Interior design

None of Us Is Sentimental About the Hand: Dorothy Liebes, Handweaving, and Design for Industry

by Alexa Griffith Winton

"A Man's House is his Art": The Walker Art Center's Idea House Project and the Marketing of Domestic Design, 1941 - 1947

by Alexa Griffith Winton

Idea Houses I and II, two houses built by the Walker Art Center in Minneapolis in 1941 and 1947, were the first... more Idea Houses I and II, two houses built by the Walker Art Center in Minneapolis in 1941 and 1947, were the first functional modern homes built by an American museum. The houses were conceived and built during an extreme housing shortage brought on by the Great Depression and exacerbated by the Second World War. Unlike commercial model homes of this period, these houses were designed by architects retained by the Walker, with furnishings and home products selected by the curatorial staff. Rather than product placement, the purpose of the exhibitions was to promote awareness and appreciation of modern home design by presenting the houses as source material for visitors' own potential building projects: literal houses of ideas. Through these exhibitions, the Walker also sought to re-imagine the museum experience as an active, participatory event, free of the elitist associations of the conventional museum, and in these cases focused on housing, the most pressing issue of the day. This paper examines the interrelated museological and architectural aspirations of these exhibitions in the context of the housing crisis of the 1940s. These twin goals of providing quality home design advice and reinventing the museum experience are what made the project popular in its day and interesting now. This paper examines the houses both as museum exhibitions and as houses, and investigates the complex interplay of commerce and the museum that is perhaps essential to discussion of the Idea Houses, considering that the overwhelming commercial influence on home design and furnishings was what inspired the project in the first place.

Using Materials for Sustainability in Interior Architecture and Design

by Kirsty Máté

Journal of Green Building, Fall 2007
Online edition can be found at http://www.collegepublishing.us/jgbonline.htm however a subscription is required.

‘Green’, ‘eco’, ‘sustainable’, materials and products are no longer as rare as hen’s teeth. There is an increasing... more ‘Green’, ‘eco’, ‘sustainable’, materials and products are no longer as rare as hen’s teeth. There is an increasing market for all things ‘green’, but all the green products in the world won’t necessarily create a ‘green’ interior design solution.

Understanding the importance of the life cycle of the design they are intended is as equally important as the material choice – it’s the way the materials are used which will significantly change an ordinary design into a sustainable one.

Much has already been published on reducing the life cycle impacts of products during manufacturing and designers need to be aware of these, however comparing the life cycle assessments (LCAs) of various manufacturing processes can be complicated, the information opaque and the results confusing.

While the importance of the environmental impacts during manufacture are significant when selecting materials and products for interior environments, equally important are the issues related to consumption, the practice of specification for the use of materials and products, the impacts of indoor air quality and end of life options.

This article will address how an interior designer/architect can address some of the greatest environmental impacts of their practice, specifying materials and products, by understanding the life cycle impacts of their designs, rather than just the materials they use, for domestic and commercial use.

CARULLO R. (2011). Per una grammatica degli Interni. Da Blondel a Perret il percorso formativo di una disciplina.

by Rossana Carullo

CARULLO R. (2011). Per una grammatica degli Interni. Da Blondel a Perret il percorso formativo di una disciplina. In: Il progetto di architettura fra didattica e ricerca. Bari, 2_6 maggio 2011, BARI: Polibapress, vol. 5/6, p. 2545-2554, ISBN/ISSN: 978-88-95612-80-5. (For a grammar of the Interior: from Perret to Blondel the history of a discipline).

