SPATIAL DESIGN 2 : Weekly Learning (WEEK1-WEEK14)

 SPATIAL DESIGN 2 : Weekly Learning (WEEK 1-WEEK 15)

Week 1: Introduce the main structure of BIAD and spatial design 2

First, the teacher introduced our BISD students in class and what the main tasks are in these three years.

• 9 learning elements of this major
• In-depth study of what is interactive spatial design (design principles, design methods, design elements, user experience cannot be ignored)
• The importance of portfolios: why portfolios are important.
• This major is a three-year, 120-credit system with five elective courses.
• Through the different subjects learned in the first year, we cultivate our multi-faceted learning ability.
• In the second year, we will subdivide into two different majors: one is smart home, and the other is smart environment.
• In the third year, we will study from three different aspects.

After that, the teacher began to explain what we have to do this semester and what the requirements are.

1. Assignment 1: 20%
2. Assignment 2: 30%
3. Final Project: 40%
4. E-Portfolio: 10%

Finally, the teacher introduced our Assignment 1, which is divided into Part A and Part B. We need to find a commercial design that we think is creative and find some information and pictures on the Internet to study as our research topic for Part A.

Part B is to find a commercial design company offline to study.

Next week, the teacher will show us some specific examples, and we will do a PPT research project based on these examples.

Week 2: Assignment 1: The beginning of the advancement of thinking from observation and research to logical deconstruction

This week's course gave me a clear plan for the learning focus and the first design assignment of this semester. The teacher emphasized that this semester we will focus on retail design and explore it in depth from multiple dimensions, such as spatial layout, user experience, and brand concept communication. The first assignment is to practice design analysis and critical thinking through research and analysis of domestic and foreign retail stores.

The assignment requires us to choose a foreign store (online research) and a local store (offline field investigation) and complete the analysis before May 20, which gives me three weeks to conduct detailed research. For online foreign stores, I need to start with brand background, spatial layout, material application, lighting design, technology integration, and sustainable practice. For example, I need to collect information through official websites and design case platforms, focusing on design drawings such as floor plans and elevations, and analyzing how to highlight the texture of the goods through lighting or use environmentally friendly materials to echo the brand concept. The teacher especially reminded me to choose brands with rich information to avoid empty analysis due to insufficient information.

Offline local store research requires me to go out of the classroom and go to shopping malls in Kuala Lumpur for field investigations, such as Nike and Muji, which have clear spatial divisions and design ingenuity. I need to take photos to record details, observe customer traffic, and even hand-draw floor plans (not necessarily accurate but needing to reflect the spatial structure) to analyze how the design affects the customer experience. For example, whether the display at the entrance attracts traffic or whether the lighting in the fitting room is natural, these details need to be interpreted in combination with the brand positioning.

In terms of the key elements of design analysis, the teacher repeatedly emphasized "critical thinking"—not" just description, but also exploration of "why." For example, a store uses wooden materials not only for beauty but also to echo the brand's "natural and environmentally friendly" concept; the angled design of the track spotlight is not only to illuminate the goods but also to guide the customer's sight. At the same time, sustainability is an important entry point. I need to pay attention to whether the store uses recycled materials, energy-saving equipment, etc., which can reflect the brand's sense of social responsibility.

In terms of research methods, I need to distinguish between primary data (such as photos taken on the spot and observation notes) and secondary data (brand information on the Internet) and incorporate personal reflection in the analysis, such as thinking about which design strategies can be applied to future projects. The results of the homework need to be presented through PPT. The teacher recommends 15-30 pages, focusing on visual presentation, using sketches to illustrate, and concise and powerful text.

During the process, the teacher reminded us to plan time in advance, complete the online part of the data collection first, and bring preliminary analysis to the class discussion next week to solve doubts in time. At the same time, it is emphasized that design analysis should avoid superficiality. For example, when analyzing lighting, you can't just say "warm light is used," but also explain how warm light creates a warm atmosphere and how it fits with the outdoor brand's concept of "close to nature." In addition, personal reflection is indispensable, which is an important part of transforming research into personal design experience.

