Interior, Architectural and Spatial Design

RELATIONSHIP

COLOUR YRDNUOB

ATMOSPHERE

The story of my time in Edinburgh is like this picture, my whole postgraduate journey has been a process of exploration and practice, and the theme of my exploration is "What is an interior?". . I spent the year searching for and developing my own definition of interior design and it was also the year I began to understand and use critical thinking in a real sense, whereas until then I had a habit of accepting books and theories of design gurus as truth. This was the main reason why I was unable to give a definition of interior design that was mine. In this book I will present my findings, thoughts and reflections from the different courses and how I have used critical thinking to analyse the many theories and develop my own definition of interior design.

CONTENTS CONTENTS

Maker space

Undergraduate Graduation Design

Comprehensive Office Space Design

Maker space evolved from "Hacker space" and is an organization that helps small and medium-sized entrepreneurs start their own businesses. In order to encourage college students to start a business in China, Maker space, has been popularized in colleges and universities all over the country. It has developed into necessary space facilities such as libraries and gymnasiums.

Out of enthusiasm for starting a business, I joined the Maker space, of Shenyang normal University in 2017 and worked for a year. During this year, I found some existing problems in Maker space, carried out research based on these problems, and tried to design a new campus complex with exemplary effect.

The distribution map of the number of enterpreneurs who think that the equipment in maker space is perfect or not at different stages.

People who know

People who don't know

Conclusion

1. Lack of connotation construction: the number of entrepreneurship in colleges and universities is growing rapidly, but the development model is the same, which can not effectively combine the scientific research advantages and professional characteristics of colleges and universities.

people who think it is imperfect

people who think it is perfect

2. Lack of professionalism in entrepreneurship: entrepreneurship education focuses on theory and poor practicality, resulting in high entrepreneurial enthusiasm but low success rate of college students.

3. The openness of maker space is poor: the maker space of many colleges and universities is lack of hardware conditions, and the openness is poor, and students do not understand the working methods real entrepreneurs.

4. Lack of depth of research: many universities do not help start-ups enough, more to provide a show platform for mature projects, rather than the resources needed for long-term development.

Teaching area

The project is located in the east of the campus of Shenyang normal University in Shenyang, Liaoning Province, China. The main people who enter the maker space are employees and visitors, and there is the largest flow of visitors during lunch break and after evening class.

Third Living Area

Maker space

Express center

Building roof and facade

The third layer of steel structure

Third floor

The second layer of steel structure

Second floor

The first layer of steel structure

Ground floor

Surroundings

Maker space mainly serves the entrepreneurial group of students, and the change of the population has great mobility, so I choose to build Maker space, in a prefabricated modular way, which is cost-saving, flexible and changeable.

Flap window

Advertising space

Wall

Window

is enclosed by glass to meet the open needs of the public space, and at the same time, a partition is set at the height of the human viewpoint to block the line of sight to ensure some privacy of the conference room.

of the

is surrounded by shop windows to meet the publicity needs of display enterprises such as shops and handicrafts production. At the same time, a flip window is provided as an external window.

as office and learning.

Front view

Right view

1. Conference module. The facade

2. Open module. The facade

open module

3. Private module. The facade of the private module is surrounded by walls to meet the needs of high privacy such

he entrepreneurship course is moved into the maker space to teach, and the teaching effect is strengthened by the combination of theory and practice.

Provide convenience for visitors to pick up express delivery, rest, dining and so on.

The office area and teaching area with the highest daily population density are distributed in the space between the north and south sides of the building to ensure that the distance between the two sides of the people flow to the public space is equal. There are four staircases in the building, two main staircases are spacious, protruding, facing two entrances, attracting visitors into the public space; two auxiliary staircases are relatively hidden, located behind the entrance is a fast passage for workers to enter the office area.

The public space and equipment in the maker space will be used by the teachers and students of the whole school.

Atrium perspective

Perspective of the north corridor on the second floor

Perspective of the south corridor on the second floor

Stairs

Office space

Left view

Aerial view

Aerial view

FIGURE 1

DESIGN A VARIATION

SEMESTER 1

ADAPTING INTERIORS

It is a fascinating theory that our lives are full of dynamic factors such as sunrise and sunset, seasons, temperature, wind and water, animal movement, human emotions, and so on. In this context, I believe that the interior should not be static but should be able to change in response to these dynamics.

