Content uploaded by Donia Mohamed Bettaieb
Author content
All content in this area was uploaded by Donia Mohamed Bettaieb on Mar 04, 2019
Content may be subject to copyright.
General and Special Materials Selection Criteria
for Interior Design Projects
Donia M Bettaieb
Department of Interior Design and Furniture, King Abdulaziz University, Jeddah, KSA
Email: drashad@kau.edu.sa
Raif B Malek and Abeer A Alawad
Department of Architecture-Interior Design, Department of Interior Design and Furniture, King Abdulaziz University,
Jeddah, KSA
Email: {rmalek, aalawad} @kau.edu.sa
Abstract—In the field of interior design, materials are
considered of the most important elements that play a vital
role in the functionality of internal spaces. The selection of
these materials according to clear criteria is considered one
of the most important inputs guaranteeing the project's
success and practical efficiency. In this context, this study
aims to look into the general criteria for the selection of a
material according to previous studies, in order to explore
and clarify the special criteria that should be adopted and
implemented when selecting materials in the internal design
project. This research work is mainly due to the
researchers' observation of an evident lack in the quantity
of information on the selection criteria of materials in the
field of interior design, whereas most of what has been
reported in numerous related studies are information only
showing the technical properties of the material, thus
qualitatively limiting the designer's choices and the
application of his creative ideas.
This research in previous studies showed that there are
general criteria for materials, which are essentially artistic,
technical, functional, aesthetic, economic and
environmental, that should be considered when choosing
the material as a design element. This research also
concluded the special criteria for the selection of materials
as a design element and as an element listed as part of a
group of elements that constitute a comprehensive aesthetic
functional system reflecting solutions for the interior
environment, which, in turn, reflects a range of sensory
effects emanating through the material, shape, texture and
color. It is expected for the results of this research to assist
those who work in the field of interior design from the
academics who teach this discipline, the students, as well as
the professional working at consulting and executive offices
in the labor market, by providing them with the selection
criteria for materials in interior design projects.
Index Terms—materials selection criteria, Interior spaces,
Materials, Interior design, Design projects.
I. INTRODUCTION
Materials are defined as the basic building materials
for engineers, architects and interior designers, whereas
they are adopted in the innovation and giving form,
Manuscript received March 1, 2018; revised October 23, 2018.
shape, diversity and distinction of the interior space and
its various components. Researchers also mentioned that
these materials usually translate the physical and
psychological form of the space as well as the structure,
finishing and contents used by man [1,2], to express a
comprehensive functional and aesthetic system reflecting
solutions for the interior environment. Kang & Gueri
mentioned that the designer works through these
materials and the good utilization of them to achieve
functional quality and provide aesthetics for the human
senses [3].
Within this framework, materials are considered one
of the most important elements involved in building the
functional and aesthetic system for interior
spaces. Despite the simplicity reflected in the use of the
term by many members of the field of interior design, yet
deeper understanding of the concept reflects, as part of
the design process, whether space had succeeded in
performing its function or not for some of the materials
to become, as explained by Kilmer & Kilmer, and
integral part of the structure of the building, while others
are applied as a surface treatment or used in the
components of interior space as furniture elements [2].
II. CHARACTERISTICS AND SOURCE OF MATERIALS
The characteristics of the material varies and differs
according to its source as explained by many researchers
[1,2,4], with emphasis on the presence of three categories
for classifying materials as follows:
Natural Materials: That is for the substances to
remain in their condition without change unless
there is a need to introduce superficial
modifications to use them, such as "stone, wood"
Converted Materials: Which is the conversion of
Natural Materials into Converted Materials, such
as "converting silt by burning into bricks or tiles"
Artificial Materials: These are the materials that
do not exist in nature and are manufactured
through industrial processes, such as "glass,
plastic".
16
International
Journal of Structural and Civil Engineering Research Vol. 8, No. 1, February 2019
© 2019 Int. J. Struct. Civ. Eng. Res.
doi: 10.18178/ijscer.8.1.16-20
It is worth mentioning here the diversity and variation
of the materials derived of these three classifications. The
texture, color and overall sensory effects of these
formations keep expanding through technological
development. In this context, Kilmer & Kilmer indicated
that technological development is not limited to the
emergence of new materials in each generation, but
shows new methods of using old materials, in addition to
enriching new design ideas [1].
