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An essay about interior design
An essay about interior design
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The concept of interiorization has been around for a long time. In the past, some could argue that much of the focus in architecture has been on the exterior façade of buildings. That being so, people have not forgotten about the interior. There is a philosophy behind all designs of a building, including both the interior and exterior, and there is a best suited design for what a building is being used for. The concept of interiorization is spatially organizing the interior of a building to properly reflect its purpose and uses, while also incorporating the designer’s own personality and beliefs. Architects and designers must collaborate to create a look and feel that fits the role of the building and its intended use. This collaboration is necessary for a structure to function efficiently. A great disconnect and uncomfortable feeling could occur if a structure is created for one purpose but used for another purpose. For example, the dimensions and structures of the rooms are very important for megachurches. These structures require large open areas to accommodate the large crowds. However, at the same time, the interior needs to feel warm, welcoming, and comforting to serve its purpose of bringing people together in a space that should have a sense of unity. The sense of unity cannot occur in a space that is divided by walls creating separation amongst the people. The interior feel of a structure is also achieved by complementing the design with the right materials, textures, colors, furniture, and overall décor. The interior décor of a structure projects the individual feel and/or meaning of the architect. For this to result in a successful architectural design, the architect must take into consideration the feel and meaning... ... middle of paper ... ...at it attracts the younger demographics. The interior of these structures are designed and decorated with flat screen televisions and projection equipment that is used instead of the traditional hymnals. Scriptures and song are projected using PowerPoint presentations. These are things that the younger generation can relate to and many of the older generation do not care for. This in turn attracts the younger demographics to the megachurches. In my opinion, going to a mega-church reemphasizes the sense of community and worship. Getting together as a community and being able to pray and talk to friends and family, to me, make me look forward to church. With family and friends getting older, everyone start to have their own schedule, so we don’t get to see them much except once a week at church, and coming together for a good reason like church makes it even better.
Southland Christian Church, one of several worship centers in the United States that has earned the moniker “Six Flags over Jesus,” is Lexington’s largest megachurch. With a weekly attendance of 8,000 people and an operating budget that supports a staff of over eighty members, Southland far exceeds most U.S. congregations in terms of financial resources and social clout. In recent years, popular and scholarly studies have attempted to situate the megachurch movement within a broad cultural context. Although the majority of these analyses dispute the precise definition of a megachurch, most distinguish these multiplex sanctuaries from smaller worship communities by using the same criteria—i.e. weekly attendance, campus acreage, annual budget, etc.—that megachurches themselves draw on to represent their own success. [2] However, the essence of a megachurch is not its large buildings, but rather the theology of consumption that informs its programming.[3] In this way, a megachurch ethos has infiltrated even the smallest congregations in the United States and has helped to solidify Christianity’s inextricable connection to consumer capitalism. To those who see megachurches as symptomatic of a flawed Christianity, market-minded church growth confounds one of the faith’s oldest dualities, the contradiction of living in the world without conforming to its ways, as Paul puts it in Romans 12. Megachurches at once reject “the world” and participate in it by seeking to win the lost and wow the consumer at the same time.
“Form follows function.” Every great Modern architect thought, designed by and breathed these very words. Or at least, their design principles evolved from them. Modern architects Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Pierre Chareau, and Rudolf Schindler to name a few believed that the function determined the space whether the space was solely for a particular purpose or they overlapped to allow for multiple uses. Form didn’t just follow function, function defined the space. By focusing on the relationship between the architecture and the interior elements, Chareau’s Maison de Verre expanded the idea of functionalism to include not only the architecture but also the space it creates and how people function within that space.
I can see the point that having a church building is a better evangelistic tool because when an unbeliever is wanting to know about God, they usually try to find a church (if they don’t know anyone who’s a Christian). Churches usually have the times of their services posted somewhere so if someone wanted to come they know what time to be there. If a person wants to know more about God, the church usually has people there ready to share the gospel with them, whether it’s the pastor, deacons, or other laymen. True believers want to have people get saved, and the modern day church makes provision for that. The world doesn’t understand that the church isn’t a building, so having one does help in reaching unsaved people because that’s where they instinctively would know to go.
The main elements of a building are: Region, the space they inhibit; Platform, the space where they built; Compartation, how they cut the space, plan the structure; the walling, the roof and the apertures which are the opening and windows. Some consider that ornament is something additional to a entirely useful entity to make it more outstanding. Others suppose that ornament is intrinsic to an object and the only way to observe the attractiveness of that thing is to apprehend its adornment.
