Since its development into an independent university-based programme, interior design has
drawn from the arts and engineering disciplines in the formulation of its pedagogical
approach. This paper discusses interior design studio pedagogy at a private university in
Indonesia, in which design methodologies in interior design studios have over the years
employed the common sequential steps in design developed from architecture studios,
interior design text books and professional experiences. While this linear programmatic
approach has yielded logical products that could be applied to pragmatic spaces like
residences and offices, they are insufficient in accommodating ambiguous and complex
ideas essential in cultural spaces. This is due to their conventional forms that are results of
direct extrusion from 2-d layout plans, general use of materials and appearances of being a
mere “site of containments” inside the architectural frame. The paper further elaborates
on the use of an alternative design method via 3-d experiments that was trialed to overcome
the inhibition of creative-intuitive processes caused by the former approach. Through
observation of the design process and final products of several students, it is concluded that
the new method has supported a holistic mind-mapping approach in design, essential in
three-dimensional disciplines like interior design, supporting creativity in terms of the
novelty of forms and innovative use of materials as well as the sensitivity in connecting the
interior to the architectural structure.
DRS 2012 Bangkok
drawn from the arts and engineering disciplines in the formulation of its pedagogical
approach. This paper discusses interior design studio pedagogy at a private university in
Indonesia, in which design methodologies in interior design studios have over the years
employed the common sequential steps in design developed from architecture studios,
interior design text books and professional experiences. While this linear programmatic
approach has yielded logical products that could be applied to pragmatic spaces like
residences and offices, they are insufficient in accommodating ambiguous and complex
ideas essential in cultural spaces. This is due to their conventional forms that are results of
direct extrusion from 2-d layout plans, general use of materials and appearances of being a
mere “site of containments” inside the architectural frame. The paper further elaborates
on the use of an alternative design method via 3-d experiments that was trialed to overcome
the inhibition of creative-intuitive processes caused by the former approach. Through
observation of the design process and final products of several students, it is concluded that
the new method has supported a holistic mind-mapping approach in design, essential in
three-dimensional disciplines like interior design, supporting creativity in terms of the
novelty of forms and innovative use of materials as well as the sensitivity in connecting the
interior to the architectural structure.
DRS 2012 Bangkok
