Journal of Interior Design最新文献

The purpose of this qualitative study was to explore stakeholder' perspectives of control within general correctional and solitary confinement environments with findings focused on trust, sound, views to nature, routine, and time. Research was conducted at two medium security prisons in a large US state with male inmates. Using a survey methodology, interviews occurred with 10 inmates, 10 correctional officers, two superintendents, one staff psychologist, one nurse, and two correctional design architects. Observations and photography followed while visiting and leaving the prisons. Using grounded theory as a data analysis tool identified the themes of trust, views to nature, sound, time, and routine viewed through the overarching premise of control. Incongruence between rehabilitation and punitive environmental goals were found. Correctional officers who emphasized fear and trust valued visual surveillance despite its ability to lead to austere indoor and outdoor spaces. Inmates craved outdoor views along with personal possessions as these items established a more meaningful passage of time. Sound, as noted by the correctional architects, was not designed as a rehabilitative tool, but instead was used to denote impending attacks. And routine, so valued by inmates, was often taken away as a form of control. Implications suggest that the US prisons observed in this study exemplified control, dominance, and punishment. Future prison design should embrace the rehabilitative and healing strategies used in European models to help lower rates of recidivism which are problematic in the American prison system.

The Hindu temple is a place where gods may be approached, and divine knowledge discovered. The design of the temple based on the cosmic man, the “vastu purush mandala,” allows the experiencing body to be aligned with celestial elements, obtaining harmony with the cosmos. Exploring the sequence and processes of bodily engagement as one progresses from the periphery to the core, the article seeks to apprise designers on the rituals encompassed in worship at a Hindu temple. The article creates a mosaic of hybrid fragments via photographs, drawings, and text to emphasize the intertwining of the bodily and divine.

The Slave House on Gorée Island is a sacred, spiritual mecca representing the transformational passage of descendants whose ancestors were displaced from continental Africa through the Trans-Atlanta slave trade. This visual essay presents an autoethnographic exploration—including first person narrative voice—to discuss spaces, places, and architectural structures central both to the Slave House as an architectural structure and to the context of Black identity. The structure, we argue, speaks of architectural beatification by Black ancestral spirits at a critical cultural moment of cultural diasporic creation and displacement of spirit and identity. It acts as a witness to the trauma of ancestral separation, the cultural memory transmitted through every taken step, and the common experience of displacement and identity that emotionally connects the present with the past.

Between 1870 and 1920, American manufacturers designed furniture that re-shaped the sensorial experience of office work. To help businesses inculcate efficient practice, furniture re-shaped the posture of employees, programmed their actions, and determined sight lines, soundscapes, and circulation patterns. In the catalogs, textbooks, and trade journals they published, manufacturers gendered and racialized furniture and occupations. By 1920, White-owned businesses adopted methods built upon standard mass-produced furniture that affixed White male clerks to their desks and transferred the responsibility for moving information through the office to middle-class White women. Understanding the historical use of furniture to shape demographics in the twentieth century office opens possibilities and opportunities for new paradigms in workspaces.

Charles-Edouard Jeanneret, also known as the architect Le Corbusier, developed a method of color selection for the built environment based upon his assessment of universal constants of human perception. Le Corbusier's search for the unchangeable mecanisme de l'emotion was paramount in the development of his compositional and artistic theories and the movement Purism. While Le Corbusier's sense of space, structure, and proportion are deeply ingrained in contemporary design thinking, his architectural modes of color integration and rationale remains elusive to most members of the architecture and design community despite recent research in the field. This widespread uncertainty may reflect many designers' general lack of understanding about architectural color. This investigation explores Le Corbusier's color choices in order to achieve a “constant” human reaction through his development of a standardized method for color use in architecture. His color assignment system was developed in the early phase of his architectural career, from about 1918 through 1931, coincident with his collaborative development of the Purism movement. Le Corbusier's system and use of color is evaluated utilizing Albert Munsell's precise color notation framework. This writing will culminate with analysis of Le Corbusier's first experimental attempt in applying his Purist color theories to architecture as demonstrated in Maison La Roche (1923–1925).

This paper explores how to begin interior architecture education and provides a fertile ground on which students can tackle design departures. Narratives are studied as a vehicle and an opportunity for self-expression and discovery for first-year students to explore and produce atmospheres. The project Staging Poe draws its narrative inspirations from Edgar Allan Poe's poems. It proposes to approach atmosphere through a narrative method, by translating words into materiality. Narratives of literary works are proposed to novice students as starting points while stepping into the not-yet-familiar ways of the design process. Staging Poe further envisions a first-year design studio rooted in ongoing contemporary debates on the theory and practice of atmosphere and materiality in tandem with technology. The objective is to inspire a new generation of interior architecture students. This paper begins by discussing the theory of atmospheres and the potential role of narratives in exploring atmosphere within the Basic Design studio. Next, we examine Poe's The Philosophy of Composition as a guide to translating narrative into atmosphere before discussing the design of the Staging Poe project and the two consecutive phases of its methodology. Student progress is reviewed through an analysis of weekly reports and followed by an examination of the students' overall performance in the course. The findings of the analysis demonstrate how the structure of the studio advances student design thinking and performance in relation to their understanding of atmosphere and its material and quasimaterial agents. The study concludes that there is room for the exploration of alternative and field-specific methods in the education of interior architecture discipline.

The purpose of this study was to investigate the effects of interior color schemes in immersive virtual environments (IVEs) on emotion, task performance, and heart rate to examine IVEs' potential for interior color research. Fifty-five (n = 55) student participants were recruited to experience four different colored IVE models (i.e., red, green, blue, and white), and their emotions, heart rate change, and proofreading performances during the immersion were measured. Participants were also asked about their sense of presence after the experience. The findings support the following three hypotheses: (1) IVE interior color schemes affect subject emotion, (2) IVE interior color schemes affect subject task performance as measured through a proofreading exercise, and (3) IVE interior color schemes affect subject heart rate. Specifically, red was perceived as significantly heavier, warmer, more exciting, tenser, and unpleasant. Significantly fewer errors occurred during the white immersion versus the green color scheme when completing the task performance exercise. While heart rate was reduced for each color, significant decreases were detected in the blue, white, and green color scenarios. The majority of participants felt a sense of being there when experiencing the four colored IVE spaces. Based on these results, we conclude that IVE has potential for interior color research to overcome the limitations of traditional color research tools.

In the fields of Product Design and Human–Computer Interaction, the term User Experience has been used to describe the interaction with products and systems. The largest product that humans interact with is the built environment. We use the built environment constantly for various functions. Based on a thorough review of the literature from multiple disciplinary sources, we introduce a model of Spatial User Experience (SUE), in which we define six dimensions as the main influential factors of the User Experience. These dimensions are categorized into two groups: (1) Ergonomic-Instrumental, including Spatial Cognition, Physical Compatibility, and Environmental Compatibility; and (2) Affective, comprising Emotional Reaction, Spatial Appreciation, and Proxemics. Furthermore, the User Experience influences behavioral responses, which will depend on the context and the activity performed. The model aims to be flexible enough to be applied in different physical settings. Its purpose is to contribute to the theory building in User Experience and Interior Design and to provide a foundation for empirical research. Future studies will be able to further validate the relationships defined in the model in diverse physical settings, identifying the dimensions that have greater impact on the User Experience. Ultimately, it is our objective to orient practitioners in the design of places that foster positive experiences and well-being.