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Creating Interior Spaces That Support Well-Being Through Explorations in Process Driven Design

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Creating Interior Spaces That Support Well-Being Through Explorations in Process Driven Design O’ROURKE, SHEILA M., M.F.A. Designing Deeper: Creating Interior Spaces That Support Well- Being Through Explorations in Process Driven Design. (2017) Directed by Tommy Lambeth. 127 pp. The objective of this thesis is to explore and create a methodology and tools for residential interior design that supports well-being. This goal is based on the effect the spaces we occupy have on our physical, mental and spiritual health. The home can have the greatest influence on us than any other space through its intimacy, safety and individuality. Designers of residential spaces therefore have a great opportunity to influence positive energy in the world, however, very little systematic precedent can be found for residential design processes that have the goal of well-being. The 21st century has been characterized by rapid change, an abundance of information, increasing globalization, and constant technology-supported multi-tasking. This thesis creates a design methodology that takes the current culture into consideration by designing a process that prioritizes mindfulness, connection and functionality. Precedent research in eastern building sciences coupled with western evidence based design for holistic health contribute to the development of a design process prototype for the in-take, design, and presentation steps of a residential design project. The prototyped process includes three distinctive tools: a Design Manifesto, a process for interior designers documented in Design Deeper Cards, and a unique method of delivering design through Design Together Boards. Two studios are completed to explore the prototype. The first follows a rapid testing approach, followed by iterations to the process. The second studio is an in-depth exploration of the prototyped process, following through to a full client design presentation. Further exploration is needed to refine the efficiency and complexity of the process. The thesis results in a revolutionary way to both understand and communicate with clients, and incorporate the client in the design process, both paving a new road in residential design for holistic health. DESIGNING DEEPER: CREATING INTERIOR SPACES THAT SUPPORT WELL-BEING THROUGH EXPLORATIONS IN PROCESS DRIVEN DESIGN by Sheila M. O’Rourke A Thesis Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Greensboro 2017 Approved by __________________________ Committee Chair ©2017 Sheila M. O’Rourke This thesis is dedicated to my two favorite women: my mother, who knew I should have a career in architectural design years before I would listen to her, and my one hundred and two year old grandmother, who will kill me if I don’t finish this before she dies. ii APPROVAL PAGE This thesis written by SHEILA M. O’ROURKE has been approved by the following committee of the Faculty of The Graduate School at the University of North Carolina at Greensboro. Committee Chair _____________________________ Committee Members _____________________________ _____________________________ ____________________________ Date of Acceptance by Committee _________________________ Date of Final Oral Examination iii ACKNOWLEDGMENTS I am deeply grateful to the Department of Interior Architecture at the University of Greensboro for being a haven for creative souls to explore, grow and learn. I am also very thankful to the department for the financial help I was given to complete this degree, especially the work of Jo Ramsey Leimenstoll. To my committee members, I offer gratitude and respect. Stoel Burrows and Denise Gabriel, your input to and support of my vision was exactly what I needed. To my fellow graduate students, especially Mardita, Christopher and Emily-Kate, I am so grateful to have landed in Gatewood at the same time as you. I am grateful for that stroke luck and can’t help but dream of working in a studio one day surrounding by you and your creative, inspiring work. Outside of the University, I have many people to thank for the generosity and support in allowing interviews and exploration of my process: Jodie Rufty; Reiko Gomez; Anjie Cho; Joshu Pat Phelan; Bradshaw Orell; Rebecca Bryant; Kate and Sam Sonawane; and Inessa and Brian Fanin. Thank you for supporting my work and in doing so supporting the arts. I especially want to thank the Collini family, Katie in particular, who welcomed me into their home with my questions and games, all digging deeper into their personal lives and personalities. A special thanks goes to Dr. Susie Wise who has been my constant source of inspiration towards self-realization for twenty years. She thus influenced my decision to seek a graduate degree, and then directly impacted the degree in her consultation in design thinking. I am always, and forever, grateful for you. To Josephine, Henry and Oliver, thank you for appreciating what I could give you over the last three years, and not focusing on what I could not give. You are my best creations. Om namah shivaya. To Dave Lines, you were always there to take care of the home and the kids when I was busy with school. You are a dedicated and committed soul, and a gift to our children and myself. iv Last, to my thesis chair, Tommy Lambeth, I knew you for about ten minutes when I had the hunch I wanted you to lead my thesis. I have never been so grateful for my instincts. You allowed and supported my creative vision as it unfolded, while keeping me on track and pushing me to go where I needed to go. It’s like you knew where I was going the whole time. v TABLE OF CONTENTS Page LIST OF FIGURES……………………………………………………………………………………….viii CHAPTER I. INTRODUCTION………………………………………….……………………….……..….1 II. UNDERLYING THEORIES AND RESEARCH………………………………….…..…....4 Environmental Psychology and Evidence Based Design ...................................... 4 Environmental Design Research and The Nature of Order ................................... 5 Biophilia .................................................................................................................. 6 Color Theory .......................................................................................................... 7 Science of Home .................................................................................................... 7 The Chakras ........................................................................................................... 8 Feng Shui and Vastu Shastra .............................................................................. 10 III. DEFINITIONS AND PHILOSOPHIES………………………………………………....…16 Heuristic Design Methodology ............................................................................. 16 Well-Being ............................................................................................................ 16 Spirituality and The Soul ...................................................................................... 17 Mindfulness .......................................................................................................... 17 IV. METHODOLOGY………………………………………………………………..……..…..19 Expert Interviews.................................................................................................. 20 Interview Commonalities ......................................................................... 20 Interviewees ............................................................................................ 21 Design Manifesto ................................................................................................. 37 Design Process Prototype ................................................................................... 38 In-Take .................................................................................................... 39 Post In-Take ............................................................................................ 46 Client Interviews ................................................................................................... 48 Interview Commonalities ......................................................................... 48 Interviewees ............................................................................................ 48 Inspiration Boards ................................................................................................ 49 V. STUDIO PROJECT ONE……………………………………………………….…..……..50 Observe ................................................................................................................ 50 Ask .................................................................................................................... 52 Play .................................................................................................................... 54 Synthesize ............................................................................................................ 54 Create .................................................................................................................. 55 Results ................................................................................................................. 59 vi VI. STUDIO PROJECT TWO……………………………………………………...………….60 In-Take ................................................................................................................. 60 Ask .......................................................................................................... 61 Observe ..................................................................................................
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