This paper aims to examine and analyze the key components of expressionism that significantly shape interior space design. As an artistic movement, expressionism is deeply rooted in the portrayal of human emotions and thoughts, frequently influenced by social and political contexts. This study explores the intersection of expressionism and interior architecture, emphasizing how its core principles can be effectively incorporated into spatial design. Employing a mixed-methods research approach, this study utilizes qualitative content analysis within an inductive framework, incorporating open and axial coding techniques. MAXQDA software was used to systematically categorize codes and identify relevant themes. The findings highlight five major categories derived from 16 subcomponents, which define the essential characteristics of Expressionist-inspired interior architecture. In the quantitative phase, a non-random snowball sampling method was used to recruit 12 experts in painting and architecture to assess the applicability of these components. Additionally, a purposive, criterion-based sampling strategy was applied to select nine architectural case studies reflecting Expressionist elements. The results indicate that the most defining attributes of Expressionist-inspired interior architecture include curved forms, exaggerated and distorted geometries, and a deliberate rejection of strict naturalism. These elements collectively contribute to an intense and emotive spatial experience, a defining trait of Expressionist aesthetics. Moreover, this study identifies several strategies for successfully integrating Expressionist principles into contemporary interior design. These strategies encompass the use of unconventional materials and textures, strategic lighting to evoke mood and intensity, and dynamic color schemes that enhance emotional impact. Another crucial aspect is the incorporation of fluid, organic forms into spatial layouts, reinforcing the movement’s opposition to rigid symmetry and conventional design norms. Expressionism, when applied to interior space design, serves as an artistic bridge connecting architecture with a profound exploration of human emotions—particularly awe, melancholy, and introspection—which directly influence spatial perception and experience. The movement’s impact extends beyond aesthetics, shaping immersive environments that challenge traditional perceptions and provoke emotional engagement. By examining and categorizing the fundamental principles of expressionism in interior architecture, this research contributes to a broader discourse on how artistic movements inform and transform spatial design. The methodology adopted in this study involved an extensive analysis of both historical and contemporary Expressionist works, evaluating their structural and decorative elements to assess their applicability in modern interior architecture. The findings underscore the importance of emotional depth and artistic intentionality in spatial design, advocating for a more expressive and individualized approach to interior architecture. Ultimately, this study provides valuable insights into the role of expressionism in shaping interior environments, offering designers and architects a framework for integrating its principles into their work. For instance, the incorporation of undulating walls and vivid, emotionally charged color palettes in projects such as the Hundertwasser House in Vienna exemplifies how Expressionist principles can create engaging and immersive spaces. This research highlights the continued relevance of historical artistic movements in contemporary design discourse, affirming that interior spaces can function as expressive canvases for creativity and emotional depth. By bridging the gap between Expressionism and interior architecture, this study underscores the movement’s lasting influence and presents innovative pathways for future design exploration.

Problem statement: Cinema and architecture are regarded as two corresponding categories that have had a mutual impact on each other since the life of cinema. In the last century, the impact of architecture on cinema has been reviewed. Since Iranian cinema is considered as one of the most effective stylish ones, the impact that it has had on the architectural spaces can naturally make it necessary to study in this field. Perhaps the most prominent style that influenced architectural form in cinema was the influence of expressionist architecture on cinema between the two world wars, where architecture and cinema are immensely close together. Expressionist, as one of the manifestations of the 20th century, has also appeared in Iranian cinema during decades, however, the lack of research in this area has left the impact of this type of architecture on Iranian expressionist films unknown. Research objective: The aim of this study is to investigate Iranian expressionist cinema in the contemporary period and how films are influenced by architectural spaces. Research method: This study was a qualitative study with comparative study and content analysis. In this passage, the expressionist concept and its concepts in architecture and cinema are discussed first, then by examining the examples and content analysis, the role of architectural spaces in Iranian expressionist cinema is examined. Conclusion: The results show that the influence of architectural spaces on expressionist films in “ A Party in Hell” has a tangible and intuitive reference to architectural spaces due to its massive decoration and adherence to expressionist pillars. Unlike other examples where these expressionist films have reduced the physical effects of architectural spaces to a minimal extent, other elements such as shadows and light have also been taken into consideration.

