Statement of the Problem: This study seeks to explain the patterns of furniture formation and evolution in Iran’s important palaces and mansions from the Pahlavi era to the present (1925–2025 AH solar), using a four-component analytical framework (functional, aesthetic, technological, and sociocultural).
Research Objectives: The present study was conducted with the following objectives: 1. To identify the key components that influence the selection and arrangement of furniture in the interior spaces of important palaces and mansions in Iran during the period 1925–2025 AH solar; 2. To analyze the degree of harmony among furniture, interior decorations, and exterior architecture in the studied samples; 3. To explain the role of socio-cultural and political factors (including foreign relations, modernization, and ideological transformations) in shaping furniture patterns during these periods; 4. To present an analytical model for classifying furniture patterns based on the four aforementioned components.
Research Method: This research is applied-developmental in purpose and historical-interpretive in nature, using a qualitative, inductive approach. Data were collected through the study of historical documents, archives, and field visits, and then, using qualitative content analysis, common patterns and components were identified. The study population includes 12 cases of important palaces and mansions in Iran (1925–2021 AH solar).
Conclusion: During the Pahlavi period, despite the diversity of exterior architectural styles, furniture generally harmonized well with interior décor, whereas its harmony with exterior architecture was rated as weak to moderate. The analyses indicate the profound cultural influence of France in shaping Iran's royal taste in the first half of the 14th century AH solar; however, in the late Pahlavi period, signs of a tendency toward the American modern style are also observable. The research's analytical model shows that during the Pahlavi period, the socio-cultural component (international relations) and the aesthetic component (compatibility with interior décor)