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This article presents findings from an instructional-based inquiry, aimed to evaluate the critiquing characteristics of an accredited interior design program, and to optimize the experience of studio-based feedback practices for contemporary students. This investigation pre-dates the unprecedented shift to remote instruction due to the global pandemic, providing a unique snapshot of Generation Z emergent designers at a time when in-person feedback reigned. Data was collected through an anonymous, voluntary survey which invited students to share their experiences and perceptions of various modalities of project feedback. The findings are four-fold. First, students view critique not merely as a validation or gatekeeping function but as an interactive form of guidance, underscoring the necessity of harmonizing directive discourse with empowering feedback. Second, methods like peer reviews, desk crits, and illustrative feedback are seen as particularly beneficial, being both personalized and intimate, and are valued equally in both in-studio and out-of-studio settings. Third, 1-2 weekly contact hours with instructors is preferred for project feedback, pointing to a possible disparity between student expectations and prevailing practices. Finally, students recognized the potential benefits of using online critiquing tools for project feedback, even prior to the extensive uptake of online platforms during the pandemic in which students had little experience using them. This study contributes valuable context to the future of interior design education, and illustrates areas in which research concerning modern students and instructional practices can be further developed.

This paper presents the findings of a research study focused on industry-university collaborations within the design studio culture. The study utilized a mixed-methods approach, including a literature review and case studies, to investigate and identify lessons learned from university-industry collaborations for interior design students. Two industry-university collaborations within AU were selected as case studies based on their relevance to the design courses offered in the BSID program. The case studies employed a mixed-methods approach, involving non-participant observations, students' reflection reports, and semi-structured interviews with instructors and industry staff members. This research contributes to the understanding of industry-university collaborations within design studio culture and provides valuable insights for instructors, universities, and industry partners seeking to engage in such collaborations. By highlighting the experiences of instructors at AU, we aim to provide insights into the benefits and challenges of industry-university collaborations for universities that are new to such partnerships. The findings include the importance of embracing exposure and new partnerships, providing real-world experience, balancing autonomy and dependence, understanding the limitations of scope, considering the scale and limitations, navigating bureaucratic procedures, mitigating conflicting interests, adhering to regulations and guidelines, emphasizing positive social impact, and learning from limitations.

The three pillars of sustainability, social, environmental and economic developments, are global trends in education. The emergence of the COVID-19 pandemic is a critical indication of nature's resistance. Developing a sustainable interior design learning approach is not a prerequisite for a sustainable education perspective but may bring solutions to environmental concerns. Therefore, developing a curriculum for teaching green interior design is vital for SID. This study proposes a curriculum framework for teaching sustainable interior design from theory to practice based on sustainability theory and green interior rating standards. Students must consider Covid-19 based on WHO and LEED green rating standards for their design project. A study was conducted to examine the learning processes and outcomes of students. This study offers a new perspective on the development of sustainable interior design in education.

This study aimed to investigate the effectiveness of 360-degree panorama-based Virtual Reality (360VR) as a tool to simulate real-world site visit experiences in interior design education. In the first stage of evaluation, the online survey was implemented to ask students about their learning experience of using 360VR. The second stage of 360 VR effectiveness evaluation focused on the objective comparison of students learning outcomes between the 360VR method and the traditional approach. The students' experience survey results indicated that 360VR and virtual walkthrough experiences benefited students' understanding of the site during the design process. Students reflected positive 360 VR experiences on their engagement in learning, special layout, visualization, and educational effectiveness. The result of the student learning outcome evaluation showed no significant difference between 360 VR compared to no site visit. However, there was a significant improvement in students' spatial planning, finish selection, and total scores when using the 360 VR method compared to an on-site visit.

China's elderly population is on the rise, and there is a growing need for improved education for professionals in geriatric health care and management. "Age-Friendly Interior Design" is a mandatory component of the curriculum for students majoring in aged care and management. Problem-Based Learning (PBL) has been introduced as an innovative teaching model. The study aims to achieve several objectives: 1) To compare the knowledge, skills, and interests of students after using Problem-Based Learning (PBL) against predefined criteria. 2) To compare the knowledge, skills, and interests of students after using the Traditional Teaching Method against predefined criteria, and 3) To compare the knowledge, skills, and interests of students after using Problem-Based Learning (PBL) and the Traditional Teaching Method. This research engaged students pursuing degrees in geriatric nursing and management at a university in Sichuan, China. It encompassed both a control group consisting of 42 students and an experimental group with 48 students. The findings indicated that both PBL and traditional teaching methods had a positive impact on enhancing students' knowledge, skills, and interests to some extent. Problem-based learning (PBL) was more effective in improving these aspects than traditional methods with a significance level of 0.05.

In collaborative design settings, designers communicate and explicate their ideas visually and verbally in order to reach a shared understanding. The verbal exchanges of group members engaged in a joint design task provide rich data regarding the design activities being undertaken by the group members. In addition, sketching and modelling are recognized as essential for designers to examine and produce design ideas at the very beginning of a re-design process. This exploratory case study focuses on collaborative design activities and problem-solution coevolution among the various design disciplines that students engage in during their product design processes. Nine students from three design disciplines (interior design, product design, and graphic design) participated in a workshop providing knowledge about 3D modelling, following which they undertook a re-design task to develop a new 3D form of a detergent bottle. The research data consisted of video recordings and sketches, and the analysis focused on the progress of the design processes and the differences between the groups. The results highlight that the creation of new 3D forms was based on intensive reformulation activities such as setting new problem expressions or modifying existing ones. This kind of re-design task, which presented constraints in terms of developing a new 3D form within the prescribed requirements, served as a good exercise through which to practice co-evolution because it drove the design activities towards a balance of transitions in the problem and solution spaces.