In general, this week's course made me clear the design thinking path from "observation" to "analysis" to "innovation." I need to disassemble each space detail from the perspective of a designer, think about the logic behind it, and try to propose improvement plans, such as designing interactive devices for the idle corners of a store to enhance the experience. This is not only an assignment but also a valuable attempt to apply theory to practice, which makes me have a deeper expectation of how retail space can convey brand value through design.

Self-reflection:

This week's course made me clear about the core of retail design research - using "designer thinking" to dismantle the logical chain behind the space. The "critical analysis" emphasized by the teacher made me realize that in the past, my understanding of stories remained at the visual level. Now I need to ask the "why" of each design decision: for example, why do MUJI's open shelves use a 1.2-meter-high layer? How does Nike's circular movement guide customers to explore through the change of ground materials? These details are deeply bound to the brand concept.

As a student with strong hand-drawing ability, I plan to play the advantage of spatial proportion control in field research and capture the rhythm of the store's movement through precise hand-drawn floor plans (such as the distance from the entrance to the core exhibition area and the scale relationship of functional partitions) rather than relying on software tools. For example, when analyzing local stores, I will focus on observing how the mirror angle of the fitting room and the shelf spacing affect the user experience and use sketches to record the details of material splicing and lighting projection, providing an intuitive basis for subsequent design improvement plans.

I was particularly touched by the "sustainable design" and "user experience level" mentioned in the course. In future research, I will bring a clear list of questions. How does the brand convey values ​​through material selection (such as recycled wood and energy-saving lamps)? Does the spatial layout hide the narrative logic of "guide-stay-immerse"? For example, when researching OATLY stores, I will focus on the combination of its recycled bottle installation and spatial aesthetics, rather than just recording the use of environmentally friendly materials.

In short, this week's course taught me to transform design research into a "decoding" game—starting from brand positioning, through the linkage of spatial proportions, materials, lighting, and other elements, interpret how designers build implicit dialogues with users. I will use solid hand-drawing skills to strengthen the capture of details so that each research result is not only an analysis but also an inspiration map for my future design.

Week 3: Commercial space design: from basic analysis to emotional interaction design (storytelling techniques)

In this class, the teacher emphasized that we should check the information on "My times", update the course content, and emphasize the key points of this analysis. When analyzing a company, we should clarify its brand value. If we don't understand it, we should spend time to explore it. We can also use separate slides to display the brand value and products. At the same time, we must be clear about the characteristics and style of the product, which is the basis of design.

It is also crucial to determine the target audience. The teacher used Nike as an example. The target audiences of different brands are different. We have to figure out the target audience of the company through research, because the design is for them. If the product is aimed at the elderly, the layout, tables and chairs of the store design should fully consider the needs of the elderly.

In terms of brand positioning, we should think about whether the company is high-end, mid-range or mass positioning in the market, as well as the brand style. These factors all affect the store design analysis. In the store design analysis, materials, biography and other aspects should be taken into consideration, and attention should be paid to the company's sustainable practices. When selecting a company for research, we should ensure that it has environmental protection related measures, otherwise it will be troublesome to analyze environmental issues involving commercial space.

In terms of data collection, online projects can find information online, while offline projects must be inspected and photographed on the spot, and cannot rely solely on online information. If there is a floor plan, you have to draw it yourself.

In addition, the teacher also introduced the skills of storytelling and its importance. By telling brand stories, users can resonate emotionally and enhance brand loyalty. In space design, we can use various technologies to create interactive elements. For example, in the case of museums, different areas and interactive devices are used to immerse users in a unique experience. Moreover, the core of user experience is to create an immersive environment and stimulate users' emotions.

When designing, users' right to choose and control must also be considered, such as setting up multiple entrances and providing activities with open endings so that users can explore the space freely. At the same time, a clear feedback mechanism is also essential. It is necessary to clarify how the interactive elements work and what kind of feedback is provided to users. The teacher also listed different space design cases and explained the differences and application scenarios of the two design methods of designers controlling the path and giving users flexibility. Finally, the teacher said that the course content has not been completed yet, and he will send us the slides and continue the lecture next week.

