Interior Design Process for UM-D's Low Mass Vehicle

2004 ◽  
Author(s):  
Vivek Bhise ◽  
Roger Shulze ◽  
Huzefa Mamoola ◽  
Jeffrey Bonner
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Low Mass

Specialty Space: Breast Care Centers

2021 ◽  
pp. 193758672199056
Author(s):  
Diane Guevara
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Care Center ◽  
Geographical Location ◽  
Design Guidelines ◽  
Relevant Evidence ◽  
The World ◽  
Hospital Gowns ◽  
Breast Care ◽  
Color Scheme

As background, breast care centers around the world vary in interior design based on geographical location and the trends of the healthcare design process at the time of construction. However, at the forefront of healthcare interior design is the evidence-based design (EBD) process and the Universal Design (UD) guidelines. The Center for Health Design states that the EBD process differs from the linear design process, in that EBD uses relevant evidence to educate and guide the design decisions. The objective of this study was to support future EBD and UD use in the development of patient areas in breast care center interior design. The methods for this study incorporated an extensive review of the literature, examples of eight breast care centers around the world, observations, an interview, and a staff survey concerning the interior design of a local breast care center. The results revealed that using the EBD process and UD, to develop guidelines for patient areas in breast care centers’ interior design, directors could use guidelines to evaluate existing breast care centers or preconstruction for new breast care centers. This study concluded with design guidelines for patient areas in breast care center interior design. The recommended guidelines targeted the following features: robes (vs. hospital gowns), spa-like atmosphere, monochromatic color scheme, use of wood and stone, private check-in areas, wayfinding, room temperature comfort, seating comfort, seating style choices including bariatric, personal items storage, access to natural light, indirect artificial lighting, living plants, views of nature, flooring comfort, and wheelchair accessibility.

A Methodology for Interior Design

2021 ◽  
pp. 161-178
Author(s):  
Ervin Garip ◽  
Ceren Çelik
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Design Methodology ◽  
Design Practice ◽  
Direct Proportion ◽  
Overall Design ◽  
Living Space ◽  
Variable Environments

The notion of designed space often comes up with the tendency of perfection. This approach, which connects the design to perfection, is mostly reflected in the overall design, even in the representations. In this approach, the power of representation advances in direct proportion to its perfection and perfection is expected in the designed spaces. The situation created by this perfect representation and the reflection of perfection to the design also emerges in the “home” where daily encounters and routines are most intense. Rather than a flawless photogenic object, interiors are dynamic and variable environments containing daily encounters. The interior design practice can be handled from this context and actively influence the design methodology itself. The study shows that as the concept of “home” moves away from a photogenic object, the potential of designing a multi-layered and flexible living space in interior design studios increases. This situation provides alternative spatial articulations in the final product and representations as well as in the interior design process.

“Tectonics” as a Spatial Perception Tool in the Design Process

2021 ◽  
pp. 1-20
Author(s):  
Ervin Garip ◽  
Ceren Çelik
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Spatial Perception ◽  
Main Idea ◽  
Architectural Elements ◽  
Space Design ◽  
New Ideas ◽  
The Subject ◽  
New Perspective ◽  
Interior Design Students

Design process has its own structure which is affected by many aspects. Moreover, there are many tools that contribute in this multidimensional process. Within the framework of this chapter, the tectonics is suggested as a directive tool through the design process. Istanbul Technical University Interior Design students' second year studio, where tectonics was used as a spatial perception tool, was examined. The main title of the studio was festival space design, where festivals were discussed as a performance scene for urban interiors. The main idea of suggested method is to consider environmental aspects in different scales and project those findings to tectonics. The main purpose of this project is to create a new perspective to interior design studio approach. The subject of the project was shaped within the framework of testing that interior architecture is not independent from architectural elements contextually and phenomenologically and that environmental decisions and architectural tectonics can be used as a data to put forth the new ideas for interior design methodology.

Well-Being Concept and Interior Design Process

2021 ◽  
pp. 319-340
Author(s):  
Nilufer Saglar Onay
Keyword(s):  
Complex System ◽  
Design Process ◽  
Interior Design ◽  
Well Being ◽  
Design Criteria ◽  
Basic Design ◽  
Interior Space ◽  
Spatial Design ◽  
Important Concern ◽  
Specific Contribution

Well-being is an ephemeral condition in relation to the complex system of interconnected components changing from culture to culture and person to person together with time and space. Therefore, it is very important to investigate the intersections of architecture and humanities in order to understand how design can contribute to the way we build up well-being. The specific contribution of this chapter is the introduction of the well-being framework for interiors and its application to design process. The framework proposal, consisting of contextual, functional, psychological, social, ergonomic, aesthetic, and sensory requirements as basic design criteria, aims to support both theoretical and practical activities regarding well-being in all living environments. Since interior space is one of the most important determinants of our everyday experiences, its role in well-being as a conscious construct needs to be an important concern of spatial design.

