"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replacement of the latter over the earlier one; however, in some cases and for some reasons, the former specialty has been replaced by the latter.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" 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.

This study aims to explore the influence of natural light in INTERIOR ARCHITECTURE on mental health, highlighting architectural strategies that optimize daylight exposure to enhance psychological well-being. A scientific narrative review method was employed, analyzing scholarly articles published between 2015 and 2025 from databases such as Scopus, Web of Science, and ScienceDirect. The selection criteria focused on studies related to natural light in architectural design and its psychological effects, using thematic analysis to synthesize key findings on the relationship between daylight exposure and mental health. The review reveals that natural light significantly enhances mood, reduces stress, and improves cognitive performance by regulating circadian rhythms and promoting visual comfort. Architectural strategies such as large windows, skylights, atriums, and reflective surfaces are effective in maximizing daylight exposure. The findings highlight that natural light contributes to mental well-being in various settings, including workplaces, educational institutions, healthcare facilities, and residential spaces, underscoring its importance in human-centric architectural design. Integrating natural light into architectural design is essential for creating environments that support mental health. Thoughtful spatial design that prioritizes daylight exposure enhances well-being, cognitive function, and emotional resilience, making it a critical consideration in contemporary ARCHITECTURE.

In the analogy between design and language, two main categories are often distinguishable, that is, elements and principles. Elements can be considered as words in the design language and accordingly the principles would be the grammar or rules for employing these elements. The subsets of principles and elements in different fields of design are oftentimes inconsistent with each other and may vary according to the characteristics of that particular field. The roots of the formation and definition of many notions about the principles and elements of design can be found in applied arts or visual arts other than INTERIOR ARCHITECTURE, and hence they do not have a comprehensive and accurate definition tailored to the requirements of INTERIOR design. The purpose of this research was to discover and examine the design elements involved in INTERIOR design and the ways of achieving a precise and comprehensive definition of them by recognizing the design elements in INTERIOR ARCHITECTURE. As such, this study sought to define and refine the design elements in INTERIOR ARCHITECTURE and hence employed a methodical process to find a list of design elements in INTERIOR ARCHITECTURE, providing acceptable and agreed-upon definitions of design elements in INTERIOR ARCHITECTURE in the aftermath. Knowing the design elements and their examples in INTERIOR ARCHITECTURE are heavily involved in reading and describing an INTERIOR space. This qualitative-research research has accordingly sought to collect information from library sources and archives to offer initial definitions on design elements to be reviewed by experts in the field of INTERIOR ARCHITECTURE. Their views were then applied to the initial definitions in the form of the two-stage Delphi method to attain agreed-upon definitions for the Delphi panel. As a result of this research, various items were added to the previous body of design elements in INTERIOR ARCHITECTURE, and hence the list was revised with more precise definitions of design elements in the field of INTERIOR ARCHITECTURE, including point, line, surface, shape, form, mass, texture, role, color, light, space, time, smell and sound were obtained.

