[pt] Todo projeto de design que promete mudanças deve, afinal, comunicar-se de uma maneira eficiente com seu público. E todo projeto sustentável deve tornar clara a sua sugestão de transformação da sociedade. Mais que modelar formas e funções, designers criam idéias e propostas, que seus consumidores ou usuários finais percebem ou não. Portanto, esse novo valor simbólico conferido pelo design, aqui neste trabalho chamado de valor sustentável, deve ser visto como uma oportunidade para comunicar uma idéia, uma proposta de mudança social e cultural, que precisa ser percebida, do ponto de vista do consumo. Para verificar como produtos de design sustentável se comunicam com seu público, esta dissertação apresenta uma pesquisa bibliográfica e um trabalho de campo realizado junto a um grupo de trinta consumidores de móveis e objetos decorativos, de três lojas de decoração da cidade do Rio de Janeiro. Uma pesquisa qualitativa, composta de uma entrevista em profundidade, e uma pesquisa quantitativa, utilizando a técnica da análise conjunta, foram aplicadas junto aos consumidores, para avaliar a percepção do valor sustentável em peças decorativas e verificar sua eficiência como agente transformador e facilitador de mudanças. / [en] Every design project that promises changes must, after all, establish an efficient communication with their public. And all sustainable projects should make clear their suggestion of transformation of the society. More than modeling forms and functions, designers create ideas and proposals, which their customers or end users perceive or not. Therefore, this new symbolic value given by design, here in this paper called sustainable value, should be seen as an opportunity to communicate an idea, a proposal of cultural and social change, which needs to be perceived, in terms of consumption. To verify how products of sustainable design communicate with their public, this dissertation presents a bibliographical research and a field research carried out among a group of thirty consumers of furniture and decorative objects, from three decoration stores of the city of Rio de Janeiro. A qualitative research, consisting of an in-depth interview, and a quantitative research, using the conjoint analysis technique, were applied to consumers, to assess the perception of the sustainable value in decorative pieces and verify its effectiveness as a transforming agent and changes facilitator.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 196-207). Also available in electronic format on the Internet.

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space.

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space. / <p>The full thesis contains copyrighted material which has been removed in the published version.</p>

Interior design is more than just the design of spaces. It is the study of human activity, interaction, movement and spatial governance. These result in the user being both emotionally and physically involved in the interior. Therefore interior design also allows for cooperation between building and user. However when this matter of cooperation is overlooked the negative effect falls on the service that the building provides leading to a negative user perception. User perception is currently not seen as a physical parameter within an interior condition; however it has a big role to play in terms of how public service buildings function. The interior spaces within the current South African public service domain are prone to this lack of cooperation between building and user. As is evident in service delivery, there is no sharing of information between building and user leading to confusion, frustration and an overall negative perception of the work that is being done there. Many different forms of analysis can be used to determine where these problems lie within the interior. Using elements from other fields of design can add layers of information enriching the design decisions made through the interior design solution. By overstepping the boundary between Service Design and interior design, the designer delves into a unique understanding of the processes and associated problems within the service delivery, and through this understanding a more informed spatial solution can be developed. Information visualization and interior design work hand in hand as an instrument in presenting both problems and solutions in a way that the layman can understand. In an industry where information is lacking, finding new streams of portraying it could change user perception in a positive way. The investigation of this problem will unfold in the Tshwane Licencing Departments. Four sites within this study will be investigated namely, Centurion, Waltloo, Akasia and Rayton traffic departments. These sites will be analysed to decipher the core problems that they share. The Centurion Licencing Department will be the site used to develop and test the proposed interior intervention. This site is an example of an interior with a lack of cooperation due to its misuse of interior space, lack of wayfinding, circulation and non-existent identity. Through efficiency, pleasant experience and providing the user with all the information needed to complete the process should allow for a cooperative interior and therefore a change in perception. Interior Design becomes the instrument to realise pleasant-efficiency for service delivery. Even though Interior Design has no control over the administrational aspects of service delivery, it can shape the platform on which it is delivered having a positive influence on both user and service provider. / Dissertation (MInt(Prof))--University of Pretoria, 2014. / Architecture / MInt(Prof) / Unrestricted

