Publication: The Musician's Project Studio: Bridging the Gap Between Environmental Psychology Theories and Their Application to the Project Studio
| dc.contributor.advisor | von Starck, Adrian | |
| dc.contributor.advisor | Hillmann-Regett, Jan C. | |
| dc.contributor.author | Saunders, Elizabeth | |
| dc.contributor.department | Interior Architecture / Interior Design | |
| dc.date.accessioned | 2022-01-04 | |
| dc.date.accessioned | 2025-11-28T13:26:37Z | |
| dc.date.available | 2025-11-28T13:26:37Z | |
| dc.date.issued | 2021 | |
| dc.description.abstract | This Thesis aims to bridge the gap between the theories and application of environmental psychology for the design of a musician's project studio. By identifying the technical boundaries of the space, analysing various hypotheses and theories from environmental psychology, and underlining the needs of the users for all their activities, a model will be proposed, which can be used to design the ideal project studio for any musician | en |
| dc.description.degree | BA | |
| dc.description.tableofcontents | 1 Introduction 1.1 Background 1.2 Context 1.3 Problem 1.4 Limitations 1.5 Aims and Objectives 1.6 Methodology 2 Project Studio 2.1 Definition 2.2 Activities 2.3 Rooms 3 Technical boundaries 3.1 Control Room 3.1.1 Noise Control 3.1.2 Initial-Time-Delay-Gap 3.1.3 Layout 3.1.4 Reflection-Free Zone 3.1.5 Acoustic Treatment 3.1.6 Control Room Examples 3.2 Studio Room 3.2.1 Noise Control 3.2.2 Acoustic Treatment 3.2.3 Examples 4 Environmental Psychology 4.1 Definition 4.2 Theories 4.2.1 The Stimulus-Organism-Response Model 4.2.2 PAD dimensions (Pleasure, Arousal, and Dominance) 4.2.3 Affect, Behaviour, and Cognition Psychology Theory (ABC Psychology) 4.2.4 Arousal Theory 4.2.5 Environmental Load or Stimulation approach 4.3 Application of the models to Interior Architecture 4.3.1 Model 1: Activity Categorisation 5.1 Model 1 Implementation to Project Studio Activities 4.2.2 Model 1 : Stimuli Taxonomies 5 Conclusion/Implementation to Project Studio 5.1 The Iterative Process of Musical Project 5.2 PLAN: Dominance - Flexibility - Movement - Divergent and Convergent thinking 5.2 MODEL 2: Movement 5.3 General model 5 Project Technically: 5.1 Acoustical arrangement 5.2 Psychologically: colour, texture, light 5.3 movement, spatial arrangement changing levels 4.3.1 movement 4.3.2 colour 4.3.3 changing levels 4.3.4 entrance/transitional points 4.3.5 ...? What else I implemented transitional points | en |
| dc.identifier.uri | https://hdl.handle.net/20.500.14938/653 | |
| dc.language.iso | eng | |
| dc.publisher | Berlin International University of Applied Sciences | |
| dc.rights | In Copyright - Educational Use Permitted | en |
| dc.rights.uri | https://rightsstatements.org/vocab/InC-EDU/1.0/ | |
| dc.subject | Workspaces For Creatives | |
| dc.subject | Psychology | |
| dc.subject | Theory, Philosophy, Critique -- Interior Design | |
| dc.title | The Musician's Project Studio: Bridging the Gap Between Environmental Psychology Theories and Their Application to the Project Studio | |
| dc.type | Thesis | |
| dspace.entity.type | Publication | |
| local.institution.nameChangeNote | Issuing Body Note: BAU International Berlin University of Applied Sciences and Berlin International University of Applied Sciences are the former names of Whitecliffe University of Applied Sciences | |
| relation.isAdvisorOfPublication | a05f98f3-7e35-4cfa-81b8-068d20982cff | |
| relation.isAdvisorOfPublication.latestForDiscovery | a05f98f3-7e35-4cfa-81b8-068d20982cff |
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