Sociala medier är ett fenomen som växer sig större och blir alltmer förekommande världen över. En av de mest använda plattformarna är Instagram där människor genom bilder kan dela med sig av sin vardag och där företag får chansen att sprida sitt varumärke genom en visuell kommunikation. Idag är det mer utmanande än någonsin för företag att sticka ut med sina budskap på en marknad som blir alltmer mättad och det ligger stor vikt i att särskilja sig från sina konkurrenter. En av alla de branscher som detta berör är inredningsbranschen, där de visuella delarna är en viktig pusselbit för att lyckas inspirera och locka nya, samt nuvarande konsumenter på en digital marknad. Denna studie undersöker därför vilka visuella element i inredningsbilder från inredningsföretag inriktade mot en kundgrupp från Skandinavien och Norden på plattformen Instagram, som tilltalar och väcker mest intresse hos konsumenter samt hur dessa visuella element kan användas i praktiken. Syftet med studien är att studera vilka visuella element i inredningsbilder publicerade av inredningsföretagen Ellos, Rum21, Hemtex och Royal Design, som tilltalar den valda målgruppen; kvinnor i åldrarna 19–30 år, hur dessa företags visuella språk ser ut, samt om företagens intentioner stämmer överens med vad målgruppen upplever som tilltalande. För att besvara detta används teorier som semiotik, visuell retorik, digital marknadsföring, visuell kommunikation samt identitet.Studien har en kvalitativ ansats och har genomförts med bildanalyser på fyra olika bildmaterial, där ett inlägg per företag har valts ut. Studien har även genomförts med fem semistrukturerade intervjuer med den valda målgruppen kvinnor i åldrarna 19–30 år. En inledande enkätstudie utfördes och låg som grund för resten av arbetet. Analys av det utvalda bildmaterialet tillsammans med den tematiska analysen av de semistrukturerade intervjuerna visar att de främsta visuella elementen i inredningsbilder som tilltalar och väcker mest intresse hos den valda målgruppen är färgskalan, ljuset i bilden, den fotografiska vinkeln samt val av material. Dessa visuella element påverkar i hög grad vad konsumenterna får för associationer och upplevelser, vilket i sin tur bidrar till känslan som bilden förmedlar. Dessa bör användas samt implementeras på rätt sätt för att tilltala, där studien visar att företagens visuella språk till viss del stämmer överens med vad som tilltalar målgruppen i en visuell kommunikation. Den bristande aspekten ligger i att inredningsföretagen inte alltid har tillräckligt med insikt i vad konsumenterna kommer att associera och känna kring de valda visuella elementen samt dess kontext. Detta resulterar i att konsumenternas upplevelse av bilden inte speglar den känsla som företagen ämnar att förmedla. Detta leder vidare till att de visuella elementen förvirrar budskapet snarare än att förstärka det. Genom att använda de ovan nämna visuella elementen på rätt sätt, i kombination med varandra, så kan inredningsföretag stå ut i mängden där de lyckas tilltala samt inspirera konsumenten genom sina inredningsbilder. / Social media is a growing phenomenon that is becoming more prevalent around the world. One of the most widely used platforms is Instagram, where people can share their everyday lives through photos, and where companies can spread their brand through visual communication. Today, it is more challenging than ever for companies to stand out with their message in a market that is becoming increasingly saturated, and it is important for companies to differentiate themselves from competitors. One of the many industries that is affected by this is the interior design industry, where the visual elements are an important piece of the puzzle to successfully inspire and attract new and existing consumers in a digital market. This study therefore investigates which visual elements in interior design images from interior design companies on the platform Instagram, targeting a customer group from Scandinavia and the Nordics, that consumers experience as most appealing. The study also investigates in where they create the most interest among consumers and how these visual elements can be used in practice. The aim of the study is to investigate which visual elements in interior design images published by the interior design companies Ellos, Rum21, Hemtex and Royal Design, that is the most appealing to the selected target group of women aged 19-30 years, what the visual language of these companies looks like and whether the companies' intentions match what the selected target group finds appealing. To answer this question, theories of semiotics, visual rhetoric, digital marketing, visual communication, and identity are used.The study has a qualitative approach and has been carried out trough analysis of four different interior images, where one post per company has been selected. The study has also been conducted with five semi-structured interviews with the target group of women aged 19-30 years. An initial survey was carried out and formed the basis for the rest of the work. Analysis of the selected visual material together with the thematic analysis of the semi-structured interviews shows that the main visual elements of interior design images that appeal to and arouse the most interest in the selected target group, are the color scale, the light in the image, the photographic angle, and the choice of materials. These visual elements greatly influence the associations and experiences for the consumers, which in turn contribute to the emotion conveyed by the image. These should be used and implemented in the right way to appeal, where the study shows that the visual language of companies is to some extent consistent with what appeals to the target audience in a visual communication. The missing aspect lies in the fact that interior design companies do not always have enough insight into what consumers will associate and feel about the chosen visual elements, as well as the chosen context. As a result, consumers' experience of the image does not reflect the feeling that the companies intend to convey. This further leads to the visual elements confusing the message rather than reinforcing it. By using the above-mentioned visual elements in the right way, in combination with each other, interior design companies can stand out from the crowd where they manage to appeal to and inspire the consumer through their interior design images. / <p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