scholarly journals Biomimicry element application in the interior design product development

2021 ◽  
Vol 5 (2) ◽  
pp. 59-70
Author(s):  
Elīna Grieze ◽  
Elīna Miķelsone
Keyword(s):  
Product Development ◽  
Design Process ◽  
Interior Design ◽  
Raw Materials ◽  
Main Question ◽  
Local Pollution ◽  
Sustainable Products ◽  
Environment Sustainability ◽  
Design Spiral

Introduction. Environmental issues have different social and economic causes. The demand on natural raw materials has led to the disappearance of different animal species, yet human waste is one of the most important elements of global and local pollution. According to the results of the survey, 56% of those surveyed in Latvia have recognised that they prefer to choose those brands that are in favour of a clean environment. Sustainability and environmentally friendly farming are becoming more and more wide spread and topical, so the authors want to explore whether biomimicry used in a product development, increases the opportunities for more sustainable products. Aim and tasks. The main aim of this research is to create a framework for using biomimicry to manufacture new interior design products. The interior design project is needed to improve the quality of life in a society. The intention for this research is to help to develop the quality of long-term solutions for the society's daily life in accordance with nature. An interior design, which is created close to natural processes using all possibly available materials and products on the basis of biomimicry methods. Results. This article explores the ways in which biomimicry techniques, based on the Design Spiral and Janine Benyus Biomimicry Design Lens Principles of Life, can be combined with the design process of an interior design, thereby to create a framework with the help of which a designer works and creates a sustainable interior design. The interior design is a complex process, it is more than just the location of objects in a room or just a decorative supplement that covers the structure of a building, it is a necessary dimension that actually transforms a simple architectural space into a habitable place with a desired order, stability, and individuality. Conclusions. The article proposes a basis for the application of biomimicry in the development of an interior design product. The main difference between an interior design and the methodology of biomimicry is that in an interior design process the main question needs to be biologized from “What do I want to create?” to ”What do I want to achieve with my design?”. Also, in an interior design process there are phases to follow to create a design, like there are phases to create in biomimicry based products or processes. The most important points in the creation of the framework are the milestones at which the process of designing interior design should begin to be biologized. Changing the order of the Design Spiral phases and adjusting it to the designing points of an interior design, a system can be created in which all stages of the Design Spiral are connected with the interior design process.Milestones show the progress of a project where each milestone has the actions or activities to be performed, respectively.

scholarly journals The SICO Color Naming Project

IDEA JOURNAL ◽  
1969 ◽  
pp. 59-69
Author(s):  
Tiiu Poldma ◽  
Hans Samuelson
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Multidisciplinary Team ◽  
Color Naming ◽  
Intellectual Freedom ◽  
Design Knowledge ◽  
Disciplinary Knowledge ◽  
Industry Collaboration ◽  
Market Driven ◽  
University Industry

How can interior design educators develop closer ties to industry? How do we develop mutually beneficial relationships, which respect the integrity of academic intellectual freedom and contribute to the development of disciplinary knowledge while providing useful services to industries competing in a market-driven economy? The SICO Color Naming Project was a successful university-industry collaboration that used design knowledge and methods as the basis for an innovative, result-driven process. It explains how an industry need led to the development of a new way to name colours, and how colour affectivity played a key role in the project, providing a catalyst for the naming process. During this process, a multidisciplinary team worked together to develop a novel framework for designing coherent, structured, and emotionally resonant links between colours and names. This paper describes the phenomenologically grounded strategy used to manage the design process and guide the team through the naming of 2400 colours in two languages.

Co-Designing Novel Interior Design Services that Utilise Augmented Reality

2014 ◽  
pp. 269-279
Author(s):  
Tiina Kymäläinen ◽  
Sanni Siltanen
Keyword(s):  
Augmented Reality ◽  
Design Process ◽  
Interior Design ◽  
Service System ◽  
3D Models ◽  
User Generated Content ◽  
Interactive System ◽  
Design Concepts ◽  
Complex Process ◽  
System Use

In this chapter, the authors describe a co-design process and the implementation requirements of an interactive interior design service system. To gain design information for the system, they study two focus groups composed of designers, bloggers, and serious amateurs in the field of interior design – the estimated critical users of the forthcoming service system. The framework for the co-design study is twofold. The design aim is to study users’ innovation capability in the early phase of a complex process by utilising co-sketching as a means of obtaining a user model of the interactive system. The technological aim is to create interior design concepts that exploit Augmented Reality (AR), 3D models, and user-generated content within the system framework. This chapter reports the design process and results of the co-design sessions; furthermore, it presents requirements for the system, use cases utilising AR technology, plus consideration and evaluation of the AR functionalities.

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