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The International Journal of
Design Education
__________________________________________________________________________
From Concept to Space

A Tool for Mapping Concepts into
Products in Interior Design
BUTHAYNA EILOUTI
DESIGNPRINCIPLESANDPRACTICES.COM
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Lorenzo Imbesi, Sapienza University of Rome, Italy
Loredana Di Lucchio, University of Rome, Italy
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From Concept to Space: A Tool for Mapping
Concepts into Products in Interior Design
Buthayna Eilouti, 1 Prince Sultan University, KSA
Abstract: Translation of abstract concepts into materialized products is considered one of the most challenging tasks in
design processing. This article provides experience-based insights into systematic translation of concepts into products in
interior designing. It introduces a novel tool that helps guide the mapping of a concept into various design components,
aspects, and values in design. The tool is represented as a three-dimensional matrix that encompasses the various layers
of design considerations. The tool aims to facilitate systemization of the problem-solving process and enhance innovation
in the design outcome production. The research methodology combines a theoretical design to develop the tool and its
supportive concept maps, an action research to test its applicability in design projects, and a structured survey to
evaluate the project participants’ feedback. Examples of the participants’ designs are illustrated and discussed. Findings
about the tool implementation seem to enhance its adoption in the design learning environments of higher education.

Keywords: Design Conception, Concept Translation, Systematic Ideation, Concept Materialization, Innovation, Design
Education, Conceptual Map, Design Management, Place Making
Introduction
A wide range of definitions can be found in literature for the term concept. Among these,
concept is deﬁned as “the ﬁgure of an object, along with other representations such as
attributes or functions of the object, which existed, is existing, or might exist in the
human mind as well as in the real world” (Taura and Nagai 2013, 13). Concept also refers to the
mental representation that the brain uses to denote a class of symbols that are inferred from the
physical material (Carey 2009; Murphy 2002). In this research, concept will be defined as: the
mental map and the inner blueprint that guides the design process to produce a design product.
This map includes the figures, attributes, functions, and symbols that denote the physical objects
in the above definitions (Eilouti 2018a).
One of the challenging phases of design processing is that of concept generation. Typically,
this phase bridges sources of inspiration, design programming, pre-design analysis, and design
production. In addition, derivation of a design concept can be considered a core task around
which all other design activities are planned. In this regard, a concept can be employed to
provide order, organization, topology, character, and identity to a project to distinguish it and
assign a meaning to its configuration. Furthermore, a concept may be considered the cord that
binds all the design components and features together (Eilouti 2018a, 2018b). As such, a concept
processing system can be used to set up the roadmap for the whole design process. Subsequently,
a concept is expected to tangibly and intangibly connect elements such as furniture, shapes,
surfaces, forms, colours, materials, upholstery, curtains, accessories, lighting, acoustics, and all
other rudimentary components of interior design together in a unifying theme.
Similarly, translation of abstract concepts into concrete design components represents
another challenging task in design management. As it links knowledge and experience input with
design output, this task usually takes a great deal of thinking and experimenting with to decide
how a given concept may be expressed and objectified in visible compositions. Deriving and
translating a concept are even more difficult for novice designers, where experience has not been
developed yet to jumpstart a problem-solving process. The scope of this research is interior
design of the built environment in practice and higher education.
1
Corresponding Author: Buthayna Eilouti, Rafha Street, Department of Architectural Engineering, Prince Sultan
University, Riyadh, 11586, KSA. email: beilouti@psu.edu.sa

