Interior Design Educators Research Articles

The SICO Color Naming Project

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.

Raising Understanding of Indigenous Australian Culture through Creative Production in Interior Architecture

The search of displaced peoples for ways to connect with their culture underlines the need to explore the role of Interior Architecture in cultural rebuilding and communication. This paper demonstrates a way of applying cross-cultural design processes to the built environment within a tertiary educational context. It will be of interest to Interior Design educators and researchers involved in teaching processes concerned with the conjunction of culture and meaning. The paper illustrates some of the processes currently being explored to engage students in culturally specific design enquiry and production. Examples of student outcomes are presented, and the broader impact of the initiatives on research and writing is discussed. These teaching/research initiatives are in a very early stage, there is much to learn, and there are very exciting possibilities. This paper is intended to present a tentative position for critique and feed back.

Feeling WELL: COVID-19 and the Adoption of Wellness Themes in Interior Design Curricula.

Interior design (ID) pedagogy should include theories and applications, which advance human health and wellness in the built environment. Design for wellness and well-being is referenced in 5 of the 13 Council for Interior Design Accreditation (CIDA) knowledge application standards. This focus on wellness was amplified during the coronavirus disease 2019 (COVID-19) pandemic experience, which elevated our collective understanding of contagions, disease transmission, sanitation practices, vaccination efficacy, and immunity, as well as the devastating turmoil-social, economic, and psychological-of the pandemic's tragic spread. Thus, the purpose of this study was to examine ID educators' attitudes, intentions, and behaviors related to teaching wellness and to determine if the pandemic impacted wellness pedagogy. For this mixed methods study, we employed an online survey (n = 86) followed by participant interviews (n = 11). Data from the questionnaire and interviews suggested that peer attitudes toward wellness were a significant factor that influenced teaching behavior. Teaching intentions were predicted by prior teaching, attitudes, and perceived behavioral control (ability to teach wellness). Although experience with the pandemic was not a predictor of teaching behavior, it did surface as a strong motivator for future teaching adjustments. Findings also showed wide-ranging understandings and definitions of wellness-related themes. Implications for design programs seeking to equip faculty with the tools needed to integrate wellness more deeply into ID curricula are discussed.

Using systems thinking to understand the evolving role of technology in the design process

Many teaching in higher education whose fields rely heavily on processes using technology can be overwhelmed by the pace of developments, and, in turn, have difficulties identifying those competencies necessary for their students to have mastered. These educators may feel as though they are aiming at a moving target, and given the number of new platforms and communication tactics, this target could seem increasingly distant. One such field greatly impacted by rapidly developing technology is interior design, wherein practitioners are increasingly leveraging tactics that promise newfound fidelity, interoperability, and greater production speed. However, it is unclear how these advancements may influence the expectations for entry-level designers—and by extension—the curricula of design educators. The purpose of this research was to apply a Systems Thinking approach to determine technology’s influence on both the design process and the production of deliverables. Data was gathered from design practitioners surrounding the variety of software and technological applications used during four phases of the design process (e.g., schematic, design development, construction documents, and construction administration). To determine adoption trends, these responses were compared to previous data from Dyar and Huber (in: Sarawgi (ed) Interior design educators annual national council, Fort Worth, TX, Interior Design Educators Council, Chicago, 2015). Responses were analyzed with descriptive crosstabs and inferential statistics, including T-tests, Analysis of Variance, and posthoc Tukey’s Range Tests. The findings suggest that expectations for students, and consequently, their instructors, are evolving rapidly. While this study is rooted in interior design, its methodology and its implications may prove valuable to allied design fields.

Interior Design Students’ Attitudes towards Environmental Sustainability

This study aims to investigate the attitudes of students towards environmental sustainability. To identify their level of concern for the environment and the impact of the academic year on their attitudes towards environmental sustainability, a quantitative approach was adopted using a cross-sectional survey. A questionnaire was distributed to (N = 78) interior design students at King Abdulaziz University (KAU) in Jeddah. Interior design students responded to a three-part survey including demographic characteristics, ecology and environmental sustainability, and comments. The results revealed that students’ level of interest in the environment was moderate and that their attitudes were generally positive and moderately pro-environmental. In general, there was understanding and awareness among students regarding the problems related to nature as well as a lack of accuracy of the information they obtained. Although the results also showed students’ understanding of the use of sustainable products and solutions in interior design scenarios, there was a clear lack of actual uses of these products and solutions in student projects, and there was a gap between what students said about what they were doing in their project and what they actually applied in their design projects. Finally, the results indicated that the attitudes and perceptions of the students surveyed regarding environmental sustainability did not actually depend on the specialization variable or the level of the study. Through a deeper application of the fundamentals of responsible design, it is shown that enthusiastic and conscientious students can be guided towards environmental sustainability and achieve exciting results. The results of this study will help to raise awareness of interior design educators about students’ attitudes towards environmental sustainability. The results also illustrate the importance of following the application of sustainability requirements in interior design projects and of not limiting student exposure.