This paper defines the value and best practices of immersive learning and how a Midwest University initiative implements immersive learning practices to enhance students' educational experience. Literature reveals that immersive, or experiential, learning experiences are critical because "experiential learning provides the necessary link between formal education and adult life; it is a mechanism for integrating education and work, for recognizing the validity of all learning that is relevant to a college degree and for actively fostering recurrent education" (Kolb, 2014, pg. 3). Immersive learning is an essential component to ensure that students are fully equipped with the skills and knowledge needed in their future careers. Using a design case, the concept of an immersive learning is explored. Findings reveal that this immersive program is well-implemented and well-executed, allowing community partners to support the University, students to obtain real-world design experience, and allows educators to stay connected to design while teaching; it is a winning partnership for all three stakeholders.

A local professional organization for interior designers issued a student design competition for a community cultural center to celebrate and teach others about a specific culture of the student's choosing. Culture was broadly defined beyond race, nationality, religious, and social beliefs to include any group with shared interests. Students were encouraged to select a culture they might 'admire' and want to learn more about. The premise of the project was well intentioned, however the brief embodied outdated notions of culture and contained language which was arguably insensitive. Adding these issues to underlying problems of 'pick-a-culture' projects, my first inclination was to decline to participate. However, at a time when the COVID-19 pandemic exposed racial disparities in the US culture and economy, I recognized the critical importance of bringing conversations about race, privilege, stereotypes, appropriation, and advocacy into the classroom through reading, critique, and discussion. This paper raises multiple questions about the role of design, design education, and inclusion that surfaced through the project and identifies my own faults in the process. I question: who is allowed to design for 'others', was this an appropriate opportunity for minority students to use their own voice, did I imbue my white guilt into the class? I will also discuss how the intention of design as problem solving surfaced as power and privilege in conceptual development.

This design case introduces a design and development process of theories from environmental psychology, humanities, and social sciences as heuristic thinking devices to measure human-centered design solutions. The pedagogical review of the traditional studio design process revealed obstacles as students translated their research and program to the development of the design. They created the latter without applying their theoretical understanding of research conducted on the human-environment relationship. Given this challenge, the authors evolved a revised design method utilizing theories to afford an empathetic design response. Students in two interior design studios adopted this approach to develop hypotheses for the design problem, and later the theories informed guidelines for cultivating a more empathetic design response. Project analysis by authors, and reflection statements from the students, capture the value of theory as thinking devices to assist directly in their work by improving their position and power, prompting a more imaginative and generative ideation process. The role of this design case is to acknowledge the role of theory as a heuristic device in order to generate, develop, and support the advancement of interior design as a discipline through interaction, mediation, and discourse.

The process of moving the physical design studio experience, where social interaction is a guiding principle, into a detached virtual environment during the COVID pandemic has prompted design educators to re-evaluate what constitutes a traditional studio-based learning system. This shift is based on classroom experiences after design educators moved their courses online as physical classrooms closed. Early research findings indicate that design educators and students adapted surprisingly well to an online classroom during the pandemic. But is this equally the case across all design domains? The author argues that it is unhelpful to generalize across design domains when setting out to construct alternative digital learning and teaching environments. This study contextualises varying responses to the online design studio and offers a unique international perspective on differences in design domains impacting future plans to offer blended or online learning. The research is underpinned by the epistemology of pragmatism. The interpretation of data is based on surveys filled out by 90 highly experienced design educators representing eight design domains in seven countries. Results indicate a clear shift toward long-term acceptance of select online elements even in design domains focused on physical studio skills. It is clear that design domains will differ in their adoption and development of blending face-to-face and online teaching in the future.

The design studio is the core element in the design curriculum where students gain key knowledge and skills. Typically implementing a project-based approach, it is characterised by learning by doing, collaborative learning and a prominent studio culture. The traditional notion is that the social domain of the studio has a counterpart in the physical environment. However, with the pervasion of information and communication technologies, the design studio was inevitably transferred to the digital realm. When the traditional face-to-face studio had to be transferred to an online modality enforced by COVID-19 pandemics, re-conceptualization of the structure was required in order to ensure the quality of the teaching and students' satisfaction. Based on the premise that the contents should not be simply adapted to an online version but an entirely new learning experience should be created, the redesign of the class was inspired by the principles of connectivism (Siemens, 2005). Connectivism as an alternative learning theory recognizes the societal shifts and the impact of technology on the learning processes. This new framework for understanding learning, states that knowledge is derived externally of the individual through a process of connecting nodes and patterns recognition. The paper explores the potential of connectivism applied in two online design studios at the University of Monterrey, Mexico. It describes the structure of the course and the results obtained in the online learning environment. The outcomes are verified in a survey on the perceptions of the students about their satisfaction and the effectiveness of their knowledge acquisition.

This study used the verbal protocol method to examine differences in perceptions of spatial mental imagery between students and studio lecturers and between clients and designers/architects, which lead to interpretational bias between groups of respondents regarding interior spaces. Individual perceptions of virtual space dimensions were captured by the 3D application, Associative Words Generator© (AWG©), which revealed impressions of the four respondent groups, using associative concept networks analysis on the visualization of virtual space with a database of 16,200 associative words. This study determined AWG© reduced the visual discrepancy gap during design critic and design consultation. Comparison of the results of the associative words generated during non-VR mental imagery and the VR session (AWG©) indicated that the student group most effectively used the VR. The lecturer group exhibited a thorough understanding of interior design and space architecture in their response in non-VR and VR sessions, which created a mental spatial imagery gap between the students and lecturers. The client group was inexperienced in interior design and architecture, resulting in different outcomes than the designer/architect group. In the VR session, the student and client groups more easily accepted visualizations generated by AWG, because they had fewer experiences and references than the lecturers and designers/architects, and thus, accepted the AWG virtual space visualization stimuli. The lecturer and designer/architect groups shared experiences that affected their expectations in responding to the generated visualizations, resulting in difficulty to accept the AWG virtual space visualization stimuli.

