الإغناء فی تصامیم الفضاءات الداخلیة (مسجد آیا صوفیا أنموذجا)

The purpose of this research is to reveal the publishing practices in the field of interior architecture, which progress through different types of publication sources, and the conceptual trends of the prominent publishing platforms in the field of interior architecture and design, according to bibliometric data. Within the scope of the research, interior architecture and interior design source titles were listed in the Scopus database between 2000 and 2025, and data was collected between 25 August and 10 September 2025 (Scopus, 2025). Also, R Studio-Bibliometrix-Biblioshiny software was used for data analysis and visualization of scientific maps (Bibliometrix, 2025). Research Design: The study is descriptive and exploratory in nature and aims to reveal the current state of interior architecture and interior design literature and explore future trends. Bibliometric analysis and systematic literature review were adopted as the primary research strategies. Data Collection and Source Selection: Databases: Academic publications that form the basis of the study will be obtained from the following international and national indexes: Scopus database. Main Keywords: "Interior design," "Interior architecture," "Interior space," "Spatial design," and "Interior decoration." Language: English publications will be included. Time Period: 2020-2025 (the last quarter century of the academic history of the discipline). Publication Type: Articles published in refereed academic journals and conference proceedings. Data Downloading: Full texts of publications that meet the determined criteria will be downloaded with their citation information (authors, publication year, keywords, abstract, number of citations, etc.) and combined in a database. Data Analysis and Visualization: The collected raw data will be processed and interpreted using the following bibliometric analysis techniques. Software such as Bibliometrix (R Package) was used for the analyses. Performance Analyses: Production Analysis: Determining the number of publications by year and the most active authors, institutions, and countries.

[Summary of the book containing this chapter:] The Handbook of Interior Architecture and Design offers a compelling collection of original essays that seek to examine the shifting role of interior architecture and interior design, and their importance and meaning within the contemporary world. Interior architecture and interior design are disciplines that span a complexity of ideas, ranging from human behaviour and anthropology to history and the technology of the future. Approaches to designing the interior are in a constant state of flux, reflecting and adapting to the changing systems of history, culture and politics. It is this process that allows interior design to be used as evidence for identifying patterns of consumption, gender, identity and social issues. The Handbook of Interior Architecture and Design provides a pioneering overview of the ideas and arrangements within the two disciplines that make them such important platforms from which to study the way humans interact with the space around them. Covering a wide range of thought and research, the book enables the reader to investigate fully the changing face of interior architecture and interior design, while offering questions about their future trajectory.

The study of the multiple design patterns with their different elements, determinants, and forms is considered one of the most important basic factors that affected the formation of the features and identity of modern interior design. Such study aims at analyzing the relation of humans to interior design and exploring the effect of this relation on the design patterns of interior space in which the individual lives. The interior space is a product of an integrated mixture of patterns, elements, determinants and material and non-material influences that affected and were affected by humans. These influences ultimately led to the production of an experience rich with concepts and values ​​that contributed to raising the level of functional and aesthetic potential of the interior space. Thus, the interior space interacts with individuals to form an internal environment characterized by high physical and functional, capacity and unique and distinctive aesthetic appearance. This study attempts to present the concept of modern interior design and its multiple design patterns and to find the integrative relationship between style, function and aesthetics in interior design. It focuses on the modern style of interior design with the purpose of creating a satisfactory design from a functional and aesthetic point of view by relying on analysis, planning and choosing the appropriate design style according to the scientific and practical foundations and determinants that the interior designer resorts to when starting the design process, which contributes to bringing satisfaction and pleasure to the souls of individuals and satisfies their utilitarian and aesthetic needs at the same time. This study used the descriptive analytical approach in its theoretical framework to identify the patterns of modern interior design and their impact on the functional and aesthetic values ​​of the interior space. Then it moved to discussingt the features and principles of each design style and the importance of these patterns in supporting and enhancing the functional and aesthetic aspects of interior spaces with their different types and functions. The study was concluded: with emphasis on the role of multiple design patterns in supporting and enhancing the functional and aesthetic aspects of the interior space according to the foundations and standards defined by each style, and its impact on the interior space and the individual user. Based on these results, this research study called on interior designers to study modern interior design patterns comprehensively and deeply in order to reach a comfortable interior space with features and identity characterized by highly efficient functional values ​​and aesthetic dimensions of a special design character. Keywords: style, Functionality, Aesthetics, Modern interior design.