For a grammar of the Interior: from Perret to Blondel the history of a discipline.
E’ sempre stato difficile... more For a grammar of the Interior: from Perret to Blondel the history of a discipline.
E’ sempre stato difficile riconoscere i caratteri di specificità dell’Architettura degli interni come disciplina. Cosa la differenzia dalla Progettazione architettonica? Ne rappresenta solo uno dei momenti, generalmente quello che si riferisce alla scala del dettaglio? Si occupa delle strutture che rendono abitabili gli spazi attraverso elementi di minore durata e di maggior arbitrarietà come gli arredi o gli apparati decorativi, oppure possiede propri e riconosciuti statuti disciplinari capaci di permanere nel tempo? E se li possiede qual’è il loro nucleo fondativo, e come questo si è sviluppato nel tempo? Per capire in cosa consista e dove sia possibile spingere la ricerca contemporanea sugli interni, in particolare nei suoi rapporti con la didattica, è indispensabile riflettere sugli inizi della formazione del suo apparato teorico.
A cavallo tra Ottocento e Novecento molti ed importanti contributi si sono succeduti sui temi legati alla definizione di “interno” e “decorazione”: dalla scuola di Vienna, con Alois Riegl, alle teorie sul principio del rivestimento, a quelle sul concetto di “opera d’arte totale”. In questi contributi è centrale il ruolo degli interni e della decorazione di cui si riconosce una specifica prassi nella storia dell’architettura. E’ più difficile invece rintracciare i momenti di trasformazione di questa prassi in una coerente teoria e infine in una disciplina dotata di grammatica e tecniche proprie, tanto più didatticamente trasmissibile quanto più precisamente individuata.
E’ quello che succede nel Cours d’architecture ou traitè de la Décoration, Distribution & Construction des Bàtiments contenant les leçons données en 1750 & les années suivantes di J. F. Blondel. Il trattato è un contributo teorico fondamentale sugli interni. Ne sistematizza la prassi a partire proprio da una specifica esigenza didattica.
Blondel vuole comprendere come sia possibile mettere in relazione le esigenze di una minuta distribuzione ed organizzazione degli spazi domestici attraverso la “decorazione”, con la ricerca di una massima economia di sforzi, propria della tettonica della muratura portante. Per fare questo l’architetto francese propone ai suoi allievi un preciso esercizio didattico, in cui insegna a trarre il maggior vantaggio possibile da questo rapporto. Introduce accanto alla muratura un secondo sistema tettonico, questa volta in legno, poiché la muratura portante ha già esaurito il suo grado di necessità costruttiva ed è ora alla ricerca delle sue potenzialità espressive. Il vuoto che si crea tra la struttura lignea di delimitazione dello spazio e la muratura portante, diventa il luogo in cui strutturare gli spazi serventi dell’abitare. Questi divengono spazi “interstiziali”, intercapedini pronte a potenziare le qualità massive della muratura. Le soglie tra le stanze diventano ancora più profonde, le possibilità progettuali di concatenazione tra spazi interni ancora più generose. Nasce una precisa grammatica del rapporto tra tettonica e decorazione, una grammatica che riconquista il tempo della lunga durata divenendo strumentazione teorico-critica oltre che formale. Non è un caso infatti che dopo più di due secoli troviamo nell’opera di A. Perret piena coscienza di quella lezione. Pur in assenza di una tettonica in muratura continua, la grammatica blondeliana del rapporto tra decorazione e tettonica viene applicata sino alle sue estreme conseguenze. Perret ne verifica le possibilità di sviluppo in rapporto alle nuove tecnologie costruttive del telaio in cemento armato. Dimostra così la capacità di quell’impianto teorico di permanere pur mutando le condizione tecniche delle sue applicazioni e ci spinge a sperimentarne e verificarne ancor oggi il suo valore, tanto più importante quanto più complessi e labili si presentano oggi i confini disciplinari dell’architettura degli interni.

Engels-Schwarzpaul 2011 Restless Containers: Thinking interior space - across cultures

by Tina Engels-Schwarzpaul

Published as Engels-Schwarzpaul, A.-Chr. (2011). Restless containers: Thinking interior space – across cultures. Interstices: Journal of Architecture and Related Arts, 12, 11-22. www.interstices.ac.nz

Is there a relationship between the ways we draw the line between interior and exterior space and the way we see... more Is there a relationship between the ways we draw the line between interior and exterior space and the way we see ourselves in relation to the world? If there is, understanding it might help unsettle a simplistic binary between interior and exterior, and between the exclusionary and hierarchical relationships that attend it. Intersecting concepts developed by German philosopher Peter Sloterdijk in his trilogy Spheres with Māori and Samoan ones in the Pacific, this paper considers the links between notions of self, collectivities and the spatial configurations that sustain them. While historically and locally specific systems of inclusion and exclusion undeniably shape our selves and our worlds, drawing close to the spatial worlds of others expands our capacity for making worlds-in-common.

An Interactive Textile Hanging: Textile, Context, and Interaction

by Anna Vallgårda

Co-authored with Linnéa Nilsson, Mika Satomi, & Linda Worbin

This article presents three scenarios in which we explore different possibilities for interactive textile hangings,... more This article presents three scenarios in which we explore different possibilities for interactive textile hangings, textile hangings that are knitted and attached to servomotors. We have identified a series of variables that address the relationship between the expressions of the changeable pattern, created by rotating motors, and the unchangeable textile pattern. We use these variables, combined with contextual dichotomies, to discuss the relationships between the textile expression, the temporal expression, the place and the interactions for these scenarios.

