1) Building materials play a crucial role in architectural design by influencing both the functional and aesthetic aspects. Materials determine the structural properties and shapes that can be achieved. 2) The design process can be driven by either the form first or the material selection first. Successful designs integrate both the form and the material selection together through creativity. 3) Different materials have different structural strengths and weaknesses related to compression, tension, and bending. They also have varying visual and tactile properties related to transparency, color, reflectivity, temperature, and texture. The choice of appropriate materials is important for meeting technical requirements and conveying the desired aesthetic.

1. The Role of Building Materials
in Architectural Design
Hafedh Abed Yahya , and Muna Hanim Abdul Samad
The 4th International Malaysia-Ireland Joint Symposium on
Engineering, Science and Business (IMiEJS) 2014
1

2. Historical introduction
Architectural design process
The role of materials in architecture
Conclusions
The Role of Building Materials in Architectural Design2

3. Historical introduction
“The subject of material is clearly
the foundation of architecture”
William Morris (1892)
3

4. Historical introduction
Before
19th
Century
After
1800s
Late 20th
Century
In the
Future
Click to add
text… …
Stone
Click to add
text… …
Steel & Glass
Click to add
text… …
Metallic Surfaces
Click to add
text… …
Smart Materials
4

5. Architectural design process
Architectural design is
“The method of organizing materials and forms
in a specific way to satisfy a definite purpose”.
Kurt Dietrich, (2008)
5

6. Space
Shape
architectural
design
elements
Architectural design process
Materials
Colour
Line
1
2
3
4
6
Texture 5
Mass 7
6

7. Architectural design process
1. 2. 3.
Form is driven in the
first proposal by the
architect. The materials
are then explored to
realize the shape.
Form Material Selection
Materials selection
can drive the design
process selection.
Material Selection Form
The basic approach
for designing, driven
both form and
material together, is
pure creativity and
intensive effort.
Material Selection & Form
7

8. Architectural design process
Buckminster Fuller’s
‘Bucky Balls’ is a good
example shown in
figure.
Fuller developed
structures that
postulate the
possibility of unknown
elements.
8

9. Architectural design process
The three design processes, materials are the
criteria which finalize the design. Architectural
design moved forward by pushing the limits through
which the materials, new and old, can be
assembled, shaped and formed to provide a new
awareness in the design process.
9

10. Objects had
The role of materials in architecture
functional purpose
the water wheel, the steam engine,
the gas turbine.
symbolic ordecorative
the cave painting of Lascaux, the
wooden masks of Peru, the
marble sculptures of Attica
Combine functional with symbolic and decorative
Combination is perhaps most obvious in architecture.
the Coliseum of Rome, the Empire State Building of
New York, and the Pompidou Centre of Paris; each an
example of combination the technical and aesthetic.
1
2
3
10

11. Technical functionality
The forms of these structures are directed by
the brittleness of the stone, making it strong in
compression but weaker in tension and bending.
Brick like stone is strong only in compression.
Stone
The role of materials in architecture
11

12. Technical functionality
High tensile steel cables with truss-like compression
members supporting a glass reinforced (PTFE)
room membranes. A rubberized nylon membrane
supported by internal pressure.
Steel cable & Nylon membrane
The role of materials in architecture
12

13. Technical functionality
Here the forms reflect the high strength to
weight ratio of wood, and its ability to carry both
tensile and compressive loads almost equally
well.
Wood
The role of materials in architecture
13

14. Technical functionality
Reinforced, and pre-stressed, concrete allows great
freedom of shape delicacy of form. The materials, a
composite of steel and concrete, carry tensile,
bending, and compressive forces equally well.
Reinforced concrete
The role of materials in architecture
14

15. Technical functionality
1 2 3 4
Compression
Click to add
Tension Bending
Click to add
text… …
Combination
15

16. Aesthetic functionality
1 2 3 4
Touch
Optically clear -
Transparent -
Translucent - Opaque
Reflective - Glossy-
Matte- Textured
Sight Hearing
Bitter - Sweet
Test&Smell
Muffled - Dull - Sharp
Resonant - Ringing
Low pitched – High
pitched
Warm – Cold
Soft – Hard
Flexible - Stiff
16

17. The
tactile
attributes
Aesthetic functionality
Steel and Glass
-Not scratch easily -Accept high polish
-Resist distortion -Durable
Rubberand Polymerfoam
-Defect when handle – Squashy but when
it is released it returned to its original
shape
Design processHard materials can be made soft by forming
them into shapes in which they bend or twist:
hard steels shaped into soft spring: glass drawn
into fibres and woven into cloth
Hard
Soft
17

