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The Application of Traditional Chinese Aesthetic Principles to Contemporary International Design. This is a submission by publication consisting of 13 major design projects and an accompanying research report. China is undergoing phenomenal economic growth that is having a major impact on the social and cultural development of the Republic. Accompanying the growth is an unprecedented urbanisation of the population and expansion of the cities. This has meant an explosion in the building industries. At the same time China is moving towards the central position in the global economy that also has huge cultural implications. This is the context in which I have pursued my professional practice as an interior and architectural designer. Some of the questions I have been attempting to address through my practice arise directly out of this context. In the fast expansion of the field of interior design that has accompanied this growth it is vital that Chinese designers are aware of the cultural context of their work. Is it possible for Chinese designers working in the developing international context of contemporary design projects in China to make a unique contribution to the field that is specifically Chinese? This presentation of my practice will provide a cohesive argument for an approach to design in the international arena that remains specific to the cultural and temporal context of its origins. I will specifically demonstrate solutions I have found to the application of ancient Chinese aesthetic principles to contemporary international design problems. As practice-based research I have given much thought to the methodologies I have employed. I will provide a detailed outline of these 'action' research methodologies and definitions of the types of knowledge employed in the following report. The visual evidence is also accompanied by descriptions of the projects including the briefs, design solutions and specific Chinese characteristics. The presentation of my practice in this form provides evidence of the ways in which cultural specificity can be maintained within the international design arena and makes a meaningful contribution to debates and knowledge in the area of cultural diversity and design.

This thesis argues that contemporary Arabian Gulf traditional design has lost its values. From large-scale developments to single detailed objects, one can easily see the deep and rapid impact of globalization on Arabian Gulf architecture, Kuwait in particular. The striking forms, rooted in the global influences on the one hand, and the superficial use of traditional Arab architectural motifs on the other, reflect the detachment of the new designgeneration from any true sense of the past. The study reveals that the new generation of designers has become obsessed with the modern styles. What is more, today’s Arab undergraduate educators hold a great responsibility toward their traditions to innovate and examine new ways of teaching design. Thus, rather than considering the discipline as the mere act of decorating, the new design generation will understand that Arab traditional architecture and interiors has never been based simply on formal visual composition, but always on a deeper understanding of experiential reality and human feeling. In this regard, the curriculum, staff attitudes and students’ viewpoints of the Interior Design Educational Department at the Public Authority of Applied Education and Training (PAAET) in Kuwait were examined in terms of how they address and deal with traditional aspects. Three methodological tools, curriculum analysis, interviews and surveys, were used to identify the current situation in the above respect. By comparing the Kuwaiti school with two others in the region, through analyzing curriculums, conducting interviews with staff members and students surveys in (KU) in Bahrain and (KFU) in Saudi Arabia, it was revealed that the identity crisis in the region mainly has its roots in the economic revolution following the discovery of oil. An unintended consequence of economic change has been on the new generations, who, under global influences, have turned their thoughts away from local traditional values. Evidence of a lack of strategies to deal with traditional needs and aspirations were identified i.e. a miscommunication between theoretical and practical contents in the design program was found. Nevertheless, some encouraging ways of treating traditional identity did emerge. It was discovered that the most effective interior design program is one which treats global, local and experiential issues in a dialectical way, rather than treating each one separately. Therefore, the main contribution of this research is to offer a rethinking of traditional identity in interior design education to contextualize global influences, not to resist them. The purpose of this is to free the new design generation’s thinking from the restriction of form and aesthetic aspects by going beyond the superficial meaning of physical design, and to reach inner values. To achieve this, the experiential approach to design, derived from celebrated contemporary architectural phenomenologists such as Steven Holl, Juhani Pallasmaa and others, will be adapted into the context of Arab interior design. The research concludes with developing an experiential framework for interior design education. Although this research is with reference to the PAAET in Kuwait, it could be also applicable to other design institutions in the Arab World.

Museums have long been an institution of preservation and the collection of objects, art, and curiosities. Items safely stored and displayed for the public to look at, never changing. As a child seeing and learning about a museum’s objects for the first time is thrilling. However over time that thrill fades and what was once magical in the eyes of our five year old self is now lackluster and monotonous. As adults we cease to visit that museum we loved as a child. Why would we? Nothing has changed, there is nothing new. There is something special about the nostalgia of that feeling when you were five and first saw an exhibit that opened your eyes to another world. The traditional museum is still the foundation of museums in the 21st century and adapting to the new museum typology (the post-museum) is inevitable for continued success, but can it be both a traditional and a post-museum? With new technologies and research in the field of museums and how people learn in them there has been a shift in what it is and should be to its visitors. This practicum project aims to address the shift of the interiors and exhibits in museums of the 21st century. Many factors contribute to the changing of the museum; its design, exhibits, and social construct have all been adjusted to create more inclusive experiences. Through the examination of tourism, community, post-museums and exhibition design this practicum project aims to provide a balance between the traditional and post-museum typology. The result is a stronger connection with the local community and an enriching experience for museum goers. / February 2017

Electricity has a long and continuing history. This paper explains the impact that electrical light had on interior design. The focus of this explanation is those interiors closest to the advent of electricity and one turn-of-the-century designer Charles Rennie Mackintosh (1868-1928). Beginning by comparing electrical light with its closest rival gaslight, this paper continues with a look at three factors in electrical history that affect its appearance in interiors. The focus narrows to the fashions appearing for the new illuminant. Finally, to understand how architects and designers applied electricity at the turn of the century, one must examine their work individually. Mackintosh is the subject of the case study embarked on in the last chapter, which examines how his lighting designs contribute to or detract from the designer's place on the cusp of Modernism.

Christy Addis-Gutierrez MUSEUM DESIGN: art, wonder & discovery Some art institutions create such an elitist atmosphere that the average person might feel intimidated. But for the artists to be the most effective in expressing their ideas, their feelings, and their point of view, more people need to experience it. If the audience for art is limited to a relatively small group of art lovers, how does that serve the art process? A broader audience could enrich the art that is produced, allowing artists to engage in more daring work. A contemporary art museum that also incorporates spaces for gathering and communal activities, with an active and innovative educational program, could create this broader audience for art, and strengthen the surrounding community as well. Art brings people together – to discover more about themselves and each other. The challenge is to create a space that accomplishes this: more art; more people; more wonder; more discovery. The “big idea” of this project was “more art”. It was generated by the idea of bringing the wonder of art to more people.

Buildings from the nineteenth century are rich with history and tradition in their materials,design and construction. Over the past few years in Richmond, many of the formerly vacant buildings have been converted into residential “lofts”. These spaces have the potential to teach and serve us in a way we could never duplicate today. The space we live in has the power to determine how well we function. I believe this is one of the keys to happiness. I like to think of these buildings holistically in terms of past, present, and future . I will supplement the space with partitions to optimize its functionality today while respecting its history and not hindering its future. The use and placement of the partitions resulted in a functionally defined yet open space.