"On Luxury [Jean-Michel Frank],"AA Files no. 58

by Joanna Merwood-Salisbury

Review of Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde... more Review of Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period (Rizzoli, 2008)

Julio Vilamajó: Nostalgia mediterranea

by Imma Forino

Published in: "Casabella", February 2002, Vol. 66, 78-79. ISNN 00087181

Part of a special section on Uruguayan architect Julio Vilamajó. Vilamajó's 1927 design of the Los Claveles... more Part of a special section on Uruguayan architect Julio Vilamajó. Vilamajó's 1927 design of the Los Claveles (Carnations) house for Felipe Yriart in Montevideo is examined. The house centers on a patio. A short lateral portico with columns extends into the house to divide it into a public area and a smaller service area. The hinge between these portions is an atrium, which serves as a spatial counterpoint to the patio and is dominated by a staircase. Interiors that are rich in decorations and friezes respond to a clear desire for representation, in contrast to the rational organization of spaces and containers in the service area.
From database. Art Full Text (H.W. Wilson)

Julio Vilamajó: Un "bazar" aerodinamico

by Imma Forino

Published in: "Casabella", February 2002, Vol. 66, 80-81. ISNN 00087181

Part of a special section on Uruguayan architect Julio Vilamajó. Vilamajó's 1944 design of an addition to the “La... more Part of a special section on Uruguayan architect Julio Vilamajó. Vilamajó's 1944 design of an addition to the “La Americana” confectioner's shop in Montevideo is examined. The addition consists of a large three-story venue for the display of culinary delicacies, with a basement devoted to the tasting of wines and liqueurs, and a ground-floor shop.
From database. Art Full Text (H.W. Wilson)

George Nelson: Etica del design / George Nelson: Design and Ethics

by Imma Forino

Published in: "Abitare", Aprile 2004, Issue 438, 234-241. ISNN 00013218

A profile of American architect George Nelson. Born in 1908, Nelson trained in Europe and worked in New York. He was... more A profile of American architect George Nelson. Born in 1908, Nelson trained in Europe and worked in New York. He was an intellectual who liked exercising his mind in several directions at once and worked in a variety of disciplines, including graphic design and journalism, in addition to designing houses and interiors. He sought to change stale typologies, simplify systems, and pare down forms, creating designs that are quiet and subdued almost to the point of unobtrusiveness.
From database: Art Full Text (H.W. Wilson)

Milano, dagli anni Venti ai Settanta: Architectture d'interni per le gallerie d'arte / Milan from the Twenties to the Seventies: Interior design for art galleries.

by Imma Forino

Published in: "Abitare", December 2006, Issue 467, 88-92, with Claudio Camponogara. ISSN 00013218

The tradition of gallery design in Milan, Italy, is discussed. Beginning in the 1920s, galleries played a key role in... more The tradition of gallery design in Milan, Italy, is discussed. Beginning in the 1920s, galleries played a key role in fueling opposition to mainstream or merely fashionable art by showcasing works carefully selected by well-informed curators and pioneering owners in appropriately altered interiors. Some of them hired architects to achieve a recognizable image, and some of their exhibitions focused on architecture and interior design. In the 1905s, Vittoriano Viganò introduced the modern gallery concept of uncluttered, unpretentious, well-proportioned spaces designed to enhance the works on view. This model is now apparently reemerging in Europe's and America's standard all-white spaces, which rule out any possible relationship between interior design and the art displayed.
From database: Art Full Text (H.W. Wilson)

Il Tesoro Della Statale / University Treasure

by Imma Forino

In: Abitare, July/August 2005, Issue 452, 124-127. ISNN 00013218

A review of “Il tesoro della Statale. Collezioni e identità di un grande ateneo,” an exhibition at the Rotonda di via... more A review of “Il tesoro della Statale. Collezioni e identità di un grande ateneo,” an exhibition at the Rotonda di via Besana in Milan, Italy, from November 23, 2004, to February 13, 2005. This show presented a series of carefully selected exhibits, materials, instruments, and publications of historical or documentary interest in order to tell the story of the extensive scientific and educational world of university learning. The works on view took viewers on a journey back into the teaching and learning methods of the past through an itinerary that communicated connections and interactions between human knowledge and scientific notions, between a curiosity for antiquity and modern research.
From: database Art Full Text (H. W. Wilson)

