Interior Design Projects Research Articles

Research on the Influence of 3D Animation Technology on Interior Design Projects

With its realistic design effects, 3D animation technology has been widely used in the fields of interior design and environmental construction. Although the application of three-dimensional technology greatly facilitates the design of houses, there is great room for development. This article will describe in detail the related concepts of 3D animation technology, with interior design projects as the main entry point, and explore the impact of this technology on national architectural design in many ways, and help readers to understand the relationship between 3D animation technology and interior design projects. The application connection will lay a solid foundation for more technical researchers to devote themselves to it in the future.

Biomimicry element application in the interior design product development

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

An Awareness Experience by Empathic Design Method in Architectural Design Education

Purpose In architectural education, the most important outcome aimed for architect candidates to acquire is the ability to show empathy. This study focuses on designing for users who have special physical needs while addressing the concept of establishing empathy together with universal designing principles in architectural education. Design/Methodology/Approach The empathic design method has been selected as the method of this study. As part of the study, it is aimed for students to offer a design solution in which they would fictionalize a universal design concept together with the empathic design which grounds on universal design principles. Findings As a result of the study, it was observed that when given a key method during the design process, students could approach the design with different points of view and interpret the datum with different approaches. Research Limitations/Implications This study, as part of the Çukurova University Department of Architecture Interior Design class, students were asked to implement interior design projects using the empathic design method with user groups of their choice in terms of characteristic and age range following the empathic design process. Social/Practical Implications It is to develop the awareness of architecture students in the creation process and such studies with different approaches and models to develop their perspectives. Originality/Value To increase the prevalence of accessibility and the participation of the disabled in society, the empathic design method can be foreseen to be a key method in other studies in architectural education.

Plagiarism of the implicit concept in interior design projects: Does it exist?

Design spaces can be read in two complementary structural and compositional dimensions: the implicit dimension, and the formal dimension. This study aimed to answer the following questions: What are the phases of the original idea transformation in the design process? Does taking advantage of the implicit dimension of others’ interior spaces count as inspiration or plagiarism? Participants comprised nine postgraduate students, who were asked to copy others’ project ideas by applying four design phases: idea source, test, choice, and output. The results showed that plagiarism of the concept of others’ work could not occur unless the concept copies the structural, functional, and aesthetic aspects of the design space at the level of its components and the relationships between them. Otherwise, taking advantage of the implicit dimension of others’ project ideas can be an inspiration. The results are expected to increase awareness among interior design instructors in higher education.

WITHDRAWN: Emotional Design of Smart Home in Interior Decoration Based on The Internet of Things

ABSTRACT Intelligent interior design is a new fashion trend towards increasing the value of interior design projects this trend. To create a good space of user-friendly, energy efficiency, please refer to why you must be worrying about using smart technology. The system will automatically fill in the indoor virtual scene and furniture object and optimize humanized and practical rules, position, and direction concerning the so-called interior design's aesthetic standards. These guidelines are expressed as mathematics to form the cost function equation. To minimize the cost function, our system uses a genetic algorithm to optimize an interior design. In the case of illegal intrusion, it can be sent by using the internet to send an alarm to the owner, the alarm smart wireless home security system, if necessary. It can also be used for home automation by using the same set. Interior design is beautiful, and it is about creating a comfortable, all of the ergonomic environment to use. Improve the quality of function and life has always been the two major components of interior design. However, to design a milestone in domestic architecture as in milestones in the furniture that had been a bean bag created in smart home and interacts is a milestone in the ability to control our living space. Smart homes or to turn on only the music, no longer to switch to the lighting of purple in the kitchen. In recent years, a smart system to learn habits and routines, use them to save energy in the home, improve the quality of life, and make a home more effective. To understand the impact of smart technology on interior design, the key is to create a good design by providing added value to the customer. It is to give an advantage over competitors.

