Delivering Design Fundamentals:

The use of relevant Learning Theories in the delivery of an

Interior Design Project at Third Level

Student Name: Tracey Dalton

Student Number: D10120799
Course: MSc. Applied eLearning
Module: Learning Theories
Date: 29th October 2013
Word count: 1996

Delivering Design Fundamentals: The use of relevant Learning Theories in

the delivery of an Interior Design Project at Third Level
Introduction
In this paper I will show that, in terms of delivery, in a typical interior design project, the
process incorporates all of the learning theories, at different stages. I will do this by breaking
down the project into parts, which relate to design fundamentals. I will use practical examples
of how the particular theory is used to most effectively deliver a particular part of the project.
I currently teach on the BA Honours Degree in Design Interior and Furniture, in DIT. My
teaching responsibilities include lecturing in design theory and principles, AutoCAD
computer software training, technical drawing, construction studies and building regulations.
I currently teach first and third year students. I also teach similar subjects to second and third
year students in Dublin Institute of Design, which is a private design college. I have over ten
years industry experience in the interior design/architecture field, primarily working on
commercial design projects from inception to on-site completion.
The vast majority of art & design courses are assessed through design project work, which
runs over the course of a semester. The learner is continually assessed throughout this period.
This assessment process is dictated by the nature of the work involved. The design process is
organic by nature and is not just about the end product. The conceptual stage in the middle of
the project is one of the most productive parts which can determine whether the learner has
taken a deep or surface approach (Race, 2010).
Applying the learning theories to the project stages
A typical design project at third level covers one semester and runs for approximately twelve
weeks. The project is graded in four parts i.e. research, concept development, design
resolution and presentation (see Appendix 1,p.11). These four stages tie in with the
fundamentals of design. In this paper, I will use an office design project as a case study. This
would be given to second or third year students, with prior experience of the design process
i.e. the cycle of initiation, preparation, synthesis, hypothesis, evaluation, feedback, action and
re-evaluation (Ching, 1995).

It would be useful at this point to explain the four stages in more detail and discuss which
learning theories apply in the delivery of the project.
The use of Behaviourism and Social Constructivism at Research stage:
I will begin by looking at the delivery of the project brief. In DIT, this project is incorporated
into the building regulations module in third year. The brief is delivered in a behaviourist
mode by the lecturer and is designed in way which would echo Biggs(2007) theories on
constructive alignment. The student is also issued with a set of drawings for the proposed
building. It is followed by a PowerPoint lecture on office design theory (see
Appendix 2,p.16). Over the next three to four weeks the students will also be given AutoCAD
lectures which re-cap on the previous years learning and move on to new topics (see
Appendix 3,p.19). These aspects of the project are behaviourist because they are delivered in
a typical sage on the stage (King, 1993, p.30) format, which is necessary in order for the
learner to gain relevant information.
This stage also involves presentation of previous students work on the same project, setting a
benchmark for students to reach similar standards as those shown to them. The student also
participates pro-actively at this stage as they are given topics to research and relate to the class
at intervals throughout the semester (see Appendix 1,p.11) and subsequently all of the
research is shared with the whole class (see Appendix 4,p.20), with the lecturer acting as
facilitator. These aspects are social constructivist and the lecturer acts as a role model for the
way things are done around here (Carlile and Jordan, 2005) through feedback on presentation
and through the critical analysis of previous students projects.
The use of Cognitivism at Concept Development Stage:
This stage of the project uses cognitivism because the student is problem solving through the
design planning and concept. It has to be delivered using chunking and scaffolding
(Bruner,1960) as the learner needs to develop the information week by week. This correlates
with the cognitive principles of sensation, perception, attention, encoding and memory
(Carlile, Jordan and Stack, 2008), which work well with the design process (Ching, 1995).
The learner is encouraged by the teacher to draw on prior learning to work through this stage
of the project. It is also the most creative stage of the process. Cognitive paradigms such as
schemas (Bartlett, 1932), brainstorming, lateral thinking (de Bono, (as cited in Carlile et al.

2012)) and CPS i.e. creative problem solving (see Table 1 Carlile and Jordan, 2012) are
used throughout

the project to encourage the student to develop a concept.