Volume 14, Issue 3, 2020, https://designprinciplesandpractices.com/
© Common Ground Research Networks, Buthayna Eilouti, All Rights Reserved.
Permissions: cgscholar.com/cg_support
ISSN: 2325-128X (Print), ISSN: 2325-1298 (Online)
https://doi.org/10.18848/2325-128X/CGP/v14i03/49-66 (Article)
THE INTERNATIONAL JOURNAL OF DESIGN EDUCATION
The relationship between the two major tasks of concept derivation and translation is
illustrated in Figure 1 (Eilouti 2018a). As Figure 1 illustrates, various methods can be used to
derive design concept proposals. The proposals are then manipulated to finalize a concept that
requires, in turn, a translation into various design elements. Designers need to synthesize the
elements in a discrete composition that can be concretized as final products.
Figure 1: A Conceptual Map of Concept Derivation and Translation Sequence in Design Management
Source: Eilouti
The area of concept derivation is addressed in related research works (e.g., Eilouti 2018a,
2018b, 2018c). Targeting the task of translation, this research develops and discusses a tool for
concept mapping. This tool has been applied in real interior design studios. An explanation of the
tool and examples of application follow.
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EILOUTI: FROM CONCEPT TO SPACE
Background
Numerous methods have been proposed to unveil the mysterious layers of designing (e.g.,
Aspelund 2006; Bartholomew 2013; Eilouti 2009, 2010, 2012, 2015; Panero and Zelnik 1979;
Sully 2012; Thompson and Blossom 2015). Addressing concept formation as a core task in
design processing, Dodsworth and Andesrson (2015) describe the design process as a malleable
structure where different tasks are adaptable to each project’s unique nature (Dodsworth and
Andesrson 2015), in which concept derivation is proposed to be a product of listing and selecting
some adjectives from the client’s brief to describe a desired experience that may be used to guide
and inspire the design (2015). Unlike this keyword-based approach to design derivation,
Rengel’s process of interior design planning is based on a block manipulation procedure, where
spaces and circulation components represent the main building blocks for the problem-solving
sequence (Rengel 2011). Within a function-driven approach, these blocks should be configured

to provide effective spatial organizations, efficient systems, and optimum functional relationships
among the project basic ingredients. Within this perspective, Rengel (2011) discusses the design
concept as a medium for the accommodation of humans and their needs within the spatial blocks
inside and outside buildings. Notably, Dodsworth and Andesrson (2015) view design as an
expression of human desires and dreams, whereas Rengel views design as a physical
manifestation of human needs.
While Smith and Smith (2014) explain various aspects of the design management, process,
culture, and making, as well as idea generation and development in general, Adjei (2016)
addresses the more specific scope of interior architecture. For Adjei, interior design should
transcend the boundaries of the three Fs—Furnishing, Finishing and Fitting—to reflect deeper
decision-making strategies in space planning and configuration. He describes a theoretical and
pragmatic approach that is based on compiling the puzzle pieces generated by research, with
thinking patterns and design trends. He suggests using the media of sketch modelling,
diagramming, and collage to express the solutions that manipulate place, time, light, and
materials as fundamental design elements. In his perspective, a concept refers to the connections
made by a designer between the internal arrangements inside his/her mind and the external
organizations of the physical surroundings (Adjei 2016). This target of the external organizations
and their objectification as physical products is the main concern of this research.
For learners, design solutions start as conceptual images, the visualization of which requires
knowledge and training. Conceptual thinking represents one of the most important competencies
to acquire in the design learning process. Emphasising the significance of conceptual thinking,
Mayer (2004) asserts that unless students possess at least a rudimentary conceptual
understanding of a phenomenon they investigate, their learning activities may lead to little or no
gain in their pertinent knowledge development (Mayer 2004). To facilitate externalization of
conceptual thinking, concept maps as graphic tools that help guide structure and sequence of
thinking can support learners as well as educators in knowledge transfer and representation.
One of the powerful uses of concept maps is not only related to their roles as learning tools
but also their application as evaluation aids (Edmondson 2000; Mintzes, Wandersee, and Novak
2000; Novak 1991). Concept maps can be used as effective references to compare knowledge
acquisition and ideation processes of learners to their structures to test if these processes use
time, effort and resources effectively or not. Moreover, when learners apply concept maps, they
become more proficient at meaningful and deep learning where they can learn the tectonic
principles underlying the map compositions and structures (Novak 2002). As such, working with
concept maps helps learners develop a constructive learning style. The fundamental idea behind
constructivism is that each learner can build her/his own understanding according to her/his pace
and abilities. In this regard, concept maps help each learner to apply their guidelines to her/his
problem-solving process according to her/his understanding and cognition level.
51
In most design domains, in addition to their roles that are mentioned above, concepts
function as primitive prototypes. These are represented as either partial precepts that need
filtration, customization, assembly and synthesis, or holistic mental schemes that need to be
tested to explore their potentials. Concept mapping provides a user-friendly medium of
visualization that bridges mental imagery with tangible representations and encourages very high
levels of cognitive performance. It also functions as a medium of prototype development and
testing.
For learners of interior design, concept formation and translation into tangible products
represent two of the most challenging tasks of the design process. They both function as
scaffolding for multiple subsequent design management processes. Several frameworks are
introduced to support the first task (e.g., Eilouti 2018a, 2018b, 2018c, 2018d). However, the
second task did not receive enough attention from researchers. To address this particular area of
concept translation into design components, the following sections attempt to shed some light on