Explorations in Teaching Interior Design: Involving User Perspectives

Understanding the needs and expectations of the intended users of a designed environment is recognized as one of the essential factors that influence the decision-making process in an interior design project. This situation is also reflected in interior design education, where students conventionally design for hypothetical clients and users. This study explores the contribution of a new user-focused and scenario-based design studio modal to students’ approach to successive stages of design processes, learning outcomes, and engagement to the project course during an online education period. Within the scope of the study, second-year interior design students were assigned to real artists and product designers as clients for a workshop for creative production- showroom project. The students had to communicate with their clients, do research and integrate the information they have collected into their design proposals. The paper concludes with an evaluation of the proposed model from students’ view. It is believed that the approach proposed and applied within the scope of the study has the potential to present a different perspective in interior design studio courses.

Copyright Protection for Interior Design Projects

Copyright Protection for Interior Design Projects GRUR International, Volume 70, Issue 2, February 2021, Pages 205–209, https://doi.org/10.1093/grurint/ikaa170 Published: 11 December 2020

Preserving heritage through new narratives

The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restoration), the importance of generating an open concept that can adapt to the evolving context, becomes key to meet client’s expectations. This article intends to contribute to the discussion of the designer’s elastic mindset as a binding tool between actors and contexts, towards an outcome that acknowledges the importance of the contribution of each one when looking for enriched results. Therefore, it questions what is gained and what is lost by setting aside the classic design fundamental principles and by focusing on design as a managing tool between data and the involved actors for an enriched outcome. As a main conclusion, it underlines the importance of generating a strong narrative with an open outcome to bind all stakeholders to a common goal through the designer as a project leader.

Developing an Indoor Environment Assessment Tool for Residential Buildings

The Indoor Environmental Quality (IEQ) describes an indoor space condition that the wellbeing and comfortability are provided for the users. Many researchers have highlighted the importance of adopting IEQ criteria, although they are not yet well defined in the Kurdistan region. However, environmental quality is not necessary for the contemporary buildings of the Kurdistan Region, and there is no measurement tool in the Region. This research aims to develop an IEQ assessment tool for the Kurdistan region using Mixed method methodology, both qualitative and quantitative. Therefore, a Delphi Technique was used as a method initially developed as systematic, interactive forecasting on a panel of experts. Thirty-five Delphi Candidates have reached an agreement on selecting the criteria for the IEQ, as Spss and a particular equation has used to find criteria weights. As a result, seven criteria with 22 indicators have been selected by expert ratings. A computer-based tool (KIEQA) has been created based on the scores selected by experts. Research results show that good IEQ is essential for interior design. It also offers a suitable indoor environment for users. This research has many significant advantages since it can raise awareness of issues of indoor environmental quality for architects, experts, and policymakers. Furthermore, to draw up an action plan for existing and new interior design projects in the Kurdistan Region. Future researches may concentrate on the correlation between IEQ criteria and to develop this tool regarding different building typologies.

Methodology Determinants and Mechanism for Image of Interior Design Projects.

The world of Image is a fertile, multidimensional world, with a variety of fields, which includes many aspects, as well as many negative aspects. As I have now become the most important media and advertising in the world, as it occupies most of our councils, there is almost no empty house, shop, restaurant, whether they are of a personal, artistic or public nature unless the display screen was the first His assets, which makes her the guest who accompanies us almost everywhere. At the same time, we sit and listen to it while we are powerless, affected by what it serves us, whether directly or indirectly. For this, the research problem boils down to the lack of a clear methodology that can be used to understand the mechanism of the recipient's perception of the artwork, especially the interior design when viewed, analyzed and tasted.And the research aims to define a clear methodology that can be used to understand the mechanism of the recipient's perception of the optical image that he watches, analyzes, and tastes through it the artwork, especially the interior design.The research will address the study and analysis of the factors affecting visual perception of the content of optical images, and then clarify the concept of perception in detail, and address the physiological aspect and the semantic signs on which the perception and perception of the optical image depends, in addition to a review of the most important psychological theories in the field of visual perception and image understanding Optical, as well as clarify the mechanism of the eye's vision of the image physiologically, and its awareness of the different bodies and shapes and how they understand the semiotic implications of the optical image to help communicate the design ideas that the interior designer wants to the recipient.One of the most important findings of the research is that it is necessary for researchers in the field of the optical image, especially (interior designers) to understand the cultural codes included in them, so that they reflect the features of the local cultural identity and the design entities required, otherwise the contradictory codes that can be mistakenly understood from the optical image can lead To a modification or change in the behavior of recipients according to their awareness of the new codes and contents are wrong, and thus the message of the interior designer does not reach the recipient as required, which also affects his awareness of the designs he sees through the optical images presented by the interior designer