Self-reflection:

After taking this commercial space design analysis class, I reflected deeply. I realized that I had many problems in understanding and absorbing the course content. Although the teacher repeatedly emphasized the importance of basic analysis elements such as brand value and product characteristics, I did not pay enough attention to it in my previous studies, which led to unclear ideas and difficulty in accurately grasping key information in actual analysis.

In the storytelling skills and interactive design parts, although I felt very novel, I did not understand them deeply enough, and I had no idea about practical application. This reflects that when I learn new knowledge, I lack the spirit of active thinking and exploration, and I do not actively combine theory with practical cases.

In order to improve myself, I will re-sort the key content of the course, deeply study the relationship between brands, products and target audiences, actively conduct field research, and accumulate first-hand information. At the same time, I will actively learn and try to use storytelling skills and interactive design concepts, constantly improve my design ability, and strive to make greater progress in the field of commercial space design.

Week 4: Curating thinking and the five senses

In this class, the teacher talked about many key points of space design. The teacher first took us to review the "negative environment" and "environmental narrative" mentioned last week, emphasizing that there must be clear feedback and reasonable reasons when analyzing projects. For example, when analyzing retail store design, we should think about how to trigger specific behaviors of users through design, and these behaviors should preferably reflect the changes in time. At the same time, we should also observe whether the space fully utilizes the five senses of vision, hearing, touch, taste, and smell. For projects such as offline music stores, we must check whether these sensory elements are in place one by one.

The teacher repeatedly emphasized that we should design spaces with "curator thinking", which is very different from traditional interior design! Curator thinking is to organize the user experience of the entire space like planning an exhibition, such as thinking about how to tell a good brand story through digital screens, lighting, materials, and space layout. For example, stores of international brands such as Nike and Adidas often use technological means (electronic screens, interactive projections, etc.) to interact with the interface, which is a good observation case. If the project we choose is just an ordinary display cabinet without technological elements or theme partitions, it may be difficult to analyze in depth, so when choosing a project, we must choose "substantial".

When it comes to specific analysis methods, the teacher reminded us that we cannot just stay at the surface description. For example, we cannot just say "yellow" or "white" for the light. We must also analyze the impact of this light on people's emotions and experience. When designing improvement plans, we must combine the five senses experience and technological applications. For example, we can enhance the user's sense of immersion through interactive screens, scent devices, and light and shadow effects. In addition, we must incorporate these thoughts when sketching. We cannot simply copy the pictures. We must have our own creativity and logic.

The course also mentioned the "Hero's Journey" theory, which was originally a narrative routine in Hollywood movies and can now be used in space design. For example, when planning the user's movement line in the space, we can design an experience of "start, development, turn, and conclusion" - from entering the space (ordinary world), encountering interactive devices (adventure call), overcoming obstacles (participating in interaction), gaining experience (overcoming challenges) to leaving a deep memory (returning in triumph). This narrative logic can make the space experience more layered, and users can still remember the brand story after leaving.

I was also inspired by the cases shown by the teacher. For example, some exhibitions use digital screens and lighting devices to display clothing, and guide the flow of people through the design of moving lines; some restaurants combine dining experience with performing arts, and use multi-sensory designs such as environmental atmosphere, tableware touch, and food taste to retain customers. These cases all show that good space design must be based on a deep understanding of brand concepts and user experience, and even make users willing to actively share after leaving (such as taking photos and posting on social media). This is the value of commercial space design-not only beautiful, but also able to create communication and memory points.

Finally, the teacher emphasized that our design cannot only look at the surface, but also deeply understand the "belief" of the brand: if the Nike logo is removed and replaced with Adidas, it will not feel inconsistent, then it is a failed design. We need to use elements such as materials, lighting, and space flow to integrate the brand's unique story and concept into the design, so that users can feel the brand temperament without looking at the logo. After this class, I feel that my understanding of space design is more three-dimensional. When doing projects next, I will pay more attention to curatorial thinking, five senses experience, and narrative logic. I hope to apply these key points to actual design.

