Followership is a straightforward concept. It is the ability to take direction well, to get in line behind a program, to be part of a team and to deliver on what is expected of you. How well the followers follow is likely as important to the success of the organization as the leadership of leaders. Harvard professor Abraham Zaleznik described an early model of followership, based on the two dimensions of submission vs. control and activity vs. passivity. These were based in Zaleznik`s Freudian perspective. Controlling followers want to control their superiors, whilst submissive followers want to be told what to do. Active followers initiate and intrude, whilst passive ones sit back and let things happen. On the other hand, however, Kelly, a professor at Carnegie Mellon University, in 1992 proposed that followers tended (conveniently) to fit into four different types (alienated, passive, conformists, and effective), each type of which are elements of two dimensions of passivity and critical engagement.
the constructed form also includes defined spaces that are bounded, but not necessarily closed, such as uncovered areas, squares or streets. It can also refer to specific elements of a building such as doors, windows, roofs, walls, floors, and chimneys. For example, the Japanese designer Takaharu Tezuka’s kindergarten project, which uses a circular, unconstrained building as a kindergarten area, aims to provide children with a more communicative and open environment to nurture children’s learning and entertainment habits.
Throughout most of the modern movement, designers have seen the desire to create works of art and design based on objectivity and rationality, the scientific values. The desire for a new form is more intense than before and the objectivity and rationality of the primary design process (and the product be designed). A desire to “scientise” design can be traced back to ideas in the twentieth-century modern movement of design (Cross, 2001). For example, in the early 1920s, the De Stijl protagonist, Theo van Doesburg, expressed his perception of a new spirit in art and design: “Our epoch is hostile to every subjective speculation in art, science, technology, etc. The new spirit, which already governs almost all modern life, as opposed to animal spontaneity, to nature’s domination, to artistic flummery. In order to construct a new object, we need a method, that is to say, an objective system.” Under the guidance of the new art and design new spiritual theory, designers design works that better meet the needs of customers and society. At the
same time, they can better use social theory to display their design ideas and forms of works. In the absence of any meeting of minds or sharing of interests by social theorists and built environment professionals, what is found in practice is, at any time, some general, theory-like propositions linking spatial forms to social outcomes (Hillier, 2008). The design and planning of the built environment adjust the physical and spatial environment and the theory aims to promote the shape of social goals and the patterns of interconnected spaces. Translating social goals into space and presupposing how life and work patterns are affected by the physical and spatial forms are imposed, good or bad. In this way, the designer can conceive and assume in advance the necessary social needs and personal needs of the design audience. For example, Crossboundaries use the influence of space’s own settings on the child’s behavior. Renovate the original teaching building, on the basis of which it creates a multi-functional teaching space of “student-led”, and divides different functional areas in the form of color and space to realize a building with more sense of design and fresh use.
In conclusion, the design and planning of social theory and the interior environm
