Atmosphere in interior design: perception, expectation, and the crafting of experience

An effective commercial building interiors textbook can be a valuable asset for businesses in building a strong and distinctive brand image. This textbook provides a complete guide to the interior design of commercial buildings with a focus on various building typologies, such as offices, healthcare facilities, lodging, culture and entertainment, shops, education, worship, and transportation. This research aims to develop a comprehensive framework for integrating research in the process of developing a commercial interior textbook as a business branding tool. Through an in-depth analysis of the characteristics of each typology, the textbook presents specific and relevant design principles. In addition, it also addresses important aspects such as business needs analysis, design concept development, and design presentation. Through literature review, content analysis, and interviews with experts, this research identifies five stages of integration: user needs identification, data collection, data analysis, design concept development, and evaluation. The results show that research integration can improve the relevance of the textbook to market and user needs, strengthen visual appeal, and provide more practical guidance for students and businesses. The framework developed in this study has the potential to develop interior design education by equipping students with relevant skills and preparing them to face the challenges of an increasingly complex world of work. Of the 100 respondents, 85% of students considered the content of this textbook to be quite complex and very detailed in discussing various types of commercial interiors. Likewise, examples of research results are included in the description as explanatory case studies. This Commercial Building Interiors textbook is expected to be a reference for students, interior designers, and academics in creating effective textbooks for business branding.

When asked to recall memories from their personal lives in response to word cues, adults older than 40 years report a significantly greater amount of memories from the time when they were 15–30 years old. This phenomenon is called the reminiscence bump. Cultural life story theory is a cultural explanation of the reminiscence bump. According to this account, the reminiscence bump is heavily influenced by the cultural life script – that is, shared expectations about the order and timing of life events in an ordinary life course. Life scripts locate a high proportion of major transitional life events in the second and third decades of life. The main purpose of this article was to review the empirical evidence and validity for the cultural life script theory. First, I describe the reminiscence bump and briefly mention the theories that attempt to explain why it occurs. Second, I describe the cultural life script theory and how the theory is related to autobiographical memories via life story events. Third, I describe the methodology that has been used to test the cultural life script theory. Finally, I provide a reanalysis of seven studies, based on the cultural life script theory conducted in four countries: Denmark, the USA, Turkey, and the Netherlands. As a part of this reanalysis, I examine the degree to which cultural life scripts guide recall of autobiographical memories by comparing the temporal distribution of life events obtained from the cultural life script (the cultural life script bump) and personal life story events (the reminiscence bump). Results of this reanalysis show that all life scripts across cultures have a lifespan distribution resembling the reminiscence bump. Furthermore, the distribution of the events of the life script generated by a group of old Danes in one of the studies resembles the distribution of their own life story events, suggesting that they used the information contained in the life script to retrieve personal memories.

Objective - The purpose of this research is to discover the ways to implement aspects of interior branding in the interior of commercial and retail spaces. It seeks to articulate how space as an interior branding medium can convey the message of retail owners to visitors through retail interior design. Methodology/Technique - This study uses the descriptive qualitative method with the Tiara Handycraft Store as a case study. Data collection was achieved by conducting interviews with retail managers and visitors, and field observations. The data were analyzed descriptively to elaborate on how to apply every aspect of interior branding in the interior design of the Tiara Handicraft Store. Data analysis in this study was performed based on Kim Kuthteubl's aspects of interior branding, namely: clear vision, unique story, and energy. Findings - The results of this study indicate that the interior design of the Tiara Handicraft Store has implemented the interior branding aspects of clear vision, unique story, and energy. The combination of these three aspects in the interior design of this store has supported the construction of the identity or brand of the store through the media of its interior space. This application can be seen in the selection of shapes, colors, materials for interior elements, organization of space, and arrangement of furniture and displays. An ambiance of cheerfulness, fun, and comfort has been formed with the play of bright color compositions, patterns, and materials of the interior spatial elements. In this design, space as an interior branding medium conveyed stories, messages from shop owners to visitors through the ambiance, logos, signage, and other interior elements such as the decorative Tiara Handicraft's wall of fame. Through this wall, visitors were entertained with the idea that every item created has its own story, that there is a creative process behind every artwork, and that there are job opportunities for people with disabilities, encouraging a call for social awareness. It is this story or message that uniquely distinguishes Tiara Handicraft Store from other stores in general. Novelty - This study provides insight and is expected to bring awareness to interior designers about the importance of implementing holistic interior branding in retail interior design to increase the value of their designs. Type of Paper - Review Keywords: Commercial interiors; Interior Branding; Retail space; Commercial Space, Clear Vision, Unique Story, Energy JEL Classification: D02, M31, M39.

