bluuebunny/crossref_metadata_2025_split huggingface dataset:
Comparison of Occupational Expectations between Interior Design Students and Practitioners
Authors: Lee Kyung J. , Hagerty William H. 
Published: June 2008

Objective The objective of this study was to determine occupational expectations of interior design students for an entry–level design position and to compare them with the occupational expectations of interior design practitioners. Occupational expectations were defined as survey respondents’ perceptions about general work conditions, work relations, job success, and specific tasks performed in their future profession. Research Design A survey of 140 students in all levels of interior design classes was conducted at two universities. The survey questionnaire consisted of three parts to determine preferences and expectations of respondents in terms of general work environment and specific tasks. Eighty–two interior design practitioners throughout the United States were also surveyed with the same questionnaire to determine their occupational expectations for an entry–level design position and to compare them with students’ expectations. Analysis The responses for each statement or task were analyzed for frequency distributions, percentages, and mean scores where applicable. For statistical analyses of the data, Behaviorally Anchored Rating Scales (BARS) and t tests were used to evaluate differences in ratings between upper division students (juniors and seniors) and lower division students (freshmen and sophomores). The same methods were applied for a comparison of responses between upper division students and interior design practitioners. Key Findings Results of the study indicated that, in general, upper division students had more realistic occupational expectations of an entry–level designer position than lower division students. However, upper division students significantly differed from interior design practitioners in their expectations in three categories: Working Conditions, General Work Type, and Business/Management. Conclusion The findings of this study indicated that there was a difference between the occupational expectations of students and practitioners for an entry–level designer position. For students to gain more realistic views of their future profession, further research was recommended to determine appropriate curriculum guidelines for undergraduate education in interior design.
An Interior Design Experience Program, Part II: Developing the Experiences
Authors: Harwood Buie 
Published: June 2008

Objectives The goal of this project was to develop a structured work experience program for entry–level interior designers. The objectives of this study were (a) to identify the scope of experiences related to interior design practice and (b) to establish a priority of importance for the experiences. These provided the contextual framework for the structure and content of the program. Three additional objectives were (c) to assess practitioners’ willingness to assist entry–level interior designers in obtaining work experience, (d) to determine what experiences could be offered by firms, and (e) to pretest the proposed experience program to assess the effectiveness of its processes and mechanics. Research Design A multi–methodological approach was used to meet the objectives. First, a comprehensive review of studies on interior design practice was competed. Second, a survey of practitioners further elaborated on these experiences and provided an assessment of practitioners’ willingness to assist with the program. Third, a pretest of the proposed program was completed. Analysis The data collected were qualitatively evaluated. A matrix was developed to assess experiences based on their priority of importance to interior design practice, frequency of activity in practice, participant time recorded performing tasks, and the value of the experience. Evaluations of this matrix were solicited from the project advisory board, entry–level interior designers, and consultants. Key Findings This study developed and articulated the scope of experiences for entry–level interior designers who, after college graduation, would participate in a formal apprenticeship program called the Interior Design Experience Program (IDEP). Task content areas and their value units were developed. Conclusion This study provides common terminology, definitions, and scope of experiences for a structured work experience program that links the standards and guidelines established by the Foundation for Interior Design Education Research (FIDER) and the National Council for Interior Design Qualification (NCIDQ) to professional practice. It also provides valuable information for assessing all experiences related to the career path of professional interior designers, particularly in regard to the NCIDQ eligibility requirements.
Wandering Behavior Associated with Alzheimer's Disease and Related Dementias: Implications for Designers
Authors: Dickinson Joan , McLain–Kark Joan 
Published: June 2008

Issue A challenge facing the profession of interior design is to create special care units in extended care facilities that accommodate wandering, a major behavioral symptom of Alzheimer's disease and related dementias. Goal This report informs interior design educators about the symptom of wandering, provides design ideas to accommodate the behavior in a safe and supportive environment, and suggests questions for further research. Application Designers can play a major role in insuring the safety and well being of wanderers through careful planning of the interior environment. Description Wandering is a major symptom of Alzheimer's disease and related dementias. In the past, individuals living in institutional settings have been restricted through restraint or medication. This often resulted in increased resident agitation. Today, care givers want to accommodate residents who wander yet still provide for their safety. Reasons for wandering are discussed and the patterns of wandering are described to give design educators an understanding of this phenomenon. Research is presented regarding strategies for discouraging unsafe exiting of the unit during wandering episodes. Finally, case studies and examples of current design solutions that accommodate wandering are discussed. Conclusion Interior design educators will be able to use this information to help students understand wandering behavior and recognize the need to critically review the current literature when designing special care units for individuals with Alzheimer's disease and related dementias.
Interior Design Dissertations, Theses, and Creative Projects
Authors: DeLaski–Smith Deborah 
Published: June 2008

