Contemplative Practices and Mindfulness in the Interior Design Studio Classroom

2018 ◽  
Vol 44 (1) ◽  
pp. 29-43 ◽  
Author(s):  
Cotter Christian
Keyword(s):  
Interior Design ◽  
Design Studio ◽  
Contemplative Practices ◽  
Studio Classroom

scholarly journals Analyzing the physical and virtual interior design studio classroom practices and culture

2018 ◽  
Author(s):  
◽  
Lori Kinley
Keyword(s):  
Real Time ◽  
Design Process ◽  
Interior Design ◽  
Classroom Practices ◽  
Course Design ◽  
Physical Space ◽  
The United States ◽  
Virtual Classroom ◽  
Design Studio ◽  
Studio Classroom

Studio courses are the heart of the undergraduate interior design programs in the United States. Traditionally, studio courses are offered in a physical classroom where the instructor and students meet together for several hours each week. With the emergence of technology, few institutions are offering studio courses in a virtual environment. Although instructors and students interact with one another within the virtual classroom, they do not meet together in the same physical space. The practices within each environment can determine its success. Therefore, the examination of the experience of both the interior design instructors and students, as well as studio classroom practices, is required to gain an understanding of the studio environment and culture within a physical learning classroom and a virtual learning classroom. Guided by grounded theory methodology, data collection was triangulated with 19 personal interviews of instructors and students familiar with both environments, classroom observations, and documents that pertained to the classroom. Virtual environments have the potential to be a productive learning space with the current technologies available, however, it was determined that the examined virtual interior design studio environment did not equate to the rich experiences, practices, or culture of the physical environment. Established course design, studio practices, and the use of collaborative technology were not implemented in the virtual studio classroom to produce the teaching and experiential learning outcomes of real-time intensive studio culture. Specifically, the study found serious limitations in (1) Collaborative interaction among faculty, students, project clients, and experts, (2) Creativity associated with the fluid and open-ended nature of stimulation, trials and exploration in the design process, (3) Personal and individualized interaction in building engaged relationships and networks, (4) Teaching and learning expectations for iterative on-going reflection and continuing improvements in projects evolving in time, and (5) Investment in building studio culture with real-time presence and interaction among a tightly formed group of 16 or less colleagues to address dynamic complexities in the problem-solving design process.

scholarly journals Envisioning the atmospheric effect through (im)materiality

2019 ◽  
Vol 64 ◽  
pp. 02007
Author(s):  
Nilay Ünsal Gülmez ◽  
Dürnev Atılgan Yagan ◽  
Murat Şahin ◽  
Efsun Ekenyazıcı Güney ◽  
Hande Tulum
Keyword(s):  
Interior Design ◽  
Analytical Method ◽  
Design Studio ◽  
First Year ◽  
Second Phase ◽  
Design Practice ◽  
Atmospheric Effect ◽  
Two Phases ◽  
Light Color ◽  
Design Experiments

In an attempt to bridge the gap between architectural/interior design practice and education, ‘atmosphere’ as a prolific contemporary architectural debate in practice and theory is covered by the experiment of ‘Staging Poe’ carried out as a first year Design Studio through the study of Edgar Allen Poe’s selected poems. Poe’s 1846 text of ‘The Philosophy of Composition’, unfolding his analytical method of writing and emphasis on “effect” in poetry, provides a ground for experimenting with facets of materiality and structuring the studio. Aiming to cultivate intuitive design experiments of students into informed processes in hybridizing conceptual/textual and material/sensual aspects, studio is structured in two phases. In the first phase, “materialization”, idiosyncratic interpretations of students from words to materials with a focus on tectonic experiments and haptic experiences are sought in between materializing and dematerializing processes. In the second phase, the “atmospheric”, emphasis on dematerialization of the perception of materials through tools, such as light, color and sound is exercised to transform the object into a performance stage. Outcomes of the studio on aspects pertaining to material and materialities in creation of the immaterial that is the atmosphere is followed and evaluated through responses of students’ weekly reports.

scholarly journals The Impact of Basic Design Studio Courses on Interior Design: KTU Model

2015 ◽  
Vol 197 ◽  
pp. 1889-1896 ◽  
Author(s):  
Ayca A. Ustaomeroglu ◽  
Erkan Aydintan ◽  
Muteber Erbay ◽  
Pınar Kucuk ◽  
Zeynep Sadiklar
Keyword(s):  
Interior Design ◽  
Design Studio ◽  
Basic Design ◽  
The Impact
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