I believe that the vehicles for this change can be grouped into two main categories, dynamic structures, and dynamic atmospheres. Dynamic structures are well understood and are best represented in interior and spatial design as modular or active installations. The greatest advantage of interior design based on dynamic structures is its flexibility, which allows it to meet the needs of the user within a limited space and to create more interesting spatial relationships, spatial scales, and spatial perceptions, for example, Shuhei Aoyama's 400 Boxes for Community Cities (Figure 1) is a classic example of modularity. Unlike interior design, which requires a lot of spatial constraints, it is not constrained by almost any spatial factors. The building is just a shelter for the scheme. But Graeme Brooker and Sally Stone suggest that: The design and positioning of particular objects and elements that inhabit the existing building is a process of exploring and taking advantage of the opportunities and constraints inherent within the original structure (Elements and Objects). This means that interior design should take advantage of the strengths and constraints of the actual space. I strongly agree with this, so I have often wondered if this high degree of freedom in modular design is still interior design if it is free from interior constraints. Or what level of modularity is considered part of the interior? I have not yet found a good answer to these questions, but I will probably continue to explore and think about them in my future work.

On the other hand, dynamic ambiance refers to the change of atmosphere in a space. Firstly I believe that two main factors influence the ambiance of an interior. The first is light. When articulated and deployed thoughtfully, both natural and artificial sources of light have the potential to enrich and transform interior space. The power of light lies partly in its abilities to sculpt, shade and foreground space, poetically realising the abstract properties of an interior whilst communicating its numinous qualities and dimensions to its users.(Re-readings: 2 : Interior Architecture and the Principles of Remodelling Existing Buildings. Graeme Brooker and Sally Stone. 2018 ) The second is color (including materials) umerous researches proved that colours have an intensive psychological and physiological effect on people, for which reason it is important to know how different colors affect the space users ..... ...Color has the energy to influence both emotions and cognitive processes (Effects of color in interior design 2019.04) while dynamic ambiance refers to how the light, materials, and colors in an interior can change depending on time, temperature, or people's behavior and emotions to create different spatial atmospheres, for example, with photochromic and thermochromic materials (Figure 2-5). I believe that such dynamic atmospheres are particularly suitable for the design of public spaces with social and entertainment properties, such as parks, restaurants, bars, shopping malls, etc., where the dynamic atmosphere can accommodate a wider range of thematic activities and where people will feel different every time they enter the space, thus maintaining a sense of freshness and curiosity about the space.

Site Address: 40 George Square

Site Size: 6239m2

Architect: Robert Mathew

Date of Construction: 1963

The building has 15 floors divided into 1 basement level and 14 above ground levels

The building has very good high level views of Edinburgh Castle and the meadows to the west and Arthur's Seat to the east.

The high latitude gives the city a low average annual temperature, while the maritime climate allows for a small temperature difference between winter and summer and a high amount of precipitation.

The city of Edinburgh is located at 55 degrees north latitude, which gives it short hours of sunshine in winter and long hours of sunshine in summer, with the main direction of sunshine being east of south in winter and south of west in summer.

BACKGROUND:

The site of this project is the kitchen area on the top floor of the building. The main function of the top floor is classrooms and study rooms. Daily crowds are sparse. The average daily number of users in the top floor kitchen area is 3.3 people. The use method is to make drinks (coffee, tea). And chat, the use time is 5 minutes to 30 minutes (this data is not completely accurate due to the influence of observers). The total indoor area of the kitchen is 13.3 square meters (The project only occupies about 9 square meters of it), and the windows face the west from 3 pm to 5 pm. There is plenty of sunlight in the room (under sunny conditions).

USERS:

The main service targets of this project are teachers, students and other staff who are under great pressure in work, study and life. It can also be used as a viewing platform for visitors.

SITE INFORMATION:

Wall construction/finishes: White putty powder

Ceiling construction/finishes: White putty powder

Floor construction/finishes: PVC

Key Interior Features: The shape of site room resembles a polygon formed by two rectangles.

General Condition: The design site is the kitchen area on the 13th floor of this building. The total area is 13.3 square meters.