Purpose: Interior architecture is based on theoretical, practical, and practice-based knowledge associated with other design disciplines that form a multidisciplinary framework. The aim of this study is to evaluate the art, science, and technical competencies that form the basis of knowledge and skills for the students within interior architecture education in Turkey. The other discussion is to what extent the courses provided during education meet the basic learning outcomes and provide for the professionals as part of the multidisciplinary study. Research Methods: Courses included in educational programs are categorised under 'theoretical/ theoretic', 'artistic/aesthetic', and 'technical/ practical', and are taken as a basis in the study, and the ratios and quantitative response values are determined. Besides, the joint readings of the subject are obtained by the interviews conducted with professionals. Findings: In the research, the numerical data of the courses related to art and aesthetic values, and the courses aiming at the application by transferring technical knowledge are obtained. The theoretical course workload yielded higher values. For findings related to the basic competencies acquired by the professional interior architects, there is the problem with 'technical expression' and 'experience in practice' within education. Implications for Research and Practice: The discussion of the standardisation through the educational programs should be avoided with a flexible approach. The consistency will be ensured through training practices and collaborations aimed at professional practices. In the future, collaborations for professionalism and studies in education and practice will play a supporting role after the graduation of students.

Interior design education aims to provide students with real learning experiences. The authors, hence, combined problem-based learning (PBL) and design thinking to design a seven-week studio project in the Interior design program at a land-grant Midwest university. Thirty-two sophomores were engaged in different stages of the design process for the education wing of Minnesota's official natural history museum in collaboration with Perkins+ Will, a global architecture and design firm. Students explored design thinking via interactions with stakeholders and practitioners who participated in the creation of the Museum. This approach allowed students to gain insights about the design-challenge plus the pros and cons of their solutions. For seven weeks, students in teams of three immersed themselves in a diverse and real design environment. They learned how to communicate, collaborate, and compromise to accomplish the common goal of finding the most relevant solution for the design problem at hand. The authors collected students' reflections on their learning experiences at the end of the project. This paper discusses the lessons we learned from this interior design PBL case.

The US population is becoming increasingly older. Alongside the changing mental and physical capacities that accompany aging, reduced visual function is a common occurrence for older adults. Empathy is an important and useful skill for interior designers in that this ability is extremely helpful for understanding older adults' experience in the physical environment. A web-based vision simulator would be beneficial for interior design students in that students examine how their design can be seen by older adults with vision impairments by simply turning on the vision filter in their rendering. The main goal of this research is to understand the role of a web-based vision simulator on students' empathy for older adults with vision impairment. This study investigates the impact of the web-based vision simulator on the level of empathy of interior design students. In this study, the web-based vision simulator was introduced in a workshop during the semester and the pre/post survey was conducted with 21 senior interior design students. Research findings showed that this pedagogical intervention using a web-based vision simulator was successful in positively changing students' perspective-taking ability as an essential skill for gauging their empathy levels. Also, the web-based digital simulation was beneficial for students learning outcomes, that is, students revised their final design after using the simulator to provide a better environment for older adults with vision impairment.

The aim of this present study is to determine the self-evaluation of learning outcomes of students using flipped classroom versus traditional learning education models in the senior year (fourth year) interior architecture students. This research was conducted for one full semester of senior year interior architecture graduate students, which takes 14-weeks of a time period each lasted 6 hr of a week which makes a total of 84 hr for a semester. Two different education models were used for a one-semester course for a total number of 112 students. The students were all informed about flipped and traditional educational models prior to the class selection. The groups were designated by the students' education model choice. Class A was 57 students who attended to the flipped classroom model and Class B were 55 students who attended to the traditional lecture-based education Both courses have the same credit. The GPA scores of flipped classroom attendees were found to be higher than the traditional class GPA score rates. The student evaluation forms were determined to be better in the flipped classroom. The change of students to using flipped classroom from the traditional method leads to a student-centered education instead of teacher-centered education.

Development of Russian society puts forward new requirements for the quality of training in higher educational institutions. It is necessary for a short period of training in the higher educational institution not only to transfer to student's important professional knowledge and skills, but also to form the ability and willingness to use them creatively. This issue is especially challenging when preparing design students. Today, a promising, popular and dynamically developing profession of designer is in demand in almost all areas of life. The increased demand for individuality in the design of living space, from the planning and design of the interior or exterior to the most insignificant things, can only be satisfied by a designer who has the ability to combine, improvise and find breakthrough ideas. Therefore, there is a crucial issue of the search for teaching aids that allow students to be prepared to find the solutions of professional tasks with creative independence. The professional activity of a designer is determined by the objects and tasks, which require creative abilities, spatial visual thinking, knowledge of the graphic language for visualization of information. The design project is created by man and for man. This determines the importance of solving socio-cultural issues, as well as taking into account the characteristics of human perception in the design process. It requires knowledge of the natural sciences, engineering and humanities, various types of arts, architecture, literature and even music. Thus, the intra-systemic and inter-systemic connections required for the implementation of design projects, make it more intelligent and human oriented.