and contribute to this important part. A tool that has dual functions is introduced. It functions as a
concept map and a map for concept translation and objectification into design components.
Mapping of Abstract Concepts into Space Designs

As previously illustrated by Figure 1, once a concept is selected, the major subsequent task is the
translation of that abstract concept into physical design products. The previous section describes
some design components such as furniture and finishing in the Adjei’s three Fs structure (2016),
some aspects such as fitting in the same three Fs model, and some values such as the functional,
aesthetic, and human in the models of Dodsworth and Andesrson (2015) and Rengel (2011).
To facilitate the task of starting from a concept as an input, and processing it through
translation into design output, a three-dimensional matrix is introduced. It aims to function as a
tool that helps guide the systematic translation of ideas through the organization of components
and the planning of processing sequence. Hence, the tool has a dual functionality where it
operates as a concept map of design systems, that is, elements and organization (e.g., Coffey et
al. 2002; Na 2017), and as a user-friendly graphic tool that guides design considerations,
assimilation, configuration and linkage possibilities. The matrix is represented as a cube that
consists of eight units on each axis. The X-axis includes the design aspects, the Y-axis includes
the venues of translation, and the Z-axis lists the values that the design attempts to achieve
(Figure 2).
The tool is developed based on the practical and academic experience of the author and on
related literature as discussed in the previous sections. As such, the concept development applies
a theoretical research method. The tool is later applied in design studios using an action research
where learners learn new aspects of a design methodology while they process their design
solutions. In addition, a structured questionnaire is devised to measure the feedback of the project
participants about the tool implementation and to reflect on this experience.
52