Any other relevant information: The windows in the site face to the west, so the number of daily users is small

THEME:

As a teaching building, there are many students studying here every day, and a considerable number of students are facing huge academic pressure, language barriers and social pressure at the same time. The purpose of this project is to provide a space for this group of people to enjoy quietly and enjoy themselves.

In this project, I tried to create an interesting viewing space for the students in this building, but also a space that can relieve stress. Use the environment to have a positive impact on people's mental health.

AZIMUT

Arnaud Lapierre

https://www.designboom.com/art/azimut-moving-artinstallation-fragmented-venice-03-26-2020/

This work deconstructs a landscape or building through the reflection of mirrors at different angles, which brings people to observe from multiple angles and at the same time it is very interesting

MINI LIVING Urban Cabin

Penda China

https://www.gooood.cn/mini-living-urban-cabin-pavilion-10in-china-house-vision-by-mini-living-and-sun-dayong.htm

Using the principle of periscope, the author designs a roof device so that people can see the scenery from all angles around the house when standing at one point, creating an illusory atmosphere to add great playability and interest to the space.

Skyspace

James Turrell

https://www.designboom.com/art/james-turrell-skyspacegathered-sky-beijing-06-17-2017/

This work is in a temple in Beijing, which I visited once in 2019. I think it is an extremely peaceful work, where people can enjoy the sunset without distractions, relieve the pressure brought by the city, return the mind to nature and enjoy self-peace. At the same time, this work also adds a touch of Zen to the temple.

Your Rainbow Panorama

Ólafur Elíasson

https://olafureliasson.net/archive/artwork/WEK100551/yourrainbow-panorama

In this case, the designer uses stained glass to enclose a circular corridor. The glass creates a colorful space atmosphere and at the same time creates a unique urban landscape for visitors

Façade for Harpa Reykjavik Concert Hall and Conference Centre

Ólafur Elíasson

https://www.olafureliasson.net/uncertain

The designer imitated the structural form of basalt to design the facade of the building, and used a variety of colors of glass to create a rich and varied light and shadow effect and reflection effect.

Cloud Cities: Tomás Saraceno’s Visionary Architecture

Tomás Saraceno

https://www.sfmoma.org/read/cloud-cities-tomassaracenos-visionary-architecture/

The original intention of this work is the designer's proposal on floating utopian cities of non-hierarchical social spaces. But I got a lot of inspiration from its polygonal structure, this structure blurs the boundary between the ceiling and the wall, and the space is richer and more interesting.

In this project, I tried to create a mirror space. The four walls and ceiling in the space are composed of mirrors. I want to reflect the outdoor scene by controlling the angle of the mirror, which can give people a feeling of being in the air while ensuring privacy.In addition, because Edinburgh is rainy all year round, I also designed a device that can collect rainwater. In rainy weather, the room will also have the effect of rainwater sliding and interact with the user, giving them a richer experience.But the disadvantage is that it can’t be combined with the original space well, but it will also affect the daylighting of the original space, so I gave up this plan.

In these two plans, I use the mirror as a device that connects indoors and outdoors. The outdoor scenery and the reflection of the mirror will form a wonderful perspective. People can also turn the mirror to control the reflection angle, but the form of these two plans It was too simple without considering the problem from the perspective of space and lacking a sense of design, so I finally gave up these two solutions.

Value

By reading Introduction of photochromic lens technology, I learned a lot about the characteristics of photochromic materials and thermochromic materials. The decorative feature of photochromic glass is that the color and light transmittance of the glass automatically change with the intensity of sunlight. The use of photochromic glass to decorate buildings, even if the indoor light is soft and the color is changeable, it is generally used for building doors and windows, curtain walls, etc.

In this project, I am replacing the window glass with photochromic glass and thermochromic glass. According to the characteristics of these two materials, the color and atmosphere in the space will change with the light and the season. Human body temperature also affects thermochromic materials, so people may also interact with this material in many ways.

On the other hand, I used white square steel pipes for the basic structure, and also used many mirrors to reflect the outdoor landscape to create a special viewing angle.

Thermochromic Materials

Photochromic

Mirror Installation

Grasshopper Model:

Inspiration:

In this project, I tried to simulate the bubble structure design space. People can move and communicate in the bubble cavity, and I made the furniture and installations in the space into a whole to create a public space with a great sense of design.