18. The
tactile
attributes
Aesthetic functionality
Ceramics, stone and metals are cold and hard;
so is glass
Cold
Warm
Polymer foams and low density wood are
warm and soft; so are balsa and cork
18

19. The visual
attributes
Aesthetic functionality
Opaque and transparent
Metals are opaque. Most ceramics are either opaque or translucent,
because they are poly crystalline and the crystals scatter light.
Glasses, and single crystals of some ceramics, are transparent.
Colour
A more effective method is one of colour charts such as those
provided by Pantone, which provide detailed advice on colour
selection, including colour matching charts and good
descriptions of the associations of colour.
Reflectivity
Reflectivity is depending partly on material and
partly on surface detail. Like transparency, it is
commonly described by ranking: dead matt,
eggshell, semi gloss, gloss, mirror.
19

20. Reflectivity
Diffuse Mirror Retro
light strikes rough surfaces,
such as pavement, foliage,
and clothing. These surfaces
cause the light beams to
scatter in all directions. Only a
small amount of the light is
reflected back toward the
source
light strikes surfaces that
are smooth or glossy.
The light reflects off the
surfaces at an equal, but
opposite angle to the
source
surfaces return a portion
of directed light to its
source. This is why retro
reflective materials
appear brightest to
observers located near
the light source
20

21. Conclusions
Conclusion
Functionality
depends on the choice of proper material to
meet the technical requirements of the design
safely and economically.
Aesthetic
influenced by the visual and tactile
properties of the materials to convey
information and respond to user action
Design process
In the three design processes materials play
crucial role to formalize the final design
1
2
3
21

22. Conclusion
As a result, recently the designers consider the materials
as a part of the design process from which materials can
be chosen and applied as compositional and visual
surfaces. The impact of a design solution may be
enhanced or destroyed through the manner by which the
architect uses materials in the composition.
22

23. Form, you may say, follows materials.
Conclusion23

24. References
• R. Thomas, Environmental design; An introduction for architects and engineers, 3rd ed., London: Taylor & Francis, p.67, (2006).
• V. Bell, and P. Rand, Materials for architectural design, London: Laurance King, (2006).
• M. Addington, and D.L. Schodek, Smart materials and new technologies; for the architecture and design professions, Oxford:
Elsevier, (2005).
• K. Dietrich, A design for architectural education, Canada, (2008).
• Aseel Abdalhaleem Latif, and Hala S. M. Aldiwani, The imapact of materials' technology on sustainability of buildings. Journal of
Engineering, 18(11) (2012), pp.233-254.
• M. Shahinpoor, and H. J. Scneider, Intelligent materials, Cambridge: The Royal Society of Chemistry, (2009).
• A. J. Brookes, and D. Poole, Innovation in architecture, London: Spon Press, (2004).
• W. Bugler, Radical nature art exhibition. Ecologist; Setting the Environmental Agenda Since 1970, Retrieved from
http://www.theecologist.org/reviews/events/271315/radical_nature_art_exhibition.html, (2009).
• M. Ashby, and K. Johnson, Materials and design: The art and science of material selection in product design, 2nd ed., United
Kingdom; Elsevier Ltd, (2009).
• M. Ashby, Materials and product design, Granta Mterial Inspiration, Retrieved from
http://www.atilim.edu.tr/~ktur/mate410/Dosyalar/40-CES_Materials&Product_Design_Ashby.pdf , (2008).
• E. Karana, P. Hekkert, and P. Kandachar, Material considerations in product design: A survey on crucial material aspects used by
product designers, Material and Design, 29 (2008), pp. 1081-1089.
• M. Ashby, Materials and Product Design, Detail Design and Manufacture, (2004).
• D. L. Schodek, P. Ferreira, and M. Ashby, Nanomaterials, nanotechnologies and design: an introduction for engineers and
architects, Oxford: Butterworth-Heinemann, (2009).
• J. Vitásek, P. Koudelka, J. Látal, F. Dostál, and K. Sokanský, Indoor optical free space networks-reflectivity of light on building
materials, Przeglad Elektrotechniczny, 87(4) (2011), pp. 41-44.
24

25. Thank you
The 4th International Malaysia-Ireland Joint Symposium on
Engineering, Science and Business (IMiEJS) 2014
25