Wabi-sabi is rooted in the Japanese lifestyle, related to a dominant attitude that focuses on the perception of nature or a more general expression: ‘mother nature.’ This attitude is based on the beauty of the events, objects, and subjects,disregarding their defects or the amount of imperfection that may be seen in them. As perfectionism dominates modern life, many face economic and psychological pressure to acquire luxury goods; adopting a special lifestyle can help alleviate this stress. The Revival of traditional aesthetics and nature-based approachesleads to more peace and relaxation in life. This paper aims to explore the Wabi-sabi style in ARCHITECTURE and INTERIOR design, along with related decorating styles. Naturalism, as the basic approach for Iranian designers and architects for building places such as Dovecotes or windcatchers, is also mentioned in this paper as a primary step regarding nature as the basis for human needs. This research explores contemporary and postmodern art approaches, including minimalism, that connect with public life. This trend arises from the rapid advancements of the modern era, highlighting the use of natural materials in art creation. Revision of such nature-based approaches leads to the connection of people to their traditions and the way of life belonging to their ancestors in the line of closeness to nature and natural materials. This style appeared first in ARCHITECTURE and INTERIOR decoration and is recognized as a kind of style with inner or hidden concepts. The most common meaning related to this style refers to the concept of acceptance of everything disregarding their faults or defects. In this style, we can see beauty in everything, and we learn to find innate beauty in everything surrounding us instead of seeking perfectionism or excellence; it means that we see them as they are not as they should be, in other words, the beauty of objects is seen in theirnatural and original form and this is exactly the concept referring to naturalism in this article. Comfort and a sense of home are key outcomes of this style in our lives, guidingus toward simplicity. This arises not from mere simplicity but from a focus on nature’s principles, which brings unique characteristics like roughness or asymmetry while retaining an element of finesse and a quasi-romantic quality. Themain feature of this style is the use of organic ARCHITECTURE, utilizing tools and materials like unaltered wood, to create a natural aesthetic. One of the first forms of this approach in ARCHITECTURE is the style called Brutalism, which is focused on using raw concrete in the visible part of the buildings. According to this attitude, the world will be a better place to live and we can use objects fluently and without discomfort. This approach highlights the renewed focus on naturalism in both the INTERIOR and exterior of our homes. This approach results in more comfortable norms and lifestyles and fosters undesirable interactions with nature. Wabi-sabi, a minimalistic and nature-oriented lifestyle, reflects the deep connection to nature that our ancestors embraced in ancient times.

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.

Non-visual lighting is a subject that has its roots in medical studies, and in recent years the importance of benefiting from it in the international field of ARCHITECTURE is prominent and growing. But the preliminary studies show little knowledge of this subject in the country's ARCHITECTURE studies. This research purpose is to explain the factors of non-visual lighting and the applications of some of them in ARCHITECTURE. This research first identified the effective design factors on non-visual lighting with a library study and a content review on the subject's background and the existing theoretical foundations, and then among these factors, investigated the effect of the color of the INTERIOR surfaces in the classroom model with simulation by ALFA software (a Rhino plugin for non-visual lighting analysis). Also, in this research, the view direction and the distance from the window were evaluated in a field experiment in a classroom by measuring with a spectrometer. In the end, the effect of these factors was measured by some non-visual illuminance indices such as melanopic equivalent illuminance (EML), melanopic equivalent daylight (D65) illuminance (M-EDI), and circadian stimulus (CS). A content review of the theoretical foundations shows that the parameters of the spectrum, intensity, timing, duration, direction, and the history of light for being effective in non-visual lighting are very different from those of known visual lighting. Among these factors, the investigation of the color of the surfaces, the direction of view, and the observer's distance from the window shows that the yellow and green colors, despite producing the necessary visual illuminance for 100% of the studied points in the space, are ineffective in generating sufficient some non-visual illuminance indicators for the entire space (provide standard EML for 90% and 81% of the space by green and yellow colors). The blue color also provides necessary visual illuminance and EML for approximately 72% and 96% of the studied points in the space, respectively, which has the lowest performance in creating sufficient visual illuminance. But, in providing EML in the selected studied points compared to green and yellow colors has better performance. White color is the most appropriate choice by providing 100% visual and non-visual lighting. Also, there is a significant difference in the amount of vertical non-visual illuminance received by the observer in the view direction towards the window compared to the view direction towards the board. The direction of the view facing the window and close to the window receive more non-visual effects of light. In the case of using south windows, it is necessary to take into account glare considerations.