The study aims to identify the gifted students in basic interior design courses by utilizing new teaching strategies to support their capabilities and their intellectual growth within the interior design program. This research used a descriptive correlational study design to recruit the gifted students studying at Ajman University during the academic year 2018-2019, where the female students were 77% and 23%, male students -- percentages based on a total of 130 students - with no statistically significant difference for teaching strategies based on gender variable. The results also showed that 66% of these students joined the interior design program due to their passion, and 95% had learned how to determine the requirements of a successful interior design project effectively. The findings have shown a significant and positive difference for teaching strategies based on 3rd level students (F=11.895, p=0.007). The study concluded that the use of creative and critical thinking strategies needs the exclusion of conventional teaching methods, which include monocratic and memorizing techniques to aid, precisely the gifted students' GS, to reach the same motivational level as their counterparts.

Biomimetic design is the process of creating innovative ideas inspired by nature. This approach adapts processes of natural organisms to solve design problems and guides design in interior architecture, similar to many other disciplines. This study aims to present the process of implementing the biomimetic approach to interior architectural design in an informal education environment and to discuss the outcomes of this experience. In this context, the approach and implementation methods of biomimetic design have been examined and a workshop study called "BIOStructure", which was intended to integrate these methods into spatial design, has been analysed. This workshop was organized as part of an International Student Triennial in order to experience the approach of biomimetic design as an informal education tool. In the workshop, students were asked to experiment with biomimetic design in either a solution-driven approach, or a problem-driven approach. As a result, it was observed that most of the students preferred a solution-driven approach to a problem-driven approach and students in earlier stages of design education tended towards form-oriented abstraction of biological knowledge, whereas students with more design experience tended towards principle-oriented abstraction.

This design case describes the process by which a private office was renovated using the Working Labs model, which engages students, faculty, and staff in hands-on engagement from project conception through completion and beyond into ongoing evaluation of everyday use. The spaces that follow the Working Labs model are intended to provide students of a Southeastern University's nationally ranked interior design program with hands-on access to furnishings, fixtures, products, and materials from leading industry partners. The authors will describe the process by which the initiative was launched and how the first phase was brought to completion on time and at little cost to the University.

COVID-19 calls for new approaches and frameworks for the delivery of work-integrated learning (WIL). Standalone WIL opportunities are also increasingly difficult to realize, with the current economic climate limiting industry resources available for placements and WIL partnerships. The hybridized WIL model presented in this paper thus proposes the scaffolding of simulated WIL experiences into core undergraduate design curriculum to promote deep, authentic, transformational learning, fostering broader student employability. Noting a gap in design educational research relating to embedded scaffolded WIL, the paper refers to examples of scaffolded WIL experiences across core design studio subjects of a four-year embedded honors interior architecture program. Conceived as a way to prepare students for more significant standalone, cross-disciplinary and cross-national WIL, the authors argue that this model develops the professional skills required by industry and better prepares students to navigate the dynamic real-world problems that societies face, particularly during the pandemic.

Student internships are valued as solid indicators of future employability, which often result in the acquisition of additional education and career skills. This study describes the perceptions of interior design students after completing a summer internship with a design firm. Utilizing a case study approach, the study data were collected through a survey instrument which gauged students' perceptions of their internship experience, particularly compensation, learning, and satisfaction. They were also asked how beneficial this experiential learning activity was in gaining technical, professional, and communication skills. The results reveal that skills related to employability were perceived as most beneficial and that financial compensation had a weak relationship with overall internship satisfaction. Students believed they learned important hard and soft skills from their internship, regardless of their pay rate. Degree programs with an internship requirement can help their students be better prepared for successful employment upon graduation.

Until recently, built environments have been designed exclusively to meet the needs of neurotypical populations; however, there is increasing recognition of the need to make built environments more accommodating for neurodiverse populations, including autistic individuals. This scoping review aims to comprehensively explore and synthesise this literature on the internal built environment for autistic individuals providing recommendations for designers, policymakers and clinicians. Five electronic databases were searched, resulting in a total of 28 studies being reviewed. Recommendations are provided for design and construction, lighting, sound, aesthetics, temperature and air quality. While in its early stages, evidence demonstrating the impact that particular qualities of light, colour, sound and spatial planning have on the human sensorium is emerging. In turn, this new knowledge is informing design decisions that are progressing interior environments towards inclusivity. Understanding the positive and negative impacts of decisions made in the design of the built environment has the potential to facilitate the participation and inclusion of autistic individuals.

There is a significant amount of research into gender differences in academic performance in the science, technology, engineering and maths (STEM) fields. This has identified important differences between the academic achievement of men and women as measured through grade point averages and time to completion. However, the specific STEM fields of design have not been thoroughly explored. This research investigates the long-term academic performance of a large group of architecture, industrial design, interior design and landscape architecture students at a major Australian university. The study followed the progress of 472 students over an 11-year period. In most fields the academic achievement of students follows expected patterns; the difference in academic grades for male and female students reduces over time. However, in interior design, there are significant differences that increase with time, to the favour of women. A range of social, cultural and contextual influences are discussed including the signature pedagogy of the design studio and the hidden curriculum of design education.

One of the requirements for interior design students by the Council for Interior Design Accreditation is to be "prepared to work in a variety of contexts as well as across geographic, political, social, environmental, cultural, and economic conditions." To help with this preparation, faculty partners from two institutions--the University of Minnesota Interior Design program and the Obafemi Awolowo University Architecture program in Nigeria--created unique learning experiences for their students using the collaborative online international learning (COIL) framework. The main goal of this teaching methodology is to develop students' cross-cultural competence by linking university classes in different countries. Two COIL projects were chosen to help students practice solving design problems while responding to specific sociocultural contexts. Students from both countries benefited from this learning experience. Findings from students' reflections after the experiences indicated deeper intercultural sensitivity in their design solutions and appreciation of technology and collaborative learning. Overall the COIL framework strengthened the integration of multicultural learning experiences in both settings.

