2017-2018 Student Design CompetitionAbout IDEC > Competitions & Awards > Student Design Competition

Fundamental Atmospheres: Designing for Spatial andSpiritual ExperiencesNote: This competition is designed to be applicable at all levels ofdesign education, and it is our hope that it will serve as a goodeducational tool in both beginning and advanced studios. In achange from recent IDEC student competitions, this competitionhas three entry categories: beginning undergraduate, advancedundergraduate, and graduate (in graduate studios).

Inspiration is the feeling of beginning at the thresholdwhere Silence and Light meet: Silence, with its desire tobe, and Light, the giver of all presences.Louis Kahn, 1969

IDEC is seeking entries for the 2017-2018 Student DesignCompetition that provides for the empowerment of users to growintellectually, spiritually, mentally, or metaphysically. Purposefullybroad and open ended, the project program asks entrants todefine the specific use of the design and to develop an atmospheric intervention. The purpose can bea religious practice (traditional or emerging), a secular space of reflection or mindfulness, and/orplaces for public commemoration.

PROJECT SITEThe given site is conceptual. It is assumed to be within an existing building; across the corridor is acourtyard garden space. The given site is one story and the ceiling / roof may be manipulated to allowfor natural light and spatial development. Cardinal orientation is determined by the entrant inaccordance with their design solution. Plans and section drawings are available here.

PROGRAMResearch of programmatic needs is key. Successful entrants will have robust investigation of functionincluding an examination into the specifics of any belief systems explored, intended goals for theexperiential nature of the space, and objectives that reach beyond physical health, physical safety, andphysical well-being. IDEC recognizes the diversity of its members, and this project encouragesinstitutions, instructors, and/or students to explore what they see as important. Examples include (but

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are in no way limited to) a chapel, a prayer hall, a sweat lodge, an inter-faith meeting hall, a meditationspace, or a memorial to persons, events, or civic action.

There are some specific programmatic expectations:

The primary function must allow for individual experiences as well as provide for congregation,circulation, or some other experience of a group of people.Accessibility standards as prescribed by the ADA must be met for circulation and occupancy.The program must include a space for the administration of the primary function and adequatespace for storage as it relates to the program.Toileting needs are assumed to be met by the existing building.

RESEARCHEffective research is critical to the success of any design project. Starting with Google searches andcontinuing on to secondary sources such as texts, case studies, investigations of the design programs,and studies of atmospheres are important, but successful research for this competition should alsoinclude primary sources. The following are primary source research areas.

Primary Source: Experiential Research

This competition requires experiential research to inform design thinking. Students areexpected to spend time at an appropriate site to actively record and evaluate aspects of theexperience. Sites should be selected based on the availability of sensory, visual, or spiritualexperience. Many types of sites will suffice, for example: a chapel, a memorial, a garden, agallery, a nightclub, a library, or even Times Square.

Beginning undergraduate: The instructor should structure the experience and method ofresearch, data collection, and analysis.

Advanced undergraduate and graduate students: Site, research method and analysis shouldbe determined by the student with input from faculty.

Some examples of experiential site research:

Hourly photographs in a stained-glass chapel, documenting the changing light and color.Journaling on one’s sensory experience in a garden.Observing and recording human behaviors and acoustics in a library reading room.Time lapse movie of a space with analysis on patterns of light and movement.Comparative analysis of several ‘entry thresholds’ and their associated experiences(spatial, acoustic, luminous)

Primary Source: Interviews

Many of the programs that may be selected for this competition will have active members andleaders of communities that can relate the important experiential aspects of their practices andbeliefs to students and inform their design outcomes. Interviews with these groups andindividuals are encouraged.

Primary Source: Journals and Memoirs

Like interviews, archival sources such as journals and memoirs can also provide informationas well as inspiration to inform a successful design outcome.

Research methods must be crafted to adhere to each institution’s guidelines and restrictionsregarding human subject research.

DESIGN AND PROCESS FRAMEWORKIn order to support this competition’s goal of being accessible to all levels of design students, entrantsare asked to respond to their program through the conceptual lens of atmospheres or ambiances. What is the prevalent feeling of the space (sensory, affective, haptic)? How do the environmentalconditions (light, color, materiality, acoustics, spatial volumes and organization) impact human moodand behaviors in the space? How does one transition from outside the space to the interior?

Creative investigation of atmospheric qualities is essential. It is highly recommended that students usethe process of physical modeling and photography to explore how light and materials combine tocreate atmospheric vignettes. Students are strongly encouraged to start by studying the abstractqualities of light by playing with various light sources, materials, and quickly produced models andfilters. As the design progresses, more detailed spatial models with representative materials canachieve realistic atmospheric effects. Other methods of exploring atmospheres can include painting,sketching, montages, and computer renderings.