The integration of interdisciplinary scientific approaches into INTERIOR ARCHITECTURE plays a crucial role in its evolution. One of the most significant contributions to this field is sensory design, which draws from perceptual psychology to introduce new perspectives. Sensory design enhances user experiences by engaging multiple senses, fostering emotional connections, and creating more immersive environments. This study examines the influence of sensory design elements on retail INTERIORs, with a specific emphasis on user engagement and experience. While previous research has examined sensory design, most studies have primarily addressed its short-term effects, overlooking its sustainable integration beyond visual aesthetics. To address this gap, the present study proposes a model that assesses the long-term impact of sensory design in retail spaces. This model integrates various sensory components to enhance aesthetics, emotional engagement, and perceptual interactions over time.A holistic and multisensory approach to retail INTERIOR design is essential in meeting users’ psychological, emotional, and experiential needs. Retail spaces, by their very nature, engage multiple senses simultaneously, making it ineffective to evaluate them based on a single sensory dimension. Instead, a well-balanced sensory integration strategy is necessary to maintain engagement without overwhelming users. Multisensory neurons in the brain integrate distinct sensory inputs to create a cohesive experience, emphasizing the importance of combining sensory elements in architectural design. Integrating visual, auditory, olfactory, and tactile components not only enhances visual appeal but also strengthens emotional interaction, ultimately leading to a more meaningful and engaging user experience.This study employs a mixed-methods approach grounded in sensory design theory. Initially, a comprehensive literature review was conducted to identify key sensory design factors in retail spaces. In the qualitative phase, open and axial coding were used to establish relationships among extracted categories. To gain deeper insights, semi-structured interviews were conducted with 24 experts in INTERIOR ARCHITECTURE and retail design. The data from these interviews were analyzed using MAXQDA software to identify patterns and themes related to sensory design. Based on these qualitative findings, a structured questionnaire was developed for the quantitative phase of the study. A pilot survey with 30 users was conducted to determine an appropriate sample size using Cochran’s formula, which ultimately resulted in a sample of 61 participants. Finally, a total of 95 users completed the questionnaire, and statistical analyses were performed using SPSS 26 to interpret the data.The findings of this study reveal significant challenges in creating retail environments that are both engaging and aesthetically appealing. Many retail spaces currently lack emotional connection, optimized sensory engagement, stress reduction mechanisms, inclusivity, and effective user interactions. Addressing these barriers requires a strategic application of sensory design principles. Key elements such as lighting, color, texture, sound, and scent must be thoughtfully integrated to maximize sensory stimulation. By doing so, designers can strengthen emotional connections, enhance user experiences, and reduce spatial monotony. Moreover, effective sensory design fosters user interaction, optimizes functionality, and promotes comprehensive engagement.The study identifies several critical factors that contribute to effective sensory design in retail INTERIORs. These include visual aesthetics, meaning and identity, lighting and acoustics, functionality and ergonomics, comprehensive sensory perception, coherence, visual organization, and brand-related sensory associations. Users value visual elements and a strong sense of meaning and identity, recognizing their significant impact on a space’s sensory quality. Therefore, retail design should incorporate semantic and identity-related elements to enhance the sensory experience. By embedding meaning and identity into design elements, designers can create more engaging environments that resonate with users on an emotional and psychological level.Furthermore, sensory design plays a vital role in enhancing brand identity and consumer loyalty. Retail spaces that successfully integrate sensory elements aligned with a brand’s identity can create lasting impressions on customers. For instance, consistent use of specific colors, scents, and textures associated with a brand can reinforce brand recognition and evoke positive emotional responses. This strategic application of sensory design strengthens brand engagement and fosters customer retention.The implications of this study extend beyond retail INTERIORs to broader architectural applications. Sensory design principles can be applied to various built environments, including hospitality, healthcare, and workplace settings, to enhance user well-being and experience. In healthcare settings, for example, sensory design can contribute to stress reduction and patient comfort by incorporating calming colors, natural materials, and soothing sounds. Similarly, in workplace environments, thoughtful sensory integration can improve employee productivity and satisfaction.Ultimately, this study advances our understanding of the influence of sensory design on retail ARCHITECTURE and user engagement. By emphasizing the importance of a holistic, multisensory approach, it highlights the need for designers to move beyond traditional aesthetics and consider the broader implications of sensory experiences. Future research can further explore how technological advancements, such as virtual and augmented reality, can enhance sensory design in retail and other architectural domains. As the field of INTERIOR ARCHITECTURE continues to evolve, the integration of sensory design will remain a crucial factor in shaping spaces that are not only visually appealing but also emotionally and experientially enriching.

