Creative Space: Synergy Between Interior Design and Textured Art Collections

IntroductionInfectious diseases can spread rapidly in the globalized world, and the complex intersection of individual, social, economic, and cultural factors make it difficult to identify vulnerabilities in the face of pandemics.MethodsTherefore, this study aimed to identify vulnerability factors to infection and worse outcomes associated with COVID-19. This is a scoping review study of six databases that selected publications between 2019 and 2023, focusing on individual, social, and programmatic dimensions of vulnerability. The results were recorded in a spreadsheet and analyzed, considering the interrelationships among these dimensions.ResultsA total of 45 articles were included in the review. Content analysis was conducted using the theoretical framework of health vulnerability, which divides vulnerability into individual, social, and programmatic dimensions. Race/ethnicity, homelessness, incarceration, socioeconomic level, food insecurity, and remote areas were classified as social dimensions. On the other hand, cancer, cardiovascular disease, HIV/AIDS, alcoholism, advanced age, obesity, mental disorders, diabetes, kidney disease, and pregnancy were classified as individual dimensions. None of the publications found explicitly mentioned programmatic vulnerabilities.DiscussionThe research found that social vulnerabilities reinforce individual vulnerabilities, creating a vicious cycle. In addition, programmatic vulnerabilities reinforce this relationship. This study emphasizes that public policies should address these different dimensions of vulnerability. It suggests that this information should be incorporated into health surveillance and future decision-making to face new pandemics.Systematic review registrationhttps://archive.org/details/osf-registrations-wgfmj-v1.

The “Interior Archetypes Research and Teaching Project”, initiated in 1997 at Cornell University, creates a typology of contemporary interior design practices that is derived from reiterative historical designs that span time and style and cross cultural boundaries. An argument for the significance of a typology of historic and contemporary interior design practices is based on ten years of experiments resulting from the project. Approximately one hundred archetypes have been developed by the principal investigator, graduate students, and associated educators. The article establishes the premises for this research model and defines the methodological, theoretical, and pedagogical implications of the study for both undergraduate and graduate learning experiences. The Interior Archetypes Project names contemporary design practices that have not been named, thereby providing designers with an interior–specific, history–specific, and contemporary design–specific vocabulary. The project also offers an innovative approach to further design criticism and design sustainability. The Interior Archetypes Project will disseminate a new knowledge base for the creative dimension of design—that is, the productions of its practitioners. The key method of delivery for the Interior Archetypes Project is its web site.

Despite recent intensity in discourse surrounding the definition and territory of interior design as a practice and a field of study in professional and academic forums around the world, little consideration has been given to the process and outcomes of contemporary interior design practice, and how analysis of it may (or may not) contribute to interior design’s persistent discussions of contested definition of identity and territory. This paper seeks to find a position within the current literature that allows justifiable discussion of contemporary interior design practice methodologies and projects. Using examples of awarded projects from Australia’s annual peer judged interior design awards program, analysis of contemporary interior design practice is positioned within the context of the main themes of this continuing debate.

