Essay: Social theory’s function of humans and society plays an essential role in the design of indoor space

Argument Paper 2
In this argument paper, I would like to discuss that the social theory’s function of humans and society plays an essential role in the design of social theory in the direction of indoor space. The purpose of the design is to solve these seemingly simple questions – “Is this useful for these people?” and “Is this solution better than this?” Therefore, through simpler problems, it reflects the problems that interior design needs to solve and causes people to think. For example, Interior designers need to use critical thinking and design methods that combine user needs to design interior programs. Some theories fact are reflected in interior design, such as the way of thinking, understanding direction and critical logic. Based on designers’ thinking, it is essential that the art, design and gestalt theories support and influence of theory on the expertise of design projects. Designers want to mention critical thinking.
The author Eidson, Patricia L, an outstanding scholar in the field of interior design and architectural design, mentioned in his article that critical thinking is a dualistic concept that couples modes of designing with certain theories of criticism. Theoretical and historical ideas that influenced changes in interior design and architecture are presented in a timeline context to illustrate the aspects of evaluating, interpreting and describing, which are parts of interior design criticism (Eidson,1986).
Based on the theory of critical thinking, people can use the necessary critical theory and critical review to better judge and plan interior design projects and combine social theory with design theory. Design theory provides the language and the connections necessary to link knowledge and ideas about design concepts with the practice of designing. For example, consist of four elements: concept, form, task, and technology enables designers to build models of these knowledge understandings and evaluate and judge the value of design interior design. For example, the interior design project of the Shenao Village in Tonglu County, supported by the critical regionalism theory, combined with the actual problems and needs of the project base, proposed an innovative design theme combining paper-cut culture, architectural culture and farming culture. Over the past few decades, anthropologists have increasingly joined the study of the social environment and architectural design, as well as human-related behaviors and interactions between social scientists and the environment (Lawrence, Low, 1990). At the same time, recent social theories have begun to refocus on human spatial and temporal dimension behavior.
The article the built environment and spatial form point out that the built environment is an abstract concept employed here and in some of the literature to describe the products of human building activity. It refers, in the broadest sense, to any physical alteration of the natural environment, from hearths to cities, through construction by humans. For example, homes, temples and conference rooms are used for shelter and defined as places of protection and activity. However, the constructed form also includes defined spaces that are bounded, but not necessarily closed, such as uncovered areas, squares or streets. It can also refer to specific elements of a building such as doors, windows, roofs, walls, floors, and chimneys. For example, the Japanese designer Takaharu Tezuka’s kindergarten project, which uses a circular, unconstrained building as a kindergarten area, aims to provide children with a more communicative and open environment to nurture children’s learning and entertainment habits.
Throughout most of the modern movement, designers have seen the desire to create works of art and design based on objectivity and rationality, the scientific values. The desire for a new form is more intense than before and the objectivity and rationality of the primary design process (and the product be designed). A desire to “scientise” design can be traced back to ideas in the twentieth-century modern movement of design (Cross, 2001). For example, in the early 1920s, the De Stijl protagonist, Theo van Doesburg, expressed his perception of a new spirit in art and design: “Our epoch is hostile to every subjective speculation in art, science, technology, etc. The new spirit, which already governs almost all modern life, as opposed to animal spontaneity, to nature’s domination, to artistic flummery. In order to construct a new object, we need a method, that is to say, an objective system.” Under the guidance of the new art and design new spiritual theory, designers design works that better meet the needs of customers and society. At the same time, they can better use social theory to display their design ideas and forms of works. In the absence of any meeting of minds or sharing of interests by social theorists and built environment professionals, what is found in practice is, at any time, some general, theory-like propositions linking spatial forms to social outcomes (Hillier, 2008). The design and planning of the built environment adjust the physical and spatial environment and the theory aims to promote the shape of social goals and the patterns of interconnected spaces.
Translating social goals into space and presupposing how life and work patterns are affected by the physical and spatial forms are imposed, good or bad. In this way, the designer can conceive and assume in advance the necessary social needs and personal needs of the design audience. For example, Crossboundaries use the influence of space’s own settings on the child’s behavior. Renovate the original teaching building, on the basis of which it creates a multi-functional teaching space of “student-led”, and divides different functional areas in the form of color and space to realize a building with more sense of design and fresh use. In conclusion, the design and planning of social theory and the interior environment require relevant theoretical knowledge. According to the theoretical knowledge learned in this semester, critical thinking, spatial theory, and scientific analysis are necessary theoretical support.
Eidson, P. L. (1986). Critical thinking: Elements of interior design theory. Journal of Interior Design, 12(2), 19-24. doi:10.1111/j.1939-1668.1986.tb00093.x
Lawrence, D. L., & Low, S. M. (1990). The built environment and spatial form. Annual Review of Anthropology, 19(1), 453-505. doi:10.1146/annurev.an.19.100190.002321
Cross, N. (2001). Designerly ways of knowing: Design discipline versus design science. Design Issues, 17(3), 49-55. doi:10.1162/074793601750357196