I integrated all the furniture and installations in the space into the structure of the bubbles, and made the table, lamps, mirror installations and the entrance of this space by simulating the cut plane formed by the extrusion between the bubbles. The area where people move is the cavity area of bubble.

I use the structure of the foam to set the angle of the mirror and create many special viewing angles, so that people can see different scenery under different conditions or different behaviors.

The original function of this space is the kitchen, but it also has social attributes. In the design, I reserved the kitchen area, only strengthening the indoor social attributes and viewing form.

Mirror

SECTION A SECTION B

In the case of different temperature and ultraviolet intensity, different colors form different atmospheres in the room

WALL EXPANSION SCREW

PLASTER FILLING

3mm SQUARE STEEL TUBE SNAP CONNECTION

ANGLE STEEL CONNECTOR

3mm SQUARE STEEL TUBE

EXPANSION BOLT

WINDOW FRAME

PHOTOCHROMIC GLASS

PLASTER FILLING

3mm STEEL PIPE

Steel frame and ceiling connection structure

1:

4

3mm STEEL PIPE

STEEL PIPE CONNECTION STRUCTURE TABLE

HIDDEN SCREW CAP

ROUND SCREW

3mm STEEL PIPE

ROUND SCREW

STEEL PIPE CONNECTION STRUCTURE

Detial 5

Steel frame and desktop connection structure

RUBBER MAT 1:

3mm STEEL PIPE

RUBBER MAT

GLASS CLAMP

SNAP CONNECTION

PHOTOCHROMIC GLASS

WINDOW FRAME

Window connection structure

Detial 4

1: 4

SNAP CONNECTION

GLASS CLAMP

RUBBER MAT GLASS/MIRROR

3mm STEEL PIPE

Steel frame connection structure

DESIGN A RELATIONSHIP

SEMESTER 2

CONNECTING INTERIORS

Interior design is concemed with creating an interfave between people and the buildings they use (Spatial Strategies for Interior Design. Ian Higgins. 2015). Many of the ideas in this book have been particularly influential to me. Based on this, I believe that spatial design is concerned with creating a relationship between space and space and between space and its users. This relationship can be physical, for example, the four types of spatial relationships outlined in Spatial Strategies for Interior Design: space within a space, overlapping spaces, adjacent spaces, and Spaces linked by a common space. It can also be spiritual, such as visual interaction. A carefully crafted view through a space, via a series of openings such as doorways or windows, will imply connectivity and promote movement. The delineation of these apertures will often entice the user of the space to move and circulate in an interior, in order to interact with what is being offered through the opening.(Re-readings:

2 : Interior Architecture and the Principles of Remodelling Existing Buildings. Graeme Brooker and Sally Stone. 2018). Beyond this, light, sound, and any other element have the potential to help create a relationship between space and space.

During the course, I gradually began to draw out and develop my views from the many theories. At that stage, I believed that the interior was a perspective and that different people's attitudes on the interior could lead to very different conclusions. For example, the user could feel the comfort of the interior, and the designer and engineer could see the reasons for that comfort. From a child's point of view, all objects in the room are massive. So I think the definition of an interior depends on the identity of each person; an 18thcentury person might see baroque and rococo decorative styles, whereas a person today might see an interior space where digital technology is combined with artificial intelligence.

But today, my definition of the interior has changed. I think the theory of 'interior as a perspective' is too broad and does not belong to my definition of the interior. I should build on this theory to develop my perspective and define the interior in my view of my learning experience and identity. Currently, I have two conclusions, one about static and one about dynamic. The static one is that I see the interior as a 'relationship', and the dynamic one is that I see the interior as a change. These two arguments have been drawn out in the context of my proposals for adapting interiors and connecting interiors.

Anxiety/ Depression

Mild Anxiety/ Depression

Sources of Pressure

Others

References: Overseas Chinese Students Psychologically Healthy Intervention Factors and Strategies-Wang Yang; Peng Kaiping; Hu Xiaomeng

Data source and random sample survey of international students in the city of Edinburgh, with a sample of 633 people across 23 disciplines at the University of Edinburgh.

Psychological Problems of International Students

Social Pressure

Brief:

Site: 40GS 10-13th floor

User: International Students

Function:

I plan to divide the space into two main sections, one for fixed-function living areas (functions: bedroom, dining room, living room, kitchen, bathroom) and the other for flexible communal areas (functions: watching movies, holiday parties, games, indoor camping, interaction with pets, etc.)