Figure 2: The Concept Mapping Tool
Source: Eilouti
The Design Aspects

The components of the X-axis include the aspects that are expected to appear in the design
venues and are selected to achieve the pre-defined design values. These include:
Geometry: The clearest manifestation of a concept in a design is its geometric expression
and articulation in shapes and forms. A design concept may be expressed in the two-dimensional
planar representations of the surfaces, planes and shapes, and the three-dimensional
representations of the forms, volumes, masses and spaces, that constitute the design products
(architectural spaces, furniture, and sculpture). Selection of which geometric entities to use in a
building is directly related to the given concept to help objectify and convey its meanings to end
users.
Organization: Decisions on the layout of design entities, or how to allocate spatial
components internally and group forms externally, can be related to the concept and to their
functional considerations. For example, in a building design, topology or spatial relationships,
sequence of spaces in reference to entry points, movement patterns, and clustering of the spaces
may all be influenced by the concept that may, in turn, be translated into a spatial flow scheme
and a unique circulation system. This system needs to be carefully studied from all entry and exit
points as related to the horizontal and vertical connectors between spaces and levels. For
example, if the concept of a building design is to experience a time-machine’s temporal and
spatial transformations, the sequence of the spaces may start from experiencing old styles of life
and move to the new ones to simulate a linear transition from the past to the future. Thus, the
layout is expected to be linear, the allocation to be sequential and the styles to combine retro and
futuristic languages.
53
Contextual fit: A design concept may decide how a product fits within its environment. In
interior design, a concept may impact how each space fits within its surrounding spatial and
natural environment. For example, if the main concept of a low-income housing expresses
collaboration between its community members, the building may be preferred to provide
transparency, continuity, and transforming the outdoor indoors via visual and physical
connections with surrounding buildings and urban context, to emphasize that the building itself is
collaborating spatially and visually with its built neighbors.
Style: This represents a visible outlet for concept translation, which is expressed in the
product’s appearance formal language. For example, if the concept of a science museum design
is a trip to the future, a proper style would be High Tech or Deconstruction to express futurism.
Style in this case may be reflected on the internal and external formal languages of the resultant
composition. Furthermore, based on the selected style, a decision on technology incorporation or
intelligent systems such as metamorphic, interactive, responsive or kinetic products can be made.

Surface treatment: Articulation of the final appearance of a space includes the treatment of
its surfaces. Such a treatment includes the assignment of color, texture, ornamentation, artwork,
graphics, and finishing materials. For example, if the concept of a hotel design is to emphasize
the desert environment, colors of yellow, orange, and brown with various tones, hues, and sand
textures may prevail in the space finishing.
Buildability: The main concern of this aspect is how to execute, produce, construct or
manufacture the design components in the various venues. It includes selection of materials,
structural solutions, system integration and methods of construction
Performance: Issues of how design components operate and how a design accomplishes its
primary functions are the main concern of this aspect. It includes efficiency of components and
systems, comfort of users, impact on social interaction, ergonomics and the mutual impacts of
environment and users on each other.
Detailing: This aspect is concerned with the detailing level applied on each design venue. It
includes the calligraphy, graffiti, ornamentation, and graphic design applied to each component
of design.
The Design Venues
The components of the Y-axis include the venues in which the various aspects of design are
expressed to achieve the predefined goals and values.
Space: The major venue to express the concepts and various design aspects in is the
functional spaces. Selection of the space forms and their volumetric treatment can be used to
emphasize the concept and convey its messages and meanings to users.
Plane: The floor, ceiling, walls, partitions, dividers, and all other planes in a building
represent media to apply the various design aspects, achieve the design goals and values, and
express the concept visually and functionally.
Furniture: Each piece of furniture represents a medium to accommodate function and
express the design concept and goals. Clustering of the individual pieces in assembly schemes
can also be used to convey the concept.
Circulation: Design of horizontal and vertical circulation elements including corridors,
courtyards, atria, stairs, ramps, and elevators can be employed to express concept and assign a
unique character to a design.
Openings: Doors, windows, and niches along with their associated covers such as curtains
or blinds can be used to emphasize the concept or accentuate the interior design with a unique
identity.
Systems: Most design artefacts have inner operating systems to execute their desired
functions and achieve their expected performance. In building design, these can be classified into
four categories: the natural, the technical, the signage and the safety systems. The first includes
natural lighting and ventilation solutions. The second includes the structural systems, artificial
54
lighting, HVAC ducting, water distribution networks, sewage piping, electrical wiring, acoustics
solutions, and computer control of the building performance management systems. The third is
the signage system that facilitates the way-finding mechanisms to enhance memorizing
landmarks (e.g., Norberg-Schulz 1965). According to this system, guidance and safety signs
inside a building are placed to facilitate user movements and secure their safety. The fourth is
needed to solve the emergency management problems including escape in case of fire or gas
leakage. It dictates the emergency exits’ and staircases’ distribution and allocation schemes. As
an example of this latter system, if the concept is related to travel or adventure, exits may take
locations and shapes like those in a plane or a ship.
Landscape: This includes all indoor vegetation and water elements. The concept of a
building and its landscape design is preferred to be consistent and harmonious. For example, if
the design concept is collaboration, the outdoor spaces’ design needs to provide enough plaza
spaces, amphitheatre and/or playgrounds to facilitate social interaction and to bring the outdoors