Interior designs are well known for their contemporary aesthetic beauty, pleasurable aspects, and emotional elements. It requires not only knowledge of civil engineering, but also psychological theory and artistic skill. A creative interior space takes into consideration the physical surroundings, personal emotions, and cultural context. It is an unsustainable if the interior designs without considering the emotional needs of users. However, the interior designers often neglect the emotional elements. They are more focused on physiological needs. In addition, the traditional Chinese style cultural artistic skill has become incapable of meeting the requirements of contemporary interior designs. All the processes, such as manufacturing, use of raw materials, and the functionality of furniture, are no more according to the emotional needs of users. There are concerns regarding how interior design can actually meet user s’ needs while enhancing cultural characteristics. This study explored emotional design in current interior spaces and highlighted current trends in interior design. Furthermore, the current work examined the influence of emotional design and cultural design in the New Chinese Decorative Style. A qualitative methodology was used to fulfill the study objectives and draw reliable conclusions. The data were collected from walking interviews conducted with the users of emotional designs in different showrooms. A useful technique thematic analysis for analyzing qualitative data. The findings, derived from 15 users, indicate that three levels of emotional design - visual aesthetic, functional use, and individual life - are evident in the experience of end-users within showrooms featuring the New Chinese Decorative Style. A cozy atmosphere, color patterns, minimalistic furniture, and visual harmony and unity in items were significantly linked to users’ emotions and pleasure in interior design. Thus, the findings indicated that integrating aesthetics and pleasure with emotions in interior design can significantly enhance customers’ experiences.

Interior Design in Thailand has been evolving, owing to domestic development and international interactions. The development of Thai interior design can be divided into six periods; (1) the early postwar (1945-1964), (2) the early development (1965-1975), (3) the Thai pioneer (1976-1986), (4) the globalization/Westernization (1987-1996), (5) the economic crisis (1997-2003), and (6) the Millennium (2004-present). In accordance to its socio-economic conditions, interior design in Thailand has been influenced by international interactions as well as domestic policies, as demonstrated by plenty interior designs and a fair number of professionals practicing interior design, as well as architectural styles and building types. Three components represented the interior design in each period are presented as space, function, finishing and furnishing. Interior space has been developed from separated hierarchical functions which required more area to open-and-flow style with combined function. Functions were ranging from simple (one function per space) to complex space (multiple, overlapping functions per space) and from public space for the purpose of sales to private residences for the aesthetics and comfortable lifestyles. Various finishing and furnishing were used ranging from imported luxurious brand-name design to local home-grown design, all of which are influenced by Western lifestyles, globalization, and other factors, including media and public visibility as well as social media. Interior design came to be more domesticated original and diverse owing to the digital platform and modern technologies. Hence, it is important to see how interior design in Thailand has corresponded with socio-economic conditions and international relations through professional development of interior designers.

With their various physical differences, pets have to live with their owners in interiors, which is designed according to human scale. On the other hand, human-specific anthropometric measurements, which are the basic parameters in space design, are not sufficient to provide ergonomics in indoor spaces, which are also living spaces for pets. The hypothesis of this study, in which current examples of interior and furniture designs suitable for the physical needs of pets, whose numbers are increasing day by day, are discussed with an inclusive approach in interior architecture; It has been determined as 'when the interiors where pets live are redesigned according to the characteristics of the animals, ergonomics is provided for 'all living things' in the common living areas. The subject of common living space in the literature; Although it has been investigated in interdisciplinary fields such as cognitive psychology, zoology, and architecture on topics such as biodiversity, sustainability, animal welfare, and animal behavior, the subject of 'space organization of shared living spaces shared with domestic animals' as a new approach in the field of interior architecture has not been sufficiently discussed. For this reason, the research is a pioneering and descriptive study in terms of drawing attention to current practices in terms of conceptual infrastructure, architectural design, space organization, application examples and experimental models, making a systematic review of existing studies on the subject, and identifying new trends in the field of interior architecture. The aim of the research is to expand the interior design, which is a multidimensional subject, to include spaces designed for living with pets, in particular the arrangement of common living spaces. Since subjects such as interior design, interior architecture, and design have a wide field of research, the scope of the study is limited to the specific space and furniture designs designed for pets in terms of ease of research. In the descriptive study, the survey model, one of the quantitative research methods, was preferred as a research method to review the existing status of the researches in the field of design within the existing sample applications. As a result of the study, it has been understood that the 'interior and furniture design for pets' approach is a design approach that is open to development, is an inclusive application in the interior and has a high potential to be preferred.

