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Interior Design: Public Perceptions Versus Professional Actualities = = INTERIOR DESIGN: PUBLIC PERCEPTIONS VERSUS PROFESSIONAL ACTUALITIES.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Interior Design: Public Perceptions Versus Professional Actualities =/
其他題名:	INTERIOR DESIGN: PUBLIC PERCEPTIONS VERSUS PROFESSIONAL ACTUALITIES.
作者:	Varnedoe, JoAnna Claire.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	176 p.
附註:	Source: Masters Abstracts International, Volume: 82-03.
Contained By:	Masters Abstracts International82-03.
標題:	Museum studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28003081
ISBN:	9798678121684

Interior Design: Public Perceptions Versus Professional Actualities = = INTERIOR DESIGN: PUBLIC PERCEPTIONS VERSUS PROFESSIONAL ACTUALITIES.
Varnedoe, JoAnna Claire.

Interior Design: Public Perceptions Versus Professional Actualities =INTERIOR DESIGN: PUBLIC PERCEPTIONS VERSUS PROFESSIONAL ACTUALITIES. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 176 p.

Source: Masters Abstracts International, Volume: 82-03.

Thesis (M.F.A.)--The Florida State University, 2020.

This item must not be sold to any third party vendors.

Research indicates that there is a disconnect between public perception of the interior design profession and the actualities of the profession. This disconnect has influenced, and is influenced by, the two predominate factors. The first of these factors is a phenomenon called occupational stereotyping, and according to Bellamy, Lipton, O'Connor, and Terry (1991) is " a preconceived attitude about a particular occupation, about people who are employed in that occupation, and about one's own suitability for that occupation'' (p. 129). The second, and perhaps most pervasive factor, is an overabundance of inaccurate media portrayals which fundamentally mislead the public as to the responsibility of interior design within the construction of the built environment (Chaney, 2007; Waxman & Clemons, 2007; White, 2009). These factors encourage biased lobbying and legislation that aims to threaten the professional jurisdiction of interior design, (Carpenter, 2007; Ginthner, Guerin & Martin, 2000) as well as inadvertently jeopardize the health, safety and welfare of the general public (Waxman & Clemons, 2007).For decades the interior design profession has fought to eliminate these threats but have found only partial success with varied mitigation results (Clemons & Waxman, 2007). The general publics' constant exposure to television, social media and print publications has only exacerbated this situation and rendered any elimination efforts futile. Rather than attempting to dismantle the source of these inaccuracies, the profession must leverage them to their advantage starting with the most prevalent, social media. Current research indicates that social media use is excessive and steadily increasing, with usage peaking in individuals under the age of 35. One demographic in particular has been recognized for their excessive, virtually compulsory use of social media, the Millennial Generation (Anderson & Smith, 2018). The Millennials, individuals born between the years of 1982 and 1996 (Newman, Roberts, & Schwartzstein, 2012), are credited with permanently altering the social and economic constructs of society through their social media obsession (Adams & Pate, 2013). They are also recognized for sharing a strong collective identity which has been shaped by a collective set of values. This value set, a standard by which all is measured, influences almost all aspects of Millennial life (Nermoe, 2018). According to Curtis (2018), Millennials are willing to pursue and pay more for goods and services they feel align with such values as sustainability, global connectivity, authenticity, wellbeing and socially responsible product sourcing (Schwabel, 2015). They commonly and consistently demonstrate sponsorship for their chosen selections via their inherent social media capabilities and have been credited with the ability to substantially influence the popularity and success anything within their realm of support (Sabrina, 2018).Many of these Millennial values are in alignment with standard interior design practices such as sustainable design, designing for human wellbeing, authenticity and global influence of design content (Chaney, 2007; International WELL Building Institute, n.d.; Schwabel, 2015). This thesis posits that a demonstration of this alignment would foster Millennial support for the profession of interior design. If the profession can successfully communicate the aforementioned value alignment as well as its professional relevancy to the Millennials, they will undoubtedly help disseminate the actualities of the profession which will aid in efforts to correct inaccurate public perceptions. The Millennial and their innate social media abilities could become an invaluable marketing tool. The solution to this problem posed through this thesis was the hypothetical design of an interactive, educational, museum-style experience that communicates the social, cultural and economic contributions of the interior design profession. A detailed survey was created to ascertain specific existing Millennial perceptions and opinions of the interior design profession as it relates to allied professions. The survey, in conjuncture with established Millennial and museum research, informed the design of the aforementioned educational, museum-style space. All design programming considered the collective values, as well as the learning preferences of the Millennial Generation. The objective of this thesis was to aid in the collective effort to correctly inform the public of the professional relevancy of the profession of interior design by adding to the existing body of knowledge held by the profession.