Foundations of Interior Design, 4th Edition, introduces the fascinating world of interior design practice. The authors provide an overview of the interior design profession, introducing readers to the elements and principles of design, key historical movements, the role of color and lighting in interiors, and the increasing emphasis on technology, sustainable design, social justice, and health and safety in contemporary interior design practice. This revised edition examines an array of human and environmental considerations in designing residential interiors, commercial offices and workspaces, and social and community-oriented projects reflecting the diverse areas in which interior design is practiced. The new edition places greater emphasis on commercial interiors, expands on space planning standards, includes case studies of recent projects, and insightful advice from practicing interior designers. STUDIO Features Include: -Study smarter with self-quizzes featuring scored results and personalized study tips -Review concepts with flashcards of terms and definitions Instructor Resources Include: -Instructor’s Guide provides suggestions for planning the course and using the text in the classroom, supplemental assignments, and lecture notes -PowerPoint presentations include images from the book and provides a framework for lecture and discussion

In The Production of Space (1991), Henri Lefebvre acknowledges the impact of production, consumption, and multiplicity of authorship in the built environment. He asserts that cities, buildings, and interiors are hybrid productions mobilized not only by designers, but also through cultural traditions, social practices, and autonomous interventions. By reframing the design of the built environment with the inverse—the quotidian impact of people reshaping space—Lefebvre celebrates the commonplace and unschooled actions that cities, buildings, and interiors receive apart from the top–down hand of designers. He fixes his gaze on the lives of buildings and interiors well beyond the moment of their completion. Working in a manner similar to geographers, sociologists, anthropologists, and historic preservationists, how can interior designers, architects, and planners cultivate a design culture that embraces and advocates for diverse modes of spatial occupancy? How might interior design practices promote, rather than subvert, these influences to recast spatial obsolescence toward higher performance futures? How might interior design engage a more organic mode of practice? For immigrants, refugees, and underrepresented persons, establishing a rooted narrative often begins within building interiors. Such interventions are primarily introduced as spatial, temporal, and adaptive gestures that reveal enduring values, perceptions, practices, and methods of production. This paper posits that obsolete buildings of American suburbia offer clues to an alternative future. It examines how incrementally adapted shopping malls allow immigrant and underrepresented communities to seek socioeconomic freedom via cultural practices and mercantilism. These adapted commercial interior environments demonstrate how historically marginalized communities have found safe spaces to forge identities. Two sites—one in Houston and the other in Cleveland—speculate on the transcontinental extent of retail obsolescence and shopping mall adaptation. Case studies are used to demonstrate how commercial interiors often migrate toward futures that markedly contrast with their original design intentions.

Indoor air quality (IAQ) has become the key factor in determining human health, comfort, and productivity, especially in the context of increasingly airtight, energy-efficient buildings. IAQ has been dealt with traditionally through mechanical systems and environmental engineering, but interior design plays a crucial but under researched role in determining indoor environmental conditions. This review paper integrates interdisciplinary research about IAQ with consideration for interior designers' contributions and roles. It looks at how material choice in construction, room layout, furniture, ventilation systems, biophilic design, and maintenance are all tied to pollutant concentrations and general air quality. The paper also identifies health implications of typical indoor pollutants like volatile organic compounds (VOCs), formaldehyde, and particulate matter. Based on international best practices and new technologies, the review suggests design-focused strategies to improve IAQ in residential, commercial, and institutional interiors. The study highlights a gap in previous research regarding the factors, particularly concerning IAQ. In addition to synthesizing existing literature, the paper emphasizes the importance of interdisciplinary collaboration between architects, engineers, and interior designers to achieve optimal IAQ outcomes. The review also identifies research limitations and proposes future directions focusing on holistic IEQ management, smart control systems, and occupant feedback to foster comprehensive indoor environment standards and sustainable building practices. The results highlight the necessity of an integral design approach that prioritizes aesthetic considerations and occupant health, placing interior designers at the center of the development of healthier indoor environments. This approach not only enhances occupant well-being but also contributes to broader goals of energy efficiency and climate resilience.

In residential needs, the laundry room has an essential role, because washing and drying activities cannot be separated from household chores. The modern interior design concept of a laundry room aims to get a comfortable atmosphere for user needs. The interior atmosphere can be formed through the basic design elements consisting of lines, shapes, fields (color and texture), and light spaces. Interior room elements are formed by several two-dimensional fields, namely floors, walls, ceilings and door and window.
 In interior design, a project must be described broadly from the selection of floor, wall and ceiling materials, to cabinet furniture upholstery and other materials used to meet the functional, durability and aesthetic requirements of the room.
 These materials are often chosen based on aesthetic quality and price with many choices, and the durability of interior finishing is also a major consideration for interior designers. Floors, walls and ceilings must be durable, i.e. able to withstand wear, pressure, and damage, both structurally and in terms of quality, as well as wooden tables and joints, which must be able to withstand wear and tear tests and time.