The scope of interior design research is broad and diverse due to its inherent multidisciplinary nature. Assessment of the body of knowledge is necessary from time-to-time to gain trend insights. Thus, the purpose of this study is to review theoretical frameworks in interior design articles published across six peer-reviewed journals between 2006 and 2016. The six journals identified are Journal of Interior Design; Interiors: Design, Architecture & Culture; Housing & Society; Journal of Family & Consumer Sciences; Journal of Architectural Planning & Research; and Environment & Behavior. Among the 355 articles, only 29 (8.7%) are developed from theoretical frameworks. The Journal of Interior Design (17.3%) has the highest percentage of theory-framed scholarship. The findings indicate that a very limited number of articles utilize theoretical framework. Interior design scholars are encouraged to pay more attention to theory, support evidence-based design, and provide better insights into social phenomenon.

Sustainable development has been increasingly embraced as a worldwide concept. Consequently, urban sustainability is gaining conscious attention in many cities. Along with urban sustainability, design principles in new urbanism were referred to by many architects and urban designers. But, little research was done which aligned with the interior spaces through the lens of new urbanism. This research aims to understand how developed countries established design criteria for neighbourhood settlements based on the new urbanism. Consequently, it provides insights for developing countries to adapt appropriate design criteria for new cities. Accordingly, the principles of new urbanism and how they were transformed into strategies were explored through the Leadership in Energy and Environmental Design for Neighborhood Development rating system. Even though new urbanism has basic principles that can be applied all over the world, there will still be some principles that need to be adjusted according to different cultural, ecological, and economic circumstances. Egypt has a rapidly growing population and this has led to an expanding sprawl in some areas. A case study was conducted to identify which new urbanism principles are successfully applied and which need to be adopted within a new Egyptian settlement. This study explains how urban design, landscape architecture, architecture, and interior design share common features and elements that shape cities’ identities. Furthermore, it highlights areas where new urbanism principles and interior design are mutually influenced. Eventually, it is expected that this exploration of a developed nation’s design criteria will provide valuable insight for an interior designer’s contribution to the successful urban sustainability models and guide future research.

With the big data of social development, the development of my country’s construction industry has gradually transitioned from a development model that simply pursues scale and speed to a new stage that focuses on urban development and people’s needs. The traditional way of expressing buildings in two-dimensional planes can no longer meet people’s needs for integrated interior design of buildings. In this regard, the purpose of this article is to conduct innovative research on architectural interior design models in the context of big data. This article first starts from reality, combs the representative domestic and international architectural interior design planning theories, and explores architectural interior design models suitable for domestic project construction. This paper proposes an integrated model of building interior design based on big data technology. This paper aims at the expression of the three-dimensional model of the building interior, combined with BIM technology, designing the architectural spatial information model from the perspective of concept and logic. For the designed building space information model, this paper starts from the traditional plane CAD data, and conducts big data research on the simplified algorithm of CAD data. Secondly, it builds the model of the special building components of the research object, and then realizes the interior design model Construct. Experimental results show that the architectural interior design model proposed in this paper can effectively manage and analyze interior design, and people’s satisfaction with design has increased by about 25%, meeting people’s needs, and providing an important reference for architectural interior design.KeywordsBig data technologyArchitectural interior design modeBIM technologyCAD data

The interrelation between science fiction film and future interior design is inevitable.Both are the art of space,one is embodied in virtual space,the other is embodied in real space.Science fiction movies express space through image language,while interior design embodies three-dimensional space through the basic elements of entity.This paper explains the concepts of sci-fi film and interior design,defines the similarities and differences of the two concepts,summarizes the development of interior design, combs the commonness of the two cross-connections through their characteristics,and discusses the application and influence of sci-fi film in interior space by the method of practical case study.