Students and Interior Design Educators: Working Together in Studio Toward Successful Design Project Outcomes

Students and Interior Design Educators: Working Together in Studio Toward Successful Design Project Outcomes

Students and Interior Design Educators: Working Together in Studio Toward Successful Design Project Outcomes

Students and Interior Design Educators: Working Together in Studio Toward Successful Design Project Outcomes

Build–to–Learn: An Examination of Pedagogical Practices in Interior Design Education

“Build–to–learn” is a pedagogical practice reflecting traditions in architectural and engineering education, as well as theoretical foundations in experiential learning. This study investigates how interior design educators are using this approach by classifying types of build–to–learn projects with their associated learning outcomes. Findings disclose both the educator and student perspectives on build–to–learn experiences. The paper first reports findings from a study of Interior Design Educator's Council (IDEC) educators ( N = 40) who participated in an online survey of build–to–learn practices and observations. In the second exploratory study, students ( N = 11) were assigned a build–to–learn exercise as part of a construction materials and methods course and were surveyed on their experience. The results revealed four build–to–learn classifications: (1) representational models as a means of understanding three–dimensionality; (2) construction assembly and materiality; (3) joinery–connectivity; (4) real–scale construction experiences. Findings from the study generally suggest positive learning outcomes from all types of build–to–learn experiences, although some student and educator challenges are identified.

The Attitudes of Interior Design Educators toward Concepts, Principles, and Theories of Sustainable Design

The Attitudes of Interior Design Educators toward Concepts, Principles, and Theories of Sustainable Design

CIDA Accreditation Standards: Past and Future Evolution

The Council for Interior Design Accreditation (CIDA), formerly the Foundation for Interior Design Education and Research (FIDER), has been a part of the interior design profession’s landscape since 1970 when an Indenture of Trust was formed by the professional associations of the era: American Institute of Interior Designers (AID), National Society of Interior Design (NSID), and Interior Design Educators Council (IDEC). The Trust was created,

The Elements and Principles of Design: A Baseline Study

Critical to the discipline, both professionally and academically, are the fundamentals of interior design. These fundamentals include the elements and principles of interior design: the commonly accepted tools and vocabulary used to create and communicate successful interior environments. Research indicates a lack of consistency in both the identification of what constitutes the elements and principles of design and the specific definitions for each of them. Elements and principles of design vary from textbook to textbook, and this lack of consistency must be addressed when creating a single cohesive interior design vocabulary. This research study sought to gather fundamental information pertaining to the elements and principles of design, such as types of class formats being employed, foundational textbooks utilised, and within each curriculum where the elements and principles were being introduced in CIDA‐accredited interior design programmes. Furthermore, this study assessed the attitudes and perceptions of interior design educators concerning the elements and principles of interior design. The elements and principles of interior design are an integral part of design students' education and will contribute substantially to their skill set in the professional realm. For this reason, it is important that the design elements and principles are taught in a consistent manner, with emphasis placed on their meanings, substance and appropriate applications.

An instructional design for Building Information Modeling (BIM) and Revit in interior design curriculum

Abstract Current trends in integrated project design and delivery methods demand the development of new software competencies in interior design pedagogy. Building Information Modeling (BIM) has revolutionized visualization, preconstruction simulation, life cycle analysis, and enabled faster construction, thus promoting more sustainable integrated practices with a rich repertoire of building information available for the design team. This new tool presents opportunities for interior design educators to teach software and skills that are necessary to prepare students for integrated practice. This article discusses an instructional design approach of introducing BIM and Revit into the interior design curriculum at University of Minnesota. John Robert Anderson’s ACT-R (Adaptive Control of Thought-Rational) theory is utilized to guide students through the learning process. ACT-R theory focuses on three stages of skill acquisition: cognitive, associative and autonomous stages. These three stages present implications for teaching interior design students about BIM and Revit.