Digital tools in creative ideation involve ever-changing technology that helps increase productivity, reduce mental load, improve communication, and increase novel and creative outcomes. Integrating these digital tools into the interior design creative process has been an important step for professional designers, but mastering one technology doesn’t mean they can perform a successful digital transformation in other situations. This study explored the attitudes and beliefs of professional interior designers about creativity and technology during their ideation process. Considering the potential factors that impact designers’ ideation process at work, such as professional experience, types and sizes of firms, sectors, etc., this research also compared the perception differences among the professionals. The study conducted an online survey of professional interior designers working in the United States. The measurements for the survey had three parts: 11 items of the Technology-confidence scale (adapted from the Short Scale of Creative Self), 23 items of the Runco Ideational Behavior Scale (RIBS), and 18 items about the perception of technology use at work on a 5-point scale. Demographic information of the survey participants (i.e., age, firm sizes, length of professional experience, certifications, type of organization, etc.) was also asked. The research collected and included 174 responses through a snowball sampling by distributing the online survey link to colleagues of the author and then expanding the number of participants to include partner firms and alumni of a major US university between August and September of 2023. All participants currently work in a professional setting, have worked for at least one year, are above 18, and have a minimum of a two-year degree. As a result, the majority of the participants completed Bachelor’s or graduate degrees from CIDA-accredited programs and worked in commercial design areas as non-managing designers or low to mid-level managers. The average work experience of the total 174 participants was 15.30 years (SD = 12.30), with 40.8% NCIDQ certified. The statistical analysis showed significant correlations between technology confidence and creative ideation (r=.234, p=.002) as well as creative ideation and the perception of technology uses (r=.211, p=.006). Among the wide range of firm sizes, the ‘less than ten employees’ group (n=40) had lower technology confidence and perception of technology uses but higher creative ideation than the other three groups (i.e., 10-99 employees, 100-999 employees, and more than 1000 employees). The group difference in the perception of technology use was statistically significant (F=4.638, p=.001). The professional designers with less than or equal to five years of experience (n=45) showed higher technology confidence and creative ideation than the other three groups (i.e., 6-15 years, 16-25 years, and 25+ years). The group difference was statistically significant in the technology confidence (F=3.161, p=.026) and perception of technology uses (F=3.754, p=.012) by their length of professional experiences. Although the difference was not significant, the designers with more than 25 years of experience (n=41) reported the highest score in the uses of creative ideation at work (M=3.74, SD=0.59). The study identified that attitudes about technology use differed among professional designers with their work situations, such as roles and responsibilities. Regarding the links between creative ideation behaviors with confidence and perception of technology, this research highlights the need for proper resources and training in interior design education and organizations to improve the creative performance of designers. The research also calls for further studies on the advantages and challenges interior designers may face while incorporating current and new digital tools to support more novel and creative performance. This study found significant correlations between creative ideation and attitudes toward digital technology among professional interior designers. Perception differences were also observed based on firm sizes and years of professional experience.

The essay intends to offer a contribution to the archival studies through two study cases that have different stories and diversified nature: the CSAC (Study Center and Research on Communication), and MoRE (Museum of Refused and Unrealised Art Projects – http://www.moremuseum.org/omeka/-.). These are two archives devoted to contemporary art and design practices. CSAC is mainly devoted to italian art and design of the XX century; MoRE is an archive of unrealised works of art from the second half of the XX century till today. CSAC is an archive of paper, while MoRE is a digital repository. Finally both the archives have a common objective: promoting the research on contemporary art practices through the collecting and cataloguing of works of art and items of the design process.

Através dessa contribuição, pretende-se enfrentar um âmbito bastante articulado e vasto como o dos arquivos, objetos de amplo debate, através de dois estudos de caso diferentes por história e natureza, o Centro Studi e Archivio della Comunicazione da Universidade de Parma – CSAC – e o MoRE, Museum of Refused and Unrealised Art Projects – http://www.moremuseum.org/omeka/. Dois arquivos dedicados à pesquisa artística e projetual contemporânea, no primeiro caso italiana, a partir das primeiras décadas de 1900, o segundo internacional e italiana, da segunda metade de 1900 e contemporânea. Os dois arquivos estão relacionados por um objetivo comum: a necessidade de conjugar a pesquisa sobre a contemporaneidade através da coleta e arquivamento de documentos do fazer artístico.Palavras-chave: Arquivos Digitais. Arquivos de Arte Visual. Práticas de Arte Contemporânea. Arte Italiana. Arte não realizada. Projetos.Link: http://www.revistas.usp.br/incid/article/view/121368/118568

‘The artwork is no longer the integral part of the exhibition; to curate an exhibition is to curate an experience.’ Bridging the gap between curatorial practices and spatial display methods, this book considers the impact of exhibition design not only on the material structure of the exhibition but also on its narrative potential. Exhibition Matters—an international collection of writings from academics and practitioners—explores this relationship between materiality and narrative, considering the contradictions inherent in exhibition design as strengths rather than limitations of a hybrid discipline. Exploring various devices and approaches to spatial dramaturgy(including exhibiting nature and the more-than-human, the multi-disciplinarity of the design process, and pioneering decolonial narratives) alongside innovative ways of studying them, each chapter shows how to move beyond traditional boundaries of exhibition design and elevate the discipline to an art form in itself. With case studies from Brazil to Italy, Turkey to the USA, this volume provides real-life examples and theoretical reflections on art, architecture and design, thus providing an interdisciplinary and accessible work – ideal for exhibition designers and curators, interior architects, and all those looking to construct spatial narratives beyond the sum of their parts. This volume highlights significant past and present issues related to the exhibition-making system, explored from historiographical and critical analytical perspectives. It encompasses curating contemporary art, architectural design, and exhibition practices pertaining to cultural heritage. Above all, the book seeks to account for the current exhibition landscape, which emphasises the transversality of means and content as the focal point of contemporary curatorial practices. The range of contributions emphasises the contradictions inherent in the ontology of exhibition design, which, rather than acting as limitations, serve as strengths of a multifaceted and hybrid discipline. Neither a simple strategy of visual representation nor merely the result of an architectural gesture, exhibition design is analysed here as a hybrid creative and exhibition formula capable of generating experience and knowledge. Key concepts such as visual narration, spatial dramaturgy, and post-media approaches have animated the research of Exhibition Matters, providing new insights to reflect on the complex interdisciplinary relationship that characterises the display, which functions, sometimes simultaneously, as a device for spatial specialisation, a form of art in itself, and an exhibition logic that is now almost fully integrated into contemporary artistic endeavours.

