INSPIRATION The project is inspired by the deliberation on the significance of the vehicle’s physical movement in the future. Traditional transportation is committed to delivering people to destinations faster and more efficiently, which is a purpose-oriented result. However, with the impact of digital technology development, virtual moving (VR travel, remote work, online shopping) seems to be able to replace the need of achieving the destination physically. So, the author believes that the significance of future physical moving should pay more attention to the process, and the future vehicles are supposed to be passengers emotion-centered.The “trapped citizens” problem also inspired the author. Many citizens (including the author) in Chinese big cities suffer a full-speed regular but boring unhealthy lifestyle. They have a strong desire to travel and experience new things, but the city and their work become the border trapped them.The project aims to explore easy access to anywhere travel. And figure out how can the RV design help users enjoy more “on-road” happiness. And how to decrease the burden for both users and the environment. PROCESS Since TOYOTA is an innovative and considerate brand, which can explore new ground and aim to produce happiness for all. The author spent a lot of time on the exploration and verification of the project. After the first research and examination of relevant topics, the author planned a self-driving RV travel, so the results were further developed and worked out. The system of concept that takes place is defined in more detail based on further investigations such as scenario, benchmark, and target users. The project includes exterior design and UX design but concentrates more on interior design. In addition, an insight into the inspiration and the process of aesthetic design is described and illustrated in anime-style sketches and renderings. Then further development in 3D and VR verification was shown up in the final digital model. RESULT The result is TOYOTA QUARTER-SPEED (0.25X), which aims to explore a future shared RV service for Chinese citizens to slow down and enjoy the happiness which focuses more on the on-road journey instead of the destination. TOYOTA 0.25X system can provide a lightweight journey for citizens. The user can book the customized interior, furniture, electric appliances, and food through the app. And TOYOTA plays the role of energy supply and waste recycling. Mostly the vehicle is for short-term rent, but it also has the possibility to become a long-term motel. The TOYOTA 0.25X vehicle achieves waste-free, introduces the nature inside, and has a more compact dimension. The interior creates a quiet and peaceful atmosphere which can leave time for passengers to find happiness and connect to the world.This time no need to hurry, just slow down and enjoy the on-road happiness.

No description available.

Visualization is an important part of the design process. The sketches that are created during the design process are the visible evidence of the visualization that occurs in the brain. The process of designing involves a conversation that occurs between the student and the sketches created during problem finding and problem solving in the design process. This conversation allows the student to progress through the design process manipulating both the drawn image on paper and the visualization that occurs in their mind until a fitting solution to the problem is found. This study sought a better understanding of this communication style and it's effect on designed final products. Two methods of analysis were utilized in this research. Quantitative analysis was used to measure the correlation between quality of sketching process and the quality of the final designed product. Then multiple case studies were examined to describe in detail the design process styles of three students. First the sketches that were created during the designing of a student project were counted and then evaluated for sketch creativity and sketch efficacy. The final design products were evaluated for project creativeness and project function. Significant positive statistical correlations between the variables were observed. In summary, the quality of sketches and visual thinking during the design process had a measurable positive effect on the final designed solution. / Master of Science

No description available.

The objective of this project is to challenge the traditional interior design of gynaecologist clinics and develop a fresh and innovative concept that enhances the overall experience for patients. By utilising colour, material, and form, this interior concept aims to transform the perception of healthcare facilities, ultimately improving the well-being and comfort of patients during gynaecological visits. To exemplify a different, more welcoming and safe environment, my experiments have involved using colour, material and form, as well as purpose designed chairs for the waiting room as well as the examination rooms, respectively. Besides this I have explored distractive elements during the patients’ examination. The design process for this project involved conducting qualitative research and studying existing gynaecologist clinic designs, patient experiences, and current trends in healthcare environments. Valuable insights has been gathered through interviews with healthcare professionals and patients, which helped identify areas for potential improvement. Additionally, the project explored the use of innovative design techniques, materials, and spatial configurations that foster a sense of privacy, and well- being. The design process also involves the development of design sketches and digital visualisations to aid in the visualisation and refinement of the interior concept. By utilising all design elements, the concept aims to create a health-promoting experience that ensures a safe, pleasant, and welcoming environment for both patients and staff.