Intelligent spaces are rooms or areas that are embedded with sensors and actuators which enable the spaces to perceive and understand what is happening in them. Through an increasing number of computers and wireless communication technologies networked them, these spaces have the ability of receiving the parameters of physical world which users exist in their relevant context, analysing and processing the data with the interfaces between the physical and digital world, and react or change their mode and augment the human functionality, on time. Integration of computer and physical space results a space which have the computer's thinking ability. Due to the space having intelligence, sensors and the capability to communicate, definitions are not the same as in usual space. Pervasive computing is transforming interior spaces by allowing utilities, goods and information to appear dynamically where and when they are needed. Also, we are face with the space that can understand what is happening inside and outside it and which is not passive to the changing environmental situations. Intelligent interiors can become immersive sensory environments that combine the advantages of automation and modern technology with sensory feedback and materiality. The advances in hardware, system design, and software made enable to achieve this vision. In this world, physical objects and spaces are linked to the digital world and information about the physical world can be used to support human functionality and experience. In this paper, the vision of intelligent space will be explained and the innovations that helped to realize these spaces will be introduced. The social and psychological impacts of the future technologies while designing interior space will be discussed. The changing way we work and live and interfering boundaries of the space titles were asked by the way of a short questionnaire to the Interior Design Students who have the seminar about Intelligent and Interactive Spaces this semester, so their knowledge about these spaces and computer technologies are enough to comment the questions. This will give us the idea of future’s interior designers’ new role in these environments. These finding will give us a supporting knowledge about intelligent or thinking spaces and their impacts on the roles of interior designers. Keywords: Intelligent spaces, pervasive environments, interior design education, future vision.

In his Philosophy of Interior Design, Stanley Abercrombie writes that can live happily with art-some cannot live happily without itbut we cannot live in art or even in a 'white cube.' This is a strange assertion by someone writing a book on interior design theory. Interior design is presumably an art and since we live in interiors, we must also live in art. Of course, what Abercrombie means is that we cannot live in interiors entirely given over to an aesthetic vision and, consequently, divorced from all consideration of what it might really mean to inhabit them. Abercrombie's examples include Piet Mondrian's Salon de Madame B. and Kurt Schwitter's Merzbau. I think we could add, by implication, a number of what are typically thought of as extreme examples of modern architecture, notably Philip Johnson's notorious Glass House in New Canaan, Connecticut.2 The Glass House is a canonical example of high modernist architecture and interior design. The walls are made of plate glass, enclosing the structure while retaining a complete 360-degree view of the property outside. From the outside, one gets a free view into the interior as well. The interior itself is sparsely but carefully furnished in the characteristic high modernist mode. Johnson's Glass House captured a great deal of attention when first built. It is still widely hailed as a high modernist masterpiece and is regularly included in surveys of modern architecture. At the same time that Johnson's house is celebrated as great architecture, it is sneered at for being unlivable. Despite its art-historical significance, the Glass House is thought by most to be unlivable not necessarily because it is aesthetically displeasing, but because it subordinates all other goals to this aesthetic pleasure. If the interior of the Glass House is thought of as ugly by many, it is perhaps because the attractiveness of an interior depends not just on visual spectacle but also perceived livability. The Glass House lacks what we judge today as livability: comfort, casualness, and a certain degree of dowdy familiarity. The building serves more to make an aesthetic point or an art-historical splash, and these motivations turn out here to be separate from the more mundane pleasures of domestic life. At first glance, the Glass House seems to be very much a work of environmental art. Surrounded by glass walls, the occupant is immersed in, though not physically subject to, the shifting atmospheric conditions of the outdoors. Perhaps no other house allows the occupant a more intimate sense of its natural surroundings. But is this what is meant by an environmental aesthetic of domestic space? A basic precept of any introductory interior design course is that the role of interior design is to provide artistically satisfying and practically effective solutions to the organization of the environments in which we must do particular things, like cooking, entertaining, sleeping, bathing, and lounging. The art of domestic interior design would be to create an environment that facilitates domestic practice while at the same time making the environment worthy of aesthetic attention and admiration. On this view, the Glass House fails as full-fledged interior design (that is, as environmental art) because it never recedes into the background, never becomes an environment for the practices of everyday life.3 The glass walls render the occupant perpetually self-conscious of being watched; the sparseness of the furnishings and the extreme orderliness of the house, where even table-top bric-a-brac are discreetly marked with indications of their correct

