The Potential of Narrative Design as a Method for Teaching Interior Design

Transcription

1 Design Thinking in Education, Media, and Society The Potential of Narrative Design as a Method for Teaching Interior Design Eleonore Zippelius Assistant Professor, Architecture Department, University of Nicosia, Cyprus Kika Ioannou Assistant Professor, Architecture Department, University of Nicosia, Cyprus

2 The Potential of Narrative Design as a Method for Teaching Interior Design Methods of Teaching and Learning Examples and Critical Appreciation About Interior Design and Narration Implementation of Method

3 Teaching and Learning Interior Design Teachers are challenged to change from behaviorism, merely providing a given body of information, to constructivism facilitating student exploration of a field, helping students to develop a basic grounding in a subject, and enabling them to become adept at exploring new avenues for themselves Maier P., Barnett L., Warren A. and Brunner D.; 1988

4 Interior Design Definition and Historical Background Interior design unites the seemingly opposite disciplines of art and science by relying on the tools of science to craft the functional elements of threedimensional space as well as the aesthetic ones International Interior Design Association

5 The Design Process Analysis & Synthesis analysis of information development of preliminary designs design development and presentation development of construction or working drawings estimation and bids, scheduling, purchasing and supervision evaluation of the effectiveness of the design decisions through client interviews.

6 DESIGN Design shapes and is shaped by the material world. One can understand the world as a design, as a product of civilization. We are living in a culture of designs. Design is the most complex of mental acts developing concepts of multi-dimensional structure. It is a creative act: analytical and synthetic, objective and subjective, relying on tested solutions but also opens new perspectives and spaces of reflection

7 DESIGN & CREATIVITY The practitioner allows himself to experience surprise, puzzlement or confusion in a situation which he finds uncertain or unique. He reflects on the phenomenon before him, and on the prior understandings which have been implicit in his behavior. He carries out an experiment which serves to generate both a new understanding of the phenomenon and a change in the situation. Schoen; 1983

8 NARRATIVE With narrative, people strive to configure space and time, deploy cohesive devices, reveal identity of actors and relatedness of actions across scenes In so doing, narrators make sense of themselves, social situations, and history Bamberg & McCabe; 1998

9 NARRATIVE & DESIGN both are shaped by the material and immaterial world both are related to human activities both depend on context, time and place both create a dialogue between humans and the world. both are analytical but at the same time synthetic both connect knowledge to individual experience both select and organize according to individual perspective and agenda

10 can NARRATIVE be applied as a DESIGN TOOL?

11 elaborated into an instrument of inquiry creating knowledge generating and exploring innovative ideas guiding decisions?

12 The real act of discovery consists not in finding new lands but in seeing with new eyes. Marcel Proust

13 T H E N A R R A T I V E D E S I G N S T U D I O Stage 1 Reading, Writing & Discussing Stage 2 Visualing Narratives: Aesop`s Fables Stage 3 Narrative Design: Space for Learning Space for Living

14 Stage 1 Reading, Writing & Discussing Narrative Design s an introduction to the main subject of the studio Narrative Design. You are supposed to o analyse an article focusing on Narrative Design in order to familiarize yourself with the ware of its potential to start a creative process developing concepts for the design of tached from social life and relationships as well as cultural, historical and local values. arefully and take notes while reading. Analyze the article and its main subject(s). The ysis of the article is key arguments the logic line of argumentation t summary of words n in class: and identification of key arguments will take part during the studio class. You are the article in class and take notes while. u are supposed to compare and discuss their small groups and write a short summary of key words. ups will then present their findings to the whole class followed by a general discussion dings and the opinion of all students guided by the instructors. nt to take notes during all stages, but especially concerning the final outcome of the final s. nt to participate actively in the discussions to develop an own opinion. Moreover art of the grading policy and affects the grades. rk to write an outline of the key arguments individually at home. Based on the outline you summary consisting of approximately words. printed version and bring it along with a digital version (word file) to class (on a stick). on must be submitted at the start of the next class. Part 3 Discussion in class Several students will be arbitrarily chosen to present their written summary visually and orally to the audience of instructors and students. The presentation will be followed by a general discussion comparing the content of the essays presented and a final conclusion of the instructor on the degree of success and the way of how to finalise successfully. These comments will not only relate to the work presented in class, but they also give a general hint to all students on how to improve their work which has not been shown in class. Final submission: - Students must submit the following: 1. An outline of the key arguments 2. A short summary of words - as a printed version (A4 paper) and as a digital version (cd-rom/word file) - date of submission: Humanizing design through narrative inquiry S. Danko, J. Meneely, M. Portillo

15 Stage 2 Visualing Narratives Aesop`s Fables

16 Analyzing

17 Sequencing, selecting and organizing

18 Experimenting

19 Stage 2 Visualized Narrative THE MOUSE OF THE VILLAGE AND THE MOUSE OF THE CITY Aesop Stella Michael Maria Georgiou

20 Midterm presentation

21 Analyzing

22 Sequencing

23 Experimenting with materials

24 3d model

25 Stage 3 Narrative Design Space for Learning Space for Living

26 FRAME Learning Center for Teenagers Building Learning Living 1. Environmental Awareness 2. Eating habits 3. Animal society 4. Special needs

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28 Phase I: Researching Phase II: Programing & Conceptualizing Phase III: Designing

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30 Phase I Researching

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33 Phase II Conceptualizing T H E I D E A Brain and processing of information Gaining & sharing new experience and knowledge Psychological and physical movement Awareness & Integration

34 Phase III Designing T H E T R A N S F O R M A T I O N Movement through space Vertical connection of spaces through a series of ramps Variety of horizontal connection of spaces hierarchical, sequential Variety of movements through space Connection of in- and outside

35 Research and transformation

36 Vertical movement / ramps

37 Inside_out

38 Inside_out

39 Horizontal sequencing

40 Details & materials

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42 Concept & transformation

43 Phase II Conceptualizing T H E I D E A Butterfly life cycle Experiencing the different life stages Studying the path of development Feeling as a butterfly Learning by doing

44 Phase III Designing T H E T R A N S F O R M A T I O N Movement through space Continuous linear, vertical and horizontal movement Sequences of spaces chronologically arranged Vertical connection of spaces through series of ramps and steps Connection of in- and outside Various forms of life cycle transformed into space

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49 Potential & Limitations Motivation Learning culture Creativity Creation of Meaning Holistic approach