Theme:

Many international students today suffer from anxiety or depression due to study pressure, language stress, and cultural differences. The theme of this proposal is to design a relaxed and socially friendly living space for international students. In traditional flats, the distance between the communal spaces and the flats makes most students rarely use these communal spaces and are unaware of the activities taking place, so students miss out on many opportunities to socialize I plan to link the common space to the flats and design a functional and flexible common space to attract more students out of their rooms to participate in different themed activities to release stress and make more friends.

Unité d'habitation

The Unité d'habitation is a modernist residential housing design principle developed by Le Corbusier, with the collaboration of painter-architect Nadir Afonso. The concept formed the basis of several housing developments designed by him throughout Europe with this name. The most famous of these developments is located in the southern part of Marseille.

Le Corbusier believed the tower block was the solution for rehousing the masses that had been displaced during the second world war, and that high rise building could be used to create spacious city homes with the same amenities as a typical street.

Rather than employing the smooth white surfaces that typified many of his buildings, Le Corbusier chose to create the building in bétonbrut concrete, which was textured by the wooden planks that had provided its formwork. This prevented the need for a steel frame, making it the most cost-efficient solution.

Section:

Plan:

1th floor plan

2nd floor plan

3rd floor plan

Inside, wide corridors ("streets in the sky") run along the central long axis of every third floor of the building. Each apartment lies on two levels, such that the room on one side of a corridor belongs to the apartment that is mostly below the corridor floor, while that on the opposite side belongs to the apartment above. On those floors without corridors, the apartments stretch from one side of the building to the other, and each has a balcony on the western side.

The 15-minute city model： neighbourhoods must be designed so that everyone has access to all essential human needs within a 15-mintue walk or bike ride. Under this theory we can envisage two plan strategies, the first is that the functional area surrounds the residential area, with the residential area at the centre so that it is within 15 minutes of all the functional areas, and the second is that the residential area surrounds the functional area, with the functional area at the centre to achieve the same effect, obviously the second strategy is more reasonable because there is more volume to accommodate more residents.

1

Residential Unit 2 Residential Unit 3

In terms of the overall spatial strategy I mainly use a centralized strategy, firstly I use a semi-private space as the centre to connect two or four private spaces to form a living unit, and then a larger and more open public space as the centre to connect all the semi-private spaces, these semi-private spaces can be used as transitional spaces to reduce the impact of the public space on the private space.

In the masterplan I have placed the functional public space at the centre of the building, with the living units distributed around it, so that all residents have approximately equal access to the central area, ensuring that the functions are easily accessible to all and creating more social opportunities for the residents.

The project breaks away from the traditional flat format by having three floors as a unit, with the middle floor of each unit being the main traffic core, and adding social spaces on this floor to facilitate interaction between students and to build friendships quickly, while the private nature of this floor makes for a more relaxed social environment and serves as a transition from private to public space. On the other hand, the corridor space in the upper and lower levels of the original unit is used as an atrium to create a visual connection between each level and the different units, allowing students to be aware of what is happening or what is going on in the public space.

1. Rooms

2. Kitchen

3. Bathroom

4. Social Area

5. Stairs

6. Elevator

7. Laundry

8. Equipment Romms

SCALE 1 : 250

Active Lines Stairs

Two main staircases link all the the public spaces on the ground bathroom is located on the middle and each room has its own staircase bedrooms, with the kitchen located bedrooms for both rooms to share.

Plywood

Mosaic

Corrugated Stainless Steel

flats in the building and ground floor. Each room's middle level of the unit, staircase up or down to the located between the two share.

Floor Tiles

The interior is heavily planted with green mosaics and reflective materials to create a simple and relaxed garden-like social environment.

Fibre Cloth

Terrazzo

The social space on the middle level is located between the two rooms and has a semi-private attribute with the screening of plants, creating a more secure social atmosphere and reducing social pressure.

The kitchen is located between the two bedrooms and is common to both rooms. The bedrooms are not directly connected to the atrium, ensuring their privacy while reducing the impact of some public activities on the bedrooms. The kitchen is connected to the atrium space, which increases air circulation and daylighting in the atrium space, while creating a visual connection with the atrium and the different levels, creating a semi-open, street level and casual atmosphere.