Table 1:

Stage
1. Evaluate the challenge

Steps
Process
Objective finding
Identify the object
Fact finding
Gather the relevant data
Mess finding
Clarify the problems to be solved
2. Generate Ideas
Idea Finding
Generate ideas to solve problems
3. Prepare for action
Solution finding
Move from idea to a solution
Acceptance finding
Plan for action
Source: Adapted from Diapert (1996) for Approaches to Creativity by Carlile and Jordan, 2012.

This in turn, leads to spatial understanding (Meyer et. al. 2003) through space planning,
three dimensional visualization and analysis of specifications and materials through sketching,
continued research and specification (see Appendix 5,p.24).
Kolbs Learning Cycle (as cited in Carmel Gilfilen, 2012) represents the re-evaluation and
response to formative feedback at this stage. The teacher is not looking for the final answer,
but their focus is on the cognitive strategies needed to arrive at a solution (Carlile and
Jordan, 2005). The learner must show that they are a critical thinker and deep learner, at this
stage, in order to become a fully rounded design practitioner.

The use of Constructivism at Design Resolution Stage:

Constructivism is a natural progression from cognitivism and both are interested in cognitive
processes. (Jordan et. al., 2008, p.55)
At this stage of the project the teacher becomes the guide on the side(King, 1993, p.30) as
the student takes their design to completion. The learner must come to a stage where their

design is resolved in terms of concept, spatial planning and specification. They are required to
bring the design to a professional level to prepare for final presentation.
Through building on what is already known (Carlile and Jordan, 2005,p.21), the teacher
accepts the autonomy of the student, and instead acts as a facilitator or mediator (Carlile
and Jordan, 2005,p.19). The student is primarily using computer software for two and three
dimensional drawing, rendering and visualization at this stage of the process (see Appendix
6,p.25), drawing from previous knowledge and improving their skills, similar to Bruners
spiral curriculum (Bruner,1960). The teacher uses constructivism during this process through
recommendations on best practice in industry in terms of standards for presentation. The
teachers role is to bring the learner to their ZPD (zone of proximal development) (Vygotsky,
1934), with the student drawing from what they have learned before, but reaching higher
levels of excellence with guidance.

The student takes an androgogic approach at this stage and they must decide for themselves
what is important (Knowles, 1980). This is due to the importance of time management in the
design field, which is underestimated in industry by clients (Bradley, 2013). It is a very
important part of becoming a design professional and is mastered through continued
experiential learning (Kolb, 1984) in design college, through set projects. The student may
find it necessary to be a strategic learner at this point, depending on their progress and
expectations.

Race (2010, p.66) speaks of the positive aspects of strategic learning. An interior design
project is assessed continually, unlike, for example, the Leaving Certificate in second level
education. Therefore, it will require deep, surface and strategic learning strategies at different
stages. Sometimes deep learners can put too much emphasis on certain areas of the high
content bound (Race, 2010) third level curriculum. For example, some students in interior
design put all of their focus, at this stage, on 3D visuals, at the expense of specification,
technical accuracy and written research. Effective strategic learning is required in order for
the learner to fulfil the minimum criteria to obtain a certain grade (Race, 2010).
The use of Behaviourism and Constructivism at Presentation Stage:
At the end of the project the student presents their finished design in a classroom setting using
presentation boards and PowerPoint. The verbal presentation is graded, so there is incentive to
perform well. Different behaviourist principles may be used at this stage such as intermittent
reinforcement and contiguity (Carlile and Jordan, 2005). This depends on the learner and what
is required in terms of feedback to reinforce the correct way to present a design solution. For
example, a student who is weaker in the analytical, critical and logical modes of thinking
(Meneely, 2010) of the project may need more contiguous feedback than a student who is
more aware of these issues. The student must show in their presentation that they have
fulfilled the required criteria aligned to the learning outcomes (Bloom, 1956).
Constructivism is used at presentation stage as skills have been learned from the lecturer
relating to best practice in industry. At the end of the project, the design solution must
communicate visually what the student is proposing (see Appendix 7,p.26). This is a primarily
visual profession with its own language of presentation. It must communicate to others in the
discipline and to the prospective client equally. There is no excuse for not producing strong
visuals to illustrate conceptsWhatever the media, all visuals must be strong, inspiring and
communicate the experience (Budd, 2011, pg.x).
The student has come full circle in the process, becoming the sage on the stage (King,
1993), as they educate their fellow learners, demonstrating professional decisions made
throughout the design process on this project. They must display aspects from all four stages
in their presentation, thus presenting in a behaviourist mode. Kolbs experiential learning

model (1984) can also be applied as they move on to the next project and begin the process
again.
Conclusion
I have taken a case study of a commercial office design project in interior design, to assess
learning styles used by the teacher. Looking at the four stages of the design process (see Table
2 below), I have shown how all of the learning theories are used throughout the process, at the
most appropriate stage.
Stage of Design Process