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The aim of the article is to identify and systematise the methods of using art objects in interior design, to analyse their transformation (from traditional to modern methods) with a focus on various aspects of the relationship between the spatial environment and fine art objects. Results. The research has shown that the transformation of the methods of using art objects (from traditional to modern innovative ones) provides endless opportunities for new methods and technologies of interior design with the use of art objects, which creates a harmonious object-spatial environment taking into account modern design trends. The analysis of art objects and the object-spatial environment revealed their interconnection in the following aspects: functional purpose, location conditions, types of fine art, spatial perception, reflection of the interior theme, integration with technology, and compliance with the principles and goals of sustainable development. The scientific novelty lies in the study, systematisation and analysis of the transformation of methods (from traditional to modern) of using art objects in interior design. Conclusions. The use of art objects in the interior is a complex multifunctional process that reflects a modern approach to the use of art works in the object-spatial environment to achieve a high artistic level in interior design. It has been found that art objects in the interior perform various functions, have certain visual forms of embodiment and create a harmonious aesthetic and meaningful space for living and working. In view of the development of the scientific and technological revolution, we see the prospects for further research in the analysis, systematisation and identification of modern methods transformation, including the identification of new aspects of the relationship between art objects and the subject-spatial environment based on the transformation of methods of using art works.

&lt;p&gt;&lt;b&gt;This study explores the role of ‘empathy’ in commercial Interior Architecture design. Topics of phenomenology, sensory experience of space, and design representation are analysed to develop a design approach relative to brand identity and local vernacular. This includes key research preoccupations including reinterpretation and adoption of select precedents’ use of style, form, materiality, lighting and colour within an interior, in an attempt to ensure the final design outcome embodies a sense of ‘empathy’. &lt;/b&gt;&lt;/p&gt; &lt;p&gt;Each topic is researched through formal experimentation. This includes literature review, digital modelling and drawing. Design outputs are continuously analysed and recorded, framed carefully and clearly utilised. &lt;/p&gt; &lt;p&gt;The result presents a proposal for an interior fit-out for the clothing brand Zambesi, located at 107 Customhouse Quay, Wellington. The design revealed that an empathetic approach to designing a commercial interior ensures a stylistically informed atmosphere that successfully emotionally and physically connects with its inhabitants. &lt;/p&gt; &lt;p&gt;The result establishes that the most important variables within an empathetic approach are attention to the bodily and emotive response to the built environment, purposeful reference to local vernacular, and abstraction or reinterpretation of composition of architectural elements. This asserts the importance of design awareness and sensitivity, critical thinking, design communication and representation towards designing a meaningful space. &lt;/p&gt; &lt;p&gt;In conjunction with this, the outcome inverts our usual modes of spatial understanding and highlights the urgency for solutions to our current disposition of commercial interiors, as they lack any substantial attempt to create meaningful and connective spaces.&lt;/p&gt;

This study employs the Cultural Script Theory as its framework, focusing on the translation of ritual language associated with two major traditional festivals: the Spring Festival and the Mid-Autumn Festival. By analyzing the connotative features of cultural scripts and their operational mechanisms within festival rituals, this research reveals the limitations inherent in traditional translation models regarding the transmission of cultural symbols. Integrating specific case studies, the study proposes an optimized translation approach based on the reconstruction of cultural scripts. This approach encompasses several dimensions, including the deconstruction of semantic metalanguage, compensation for cultural context, and adjustments in narrative strategies, aiming to achieve effective cross-cultural communication of festival culture. The findings indicate that Cultural Script Theory provides a novel theoretical perspective for the translation of festival rituals. By dynamically balancing cultural authenticity with audience receptiveness, it can significantly enhance translation quality and the efficacy of cultural dissemination.