Considérant qu'un bâtiment « clos et couvert » ne représente encore qu'un « potentiel d'habitation », en quoi la qualification de l'intérieur a-t-elle affaire à l'architecture ? Appartient-elle ou non, in fine, au projet architectural ? Il s'agit, pour commencer, de fonder une histoire qui n'existe pas, au croisement de l'architecture, de la décoration et du design, de définir les termes en jeu dans l'« habiter», ses métiers, la notion d' « architecture intérieure », une typologie de relations entre l'architecture et ses espaces intérieurs. L'intégration de l'habiter au projet architectural, considérée comme légitime et revendiquée par la majorité des architectes contemporains, est en réalité le fruit d'un lent processus historique, qui s'étend de l'invention de l'architecture comme art libéral à partir du XVe siècle jusqu'à la « synthèse des arts » Moderne, qui, après les premières Gesamtkunstwerk de la fin du XIXe, en représente l'aboutissement idéologique au début du XXe. La période 1949-1972 correspond à un retournement de cette situation, processus inverse de « décrochement des murs », rupture historique en même temps que retour cyclique aux origines d'une architecture-abri dont l'habitabilité est fondée par l'objet. Au milieu du XXe siècle, l'autonomie originelle de l'intérieur, n'allant plus de soi, doit être redécouverte et, désormais, conceptuellement fondée. La thèse met en évidence les mécanismes qui aboutissent finalement, à la fin des années 1960, à réinventer théoriquement cette indépendance de l'intérieur vis-à-vis du bâti. / Considering that an “enclosed and covered" building represents only the ''potential of inhabiting," what does the concept of the interior have to do with architecture? Does it or does it not belong, in the end, to the architectural project? It is a matter, to start, to construct an historical narrative that doesn't exist, one that is at the crossroads of architecture, decoration and design, to define the terms at play in the word "inhabit": its arts and trades, the notion of "interior architecture," a typology of relationships between architecture and its interior spaces. The integration of inhabited space into the architectural project, considered legitimate and acknowledged by most contemporary architects, is in reality the fruit of a slow historical process that stretches from the invention of architecture as a liberal art in the 15th century up to the Modern "synthesis of the arts" that, following the first Gesamtkunstwerks of the late 19th century, represents that process's ideological completion in the early 20th. The period from 1949 to 1972 corresponds to a reversal of this synthesis, an inverse process of dissociating from walls. It is an historic rupture at the same time as a cyclic return to the origins of a shelter-architecture for which habitability is based on the object. In the mid-20th century, the original autonomy of the interior, no longer self-evident, must be rediscovered and, henceforth, established conceptually. The thesis reveals the mechanisms that culminate, in the late 1960s, in the theoretical reinvention of the independence of the interior relative to the structure.

Mötesplatsen är en utforskande designuppsats som behandlar ämnena möten, kommunikation och återhämtning på arbetsplatsen. Vi gör en litterär undersökning där vi tittar på forskning gjord av Rachel och Stephen Kaplan, Gary W. Evans och Janetta Mitchell McCoy med utgångspunkt i frågeställningarna: Hur skapas en plats för vila och återhämtning? Hur skapas en plats för naturliga möten och kommunikation? Hur skapas en samlingspunkt för att lära känna varandra? För att få ytterligare utgångspunkter utför vi även enkätundersökningar och intervjuar tre arkitekter. Baserad på en kreativ process resulterar undersökningen i ett inredningskoncept och en möbel utformad för en planerad mötesplats inför samlokaliseringen av en nybildad koncern. / The meeting place is an investigative design essay which covers the subjects meeting, communication and recovery at the workplace. A literary investigation is made where we study research by Rachel and Stephen Kaplan, Gary W. Evans och Janetta Mitchell McCoy based on the questions: How could a restorative space be designed? How could a meeting place and a place for communication be designed? How could a meeting place to get to know each other be designed? To broaden our investigation we are carrying out surveys and interviewing three architects by profession. Based on a creative process the investigation results in an interior design concept together with a furniture designed for a planned meeting place for a recently united concern.