Abstract In my study of architecture, I have surveyed the interior of the apartment from the perspective of colouration, in Finland from 1948 to 1955. My study comprised traditionally considered high-cultured architecture — legitimate architecture — and architecture representing the everyday, which does not have the status of legitimate architecture. My research into this subject adopted a material based approach, with qualitative research methods and applied with a theory-guided content analysis. The periodicals Arkkitehti and Kaunis Koti formed the central content of my study, representing legitimate and popular architecture from the post-war reconstruction period. On the basis of this material, I compiled a depiction of the colouration of the home during the postwar reconstruction period. In addition, I studied the use of colours in legitimate and popular architecture during that period. There has been no previous systematic depiction of the interiors of the home in Finland. The presupposition of my study was that during the post-war reconstruction period, the colour preferences of architects and the general public neared. During the post-war reconstruction period, the attention of most architects was directed towards the living conditions and needs of the general public. The primary focus of architects was in housing. This was due to the large number of homeless people requiring housing after the war. From the basis of functionalism, the discourse on the social content of architecture created the foundation for building planning during the post-war reconstruction period. In the material examined in this study, colour was identified with happiness. Nature connected the Finnish people. Even in the urban setting, the experience of nature was considered important. The multihued greenery of the window shelf present in almost every living room was one display of "the living spirit" of nature brought into the urban apartment. During the post-war reconstruction period, colouration of interiors was not homogenous. The composition of the colouration, and the ways in which colour were used, changed according to the room type. The over-arching concept in the colouration of the rooms was that of a purposeful aesthetic. The changes were connected with the development phase of the room type, its contents, as well as the importance of the space in comparison to the entirety of spaces in the apartment. In addition to the colouration change between room types, some of the apartment furnishings and their colouration changed noticeably during the post-war reconstruction period. The importance of good taste was also emphasised in different ways in different room types. In the colouration of older, established room types issues of good taste were often raised, and the interior was constructed on the basis of critique of previous interior design colourations. In connection with newer room types, such as the kitchen and the children's room, a purposeful aesthetic was at the forefront and good taste was hardly talked about, since colouration was not given as a value in relation to what had come before. Dissymmetry of colouration was common for all home interiors. The dissymmetry was derived from the modernity principle of embracing the new and forbidding the traditional. Personal observations in the use of associative and dissociative names for colours, displays Bourdieu's conception of good taste, represented in the formation of legitimate taste and popular taste. However, the criticism of Shusterman displays well, that this is a definition derived from high-culture, which is already value-ridden. The romantic period during the post-war reconstruction period, the content of which is understandable also from a popular viewpoint, showed clearly in the works of the architects. For many architects, the period remained short. From the perspective of Bourdieu, it can be thought that legitimate taste had for a moment neared popular taste. The "blue flower of romantic thought" did not blossom for long and the taste representing legitimate, rational thought regained its position. According to my supposition, the taste of popular and high-culture had nonetheless, momentarily neared. / Tiivistelmä Arkkitehtuurin alaan kuuluvassa tutkimuksessani, tarkastelen asunnon sisustusta värityksen näkökulmasta Suomessa vuosina 1948—1955. Tarkastelussani rinnakkain ovat perinteisesti korkeakulttuurina pidetty rakennustaide, legitiimi arkkitehtuuri, ja arjen käytäntöjä edustava arkkitehtuuri, jolla ei ole legitiimin arkkitehtuurin statusta. Tarkastelen tutkimusaihettani aineistolähtöisesti laadullisen tutkimuksen keinoin teoriasidonnaisen sisällönanalyysin avulla. Arkkitehti-lehti ja Kaunis koti -lehti muodostavat tutkimukseni keskeisen aineiston jälleenrakennuskauden legitiimin ja populaarin arkkitehtuurin ilmentäjinä. Tutkimuksessani kokoan aineistoon perustuvan kuvauksen jälleenrakennuskauden kodin värityksestä sekä tutkin tuon ajan legitiimin ja populaarin arkkitehtuurin värinkäyttöä. Kodin tilojen värityksestä ei ole aiemmin laadittu systemaattista kuvausta Suomessa. Tutkimukseni esioletuksena oli, että jälleenrakennuskaudella arkkitehtien ja suuren yleisön kodin värinkäyttöön liittyvät mieltymykset olivat lähellä toisiaan. Jälleenrakennuskaudella arkkitehtikunnan huomio oli kohdentunut suuren yleisön elinoloihin ja tarpeisiin. Arkkitehtikunnan suunnittelutehtävän painopiste oli asuntotuotannossa, sillä suuri määrä sodan jälkeen kodittomiksi jääneitä oli asutettava. Funktionalismin pohjalta käyty keskustelu arkkitehtuurin sosiaalisesta sisällöstä loi pohjaa jälleenrakennuskauden asuntosuunnittelulle. Aineistossani väri vertautui iloisuuteen. Luonto yhdisti suomalaisia. Kaupunkiympäristössäkin luontokokemusta pidettiin tärkeänä. Kodin sisustuksessa lähes poikkeuksetta esiintynyt olohuoneen kukkaikkuna oli yksi osoitus kaupunkiasuntoon tuodusta luonnon "elävästä hengestä". Jälleenrakennuskauden kodin sisustuksen väritys oli epäyhtenäinen. Värityksen sisällöt ja tavat käyttää väriä vaihtelivat huonetyypeittäin. Yhdistävänä yläkäsitteenä huonetilojen värityksessä oli tarkoituksenmukaisuuden estetiikka. Vaihtelut liittyivät huonetyypin kehitysvaiheeseen ja sisältöihin sekä tilalle annettuun painoarvoon asunnon huonetilojen kokonaisuudessa. Huonetyypin värityksen keskinäisen vaihtelun lisäksi osa kodin tilojen sisustuksista ja niiden värityksistä muuttui selvästi jälleenrakennuskauden kuluessa. Myös hyvän maun merkitystä korostettiin eri tavoin eri huonetyypeissä. Vanhempien, jo vakiintuneiden huonetyyppien sisustuksen värityksessä hyvä maku otettiin usein esiin ja hyvän maun mukainen sisutus rakentui aiempien sisustustyylien värityksen kritiikin kautta. Uudempien huonetyyppien, kuten keittiön ja lastenhuoneen, yhteydessä tarkoituksenmukaisuuden estetiikka oli etusijalla eikä hyvästä mausta puhuttu juuri lainkaan, sillä väritystä ei arvotettu suhteessa aiempaan. Värityksen epäsymmetrisyys oli yhteistä kaikille tarkastelemilleni kodin tilojen värityksille. Epäsymmetria ilmensi moderniteettiin sisältyvää ajatusta uudesta ja tradition kieltämisestä. Havaintoni assosiatiivisten ja ei-assosiatiivisten värinnimitysten käytöstä havainnollistaa Bourdieun ajatusta hyvää makua edustavan legitiimin maun ja populaarin maun muodostumisesta. Shustermanin kritiikki tuo kuitenkin hyvin esiin korkeakulttuurin piiristä lähtevän määritelmän, joka jo lähtökohtaisesti on arvovarautunut. Jälleenrakennuskauden romanttinen ajanjakso, jonka sisällöt olivat ymmärrettäviä myös populaarin näkökulmasta, näkyi selvästi arkkitehtien tuotannossa. Jakso jäi monen arkkitehdin kohdalla lyhytaikaiseksi. Bourdieu'n näkökulmasta voi ajatella, että legitiimi maku oli hetkellisesti lähentynyt populaaria makua. Jälkikäteen katsottuna arkkitehdit ovat tulkinneet maun rämettyneen väliaikaisesti. "Romantiikan sininen kukka" ei kovin pitkään ehtinyt kukkia, ja legitiimiä rationaalia linjaa edustanut maku valtasi asemansa takaisin. Esioletukseni mukaisesti populaarin ja korkeakulttuurin maku olivat silti hetkellisesti lähentyneet toisiaan.