Problem statement: The art and architectural movements, which represent two relevant categories, have been permanently presented together throughout history and affected by each other concurrently. Following the formation of the artistic currents, from the middle of the19 th century onwards in both the European countries and the United States, frequent artworks have emerged. Therefore, the pertinent schools of thoughts have led to specific changes in the art fields, including the architecture in Iran from the 1940s onwards. Probably, the most prominent artistic currents that affected the buildings of contemporary time was the influence of the expressionist current of art on the architecture of the Pahlavi era,an era in which architecture and modern art were moving forward in the same direction. The influence of contemporary Iranian architecture on newfound arts indicates the necessity of this research study. Research objective: The purpose of this study is to investigate the role of expressionism art current in contemporary Iranian architecture, and to identify the expressionist architectural patterns and their representation in Iranian administrative-service buildings. Research mthod: Following the completion of the field observation, the case studies were selected, and then relying on the library data and reviewing the reliable documents, the effect of expressionism art flow on contemporary Iranian architecture was evaluated in the Pahlavi era by using a historical-interpretive method. This is followed by the analytical descriptive method to represent the research findings. Conclusion: The results indicate that the components of expressionism style in all three aspects of ‘, objective’, , ‘, functional’,and ‘, physical’,dimensions are presented in the administrative-service buildings during the Pahlavi era. In this regard, the emergence of objective components appeared to be more significant than the other two components. The most frequently used architectural aspects of this artistic style in administrative-service buildings in Iran include: the simple and often elongated plans along with the building, the symmetrical facade composition, the gable roof, the specific form of porch, the vertical partition of the facade, the distinctive rhythm of the facade with rectangular and elongated windows, and finally the decorative balusters designs (ṭ, ā, ramī, ).

Expressionism or Constructionism is a school in literature, painting, and cinema in the early twentieth century in Germany. Expressionism in literature is the way that looks at the world through emotions which can be a sign of reaction and romantic desires of artists who lived in industrial and developing societies in the early twentieth century. Moreover, they aimed at providing a definition of capitalist society in order to challenge the various crises rejecting the traditional models in order to set the ground for human freedom.On the other hand, since expressionism has a social and cultural perspective on human life, it affects different literary issues especially linguistic and rhetorical aspects. This article attempts to briefly describe the characteristics of the Expressionist school and scrutinize the samples of poems by Persian famous female poets including Parvin Etesami, Forough Farrokhzad, Simin Behbehani, Zhaleh Esfahani, and Taherh Saffarzadeh based on this approach.

Among the many ways of attitude to existence and its interpretation, Expressionism must be considered a unique approach. This method, which is non-imitative in nature, does not describe events as they seem. The writers and artists of this school present the superficial forms of events in their minds and offer them like dream interpreter؛ An exciting stream that opposes and pushes against predefined structures. This approach, with its vast capacities, has provided a very good opportunity to show the world inside and outside of human beings. In the meantime, one of the figures who have left poems in line with the principles of this school in the field of poetry is Aisha Arnaout (born 1946), a Syrian-Albanian writer and poet. His poems in two sections of form and content have provided outstanding manifestations of abstract literature. Hence, this article tries to study in a descriptive-analytical way, the linguistic and content constructions of the poems of this contemporary Arabic poet based on the components of expressionism. Among the results of this research, we should mention features such as: "suspension and waiting", "heterogeneous rhythm and beat" and "interrupted metaphors" in the field of language, as well as themes such as "grotesque", "lost identity" and "mental-emotional ejection" which had a high frequency in Arnaout's poems. Among the results of this research, we should mention features such as: "suspension and waiting", "heterogeneous rhythm and beat" and "interrupted metaphors" in the field of language, as well as themes such as "grotesque", "lost identity" and "mental-emotional ejection" which had a high frequency in Arnaout's poems.