‘Dressing the Part(y): 1950s Domestic Advice Books and the Studied Performance of Informal Domesticity in the UK and the US’

by Grace Lees-Maffei

In Performance, Fashion and the Modern Interior, ed. Fiona Fisher and Patricia Lara-Betancourt (Oxford: Berg, 2011): 183-196

Behaviour is subject to fashion as much as clothing, furniture and other designed goods. As a discourse of ideals,... more Behaviour is subject to fashion as much as clothing, furniture and other designed goods. As a discourse of ideals, domestic advice literature - and by that I mean advice literature pertaining to the social and material composition of the home, namely etiquette, homemaking and home decoration books - can be read retrospectively to trace fashionable changes in both design and manners and is therefore a useful resource in uncovering the history of intersections between fashion, performance and the modern interior. This chapter examines three domestic advice books from the UK and the US: American industrial designers Russel and Mary Wright’s Guide to Easier Living, revised edition 1954 (1950), British journalist Julia Cairns’s Home Making, also 1954 and British author Daphne Barraclough’s How to Run a Good Party of 1956 to examine a historical moment in which a shift in fashionable behaviour produced new advice about domestic interactions, or performances, within the home. With reference to Erving Goffman’s dramaturgical metaphor developed in The Presentation of Self in Everyday Life, here advice books are presented as scripts for domestic performances within the home as a stage.

Institutional autobiography and the architecture of the art museum: restoration and remembering at the National Gallery in the 1980s

by Chris Whitehead

in K. Hill (ed.) Museums and Biographies, Boydell and Brewer (forthcoming)

The recent revalorisation of Victorian interiors within museums has led to a spate of restoration projects (e.g. at... more The recent revalorisation of Victorian interiors within museums has led to a spate of restoration projects (e.g. at the National Gallery and the V&A) which ostensibly reverse the modernist project of stripping away (or, more accurately, overlaying) Victorian features. Such restorations re-inscribe a heritage of Victorian museology into the modern-day art museum as a building and as an institution. At the same time, the echoing of Victorian ideas on the instrumental use of culture (i.e. the improvement, edification and pacification of publics) in contemporary government policies (such as social inclusion) adds a further layer in any exploration of the legacy of Victorian museology. The ‘restoration’ of the late nineteenth-century Barry Rooms at the National Gallery from the 1980s provides a case study of the complex politics involved in such projects, in which the balance between the preservation and the construction of the gallery’s physical past is delicate. The project also involved encounters with complex issues relating to the concept of authenticity and to decisions about which period of the building’s architectural history should be privileged and which should be literally hidden from view or excised, presenting interesting questions about the veracity of the institutional biography written not in text but, as it were, on the walls, in ceilings and in décor. Meanwhile, contemporary architects involved in developing extensions to Victorian museum buildings play key roles in the perpetuation or transformation of museum identities, by referencing or rejecting the Victorian past. The Sainsbury Wing at the National Gallery, for example, can be seen as a careful assimilation and simulation of trends in Victorian museology and museum building (the politics of the commission itself are obviously important in this respect), and therefore proposes a perpetuation of some Victorian values and a (fictitious) continuum between past and present. Conversely, the recently abandoned V&A Spiral extension modernised, or rather post-modernised the museum by deconstructing its traditional structures of architecture and display, creating an institution with multiple and in some ways clearly conflicting identities. The chapter considers the complex political meanings of this in terms of postmodern attitudes to museums, to visiting and to museum identities and histories. It therefore addresses a series of interrelated questions: in what ways do contemporary museums ‘come to terms’ with the history (or histories) of their buildings? What art histories and what museum histories are generated through the survival, reconstruction or rejection of the Victorian in art displays? How do they interlock? In what ways are visitors intended to survey or engage with these histories?

Exhibiting the 'Liberty Style', 1875-1917

by Jenny Lee

Unpublished undergraduate dissertation.