The aim of this research is to search and find strategies of creativity in teaching in the interior architecture design studio. There are lots of ways for training architects all over the world, instructors find their own way and style. Most design education, also architectural design, occurs through the studio system. Design studios embed project-based learning in most universities, and have been adapted as a teaching-learning strategy by the instructor in this study. Developing creative ideas has been a part of architecture design studios. Creativity is one of the basic constituents of innovation, and innovation is described as 'applied creativity in the field of design education'. Hargreaves (2000) suggests that "you can have creativity without innovation, but you cannot have innovation without creativity". The role of the instructors is to lead the students, understand and encourage them to create alternative design solutions. Meanwhile instructors show how to design and develop creativity in this process. This article presents the methodology, processes, and outcomes of creativity strategies implemented during the process of producing alternative plans into a Store design project carried out as part of the Design Studio II class in a Turkish University. The strategies "Dead Head Deadline" and "Merged Ideas in a Box and Circle of Opportunity" are intended to expand students' perspectives, train them to propose solutions they would not have considered and, prevent them from fixating on a single idea. They also support them in creating freely. Feedback received from students after the implementation of these strategies is also presented in this research.

The purpose of this paper is to understand perceptions of interior design students after using game-based learning (GBL) as an approach to address workload distribution, lack of clear assessment criteria, and deficiencies of the master-apprentice model during the process of solving several small-scale design problems along the course of a semester. A literature review of the instructional issues in design studios is presented along with an overview of the activity systems theory as an underpinning theoretical perspective. This research paper explains the research design behind the case study methodology used to perform data collection, analysis measures and organize coding schemes. Findings from the study conclude that GBL fits into the iterative and experimental nature of the design process, helps students focus on the design process through trial and error without a significant risk, changes the studio's feedback structure, and allows students to track their progress while having creative freedom. This paper provides empirical evidence supporting the existence of instructional issues in traditional design studios, provides considerations for using GBL to address these issues, and suggests directions for future research studies in fields of instructional technology, design pedagogy and higher education policy.

This study was focused on beginning-level interior design undergraduate students' perceptions, experience, and use of literary research. The data were collected through a questionnaire that was administered to 67 students. The findings indicated that the majority of the students searched for information in their classes, and the participants were aware of the importance of research. However, only 63% of them reported using credible sources in their literary research, and less than half of the respondents knew what a peer-reviewed journal article is. Based on the findings, it was suggested that students need to develop skills in conducting literary research using credible sources, and they need more exposure to research-inspired design and a wider range of topics that they could research in interior design. The findings could be used to develop new teaching strategies and to improve assignment handouts related to research-inspired design in interior design education.

A flipped-classroom pedagogical method has been adopted by some educators over several past decades both knowingly and unknowingly. In this pedagogical method, the traditional classroom lecture and homework settings are flipped. Students are required to watch short video lectures as homework while the regular class sessions are devoted to in class activities. Flipped-classroom methods have been used as a pedagogical approach in different classroom environments from k-12 to college or university level class settings. There are several evidences of this pedagogical approach being adopted in both social science and pure science class settings. In this study, the author discusses the effectiveness of a flipped classroom method as a successful pedagogical approach for interior design students in achieving educational objectives. The author investigated a flipped classroom pedagogical method by adopting it in a sophomore level Interior Construction class. The choice to implement a flipped classroom method in this class was due to a rigid lecture and lab component which required the students to work on projects based on the lecture materials covered in the class. The course was taught by the same instructor covering similar content in three consecutive years; using a traditional pedagogical method, a flipped classroom pedagogical method and using a hybrid approach of traditional method and flipped classroom method. A one-way ANOVA results of the student test scores suggested a significant effect of the pedagogical method on student performances for the three classes. Results suggest a flipped classroom as an effective way forward when combined with traditional method as adopted under the hybrid approach.

Technological developments bring along lots of innovations. One of the innovations that have become widespread in recent years is the concept of augmented reality. In current scientific literature there are a lot of studies in literature about augmented reality which can be defined as the combination of real and virtual worlds, experienced by humans in a unified view. Aim of this study is to present the historical development and area of usage of augmented reality. This study will hopefully provide a timely insight into the current state of research on the use of augmented reality.

Background: Biophilia is becoming an important theme in contemporary design practice. Research in this area has demonstrated measurable improvements in human health and wellbeing when built environments are able to connect people to nature. However, there is much debate about how design students can best learn to fluidly implement biophilic principles in their work. Purpose: This article describes an action research study conducted by design educators to evaluate experiential learning techniques in health care-focused interior design studio courses. The goal was to improve students' creative synthesis in applying biophilic principles. Methodology/Approach: The author followed the four steps of action research--planning, action, observation, and reflection--in developing and evaluating a new experiential learning framework. An observational approach was used to assess student projects and the effectiveness of these teaching methods. Findings/Conclusions: Students who participated in the experiential learning activities demonstrated a relatively higher degree of holistic integration of biophilic principles in their design projects. Implications: While the observational findings are provisional evidence, these results provide insights into the advantages that experiential pedagogies may have in helping students to integrate and apply design knowledge. The ability to connect biophilic design principles to direct personal experiences appears to enhance creative synthesis in student work.