ISBN: 9798678121684Subjects--Topical Terms:

2122775
Museum studies.
Subjects--Index Terms:

Design

Interior Design: Public Perceptions Versus Professional Actualities = = INTERIOR DESIGN: PUBLIC PERCEPTIONS VERSUS PROFESSIONAL ACTUALITIES.
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520 $a Research indicates that there is a disconnect between public perception of the interior design profession and the actualities of the profession. This disconnect has influenced, and is influenced by, the two predominate factors. The first of these factors is a phenomenon called occupational stereotyping, and according to Bellamy, Lipton, O'Connor, and Terry (1991) is " a preconceived attitude about a particular occupation, about people who are employed in that occupation, and about one's own suitability for that occupation'' (p. 129). The second, and perhaps most pervasive factor, is an overabundance of inaccurate media portrayals which fundamentally mislead the public as to the responsibility of interior design within the construction of the built environment (Chaney, 2007; Waxman & Clemons, 2007; White, 2009). These factors encourage biased lobbying and legislation that aims to threaten the professional jurisdiction of interior design, (Carpenter, 2007; Ginthner, Guerin & Martin, 2000) as well as inadvertently jeopardize the health, safety and welfare of the general public (Waxman & Clemons, 2007).For decades the interior design profession has fought to eliminate these threats but have found only partial success with varied mitigation results (Clemons & Waxman, 2007). The general publics' constant exposure to television, social media and print publications has only exacerbated this situation and rendered any elimination efforts futile. Rather than attempting to dismantle the source of these inaccuracies, the profession must leverage them to their advantage starting with the most prevalent, social media. Current research indicates that social media use is excessive and steadily increasing, with usage peaking in individuals under the age of 35. One demographic in particular has been recognized for their excessive, virtually compulsory use of social media, the Millennial Generation (Anderson & Smith, 2018). The Millennials, individuals born between the years of 1982 and 1996 (Newman, Roberts, & Schwartzstein, 2012), are credited with permanently altering the social and economic constructs of society through their social media obsession (Adams & Pate, 2013). They are also recognized for sharing a strong collective identity which has been shaped by a collective set of values. This value set, a standard by which all is measured, influences almost all aspects of Millennial life (Nermoe, 2018). According to Curtis (2018), Millennials are willing to pursue and pay more for goods and services they feel align with such values as sustainability, global connectivity, authenticity, wellbeing and socially responsible product sourcing (Schwabel, 2015). They commonly and consistently demonstrate sponsorship for their chosen selections via their inherent social media capabilities and have been credited with the ability to substantially influence the popularity and success anything within their realm of support (Sabrina, 2018).Many of these Millennial values are in alignment with standard interior design practices such as sustainable design, designing for human wellbeing, authenticity and global influence of design content (Chaney, 2007; International WELL Building Institute, n.d.; Schwabel, 2015). This thesis posits that a demonstration of this alignment would foster Millennial support for the profession of interior design. If the profession can successfully communicate the aforementioned value alignment as well as its professional relevancy to the Millennials, they will undoubtedly help disseminate the actualities of the profession which will aid in efforts to correct inaccurate public perceptions. The Millennial and their innate social media abilities could become an invaluable marketing tool. The solution to this problem posed through this thesis was the hypothetical design of an interactive, educational, museum-style experience that communicates the social, cultural and economic contributions of the interior design profession. A detailed survey was created to ascertain specific existing Millennial perceptions and opinions of the interior design profession as it relates to allied professions. The survey, in conjuncture with established Millennial and museum research, informed the design of the aforementioned educational, museum-style space. All design programming considered the collective values, as well as the learning preferences of the Millennial Generation. The objective of this thesis was to aid in the collective effort to correctly inform the public of the professional relevancy of the profession of interior design by adding to the existing body of knowledge held by the profession.