Rapporten behandlar ett examensarbete för högskoleingenjörsprogrammet inom innovationsteknik och design, utfört av Rebecca Magyar. Uppdragsgivare för projektet var Home Structures Sweden AB och arbetet riktade sig till det egna varumärket Irislights med Peter Nordin som handledare på företaget.   Irislights är en produkt som består av en LED-slinga för inomhusbruk. Produkten är tänkt att vara kreativ för kunden färg- och formmässigt vilket låter kunderna själva kombinera handgjorda bomullsbollar som fästs kring en diod på slingan. Projektets huvudsakliga uppgift var att generera en lösning för fästning av befintlig produkt med avseende på kundernas behov i att hänga upp slingan. Den valda lösningen ska ge kunden utrymme för att utnyttja sin egen kreativitet.   Arbetet utgick ifrån designprocessen där en förstudie var inledande fas för arbetets uppbyggnad. Förstudien innefattade en kartläggning av kommande trender inom inrednings- och belysningsbranschen, undersökning av kundernas behov och reflekterande arbete kring framtidens inredningsuttryck. Undersökning av teknik ingick även i förstudien för att få mer information kring befintlig produkt samt krav denna kom att ställa på det framtagna koncept som rapporten berör. Eftersom nuvarande produkt och den framtagna upphängningskonstruktionen ska samverka med varandra kommer uppställda krav vara av betydelse för utformningen. Ifrån detta skapades idéer som sedan genererades fram till slutgiltigt produkt förslag.   Den valda utformningen presenteras genom skisser, CAD-konstruktion, ritningar samt en skalenlig prototyp. Ett materialval gjordes även på produkten i materialvals programmet CES EduPack för att ge förslag på ett miljövänligt alternativ sett till framställning av materialet vid preliminär produktion. / This report describes a Bachelor Theisis of Science in Innovation and Design, conducted by Rebecca Magyar. The project was carried out for Home Structures Sweden AB directed to their own brand Irislights with Peter Nordin as task manager.   The existing product Irislights consists of one product, a LED trail for indoor use. The product is supposed to be creative in terms of color and pattern and let the customers combine and create a personalized light trail. The project's main task was to generate a fastening function for the existing product with consideration to customer needs. Also develop the chosen soulution with oppurtunity to provide the customer oppurtunity to us their own creativity.   The implementation of the work was based on a survey of future trends in interior design and in the lightning industry, also by analysing customer needs. Requirements was developed after creating understanding about the existing technology in Irislights which affected the chosen concept so it could be practicable in reality. Based on a feasibility study ideas was created which generated a final product suggestion. The chosen concept was presented through sketches, a modell in 3D-CAD , CAD-drawings and a full-scale prototype. The selection of material was also made in the program CES EduPack to give suggestions on an environmentally friendly alternative in terms of energy consumption in the primary production of a material.