In recent years, with the continuous development of urbanisation, the proportion of interior design in public buildings has been increasing year by year. At the same time, there is a tendency in many places for the interior spaces of public buildings to be upscale and retro. This indicates that people are paying more and more attention to the spiritual aspect of their lives, in addition to the materialistic pursuit of enjoyment. The current phenomenon of overdecoration in society can lead to excessive luxury and wastefulness. In these wasteful interiors, the beauty of the building itself is lost. In addition, this type of interior design is not only expensive but also poses certain safety risks to some extent. In the modern society, public buildings are essential places for public activities. To be specific, they are closely linked to public services and social management attributes. As a result, public buildings usually play a decisive role in facilitating communication and cooperation between various persons. Thus, the construction requirements of public buildings are currently increasing and the structural shapes of buildings are becoming more complex. In addition, the level of technology and the use of public buildings are becoming increasingly demanding. As a result, it is quite important to examine how modern and emerging technologies can be applied to public building design in order to improve its effectiveness. At the same time, with the continuous and rapid development of China’s economy and the promotion of the concept of environmental protection, the greening of public buildings has become an object of concern and research. There are many different types of existing public buildings in China, and in the design process, the energy consumption of the building throughout its life cycle and its impact on the surrounding environment are not fully considered, resulting in problems such as high energy consumption and poor indoor comfort in the actual use of the building. However, the demolition and reconstruction of buildings can lead to waste of resources and environmental pollution. Therefore, it is feasible and necessary to study the application of green building technologies in the design of public buildings. This study models the effectiveness of public building interior design based on BIM technology from the perspective of integrated design as well as parametric design. This model enables the interior design of public buildings to become energy efficient, emission reducing, and environmentally sustainable. After all, the integration of architecture and interior design can reduce unnecessary decorative waste. In addition, this model can also respond to the government’s efforts to develop an ecological civilisation, creating a new way of living that is resource efficient.

The interior designer is facing many challenges in the design process, to make the interior fit to the environmental and cultural conditions, and thanks to modern technology, which led to successive architectural transformations in response to the many developments in ICT, many new concepts have emerged in the field of interior design, that seek to meet human needs and future requirements. One of these concepts is interactive interior design, which necessitated the interior designer to reconsider the common design methods in order to integrate with the era of digital design. Whereas the interactive design has given shape, space and function a new meaning, it is possible to have an interaction between spaces and humans, taking into account the respect of the internal and external environment. The research reviews the impact of using interactive design on space handling in clothing stores. By employing an interactive design in the interior spaces, to meet the needs and requirements of users and make the most of the available spaces and achieve luxury. Whereas the use of interactive design in the determinants of the internal space of clothing stores work to solve the prevailing problems in the accumulation of spaces in the display and congestion of corridors customers and do not direct them the best direction to achieve the highest sales. Follow the Methodological, descriptive and analytical research of models of shop that sell clothes to identify the most important design problems that exist. The most important results were: 1. The use of interactive techniques as a guide and advertising inside the shops of clothing has facilitated the process of selecting clothes inspection and purchase without the need for spaces to change clothes. 2. The use of interactive technologies led to the organization of the sale and display of customers and the lack of congestion in the places of assembly.

Artistic trends develop along with the progress of social life, and their influence on interior design is particularly remarkable. Interior design also changes along with the variations of contemporary artistic trends. The various trends triggered by contemporary art offer thought-provoking inspirations to interior design and architecture. When facing external influences, China should take the essence and discard the dross, and combine it with its own local conditions. Only by fully absorbing the long-standing history and culture of our country can we innovatively design excellent interior designs that not only have Chinese characteristic culture but also conform to the spirit of The Times. This article starts from the relationship between the background of contemporary art trends and Chinese interior design, tells about the interior space of ancient Chinese buildings, explains the integrated development of contemporary art trends and interior design, and describes some interior design methods. Finally, point out the inspirations of contemporary art trends for Chinese interior design.