Identification of Ethnomathematics in Wat Arun “Temple of Dawn” in Bangkok, Thailand

The internet, progressed technology tools and software are prominent evidence of the digital revolution that has influenced the methods of teaching, especially in interior and product design courses. The revolution is the need to fully equip students of design institutions with Digital Design Software (DDS), but the hand drawing skills (HDS) are also required to understand the basics of drawing. The objective of the research is to evaluate students’ preferences regarding hand drawing and DDS, their command on DDS, and professional demand of DDS after academics. The interior design course is about drawing and designing ideas. It seems to be a contradiction when involving both hands and digital skills. This is a quantitative research in which structured questionnaire was asked to the final year students in three institutes of Interior Design. These institutes are selected, since the students are skilled in using Auto CAD, 3D Max, Adobe Photoshop, Sketch-up. The questionnaire used a Likert ranging from (1-5), 1 strongly agree, 2 agree, 3 neutral, 4 disagree and 5 strongly disagree. There were 90 respondents, the results show that most of the students were comfortable to use DDS and they consider DDS more convenient than hand drawing. The students consider DDS more effective than Hand Drawing Skill (HDS) and they know how to accurately use DDS in interior design. The tasks can be completed speedily, easily, and as handy as can be presented any time anywhere and finally making the students more market-oriented in their practical field after academics.

Research on Teaching about Three Dimensional Effect Chart

The Interior Design courses emphasizing accuracy requires high learning motivation. One stimulus to grow motivation is by applying teaching methods that are in accordance with the characteristics of the course, namely cyber learning methods that also facilitate accuracy and efficiency. The purpose of this research is to improve learning motivation in interior design courses through cyber learning methods employing steps of project-based learning (PjBL). The study included quasiexperiments using two-group post test design. The instrument of learning motivation was adapted from McClelland’s motivational theory. The number of participants was 60 students divided in two groups. The first students group learned by using conventional methods (control group), while the second students group learned by using cyber methods (experimental group). The number of learning was 10 meetings. After completing the meetings, the two groups were measured based on the learning motivation. The results of the study indicate that cyber learning methods can increase student’s learning motivation in interior design courses. Result shows that the experimental group of students has higher learning motivation than students in control group who were leaved uninterfered with the conventional method—the lectures.

In the traditional interior design course teaching process, the leader of the classroom is the teacher, and the main task is to impart knowledge. Restricted by class hours and learning, teachers are tired of teaching tasks and lack the time to interact with students during the teaching process. Through the development of resources in the flipped classroom, the optimization of the curriculum structure has accelerated the reform process of the interior design profession. The micro-classes involved are technological products of the information age. The use of micro-classes to construct an innovative education system effectively breaks through the limitations of the traditional education model and highlights the master status of students. Therefore, this article studies and analyzes the informatization application of flipped classrooms in interior design courses, and proposes relevant strategies for reference.

Implementing Research Thr ough a Holistic Design Process

The innovative interdisciplinary integration teaching of interior design and environmental design courses results from the interaction between the development of disciplines and the needs of the times, individual aesthetic needs, and the optimization of the human habitat. Based on the STEAM teaching theory, the article analyzes the advantages of interdisciplinary integration teaching and establishes the teaching mode for interior design and environmental design courses. Students of interior design at a university were selected as the research object, and a system for evaluating teaching quality was established. The weights of evaluation indexes were solved using the rough set method, and the fuzzy comprehensive evaluation method was combined with it to conduct a thorough evaluation of the interdisciplinary, integrated teaching mode. A comparison experiment was conducted to analyze the effectiveness of the multidisciplinary integration teaching mode. After conducting the teaching comparison experiment, the mean value of the posttest scores for core literacy students in class A is 27.22 points higher than that of class B. The difference in occupational physical, mental, and behavioral literacy weighting is only 0.13%, and the overall evaluation score for the quality of interdisciplinary integrated teaching is 8.183. Introducing multidisciplinary integration teaching can improve students’ interior design abilities and help improve the quality of training in interior design and environmental design talents in colleges and universities.