Self-reflection:

This space design class made me deeply aware of my limitations in design thinking: in the past, I was often limited to the functional division and visual presentation of space, but ignored the "curator's thinking" emphasized by the teacher - treating space as the "stage" of brand stories, and guiding users to "participate in narratives" through the integration of dynamic line planning, multi-sensory experience and technological elements. I reflected that when analyzing commercial spaces, I often stayed at the surface observation, such as only describing the color of lights and the display of exhibits, but did not think deeply about how these designs serve the transmission of brand concepts, nor did I realize that the absence of five senses experience would lead to weak user memory points. For example, when the teacher mentioned that "if the design is still unrecognizable after removing the brand LOGO, it is a failure", I was shocked to realize that in my previous design exercises, I had never really integrated the core value of the brand into the spatial language, and I had never tried to let users have emotional resonance in the space through the "hero's journey" experience dynamic line. In addition, my understanding of the interaction between technology and space is still superficial. I often ignore the potential of digital screens, interactive devices, etc. in enhancing immersion, and I am not aware of the role of elements such as smell and sound in shaping the atmosphere of space. This class was like an epiphany. It made me realize that true space design must be centered on user experience, coordinate content and form like a curator, and use five senses to convey the brand's warmth. However, I still have a long way to go in breaking traditional mindsets, deepening narrative logic and the ability to implement details.

Week 5: Pre Day-Assignment 1 Part A and Part B and Extend next week's tasks

We had the pre test in week 5, and the teacher gave me some suggestions about our Assignment 1 Part A and Part B, asking me to make some changes.

After that, the teacher assigned us the task for this week. We did a questionnaire research last semester, so we did the same thing this semester. We need to do a questionnaire based on the commercial design we studied. This week we will edit 15 to 20 questions about the user experience of this space design. The teacher will check it next week.

Week 6: PROJECT 2 Introduction

The teacher introduced the requirements of Project 2 this week, and we have to complete it in the 10th week.

We need to research. User portraits and some questionnaires to extend our final project.

We also need to draw some sketches. Regarding our final project idea, the teacher said that the most important thing for us is that the design process should extend from sketches to models, and this process cannot disappear. The scale we made this semester is that the teacher will give us a place, and then we will do it. We must design our models in a logical scale this semester.

The teacher also gave us some examples of commercial space design strategies, such as the open roof building of IKEA and the Taipei Performing Arts Center. Our focus this semester is mainly on environmental protection and sustainability. Our final project needs to use sustainable materials, such as recycled wood, to design environmentally friendly installation art, which needs to match the brand tone.

Self-reflection:

During this week's design learning process, I deeply realized the importance of combining theory with practice. Through the guidance of the teacher, I realized that the design process from sketch to model is indispensable, and each link lays the foundation for the final work. This process not only exercises my hand-drawing ability, but also deepens my understanding of space layout and material selection.

In the research stage of preparing Project 2, I actively collected user portraits and questionnaire design materials, deeply understood user needs, and enhanced the pertinence and practicality of the project. By analyzing commercial space design cases such as IKEA and Taipei Performing Arts Center, I learned the importance of spatial openness and innovative design, and also inspired me to integrate environmental protection concepts into design. In the future, I hope to continuously improve my design process, focus on the combination of environmental protection and innovation, and improve my professional level.

In the end, I realized that continuous exploration and practice are the key to becoming an excellent designer. I will continue to work hard to apply what I have learned to actual projects.

Week 7: PROJECT 2 Start working

In the seventh week of the space design class, the teacher sorted out the current task arrangements and design directions in detail. Let me summarize the key points that need to be followed up:

Tasks to be completed this week

-End of user research

I need to send the questionnaire designed last week to real users of the target brand (try not to find your friends, because some of them may not have come into contact with the brand) to collect effective feedback.

-User Persona Creation

Complete at least 2 user personas in this class week 7, and up to 3. The teacher will check the content, and you need to describe user characteristics based on the questionnaire data, such as occupation, preferences, consumption habits, etc.

-Start User Journey Map

The teacher explained the core logic of the journey map today. I need to sort out the complete process from brand contact to consumer experience from the user's perspective, such as "discovery-consideration-arrival-interaction-sharing" and other stages, which can have at least 4-5 regional stages, and each stage is marked with user activities, contact points, needs and pain points, emotions and possible solutions.