Purpose. The purpose of the article is to explore the concept of mono-composition as a means of artistic forming in interior design, to determine its aesthetic and functional capabilities, which can be used by a designer to identify and designate interior decoration. Methodology. The study uses the methods of visual and comparative analysis, iconographic and case study methods to determine the semantic context of art objects. Results. The results of the study show that in interior design, mono-compositional solutions contribute to the harmonisation of space, reduce visual tension, and enhance the emotional effect of the presence of an art object, especially when the latter combines utility, decorativeness, and conceptuality. It has been found that a monochrome mural, ceramic panel, stained-glass window, textile product in a public space can act as an interactive form of communication – visually invisible but conceptually expressive; identify and designate the typological and functional belonging of the space, in particular as an attractive, aesthetically and meaningfully decorative element of the decoration. Scientific novelty. The scientific novelty of the research lies in identifying the specifics of using monocomposition as a means of artistic form creation in interior art design. For the first time, the influence of monochrome solutions on the emotional perception of space in the context of the synthesis of decorative art and contemporary design practices has been analysed. An approach to interpreting monocomposition not only as an aesthetic category but also as a tool for creating expressive and symbolically charged art objects for public interiors is proposed. The patterns of interaction between monocompositional forms and the material and spatial environment are revealed, expanding the understanding of the potential of decorative textiles, murals and installations in interior design. The emphasis is on original designs as a unique opportunity to form a creative, individual design style. Practical relevance. The practical significance of the study lies in the possibility of applying theoretical provisions and conclusions in the activities of interior designers, decorative artists, architects, and art project curators. The proposed analytical approaches to monocomposition as a means of organising the visual environment can be used in the development of art objects for decorating modern public spaces. The results of the study can serve as a methodological basis in the educational process when teaching academic disciplines for the B2 Design speciality.

The field of modern construction architecture cannot be imagined without interior design. After all, the harmony of colors in the interior, using accessories in the interior, the attention given to every detail of the design is very important for the building or structure to be visible and comfortable in every way. This article analyzes the role of accessories in interior design, their impact on the spatial environment, and their aesthetic and functional value. The research is aimed at determining the psychological impact of accessories, their role in the formation of color and their place in modern design approaches. According to the results, it was highlighted that properly selected accessories strengthen the general concept of the interior and harmonize the space.

The search for style in object spatial design constitutes the major component of the conceptual project design and, therefore, the problem of establishing scientifically based principles of stylisation of historical style as the primary source in modern interior is relevant. The aim of the article was to conduct the analysis and determine the significance of preserving the architectonics that formed the stylistic features of primary source. In the process of stylisation of authentic analogues for the interior design and object environment, the algorithm of reproducing style or stylistics for its correct perception by recipients was developed. The historiographical and comparative analyses were applied to evaluate the modern stage of research on the topic, the conceptual and stylistic tendencies, and the argumentation. In particular, the special method of morphological analysis was used to identify and confirm the architectonic structure of primary sources of style and their impact on the integrity of modern stylistic experiments. In the process of research, it was discovered that colour, material, and texture were important, but not defining, when it comes to determining certain stylistic identification. To recognise an ornament or decoration that characterised stylistic affiliation, it was enough to reproduce its main linear drawing, preserve the means of formation, characteristic angles, and proportions. Additional details enrich visual image, but do not alter the result of identification. Similar situation can be observed, while identifying the style in the architectural environment. Unlike both decorative elements and works of art in their “pure” form, the architectural and spatial environment had multiple important functions, and aesthetics was not the main one among them. Therefore, the analysis of morphological structure and architectonics of primary source with the help of form generation allowed creating the functional and aesthetic environment in space. The philosophical and conceptual approach of reinterpreting primary source rather than only “analogues” of project design expanded the interpretation field for a modern project designer, who with the adequate help of modern technologies has the possibility to create an associative image of the author’s inspiration. The practical value of the research consisted in elaborating the methodological approaches to analysis and interpretation of architectonics of primary sources as the basis for stylisation in the modern interior design. The outlined conceptual principles of stylisation can be introduced into professional practice of interior designers, architects, and decorative artists, as well as into educational programmes for design and art disciplines

&#x0D; &#x0D; &#x0D; Title: Understanding Interior as a Connector&#x0D; Interior design is a discipline that is very close to the complexities and the needs of human life. However, the intepretation and practice of interior design are often limited to decoration and contents within the physical boundaries of architecture. This paper aims to provide another perspective regarding the concept of interior that is, as a significant connector between humans and their living environment along with architecture, so that the methods and practice of interior design as well as architecture may expand more than what has been observed today. The paper is a result of a qualitative research through literature review and exploration of case studies. Results conclude to several interior and architectural design techniques based on the perception of interior as a ?connector? that could be used, such as the blurring of physical boundaries, programmatic manipulation, innovation of material continuity and configuration of architectural elements into interior elements. Through the physical as well as conceptual manipulation of space, the intepretation of interior design would no longer be limited to the contents within the physical boundaries of architecture but rather a truly important connector along with architecture, between humans and their living environment.&#x0D; &#x0D; &#x0D;