COMPETITION EVALUATIONWith the open-ended nature of this competition, it is important to understand the process ofevaluation. Successful submissions will:

Show a depth of understanding and have a robust explanation of program including anyspecific religious, cultural, social, or ethnic considerations. Program statements should bewritten for a general audience unfamiliar with the specific context of your program.Define the specific goals and objectives that the designer is attempting to achieve for occupantsintellectually, spiritually, mentally, and/or metaphysically.Demonstrate an understanding of atmospheric conditions through primary source research.Demonstrate exploration of atmospheric conditions through abstract models, sketches,collages, or other means.Communicate a design that successfully accomplishes the goals and objectives through themanipulations of atmospheres (i.e. light, color, texture, volume, and sound)

For beginning students these can be strictly conceptual, other entrants should address thecompetition problem conceptually and technically.

Attention given to ingress and egress sequence (often referred to conceptually as “thethreshold”).Attention given to universal design.More technical considerations, such as material selections, FF&E, and construction detailing,and lighting plans are evaluated by the jury for advanced and graduate students only. Whilethese are important design concerns, this competition places great value on abstract orconceptual design responses for all level of entrants. There are no specific requirements fortechnical considerations; we recommend that this level of investigation focus on supporting theconceptual design proposal. For example, the development of a lighting detail or the selectionof materials based on sensory criteria.

Note: It is appropriate for an institution or instructor to set a program type based on theirunderstanding of their student body and individual contexts.

TECHNICAL CODE EXPECTATIONSFor Advanced Undergraduate and Graduate Projects:

Projects shall be analyzed using and comply with IBC 2015 for:Occupancy classificationTotal occupancy load calculationMinimum exit widthMaximum distance to exit

Projects with occupancies over 50 shall include a second exit.Project shall comply with the following barrier free requirements:

Circulation shall be barrier free, with a minimum width of 3‘-8” and provide turnaroundclearance for a wheelchair of 5’-0”A clear space of 2’-0” shall be provided on the latch side of any door.Ramps shall not exceed a rise to run ration of more than 1/12 and shall have 5’-0” clearlandings at any end.

RESEARCH REFERENCESBirch, Robert and Brian Sinclair (2013). Spirituality in place: Building connectionsbetween architecture, design, and spiritual experience. In ARCC ConferenceRepository. Retrieved from http://www.arcc-journal.org/index.php/repository/article/view/116/88.

Barrie, T. (1997). Spiritual path, sacred place: Myth, ritual, and meaning inarchitecture. Journal of Aesthetics and Art Criticism 55 (4):430-431.

Bermudez, J., Tabb, P. J., & Barrie, T. (Eds.). (2015). Architecture, Culture, andSpirituality. Ashgate Publishing, Ltd..

Brown, N. C. (2004). Aesthetic composition and the language of light, a subject ofacademic inquiry. Journal of Interior Design, 30(3), 8-22.

Havik, K., & Tielens, G. (2013). Atmosphere, compassion and embodied experience.A conversation about atmosphere with Juhani Pallasmaa. Sfeerbouwen. BuildingAtmosphere, 33-52.

Holl, S., Pallasma J., & Perez-Gomez A. (2006). Question of perceptionphenomenology of architecture. T.Nakamura (Ed.). Tokyo: Nobuyuki Yoshida.

Kaplan, S. (1995). The restorative benefits of nature: Toward an integrativeframework. Journal of Environmental Psychology, 15(3), 169-182.

Malnar, J. M. (2004). Sensory design. Minneapolis: University of Minnesota Press.

Odom C. (Ed.). (2016). IDEC Exchange. Retrieved fromhttps://www.idec.org/files/public/IDECExchange_Fall2016.pdf.

Pallasmaa, J. (2012). The eyes of the skin: Architecture and the senses. Hoboken,NJ: John Wiley & Sons.

Pallister, J.s (2015). Sacred spaces: Contemporary religious architecture. London:Phaidon Press.

Plummer, H. (2013). Cosmos of Light: The Sacred Architecture of Le Corbusier.Indiana University Press.

Rasmussen, S. E. (1964). Experiencing architecture (Vol. 2). Boston: MIT Press.

Tanizaki, J. (2001). In praise of shadows. New York: Random House.

Traverso, G. (Ed.). (2015). Modeling daylight: A manual for natural lightingexperimentation. Gütersloh Germany: VIA-Verlag.

Tuan, Y. F. (1977). Space and place: The perspective of experience. Minneapolis:University of Minnesota Press.

World Trade Center site memorial competition. (2004). Retrieved fromhttp://www.wtcsitememorial.org/finalists.html.