DESIGN FOR PRACTICES

INTERSECTION-EXPOSITION

You can demonstrate your understanding of design and aesthetics in the process of interior design, but the interior design industry is ultimately a practice-based profession. So combining all my study and work experiences, I believe practical skills are just as necessary as my design skills. Design is a problem-solving process, and moving from reality to solution involves trade-offs and sacrifices. Our imagination is our strength when we are students. However, lacking practical skills is the biggest drawback of being a future designer. I have had a lot of design experience but minimal practical experience in my academic career. I have always encountered many constraints in bringing a project to life. When designing for homework, I may only need to consider some of these factors. However, when designing for reality, I must consider all the factors and details; ignoring them can lead to a less-thanperfect result. I have learned this after several elective courses and experiences with Exposition Design. It was an iterative, challenging, and good process.

Image : https://www.coinstreet.org/space-and-venue-hire/bargehouse

BARGEHOUSE

The exhibitions that have been held

Oxo Tower Wharf, Barge House St, London SE1 9PH Bargehouse is on the main cultural trail between London's Southbank Centre, hayward Gallery and Tate Modern.

The exterior of the building:

·White wall leather and red brick inside the wall are mixed and spliced

The interior of the building:

·White walls, pristine (the display space assigned to our school)

Image : https://www.coinstreet.org/space-and-venue-hire/bargehouse

Image : https://www.coinstreet.org/space-and-venue-hire/bargehouse

·Brick, exposed interior material

The exhibitions that have been held

The exhibitions that have been held

Image : xiaohongshu

Characteristics of the display

Bargehouse is on the main cultural Southbank Centre, hayward Gallery

Bargehouse is on the main cultural Southbank Centre, hayward Gallery

hite wall leather and red brick inside the wall

hite walls, pristine (the display space assigned

hite wall leather and red brick inside the hite walls, pristine (the display space assigned

Rectangular space with a small projecting space, 3.2h, 30sqm.

ne side of the space is connected with UCA, the other side is white wall with window and concave and convex, and the two sides are white walls (suitable for hanging cloth or exhibits).

Image : xiaohongshu

t e walls, turquoise floors.

Characteristics of the

Rectangular space with a small projecting space, 3.2h, 30sqm.

O ne side of the space is connected with UCA, the other side is white wall with window and concave and convex, and the two sides are white walls (suitable for hanging cloth or exhibits).

The exhibition hall has two windows, and there is a building opposite the exhibition hall (within 10m), which may affect some natural light entering

Rectangular space with a small projecting space, 3.2h, 30sqm. ne side of the space is connected with UCA, the other side is white wall with window and concave and convex, and the two sides are white walls

·Whi t e walls, turquoise floors.

Natural light

set time in London: 9.30pm, with natural light supporting the entire

The exhibition hall has two windows, and there is a building opposite the exhibition hall (within 10m), which may affect some natural light entering the interior.

The exhibition hall has two windows, and there is a building opposite the exhibition hall (within 10m), which may affect some natural light entering

·Sma l l number of spotlights (?)

·Su n set time in London: 9.30pm, with natural light supporting the entire show.

·Su n set time in London: 9.30pm, with natural light supporting the entire show.

Oxo Tower Wharf, Barge House St,

Oxo Tower Wharf, Barge House St,

Image : xiaohongshu

https://www.coinstreet.org/space-and-venue-hire/bargehouse

Image : https://www.coinstreet.org/space-and-venue-hire/bargehouse

Image : https://www.coinstreet.org/space-and-venue-hire/bargehouse

https://www.coinstreet.org/space-and-venue-hire/bargehouse

Characteristics of the display space:

·Rectangular space with a small projecting space, 3.2h, 30sqm.

·One side of the space is connected with UCA, the other side is white wall with window and concave and convex, and the two sides are white walls (suitable for hanging cloth or exhibits).

·White walls, turquoise floors.

Natural light:

https://www.coinstreet.org/space-and-venue-hire/bargehouse

·The exhibition hall has two windows, and there is a building opposite the exhibition hall (within 10m), which may affect some natural light entering the interior.

·Sunset time in London: 9.30pm, with natural light supporting the entire show.

·Small number of spotlights

Intermedia - BA (Hons)

Exhibition room: Ground Floor / 1st Floor

Distributed in several exhibition rooms

For example, the work "SIDE EYE" consists of various exhibition formats and elements in a separate room, conveying a design concept.