Graduate students’ work is an important resource in building the body of knowledge for the profession of interior design. To develop an awareness of the research being conducted at the graduate level in interior design programs, the following list was compiled by the IDEC Graduate Education Network. Each year a list of recently completed dissertations, theses, and creative projects is compiled and submitted for publication in JID. Interior design programs responding to the network's request for information are listed. The present list represents submittals for 1995 and those for 1994 that had not been previously listed.
Uncovering Implicit Theories of Creativity in Beginning Design Students
Authors: Portillo Margaret 
Published: June 2008

Objectives An exploratory study examined the theories and understanding beginning design students have about creativity and their own creative processes. Research Design A qualitative approach was used to identify implicit theories of creativity in design students through their responses to 5 inter–disciplinary assignments. Creative partnering assignments for an introductory design studio and a first–year English composition class were developed and given to 39 participating students over the course of a semester. After completing the writing and/or drawing portion of each assignment, the students exchanged their responses via electronic mail. Analysis A content analysis of the assignments and responses explored relationships and identified implicit theories. Key Findings Assignments that emphasized real life cases of creativity appeared effective in enabling the students to articulate their implicit theories. Students perceived creativity as person, process, product, and place and saw relationships among these variables. Conclusions Enabling students to realize their creative potential is essential to growth and innovation in the interior design profession.
Furniture as Artifact: An Investigative Model
Authors: Williams–Bohle Diane , Caughey Carol C. 
Published: June 2008

Issue Furniture historians no longer are content with descriptions of furniture but are looking for ways to read or interpret these descriptions. Researchers recognize that both the generally accepted furniture icons and vernacular furniture can reveal valuable cultural insights. Emphasis now is on the significance of furniture beyond its stylistic attributes, utilitarian character, and commercial value. This significance rests largely in its ability to carry and communicate cultural meaning. Goal A model was developed to provide the researcher with a multi–disciplinary, qualitative, and quantitative framework for data collection and analysis of furniture as it relates to cultural meaning. Application Students of furniture history can utilize the model to explore the cultural meaning of a piece of furniture. This model can also be used by historical researchers as a framework for analysis of artifacts without documentation. Description The model uses 6 topics of inquiry including material, construction, design, function, value, and provenance as a framework for investigating the artifact. The process of investigation involves direct, detailed, sensory observation of the artifact, followed by the gathering of supplementary data, interpretation of cultural symbols, and finally, creative speculation about its cultural meaning. Conclusions Unique because it recognizes the iterative nature of data collection and data analysis, the model is structured to provide conceptual continuity necessary to the understanding of the rich cultural insights reflected by furniture.
Les Sept Princesses: A Vienna Discovery Renews Interest in the Art and Collaborative Interiors of Margaret Macdonald
Authors: Parkinson Sharran R. 
Published: June 2008

Objective The objective of this study is to analyze the importance of the collaborative interiors that Margaret Macdonald designed with her husband Charles Rennie Mackintosh. Special emphasis is placed on the Waerndorfer music room installation (1906–1907) and Macdonald's gesso panels Les Sept Princesses designed specifically for this space. Research Design Using photographs and a comprehensive review of primary and secondary sources descriptive of the Waerndorfer music room, a likely original placement of the panels in the space is suggested and the panels are analyzed for selected design attributes that are similar to the interior architecture. Analysis Elements to be formally analyzed include the dominant use of neutral colors enhanced by typical motifs; the asymmetrical placement of rectilinear form; the balancing of decorative detailing and highly finished paint employed on plain surfaces; the relevance of symbols used within the Mackintosh interiors; and a description of the symbols used by Macdonald in the Waerndorfer panels, many of which were influenced by Maurice Maeterlinck's play Les Sept Princesses. Key Findings The collaborative relationship between Macdonald and Mackintosh was important to the stylistic development of their interiors. Macdonald successfully integrated the decorative theme of the panels with the interior architecture through the shared use of design elements and symbolic motifs. Although Macdonald's visual composition embodies the poetic and evocative values of Maeterlinck's play, the panels still are consciously ornamental and designed specifically to complement the interior. Conclusions The use of symbolic ornamentation in the Waerndorfer music room interior should be viewed as an organizational methodology. Within the microcosm of the interior, the designers used symbolism and ionic meaning as a parti to control form, furnishings, decorative features, and panels designed in concert with Maeterlinck's literary theme.
The Language of Beauty and the Modern Interior: An Approach to Aesthetic Criticism
Authors: Beecher Mary Anne 
Published: June 2008