With the continuous progress of the construction industry in China, the residents' requirements for the interior decoration of houses are also increasing, and the market demand is also increasing. Therefore, the development space of interior design is getting larger and larger. With the progress of The Times, the traditional decoration style has no longer can meet the needs of the current residents, so the interior design major needs to combine the development of The Times and innovate the decoration style to meet the needs of the residents for the housing. On this basis, will the assembly decoration of the interior design course better promote the reform and development? This paper compares the traditional interior design, analyzes and discusses from the following points, and provides reference for the development and improvement of the interior design of assembly decoration.

Cultural mathematics is a way of designing mathematics that is meaningful and relatable to cultural communities. Cultural learning is more interesting and fun to learn because of the socio-cultural construction in which mathematics has been embedded in human history and activities. Learning that is oriented towards mathematics and culture is called ethnomathematics. Each area has historical buildings that can be observed by culture. One of the historical places in Tasikmalaya, West Java, is the Great Mosque of Tasikmalaya City. The purpose of this study was to explore the mathematical concepts contained in the Great Mosque of Tasikmalaya City and to find out the development of numeration in the Great Mosque of Tasikmalaya City. This type of research is qualitative research with an ethnographic approach. Data collection was carried out using observation, interviews, case studies, and documentation. The results of this study are the mathematical concepts contained in the Great Mosque of Tasikmalaya City, namely the concept of flat shape, geometric concept, arithmetic sequence concept, palindrome number concept, geometric reflection transformation concept, and numeration development

The decorative elements are considered from the first foundations which any art of arts is based on them, where the general morphological features of this art consist of them. These decorative elements are almost the same in all arts known to humanity, but the technique which those elements were treated by it differed from a civilization to another. The geometric motifs have emerged since prehistoric times, and also were used by the civilizations that flourished before Islam, but they didn't have the bigwig which became under the auspices of Islamic Art, that marked by the orientation towards the decorative beauty, and Geometric Islamic Motifs have become an essential element of its elements, particularly during the Mamluk period in Egypt. In light of the continuing attempts from time to another to revive the Egyptian civilizational heritage, in the recent a trend appeared in Interior Design and Furnishing for various architectural spaces which works on the mating between the past and the present, by providing the Islamic artistic inherited of Geometric Islamic Motifs (as an Egyptian origin) but in a contemporary gown. Research Problem:In the absence of the national identity in contemporary designing works, the research problem arose in its attempt to answer the following question: Is it possible that the Egyptian civilizational heritage be the basis and the starting point for a contemporary global design trend in the field of Interior Design& Furniture? Research Objective :The research aims to evoke and confirm the identity and originality in Interior Design& Furniture, and rediscover the aesthetics of our civilizational heritage through the formation of a new designing language based on a new vision of Geometric Islamic Motifs using high technology (either in Design or Implementation). Research Methodology:To achieve the research aim, the inductive method and the descriptive analytical method were followed. Research results: Through the research, some conclusions and recommendations have been reached that can be summarized as follows: - The importance of reviving the civilizational heritage through the development of modern trends in Interior Design& Furniture derived from the morphological features of our Egyptian civilizational heritage, and based on the utilization from the heritage aesthetics and the reformulation of its vocabularies from a contemporary formative perspective, in order to maintain the identity, and access to the uniqueness and excellence on the global scene. - Work to benefit from the scientific and technical progress of this age to enrich the internal architectural space with various design ideas.