A Study of Geometry in Islamic Architecture by Professor Golroo Najibaaghlou is a valuable work in the field of Islamic architecture. This book has a detailed preface, a brief introduction, and five main sections. As it is known from the introduction of the book, this book was originally written for a non-Iranian audience. The first purpose of writing this book is to try to moderate public belief about geometry and the stages of compilation and discussion in Islamic architecture. Another purpose is to correct the negative view of the geometric documentation of Islamic architecture in the West, because such a view has created a kind of reluctance to equate the works of Islamic architecture with the great works of classical Western architecture. In addition, Najibaaghlou wants to reject and respond to Western criticism that reduces Islamic architecture to the level of an unedited work. In the final chapter of the book, Najibaaghlou looks at the compiled documents of Islamic architecture from a Western perspective and highlights some of the missed points of geometric sciences, including clarifying conceptualization, recording, and transferring architectural design in the Islamic world.

Painting is known as one of the oldest arts and has an important place in the birth and even survival of one of the last humankind arts, cinema. The relationship, similarities and differences between these two arts are not only interesting but also controversial. German expressionism which is known as a style today, has an important role in evolution of artworks and styles. Expressionism is significant in cinema history as well as in painting. Expressionist cinema has had direct and indirect effects on the cinematic genres of horror, crime, and noir. The Cabinet of Dr. Caligari by Robert Wiene (1920) is the most famous and important expressionist film which includes all factors of expressionism. It seems that this genre is mainly based on expressionist painting. This study by library sources and descriptive-analytic method tries to survey the impact of expressionist painting on expressionist films and at the same time study the Cabinet of Dr. Caligari in the basis of expressionist factors in painting.

Problem statement: Research on “philosophy of architecture,” if the exact meaning of the word is considered, begins with studying the opinions in philosophy regarding architecture. Among a few philosophers who have spoken about architecture, whether it is a science or an art, Aristotle, with his pure and original thoughts, is truly in a high position. In the philosopher’s opinion, architecture is defined by its foundation. For him, the foundation of the building is considered the origin of its existence. Architecture is not defined by the existence of accidents and the issue of the phenomenon, but contrary to the opinions of experts of the modern period, known in return for its foundation and not through the recognition of complications and human states that appear through living architectural spaces. In this way, the architectural effect is not recognized merely within the scope of a transverse or phenomenal situation. The concern of an architect is not to build endless phenomenal things along with the house but to build something that is essential in the end and is even ultimately independent of the architect himself. In a word, the house is for the house itself and not for anything else. Research objective: The research objective is to investigate the Aristotelian view of architecture and to know the ontology of architectural construction.Conclusion: In this research, the Aristotelian view of architecture is introduced from the perspective and origin of the theory of “architecture in an absolute way,”  i.e., an architecture that is in accordance with the philosopher’s ruling and the ontological possibility of architectural construction and is discussed in defense of it. Some constructive considerations in the theory with the help of the Aristotelian plan have been discovered and explained.

The essence of cinema lies in its moving pictures, with the visual aspect holding particular significance. However, the human mind plays a distinct role in both the creation and perception of films. This is why some cinema theorists refer to it as ‘the art of the mind. ’ By evoking the viewer's feelings and emotions, a film engages with their mind. Avicenna's perspective highlights that the perception of partial meanings triggers emotional responses in the audience, a function attributed to the estimative faculty within the human soul. In Avicenna's philosophical framework, the soul comprises various faculties, each contributing to the perception of films or the creation of cinematic scenes according to their specific functions. One such influential faculty is the imagination. Nevertheless, Avicenna's psychological insights underscore the vital role of the Estimative Faculty in the perception of films. The estimative faculty, as one of the soul's most crucial faculties, plays a significant role in both the creation and comprehension of films. Its functions include perceiving partial meanings and cognitive errors. As a result, the estimative faculty often prevails over other mental faculties when an audience engages with a film. This article investigates the role of the Estimative Faculty in perceiving partial meanings, cognitive errors, imitation of inner emotions, and rendering partial judgments within the context of cinema. To illustrate the impact of this faculty, we offer a focused analysis of the horror genre and the school of expressionism in this regard.