Course Tutors
General
This course addresses the challenges related to graphics in connection with interior and architectural design [environmental graphics]. It examines visual communication as a concept that influences, in various ways, the human perception of the interior space, as well as the human behavior within it. The course focuses on the important design issues of visual information, seeking to create a useful tool for the student in order to be able to control the use of visual information [VI] in interiors with creativity and accuracy, so that it can be understood by the users.
Course content
The course includes a good mix of theory and relevant project case studies. Communication is viewed from the point of view of the semiotic tradition that explores the study of signs and symbols as a significant part of communications. Case studies are created and used as a tool for analysis and discussion of different aspects of research problems relating to interior design. The project scope includes the visual identity development in public interiors. Visual identity describes everything we can physically see, from the logo to the interior design. Here, the main goal is to create a communication system, including messages, signs, and visual narratives. The designs intend to overlay the structural elements in public interiors. Corporate identities, branding, and signages are explored, serving a purpose that is both functional and recreative. This is in order to identify the most effective way to communicate complicated visual information [VI] to a targeted audience. The project combines the design needs and resource estimates, with the user’s needs and desires. Inherent in the interior design process is the process of problem solving. The course introduces a set of strategies for design problems that need solving. Conventional design practices are developed exploring the market and encouraging the critique and the conceptual development. Different options and the execution of the design research are explained. For the project case study needs, the courses Interior Architecture III and Communication & Space I, work together on a common goal.
Programme aims
The programme aims to: _build the students awareness of the most basic semiotic concepts as a fundamental view in a communication system _ introduce students in the first steps of the design process from brief to concept. They conduct research, evaluate data and update their personal creative practice _encourage students to use conventional research methods _encourage students to experiment with visual languages, design principles and communication techniques to give meaning and value to their visual narratives and the interactions with users _ expand students’ ideas in a design proposal, through sketches, drawings, moodboards, concept models, prototypes and storyboards _ encourage students to use a wide variety of tools and procedures to implement, visualize and present their deliverables
Learning Outcomes: Knowledge and Understanding
By the end of the course, the student will be able to: _ identify and utilize theory, and criticise from a semiotic perspective including the social/cultural use of design objects _ analyze, synthesize, and utilize the design process and strategy from brief to concept, and to creatively solve communication problems _apply basic research design tools to ensure a documented design project _ create communication solutions that address a targeted audience and context, by recognizing the human factors that determine design decisions _ apply design principles in the ideation, development, and production of visual messages & narratives _ apply creative process techniques in synthesizing information, problem-solving and critical thinking _critically evaluate the work as it evolves _confidently participate within a team
Bibliography
• Bloomer, K. (2000). The Nature of Ornament: Rhythm and Metamorphosis in Architecture. New York: W. W. Norton & Company
• Calori, C. & Vanden-Eynden D. (2015). Signage and Wayfinding Design: A Complete Guide to Creating Environmental Graphic Design Systems. Hoboken, New Jersey: John Wiley & Sons
• Danesi, M. (2004). Messages, Signs, and Meanings: A Basic Textbook in Semiotics and Communication (3rd ed.). Toronto: Canadian Scholars Press
• Davis, M. & Hunt, J. (2017). Visual Communication Design: An Introduction to Design Concepts in Everyday Experience. New York: Bloomsbury Publishing
• Day, L. F. (2013). Pattern Design. New York: Dover Publications
• Gombrich, E.H. (1994). The Sense of Order: A Study in the Psychology of Decorative Art. Oxford: Phaidon Press
• Grabar, O. (1992). The Mediation of Ornament. New Jersey: Princeton University Press
• Martin, B. & Hanington, B. (2012). Universal Methods of Design: 100 Ways to Research Complex Problems, Develop Innovative Ideas, and Design Effective Solutions. Beverly, MA: Rockport Publishers
• Pugin, A. C. (1987). Pugin’s Gothic Ornament: The Classic Sourcebook of Decorative Motifs with 110 Plates. New York: Dover Publications
• Riegl, A. (2018). Problems of Style: Foundations for a History of Ornament. New Jersey: Princeton Legacy Library
• Ruskin, J. (1989). The Seven Lamps of Architecture. New York: Dover Publications
• Ruskin, J. (2003). The Stones of Venice. New York: Da Capo Press
• Speltz, A. (2013). The Styles of Ornament. New York: Dover Publications
• Trilling, J. (2001). The Language of Ornament. London: Thames & Hudson
• Trilling, J. (2003). Ornament: A Modern Perspective. Seattle: University of Washington Press
• Tufte, E. R. (1990). Envisioning Information. Cheshire, Connecticut: Graphics Press