In the face of this diversity, variation and development
parallel to the expansion of the variety of materials in
general, and those used in interior spaces in particular,
the designer is faced with a number of difficulties in
selecting the appropriate materials for the project to suit
his design idea on the one hand and the executive aspect
of that idea on the other. Here, we note that the designer
is also invited to consider the use requirements, usage
and how the user deals with the interior space.
III. THE RELATIONSHIP BETWEEN MATERIALS AND
INTERIOR SPACE BETWEEN USE AND
FORMATION
Architecture and user can be considered two key
elements that embody the urban environment, with the
need to focus on the former as a material structural
element - architecture and its extensions - and the latter
as a moral material element - the utilizing person -
embodying its performance and thus humanizing it. In
this context, this special interactive relationship between
these two elements cannot be ignored or overlooked
instead, there should be focus on the nature of the user's
dealing with architecture within its sensory and cognitive
framework in all that is related to it, material or
otherwise. This, of course, with the need to adopt the
importance of the visual aspect as the primary factor on
which this relationship is based. In this context, Wastiels
and Wouters indicated that designers do not design space
for functionality alone, but in order to create a mental
image for the users as the materials used in the space
greatly affect the user's perception [5].
From this perspective specifically, materials are
considered some of the most important design elements
that contribute, significantly, in reflecting a
comprehensive image of the buildings, particularly
through their active role in providing consistent and
interdependent images that facilitates the user's
integration into his surroundings and environment. This
integration is evident in enabling the user of being well
aware of the functional meanings and his ease of
movement in the interior spaces, with a positive
interaction with the material elements contained in these
spaces, ranging from pieces of furniture, walls, and
lighting, which are supposed to form the overall aesthetic
system where materials are harmonious through
coordinating their texture, color and distribution.
Attention should be drawn here to the importance of
the role of the characteristics of materials as a design
element in itself, as well as the method of distributing
them in quantity and quality as an overall formation
system, to help users affirm the design idea and realize
the meaning or function of the building as stressed by
Soliman [4]. Wastiels & Wouters explained that it is
important for the architect to take into account the
elements important to the user's experience through his
senses, such as the color or texture of the material [5],
which will be essential in the formation of this image,
affirmation of the design idea and perception of the
functional meaning.
With regard to the methods for the distribution of
materials, Soliman mentioned that if the texture and form
of materials were combined in a single material, that can
affect the function or aesthetic perspective of the material
itself, and can affect the level of mental image formation
for the user of the space as well. Here he gave an
example for using ceramic with the texture or form of
wood in the living room, indicating that it may not
necessarily be the most appropriate choice in such
interior spaces, especially if we consider that perception
is in the form of the wood. However, the combination
and use of the two materials here eliminates one of the
most important characteristics represented in the feeling
of warmth, which makes the user feel uncomfortable,
when this choice may be appropriate in other spaces [4].
It is also possible in this context to shed light on the
difficulty of identifying the priorities for the selection of
materials in general, and the clarity of the considerations
related to them in particular, which led to a consensus
among most researchers, that overall, it is a complex
process that includes numerous conditions, decisions and
considerations [5,6]. It is not possible, for example, for
the design architect to choose the stronger and less
expensive materials, or the materials available, without
consideration for other characteristics and inputs that
may add to the building as mentioned by Wastiels &
Wouters, who had defined other dimensions in this
context, such as the warmth, shape and function of the
material, in addition to local materials [5].
IV. GENERAL CRITERIA FOR MATERIAL SELECTION
Many researchers have addressed the general criteria
for the selection of materials. There are those who
divided them into three categories, the first of which
includes the overall functional criteria represented in the
suitability of the material for the purpose of use, its
durability for the intended purpose, in addition to the
ease of maintenance, repair, cleaning, resistance to
damage and sabotage, safety characteristics and acoustic
performance. While the second category is represented in
the aesthetic criteria related mainly to color, texture,
drawings and patterns, with the need to allow for visual
coordination with the intended use. As for the third and
last category, it is related to the economic criteria usually
related to initial and ongoing cost and the estimated cost
of maintenance, cleaning, and repair [1].