in.
Artwork: The graphic representation of a project provides another venue to express the
design concept. To achieve consistency in design communication, a designer may apply the
geometric elements used in the product itself on the logo, signage and other related graphics.
Furthermore, s/he may apply the same color scheme used in the surface treatment of the product
design on the logo design, signage displays, and even the graphic design of the building
documents such as its brochures, maps and publications.
The Design Values
While buildings vary in their degrees of innovation and departure from conventional design
practice, each building seeks to reflect an influential character that positively influences its direct
context in particular and design environment in general. Therefore, a well-designed building
should have clear goals and objectives to engage with and contribute to its direct and indirect
environments.
Definition of the goals and objectives of design is essential to the strategic planning of a
project. For example, a design may be aimed at providing the future residents of a designated
building with a special public place that is discreet, community-friendly, and supportive of a
distinct relationship with the larger urban and social contexts. The design scheme in this case is
aimed at providing a positive social structure that mitigates between the comfortable, individual
space and the sociable neighborhood at large in a balanced manner. In this context, the goal may
be to design a public place that enhances positive social interactions. Example objectives to help
accomplish this goal can be formulated as:
 Cluster each group of spaces around an open courtyard that opens onto a larger
plaza.
 Landscape the courtyards and the plaza to provide pleasant, shaded outdoor spaces.
 Provide interactive and adjustable furniture for the open spaces that encourages
local community involvement and control of personalized settings.
 Expand the accessibility of the open spaces to link local residents with the larger
community.
 Design flexible scenarios that can accommodate various age groups and both
genders in all activities.
 Personalize the space design to enhance feelings of belonging and loyalty and
consequently, social sustainability aspects.
In the concept-mapping matrix, the components of the Z-axis include the values that the
design attempts to achieve. These include:
Aesthetics: This comprises the values concerned with the production of attractive artefacts
that appeal to end users by applying the various principles of composition.
55
Functional: All design components are expected to accomplish the functions they are
designed to meet and to comply with the desired level of performance in their organization and
operation.
Environmental: These include the issues of sustainable, green and ecological solutions.
They can be achieved in layout, systems, materials and methods of construction.
Cultural: This is related to the local culture, tradition or heritage considerations. Design is
expected to achieve fitting within its temporal, spatial and societal contexts.
Economic: Goals associated with this value are related to using cost-effective materials and
methods. The various design elements can also be employed to attract users and produce income
for the designated project.
Legal: Designs and their execution methods should be compatible with set of regulations,
rules, codes and standards of the region within which the project is located. In addition, all safety
and security requirements should be met.

Social: Spaces and their articulation details are preferred to encourage and facilitate social
interaction of users.
Human: This value is related to the influence of design on the psychological, physical,
health and safety states of users. It emphasizes the comfort, well-being and vibes considerations
in design.
Linking the Three Axes
Considerations of the three axes can be combined in many ways. A suggested version of this
combination can be phrased as:
In the Venue, the design Aspect helps to achieve the Value. For example, in space design,
geometry of spherical masses can be used to achieve aesthetic values, and the circulation spaces
should be organized in a way that facilitates social interaction (Figure 3).
Figure 3: Mapping the Components of the Three Axes