Planning for next week and subsequent tasks

- Submission of user journey map

Complete the journey map before the next class. Visualize the steps, such as using a flowchart or storyboard, focusing on the user's movement lines and experience nodes in the space.

- Start of installation design

The second phase of the assignment is to design interactive installations in the commercial space, the purpose of which is to attract customers to the store. Sketches, 3D models and simple renderings are required, which can be incorporated into the final project later.

• Design direction: Think about the shape, function (such as interactivity, artistry) of the installation, and the placement (doorway, courtyard or hollow space).

• Submission time: Try to submit it in the 9th week, and at the latest in the 10th week. It must include a design inspiration board, sketches, 3D models, physical samples (Scale Model) and reference materials.

Core logic and considerations of design

- User experience first

The essence of journey map is storytelling

- Data-supported design

All design decisions (such as device location, interactive form) must be based on questionnaire data. For example, if 90% of users think that "interactive devices at the door can attract people to enter the store", then the design of the entrance area should be focused.

- Combination of space and function

The device design should not only be beautiful, but also practical: for example, using sustainable materials to reduce costs, or creating emotions through lighting and materials (such as warmth to attract pet owners).

- Process and scoring points

The design process (such as research and analysis, sketch iteration) must be recorded in the electronic file (E-portfolio), and the PPT report must include user portraits, journey maps, concept boards, model renderings, etc. Physical models and references also account for the score.

Self-reflection:

Week 7, the start of Project 2, deepened my understanding of "user-centeredness."

In user research, the teacher stressed questionnaires should go to real brand users, not friends. This made me realize the importance of data authenticity—acquaintances lacking brand interaction skew data; only real user feedback forms the basis of design.

Creating user personas, which require data-based descriptions (occupation, preferences, etc.) from questionnaires rather than assumptions, forced me to analyze data carefully. For example, extracting "hating complex navigation" as a pain point turned personas into a bridge between data and solutions.

The user journey map, breaking down stages like "discovery-consideration-arrival-interaction-sharing" with needs and pain points, taught me design is a continuous experience chain, requiring anticipation of user feelings at each step.

Looking to installation design, "data-supported decisions" are clear: designs (e.g., focusing on entrance if 90% users value door interactivity) must rely on research, not just visuals.

In short, this week showed design is rational creation based on real needs. Next, I’ll complete the journey map thoroughly and gather solid data for installations, avoiding "design for design’s sake."

Week 8: PROJECT 2 -WEEK 8 Note Experience Mapping + Mood Board

In the class, the teacher focused on the space design project, and explained from aspects such as brand analysis, installation design functions and concepts, design process and precautions. He emphasized that design should be based on brand tone, focus on user experience and design logic, and avoid plagiarism. The specific contents are as follows:

• Brand analysis and emotional keywords: 

Before designing, it is necessary to deeply analyze the brand, clarify its mission, vision, future goals and core values, such as observing the brand's offline stores, websites, posters and other visual references, and understand the emotional feelings conveyed by the brand. For example, entering a Nike store may feel motivation and vitality. At least three brand emotional keywords should be extracted, such as "powerful", "motivation" and "vitality", and the design should reflect the brand personality. It cannot be blindly copied, but should be improved in inheritance.

• Function and concept of installation design: 

Installation design should become the focus of the store, and it needs to clarify its purpose and function, and have at least three functions, such as interaction, rest, and information display. When designing, you should first think about the concept, and then choose the material and form according to the concept. For example, if the brand emphasizes environmental protection, you can consider using recycled materials. The design should also pay attention to details and creativity, avoid simple square, circle and other conventional forms, and combine elements such as lighting and materials through design principles such as repetitiveness and rhythm to create interesting experiences, such as using wood structure to affect the angle of light, or designing deformable devices.

• Design process and steps:

-Complete brand analysis first, list emotional keywords and conceptual keywords.

-Think about the purpose and function of the device design, and record them.

-Find reference pictures according to the concept and function, but you must have your own thinking first, and you cannot rely on pictures to copy, and then organize the thinking content into a PPT, which at least includes brand analysis, concept, function, reference pictures and other contents.