Artes visuais e design de interiores: iconografia e o conceito de projeto

Este trabalho tem como objetivo analisar o impacto das artes visuais no desenvolvimento do conceito de projeto nas disciplinas do eixo central do Curso Superior de Tecnologia em Design de Interiores do Instituto Federal da Paraíba — CSTDI/IFPB a partir da análise do processo de um minicurso experimental desenvolvido no Instituto Federal da Paraíba (IFPB) em 2017, avaliando a utilização dos elementos da linguagem visual aplicados ao conceito de projeto para design de interiores. O problema de pesquisa é: os elementos da linguagem visual proporcionam o aprofundamento da compreensão do conceito de projeto de design de interiores nas disciplinas do eixo central do Curso de Graduação em Design de interiores do IFPB? Os resultados mostraram que a análise por meio da descrição pré-iconográfica (PANOFSKY, 1986) pode ser uma ferramenta para a compreensão do conceito de projeto de design de interiores no contexto analisado.

Teaching strategies for gifted students in interior design program

The study aims to identify the gifted students in basic interior design courses by utilizing new teaching strategies to support their capabilities and their intellectual growth within the interior design program. This research used a descriptive correlational study design to recruit the gifted students studying at Ajman University during the academic year 2018-2019, where the female students were 77% and 23%, male students – percentages based on a total of 130 students - with no statistically significant difference for teaching strategies based on gender variable. The results also showed that 66% of these students joined the interior design program due to their passion, and 95% had learned how to determine the requirements of a successful interior design project effectively. The findings have shown a significant and positive difference for teaching strategies based on 3rd level students (F=11.895, p=.007). The study concluded that the use of creative and critical thinking strategies needs the exclusion of conventional teaching methods, which include monocratic and memorizing techniques to aid, precisely the gifted students' GS, to reach the same motivational level as their counterparts.

POSSIBILITIES OF ENVIRONMENTAL SUSTAINABILITY IN INTERIOR DESIGN

Sustainable design looks at the environmental, social and economic categories in interactions that deliver significant environmental and health solutions. Common trends in society show that sustainable thinking has not yet become a way of life and is fragmented. This justifies the need for both future and existing professionals – architects and environmental / interior designers – to acquire the necessary knowledge and skills in designing and evaluating projects in aspects of sustainability that are related to public health and well-being. The aim of the article is to determine the criteria for the evaluation of sustainable design, which should be taken into account during the development and implementation of the interior design project. Research methods – theoretical – research and analysis of scientific literature.

Espaço dinâmico interativo: uma alternativa ao ensino tradicional

The Institutional Development Project entitled “Interactive Dynamic Space: An Alternative to Traditional Teaching” was intended to create the model interior design project for a classroom that encourages the development of different activities, as well as having layout flexibility, which covers a range of space arrangements, and could be implemented in every education center of Universidade Federal de Santa Maria. The demand for this project came from the Vice Rector of this institution, professor Luciano Schuch, who intends, from the elaborated project, to support the execution of one of these rooms per education center of the University. The goal, therefore, was to create a model project that can be adapted to each situation of each teaching unit. As a basis for the development of this project it was used one of the rooms of the new buildings of Cachoeira do Sul Campus, which will receive, as a pilot, the first project executed of these dynamic and interactive rooms. The architectural project and the budget were finalized in 2018, the ideal financial conditions for bidding and execution are currently awaited.