Thesis (MBA)--Stellenbosch University, 2011. / Customers expect from a store that displays expensive products to make an effort to decorate the store with atmospheric elements to create a prestige atmosphere. The four stores that the participants visited target upper-class customers and display expensive products. One of the participants mentioned that the atmosphere in Hip Hop remind her of a take-away restaurant. Hip Hop was making no effort to decorate its stores to create a hedonic experience for its customers. They were relying on their well-known brand name to sell their products. In the long run, this strategy will not be effective as the competition gets tougher and more brands enter the market. High-class fashion stores focus more on hedonic customers. Customers do not need to buy expensive clothes as there are many discount stores that could fulfil their clothing needs. In order for high-class fashion stores to attract customers they need to create a hedonic experience for their customers in the store. The customers must want to enter the store and spend time in the store. Atmospheric elements can attract customers to the store and influence the time they spend in the store. It is important that new fashion stores have the right atmospheric design in their stores. New stores cannot rely on a name as this is not well known. The atmospheric design of a store tells customers what they can expect in the store. One of our main findings is that there is a difference between the atmospheric designs in shopping centres. The fashion stores in the V&A Waterfront in Cape Town use atmospherics in their stores to create a prestige atmosphere for their upper-class customers. On the other hand, the atmospheric designs in the fashion stores in Canal Walk, which attracts middle-class customers, had a lower quality and were not regarded to be as prestige as those of the V&A Waterfront stores. The most expensive merchandise was also found in the fashion stores in the V&A Waterfront. Most of the stores in our sample use some atmospheric elements. However, the combination of the atmospheric elements in the stores did not always match. The participants viewed the atmospheric design as a whole and it was important to them that all the atmospheric elements fit together. The participants were noticeably disappointed with a store that did not make use of atmospherics to enhance its customers’ shopping experience. They found the store too plain as the storeowner did not make any effort to decorate the store. When they entered a store that did make use of atmospherics, the participants mentioned that they would like to spend more time in the store.

Examensarbetet Binary surfaces - ljusemitterande textiler för inredningssammanhang är ett undersökande arbete om hur fiberoptik kan användas i vävda strukturer. I arbetet har de parametrar som påverkar mötet mellan fiberoptik och väv, samt de möjligheter de tillsammans skapar utforskats. Resultatet är två exempel på tyger vävda med fiberoptik i kombination med mer traditionella textila material. Exemplen är framtagna för inredningssammanhang och visas som en rumsavdelare och som yttertyg på sittmöbler. / The thesis Binary surfaces - light-emitting textiles for an interior design context is an investigative work on how optical fibres can be used in woven structures. The work explores the different parameters that affect the interaction between optical fibres and weaving, and the possibilities they create together. The result is two examples of fabrics woven with optical fibres in combination with more traditional textile materials. The examples are designed for an interior context and are shown as a room divider and as outer fabric on seating furnishing.

The overall purpose of this study was to examine the nature of curriculum in college-level interior design programs, explore computer-aided design’s (CAD) place in these curricula, and examine pedagogy used to teach CAD in these programs. Specifically, the objectives of this study were to better understand (a) the nature of college-level interior design programs with regard to curricular conceptions, (b) how interior design programs integrate CAD into the curriculum, and (c) how interior design instructors adopt and integrate CAD into their teaching practices. A qualitative research methodology using case study design was used. Data at two college-level interior design programs were collected using document analysis and interviews with six interior design instructors, three from each institution. Previous studies (Hill & Anning, 2001b) examined and identified how other design fields such as graphic, engineering, architectural, and apparel design practice the design process. However, there is little research found on how interior designers practice design and their profession, or how they use CAD in design. Therefore, this research contributes to the literature on how interior design professionals design using CAD programs and more specifically how they incorporate AutoCAD software in their professional design practice and in their teaching of interior design curriculum. Findings revealed that participants referred to their own professional practice to conceptualize and teach the design process. The phases of the design process described by each instructor were context-specific to a design project and their use of CAD in the design process depended on their preferences, skills, abilities, and the context of their professional practice. Findings also revealed that CAD is an important tool in the field of interior design. Even though CAD may inhibit an interior design students’ creativity, it can save time, document drawings, and assist in better coordination with other professionals in the workforce. To enhance interior design students’ skills, it is recommended that CAD courses be placed at the early courses of an interior design curriculum concurrently with manual drafting courses. This research provides useful information for future interior design instructors and CAD curriculum planning. / Thesis (Master, Education) -- Queen's University, 2013-04-23 14:18:55.35