CO2–Based Demand–Controlled Ventilation and Its Implications for Interior Design

CO2–based demand–controlled ventilation (DCV) is a ventilation method that resets outdoor air supply rates using CO2 as an operating parameter ( ASHRAE, 2007a ). Even though CO2 itself is not harmful, high levels of CO2 concentration in indoor environments displace oxygen in the air and can cause a deficiency of oxygen for breathing. The most important aspect of CO2 in DCV is that it is a good indicator of occupancy in indoor spaces. Therefore, CO2 is an effective parameter for controlling ventilation based on occupancy level. CO2–based DCV has been increasingly used in recent years to optimize the energy consumption in ventilation systems as technological advances make its implementation more feasible and interest in environmentally responsible building design grows. This study aims to provide information about CO2–based DCV and suggest implications for interior design practitioners and educators. To achieve this purpose, this study reviewed previous studies and examined the current practices in CO2–based DCV in order to suggest guidelines for CO2–based DCV implementation for interior designers. The guidelines focused on proper CO2 sensor location design, taking into consideration the activities and other equipment in the room. In addition, a study of CO2–based DCV in the lecture halls of a university campus was conducted. Physical measurements were done in the lecture halls, and trends data were collected from the university's facility management department to compare the measurements. A perceived indoor environmental quality survey was also done to explore the occupants’ responses about CO2–based DCV.

Sustainability: Environmentally Responsible Interior Design

Do you remember when the discussions on sustainability evolved from cutting household costs through ‘‘energy efficiency’’ and ‘‘solar power’’ to a growing awareness that resource conservation includes social and cultural implications as well as physical and economic impacts? Perhaps it is enough to know that early on interior design educators and practitioners embraced the reality that our responsibility to the planet and its inhabitants included meeting diverse needs and expectations of the people who occupy the environments we design. There is hardly any topic or subject within interior design that doesn’t have a direct relationship with sustainability. More than a responsibility for selecting ‘‘green’’ materials, we now also acknowledge that sustainability in interior design aligns with client values and vision. For interior design, this involves not only space planning for efficiency and productivity, but also embracing a holistic approach to fostering sustainability for both individual workers and aggregate organizations. Sustainable environments include schools that are learning environments and hospitals that are healing environments. Interior design decisions can support and sustain community, culture, family, and individual identity. Designers elevate the most vulnerable when we design for equality and justice. Interior design projects an important voice in the sustainability movement.

Gay until Proven Straight: Exploring Perceptions of Male Interior Designers from Male Practitioner and Student Perspectives

Given the small percentage of men studying interior design versus the higher percentage of men in the profession, and misperceptions of male designers among the general public, there is a need to examine sexual identity and stereotyping in the interior design industry. While researchers have explored the experiences of gay men working “straight jobs” and men doing “women's work” (e.g., nursing, teaching), very little research to date has focused on the experience of men (gay and straight) in careers that are stereotypically identified with gay men (e.g., hairstyling, dance, flight attendance, fashion design, interior design). The purpose of this paper is to address this gap and explore how sexual orientation influences the experiences and perceptions of male interior design students and professionals. Practitioner participants were identified through membership lists of ASID and IIDA, while male interior design students were contacted through the Interior Design Educators Council (IDEC) “listserv” with faculty assistance. Potential subjects were invited to complete an online survey (30 questions for students, 32 questions for practitioners) in the spring of 2008 using SurveyGold, an online survey tool. One hundred sixteen students completed the survey ( N = 116) while 51 practitioners responded ( N = 51). Researchers anticipated that male interior designers encountered stereotyping regarding their sexual orientation, and that this in turn may affect their attitudes toward their career, relationships with colleagues and clients, design perspectives, and self–comfort. Survey responses generally supported these assumptions and serve to quantify and bring to light the complexity of this important and unexplored issue.

Stimulating student interest in design history classes

With history being an established course in design education and sparking creativity being one of design education’s primary objectives, questions arise as to: What forms of history teaching capture student interest? How can the lessons of history resonate with youth in ways that tie the past to the present? How can assignments spark excitement in students and engender a passion for the subject? And, where can faculty draw inspiration from in re-envisioning the role that history can play in their program and profession? Two interior design educators from the University of Minnesota share techniques, assignments, and pedagogies that respond to the above questions and help set a trajectory for both creatively teaching design history and sparking students’ interest and creative potential. Going beyond traditional methodologies and discourses around the teaching of history, these educators take a unique perspective and strive for a diverse set of objectives. Employing techniques such as digital games and free-hand sketching, they challenge students to engage with the material first hand. By tying a design project into a history course, they present students with the opportunity to conceive of ways to bridge the past, present, and future. Infusing history classes with creative and critical thinking that encompasses and responds to pressing social concerns reinforces the meaning of history classes and makes history relevant to students’ lives. Through this sharing, the authors aim to spark a dialogue across the disciplines around the teaching of history and makes history relevant to students’ lives. Through this sharing, the authors aim to spark a dialogue across the disciplines around the teaching of history and the renewed role it can play in design education.