Objective This article presents a critical evaluation of images of the popular American modern environment of the 1940s. Theoretical Framework Using content analysis and a close semiological reading of representative images and phrases, the spaces of the modern interior environment in the context of the philosophical writings of Burke (1756), Kant (1790), Ruskin (1849), Downing (1865) and Turner (1991) are examined. Works by these philosophers collectively establish a connection between the concepts of beauty, nature, and the feminine that results in the construction of a language of beauty used to market modern design in popular women's periodicals. Analysis The Better Homes and Gardens‘ series entitled “Tomorrow You Can Live Like This” (1944–45) is used to represent modern design for this analysis. Eleven well–known architects and designers submitted designs for this series to promote modern design in American popular culture. The spaces published as part of this series share common characteristics including multi–functionalism, a lack of extraneous ornamentation, and non–traditional spatial definition. These characteristics are translated metaphorically into the concepts of freshness, simplicity, and flexibility. Key Findings The connection formed between cultural understanding of the concept of beauty and modern design was used to strengthen the appeal of modernism to the American public. In place of the emphasis on functionalism promoted by high–style designers, the use of language connected the qualities of freshness, simplicity, and flexibility found in modern design to culturally–based notions regarding aesthetics. Conclusions Understanding perceptions of the modern interior from a female user/consumer vantage point is significant in providing an inclusive approach to assessing the meaning of interior environments from outside of the designer's point of view and for demonstrating the importance of women as consumers of design in the post–war period.
The Design of Shared Social Spaces in Assisted Living Residences for Older Adults
Authors: Zavotka Susan L. , Teaford Margaret H. 
Published: June 2008

Objective This study addressed older adults’ psycho–social needs in relation to assisted living shared spaces. It examined part of a Social Space Attachment Model that hypothesized that assisted living designs that match residents’ previous homes lead to greater life satisfaction. Research Design Residents at 11 assisted living facilities were interviewed. Information about demographics, psychological and physical status, ratings and use of social spaces, and previous homes was gathered. Lobbies, lounges, and dining rooms at each site were assessed. Analysis Means and percentages were used to compare furnishing styles, colors, and accessories at previous homes and assisted living facilities. Regression and correlation analyses were used to determine relationships for private, personal and homelike ratings, formality match, use of spaces, and psycho–social variables with residents’ life satisfaction scores. Key Findings Assisted living interiors were more formal and used different colors and less personal accessories than previous homes. Residents rated social spaces as not private, not personal, and not homelike. Residents with higher life satisfaction scores were more likely to live in facilities where formality was similar to their previous homes, spend time in the lobbies, and rate them as personal. Conclusions For older adults to become attached to and use assisted living social spaces, interior designs must relate to past experiences. Designs should usually include semi–formal or informal traditional styles, more familiar colors, personal accessories, and opportunities for privacy.
Prejudice as an Obstacle to Multiculturalism in the Teaching of Design History
Authors: Drab Theodore 
Published: June 2008