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
In conclusion, the debate between aesthetics and functionalism has been around for a long time. It becomes clear however, through research, that the first thing architects consider is function, and then aesthetics. It is because of this approach that aesthetics becomes somewhat of a by-product of the whole design process. By looking at examples of various buildings, it is apparent that aesthetics is important to structure and in many instances has been successfully coupled with function. But in no circumstance should aesthetics take precedence over the function and practicality of a building. It seems more likely that a happy medium between function and aesthetics can be reached, on a project by project basis, and then applied to the design process of creating the building.
Interior design is becoming increasingly popular all over the world. There is simply nothing more enjoyable than to relax in your own well-decorated and organized home.
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
The author explains architecture as an identification of place. Architecture starts with establishing a place. We define ‘place’ as a layout of architectural elements that seem to accommodate, or offer the possibility of accommodation to, a person, an activity, a mood, etc. We identify a sofa as a place to sit and relax, and a kitchen as a place to cook food. Architecture is about identifying and organizing ‘places’ for human use.
Remarkably, unlike in the description of art or music, the notion of atmosphere remains largely unaddressed in architecture. Atmosphere, can be argued, is the very initial and immediate experience of space and can be understood as a notion that addresses architectural quality, but the discussion of atmosphere in architecture will always entail, by definition, a certain ambiguity. After all, atmosphere is something personal, vague, ephemeral and difficult to capture in text or design, impossible to define or analyse. Atmosphere, Mark Wigley says, “evades analysis, it’s not easily defined, constructed or controlled”.
Throughout the world, there are an abundance of diverse cultures, each truly unique in comparison to another. Culture is described as the “characteristics of a particular group of people, defined by everything from language, religion, cuisine, social habits, music and arts” (Zimmermann). Each of these traits is what sets each society apart, and is what influences their expression of design. Throughout this course, we’ve learned how planning and design have varied all through history, however we decided to take it a step further and focus on how different regions throughout the world create spaces that reflect their own cultures’ particular interests. Being a group composed entirely of Interior Design majors, our emphasis is investigating the use of material, color, motifs and layouts of their interior spaces, and how they reflect their societies. Not only do we explore a culture’s influence on design, but we briefly touch on environmental factors as well. Of all of the regions throughout the world, we decided to focus our research on the cultural practices and designs of Mexico, India, and Japan. Our reasoning behind centering on these three cultures is that these cultures are some of the most well-known, yet each entirely distinct within their own way, thus providing a greater understanding of design styles around the world.
The work of an interior designer requires a natural skill to work with people and to decipher what a client desires. "The designer's job is to evaluate, plan, and design the interior areas of residential, commercial, and industrial places." (Careers in Focus: Design.) A few simple jobs consist of helping clients to select fixtures and furniture, supervising the coordination of colors and materials, obtaining estimates and costs within the client?s budget, and overseeing the execution and installation of the project. Some very important details designers must be aware of are the architectural requirements, space planning, and the function or purpose of the environment.
Thom Rainer recently pointed to a move toward smaller worship gatherings as a growing trend. Many people avoid attending larger churches because they have a deep concern for the relationships and the intimacy that a smaller congregation can provide. This desire for closeness is a legitimate need.
Interior design is one of the most important professions. When thinking of design and architecture industry, it is necessary to keep in mind that the professionals emphasis on matters of everyday life when commencing a project. Important sectors of interior design consist of: residential, commercial, hospitality, healthcare, education and corporate designs. Thus, the field deals with numerous factors and affects almost everyone in some way. Design is goal-oriented– it strives to achieve a certain purpose. An essential goal of interior design is to create functional spaces that convey a specific mood for an audience using design elements, thus outlining a design for communities versus individuals.
This usually entails the manipulation of texture, proportion and the setting pleasant utilization of sunshine with the intention to realize symmetry, harmony and an accurate equilibrium in complete human life. The essential ideas of good design are pure and to an enormous extent innate. When analyzing the universal properties of sunshine, house, colour and supplies, the inside designer appears to be like at the interplay of the natural legal tips that govern them. The precise design of a room works not only on the customarily ignored senses of odor and listening to but additionally on the emotions. Coloration schemes are selected to copy the mood of a room. Understanding how every side of a design contributes to a common look and feel of a room or area constantly takes precise experience and each architects and designers manipulate these to good