Many teaching in higher education whose fields rely heavily on processes using technology can be overwhelmed by the pace of developments, and, in turn, have difficulties identifying those competencies necessary for their students to have mastered. These educators may feel as though they are aiming at a moving target, and given the number of new platforms and communication tactics, this target could seem increasingly distant. One such field greatly impacted by rapidly developing technology is interior design, wherein practitioners are increasingly leveraging tactics that promise newfound fidelity, interoperability, and greater production speed. However, it is unclear how these advancements may influence the expectations for entry-level designers--and by extension--the curricula of design educators. The purpose of this research was to apply a "Systems Thinking" approach to determine technology's influence on both the design process and the production of deliverables. Data was gathered from design practitioners surrounding the variety of software and technological applications used during four phases of the design process (e.g., schematic, design development, construction documents, and construction administration). To determine adoption trends, these responses were compared to previous data from Dyar and Huber (in: Sarawgi (ed) Interior design educators annual national council, Fort Worth, TX, Interior Design Educators Council, Chicago, 2015). Responses were analyzed with descriptive crosstabs and inferential statistics, including T-tests, Analysis of Variance, and posthoc Tukey's Range Tests. The findings suggest that expectations for students, and consequently, their instructors, are evolving rapidly. While this study is rooted in interior design, its methodology and its implications may prove valuable to allied design fields.

Design spaces can be read in two complementary structural and compositional dimensions: the implicit dimension, and the formal dimension. This study aimed to answer the following questions: What are the phases of the original idea transformation in the design process? Does taking advantage of the implicit dimension of others' interior spaces count as inspiration or plagiarism? Participants comprised nine postgraduate students, who were asked to copy others' project ideas by applying four design phases: idea source, test, choice, and output. The results showed that plagiarism of the concept of others' work could not occur unless the concept copies the structural, functional, and aesthetic aspects of the design space at the level of its components and the relationships between them. Otherwise, taking advantage of the implicit dimension of others' project ideas can be an inspiration. The results are expected to increase awareness among interior design instructors in higher education.

This study aims to remove some of the ambiguities of visual plagiarism in interior design (those related to the visual composition of space represented by line, form, shape, texture, time, colour, light, etc.) by examining the main detection methods, the extent of the issue, and the experiences and roles of academic interior designers. Two main methods were used: an analysis of the primary forms of visual plagiarism and an applied approach to test the effectiveness of plagiarism. Additionally, 30 academics in the Kingdom of Saudi Arabia, who majored in interior design, were surveyed using an online questionnaire. The results demonstrated that changing the light and colour while maintaining the rest of the properties and changing the line, form, and shape are considered visual plagiarism. However, the results also indicated that visual plagiarism is not always clear for academics. It is hoped that the results of this study will increase the awareness of visual plagiarism, enhance ethics in the university environment, and help academic interior designers apply scientific methods to detect plagiarism in design projects. This study can also assist regulatory authorities to manage complaints and disputes in plagiarism cases.

The vast majority of well-informed philosophers of science and scientists who are clearly (uncontroversially) scientists are able to extensionally differentiate between almost all scientific and non-scientific practices, disciplines, theories, attitudes, modes of procedure, etc., and do so or would do so in much the same way. This legitimately leads to the conclusion that the main problem of scientific demarcation has already, in a sense, been solved, although an explicative integrated account of that solution has not yet been given. Doing so is the goal of the project proposed in Fernandez-Beanato ("Journal for General Philosophy of Science" 51(3):375-391, 2020b). To advance toward the solution of the scientific demarcation problem, this article executes part of that project: a first step for scientific demarcation is the composition of a broad "list" (set) of accepted characteristics, conditions, or properties of science, or indicators of scientificity (most of them, by themselves, unnecessary and insufficient) which might be collectively used to establish a demarcation between those theories, cognitive fields, practices, etc. which are scientific and those which are not. This article deals with feng shui as a clear case of a non-science. It defines feng shui and then lists properties of science that feng shui possesses and properties of science that it lacks. This article then shows that the proposed demarcatory list demarcates feng shui as non-scientific, in agreement with the current philosophical and scientific consensus.

Fengshui was originally a methodology for nurture of both spirit and fertility based on the relationship between water, wind, and qi, and was first used in the selection of sites of habitation on the loess plateau of northern China. An analysis of this methodology for nurture of the physical is the purpose of this paper. Its prism is the history and philosophy of science specifically in relation to the concept shi ([Chinese characters omitted]) or the configurational force of the topography and xing ([Chinese characters omitted]) the local landform, the topographical concepts thought to enable the flow and capture of qi, respectively; the interface between rationality and emotion; and the problems that are manifest with the ritualisation of knowledge. This analysis is then utilised to argue the importance of a non-linear, globally based history and philosophy of science in science education.

We argue for a virtue epistemological approach to the demarcation problem, for we think that such an approach makes sense from the perspective of an ameliorative epistemology. We argue that sustained and consistent pseudoscientific beliefs and attitudes call for an explanation in terms of underlying epistemic vices, and that remedying them calls for charging the relevant people with vice, but in a responsible and sensitive way. We exemplify some common epistemic vices associated with pseudoscientific beliefs through the case of Feng Shui. We then discuss the value of incorporating pseudoscience in science education and advocate teaching students to identify epistemic virtues and vices in scientific and pseudoscientific practices. We argue for an education focused on epistemic character building and cultivating epistemically virtuous students from early on. This will lead them to become good epistemic agents, in general, and careful (producers and) consumers of science and pseudoscience in particular.

How can we utilize the campus as an active and engaging laboratory for design students? How can we create an inclusive design research model in higher education? By utilizing a post-occupancy evaluation process, students completed a nine-month study to investigate and assess the investment in student living and learning spaces. The process utilizes design research as a community-engaged model, with collaboration among a diverse group of administration, partners, staff, faculty, and most importantly, students. By combining the need for design research on campus and a framework for participatory research models, this case study reveals the importance of assessing campus buildings to support learning and engagement.