INTERIOR DESIGNERS: UNACKNOWLEDGED ROLE PLAYERS IN SOUTH AFRICAN RETAIL DESIGN

by Ilse Prinsloo

Presented at the 2011 DEFSA conference in Johannesburg, South Africa

The proposed paper reflects on research conducted on the role of Interior Designers in retail design within the South... more The proposed paper reflects on research conducted on the role of Interior Designers in retail design within the South African retail sector. Based on three leading corporate retailers, the paper explores the contribution of Interior Designers to retail design in the South African clothing and footwear retail context. In 2008, these retail companies collectively held more than 50 per cent of a R96.2 billion retail market share. Their primary turnover is generated through consumer purchases concluded in retail stores. Retail stores have become a means of marketing communication and it is utilised as a differentiation strategy for retailers. It is here that Interior Designers can make a considerable contribution to retailers. This qualitative research study reflects on information obtained through open-ended interviews with the managers and senior managers involved in the design and implementation of retail stores for these leading clothing and footwear retailers. A qualitative content analysis method was employed to identify overlapping themes and categories to conduct a comparison between the three corporate retailers. The research reveals that Interior Designers are currently under utilised due to a poor understanding of the role that Interior Designers can perform in the retailing. Although the paper provides information on the approach and operation of retail design in the clothing and footwear sphere of retailing, wider applicability can be drawn to the role of Interior Designers in retail design in South Africa. The paper proposes that stakeholders such as education could make a valuable contribution in promoting Interior Design in all sectors within the South African economy.

Scopophobia/Scopophilia: electric light and the anxiety of the gaze in postwar American architecture

by Margaret Maile Petty

chapter published in ‘Atomic Dwelling: Anxiety, Domesticity, and Postwar Architecture’ edited by Robin Schuldenfrei (Routledge, 2012), pp. 45-63.

In the postwar era interest in the “dematerializing” of traditional boundaries between enclosure and exposure in the... more In the postwar era interest in the “dematerializing” of traditional boundaries between enclosure and exposure in the private dwelling was promoted in a variety of popular media. Transparency became an essential component of “good living.” However, the increasing use of glass in residential architecture brought significant challenges to the occupation of domestic spaces. Primary among these concerns was the psychic dislocation caused by extensive visual exposure. An article in the New York Times called attention to this problem, reporting that some residents of glass buildings “develop dizziness” as well “a fear of being watched.” For many a sense of vulnerability, of being seen without being able to see, was greatly amplified in glass-enclosed spaces after dark. To address these concerns, and provide control over the visual conditions of the private dwelling, electric lighting was proposed as singularly powerful tool in the modulation of the domestic environment. Purposeful lighting was suggested as a means to create “atmosphere” and express “personality” as well as to control the transparency of glass enclosures after dark. This paper explores the use of electric lighting in the postwar era as a means to both address and mediate the gaze in the visual and social “scripting” of the domestic environment. Culling from film and cultural theory to investigate the social and aesthetic conditions “good living,” this study calls attention to the role of electric lighting in the composition of performative spaces within the postwar dwelling.

Edge of Danger: Electric Light and the Negotiation of Public and Private Domestic Space in Philip Johnson's Glass and Guest Houses

by Margaret Maile Petty

published in 'Interiors' vol. 1, no.3 (2010): pp.197-218.

In the first half of the twentieth century the dematerializing of boundaries between enclosure and exposure... more In the first half of the twentieth century the dematerializing of boundaries between enclosure and exposure problematized the conventions and traditional expectations of the domestic environment. At the same time, as a space of escalating technological control, the modern domestic interior also offered new potential to re-define the meaning and means of habitation. The inherent tension between these opposing forces is particularly evident in the introduction of new electric lighting technology and applications into the modern domestic interior in the mid-twentieth century. Addressing this nexus point of technology and domestic psychology, the following essay examines the critical role of electric lighting in regulating and framing both the public and private occupation of Philip Johnson’s New Canaan estate. Exploring the dialectically paired transparent Glass House and opaque Guest House, this study illustrates how Johnson employed electric light to negotiate the visual environment of the estate as well as to help sustain a highly aestheticized domestic lifestyle. Johnson’s use of electric light to maintain the transparent exposure of the Glass House as well as to intensify the sensual interior landscape of the Guest House, when contextualised within the existing literature, provides a more complex understanding of the construction of two very different forms of domestic occupation within the New Canaan estate. Through this investigation, we are afforded a more nuanced understanding of Johnson’s process as an architect and a client, as well as the means with which he inhabited his own architecture.

Curtains and the Soft Architecture of the American Postwar Domestic Environment

by Margaret Maile Petty

published in 'Home Cultures' vol. 9, issue 1 (2012): pp. 35-56.