Learning Style/s used

1. Research

Behaviourism and Social Constructivism

2. Concept Development

Cognitivism

3. Design Resolution

Constructivism

4. Presentation

Behaviourism and Constructivism

Table 2: Source: See Appendix 1 (Project brief)

This paper shows that there are valid, logical and evidenced based reasons as to why these
particular learning styles work best at the various stages.
Further Action/Thoughts
Budd (2011, pg.x) argues that a design student should live design in their daily lives. This is
true as all successful designers are passionate about their craft. He makes a very valid
argument that he is struck by how little (students) seemed to reflect. Budd (2011) believes
that students should not come out of a 4-year accredited program without having begun
forming a personal design philosophy. This is something that is not done as an exercise in a
discipline which is primarily visual and could be added to the curriculum for each year, not
just at the end of four years. It could be done in a written and visual form, incorporating
digital media, even as an ePortfolio.
Further reading I have done by Meakin (2012), on creativity, Meakin and Knott (2013) and
Laurillard (1993) on the use of digital media at third level, has given me incentives to use idea
generation tasks (see Appendix 8,p.28) at the concept development stage, digital media at
research stage, through use of video tutorials, lectures eg. TED talks and discussion forums
throughout the project.

References
Barnett, R. (2004). Willing to Learn in Higher Education. In Conference Paper,
AISHE Inaugural Conference, Dublin.
Bigge, M. & Shermis, S. (2004). Learning Theories for Teachers. (6th Ed.).
USA: Pearson Education, Inc.
Biggs, J. & Tang, C. (2007). Teaching for Quality Learning at University. (3rd Ed.).
Berkshire: SRHE & Open University Press.
Bradley, A. (2013, September 13). (Unpublished) Speech presented by the president of
the Institute of Designers of Ireland at the Dublin Institute of Design graduation
ceremony.
Bruner, J.S. (1960). The Process of Education. (USA, Harvard University Press)
Budd, C. (2011). Valuing the Intuitive: Reintroducing Design into Interior Design
Education. Interior Design Educators Council, Journal of Interior Design.
36(3), v-xi.
Carmel-Gilfilen, C. (2012). Uncovering Pathways of Design Thinking and Learning:
Inquiry on Intellectual Development and Learning Style Preferences. Interior
Design Educators Council, Journal of Interior Design. 37(3), 47-66.
Ching, F.D.K. (1995). A Visual Dictionary of Architecture. New York: Wiley & Sons.
Jordan, A. & Carlile, O. (2005). It works in practice but will it work in theory? The
theoretical underpinnings of pedagogy. G. ONeill, S.Moore & R.McMullan
(Eds.) Emerging issues in the practice of university teaching.
Jordan, A., Carlile, O. & Stack, A. (2008) Approaches to Learning: A Guide for
Teachers. Maidenhead: Open University Press/Mc Graw-Hill Publications.
Jordan, A. & Carlile, O. (2012) Approaches to Creativity: A Guide for
Teachers. Glasgow: Open University Press / Mc Graw-Hill Publications.
King, A. (1993). From the Sage on the Stage to the Guide on the Side. College Teaching,
Vol.41, No.1, pp.30-35. Retrieved October 21, 2013 from www.jstor.org
Knowles, M. (1980). The Modern Practice of Adult Education: From Pedagogy to
Andragogy (2 ed.). Chicago: Follett.
Kolb, D. (1984). Experiential Learning: Experience as the Source of Learning and
Development. Englewood Cliffs, New Jersey: Prentice-Hall.