O estudo teve por objetivo analisar as vulnerabilidades em saúde em relação ao estilo de vida e às práticas sexuais e preventivas de pessoas idosas residentes em cidades rurais do Estado da Paraíba, Brasil. Participaram 202 pessoas idosas com idades variando de 60 a 92 anos (M=68,57; DP=6,52), a maioria do sexo feminino (67,8%). Como instrumentos: Questionário sociodemográfico; Questionário Temático sobre vulnerabilidades em saúde; e o Questionário de Autorrelato (Self-Reporting Questionnaire, SRQ-20). Os dados foram analisados por meio de estatística descritiva e bivariada. As vulnerabilidades em saúde das pessoas idosas estiveram associadas às dimensões individual, social e programática. Na dimensão individual, destaca-se o uso de álcool e tabaco; práticas sexuais e preventivas caracterizada pela reduzida percepção de risco às Infecções Sexualmente Transmissíveis (IST`s) e baixo uso de preservativo. Na dimensão social, é possível citar a baixa renda e escolaridade; a vivência de estresse; a presença de Transtornos Mentais Comuns (TMC) e crenças sociais sobre Aids na velhice e sexualidade. Por último, na dimensão programática, destaca-se a baixa solicitação do teste para HIV/Aids e as poucas campanhas direcionadas a este público etário.

This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.

The current research sheds light on an important aspect of the great and rapid development in the field of science and technology and modern manufacturing methods as a result of the scientific revolution resulting from the accelerated cognitive development, which prompted designers in general and interior design in particular to exploit and invest in digital technology and the development of digital control in the process of designing the industrial product for the purpose of creativity and innovation through these digital programs Digital models achieve the requirements and desires of the interior designer according to the creative skill using modern software with high efficiency And extreme accuracy that is consistent with the requirements of the user, interior designer and beneficiary companies.Therefore, the research problem can be identified by the following question: What is the nature of the variables in the modeling patterns in the stages of contemporary interior space design through the use of virtual reality techniques?, While the aim of this study was: to reveal the importance of digital models in the real internal space through virtual reality outputs, the current research included three topics The first topic: variables and their relationships Interior space design, The second topic: modeling in interior design between reality and simulation, and the third topic: digital models in interior design, and the research reached a set of conclusions, the most important of which are:1. Digital models allow the designer, beneficiary organizations and people to explore the interior space before it is designed.2. Designers use Digital Prototyping to design, optimize, validate, and visualize their spaces digitally throughout the design stages.3. Innovative digital models can be created through creative designs, achieving multiple design objectives (best performance, high efficiency, space effectiveness, appropriate cost)Keywords: Digital, modeling, interior designSearch problem:Testing the outputs of the design process and verifying the extent to which they achieve the goals and address failures or development on the design itself is one of the first priorities of companies and design centers and is widely used in digital models since the start of the process and achieves its goals by increasing revenues, reducing cost, speed of delivery, and achieving quality conditions, and companies that use digital models achieve 86% superiority of their counterparts that use traditional prototypes, as well as a precedence rate from the design stages to the start of production in record time. It costs relatively less, which gives it priority in competition as well as speed of implementation (Aberdeen Group, October 2006,p. i)The rapid development in the cognitive systems pushed designers in general and the interior designer in particular to exploit and invest in digital technology and the development of digital control in the process of designing the industrial product for the purpose of creativity and innovation through these digital programs Digital models achieve the requirements and desires of the interior designer according to the creative skill using modern software with high efficiency and extreme accuracy consistent with the requirements of the user, interior designer and beneficiary companies.Therefore, the research problem can be identified by the following question: What are the digital modeling techniques in the design of the virtual indoor space and what are their variables?The importance of research:The importance of the current research lies in:1- Addressing a topic that enriches the knowledge of modeling patterns variables in the inner space.2- The results of the study serve the relevant institutions of designers and researchers