Faculty Perceptions regarding Research: Are We on the Right Track?

Although research has been a topic of discussion for the past few decades within the academy, how interior design educators view research has not been examined. The purpose of this investigation was to survey interior design faculty who are members of the Interior Design Educators Council (IDEC) to determine (1) their definitions of research and programming, (2) their perceived value of research in interior design practice and education, (3) their perceptions of who should conduct research, (4) the degree to which they are engaging in research, and (5) how they are incorporating research into the classroom. Sixty–five faculty members responded to the online survey that consisted of three open–ended questions, 20 questions using a Likert Scale, and questions documenting demographic information. The results indicated that the faculty who responded did not have a working definition of research or programming, and a number of faculty members did not clearly understand the difference between the two. Although 27% of the sample responded that research involved discovery or moved the field forward, another 20% defined research solely as information gathering. The educators in this study valued research, and 80% believed that research findings provide useful information to the profession. Yet, many of the subjects in this study were unclear on whether interior design educators, practitioners, or specialists in other fields should be conducting interior design research. The majority of subjects valued what research could bring to the student during the design process, yet there was hesitation on whether undergraduate students should be taking research–related coursework.

A Single Interior Design Professional Association: The Time is Now

The authors of this Perspective argue that ASID and IIDA should go beyond “collaboration” and move forward expediently to create a single organization in order to preserve and advance the profession of interior design. I encourage you to read the Perspective and submit your thoughts on the topic to the Letters section of the next issue of the Journal of Interior Design. Of particular interest to the authors are thoughts about the Interior Design Educators Council and how fi ts with the concept of a single professional organization.

Interior Design Identity in the Crossfire: A Call for Renewed Balance in Subjective and Objective Ways of Knowing

Jill Pable, Ph.D., is an associate professor in the Department of Interior Design at Florida State University and a National Council for Interior Design Qualification-certified interior designer. Her educational background includes B.S. and M.F.A. degrees in Interior Design and a Ph.D. degree in Instructional Technology with specialization in architecture. Her professional work includes residential, hospitality, healthcare, and office projects completed within her own firm as well as with Universal Studios Florida. She is the past chairperson of the Interior Design Continuing Education Council and past Interior Design Educators Council (IDEC) national secretary/treasurer. She will serve as the President of IDEC in May 2009. Her research interests include interior design pedagogy and issues of social justice in design, and her educational papers and creative works have six times been awarded “Best Presentation” at international and regional IDEC Conferences. Her publications Interior Design: Practical Strategies for Teaching and Learning (coauthored with Katherine Ankerson) and Sketching Interiors at the Speed of Thought are available through Fairchild Books.

Interior Design's Social Compact: Key to the Quest for Professional Status

The expectation that all interior design professionals will embrace and embody this social compact in the near future is idealistic but not unrealistic. There are many interior designers and interior design educators for whom this proposed social compact will be reaffirming because they already embody this ethic in their work. We believe the transformation of the profession will happen both within the academy and within the profession itself. Interior design educators will play a significant role in causing the necessary shift away from arguing professional expertise toward embracing the social importance and value of our work. When all interior designers value and act with good faith to enhance the quality of life through their work, society will bestow professional status on interior designers because they will deserve it. Interior design educators must redefine the profession's role in society by educating new interior designers to understand and value the profession's obligation to providing a unique and meaningful service to society, one that contributes to interdependence and thus has value beyond the economic welfare of the practitioner and client. Interior designers can be full participants in the efforts to advance humanity toward maturity (Elgin 2001); in what Edwards (2005) calls the “sustainability revolution”; and in what Berry (1999) calls “the great work.” Interior designers are poised to take full advantage of the opportunities presented by the “conceptual age” that Daniel Pink (2005) says will reward those who focus “on meeting the aesthetic, emotional, and spiritual demands of a prosperous time” (246). Soon after interior design accepts its social compact as the guiding force for all that it does, we believe the interior design profession's self–image—and eventually its public image—will be transformed. Educators must take the lead in communicating the profession's potential to support the common good. When practitioners and educators come together to embrace and embody the profession's social compact we will begin to understand the whole range of work that now falls under the umbrella of interior design in a new and inclusive way. When the interior design profession as a whole finds significance and meaning in its work and is committed to fulfilling a unique and valuable role in society, then our common commitment to a significant purpose will bind us together into a confident, recognized, and valued profession.