Laurillard, D. (1993). Rethinking University Teaching a framework for the effective use
of educational technology. Cornwall: T.J. International Ltd.
Meakin, K. (2012). On Creativity. In/Print, Issue 1. Retrieved October 16, 2013
from www.arrow.dit.ie
Meakin, K. & Knott, N. (2013). A Digital Design Experience in tertiary design
education. Retrieved October 16, 2013 from www.arrow.dit.ie
Meneely, J. (2010). Educating Adaptable Minds: How diversified are the thinking
preferences of interior design students? Interior Design Educators Council,
Journal of Interior Design. 35(3), 21-32.
Meyer, J. H. F. & Land, R. (2003). "Threshold Concepts and Troublesome Knowledge
Linkages to Ways of Thinking and Practicing" in Improving Student Learning
Ten Years On. C.Rust (Ed), OCSLD, Oxford
Race, P. (2010). Making Learning Happen. A Guide for Post-Compulsary Education.
London: Sage Publications Limited.
Vygotsky, L. (1934). Thought and Language. Cambridge Mass: MIT Press.

Appendix

10

Appendix 1: Office Design Brief (Part of)

Dublin Institute of Technology Faculty of Applied Arts

School of Art and Design & Printing BA Interior Design DT544
Year 3: Interior Design
Brief Issue: 2013.09
Tutor: Tracey Dalton
Module: Building Regulations
Module Overview:
In this module students will be introduced to the regulatory controls that govern the practice of construction in the
Republic of Ireland
This is a 5 credit module
It is mandatory that you email tracey.dalton@dit.ie confirming your intention to undertake the module. You must
th
undertake and pass this module if you want to undertake interior design in 4 year.
Module Aim
The aim of this module is to make the students aware of the primary legislative framework pertaining to
construction and the development of their ability to place their design work within this context.
Learning Outcomes
The student will have developed:
1. An awareness of the primary legislative framework pertaining to Interior Design
2. Knowledge of the Technical Guidance Documents (TGDs) and their relationship with the Building
Regulations
3. An understanding of each of the TGDs and their relationship with the Building Regulations
4. The ability to apply the Building Regulations to Interior Design Projects
Module content
1. An introduction to the Building Regulations and their purpose
2. An introduction to the Technical Guidance Documents and how they are to be interpreted
3. An overview of the Certification Process specifically with regard to Building Regulations
4. A discussion on the procedures and accreditation of Opinions on compliance with Building Regulations
Module Assessment
This module is assessed through the production of learning portfolios. The learning portfolios will include set
projects (critical reviews and presentations) and independent research. The learning portfolio will be assessed on
the demonstration of understanding of the topic in relation to the practice of interior design.
Assessment Criteria
Research
Concept Development
Design Resolution
Presentation

30%
25%
25%
20%

11

Module Dates:
The module will take place during the Semester 1, which is 14 weeks long.
http://www.dit.ie/academicaffairsandregistrar/calendar/ The semester comprises 12 teaching week, Review Week
and Final Presentation. Students must refer to the DIT Academic Calendar for specific dates.
Semester Two
19/09 Academic Week 1