The traditional approach to teaching interior design history is an examination of the dominant styles developed by and for politically dominant groups within western European societies. This approach emphasizes the unity of cultures and conflicts with the concepts of diversity and multiculturalism prevalent in American higher education. It also ignores contributions to design history by a variety of important ethnic groups. The goal of this discussion is to increase educators’ awareness of subtle and overt preiudice contained in design history literature. This prejudice is against ethnic groups that made significant contributions and comprise a large portion of the American populace. By adopting standard texts and assigning readings from major works, teachers of interior design history may be perceived by students as champions of the status quo and opponents of multiculturalism, and they may be identified with the narrow Eurocentrism evident in the work of many significant historians. Interior design history texts currently used by American colleges and universities were reviewed to identify prejudice in the literature that creates obstacles to multiculturalism. The means by which design contributions of some ethnic groups are marginalized, devalued, or ignored are highlighted. Rather than avoiding texts that display prejudice yet provide important information and insight, teachers can broaden student understanding of the nature of historiography by discussing these subtle and overt prejudices. They can stress the vitality of historiography as a process that constantly reevaluates and reinterprets the past's impact on the present, stimulating student interest in and appreciation for nondominant groups.
Twentieth–Century Furniture as Precedent: Creating a Dialogue between History and Design in Furniture Design Studio
Authors: King Janine 
Published: June 2008

Objective Within the accreditation standards of the Foundation for Interior Design Education and Research (FIDER), there is more emphasis on teaching individual knowledge categories than on course work that synthesizes and critically applies different knowledge types. This study explores a teaching method that helps students synthesize knowledge and use critical thinking when solving design problems. Research Design An undergraduate furniture design course provided a case study to examine how historically inspired projects improve students' abilities to critically apply various knowledge types to the design process. The course had 2 parts: a 6-week precedent project in which the students built a historic 20th-century furniture piece, using critical thinking to make connections between thinking, designing and making, and a 10-week design project in which the students applied new knowledge gained through this experience when designing and making their own furniture pieces. Analysis Students' design processes, their evaluations of the course, and comments by outside reviewers were used to qualitatively assess the project's effectiveness. Key Findings The analysis confirmed that the precedent project helped improve students' use of critical thinking when designing. Conclusion Although critical thinking plays an important role in the design process and scholars believe that this ability is a valuable competency for professionals, FIDER does not explicitly evaluate this area of instruction. Explicit evaluation of how interior design programs teach critical thinking as part of design problem solving could encourage educators to focus instruction on developing this valuable skill.
Alternative Models of the Past: History/Theory/Criticism Courses
Authors: Beecher Mary Anne 
Published: June 2008

Issue Recent literature on effective history teaching encourages reconsidering linear cause–and–effect presentations of course content. The importance of linking historical information with theoretical and critical perspectives can take several forms beyond chronology. Goal Present alternative options for organizing history of interiors courses around theoretical issues. Application History content should be presented in an accessible, applicable, and analytical manner. Focusing the history of interiors on theoretical approaches to defining interior space helps connect history with design activity. Emphasizing the relationship between stylistic development and cultural influences encourages students to appreciate the expressiveness of details and materials and their relationship to the creative process. Description In this article, an exploration is presented of how two sequential history courses can be developed to meet the requirements of an accredited interior design program using alternative theoretical frameworks. Conclusion Acceptance of the concept that history can be configured in many different ways opens the door for alternative models that merge with the interior design program's specific goals and objectives. Focusing on themes rather than chronology can make the theoretical concepts illustrated by history less isolated from the present and more applicable to students’ current studio work. Emphasizing a critical view of past designs encourages students to become more literate visual judges of the works of others, and by implication, their own work.
Developing a Methodology for Assessing Children's Preferences for Nonresidential Interior Spaces
Authors: Dickson Ann , White Allison Carll 
Published: June 2008

Objective The focus of this study was to develop a methodology for the assessment of the environmental preferences of 10–year–old children for public interior spaces. A pilot study using the methodology developed was conducted on 31 10–year old children. Research Design The methodology developed included three instruments: a Slide Preference Test to determine overall preference; a Semantic Differential Scale to determine influential factors in defining preference; and the use of the School–Age Temperament Inventory (McClowry, 1995) to determine the relationship between temperament and preference. Analysis Data from the pilot study were analyzed using descriptive statistics, factor, and cluster analysis, and T–tests to determine overall preference and the relationship that gender, temperament, or room function has with preference. Key Findings Children prefer spaces that are visually rich. Further, it appears that preference for interior spaces is related to the concepts of comfort, safeness, and friendliness. Minor differences in preference were found based on gender, while the pilot study revealed more significant differences in preference based on temperament. Conclusion Based on the findings of the pilot study, some revisions in the methodology are recommended. With these minor changes, the methodology will be ready for use on a broader and more diverse population.