520 $a Research indicates that there is a disconnect between public perception of the interior design profession and the actualities of the profession. This disconnect has influenced, and is influenced by, the two predominate factors. The first of these factors is a phenomenon called occupational stereotyping, and according to Bellamy, Lipton, O'Connor, and Terry (1991) is " a preconceived attitude about a particular occupation, about people who are employed in that occupation, and about one's own suitability for that occupation'' (p. 129). The second, and perhaps most pervasive factor, is an overabundance of inaccurate media portrayals which fundamentally mislead the public as to the responsibility of interior design within the construction of the built environment (Chaney, 2007; Waxman & Clemons, 2007; White, 2009). These factors encourage biased lobbying and legislation that aims to threaten the professional jurisdiction of interior design, (Carpenter, 2007; Ginthner, Guerin & Martin, 2000) as well as inadvertently jeopardize the health, safety and welfare of the general public (Waxman & Clemons, 2007).For decades the interior design profession has fought to eliminate these threats but have found only partial success with varied mitigation results (Clemons & Waxman, 2007). The general publics' constant exposure to television, social media and print publications has only exacerbated this situation and rendered any elimination efforts futile. Rather than attempting to dismantle the source of these inaccuracies, the profession must leverage them to their advantage starting with the most prevalent, social media. Current research indicates that social media use is excessive and steadily increasing, with usage peaking in individuals under the age of 35. One demographic in particular has been recognized for their excessive, virtually compulsory use of social media, the Millennial Generation (Anderson & Smith, 2018). The Millennials, individuals born between the years of 1982 and 1996 (Newman, Roberts, & Schwartzstein, 2012), are credited with permanently altering the social and economic constructs of society through their social media obsession (Adams & Pate, 2013). They are also recognized for sharing a strong collective identity which has been shaped by a collective set of values. This value set, a standard by which all is measured, influences almost all aspects of Millennial life (Nermoe, 2018). According to Curtis (2018), Millennials are willing to pursue and pay more for goods and services they feel align with such values as sustainability, global connectivity, authenticity, wellbeing and socially responsible product sourcing (Schwabel, 2015). They commonly and consistently demonstrate sponsorship for their chosen selections via their inherent social media capabilities and have been credited with the ability to substantially influence the popularity and success anything within their realm of support (Sabrina, 2018).Many of these Millennial values are in alignment with standard interior design practices such as sustainable design, designing for human wellbeing, authenticity and global influence of design content (Chaney, 2007; International WELL Building Institute, n.d.; Schwabel, 2015). This thesis posits that a demonstration of this alignment would foster Millennial support for the profession of interior design. If the profession can successfully communicate the aforementioned value alignment as well as its professional relevancy to the Millennials, they will undoubtedly help disseminate the actualities of the profession which will aid in efforts to correct inaccurate public perceptions. The Millennial and their innate social media abilities could become an invaluable marketing tool. The solution to this problem posed through this thesis was the hypothetical design of an interactive, educational, museum-style experience that communicates the social, cultural and economic contributions of the interior design profession. A detailed survey was created to ascertain specific existing Millennial perceptions and opinions of the interior design profession as it relates to allied professions. The survey, in conjuncture with established Millennial and museum research, informed the design of the aforementioned educational, museum-style space. All design programming considered the collective values, as well as the learning preferences of the Millennial Generation. The objective of this thesis was to aid in the collective effort to correctly inform the public of the professional relevancy of the profession of interior design by adding to the existing body of knowledge held by the profession.
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