-Sketching, model making and other steps are required to ensure that the design process is complete, and the design must be consistent with the analysis content, and there must be no disconnection between analysis and design.

The teacher sent us a PDF for this week and asked us to do it.

WEEK 8 Note Experience Mapping + Mood Board 

WEEK 8.pdf，作者 tian dong

Self-reflection:

Week 8’s class clarified the connection between installation design and branding. Brand analysis is fundamental; extracting emotional keywords like "vitality" or "environmental protection" keeps design aligned with the brand, avoiding aimless creation.

Installations need clear, diverse functions (e.g., interaction + display + rest), with concepts guiding material choices—such as recycled materials for eco-friendly brands, which changed my habit of prioritizing appearance. The teacher’s emphasis on avoiding plagiarism and integrating personal thinking into references is crucial. I’ll focus on originality and logical consistency in subsequent work.

 

Week 9: PROJECT 2 -Branded Environments 

The teacher mainly explained the assignment requirements, design points, case analysis, etc., aiming to help me clarify the design direction and produce works that meet the requirements. The following is a detailed summary:

Homework requirements and progress emphasis

-Feedback on last week's homework

• If the homework only mentions content related to the enterprise or company organization, it will be judged as a failure.

• The design must include 3-4 functional areas, and the specific functions of each area must be clear, such as the couple interaction area, chocolate making area, etc.

-This week and subsequent homework tasks

• A concept board must be completed. Last week, it was required to write down keywords to build the entire concept board. If the paper submitted today is blank, you will fail the course.

• To start the sketch design, at least there must be a sketch of the installation design so that the teacher can see what the design looks like, and the sketch must be consistent with the brand's visual elements and keywords, otherwise it will fail.

• The 3D model has not yet started. Due to time constraints, the teacher will move it to the final project, but there must be at least a design sketch for homework 2.

Key points of space design

-Brand environment and immersive space

• Brand environment is a space used for brand activities or interactions, selling products or art, and it should allow users to have a certain experience and buy products.

• The important role of space designers is to create memorable experiences for potential customers, so that they are willing to return, take photos and promote on social media.

• Immersive space design should focus on multi-sensory experience, and consider the smell, touch and other feelings brought by materials, tools, etc.

-Design process and elements

• First understand the brand, learn from the case study of homework one, transform brand elements into design language, and connect stories.

• When designing the layout, you should know how to use visual elements such as color, font, material, etc., and keep consistency.

• Space design includes macro, meso and micro environments:

Macro environment: 

such as the surrounding external environment, window display, grass around the building, etc.

Meso environment: 

floor materials, entrances, exits, waiting areas, indoor layout, etc.

Micro environment:

product arrangement, cabinet design, price display, signboard, indoor lighting color, music, temperature, smell, etc.

-Design inspiration and case analysis

• Inspiration can come from nature, art, movies, culture, etc. Avoid looking for photos on the Internet directly as inspiration, and make in-depth analysis and transformation.

• Shared cases such as using colored glass to create light and shadow effects and reflecting class differences in space design from the movie "Parasite", explaining the source and expression of design concepts.

• Taking the Qingming Shanghe Tu as an example, it explains how to get inspiration from cultural elements and design a space with continuous scenes and different perspectives.

Self-reflection:

This week, I realized my previous understanding of space design was too one-sided. I used to think arranging functional areas neatly was enough, but ignored the overall connection from macro to micro—like how outdoor plants and shelf lighting are related. This systematic view made me rethink design logic.

Also, immersive experience isn’t just about visuals; textures touched and scents smelled matter. I’d never considered these before, but now I get why some spaces make people want to revisit. The Along the River During Qingming Festival case showed me: inspiration shouldn’t be copied superficially, but transformed into my own design language, otherwise it’s just a pile of elements.

Next, I need to stop “drawing first, then forcing functions.” I’ll thoroughly grasp brand elements first, making every detail echo the brand story.

Week 10: PROJECT 2  Submit and briefly introduce the final project

This week we have to submit the content of Project 2. The teacher briefly introduced the content of the final project and gave each of us feedback on Project 2.