There are researchers who focused on the interior
designer and the need for him to be knowledgeable about
the fundamental characteristics and practical values of
the materials, in addition to possessing an aesthetic sense
and judgment to determine the best materials for the
intended purpose. Kilmer & Kilmer mentioned four basic
17
International
Journal of Structural and Civil Engineering Research Vol. 8, No. 1, February 2019
© 2019 Int. J. Struct. Civ. Eng. Res.
criteria the interior designer should verify, the first,
second, and fourth of which fit what Pile mentioned, yet
they are relatively different in their own inputs. With
respect to the functional characteristics, in addition to
being suitable for use, durability, ease of maintenance
and the acoustic characteristics, Kilmer & Kilmer
mentioned the need to be resistant to damage and fire,
with insulation according to the regulations and
standards. With respect to the aesthetic characteristics,
and the material should suit the design idea as well as
being visually appropriate for the mood and space area
with consideration for the weight and size and their
percentage of the space, in addition to what Pile
addressed with respect to surface characteristics
represented in texture, style, color, light and reflection
qualities. they dedicated the third category for
environmental considerations, which they identified
through mentioning the environmental effect of
acquisition and manufacturing, where they are renewable
materials that can be recycled and are non-toxic. With
respect to the fourth category, researchers mentioned
economic considerations that he specified in the initial
costs of the materials, shipping and installation,
availability of materials, cost of maintenance and the
possibility of replacement [2]. Florez and Castro-
Lacouture confirmed that visual features of materials [7].
In addition to the technical, environmental and aesthetic
features [8]. While others, Zhou et al, set three important
characteristics that should be given attention when
selecting materials, namely First: Mechanical
characteristics that include strength, hardness and density,
Second: Economic characteristics that are related to the
cost of each of purchase, process, transport, recycling
and the possibility of disposal, and Third: Environment
characteristics related to environmental pollution, power
consumption, recycling, reuse and division [9]. Kenneth
& Michael and others mentioned the presence of
chemical characteristics [10]. and physical characteristics
[10-11]. Others also added mechanical characteristics of
the materials [10,11,13]. Ljungberg mentioned that
sustainability is important when it comes to choosing a
select material [12]. Therefore, this study aimed mainly
to identify the selection criteria of the material and to
comprehend its various characteristics according to the
different nature of every field. Through the previous
studies, it becomes evident that there are general agreed
upon criteria for the material as follows: Artistic,
technical, functional, aesthetic, economic and
environmental that should be taken into consideration
when selecting the material as a design element.
V. CRITERIA FOR MATERIAL SELECTION AND BASES
OF INTERIOR DESIGNER TRENDS
Researchers conducted several studies to define the
various criteria that designers should follow when
selecting materials. Here we mention for example the
study conducted by Researcher Moussatche, through
which survey results showed that the selection of
materials by an interior designer is, primarily, according
to clients' preferences and needs, aesthetics, and
cost. Initial results also indicate that there are health
factors that were not important criteria in the selection of
materials, such as the emission of volatile organic
compounds (VOC), susceptibility to microbial growth
and long-term environmental impact [14].
In another study by researchers Kang & Guerin,
sustainable interior design was addressed, which is
interested in working on enhancing the quality or the
interior environment through improving the quality of air
indoors, human comfort and the use of sustainable
internal materials. This study focused on how interior
designers use environmentally sustainable interior design
standards to provide a basis for developing assimilation
and adoption strategies for sustainable interior
design. Within this framework, sustainable interior
design practice was defined through three factors: Global
sustainable interior design, quality of interior
environment, and interior materials. Participants among
environmentally sustainable interior design were asked to
evaluate three dimensions: Repeated application, its
importance to the designer's company, and its importance
to the designer himself. Results showed that the highest
grade was its importance to the designer and the
lowest was for repeated application. Also, the use of
sustainable interior materials was defined as the least
applied in sustainable interior design with respect to the
quality of the interior environment. It was emphasized
that the practice of sustainable interior design is not as
important as it is perceived to be. The researchers added
that there is a need to focus on the teaching methodology
that works on improving the practice of environmentally
sustainable interior design and understanding the impact
of the life cycle of the internal materials in it. Finally,
they stated that the environmental, economic, and social
dimensions should be in full balance in order to achieve
sustainable results on the long-term in interior design.
They pointed out that the stages of the design process
here was not very much affected by environmental issues
[3].
It is noticeable from these two studies that interior
designers have failed in the criteria for sustainable health.