This article investigates the role of soft architecture and interior effects—including window treatments, textiles,... more This article investigates the role of soft architecture and interior effects—including window treatments, textiles, and electric lighting—in the physical and social construction of the postwar domestic environment in the USA. In this period the American home became an increasingly visual and visible space, defined more by the view out and the view in than by traditional conditions of domestic enclosure. Popular how-to columns and home decoration articles offered homemakers a variety of mechanisms for sustaining the appearance and psychological comfort of the modern domestic setting. Examining a range of popular decorative strategies used to mediate residential picture windows and window walls, this study challenges the deep-seated cultural and disciplinary biases associated with both the design and study of domestic architecture and interiors. Drawing upon historical documents and contemporary theorizations of the interior, this paper argues for the agency of soft architecture in the domestication of modern residential architecture.

KEYWORDS: postwar interiors, domestic architecture, picture windows, electric lighting, curtains, Dorothy Liebes, Richard Kelly

Learning styles, teaching strategies & design thinking

by Clifford Gentry

LEARNING STYLES, TEACHING STRATEGIES & DESIGN THINKING
Design thinking (2008, 2009) is slowing becoming a... more LEARNING STYLES, TEACHING STRATEGIES & DESIGN THINKING
Design thinking (2008, 2009) is slowing becoming a part of the academic learning taxonomy. Its nature is similar to learning theories and strategies identified by educational psychologists; however, because of the complexity of the emotive layer of design thinking, the learner has a difficult time balancing the functional and cognitive skills with the needs for emotive and psychological components within design. As the concept of design thinking matures and develops, the academy will begin to recognize that the ethos of design thinking and its practical implications in “real-world” environments are a valuable component of the design process.
All theories—scientific, psychological, and design—must withstand the test of time to evolve and become accepted as a practice. Society is currently at the point where design thinking is becoming widespread and recognized outside of the academy. Therefore, through the work of design thinkers, such as Brown and IDEO (2008, 2009), design thinking will become an accepted methodology inside and outside of academia.
When implementing design thinking into an academic environment, the author has noted that when designers—in the academic sense—use design thinking as a methodology, they tend to focus more on the end result of the problem at question. As the author has observed undergraduate students implement design thinking as a component of their studies, the students identify the problem and almost immediately present a solution. After the solution has been decided upon, then students recycle back and work through the process.
The purpose of this paper and presentation is to briefly discuss basic learning theories and teaching strategies which are utilized within the academy. Learning styles and teaching strategies are then introduced. Next, the concept of design thinking is explained and finally a brief discussion is held examining the role of design thinking within the academic studio environment. Conclusions are drawn that design thinking is in the early theoretical stages of becoming an accepted methodology based upon human-centered design, but must withstand both the test of time and the acceptance of academia.
Four learning theories are introduced and briefly explained: Gardner’s Multiple Intelligences (1993), Kolb’s Learning Styles Theory (2000), Bloom’s Taxonomy (1969) , and Brooks’ Interactive Compensatory Model for Learning (2007). Although the author acknowledges and identifies there are numerous and vast learning strategies used in the design classroom, the four in this paper are the primary sources found within the literature.
Additionally, the learning styles are briefly discussed to create an understanding of how general learning theories can assist in developing teaching strategy. Finally, Brown’s innovative concept of Design Thinking (2008, 2009) is introduced, explained, and how it can play a role in the future of design education.


REFERENCES
APA, 6th Edition

Ankerson, K. S., & Pable, J. (2008). Interior design: Practical strategies for teaching and learning. New York: Fairchild.

Bloom, B. S., Engelhart, M. D., Furst, E. J., Hill, W. H., & Krathwohl, D. R. (Eds.). (1969). Taxonomy of educational objectives: The classification of educational goals (Vol. 1). New York: David McKay Company.

Brooks, D. W. (2007). Integrated learning theory: Applications in teaching  Retrieved March 26, 2011, from http://dwb4.unl.edu/TheoryPaper/compth.html

Brown, T. (2008). Design thinking. Harvard Business Review (June 2008).

Brown, T. (2009). Change by design: How design thinking transforms organizations and inspires innovation. New York: Harper Collins.

Gardner, H. (1993). Frames of mind: The theory of multiple intelligences. New York: Basic Books.

Kolb, D. A., Boyatzis, R. E., & Mainemelis, C. (2000). Experiential learning theory: Previous research and new directions. In R. J. Sternberg & L. F. Zhang (Eds.), Perspectives on cognitive, learning, and thinking styles. Mahwah, NJ: Lawrence Erlbaum.