畢設(shè)設(shè)計類外文翻譯

1、Interior Design Supports Art Education: A Case Study Interior design, as a field of study, is a rapidly growing area of interest particularly for teenagers in the United States. Part of this interest stems from the proliferation of design-related reality shows available through television media. Som

2、e art educ ators and curriculum specialists in the nation perceive the study of interior spaces as a practical application of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students

3、 in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educators community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher educ

4、ation institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understand

5、ing of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design co

6、ntent supporting art education.Introduction The design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. You

7、th have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderlan

8、d). More recently, teens in the United States have become unexpectedly hooked on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled The Teen-Room Mak

9、eover (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 1. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows 2. Teens seemingly have

10、a growing interest in the design of interior spaces. In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten twelfth grade) 3. Findings of the study indi

11、cated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of practical application of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existi

12、ng curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art

13、 education standard in the nation. This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this

14、interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic rel

15、evant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to cu

16、rrent and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the

17、 interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool to enhance the cognitive process of students. Specifically, the expe

18、riential learning cycle involves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations 4. The Association for Experiential Education defines experiential educati

19、on as the process by which a learner constructs knowledge, skill and value from direct experience 5. Drengson 6 defines experiential education as the process of practical engagement with concepts and skills applied in a practical setting and delivered through physical and practical mental activity.

20、One of the key components to enhance student learning is reflection. Dewey 7 suggests that to have meaning, an experience must be combined with thought. Kolb 8 suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential

21、 learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning 9. Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes o

22、r successes 10. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical 11.Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive to kindergarten twelfth grade (K12) tea

23、chers in meeting national academic standards, including the arts 12. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K12 teachers (elemen

24、tary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 200213. Focus group findings indicated that K12teachers, at both elementary and secondary levels, felt that interior desi

25、gn could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, infor

26、mation about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating, touchable,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested inc

27、luded: reinvention of the shoe box project; development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggested the following lesson plan: use of Goldilocks story to analyse client or consumer

28、needs; use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity; study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors 14. The visual arts curriculum specialists indicated hat interior desi

29、gn as a practical application should be introduced in elementary levels where there is a small window of opportunity to give good information about the visual arts. See Table 1 for an example of the visual art standards in kindergarten third grade levels. One visual art specialist advocated that the

30、 design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces and the study of elements and principles of design in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school

31、 levels could be reserved for additional indepth Exploration. Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically 15. Why are these shows so attractive to te

32、ens and young adults? Rodriguez 16has suggested that this interest is linked to the teens need for expression of self and self-identity.An individuals unique identity is established through personalisation of space, which is critical to overall development of self 17. Developing a sense of self invo

33、lves the use of symbols to communicate to others ones personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K12 grade levels in the United States. However, the Foundation for Interior Design Education Research18 st

34、andards and guidelines the accreditation organization for higher education interior design programmes in the nation reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design). Rasmussen and Wright 19 advocate the need for a new model for a

35、rt education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intenti

36、onally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social and contextual needs, knowledge of young people, and theaesthetic medium itself. The study of interior spaces offers one such context for l

37、earning in the physical environment.People spend 90 per cent of their time in interior spaces 20. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to

38、everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need the opportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments c

39、an be. Children can determine how design influences their behaviors; how design can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety 21. Therefore, based on (1) the experiential learning

40、 theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and princ

41、iples of design and an opportunity for self-expression of personal spaces. The design problem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visua

42、l art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used to enhance student creativity and exploration rather than a finite model that would offer too ma

43、ny rules and boundaries.Project descriptionThe experiential interior design project involved the construction of a three-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour 22. The objective was to discover, manipulate and create interi

44、or spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose of the project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of

45、the building. The students model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed a challenge to the youth. The cardstock pieces could not be ripped,

46、 torn, or pierced. However, they could be bent and shaped according to the whim of the student. Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged. Outcomes consisted of a three-dimensional abstract model which, if

47、successfully executed, demonstrated the break-down of traditional spatial paradigms.Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same tim

48、e. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten third grade should recognise the use of the visual arts as a means of communication (e.g. s

49、elect and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission,

50、the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The chil

51、dren were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 24). Each team of students was given the same 44

52、 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentati

53、on in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles. The college students and design educator rotated through the three classrooms of students to

54、 answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin. It was interesting to observe that the children rarely buil

55、t the models on their provided classroom tables. Instead, they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed to act as the designer, one as the builder/construction crew

56、 and the last as the supplier of materials. Students excitedly discussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points. The teams of third graders had one hour to

57、complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicated that application of design elements and principles was strong perhaps due to the consistent rectangular and triangul

58、ar shapes that had been provided thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behave ou

59、r in interior spaces. For example, one teams presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of desig