A survey of professional members of two chapters of the American Society of Interior Design in Southern California was conducted to determine the criteria used as well as the textile competencies needed to specify textiles. Descriptive statistics were used, and the results indicated that appearance was the leading criterion followed by compliance with required codes and standards. Manufacturer labels were an important source of information for textile specification decisions. Identification of textile competencies centered around fabric characteristics and performance characteristics directly related to interior applications. Responses supported the importance of a strong textiles background for today's professionals. Academia is challenged to provide the appropriate coursework which should include components on codes/standards as well as application experience. Summary The results of this study point to the importance placed on a strong background in textiles by professional interior designers. Textile specification criteria, especially appearance and performance, rely on textile competencies for satisfactory choices. Label information is unusable for decision making if the designer does not comprehend the significance of the information due to an inadequate background in textiles. Responses from Southern California professional interior designers supported the importance of a strong textiles background. They look to academia for the acquisition of textile competencies. Textile coursework should include fabric characteristics competencies and performance characteristics competencies directly related to interior applications. Codes/ standards should be a component in textile coursework servicing interior design majors. Information regarding textile labeling should be important to the textile industry. Results indicate a clear call for more information on performance characteristics, specifically codes/standards. Though regulations vary by jurisdiction, an effort by the textile industry to provide comprehensive codes/standards label information would be helpful. The next step in this research is to contact colleges and universities that have interior design programs and determine the specific competencies incorporated in textile coursework taken by interior design students. By developing a comprehensive picture of designated necessary competencies and textile course content, the issues of lack of background, program deficiencies in textiles, and the overall feeling of a lack of adequate textile background can be addressed.

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.

Introduction The purpose of this article is to re-examine the introduction of social dimensions into the economic conception of individual rationality. I will endeavor to show that the main problem of most of the different attempts to socialize the rational utility maximizer is that they preserve a fundamental a-social aspect of the model: its opportunistic nature. To overcome this difficulty I propose to blur the Weberian distinction between instrumental and expressive rationality and in so doing, allow a far more realistic--and altogether richer--conception of the sociality of man in his, or her, pursuit of their own affairs. There is a considerable amount of literature that attempts at socializing the rational utility maximizer, or Homo-Economicus. Most of it, however, proposes to do so by the introduction of direct social considerations into the objective function. But in so doing, they turn the analysis into an ad-hoc one and the agent into a Homo-Sociologicus. Whether or not this is an improvement on the Homo-Economicus is far from obvious. (1) For one, as we shall see below, the Homo-Sociologicus is not free from the opportunistic nature of Homo-Economicus. There are, in my view, three main streams characterizing the literature that evolved around the care about the social dimensions in individuals' behavior. The first one is the one in which areas outside of economics have adopted the rational utility maximizer. These include public choice theory in politics, (2) sociology, (3) and the more eclectic use of the model in dealing with many specific social issues. (4) By expanding the domain to which the model of the rational utility maximizer can be applied, the model appears to become more socially relevant. (5) However, while such an approach could tell us about the behavior of rational individuals in the social domain, it does not tell us much about how the fact that the agent is a social being will affect his, or her, more private, economic interactions. The second stream is the one that is emerging from game theory and experimental economics. Here, there are mainly two questions that drive the analysis. First, there is the problem of coordination games; how do agents select a Nash-equilibrium? (6) Second, there is the accumulated experimental evidence that the predictions of the standard model in the cases of Ultimatum and Public Good games are incorrect. (7) Notwithstanding the questions of whether any of these is typical of the economic decisions that individuals make or whether experimental results are reliable, the search for solutions generated a considerable interest in the social dimensions of individual behavior. These led, on the one hand, to a near-collective idea such as team reasoning according to which people make choices that will benefit others too, and on the hand, to notions of social preferences where the other becomes explicit in one's very individualistic preferences. The idea of team reasoning, as a manifestation of the social dimension in individual behavior, is rather problematic. It requires that agents will have such a strong sense of community that they will be able to understand its objectives and identify with the entire system within which they operate. They will also have to believe that everyone else shares their commitment and to act on edicts emanating from this collective reasoning. (8) While this may make sense in the context of a well defined game environment, its extension to the whole economy (or even the market) is somewhat difficult to follow. Moreover, as Krueger (2008) finds, this approach borders a complete departure from methodological individualism. While such a departure may be deemed necessary by some, here, we are still interested in examining whether methodological individualism can carry, in a meaningful way, the social dimensions of human behavior. The response to the failure of the standard model to correctly predict the results of Ultimatum and Public Good games was to insert social consideration into the utility functions of individuals and so to transfer their preferences into social preferences. …

