Participatory Design In Interior And Spatial Design

2085 words - 9 pages

Participatory design simply means encouraging and producing new social relationships. It is an approach to design attempting to actively involve participants in the design process. Sometimes it is useful in order to help ensure the product designed meets their needs and is usable. The term has been used in many different areas such as; product design, architecture, software design, graphic design… Also it has been used in various scales and different settings (performance of the building, performance of the user, performance of a product…). As a way of creating environments that are more responsive and appropriate to their inhabitants' and users' cultural, emotional, spiritual and ...view middle of the document...

Nevertheless, by definition, interior design, as a subset of architecture, is a science and art that is concerned with understanding of behavior of individuals in relation to creation of well-designed spaces within buildings so to suit human utilization needs. This division of architecture can be misunderstood to mean decoration. However, the latter is mainly concerned with furnishing of building spaces with beautification materials so to make such spaces aesthetically appealing. Therefore, it is understandable that decoration is somehow part of interior design. On the contrary, spatial design is a science and art that includes all the space concerns that may belong to a particular structure. In other words, spatial design is not exclusively concerned with spaces within individual structures, but it is also concerned with the surrounding space. For instance, spatial design is utilizable in planning of urban centers in which it provides guidelines, for example, about spatial positioning of the various buildings and infrastructures that may comprise a given urban establishment.

In considering the above descriptions of spatial and interior designs, it can be conceived that both the designs are inherent with issues of participation and performance. For example, it is intuitive that most clients would tend to advice about how they would prefer their structures to look from an eye-view. As per a client’s desire, the designer would need to simulate the corresponding models in relation to various structural aspects of a structure before advising the customer of the outcomes, after which the most appropriate model can be chosen. In all these, it can be seen that such involvement would depict spatial design or interior design as characteristically participatory and performance-dependent.

Last year, I went to Michael Elmgreen and Ingar Dragset’s ‘Tomorrow’ exhibition in the V&A museum. It was one of the most interesting and unique exhibitions that I had a chance to see. 'Tomorrow' transformed the first floor in the museum into an apartment that belongs to a fictional, elderly and disillusioned architect; Norman Swann. The domestic setting appeared like a set for a play. To set up his inherited home and possessions, some of which are sourced from the V&A’s holdings, and some of which have been provided by the artists themselves. The artists wrote a script for the exhibition and it was available for visitors as a book. In most of the exhibitions visitors are not allowed to touch anything. However unlike usual rules in the exhibitions visitors were encouraged to touch and explore everything that is presented in this exhibition. Visitors were able to explore the apartment, sit on the sofa, play his piano and read the inhabitant’s books and magazines. The exhibition was interesting because visitors engage conceptually with the work and it made me feel like a detective wondering around a house. Also I had never experienced this kind of exhibition...

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