Bell (Gigli, et al. 2007:ix) believes that “design that is good should be embedded within all that surrounds us in the unnatural world. Good design and good architecture improve all our lives - they are not just about decoration.” An understanding of what good design entails and a comprehension of the interior designer’s role within the built environment and public realm could anchor this belief. The International Federation of Interior Architects/Designers (IFI) established Design Frontiers: The Interiors Entity (DFIE) to define the interiors discipline for IFI stakeholders and the general public alike. The planned Interiors Biennale in 2013, the final phase of the DFIE, is intended to visualise this knowledge, actualising the global consensus as reflected in the IFI Interiors Declaration. The objective of the dissertation is to design a travelling exhibition for the IFI Interiors Biennale 2013. The study investigates exhibition design as a method of communicating the seven basic pillars of the interiors profession as described by the Declaration. A normative position derived from the event title, ‘designing from the inside out’, establishes the premise for the design approach. The project explores the temporary imprint that results from the relationship between the general (host structure) and the specific (installation). While acknowledging that the design cannot be completely site specific, the proposal identifies characteristics of ‘the universal exhibition host’ to obtain a set of constraints that inform the design of a travelling installation. A proto-site is identified within Johannesburg, embodying the universal specification. The site typology has the least impact on the design development with the event typology (travelling exhibition), and the design brief (IFI Interiors Declaration) driving the process. The investigation points to an adaptive solution: design for disassembly. This design philosophy influences the chosen construction and fabrication method as well as the selected material type. The design objective is not to curate the event, but rather to provide a flexible and innovative ‘kit of parts’ to facilitate the projected communication needs of the client (IFI). / Dissertation (MInt(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

No description available.

No description available.

We human beings are facing a dilemma, as we live in a time and place where we inevitably have to become more stationary in our way of living, as well as make more careful and calculated decisions about what type of products we consume and how. As we are increasingly confined to our homes, our homes are having to act host to all of the activities that we used to leave our home for, such as work, exercise, leisure and more. The need for interior modification is larger than ever, yet the need is conflicted by the threat that product consumption is paying to our climate. This project has explored the technology of augmented reality as an alternative method for interior adaptation, personalisation and creation in existing environments, through a concept called DIGITERIORS. By introducing flexible and digital layers to our static and analog interiors, the concept enables a new interactive dimension of interiors that can be atmospherically optimised and customised for a specific activity, need or mood, innumerable times without having to consume interior products or material. On a larger scale, this project speculates on sustainable and alternative ways of influencing our interiors in the future, using technologies that are already developed, but not yet fully utilised.

[pt] Desde os primórdios do transporte aéreo, o design de interiores de aeronaves evoluiu de cabines baseadas nos vagões Pullman, adotando interiores baseados em embarcações durante a era dos hidraviões, para finalmente desenvolver um vocabulário formal próprio após a Segunda Guerra Mundial. Este último período coincide com a crescente participação de designers renomados no projeto de interiores e um dos melhores exemplos é o trabalho de Walter Dorwin Teague para a Boeing, iniciado com o modelo Stratocruiser em 1946, e tendo continuidade até o modelo 777 de última geração. Esta dissertação pretende descrever e analisar a evolução histórica do design de interiores aplicado às aeronaves de passageiros e identificar as fontes de inspiração e os conceitos estéticos aplicados nestes interiores ao longo da história. A dissertação também identifica os designers e profissionais de áreas correlatas (decoradores, arquitetos, fashion designers) que realizaram projetos para esta área, contribuindo para o estabelecimento dos atuais padrões de design de interiores aeronáutico contemporâneo. / [en] Since the early days of air travel, aircraft interior design has matured from cabins based on Pullman railcars, evolving to ocean liner- like interiors, during the era of flying boat travel, to finally develop a proper formal vocabulary after World War II. This later period sees the growing interventions of many well known designers, and one of the best examples is the work of Walter Dorwin Teague for Boeing, starting with the Stratocruiser in 1946 and continuing up to the latest models of the 777.This thesis aims to describe and analyze the historic evolution of interior design as applied to passenger aircraft, to identify the sources of inspiration and esthetic concepts applied throughout history inside passenger aircraft cabins. The thesis also identifies industrial designers and professionals of related fields (decorators, architects, fashion designers) who have developed designs for this area, contributing to setting the state of the art in contemporary aeronautical interior design.