Journal of Interior Design最新文献

Spatial ability, defined as the ability to visualize, imagine, translate, and interpret 2D and 3D spatial information, is a crucial building block required for the interior design and architecture professions. In this paper, we report on the development process as well as the validity and reliability of the Architecture and Interior design domain-specific Spatial Ability Test (AISAT), a new instrument that measures domain-specific spatial ability in the field of architecture and interior design. A total of 142 college students in Korea and the U.S. engaged in the final stage of the development process—the validity and reliability check—by taking both the AISAT and two general spatial ability tests. The results from the split-half correlation and internal consistency showed that the AISAT reached a desirable level of reliability. Face, content, concurrent, and convergent validity were achieved to verify the AISAT. The authors hope that the AISAT will be used to measure domain-specific spatial ability, ultimately expanding our understanding of the role of spatial ability in spatial design thinking and performance. The AISAT has the potential to benefit (1) researchers who seek a credible tool to assess design students' spatial ability, (2) educators investigating the effect of their intervention in spatial design performance in relation to spatial ability, and (3) researchers in spatial ability who would like to extend their interest in spatial design beyond the traditional psychometric approach.

Proportion has long been central to theories of design and architecture before its role was questioned in the mid-twentieth century. In spite of this scrutiny, no definitive conclusion has been reached on the question of how proportion affects experience of the built environment. Here, an architect and a scientist attack this question from an empirical standpoint. They argue that, as a starting point, it is important to understand under which conditions proportions are perceptible by the flesh-and-blood person who moves freely through the built environment and observes it under various distances and angles. The authors begin by surveying the work of two forerunners of empirical study of proportion: The Russian architect and educator Nikolai Ladovsky, whose “psychotechnical” approach was inspired by scientific psychology, and the Dutch architect Hans van der Laan, who developed the theory of plastic number concerned with proportions of three-dimensional objects, and whose approach was strikingly similar to scientific approaches. Following an analysis of informal studies by Ladovsky and Van der Laan, the authors examine implications of such studies for education in architecture and interior design, and then describe two approaches to investigating architectural proportion formally, by methods of sensory psychophysics.

Virtual reality (VR) headsets exhibit great potential for conducting interior design research in immersive digital settings; however, additional studies are needed to map out limitations for their use to simulate real-world settings. We investigated how participant perceptions of a single interior environment varied among a real-world space (R) and two surrogate VR spaces (one made with 360° spherical photography and one made with 360° spherical digital rendering). A total of 42 undergraduate, interior design students were randomly assigned to one of two experiments, resulting in two groups of 21 students. Each participant completed a visual acuity task and evaluated perceived brightness, glare, and spaciousness within the real-world space and one of the two surrogate VR environments. Participants reported acceptable baseline levels of perceived realism in both VR environments. There was no significant difference between the rendered-VR simulation and real-world space for brightness, glare, and spaciousness, while the photographed-VR simulation was seen as significantly brighter and glaring. Performance on the visual acuity task was significantly lower in both VR simulations than in the real-world-approximating the difference between 20/20 and 20/60 vision. Implications and strategies for effective deployment of VR simulations in interior design research are discussed.

In this article, we look into different texts treating the history of education of interior design. Ever since the interior design discipline has started to seek connection with academia, research on its past has become a negotiation scene for a shared understanding of the discipline, its roots, and its current practice. Academic discourse is characterized by a need to counter perceptions that have pestered the discipline in the past, and have hindered its process toward professionalization. By scanning through the body of theory that has been produced in the past two decades, we search for content that acknowledges the value of historical education and its contribution to a debate on the discipline's identity. After contextualizing this specific kind of research, we not only try to find common ground between different texts that each focus on a specific time period, school, or country, but also aim to unveil the position taken by an author when constructing such a history. All authors showcase a need to use their text as a confirmation of disciplinary distinction—an aspect heavily perpetuated throughout discourse on interior design's identity. To conclude, we propose a different perspective on educational history that transcends a distinction-based narrative by postulating interior design's educational history as a strategy to produce new knowledge.

The author challenges the relationship of bodies to interior space and the disconnect between the typical interior design process and the role of clothing in the creation of identity. Concepts related to dress, the control of movement, equity, and comfort are also examined. Fashion design process is unpacked, proposing that concepts of fit, tailoring, and mending be applied to interior design. Connections are drawn between the scale at which clothing is patterned and to that of which interior spaces are designed. These concepts are explored further through a creative study based on the pattern making of clothing. An expanded interior design process is proposed to acknowledge more outwardly that interior design understands differing bodies, potentially resulting in more equitable interiors that respond and fit to the evolving characteristics of individual bodies.

Waiting to receive medical attention is universally present in outpatient health services and, therefore, is a critical experience for service satisfaction. Researchers find that the waiting room physical environment influences users, and it may reduce the adverse effects of waiting. In this study, we used the spatial user experience model (SUE) framework in order to better understand the impact of waiting room features on patient experience. We developed and administered a questionnaire in waiting rooms at two Chilean medical centers. Responses from 563 outpatients and their companions were analyzed through structural equation modeling, concluding that the model is appropriate to describe the SUE in waiting rooms. The dimensions of emotional reaction, spatial appreciation, physical compatibility, and spatial cognition had the most substantial influence on user experience. Furthermore, the user experience showed a strong influence on behavioral intentions desirable by the healthcare industry. Our study provides useful insights to managers and creative teams about the diversity of factors that should be taken into consideration to implement waiting rooms that facilitate positive experiences for patients and visitors.

Numerous generations are found in today's classroom ranging from Baby Boomer and Generation X instructors to Millennial and Generation Z students. While Generation Z comprises almost 80% of the student population among accredited interior design programs, little is known about their knowledge acquisition. Thus, the purpose of this study was to investigate the dominant learning styles among undergraduate interior design students of Generation Z. Following the work of Watson and Thompson, the Gregorc Style Delineator, a self-report instrument to determine learning style, was completed by 466 undergraduate interior design students enrolled in 14 Council for Interior Design Accreditation programs located across the United States. The findings indicate that interior design students have diverse learning styles, and it is particularly notable that a majority of participants are bimodal (n = 258; 55.4%). The most common learning style found was the combination of Concrete Random and Abstract Random (i.e., learners who are emotional and imaginative and enjoy holistic experiences with trial and error approaches and exploration). The second most common learning style was the unimodal Concrete Sequential (i.e., students who enjoy experiential activities and step-by-step processes). Surprisingly, Generation Z's educational characteristics have not changed much compared to students of the past with the exception of an increase in trimodal styles. Overall, this study's results can help evaluate and design the best methods to facilitate instruction that supports students' learning preferences to enhance educational outcomes.