People use wayfinding strategies every day. However, they are not aware of the importance of infrastructure helping them to arrive. wayfinding process involves a series of decisions made by those who are moving in the environment. These decisions are guided by ARCHITECTURE criteria and the elements of space design as well as the signs. All of these factors lead to the conclusion that it is important for people to successfully navigate their way in public buildings and other places. This is because it increases productivity, ease of access, and personal health on the one hand and decreases failure in navigate selection, stress, worry, delay in arrival, and the time spent on the way on the other hand. For navigating in architectural spaces, people use strategies to guide them in the space and help them get to their destinations in the building. The information highlights the importance of this research study: 1. Designing INTERIOR spaces to facilitate wayfinding in ARCHITECTURE is a very complex responsibility the basic processes of which are not fully clear yet. 2. Today, due to the lack of a way to design INTERIOR spaces which facilitates wayfinding, ARCHITECTURE is greatly dependent on architects. As a result, what is being built today is strongly influenced by fashion and imposed taste. 3. The majority of architects do not care about wayfinding, because they believe it prevents elegant design of space. They think wayfinding problems should be tackled by installing signs on important points. Achieving the ease of wayfinding in the INTERIOR space is a factor that increases readability. This seemingly simple activity provides a serious challenge to ARCHITECTURE design. It is because wayfinding for users of INTERIOR space is purposeful and directional behavior. It is a dynamic movement from place of origin to destination and includes the interaction between user and the environment. It is not directly perceived by users and in some cases leads to failure, frustration, or being lost. The interaction between the operator and the environment is studied as a wayfinding strategy with a conceptual structure and is used by people to find their purpose. Considering the fact that this science is new in Iran, the aim of the present paper is to achieve wayfinding strategies. The present study aims at selecting a case which is public and can be used by all users (and not just a special group of them) and can be permanently used by all people freely (not just at a specific period of time). On the other hand, readability depends on two main variables: 1) The complexity of spatial layout and 2) Prominence and importance of the signs). Complexity of spatial layout occurs in two dimensions and importance of signs occurs in three dimensions. As a result, the case (the National Library of Iran) was selected with an emphasis on these two principles in two stages; the first step: choosing a building among cultural buildings with different cultural functions (cultural center, museum, library, exhibition, and research center) through interviewing professional architects, and the second stage: the final selection of the case with the help of application of space syntax software (Depthmap). Considering the two stages, readability in the National Library of Iran is extremely low compared to other cases. Qualitative research method was used in this article based on knowledge of the environment and observation of behavior-environmental data of individuals. In the present study, in addition to field notes, video footage and audio recordings of individuals during navigating were used by a video camera as a tool to obtain the required information. Obtaining the data during wayfinding emphasizes on INTERIOR ARCHITECTURE. As a result, users use the strategies of reference framework, direct, systematic search, and identification of the destination and route, in chronological order in order to experience the highest number of cases of getting lost to the lowest number. Then, the main points of the INTERIOR space were obtained through the process of achieving wayfinding strategies to be used by users to facilitate wayfinding. In strategy of reference framework, users find their position as far as possible with the help of familiar parts of the building such as stairs, elevators, and the point of entry and entrance hall. In direct navigating strategy, straight lines are considered in internal space, which can be matched with the element of edge. In accordance with the definition of a systematic search strategy and design principles, spaces with the same application should be in one area. This increases spatial knowledge of user. With the help of these strategies and discovering what is important to people while navigating, we can obtain the principles of architectural design that increase readability and prevent the confusion of users in complex spaces.

INTERIOR ARCHITECTURE is a combination of knowledge, technique and art which, with its relevant ingredients such as form, colour, texture etc., is attempting to improve the spaces and provide proper efficiency and function and at the same time beauty. INTERIOR ARCHITECTURE's aim is improving the physical and mental function of spaces to make it comfortable to live in. This article tempt studied the colours used in INTERIOR space of 20 university libraries and the effect of these colours on the users based on psychology of colours by the use of analytical research method. The information is gathered using a teacher-completed checklist and on the basis of direct observation. Consequences show that if we consider the colours of equipments and colours of space two different issues, in the latter white is used more than any other colour in the libraries. After white, cream is the most frequent. These two are among neutral colours. According to psychologists, neutral colours are the best choice for INTERIOR space of libraries which need more concentration.