Linking spatial ability, spatial strategies, and spatial creativity: A step to clarify the fuzzy relationship between spatial ability and creativity

Is spatial ability critical to creativity in spatial design? Many researchers have investigated the potential relationship between spatial ability and design performance, but findings have been inconsistent and empirical studies on the two are lacking. The purpose of this study was to examine the relationship between creativity and spatial ability, using evaluations of a large-scale interior design project and scores on both a test of general spatial ability and a refined version of the Architecture and Interior Design domain-specific Spatial Ability Test (AISAT V.2). The following questions were explored: (a) How is domain-specific spatial ability related to detailed aspects of creativity in large-scale interior design, especially the creativity involved in three-dimensional volumetric exploration? and (b) What spatial strategies do individuals with differing levels of spatial abilities use in spatial design? Thirty-nine interior design students at a Midwestern university participated in the study. Their performances on the general spatial ability test and AISAT were compared with scores in design performance evaluated by experts. Results show that the spatial visualization and mental rotation associated with domain-specific spatial ability positively correlated with creativity in the generation of three-dimensional volumetric design. In terms of spatial strategies, design projects of individuals with high spatial ability tended to show strengths in form generation while those of medium and low spatial ability displayed strengths in additive approaches. This study expands understanding of the link between creativity and spatial ability by proposing a holistic framework for creative spatial design.

PRESERVING HERITAGE THROUGH NEW NARRATIVES: DESIGNING A GUESTHOUSE WITHIN A CROSS-DISCIPLINARY TEAM

The following article describes the ongoing interior design project that accommodates a guesthouse in a historical building located in the city of Coimbra in Portugal. It focuses on the importance of generating new narratives to maintain the original nineteenth century building’s essence, when changing the architectural program, from a pharmacy on the ground floor and residences in the upper floors into a single guesthouse. We present the design-led methodology focused on the importance of generating narratives as a foundation to achieve a common goal while working in a cross-disciplinary team. In this context, the designer not only has the role of the form-giver, but also becomes the mediator between matter and form, the team leader, and the forecaster of the user’s emotional experiences. When adapting client’s brief into a tangible outcome within a team that crosses various areas of expertise (in this case: architecture, design, engineering, archaeology, conservation, and restoration), the importance of generating an open concept that can adapt to the evolving context, becomes key to meet client’s expectations. This article intends to contribute to the discussion of the designer’s elastic mindset as a binding tool between actors and contexts, towards an outcome that acknowledges the importance of the contribution of each one when looking for enriched results. Therefore, it questions what is gained and what is lost by setting aside the classic design fundamental principles and by focusing on design as a managing tool between data and the involved actors for an enriched outcome. As a main conclusion, it underlines the importance of generating a strong narrative with an open outcome to bind all stakeholders to a common goal through the designer as a project leader.

MENADŽMENT PROJEKTA U OBLASTI DIZAJNA ENTERIJERA

The paper present the procedure and advantages of conducting an interior design project in order to achieve the quality of a built facility, making savings on construction and final evaluation of an accomplished project task.

Practical Application Analysis of 3DMAX in Interior Design

With the development of society and technology, new technologies in various fields are emerging one after another. 3DMAX is one of the world’s top 3D software products from Autodesk, plays an important role in all design fields. The application of 3DMAX in the field of interior design is conducive to accurately and intuitively transforming the designer’s creative ideas and design concepts, effectively improving the quality and efficiency of interior design projects. This paper is based on the relevant overview of 3DMAX software applications, analyzing and studying the practical application of 3DMAX in interior design.

Freehand-drawing as basic principle to success interior design project

Freehand-drawing as basic principle to success interior design project

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.