The teacher specified a size in the final project and asked us to design our store within this size. I am studying the design of clothing retail stores, so I have to build my model within this size. The design teacher has not yet determined the specific size, but the teacher stipulates that we must build at least a one-story store design. If we have time to complete two floors, the teacher will consider posting it on WhatsApp after the size is determined.

We can first clarify the functional divisions within the space and sort out the regional linkage logic to avoid design disconnection. The teacher also emphasized that our interactive device is part of the final project and needs to be integrated with the overall space layout, rather than an independent module.

We need to draw sketches and discuss with the teacher and give feedback for improvement. The teacher will give us modification suggestions based on the rationality of our layout and functional linkage. Finally, these complete sketches and ideas are modeled. We cannot show the final product to the teacher directly without going through the sketch stage. We need to sort out the design process.

Self-reflection:

After submitting Project 2 this week, I gained a deeper understanding of "the rigor of the design process." I used to rush to finish the final product, sometimes skipping sketches and going straight to modeling. But the teacher emphasized the need to draw sketches first, discuss them with him, and revise—this made me realize that skipping steps is like building a house without a foundation; it seems faster but prone to errors.

Regarding store size and functional linkage, I noticed my previous lack of focus on "wholeness." I used to treat interactive devices as independent modules, not realizing they must integrate with the overall layout. Now, sorting out the logic of functional zones—like the connection between fitting rooms, display areas, and interactive devices in a clothing store—has taught me design is interconnected.

Though the specific size isn’t confirmed yet, the requirement to focus on first-floor layout helps me prioritize functional rationality. Next, I’ll be patient and follow "sketch → feedback → revision → modeling" to ensure each step is solid, avoiding impatience.

Week 11: Final project 

The teacher gave a lecture on the Final Project retail store creative installation project in the space design class. The specific contents are as follows:

• Project requirements and space design:

-The project needs to design a creative installation for a retail store, which should include three main spaces, and can also integrate spaces such as artist studios, and ensure that artists have places to display their talents, products, and interact with users.

-Space design should consider functions, such as reception areas, front and back entrances, etc.; size should also be considered. For example, the common arc size in Malaysia is 8 meters long and 3 meters wide; at the same time, attention should be paid to details, such as the design of doors and windows, and the openness of the space to avoid entrance problems.

• Design process and methods:

-First clarify the function of the space, then plan the plane layout, and then enter the 3D model production. In the design process, the required equipment, furniture, cabinets, etc. should be listed, and materials, color schemes, and the embodiment of brand values ​​and stories in the design should also be considered.

-Emphasize that design should focus on user experience, use multi-sensory design, such as sound, touch, etc., and have interactive activities and technological innovations, such as the application of AR functions, and show the user experience process in the design.

-In terms of sustainable development, natural lighting design and the use of environmentally friendly materials can be considered.

• Assignment and submission requirements:

-The assignment requires a presentation board, which includes a statement of idea performance, concept summary, floor plan, user journey map, perspective, filter model, interactive moment design sketch, etc. Animation can also be made as an additional reward.

-The key points for presentation board scoring include concept clarity, design refinement process, originality, model details and rendering quality, customer experience, etc.

-The project deadline is August 1, and the submission method is online. Make sure you can access the Internet normally. If there are special circumstances, you need to communicate in advance.

• Other notes:

-The design must be original and cannot copy similar designs. You can get inspiration from books or the Internet, but you must transform it into your own design.

-Sketch design is very important. Draw more sketches and improve based on feedback to keep evidence of the design process.

-When making 3D models, you need to consider details, such as the placement of objects on the desktop. When rendering, you can add characters to show interactive scenes. At the same time, pay attention to computer configuration and file size to avoid problems when submitting on the last day.

Self-reflection:

This course gave me a clearer understanding of "design implementation." I used to think that creativity was the core and details could be adjusted gradually, but the teacher's emphasis on spatial dimensions (such as the practical constraint of 8 meters by 3 meters) and the impact of door and window designs on pedestrian flow made me realize that good design is about fitting creativity into the framework of reality. For example, the common spatial scales in Malaysia actually help me calibrate the volume of the installation, and the way doors open and close naturally divides the movement lines. These "limitations" actually make the design more solid.