This practicum explores potential for a new prison typology for federally sentenced women within Canada. The Koza Centre is an alternative to designs and practices currently in place that have the potential to create barriers to successful rehabilitation and reintegration. The primary intention of this work is to understand the issues and needs that are shared by many women who have come into conflict with the law and respond with an appropriate design. The methodology for this includes a brief history of women’s imprisonment in Canada and current political contexts, an analytical framework focused on overall well-being, and precedent studies. From this, programming and strategies have been developed that inform an evidence-based design. The result is a design focused on rehabilitation through the building of healthy relationships, ties to the community, programming that fosters successful reintegration, and supportive interior design that facilitates the well-being of those within the space. / February 2016

The problem of this study was to compare the expectations of the interior design profession regarding entry level requirements of new graduates of Southwest Texas State University and the present interior design curriculum at Southwest Texas State University. Questionnaires seeking information regarding skills and knowledge thought necessary for graduating interior design students were sent to professional interior designers in the South Texas area. Simple descriptive statistics were used to analyze the responses. The survey of the interior designers practicing in the South Texas areas conducted in this needs assessment of the Interior Design program at Southwest Texas State University supports giving consideration to the development of new courses or content revision of existing interior design courses offered at Southwest Texas State University.

Issu de la rencontre entre les disciplines de l’architecture intérieure et de la stratégie de marque et développé en réponse au raffinement de l’offre et des nouveaux modes de consommation, le design expérientiel présente un champ de pratique émergent qui tend vers la communication d’une expérience client marquante et immersive à travers l’environnement commercial. Bien que le sujet soit richement documenté par le domaine du marketing, il est apparu qu’il l’est moins par celui de l’aménagement. En effet, peu d’études démontrent concrètement la façon d’aménager l’espace marchand dans le contexte de la pratique du design expérientiel ou cherchent à mettre en lumière son empreinte physique sur l’environnement commercial. Cette recherche vise simultanément l’amélioration de la compréhension de la pratique émergente qu’est le design expérientiel ainsi que l’identification des caractéristiques environnementales propres aux espaces marchands qui en découlent. Dans la volonté de sonder le phénomène du design expérientiel tant dans la dimension conceptuelle de sa pratique que dans celle de son résultat bâti, la stratégie méthodologique de cette recherche repose sur la tenue d’entretiens semi-dirigés avec des professionnels basant leur pratique sur le design expérientiel et l’observation directe de trois projets commerciaux expérientiels reconnus. L’issue de cette recherche et les résultats extraits du terrain mèneront plutôt à relever l’existence d’un processus de conception caractéristique à la pratique ainsi que celle de concepts fondateurs qu’à identifier des éléments de l’aménagement intérieur propres aux environnements commerciaux en découlant. Nettement apparus au cours de l’étude, ce processus et la volonté de mettre sur pied une stratégie de communication solide semblent occuper une place plus importante dans la définition et la compréhension de la pratique du design expérientiel que les attributs de l’espace marchand comme tel. / As a result of the merging of two disciplines, interior design and branding, experiential design was developed in response to the refinement of the offer and of the new consumption patterns. An emerging field of practice, it tends to communicate a memorable and an immersive experience to the client through the retail environment. A rich litterature already exists in the marketing field on experiential design, but it is less documented in the interior design field. Indeed, few studies show, in a concrete manner, how the retail space is designed in a context where experiential design is used or try to explain its physical imprint on the commercial environment. The objective of this study is twofold: to contribute to a better understanding of experiential design as an emergent practice and to the identification of environmental attributes that are specific to retail spaces that are thus created. With the intention to study the phenomenon of experiential design through the conceptual dimension behind its practice as well as its final result, the methodological strategy adopted in this research rely on semi-structured interviews conducted with professionals, whose practice is based on experiential design, and on the direct observation of three known experiential commercial projects. The outcome of this research and the results obtained from the field study will clarify the existence of a design process that is specific to this practice and the presence of founding concepts, instead of identifying elements of interior design that are specific to the creation of commercial environments. It appeared clearly during the study that this process and the desire to implement a strong communication strategy seem to be more important when comes the time to define and understand experiential design and its practice than the attributes of the retail space as such.