Corporeal Architecture

This chapter describes a teaching method, corporeal architecture, which uses performance art and neuroscience to teach interior design and architecture with a focus on embodiment and experience. The method sets new approaches to teach design, as it integrates design, neuroscience, and performance art and brings awareness to the importance of multi-sensory experience. The interaction with design objects at different scales is taken as an opportunity to investigate how the human body relates to space and allow the exploration of affordances through movement. Students are instructed with physical exercises and encouraged to design, build, and perform with objects such as chairs, cabinets and tables, installations, existing buildings, and public spaces. The performances explore narratives which reveal or subvert expectations we have around design objects. The methodology has a background in phenomenology, Maurice Merleau-Ponty and Juhani Pallasmaa; Antonio Damásio in neuroscience; and Oskar Schlemmer, Marina Abramovic, and Stelarc in Performance Art.

Social Interweaving and Networking “Bindungslehre 2.0” for a New Social Design and Thinking Process

The chapter explains a new design methology. On the basis of prehistoric textile products and their cultural design, the smallest units, fabric patterns, the most diverse types of fabric, enmeshment and cross-linking, new arrangements of yarn systems into new one-, two-, or multi-dimensional structures, relationships, systems and networks, how things interrelate with each other is depicted. The method relies on the recognition of patterns and relationships from all possible disciplines, whether textile, architecture, interior design, urban planning, mobility, social media, or social society, which can then be used holistically and sustainably for all complex questions of life and space. On the basis of abstract concepts, attention is trained for units and made available for New ones. This enables completely new perspectives in an ever more complex, social, and societally changing world. The examples and design approaches presented in the chapter concentrate primarily on process development and the associated holistic approaches.

Looking Back While Looking Forward

With the increasing globalisation and modernisation, the recent interior architecture practices across the globe seem unified and present a huge departure from a sense of identity and belongingness of where it is at. The built landscapes that earlier reflected a rich craft culture are slowly transforming into standardized and homogenized boxes with very little cultural meaning attached to them. This is no different for a country rich with craft traditions like India, where the contemporary interior architectural landscape seems highly disconnected to its craft culture and surrounding context. The chapter focuses on two major discourses; the first one sets up a base with discussion on the notions of craft, space making craft, and contemporary interior design practices in India; and the second one focuses on the need of integrating crafts in interior design education through case studies of a variety of academic courses offered at Faculty of Design, CEPT University, India.

A Methodology for Interior Design

The notion of designed space often comes up with the tendency of perfection. This approach, which connects the design to perfection, is mostly reflected in the overall design, even in the representations. In this approach, the power of representation advances in direct proportion to its perfection and perfection is expected in the designed spaces. The situation created by this perfect representation and the reflection of perfection to the design also emerges in the “home” where daily encounters and routines are most intense. Rather than a flawless photogenic object, interiors are dynamic and variable environments containing daily encounters. The interior design practice can be handled from this context and actively influence the design methodology itself. The study shows that as the concept of “home” moves away from a photogenic object, the potential of designing a multi-layered and flexible living space in interior design studios increases. This situation provides alternative spatial articulations in the final product and representations as well as in the interior design process.

“Tectonics” as a Spatial Perception Tool in the Design Process

Design process has its own structure which is affected by many aspects. Moreover, there are many tools that contribute in this multidimensional process. Within the framework of this chapter, the tectonics is suggested as a directive tool through the design process. Istanbul Technical University Interior Design students' second year studio, where tectonics was used as a spatial perception tool, was examined. The main title of the studio was festival space design, where festivals were discussed as a performance scene for urban interiors. The main idea of suggested method is to consider environmental aspects in different scales and project those findings to tectonics. The main purpose of this project is to create a new perspective to interior design studio approach. The subject of the project was shaped within the framework of testing that interior architecture is not independent from architectural elements contextually and phenomenologically and that environmental decisions and architectural tectonics can be used as a data to put forth the new ideas for interior design methodology.

Towards Interior Architecture Design V4.0

In the history of design, it may be remarked that the world is in a new paradigm shift at the level of breaks in the transition to agriculture, industry, and information societies. As in many fields of design, interior design is also evolving in terms of design thinking as well as being subject to change in all processes under the influence of intensive technological development. While information technologies are implicated as aides in the design processes in the early stages of this evolution, they are now used for creating unique design and production approaches. This chapter discusses and re-interrogates the contributions and effects of these developments on the structure of interior design methodologies.

Performing a New Agenda for a First-Year Interior Architecture Studio

Considering the content and complex structure of design education, it is important to include the making, body, and movement in design pedagogy. In this context, thinking design with theatre opens to an aggregation of opportunities for thinking holistically and creatively about the character, elements, functioning, and the outcomes of the first-year design studio. This chapter presents a pedagogical approach for the first-year design studio through a final project, Theatre Space, which was devised as an integrated seven-week process of comprehending, interpreting, designing, fabricating, and performing Samuel Beckett's Quad 1+2, with all its components such as stage and décor, costume, accessories, makeup, light, sound, and performance. Students from the Departments of Architecture, Interior Architecture, and Industrial Design had a chance to display how they internalised and applied basic principles of design in their drawings, sketches, diagrams, writings, and collages, as well as the final physical products in 1/1 scale within a performative exhibition: Anti-Quad.

Triz Model Approach for Conceptualizing Household Furniture With a Disassembling Design

This chapter is intended to present the main criteria of the systematized method to solve TRIZ inventive problems, as a tool that can be used when conceptualizing furniture for environmentally low impact homes with a design that can be disassembled. Detailed study of the TRIZ principle applicability facilitates identifying knowledge organization to solve technical problems of great difficulty, as well as creative strategical processes to answer questioning about shape, materials, interfaces, technical viability, and understanding of furniture functions. In order to strengthen the design's creative process, application of the 4 properties to determine easiness of disassembling are considered, as proposed by Johansson and Björkman, which are 1. identification easiness; 2. accessibility; 3. separation easiness; and 4. handling easiness; likewise, contextual and conceptual analysis is considered for the beginning, development and conclusion of the project.

Expanding Horizons for Interior Architecture

This chapter addresses the pressing issue of transnational forced migration around the world which has reached another level of urgency since 2015 when the countries in Europe began receiving migrants from Syria. As a result, providing housing solutions for temporary accommodation has been a significant concern and a variety of responses have been developed in and around Europe to facilitate temporary accommodation of forcibly displaced people. A significant part of these endeavours consists of efforts for developing universal solutions in the form of housing units which present a product-oriented approach and often fail to account for the complexities of dwelling. This chapter discusses the involvement of interior architects in the matters of forced migration in relevance of both their scale-focus and skillset, by critically examining the tools and methods they use and adopting the process-oriented and cross-disciplinary approaches which consider the social and cultural complexities of temporary living.

A Pedagogical Model to Integrate Computational Thinking Logic to First Year Design Studio

Today, computational thinking and computational design approaches transform almost all stages of architectural practice and education. In this context, since students are most likely to encounter computers, in this study, the approach of teaching students computational design logic is adopted instead of teaching how to use computers only as a drafting or representation tool. This study focuses on developing a pedagogical model that aims to teach computational thinking logic and analog computing through a design process. The proposed model consists of four modules as follows: abstraction of music and text (Module 1), decomposition of buildings (Module 2), analysis of body-space (Module 3), design of a space by the help of spatial patterns (Module 4). The proposed model is applied to first-year students in Interior Design Studio in the 2019-2020 fall semester. As a result of Module 4, students designed both anticipated and unanticipated spaces in an algorithmic way.