Viewing the same work from different perspectives will give different visual effects.

Observations and summary on Intermedia's exhibition model:

• It is distributed in different spaces, on different floors and is not confined to one exhibition hall.

• It is interactive and uses a variety of senses, auditory, visual and tactile, to give the viewer different sensations from different angles.

• Good use of the spatial environment to find the best display for the work and to create a diversity of visual culture.

• With less text (less guidance), different people will have different interpretations and thoughts when viewing the work.

• The exhibition format of this specialist project was found to be more attractive to visitors.

Interior Design - BA (Hons）

Exhibition room: E.24

Through the observations of the group members over a ten minute period:

• Within ten minutes, at least five people entered through a door and left the exhibition space directly without visiting the work.

• There were at least five people who did not look through the portfolio.

• There were no visitors to the exhibition space for at least three minutes.

Observations and summaries on the exhibition model of interior design:

• The exhibition format is rather homogeneous.

• It is not very interactive, with the main interaction being flipping through the portfolio.

• The exhibition has more text and is strongly guided, such as project introduction, concept introduction, functional partition, target users, etc. The main visual effect is pictures, with text as a support, and the portfolio as an extension of the content.

• The exhibition space is small and the flow is simple.

• This exhibition space is found to be less attractive through observation.

The many boxes that make up the surface can be used as a complete typography, making it more visually appealing and impactful, while interested visitors can open the corresponding boxes to learn more about the design process, details and analysis. This exploratory process stimulates the visitor's interest and maximises their understanding of our project, making it more interactive and memorable than conventional text-based typography.

The rendering can be used as a box cover to attract more attention

More information and the story behind the renderings are hidden in the box waiting to be discovered by visitors.

More information and the story behind the renderings are hidden in the box waiting to be discovered by visitors.

This project is a large cube made up of many small cubes, from which visitors can take small cubes as souvenirs. This makes the exhibit interactive with the visitor, and this interaction adds interest to the display and makes the visitor more impressed, while this interactivity turns the exhibit into a kinetic sculpture, with the visitor as the variable that affects the sculpture making the exhibit look different from moment to moment.

By studying this work we thought that perhaps we could print our project on some larger boxes and then hide these boxes within a larger square of smaller squares that visitors could remove and gradually reveal information about our project, as if our project had been dug up by the visitor. We wanted to increase the interactivity of the presentation in a similar way to impress people.

In the same way we can print information and QR codes about our project and the university on the cubes, so that visitors can learn more about our background and allow them to take away the cubes as souvenirs.

REFLECTION:

By visiting Edinburgh's graduation exhibition we found that those works or exhibition formats that were interactive easily attracted more visitors. Many visitors were also willing to spread the word about the work, which left a strong impression on them. However, the work of the interior architecture and landscape disciplines is less interactive, as these disciplines use typography and models as the main form of exhibition, which is boring for most visitors and therefore they rarely read our designs and therefore have a misunderstanding of them or do not know what we are doing. Through this graduation exhibition we have been reflecting on how we can make the exhibition more interesting for interior professionals? How can we bring out the strengths of the interior profession? How can we attract more people to learn more about our designs? At present, we believe that we can start from three aspects: firstly, to ensure excellent graphic effects and colour schemes, which are undoubtedly more attractive than words; secondly, to streamline the textual content and use the shortest language to express the core concepts; thirdly, how to increase interaction with visitors and add interest to prolong visitors' reading time of our designs.

Manifesto:

1.Changing

Interiors are always changing. Human, non-humans, time, etc. change interiors.

2.Different Lenses

The interior design of Edinburgh interrogating a site from different lenses.

3.Adaptability

Interior design should respond to the surrounding.

Time is changing. Models are also changing. The actual model is hidden as an exhibit in a semi-enclosed 'space' made up of small components.

As the components are removed, the model is gradually revealed to the public. It is a symbol of the process of 'discovery'.

The inserts that are taken away (small) can be used table mats, fulfilling the need to recycle materials the same time achieving a great dissemination effect.

Exhibition starts

Exhibition starts

used for and at effect.

The whole model consists of a number of rectangular planes with recesses that are interconnected and occluded.