This practicum project investigates current emergency department waiting room models and explores how the psychology of waiting can be applied to positively influence the waiting experience. This culmination of research, coupled with concepts of evidence-based design (EBD), precedent research and regional site visits result in an understanding of emergency department waiting that challenges current emergency department design. This knowledge led to the formulation of a theoretical framework and hypothetical design proposal that aims to uncover, identify, and integrate design concepts known to influence emergency department waiting environment satisfaction. / February 2017

This practicum project explores the intersection of sexual identity and contemporary workplace by means of a proposed gay coworking office in Winnipeg, Manitoba. As a result of increased closures of gay bars and other gay-identified places for developing community, there is a void in the gay community. Drawing from Edward Soja’s theory of thirdspace, this practicum proposes the creation of a new gay community by reimagining workspaces through the lens of gay identity and safe space. The intention of this proposal is to challenge traditional ways of thinking about the office as a predominantly heterosexual domain and to create safe work spaces that celebrate difference. The space focuses on supporting the social and collaborative aspects of coworking while interrogating space that is both work and home, between work and home and neither work or home with the objective of creating a new gay typology. / February 2017

This practicum project examines the long-standing association between the domestic realm and gendered space as well as issues that have emerged in urban areas, such as poor access to healthy food options. Drawing on utopian concepts that have challenged conventional forms of residential development and the organization of domestic functions and spaces, it proposes the adaptive reuse of the Royal Albert Arms Hotel in Winnipeg. Concerned with the design of a model of housing that features a communal kitchen and dining facility, among other shared spaces, this project investigates the potential of such common rooms as a means to foster a sense of community within the building. In doing so, it explores how interior design can reimagine domestic space in a more proactive and socially conscious manner, improving the quality of life for inhabitants in the context of their homes, and more broadly, the city. / May 2017

How might interior environments play a role in promoting life long well being? According to Passarino, et al., genetic variety only accounts for about 25% of the variation of human longevity. A combination of diet, environment and exercise comprise the greatest factors. The amount of time Americans spend indoors presents a challenge to increasing physical activity: the Environmental Protection Agency (EPA) states that Americans spend 93% of their lives indoors (Roberts, 2016). Therefore, if physical activity is crucial to living longer, the design of interior environments could logically be a critical factor in promoting natural movement and sustaining lifelong well-being. National Geographic fellow Dan Buettner identified five “Blue Zones” throughout the world where people naturally live longer: Ikaria, Greece; Okinawa, Japan; Oligastra Region, Sardinia; Loma Linda, California; and Nicoya Peninsula, Costa Rica. These regions have unusually high concentrations of centenarians who had grown old without noticeable signs of heart disease, obesity, cancer or diabetes (Buettner, 2015). Buettner identified nine common principles that universally characterize well-being in the Blue Zones. The first, and most crucial to design in the built environment, is to “move naturally.” Healthy centenarians, Buettner says, “live in environments that constantly nudge them into moving” (Buettner, 2015). This research will seek to translate Blue Zone principles aimed at promoting continued well-being through natural movement that can inform principles for the creation of interior environments. RESEARCH METHODOLOGIES Further analysis of Blue Zones principles will address specific conditions and behaviors that encourage natural movement. A literature review and case studies will be presented that show a correlation between natural movement within the built environment and measurable increases in healthy outcomes. The example projects include La Maison de Verre, Paris, France; L’Unité d’Habitation à Marseille, France; and Tea House, Bethesda, Maryland. Interior design that encourages regular natural movement occurs primarily in the design of a building’s major circulation systems and its program (Center for Active Design, 2010). Corridors, elevators and lobbies that connect other spaces in the program encourage walking. Elements like stairs, bicycle storage and furniture that produces micro-movement promote activity when they are visible, safe and attractive. Programmed spaces that encourage physical activity like dance/movement studios and those that promote healthy diets also lead to increases in healthy behaviors, which ultimately lead to increased longevity. Using these guides, a building in Richmond, Virginia will be redesigned as a micro-Blue Zone that could be used as a model for promoting increased life long well being. This two-level adaptive reuse, mixed use commercial project will address vertical transitions, social spaces and outdoor relationships that encourage residents and visitors to move throughout the day.