Participatory design simply means encouraging and producing new social relationships. It is an approach to design attempting to actively involve participants in the design process. Sometimes it is useful in order to help ensure the product designed meets their needs and is usable. The term has been used in many different areas such as; product design, architecture, software design, graphic design… Also it has been used in various scales and different settings (performance of the building, performance of the user, performance of a product…). As a way of creating environments that are more responsive and appropriate to their inhabitants' and users' cultural, emotional, spiritual and practical needs. In participatory design, participants are invited to cooperate with designers, researchers and developers during an innovation process. They participate during several stages of an innovation process: they participate during the initial exploration and problem definition both to help define the problem and to focus ideas for solution, and during development, they help evaluate proposed solutions. For some, this approach has a political dimension of user empowerment and democratization. For others, it is seen as a way of abrogating design responsibility and innovation by designers. Further my essay will continue about how does the participatory design is used, its importance and its relation with interior and spatial design. Also there will be my critical view of different examples of participatory design.
Architectural spatial or interior designs can be participatory or performance-based but in most cases would feature a combination of the two. Although performance is an obvious undertaking in design, participation may no...
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...mentioned areas exemplify the performance requirements and participatory nature of interior and spatial designs. Conversely, the all the associable knowledge areas exemplify the duties and responsibility expected of interior design and spatial design experts.
Above all, the performance and participatory nature shows that spatial design and interior design, as professions, integrates technical knowhow, creativity, and entrepreneurship skills. Moreover, as demonstrated in this writing, performance and participation are upheld as a combination that forms the theoretical context under which spatial and interior designs function. Away from that, space, as a design concern, unites the two types of designs as two similar design undertakings, and this is justifiable even in considering the distinction that may be conceived in relation to geometrical implication on space.
Lawson, Bryan. How Designers Think: The Design Process Demystified. 4th ed. Oxford: Architectural Press, 2006.
“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.
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.
This explains why for ‘many directors, commercial and industrial architecture are just a necessary shell for their business processes’ (Susanne-Knittel Ammerschuber (2006) pg10). They consider dimensions for example surfaces, floor levels and converted space to be the stand out feature of this corporate architecture. Through doing this, the architectural ethos is overlooked during design. The architectural potential is therefore limited as it tends to overlook the surrounding context; the urban environment, local identity as well as the surrounding landscape design. Instead it...
Lawson, Bryan. How Designers Think: The Design Process Demystified. NY: Architectural Press, 1980, 2007. Massachusetts: NECSI Knowledge Press, 2004.
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
Design has established itself as core elements in societies helping countless communities build infrastructure, invent new ways to better living conditions and create design desirable for consumption hence bettering the economy. Though this is a positive, most designers of the 21st century use their skills and their designs alike for those who can afford it; designing for what’s in fact the minority, 10% of the world’s population. The reason why developmental aid and design for development is essential to improving standards of living for those who live in developing countries, but to also bridge the gap between the rich and the poor. Ilse Oosterlaken (2009, p.100) equates most designs for development that use a `participatory' process as having a limited, user-centred approach; and suggests instead a more universal design approach, which she calls ‘capability sensitive design’. This essay will illustrate designs that have contributed to developmental design through capability sensitive design approach, considering sustainable design that are not only better the environment, community health and social welfare but the country’s economic standing. Through evaluating each example’s potential for real, sufficient, diverse and lasting value for the targeted users we can determine each design’s efficiency.
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.
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.
With the interaction between the development of computational approaches in architecture and the contemporary forms of spatial design intelligence, some new architectural design theories emerged to make differences between architects and control designing processes. These theories are almost employed in all designing realms, from architecture to urban design to provide fields of ideas and solutions that privilege by complexity. Most of these theories are oriented to relay on understanding and using computational methods to generate exotic and complex geometries. In this respect, three of these theories will discussed and tested against three buildings. The theories are: parametric design, genetic architecture and emergence, which characterize some of the contemporary architectural design approaches.
This article review forms part of a report, the intention of this literature is to review five articles namely; “Socially Responsive design: Thinking beyond the triple bottom line to socially responsive and sustainable product design” by Gavin Melles, Ian de Vere & Vanja Misic, published in 2011, CoDesign, Vol. 7, No. 2-4, “A “Social Model” of Design: Issues of Practice and Research” By Victor Margolin and Sylvia Margolin, published in 2002, MIT Press, Vol. 18, No.4, “Rethinking Design Policy in the Third World” by Sulfikar Amir, published in 2004, MIT Press, Vol. 20, No. 4, “Design for Children’s Behaviours in Daycare Playgrounds” By Nathan H. Perkins and George Antoniuk, published in 1999, Alexandrine Press, Vol. 25, No. 1, lastly “The Politics of the Artificial” By Victor Margolin, Published in 1995, MIT Press, Vol. 28, No. 5. By reviewing these articles this paper will expose the social responsibilities of a ‘product’ designer, by looking into the history and context of social design. This paper will further bring forth the “ideal” characteristics of a socially responsible ‘product’ designer, and look into participatory design as a methodology for the socially responsible design process.
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.
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
Meanwhile, due to the fact that the space is being designed specifically for the individuals needs therefore, it conveys personality and energy of the person. Evoke harmonized feelings, perspective and state of the client’s needs play major role in the final design. For instance, if a client wants to keep some of their existing sentimental valuables (such as a piece of art work), designers must work around that need. The designer can create do-it-yourself projects where they can satisfy the customer’s needs while being on budget. Harmony and balance are also important, so designers must keep in mind functionality ( feng
Residential interior design involves dealing with home owners normally on an available budget. Some interior designers specialize in working on bathrooms, kitchens, living areas or even bedrooms. Others work in the larger and lucrative commercial interior design market. In this marketplace, interior designers are spoiled for choice and may select the retail industry, the hospitality business, the commercial building sector or specialize in related business as diverse as creating exhibits for art galleries and trade shows.