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Designing a culturally appropriate space begins by recognizing that culture affects us from the moment we are born. It plays a role in how a child grows up, how a person communicates, how a person perceives time, the beliefs and values of a family, as well as the way space is inhabited. These cultural characteristics inform how designers design space. However, what happens when the designer is not from the client’s culture? Knowledge about another culture is often gained by interior designers through client interviews, internet searches, and the occasional book. It is important to add community visits to this list. Cultural understanding is enriched when a person is able to experience the culture through smells, sights, sounds, touch, and taste. These sensory experiences explain answers to questions we, as interior designers, never even knew we had. This project responds to the gap that exists between the designer and the clients’ community. Through an exploration of the Nicaraguan culture and cross-cultural theory this project proposes a design for an art therapy centre that addresses Nicaragua’s culturally-specific needs. By examining trauma and its effects on children, the design can be child-specific while being sensitive to trauma-related symptoms. This will be done through the exploration of areas of knowledge related to sensorimotor theory, art therapy, and mind, body, space theory.

Designing a culturally appropriate space begins by recognizing that culture affects us from the moment we are born. It plays a role in how a child grows up, how a person communicates, how a person perceives time, the beliefs and values of a family, as well as the way space is inhabited. These cultural characteristics inform how designers design space. However, what happens when the designer is not from the client’s culture? Knowledge about another culture is often gained by interior designers through client interviews, internet searches, and the occasional book. It is important to add community visits to this list. Cultural understanding is enriched when a person is able to experience the culture through smells, sights, sounds, touch, and taste. These sensory experiences explain answers to questions we, as interior designers, never even knew we had. This project responds to the gap that exists between the designer and the clients’ community. Through an exploration of the Nicaraguan culture and cross-cultural theory this project proposes a design for an art therapy centre that addresses Nicaragua’s culturally-specific needs. By examining trauma and its effects on children, the design can be child-specific while being sensitive to trauma-related symptoms. This will be done through the exploration of areas of knowledge related to sensorimotor theory, art therapy, and mind, body, space theory.

This thesis sets out to investigate hedonic and cultural web interface design elements present on wine tourism destination websites. The thesis focuses on explaining several cultural frameworks and especially the notion of localization, globalization, culturability, and cultural markers, the high/low context theory as well as tenets of hedonics in user interface design. The aim of the thesis was to develop a better understanding and knowledge about which localized design elements that exist and are important in the cultural context of wine tourism destination websites. Hence, the patterns found can help understand how to create and design websites that are culturally sensitive and globally congruent, thus meeting the needs and behaviors of users across different cultures and backgrounds. A web design analysis was conducted to answer the research questions and results were analyzed qualitatively. The results from the web design analysis indicate several similarities and differences found in web interface design elements between the investigated websites. The results found, indicate that the use of hedonic and cultural web interface design elements present on the interfaces investigated are highly context-dependent. Meaning that the websites are preferably considered being culturally dependent, and to a greater extent reflect and are used to motivate the cultural context examined and regional differences. Hence, the patterns found in web interface design elements are considered to be culturally sensitive to the context of wine destination websites and marketing aims of the websites investigated.  The findings can increase knowledge about hedonic aspects in cross-cultural design and can thus be used to help create culturally congruent and globalized interfaces for this specific context.

Storytelling presented in digital archives can provide indigenous communities with a voice needed to tell stories and thus enhance the society’s understanding for that community. The objective was to evaluate a digital archive prototype from a perspective of rendering Sami stories and storytelling. This was done by collecting data with the method Research through Design where a prototype was designed and demonstrated in two steps to the indigenous people of Scandinavia known as the Sami people. The findings suggest that the prototype can render Sami storytelling to some extent but that digital archives, in regard to indigenous cultures, must be designed with sensitive ethicalities in mind. These digital archives must also be designed so that immersive stories can be rendered whilst also providing the indigenous people the right to be prosumers in order to provide them the empowerment to own their own culture. These issues and future research are discussed in the paper.

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