In his Philosophy of Interior Design, Stanley Abercrombie writes that "we can live happily with art-some cannot live happily without itbut we cannot live in art or even in a 'white cube."'" This is a strange assertion by someone writing a book on interior design theory. Interior design is presumably an art and since we live in interiors, we must also live in art. Of course, what Abercrombie means is that we cannot live in interiors entirely given over to an aesthetic vision and, consequently, divorced from all consideration of what it might really mean to inhabit them. Abercrombie's examples include Piet Mondrian's Salon de Madame B. and Kurt Schwitter's Merzbau. I think we could add, by implication, a number of what are typically thought of as extreme examples of modern architecture, notably Philip Johnson's notorious Glass House in New Canaan, Connecticut.2 The Glass House is a canonical example of high modernist architecture and interior design. The walls are made of plate glass, enclosing the structure while retaining a complete 360-degree view of the property outside. From the outside, one gets a free view into the interior as well. The interior itself is sparsely but carefully furnished in the characteristic high modernist mode. Johnson's Glass House captured a great deal of attention when first built. It is still widely hailed as a high modernist masterpiece and is regularly included in surveys of modern architecture. At the same time that Johnson's house is celebrated as great architecture, it is sneered at for being unlivable. Despite its art-historical significance, the Glass House is thought by most to be unlivable not necessarily because it is aesthetically displeasing, but because it subordinates all other goals to this aesthetic pleasure. If the interior of the Glass House is thought of as ugly by many, it is perhaps because the attractiveness of an interior depends not just on visual spectacle but also perceived livability. The Glass House lacks what we judge today as livability: comfort, casualness, and a certain degree of dowdy familiarity. The building serves more to make an aesthetic point or an art-historical splash, and these motivations turn out here to be separate from the more mundane pleasures of domestic life. At first glance, the Glass House seems to be very much a work of environmental art. Surrounded by glass walls, the occupant is immersed in, though not physically subject to, the shifting atmospheric conditions of the outdoors. Perhaps no other house allows the occupant a more intimate sense of its natural surroundings. But is this what is meant by an environmental aesthetic of domestic space? A basic precept of any introductory interior design course is that the role of interior design is to provide artistically satisfying and practically effective solutions to the organization of the environments in which we must do particular things, like cooking, entertaining, sleeping, bathing, and lounging. The art of domestic interior design would be to create an environment that facilitates domestic practice while at the same time making the environment worthy of aesthetic attention and admiration. On this view, the Glass House fails as full-fledged interior design (that is, as environmental art) because it never recedes into the background, never becomes an environment for the practices of everyday life.3 The glass walls render the occupant perpetually self-conscious of being watched; the sparseness of the furnishings and the extreme orderliness of the house, where even table-top bric-a-brac are discreetly marked with indications of their correct

University students learn about interior design through secondary Family and Consumer Sciences (FCS) classes; however, it is unknown what interior design content is taught given the flexibility in FCS curriculum. An online survey was administered to FCS educators in Idaho, Utah, and Washington to uncover if and what interior design content is taught. The study revealed that residential interior design and historical content is taught, educators took one interior design course, and educators would utilize interior design resources if available. Including interior design content in FCS courses can broaden students’ understanding of how interior design impacts occupants and clarifies misconceptions about the profession.

In his Philosophy of Interior Design, Stanley Abercrombie writes that can live happily with art-some cannot live happily without itbut we cannot live in art or even in a 'white cube.' This is a strange assertion by someone writing a book on interior design theory. Interior design is presumably an art and since we live in interiors, we must also live in art. Of course, what Abercrombie means is that we cannot live in interiors entirely given over to an aesthetic vision and, consequently, divorced from all consideration of what it might really mean to inhabit them. Abercrombie's examples include Piet Mondrian's Salon de Madame B. and Kurt Schwitter's Merzbau. I think we could add, by implication, a number of what are typically thought of as extreme examples of modern architecture, notably Philip Johnson's notorious Glass House in New Canaan, Connecticut.2 The Glass House is a canonical example of high modernist architecture and interior design. The walls are made of plate glass, enclosing the structure while retaining a complete 360-degree view of the property outside. From the outside, one gets a free view into the interior as well. The interior itself is sparsely but carefully furnished in the characteristic high modernist mode. Johnson's Glass House captured a great deal of attention when first built. It is still widely hailed as a high modernist masterpiece and is regularly included in surveys of modern architecture. At the same time that Johnson's house is celebrated as great architecture, it is sneered at for being unlivable. Despite its art-historical significance, the Glass House is thought by most to be unlivable not necessarily because it is aesthetically displeasing, but because it subordinates all other goals to this aesthetic pleasure. If the interior of the Glass House is thought of as ugly by many, it is perhaps because the attractiveness of an interior depends not just on visual spectacle but also perceived livability. The Glass House lacks what we judge today as livability: comfort, casualness, and a certain degree of dowdy familiarity. The building serves more to make an aesthetic point or an art-historical splash, and these motivations turn out here to be separate from the more mundane pleasures of domestic life. At first glance, the Glass House seems to be very much a work of environmental art. Surrounded by glass walls, the occupant is immersed in, though not physically subject to, the shifting atmospheric conditions of the outdoors. Perhaps no other house allows the occupant a more intimate sense of its natural surroundings. But is this what is meant by an environmental aesthetic of domestic space? A basic precept of any introductory interior design course is that the role of interior design is to provide artistically satisfying and practically effective solutions to the organization of the environments in which we must do particular things, like cooking, entertaining, sleeping, bathing, and lounging. The art of domestic interior design would be to create an environment that facilitates domestic practice while at the same time making the environment worthy of aesthetic attention and admiration. On this view, the Glass House fails as full-fledged interior design (that is, as environmental art) because it never recedes into the background, never becomes an environment for the practices of everyday life.3 The glass walls render the occupant perpetually self-conscious of being watched; the sparseness of the furnishings and the extreme orderliness of the house, where even table-top bric-a-brac are discreetly marked with indications of their correct