Zumthor, P. (2006). Atmospheres. Basel, Switzerland: Birkhäuser.

DELIVERABLES(2) 20x30 posters (in PDF format) that might include the following:

Evidence and analysis of primary source researchProcess work, annotated by the student (photos of models, sketches, etc.)Schematic design proposal, (the requirements for which are open ended but likely willinclude:

a floor planinterior section(s)material concepts and or selectionsrendered perspectives and/or model photographstechnical information or details in support of conceptual proposal (for advanced andgraduate)

Designer’s statement or creative writing (100 words or less), describing the “atmosphere”of the design proposal.Text and descriptions as deemed necessary by the designer to relate programing, goals,and atmospheric design solutions.

Letter sized (in PDF Format) written statements (total of no more than 5 pages) should include:

Designer’s statement or creative writing (100 words or less), describing the “atmosphere”of the design proposal (also included on the posters)500-750 word description and discussion of researchProgram with specific goals and objectivesAnalysis of ingress and egress (threshold) and universal access (include code analysis ifappropriate).Specification summaries if appropriate

SCHEDULE2017

June: Student completion is announced at the IDEC International Annual Conference andpublished on the IDEC website.June - December 10th: Faculty sponsors may choose any three week period during thistime to facilitate the competition. Normally the first week is scheduled for research anddiscussion and the next two weeks are designated for designing. After the studentscomplete the competition requirements, faculty sponsors should arrange for an unbiased,local jury to select the top three projects. Faculty sponsors MUST determine the threeweeks within the semester to execute the project. December 15th -Deadline for each program to submit up to 3 projects

2018January – Projects are juried at the Regional Level.February – Finalists and their respective faculty are notified. Finalists are juried at theNorth American level. Winners and their respective faculty will be notified prior to 2018IDEC Annual Conference and invited to attend awards ceremony.March 7th-10th – Winners are displayed at the 2018 IDEC Annual Conference in Bostonand recognized, along with the respective faculty, at the President's Dinner.March – Awards distributed and posted to the IDEC web site.

Submit your entry with the electronic form here by December 15, 2017 by 11:59 PM PacificStandard Time.

AWARDSBeginning Undergraduate Studio:

First Place: $700; Second Place: $500; Third Place: $200

Advanced Undergraduate Studio:

First Place: $700; Second Place: $500; Third Place: $200

Graduate Studio:

First Place: $700; Second Place: $500

Honorable Mentions are awarded at the discretion of the jurors

In the case of a tie or limited entries in any categories, the final jury reserves the right to adjust awardsaccordingly.

Winners will be displayed at the 2018 IDEC Annual Conference, March 7-10, 2018 in Boston and willbe recognized at the 2018 President's Dinner on March 10, 2018.

COMPETITION RULES

Students will work individually.Students enrolled in undergraduate or graduate interior design programs that have at least onefaculty that is a member of IDEC are eligible to enter. It is strongly encouraged that thesupervising faculty be a member of IDEC to facilitate access to competition materials andupdates via the IDEC website.Projects must be supervised by a faculty member and completed in three consecutive weeks(21 days) including all changes, edits and revisions.Submission of the project indicates the supervising faculty member and the IDEC member of

the program comply with the competition rules.Beginning Design Studios are defined as those that are completed in the first half of a four yearinterior design curriculum (typically freshman and sophomore years). Advanced design studiosare defined as those in the second half of a four year program (typically, junior and senioryears). For programs that are not four years or have alternative curricular paths, please contactcontact competition organizers for clarifications on which level of competition is appropriate toenter.Projects must be submitted with no student and/or program identification on the boards and inthe required PDF file format.Six projects from each undergraduate (three beginning and three advanced) and threeadditional projects from each graduate interior design program are eligible to be entered forregional jurying. The top two beginning undergraduate projects and top two advancedundergraduate projects from each region are finalists and will be juried for the final NorthAmerican awards. The top five graduate student entries (one from each region) will be juriedfor the final North American graduate award.Project information will be available on the IDEC website through December 15, 2017 and canonly be accessed by member of IDEC. A Q & A section will be available online with thecompetition information and will be updated through December 10, 2017. Please visit the Q &A postings frequently to stay updated on the competition project.The IDEC member faculty sponsor will upload entries to the online submission portal.Entries that show an identification of school or student within the design layout or entries thatdo not comply with all competition requirements will be disqualified.Faculty should use this design challenge to aid in fulfilling their school’s learning objectives aswell as those outlined in this competition.Use the plan that has been provided.

QUESTIONSFrequently Asked Questions will be regularly updated and can be viewed here - coming soon!

Questions or inquiries should be directed to William Riehm and Judy Theodorson atIDEC.Competition@gmail.com.

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