These rectangular planes can be modularised and made in three different sizes - large (560mm), medium (260mm) and small (100mm). The large and medium planes form the bulk of the model and are used to display students' work and teaching achievements, and can be broken down and reused as storage units at a later stage. The small plane will be labelled and used to interact with visitors to the exhibition, placed on the medium and large planes, and can be switched between them or taken away as a souvenir.

REFLECTION:

I think the strengths of this scheme are that it is extremely adaptable and interactive, adaptable to the conditions of the site and reflecting part of the academic character of Edinburgh's interior profession, and interactive in a way that will attract and impress visitors. However, there are still a number of problems with this version.

Firstly, I feel that the main form is irregular and does not reflect well the concept of different lenses that we have proposed.

The main body of the structure is gradually revealed as the small modules are continuously removed and taken away.

Secondly, the vignettes are too confusing and may affect the visitor's ability to read the content. Thirdly, the interactivity is not obvious, as one has to stand for a longer period of time to see the changes in form.

Finally, all the modules are square and lack variation, making them rather boring.

Exhibit modules (small)

Models constructed

from different size mouldings.

REFLECTION:

In this version we have redefined the way the modules are connected and their dimensions, which allows all modules to be connected from any angle, this structure is more stable and creates more variations in form, but it also makes its form more complex and irregular, although we have split and simplified it, its visual effect is still somewhat confusing, and to make it less confusing we have reduced the number of materials and colours. We have reduced the number of materials and colours, using only two materials, wood as a module for display and polycarbonate as a structural and decorative module, and the stacking of translucent materials to create a variation of reality and sparseness, thus reflecting the concept of different lenses. The biggest problem with this version is that we did not take into account realistic constraints such as budgetary constraints very well, and we have to admit that the production and material costs of this solution are high, and the connections are relatively complex and unclear.

This version lacks the most basic spatial logic, there is a lot of ineffective space in this structure (it is difficult for visitors to see what is on display) and the ECA is composed in a confusing and illogical way, so there are also a lot of repetitive planes.

In this version we have imagined the three letters as two planes and intersected these two planes, which will form a very solid X-shaped structure, on the basis of which we have misaligned some modules to enrich the visual variation.

In this version we have simulated the principle of a 3D card to form an ECA. The advantage of this format is that it is very solid in its folded form and uses the least amount of space, while being more suitable for rectangular spaces. However, I think that the disadvantage is that it does not reflect the flexible and versatile feeling of not being modular, the form is like a wall and is a bit boring in form. This is why the decoration of the small inserts is particularly important.

At this stage of the design process, we had to pay more attention to the realities of the work, in terms of budget, materials, site, stability, etc., thus abandoning many interesting but difficult to realise solutions. This made me more aware of the gap between imagination and reality. I think one of the hardest things about this experience is that we are constantly thinking about how we can make our imagination come to life within the limited conditions, which is one of the most essential skills for an interior designer.

During the design process we have transformed the concept, iterated on the scheme and considered the site and designed our structure according to the size and shape of the site. At this stage we needed to translate our design into reality and we needed to consider more realistic constraints such as materials, we started with three options of dense board, wood and cardboard. Taking into account the joining method, weight, production costs, transport costs and budget, we finally chose cardboard as the main material and started to experiment with it.

Firstly, the cardboard was very soft and flexible, which made it easy for the model to deform or even break at the lateral joints, but this was not a serious problem and could be corrected during the construction process.

Secondly, the cardboard is very fragile, so we cannot insert it repeatedly, the joints are easily damaged and we will have to replace it with a new board.

Thirdly, for budgetary reasons the minimum number of modules that could be taken away was limited and the actual number used was much less than we had planned for in the design, so the visual effect did not meet my expectations. However, after experimenting with the construction I think it would have been difficult to achieve the number of small modules we had designed for, even with a budget. This is because the cardboard is very soft and if we build the small modules very densely or very high for visual effect, it is likely that the balance of the main structure will be distorted.

Through this curation I have gained a deep appreciation of the difference between design and reality, and the same goes for interior design. It is almost inevitable that the practice will encounter many problems that were not anticipated during the design phase. This is partly a reflection of the need for practice in the interior design process, but also a reflection of my inexperience in this area, as I am not able to anticipate potential problems in design. This is one of the areas I need to continue to learn and work on in the future.