There is a growing trend of green building design that relies on technologies and computer simulations based on building information modeling (BIM) during the design process. Green building project teams are increasingly adopting BIM due to its capabilities of analyzing and simulating various design scenarios to make informed decisions to achieve green objectives. However, there is currently a gap in the technological approach to achieving green design in interior design. In order for interior designers to make informed decisions for effective green interior designs, interior designers need to understand the critical functions of BIM–based simulations and analyses in achieving green interior environments. This exploratory paper intended to discuss how BIM can be used for green simulations during the design process and to provide a framework for incorporating BIM–based green simulations and analyses to interior design projects based on four categories found from literature review. Four types of methods included are visual analysis, prescriptive analysis, web–based external simulation, and external simulation and visualization. Four types of methods were examined with case studies performed in an interior design course over 3 years. The course utilized BIM and BIM–based external building performance simulation and analysis tools to achieve green interior environments. Lastly, the paper discusses interior design pedagogical issues with using BIM–based simulations and analyses including student learning experiences as well as the challenges and benefits of incorporating green simulations to interior design projects.

Mathematics is an enigmatic and captivating idea. Mathematics can also be defined in the context of patterns. This is because mathematics contains patterns, structures, and depictions of an object that grows and is rooted in real life. The structure or pattern that is arranged systematically will produce work, objects, and even an agreement. Life mathematics and mathematics in school learning can be combined with aesthetic studies to achieve contextual learning. This study uses qualitative research with an ethnographic approach. The purpose of this study was to reveal the aesthetic value and mathematical concepts of the mendong woven pattern with the songket motif. The location of this research is Babakan Cikawung Village, Margabakti Village, Cibeureum Awipari District, Tasikmalaya Regency. This study involved 3 subjects. Data collection techniques were carried out through unstructured interviews, observation, documentation, and literature review. Unstructured interviews were used to ask about the craft of mendong and the process of making mending weave with songket motifs. Observations or observations are made to find mathematical concepts and mathematical aesthetic values by studying the aesthetics of Thomas Aquinas' theory. The results of the research are mathematical aesthetics by examining the theory of Thomas Aquinas. Mathematical concepts such as repeating patterns 1-2-3-4 and 4-3-2-1, geometric concepts such as parallel lines, reflection, congruence, and rhombus flat shapes.

This paper examines the impact of the use of digital design programs on the performance of interior design students at the College of Art and Design at the University of Jordan. Since interior design is closely related to technology and, in light of the amazing development of design programs brought about by modern technology, the use of modern design programs has become urgent. The study used the descriptive survey approach to identify the impact of this use of modern design programs on the level of performance of students. The study sample consisted of (120) students of interior design at The School of Art and Design at the University of Jordan. The study concluded that the students’ performance in terms of level of achievement and educational outcomes is affected by the extent of their reliance on design programs and their use of digital design as a tool that facilitates, helps, and improves the quality of the design product. It also concluded that the lack of sufficient courses covering digital design programs in line with the requirements of the labor market creates a gap between the students’ learning outcomes and labor market requirements. The study recommended including courses for teaching digital design programs in the interior design study plan. It also recommended that the syllabuses of the interior design courses include activities of extracurricular workshops, through which the student learns about the most important developments in the digital world and its uses in interior design. Keywords: Interior Design, digital design, 3D design software, School of Art and Design