Module starts

Outline of Brief
Office Metric handbook
Model Making

26/09 Academic Week 2

Studio

Submission and review of Models

Overview of Building Regulations & TGDs
Concept Development

03/10 Academic Week 3

Studio

Student Presentation 1: Office Research

10/10 Academic Week 4

Studio

Sample Office Design presentation

17/10 Academic Week 5

Studio

One to One: Analysis of workbooks

24/10 Academic Week 6

Studio

One to One discussion

31/10 Academic Week 7

Studio

Student Presentation 2: Concept Design

07/11 Academic Week 8

Review Week

14/11 Academic Week 9

Studio

One to One discussion

21/11 Academic Week 10

Studio

Student Presentation 3: Building

Regulations/TGDs

28/11 Academic Week 11

Studio

Student Presentation 4: Detailed Design

05/12 Academic Week 12

Studio

Student Presentation 5: Impact of Building

Regulations on Design

12/12 Academic Week 13

Studio

Student Presentation 6: Final Presentation

Christmas Holidays
06/01 Academic Week 14

Submission of Module

12

Project Brief:
Your Client proposes to convert an existing retail unit with offices overhead in a city centre location into a design
office for a firm of architects and interior designers. The unit is a Georgian Building with four floors over basement.
For the purposes of this exercise it can be understood that the unit is not a protected structure.
You will be required to consult the Building Regulations and have a good working knowledge of the Building
Regulations pertaining to the practice of Interior Design. You will also be required to research office design and
understand best practice.
The office is located in a City Centre location. You will be responsible for both the design of the office and the
branding and identity of the design practice. A key component of the project is understanding how you will market
the practice to Clients, bearing in mind that the office is located in the City Centre.
The designs will not be benchmarked against the Building Regulations. However you will be expected to
understand the principal affects that the Building Regulations will have on your design.
CAD files of the plans and sections of the building will be supplied in order for you to complete the module.
Schedule of Accommodation
You must provide accommodation for each of the following:
Description

Size

Notes

2 No. Directors offices

9.5 m2 each

Must have natural light, acoustic privacy

2 No. Associates offices

8 m2 each

Must have natural light

Reception/Administration

Must contain 3 No. Workspaces

Space for 8 Designers

Brolandschaft principles must be understood

Model Making Studio

Must have acoustic privacy and dust extract

Critique area

Must have acoustic privacy

Canteen
Library

Must contain 300 books

Display area

This must entice the public to commission the designers. You

must consider how to display the skills of the design practice to
the general public.

Materials Storage

Must contain physical samples

13

Deliverables: Work Required:

Continuous
An A2 workbook/s must be compiled throughout the project. The workbook must contain research, photographs,
sketches, observations and evidence of learning. It is essential that it be brought to each class.
End of Module:
All of the above plus:
1.
2.
3.
4.
5.
6.
7.
8.

1 no. A3/A2 Workbook containing research and design development

2 no. A3/A2 sheet containing finished plans of all floors @1:50
1 no. A3/A2 sheet containing 2no. finished sections @1:50
1 no. A3/A2 sheet containing finished selected rendered internal wall elevations @ 1:20
1 no. A3/A2 sheet containing rendered 3 dimensional drawings
1 no. A3/A2 sheet listing materials, colours, textures to be used
1 no. Model of the entire building Scale 1:50. Minimum size: 400mm x 120mm x 400mm
All work must be included in A3/A2 portfolio indicating name and student number on the exterior.

Note this work must be produced in stages as the project progresses.

All work submitted at the end of the project must be in printed form.
Electronic imagery may be used throughout the course of the project during presentations, but is not
valid for the final submission. Print outs of digital presentations may be included in workbooks.
All classes / submissions / presentations are in the 3rd Year design Studio on the dates and times noted unless
otherwise directed. Please observe the whiteboard, where alternative location, if applicable, will be noted. It is
expected that you will prepare for involvement in class discussions in advance of them taking place.
Note: Late submissions will automatically incur a penalty of 20% in marks. Late is defined as any point in time
after 09:30 on the day of the submission at the Tutors discretion. You are required to make three presentations
during the semester. Note that presentations comprise 30% of the marks. Marks will be deducted if presentations
are not made.
The programme and this module are based on continual assessment. You are required to have a minimum 70%
th
attendance rate to pass the module. You cannot undertake Interiors in 4 Year without successfully passing this
module.
Note any submission received after the closure of the Electronic Grade Book (EGB) will be deemed a non
submission.
Marks
This feedback is given for the purposes of advice and guidance and to assist your development in this module.
References to marks and standards are entirely provisional and subject to confirmation following DIT procedures.
Only DIT Assessment Boards are able to issue confirmed definite marks.
If you do not get a mark of at least 40% in any module then it is your responsibility to contact the tutor to obtain a
referral project.
Feedback
The tutors may make comments regarding another project that applies to your project. Time is short and to avoid
needless repetition you are expected to interpret each item of criticism and see how it applies to your project.
Tutors comments are made solely to try and improve the projects. It may be that a project has little merit and the
tutors may feel that there is little that they can say to improve the project. Likewise a project may have
considerable merit and the tutors may criticise it at length in order to make it even better.
Essential Reading:
Department of the Environment Heritage and Local Government (1997) Building Regulations: Technical Guidance
Documents Stationery Office, Dublin
Cofaigh, E (1993) The Building Regulations Explained, The Royal Institute of the Architects of Ireland