Through the study, it is evident that many designers in
various fields lack information on materials. Kang &
Guerin explained for example that many interior
designers have limited knowledge of the characteristics
of the materials that negatively affect the
environment. While environmental issues are always of
particular importance in the process of selecting
materials in interior design [3]. Researchers Wastiels &
Wouters also indicated that architects need to get
comprehensive information on the criteria for material
selection so that their choices are justified and correctly
studied through the design process, and that there are
many sources that addressed materials, but to date, there
are deficiencies in the study of the intangible aspects of
the material within the space. Whereas the current tools
and data for the selection of materials provide sufficient
information on the artistic and technical aspects of the
material and are useful for determining its performance,
yet these tools and data lack the considerations and
18
International
Journal of Structural and Civil Engineering Research Vol. 8, No. 1, February 2019
© 2019 Int. J. Struct. Civ. Eng. Res.
descriptions for assessing the sensory and moral aspects,
which are important and necessary to architects
[5]. While Karana et al, explained that the product
designers are the ones responsible for the selection of the
materials appropriate for their products, through taking
into consideration the artistic and sensory characteristics
of the materials. He also added that they feel
disappointed as those designers do not have variety in the
sources of tools and systems that enable them of getting
sufficient information on the materials [6].
VI. SPECIAL CRITERIA FOR MATERIAL SELECTION IN
INTERIOR DESIGN
Previous studies on the selection of materials in
various fields show that there is a set of measures that
fall under the aforementioned general criteria such as the
life cycle of the material, sustainability, and quality of
the material. While the selection of the material in
interior design is specifically based on special criteria in
addition to these general criteria, which are based on
considering the wishes and choices of clients, the needs
of users, requirements of use, and a set of cultural, social,
and economic dimensions related to the material as an
independent design element.
Within this specific framework, it is possible to
address the use of the material from a special angle that
sheds light on its structural framework and its
characteristics derived from its source, quality, value,
and effect as an independent design element. Thus the
material is defined in this context as a set of elements
that reflect visual effects that include, at the same time,
the substance, its texture, and its color, under the effect
of the amount and type of lighting as shown in Fig. 1,
Figure 1. Characteristics of the Material as an Independent Design
Element
However, these special criteria, in turn, impose other
important criteria that cannot be overlooked, as the latter
are related to the importance of the role of the material
characteristics as an independent design element
included in the actual design, within a functional and
aesthetic combination for the interior space as a whole.
This space is then regarded as a collective formational
system that reflects a quantitative and qualitative
distribution method of the materials as the whole of its
constituent elements.
In this context, the material loses the part related to its
independence and maintains its overall characteristics, so
it becomes a formational "part" of a "whole", in which
independent elements react and interact including the
configurations and combinations of each element, for the
formation, in turn, to become a "whole", that is usually of
a great importance in helping users as part of reaffirming
the design idea or perceiving the meaning or function of
the building as shown in Fig. 2,
Figure 2. The relationship between materials and interior space between use and formation
From this perspective, the need becomes clear and
evident for awareness of the importance of defining the
overall general criteria of the element as an independent
design element, as well as the overall special criteria for
the selection of materials or listing them within a set of
elements that will react and generate, within the scope of
its aesthetic structure, special visual effects, thus forming
a comprehensive aesthetic functional system reflecting
solutions for the interior environment, which, in turn,
reflect a set of emerging sensory effects, particularly
through the substance, shape, texture, and color.
19
International
Journal of Structural and Civil Engineering Research Vol. 8, No. 1, February 2019
© 2019 Int. J. Struct. Civ. Eng. Res.
VII. CONCLUSION
This research shows that there are general criteria that
should be considered when selecting the material. These
are classified as artistic, technical, functional, aesthetic,
economic, and environmental, which are usually
considered according to the reality and requirements of
every project. This in addition to the need for considering
other criteria that were classified by researchers as
special criteria related to the design in interior
spaces. These criteria exceed the characteristics of the
material as an independent design element, to be related
to the fact of interaction of multiplicity of materials in
the designed space and the quality of the resulting
sensual effects at the sight, touch, and hearing
level. While focusing on defining the method of
distributing the materials for the project, with respect to
quantity and quality, and define the extent they relate
together in building a functional and aesthetic system in
the space.
REFERENCES
[1] J. F. Pile, Interior Design, 4th ed., Pearson Education, 2008, Ch.1,
pp.30-32.
[2] R. Kilmer and W. O. Kilmer, Designing Interiors, Harcourt Brace
Jovanovich College Publishers, 1992, Ch. 13, pp. 358-417
[3] M. Kang and D. A. Guerin, “The state of environmentally
sustainable interior design practice,” American Journal of
Environmental Sciences, vol. 5, no 2, pp. 179-186, 2009.
