interior architectural spaces and the role of that in manifestation of the meaning in science fiction film. The theoretical framework of essay is designing architecture theory base on concept which is related to the state of transforming the idea to the form. In this study the concepts and hypothetical approach of this theory are analyzed the designing of interior architecture of film and its elements. Architectural spaces has influenced in all artistic genres and styles of film. Architecture via semiotic and semantic way has influenced on characteristic, identity, time and place sense, creation and manifestation of appropriate space for specific locations, passing of historical palimpsest, psycho sense and so on. This study has made an effort to indicate how architectural designs lead to film production design and for this purpose spontaneously, we analyze the genealogy of space creation in film, the meaning of imagination in all period of history, determination of mise-en-scene and film production design and at the end, resentation and analyzing of war room in Dr Strangelove (1964) by Stanley Kubrick, which had designed by Ken Adam, the ost famous film production design in the world and the war room of Dr Strangelove as what ever Steven Spielberg mentioned, has known as the most important and out standing production design of the world. The research methods in this study are analytic and descriptive base on visual semiotics and combination of qualitative (from case study to theory) and quantitative (from theory to case study) research. The conclusion of the study is that the interior architecture is formed and created base on concept and dream and the characteristic elements of interior architecture spaces have important role in manifestation of the meaning and spiritual concepts. The interior architects with perfect and exact designing of mise-en-scene space, using text, prop, light, color and other architectural elements would design scene space in that way which manifest concepts and would have profound effect on presentation of thought. These kind of transforming from subject to object, from concept to referent and from mental and consciousness world to concrete and physical world have complicated process which is becoming more and more complicated in cinema and architecture cause they have eventual dynamic spaces. The world famous film directors have exact impact of architectural semiotic on manifestation of concepts in their films and with architectural consultant they would do it increasingly perfect and on the other hand the outstanding architects of the world have exact impact of architectural semiotic on manifestation of concepts in their works and with film consultant they would do it increasingly perfect. Architects would know semiotic and semantic way of designing on characteristic, identity, time and place sense in their projects.