14

Keane, D Building and the Law, The Royal Institute of the Architects of Ireland, Dublin
Ching, F. D. K., Form Space & Order. John Wiley and Sons
Coles, J. and House, N. The Fundamentals of Interior Architecture AVA Publishing
Dodsworth, S. The Fundamentals of Interior Design AVA Publishing
Gibbs, J. Interior Design. Laurence King Publishing
Duffy, F (1997), The New Office, Conran Octopus Limited.
rd
Littlefield, D (2008), New Metric Handbook, 3 Ed., Architectural Press
Caywood, D. B., (2004) The Designers Workspace: Ultimate Office Design, Elsevier, Oxford
Silver, P., McLean, W (2008) Introduction to Architectural Technology Laurence King, London
Ashby , M, Johnson, K, (2002) Materials and Design, The Art and Science of Material Selection in Product Design
Elsevier Oxford
Ching, F.D,K., Adams, C. (2001) Buidling Construction Illustrated Wiley, New York
Supplemental Reading
Canny, J. K., (2001) Construction and the Law, Round Hall, Blackrock
Mitton, M, 2008. Interior Design Visual Presentation. 3rd ed. London: John Wiley and Sons.
Ching FDK. A Visual Dictionary of Architecture. John Wiley and Sons
David Littlefield. Metric Handbook: Planning and Design Data. Architectural Press
Ernst Neufert. Architects Data. Wiley Blackwell
Duffy, F. The New Office Conran Octopus, London, 1997
Galiano Fernandez, L. Mies Van der Rohe: Berlin/Chicago
AV monographs, Arquitectura Viva, Madrid, 2001
Hascher, R. Jeska, S. Klauk, B. A Design Manual, Office Buildings Birkhauser, Basel, 2002
Hohl, R. Office Buildings: An International Survey, The Architectural Press, London, 1968
Van Meel, J. The European Office 010 Publishers, Rotterdam, 2000
Web References , journals and other
The Architects Journal
Detail Magazine
Architecture Ireland
Plan Magazine
www.detail.de
www.architectsjournal.co.uk
www.riai.ie
www.constructireland.ie
www.environ.ie
www.hsa.ie
General Design Websites
www.dezeen.com
www.designboom.com
www.pivotdublin.com
www.idi-design.com
www.icad.ie
www.ifiworld.org
Office Related Websites
http://www.officedesigngallery.com/
http://www.thecoolist.com/anz-centre-melbourne-australia/
Related Ted Talks
http://www.ted.com/talks/lang/eng/bjarke_ingels_3_warp_speed_architecture_tales.html
http://blog.ted.com/2006/07/11/joshua_princera_1/
Architects Websites
www.big.dk
http://www.degw.com/

15

Appendix 2: Metric Handbook Office Design lecture (Part of)

16

17

18

Appendix 3: AutoCAD Re-cap sheet

topic

Place a tick next to topic if you would like a re-cap

Lines, circles, direct

distance entry
Polylines
Drawing aids
Dimensions / dimension
style
Blocks
Arcs, polygons, ellipses,
donuts
Hatching
Plotting
Offset
Trim & Extend
Splines, rectangles, points
Array
Model & Paper Space,
viewports
Fillet, chamfer
Rotate, scale, mirror
Text
Options menu
Zoom toolbar
Lineweights
Co-Ordinates
Layers
Making/Saving a
template
Inserting images
2d Isometric
Extrude, Loft, Sweep,
Revolve
Views toolbar, Visual
Styles toolbar
Subtract, Union,
Intersect
Insert doors, windows,
staircases.
Insert a Camera.
Saving a view.
3d Materials. Mapping
Materials. Adding
Lights. Rendering a
view.

19

Appendix 4: Sample Office Design Research by two students: Richard May and Maria Bride

20

Office design research by Richard May

21

Office design research by Maria Bride

22

Office design research by Maria Bride

23

Appendix 5:
Examples of concept development sketching in an Interior Design Project

24

Appendix 6:
Examples of student work at Design Resolution stage in an Interior Design Project

25

Appendix 7:
Examples of student work at Presentation stage in an Interior Design Project
Office design by Ela Drungoole

26

Office design by Ela Drungoole

27

Appendix 8: A sample idea generationproject by Hasso Plattner at Institute of Design, Stanford

Implemented by Kerry Meakin with 1st year BA Hons. Design : Interior and Furniture

28

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