Source: Eilouti
56
To summarize the three axes’ combinatory system of outcome probabilities, two of the units
can be pre-determined, and the third can stay adjustable. For example, the concept mapping
action can be stated as (Figure 4):
 For each design venue, each design aspect should be articulated to:
 Be attractive (aesthetics),
 Serve the functional purpose effectively (functional),
 Help achieve environment-friendly solution (environmental),
 Reflect national identity, tradition and heritage (cultural),
 Be cost-effective (economic),
 Meet the codes, regulations and standards (legal),
 Enhance positive social interaction behavioral patterns (social), and
 Accomplish psychological and physiological comfort, health, security, and safety
requirements (human).
Figure 4: Example of One Set of Component Combination

Source: Eilouti
As a concept map of the tool application, a suggested sequence is illustrated in Figure 5. In

this sequence, a concept is generated using one or more of the concept derivation methods. The
concept, then, requires translation into various design elements, including the various venues,
aspects, and values. For each venue, each of the eight design aspects should be mapped to each
of the eight values. The cross-axis connections should lead to a balanced space design.
57

Figure 5: Concept Map of the Matrix
Source: Eilouti
Notably, this type of tool may present the design process to learners as a complex system of
multiple components and requirements. It looks overwelming at the first glance. However, when
treated as a guide that acts as a reminder of the various issues and aspects of design, it contributes
to knowledge and practice of interior design by a user-friendly concise summary of the numerous
design layers and processing considerations.
Examples of Application
The framework was applied in multiple design studios for senior-level students of the Interior
Design Department at Prince Sultan University, Saudi Arabia.
The first example is an elderly care center (Figure 6). Its design concept is about growth,
connectivity, and continuity of generations.
58

Figure 6: Elderly Care Center Based on Experience
Source: Eilouti
In this project, the wayfinding and memory enhancement were particularly emphasized.
Illuminated circulation guidance was used in the floor tiling treatment to help users find their
destination spaces. Each level was color-coded—in furniture, door paint, and surface finishing—
to help users remember their floor number. In addition, each level was distinguished with a
specific type of flower that was reflected on the graphic design of the walls, and in paintings and
sculptures. The landscape scheme was also different for each level to enhance referral and
wayfinding (Table 1). In this center, spaces reflect the concept of continuity in the continuous
wooden structure that forms intimate enclosure for users (Table 1: A). The geometry,
organization, surface treatment, style, contextual fitting, and detailing of the frames help define
the lounge space in a way that achieves aesthetics and environmental fitting, and serves the
functional, cultural, human, and social needs of the users. The other aspects of buildability,
performance and detailing are also considered to meet the various values including the economic
expectations and legal requirements. Similarly, the planes of ceiling, walls, and floors are
distinguished to identify various functional zones. They are treated in geometry, layout, color,
texture, material, and graphic design to emphasize the concept of continuity. In addition, the
artwork applied on the partition next to the window reflects a structure that is inspired by a tree
hierarchy to embody the concept of growth and continuity of generations (Table 1: B).
The concept is also reflected in the furniture design that employs geometry, surface
treatment, organization, graphic design, plane and space manipulation, and lighting to emphasize
an aesthetic and functional reception desk that can serve various heights and types of users
(Table 1: C). The circulation system is designed to help senior users find their way by using a
clear guidance scheme on the floor layouts. The circulation diagrams are accentuated by graphics
and icons to facilitate movement and memory enhancement (Table 1: D). The windows are
emphasized in their framing scheme that reflects continuity and connectivity in geometry, color,
lighting and size (Table 1: E). As an example of systems, the artificial lighting enhances way
finding by color and motion sensors that respond to user movement (Table 1: F). Landscaping
elements are also used to distinguish the various levels and functions, and to enhance human and
social engagement (Table 1: G). The color coding of door frames and artwork on walls are
employed to create pleasant spaces and distinguish functional zones. The various types of
flowers in the graphic design of walls also emphasize the zoning scheme (Table 1: H).
59
Table 1: Application of the Matrix on the Elderly Care Center
A-Space E- Opening