المستخلص تهدف هذه الدراسة إلى الکشف عن مدى مشارکة مؤسسات التعليم العام والجامعي في مجتمع البحث بالمملکة العربية السعودية لتنمية المهارات الاجتماعية لدى الطلاب بالترکيز على الأبعاد الأساسية، وهي: البعد المعرفي، والأداتي، والفردي، والاجتماعي. وطبقت الدراسة على عينة عشوائية من طلاب وطالبات المرحلتين الثانوية والجامعية بلغت (1092) مبحوثا.وباستخدام منهج المسح الاجتماعي،جمعت الدراسة بياناتها باستخدام الاستبانة. وکشفت الدراسة عن عدد من النتائج، من أبرزها: أن مساهمة مؤسسات التعليم في تنمية المهارات الحياتية جاء بدرجة موافق وبمتوسط 3.61 من متوسط أراء المبحوثين، وأنأکثر الأبعادالتي وجد أن مؤسسات التعليم اهتمت بها تتمثل في البعد الاجتماعي، فيما کان أقلها البعد الفردي. کما دلت نتائج الدراسة فيما يتعلق بالبعد المعرفي أن مهارة التفکير المنطقي جاءت على رأس اهتمام مؤسسات التعليم، بينما وجد أنأقل المهارات اهتماما يتمثل في التفکير النقدي، کما احتلت مهارة التواصل الفعال رأس القائمة بين مهارات البعد الفردي، واحتلت المرتبة الأخيرة مهارة تحقيق الذات. وفيما يتعلق بالبعد الأداتي الذي يمثل جانب الممارسة، وجد أن التعاون کان أهمالمهارات والعمل الجماعي أقلها. وأخيرا کشفت الدراسة فيما يتعلق بالبعد الاجتماعي أن أهم المهارات تمثل في احترام العرق، في حين تمثل أدناها في التثقيف في الجوانب الرياضية. الکلمات المفتاحية: الطلاب- التنشئة الاجتماعية- التنمية– المهارات– علم الاجتماع التربوي Abstract This study aims at revealing the public and university education participation extent in the Kingdom of Saudi Arabia research community with regard to developing students' social skills focusing on the basic dimensions embodied in the cognitive, instrumental, individual, and social dimensions. The study was applied to a randomly selected sample of 1092 female and male students of the secondary and university stages. Utilizing the social survey method, the study collected its data via a questionnaire mechanism. A number of results were revealed, the foremost of which were the contribution of the educational institutions in developing life skills, which scored an average of 3.61 at the agreement scale of the respondents' opinions. Besides, it was found that the dimensions which the educational institutions had attached importance to the most were represented in the social dimensions, whereas the one with the least importance was the individual dimension. Also, pertinent to the cognitive dimension, the study results indicated that the logical thinking came on top of the educational institutions interests, while it was found that the skill having the least importance was the critical thinking one. The effective communication came on top of the list among the individual dimension skills. The skill of self-actualization ranked last, and regarding the instrumental dimension which represents the practice side, it was found that cooperation was the most important of skills, whereas the social work was the least important. Finally, with regard to the social dimension, the study revealed that the most important skill was the race respect while the skill of the least importance in this respect was the sports education. Keywords: Students - Social upbringing - Skills - Educational sociology.

What is the role of contemporary art and design practice within neurodiversity? How digital media is engaging people who have a neurodivergent perspective (e.g., autism, dyslexia, dyscalculia, dyspraxia) into creating new art? This paper looks at giving a brief overview of the topic whilst looking into project Art, Design and Neurodiversity that the author started in 2015 in conjunction with the Graphic and Media Design course at London College of Communication, University of the Arts London (UAL). A collaboration was also built on some case-studies with Tate Digital Learning and BBC Research & Development. Exploring areas of sound art, graphic design, video art and storytelling, art practices around different forms of neurodiversity are investigated and produced. In this paper, there is also a key area of inclusive visual material and artistic work created by the participants. The art-design pieces can “live” independently but in this project they are also part of a wider communication that is taken into consideration also in the overall structure of this paper itself. With this paper, the author also looks at describing the way the project started, what outputs and findings are coming from the first phase of the work, and what are the next steps.