syn.the.sis n

1. a new unified whole resulting from the combination of different ideas, influences, or objects
2. the process of combining different ideas, influences, or objects into a new whole (formal)
3. the process of forming a complex compound through a series of one or more chemical reactions involving simpler substances
4. the production of music or speech using an electronic synthesizer
5. the expression of syntactic relationships by means of inflections rather than word order or prepositions and other function words
6. in Hegelian philosophy, the new idea that resolves the conflict between the initial proposition (thesis) and its negation (antithesis)
7. the process of deductive reasoning from first principles to a conclusion

Encarta® World English Dictionary ©1999 Microsoft Corporation. All rights reserved.

The design of the interior involves a synthesis of ideas that stem from the phenomenal to the physical. In order to uncover these ideas, this seminar will focus on the history, theory, cultural context and making of objects found on the interior.

The ideas that shape interior spaces and the objects they contain stem from the physical and phenomenal world, whether it be the light that affects the space or the material intentions of a designer. When applied to the design of objects and spaces, the definition of synthesis implies a level of completeness and unity based upon investigations and research. We will look at specific designers working in a range of scales from textiles to total environments. By doing so, we will learn how they synthesize concepts, materials, scale, object, consumer and history in order for their objects to come to fruition. As a result, a larger question of the unique object versus the mass produced will be compared, which leads us to look at different types of contemporary designers, from Petra Blaisse who works with the unique scenario to that of the mass-producer IKEA. This question of the unique versus the mass-produced has a sub-set of questions that asks us to reflect on the larger culture in which we live, such as what is the economic and political system that we live in that allows for objects to be produced and consumed in our everyday.

The readings, presentations and discussions should guide you in thinking about two objects you will design over the semester supported by research papers. The questions that we ask in the seminar discussions based upon the readings should influence decisions you make about design and how you approach this question of the unique versus the mass-produced.

SCHEDULE

wk 1: Introduction to seminar
wk 2: Places and Meaning
wk 3: Case Study: Total Environments
wk 4: Clothing
wk 5: Interior Skins
wk 6: Interior Objects
wk 7: Student Presentations
wk 8: Student Presentations
wk 9: Furniture & Objects
wk 10: Furniture
wk 11: Representations of the Interior
wk 12: House
wk 13: Conclusions
wk 14: Student Presentations
wk 15: Student Presentations

REQUIRED COURSE WORK

The course requires exploration and critical thinking of the above topics with reference to readings and research resulting in a writing component and design projects. Students are required to participate in class discussions.

• 8 summaries of readings
• 2 projects based upon topics in the seminar with a 3 page single spaced paper (paper should come from supporting text of the summaries you have written about).

FORMAT FOR WRITING SUMMARIES

A total of 8 summaries from specific calendar topics will be due over the course of the semester. Papers are due the day the seminar reading is discussed. Papers should be 500 words in length in an easy to read font, Times is always reliable at 10-12 point, single space, double sided if needed.

The writing should address a summary of the article and your own critical analysis; both can be woven together throughout the paper. The critical analysis should address the importance of the article topic, not about whether or not you liked the tone the author uses. Some guidelines to write with include:

• how does this topic relate to interior design?
• if the article is not based on interior design, how do you interpret the article to make a connection between the disciplines?
• how does the topic relate to issues of occupation and our everyday environment?
• how does the article reveal something new to you about interiors?

In order to prepare for the two design projects, you should consider these summaries as research that is supplemental to your design project. The design project should grow out of your observations and interests from the readings. Therefore, the summaries should also include your ideas that will shape your projects, please take advantage of this as a tool that lends itself towards Projects #1 and #2.

PROJECT #1

Choose a topic from those discussed in the first half of the semester to pursue as a design project. The readings should supplement and assist you in designing your project. This could take the form of an investigation of clothing or interior surfaces that stems from topics we've discussed. The project should be designed with a critical component that has grown out of research. It is important that the design be supported by research that can be cited back to the articles we've read and discussed. A three page paper will be due with the project. This paper should be a synthesis of your previous papers that have led to your project. Additional information on the presentation will be provided at least one month before the due date. Please refer to calendar for presentation dates.

PROJECT #2

Similar to the first project, you will be asked to pursue a second research/design project based upon topics discussed in the second half of the semester. Additional information will be provided at least one month before the due date. Our last class sessions are set aside for presentations.

GRADING

Summaries: 40%
Project #1: 25%
Project #2: 25%
Participation in class: 10%
TOTAL: 100%