B-Plane F- System
C-Furniture G- Landscape
D- Circulation H- Artwork
Source: Eilouti
60
The second example is a Vocational Training College in Riyadh, KSA. The design concept
is based on analogy and metaphor. These are related to the philosophy that the uniqueness of
each student in the college should be emphasized, and that each student has an impact on the
curriculum and pedagogy methodology. These meanings were conveyed through using a finger
print (concept-by-analogy) that is unique for each person. The print was used in the project logo
(Basma: fingerprint in Arabic), tiling scheme, sculpture, and ceiling design (Table 2).
The spaces in this project are designed to reflect the personal spaces of each group of
students and to motivate students by slogans (Table 2: A). The central sculpture (Table 2: B) and
the reception desk also embody the fingerprint concept (Table 2: C). Smooth lines that imitate
those in the fingerprint shapes are applied in the circulation spaces to provide way finding and
guidance for users (Table 2: D). Uniqueness and patterns of the fingerprint porotypes are
emphasized in the opening treatment (Table 2: E). The structural and lighting systems also reflect
the concept (Table 2: F). Various landscaping treatment were assigned to various spaces to

emphasize uniqueness of spaces and enhance way finding (Table 2: G). The project logo as an
exemplar of artwork reflects the word and shape of a fingerprint (Table 2: H).
Table 2.1: Application of the Matrix on the Vocational Training College.

The Shape of Fingerprint is Reflected in the Tiling and Floor Design
A-Space E- Opening
B-Plane F- System
61
Table 2.2: Application of the Matrix on the Vocational Training College.

The Shape of Fingerprint is Reflected in the Tiling and Floor Design

C-Furniture G- Landscape
D-Circulation H- Artwork
Source: Eilouti
In all senior-level studios, the tool was explained to students to help them organize their
designs, thoughts, and processes and generate a wide variety of design proposals. The jury
discussion feedbacks were encouraging to repeat applying the same tool in more studios and for
various levels.
Participants' Feedback
An anonymous questionairre was given to seventeen of the capstone design studio students who
applied the tool in their project development. Twelve of them submitted their feedback. The
survey included ten questions, as follows:
1. The concept mapping matrix helped me derive a balanced multi-dimensional design.

2. The concept mapping matrix in this course helped me organize my thoughts.
3. The concept mapping matrix helped me develop my imagination skills.
4. Translating the concept considering the multiple design elements helped me learn
principles of interior design.
5. Translating the concept into venues helped me develop my project.
6. The matrix helped me develop my evaluation skills.
7. Considering the design values reminded me of new design considerations.
8. Exploration of the various design layers and components inspired me to generate new
ideas.
9. Applying the matrix helped me save time and effort in my project processing.
10. In general, I am satisfied with what I’ve learnt in this course.
62
The questions were designed to measure the applicability of the tool in design development,
thought organization, non-linear knowledge construction, product evaluation, component
integration, value considerations, time-saving and overall satisfaction of the learning experience,
and its influence on imagination and innovation skills. Figure 7 illustrates the students’ responses
numerically and graphically.

Figure 7: Student Responses to a Structured Questionnaire
Source: Eilouti
The response variations are further illustrated in Figure 8, where the X-Axis shows the
student numbers, the Y-Axis shows the question numbers, and the Z-Axis represents the scores
recorded to each question by each student.
Figure 8: Scores Recorded by the Participant Students to Survey Questions

Source: Eilouti
In general, the responses display a satisfaction with the tool implementation, especially in
Q2 and Q4 where the focus is on the concept mapping role to organize thoughts and learn design
principles. The lowest scores were recorded for the impact of the mapping matrix on saving time
and efforts. This can be explained by the time needed to learn the tool and to experiment with
various probabilities of connecting its numerous components. Similarly, the students did not
think that the tool enhanced their imagination or evaluation skills.
63
Studying the correlation coefficients between each question’s responses and Q10, which
tests the overall satisfaction of the pilot project, reveals that the highest value was recorded for
Q2/Q10. Thus, the correlation coefficient between the concept mapping tool role in thought
organization and the overall satisfaction of the framework application was:
Correl (Q2, Q10) = 0.707106781
The correlation relationship is shown in Figure 9.