A project-based course is where students engage in a series of projects, which help lead students to a defined level of skill as specified in the course goals. Unlike a traditional lecture course where students are given examinations to assess the level of student knowledge and understanding, a project-based course may not include any formal examination. The assessment of student progress is often based on the quality of course projects. For this research, students in project-based courses were given a formal exam at the end of the course. The objective of the exam was to determine if there was a discrepancy between student performance on the exam and their projects. While the majority of students performed remarkably similarly on their exam and projects, a number of students (25%) did perform quite differently. This study demonstrated that examinations are still a critical tool for assessing student skill level in project-based courses.

The flipped classroom pedagogy offers opportunities for students by having the majority of class time spent on discussions and group work that enable students to take risks and make mistakes while gaining experience in collaboration and expertise in content. This research study explores students' perceptions of whether student collaboration in a flipped classroom affects learning outcomes, such as critical thinking, time management, and productivity. The mix methods research study involved an interior design history course and a food nutrition course that were adapted in the fall of 2016 to be flipped classroom pilots. Both courses divided the semester into two instructions--flipped classroom and the prevailing traditional lecture format. An online 22 question survey was completed at the beginning and end of the semester that provided quantitative and qualitative data on student perceptions.

Although teamwork is essential in design, interior design education can be competitive and individualistic. The role of design educators is to structure projects seeking to promote inclusive group dynamics and democratic participation among team members. Navigating the challenges of group work should not rest solely on the shoulders of students. Repeated group work in educational settings does not suffice, on its own, for fostering constructive team dynamics or for preparing students to successfully manage conflict, which, if it remains positive, can yield more creative design outcomes. This article, animated by critical and poststructural curriculum theories, proposes pedagogies incorporating positive interdependence and complex instruction for collaborative, inclusive group work and co-design tasks that leverage conflict and promote constructive relations within teams. Instilling democratic values in design students is equally important for higher education as it is for the design discipline itself.

Art and design students' occupation and use of physical studio spaces have decreased and altered during the COVID-19 pandemic, and online learning spaces have become increasingly important. This case study explores the value of collective memories of shared space in the creation and inhabitation of online studio, using recalled narrative and thematic analysis to inform refinement of the virtual studio used during a unique year. Interior design practice is rooted in collective human interactions within the built environment. We describe the positive effect familiar layout and language have on interior design students' ability to engage effectively in online studio activities, thus enabling students to feel optimistic about the events they have experienced and highlight the effectiveness of the events. Feedback from students and staff provides insight into the influence of digital proxies for space, and the use of familiar language affects the perception of online studio. We conclude by testing our early findings, describing elements the student body found most supportive and propose how we may further expand this research to provide a basis for designing effective and engaging virtual studio spaces.

This article addresses student challenges posed by the need for distance learning in architectural design courses during the COVID-19 pandemic in Shiraz, Iran, in order to ascertain the student perception of a virtual learning experience. It also outlines the methods of managing an affordable education agenda to design online courses in Iran as a part of global efforts. For this purpose, an online survey was conducted in October 2020 based on the exploratory factor analysis. The research sample included architecture and interior architecture undergraduates and postgraduates. Data analysis was performed in SPSS 24. The survey identified six factors as (1) design process and communication skills; (2) self-directed learning; (3) digital sketching, drafting, modeling, and presentation; (4) acquaintances and experiences; (5) technical devices and facilities; and (6) tutorials and assessments. The findings showed some obstacles to the conventional education system in architecture and emphasized the need to redefine the education system based on the new sustainable design pedagogy framework. Therefore, the article proposes a model in which tutors act as consultants and facilitators, whereas students act as self-directed learners. In addition, the e-studio is considered an activity-oriented space to provide an opportunity for interaction, connection, and creativity. The proposed model requires novel learning strategies and tactics.

The COVID-19 pandemic has led most countries to adopt precautionary isolation measures to prevent the spread of the virus. In this context, teaching through online studios has become a necessity. This study aimed to identify students' practical experiences in fully online interior design studios and determine whether these experiences differ according to students' educational levels to help improve and ensure the quality of online design education. The participants were 69 female interior design students. A questionnaire was applied using five axes, namely virtual learning environment, curriculum and illustration tools, students' experiences, interaction with the teacher, and overall satisfaction and hopes. The results showed that the newer students had a positive experience with the online design studio, while there were statistically significant differences between the answers of students at different levels. It was noticeable that the students' experience on all axes was different, and the level of satisfaction among the new students in Studio 2 was higher than among the students nearing graduation in Studio 6. The findings of this study will benefit the academic programme and technology developers in creating a suitable online learning environment for each profession.

Experiential education programs, such as international and domestic study tours, bridge the limitations of formal learning classroom by allowing students to experience reality in a new learning dimension. This mixed-methods study explores experiential learning during a domestic interior design study tour to New York City and an international fashion-merchandising study tour to China operated by the same fashion-merchandising and interior design department at a public university in the United States southeast region. Both study tours intended to prepare students for the workforce by expanding their understanding of business and the creative process. The tours' organization allows students to meet industry professionals and to investigate and analyze issues such as collaborative work, cultural differences in business and creativity, cultural and social identity in the environment, and personal development. This research explores students' perceptions of a domestic and an international study tour to analyze their effectiveness in achieving learning outcomes. Before and after the study tours, students completed a survey to gauge their perceived level of understanding and attitudes toward the study tours. Additional student feedback came from reflection journals documenting students' personal development, design expressions in the environment, and experiences.