[4] O. A. Soliman, “Perception of building materials in architecture,”
Journal of Engineering and Applied Science, vol. 60; no 6, pp.1-
24, 2013
[5] L. Wastiels and I. Wouters. Material considerations in
architectural design: a study of the aspects identified, architects
for selecting materials, Design Reseach Socity Conf., Sheffield
Hallam University, 2008. pp. 1-13. [Online]. Available:
http://shura.shu.ac.uk/511/
[6] E. Karana, P. Hekkert, and P. Kandachar, “Material
considerations in product design: A survey on crucial material
aspects used by product designers,” Materials & Design, vol. 29,
no. 6, pp. 1081-1089, 2008.
[7] L. Florez and D. Castro – Lacouture, “Optimization model for
sustainable materials selection using objective and subjective
factors,” Materials & Design, vol. 46, pp. 310-321, 2013.
[8] M. F. Ashby and K. Johnson, Materials and Design: The Art and
Science of Material Selection in Product Design, Butterworth-
Heinemann, 2013, ch7, pp.128-154.
[9] C. C. Zhou and G. F. Yin, and X. B. Hu, “Multi-objective
optimization of material selection for sustainable products:
Artificial neural networks and genetic algorithm approach,”
Materials & Design, vol. 30; no 4, pp. 1209-1215, 2009.
[10] G. B. Kenneth and K. B. Michael, Engineering Materials:
Properties and Selection, 7th ed., Pentice Hall, 2002, ch.2, pp. 25-
53.
[11] V. M. Athawale and S. Chakraborty, “Material selection using
multi-criteria decision-making methods: a comparative study,” in
Proc. the Institution of Mechanical Engineers, Part L: Journal of
Materials: Design and Applications, vol. 226, no. 4, pp. 266-285,
2012.
[12] L. Ljungberg, “Materials selection and design for development of
sustainable products,” Materials & Design, vol. 28, no. 2, pp.
466-479, 2007.
[13] P. Sirisalee, M. F. Ashby, G. T. Parks, and P. J. Clarkson,
“Multi‐criteria material selection in engineering design,”
Advanced Engineering Materials, vol. 6, pp. 84-92, Feb 2004.
[14] H. Moussatche, J. King, and T. S. Rogers, “Material selection in
interior design practice,” in Proc. Interior Design Educators
Council International Conf. 2002, pp. 26-27. [Online]. Available:
https://www.idec.org/files/02ConferenceProceedings.pdf
Donia M. Bettaieb is Associate professor in the Department of Interior
Design and Furniture, University of King Abdel Aziz, Jeddah, Saudi
Arabia. She got her Ph.D. degree in Sciences and Technologies of
Design, in 2008, in Tunisia. Her specialized area of research is
“Thinking & Process Design”. She has experience of more than fifteen
years in teaching Design Methodology in undergraduate and graduate
classes. She is the author of “An essay on Spaces, Representations and
Designing in Interior Architecture” University publication of Manouba,
Tunisia, 2017.
Raif Malek is Full Professor & Researcher in the Department of
Architecture, University of King Abdel Aziz, Jeddah, Saudi Arabia. He
was the founder of the High School of Sciences and Technologies of
Design (2000-2009) in Tunisia. His area of interest in research is
“Aesthetic and functional approaches of Design”. He is the author of
“Aesthetic and functional approach in Interior Architecture” SILDAR,
Tunisia, 2003 & “Interior Architecture: Scientific and pedagogic
approach” CPU, Tunisia, 2007. He has 24 years’ experience of teaching
undergraduate and graduate classes.
Abeer A. Alawad is Associate professor in the Department of Interior
Design and Furniture, University of King Abdel Aziz, Jeddah, Saudi
Arabia. She got her Ph.D. degree in University of Northumbria-
Newcastle, United Kingdom, in 2011. Her specialized area of research
is “Interior Design”.
Dr. Abeer A. Alawad has 25 publications in international journals and
refereed conferences. Also, she presented her research work in many
international conferences around the world. Her recent research has
explored the notion of identity and the relationship between identity
and interior design. She has investigated the environment and its impact
on behavior.
20
International
Journal of Structural and Civil Engineering Research Vol. 8, No. 1, February 2019
© 2019 Int. J. Struct. Civ. Eng. Res.