The requirement for multi-sensory experience also opened up new ideas for me. It turns out that it's not just about vision; touch (such as the texture of environmentally friendly materials), changes in light and shadow (the effect of natural light passing through special doors and windows), and even the combination of AR technology with brand stories (such as using AR to display the source of materials) can all make users more immersed. This makes me understand that the richness of design comes from the decomposition of details - breaking down the concept of "environmental protection" into specific elements that can be seen, touched, and interacted with is much more powerful than empty slogans.

Regarding originality, I found that "transforming inspiration" is more important than "creating from scratch." For example, when seeing others use recycled materials, I can reweave them in combination with the brand's color system, which not only retains the core of environmental protection but also carries my own mark. This process of transformation actually makes the design more in line with the brand, which is more meaningful than simple imitation.

Finally, the need to fully present the design process on the presentation board has made me develop the habit of recording at any time. Every revision of the sketch and the reasons for material selection have become evidence of the design logic, which not only clearly shows the train of thought but also makes me more confident in every decision. Next, I will first plan the layout based on the actual dimensions, and then integrate multi-sensory elements bit by bit, making the design both practical and layered.

Week 12: How to use spatial layout to complete the design? 

In this space design class, the teacher gave a lecture on several key points of space design. The main contents are as follows:

Space layout and division

It is emphasized that the layout cannot be limited to a square box. The space can be divided by lines, platforms of different heights, walls, openings and other elements. For example, a line is used to separate the space, and the walking distance of about 3 meters, walls and openings are used to guide the entry motivation. It is also mentioned that the spatial relationship in the space, as well as the division and reasonable arrangement of public and private spaces, should be considered. If the private space is placed at the door, there must be a sufficient reason.

Application of spatial elements

The importance of design elements such as horizontal elements, vertical elements, and ground grids is mentioned, which are the basis of design. Color can be used as an important theme in the space. When choosing, it should be combined with brands, products, etc. For example, a prominent color can be selected to focus on the key points of the space. In terms of materials, the contrast between materials can be explored, such as the contrast between transparent and opaque, new and old materials.

Space experience and form

Different spatial arrangements and combinations will bring different experiences, which can break the traditional spatial layout mode. The height and thickness of the space will affect the overall spatial feeling. For example, the height difference in different areas can create a unique experience. It is also encouraged to design a variety of space shapes, avoid a single square, and use circles, arcs, etc. At the same time, the direction of the flow of people in the space should be considered, whether it is a single direction, two options, or free flow.

Detailed design

Includes special wall design, such as folding and bending, ceiling design (no need to pay too much attention to the structure but the design must be in place), lighting design (if it is an important element, it needs to be designed by yourself), and the integration of furniture and space, such as designing the wall into a structure that can be sat on. The design of the display space should be specific, avoiding simple cabinets. Products can be displayed through translucent, hollowed-out, etc., and each product display design should be different.

Size and specification

Items placed near the entrance should be kept at a distance of 1.5-2 meters. There are reference standards for door size and channel width, such as 1.2 meters for doors and 0.9 meters for channels, which are more compact, and 1.6 meters for reference. Avoid overcrowding in the space.

In addition, the teacher also reminded us to review the relevant lecture content of the first semester, emphasized the importance of design basics, and encouraged us to incorporate our own creativity into the design, avoid simply copying downloaded content, and make the design more unique and detailed.

Self-reflection:

This space design class helped me break free from the "square layout" mindset. It turns out space can be divided flexibly with lines, platforms of varying heights, etc. A walking distance of about 3 meters naturally guides traffic flow, which is more effective than rigid partitions.

I also gained new insights into materials and colors: contrasts between transparent and opaque, and using a focal color to highlight key areas, can enrich spatial layers. In detail design, folded walls and furniture integrated with space (like seatable walls) better combine functionality and creativity.

Now I realize design shouldn’t be confined to shapes—circles and arcs can enhance experience, while size standards (e.g., 1.5-2m spacing at entrances) ensure practicality. Next, I’ll try to break conventions more, letting details serve the overall feel.

Week 13-14: The teacher gave us feedback on our modeling-Final project