Figure 9: Correlation between Q2 and Q10
Source: Eilouti
The high scores as well the relatively strong correlation demonstrated above provide positive
indicators that the tool seems promising as an alternative or supporter of existing tools. The
major limitation of the tool implantation project testing is the small sample size of the
participants. Consequently, the project needs repetition in other design studios with multiple
groups of various levels and larger sample sizes.
Conclusion
A tool that helps guide the systematic organization and processing of interior design is
introduced. It is formulated to function as a concept map, per se, as well as a tool for mapping
intangible concepts into tangible design components. The tool is represented as a three-
dimensional matrix that consists of eight units on each axis. The horizontal axis of the matrix
consists of the design aspects, the vertical axis of the design venues, and the third axis includes
the design values. Mapping each unit on one axis to the correspondent units on the remaining two
axes results in the reflection of a design consideration on a design component. The tool was used
in various interior design studios in a college of interior design. Examples of the tool
implantation are illustrated and explained.
To test if the concept mapping tool facilitates the construction and development of a non-
linear knowledge integration and acquisition method, a structured questionnaire was given to a
group of the participant students. The resultant feedback supports the positive impact of the tool
on the learning process through which learners can manipulate numerous probabilities of
approaching and processing the problem-solving methods. The results also support the impact of
the tool on producing a balanced design, where it reminds designers about considerations that
they may otherwise overlook. The main weakness of the tool—as pointed out by the
participants—was that the application of the tool is time and effort consuming, especially when
compared to conventional heuristics-based methods. In addition, the major limitation of the tool
implantation project is the small sample size of its participants. As a future extension of this
research, the project requires repetition in other design studios with multiple groups of various
levels and larger sample sizes to make its results more credible and robust.
64
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ABOUT THE AUTHOR

Buthayna Eilouti: Professor of Architecture, College of Engineering, Prince Sultan University,
Riyadh, Saudi Arabia
66
The International Journal of Design Education is one
of six thematically focused journals in the family of
journals that support the Design Principles and
Practices Research Network—its journals, book
imprint, conference, and online community. It is a
section of Design Principles and Practices: An
International Journal.

explores aspects of learning to become a
designer and to develop modes of “design thinking.”
It explores design strategies, methodologies, and
tactics. It analyzes forms of professional stance. And
it examines pedagogies of engagement with design
purposes, designed objects, and design.
As well as papers of a traditional scholarly type, this

journal invites presentations of practice—including
documentation of curricular practices and exegeses
analyzing the effects of those practices.

is a peer-reviewed, scholarly journal.
ISSN 2325-128X

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VOLUME 14 ISSUE 3

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From Concept to Space

ACTING DIRECTOR OF PUBLISHING

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The International Journal of Design Education

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Mapping of Abstract Concepts into Space Designs

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The Design Aspects

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The Design Venues

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The Design Values

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Linking the Three Axes

Figure 3: Mapping the Components of the Three Axes

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Figure 4: Example of One Set of Component Combination

As a concept map of the tool application, a suggested sequence is illustrated in Figure 5. In

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Table 1: Application of the Matrix on the Elderly Care Center

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Table 2.1: Application of the Matrix on the Vocational Training College.

Table 2.2: Application of the Matrix on the Vocational Training College.

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1. The concept mapping matrix helped me derive a balanced multi-dimensional design.

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Figure 8: Scores Recorded by the Participant Students to Survey Questions

Correl (Q2, Q10) = 0.707106781

The correlation relationship is shown in Figure 9.

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ABOUT THE AUTHOR

The International Journal of Design Education

As well as papers of a traditional scholarly type, this

The International Journal of Design Education

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