The discipline of interior design education is committed to providing diverse learning opportunities for examining the topic of culture while implementing design practices that respond to the "needs of "all" humans"(Hadjiyanni, 2013, p. v). In the Council for Interior Design Accreditation's Future Vision results (Council for Interior Design Accreditation, 2014), it was stated that "tomorrow's designer will need to be better equipped to become a "global citizen," one who is socially responsible and respects cultural norms outside of their own experience" (p. 6). The topic of culture has consistently played an integral role in design education, with varied methods of instruction including education abroad experiences, culture-based design applications, and even virtual immersion opportunities (Asojo, 2001, 2015; Kucko & Prestwood, 1999). However, there has been little analysis of the transformation a student might undergo in attaining cultural competency and what learning environments best contribute to this. The number of people living in a country in which they were not born has increased 51 percent worldwide since 1990 (Conner, Cohn, & Barrera, 2013), implying that design educators will need to navigate the complex subject of culture from an increasingly diversified perspective. This article identifies transformative learning as an important strategy for achieving cultural competency as students can become more self-aware, thus positioning them to better empathize and consider the diverse needs of various populations. With the understanding that cultural competency is achieved through a transformation of perspective, it is important to question what pedagogical methods best contribute to personal transformations, and the varied learning environments within which this can occur. Nemec (2012) states "transformative learning refers to a dramatic change, where the learner achieves a shift in perspective. This shift results from a critical examination of one's own assumptions, values, and beliefs, and of the foundations and expectations of the system in which one operates" (p. 478). With these concepts in mind, this article will demonstrate the use of a transformative learning model (Mezirow, 1978, 1990, 2000) and discuss its effectiveness in the achievement of cultural competency among design students in two varied learning environments. The execution of this concept was concurrently implemented in two interior design courses at the University of Kentucky. One scenario was a place-based education abroad experience held in Southeast Asia that tasked students with developing cross-cultural comparisons through various methods of observation and documentation, while the other was a studio-based cultural design project completed at the University of Kentucky's College of Design. Both courses asked students to critically analyze cultural assumptions and engage in accompanying discourse regarding each pedagogical scenario. Student-learning outcomes from each course revealed a transformation of cultural perspective. However, it was found that several pedagogical methodologies were deemed more appropriate to the examination of culture when considering the various learning environments of the courses.

Students in undergraduate design programs often lack opportunity to conduct original research and apply their findings to project solutions. Consequently, they struggle with identifying and framing a design problem, understanding the importance of research-based design, and how to appropriately apply research findings to the needs and desires of project stakeholders. In interior design, this unawareness can lead to design solutions that appeal to the eye, but lack defensible rationale and often do not solve the design problem, or meet user needs. Exposure to research methods and collaborations with practitioners may change how students approach design problems by fostering an empathetic understanding of the human experience. This design case describes a project design at two universities where 72 sophomore and junior students collaborated with furniture manufacturer Herman Miller, Inc. to generate original research before applying their findings to the redesign of informal learning spaces in their campus libraries. Constructivist Learning and Backward Instructional Design, guided the design of the project. The result of this engagement, exposed students to research methods and research integration strategies, who outwardly demonstrated more confidence in making decisions during the design process. While the long-term implications from this type of engagement are not yet evident, encouraging students to ground their design ideas on evidence they have gathered, and their analysis of it, may not only shape their future decision making, but potentially lead to more appropriate client solutions and provide students with coveted job opportunities in positions where evidence-based design is highly valued.

Current studies in design education suggest that students and educators base their designs on what they already know about themselves and their peers, or on stereotypical notions of others. This article presents a critical examination of a pedagogical approach employed in several architecture and interior design studios to determine how best to develop student understanding of how to design for real users and users with abilities different from themselves. This authentic learning approach with spatial design students and teachers from the School of Design, Queensland University of Technology, Australia and with people with differing abilities, used qualitative and quantitative questionnaires, student journals and design studio projects to create a multimodal data set. While there are no simple conclusions, or easy answers to unravel the complexity in creating inclusive designs, our findings point towards enabling new engagements and knowledge processes and scaffolding these activities around authentic learning, so that design students and educators can begin to understand the differing ways of designing for/with people with disabilities. The significance of this research is that it opens up new approaches for teaching design students about inclusive design beyond fake personas, building codes and anthropometric data, and provides evidence of the need for a more holistic, authentic and scaffolded approach.

Lighting design is an essential aspect of interior design but very few universities offer students the opportunity to study lighting design in depth as part of their Council for Interior Design Accreditation (CIDA)-accredited undergraduate interior design program. This paper makes a case for including lighting design as an indispensable part of interior design education while also promoting the Family and Consumer Sciences Body of Knowledge (FCSBOK). The rapid and ongoing advancements being made in luminaire design, lighting controls, and energy conservation necessitate attention and expansion of lighting design education within interior design programs. [Note: Sally L. Fortenberry is shown as an author on the PDF.]

This article presents a longitudinal study, over eleven years, of the academic progress of a cohort of design students (n = 475) at a major Australian university. The students were from four different spatial design disciplines: architecture, industrial design, interior design, and landscape architecture. The article identifies cognitive variables that may predict future academic success. This research uses regression analysis to identify correlations across a range of variables, in particular exploring the relationship between university entrance scores, subjects studied at school (art and graphics) and academic success as defined by university grade point average and time to completion. This study shows that prior knowledge in art and graphics is not a useful predictor of future academic success, while university entrance scores and first year performance are related to ongoing academic success. These results suggest that for the design disciplines explored here, discipline-specific prior knowledge is not an important requirement for university entrance.