to better judge and plan interior design projects and combine social theory with design theory. Design theory provides the language and the connections necessary to link knowledge and ideas about design concepts with the practice of designing. For example, consist of four elements: concept, form, task, and technology enables designers to build models of these knowledge understandings and evaluate and judge the value of design interior design. For example, the interior design project of the Shenao Village in Tonglu County, supported by the critical regionalism theory, combined with the actual problems and needs of the project base, proposed an innovative design theme combining paper-cut culture, architectural culture and farming culture.
Over the past few decades, anthropologists have increasingly joined the study of the social environment and architectural design, as well as human-related behaviors and interactions between social scientists and the environment (Lawrence, Low, 1990). At the same time, recent social theories have begun to refocus on human spatial and temporal dimension behavior. The article the built environment and spatial form point out that the built environment is an abstract concept employed here and in some of the literature to describe the products of human building activity. It refers, in the broadest sense, to any physical alteration of the natural environment, from hearths to cities, through construction by humans. For example, homes, temples and conference rooms are used for shelter and defined as places of protection and activity. However,
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, whi