Use and Creation of Texture in Commercial Interior

Space: Case Study of Istinye Park Shopping Mall –

Istanbul / Turkey

Mohammad Kamalzadeh

Submitted to the
Institute of Graduate Studies and Research
in partial fulfillment of the requirements for the Degree of

Master of Science
in
Interior Architecture

Eastern Mediterranean University

July 2014
Gazimağusa, North Cyprus
Approval of the Institute of Graduate Studies and Research

Prof. Dr. Elvan Yilmaz

Director

I certify that this thesis satisfies the requirements as a thesis for the degree of Master
of Science in Interior Architecture.

Prof. Dr. Uğur, U. Dağlı

Chair, Department of Architecture

We certify that we have read this thesis and that in our opinion it is fully adequate in
scope and quality as a thesis for the degree of Master of Science in Interior
Architecture.

Assoc. Prof. Dr. Nil P. Şahin

Supervisor

Examining Committee

1. Assoc. Prof. Dr. Nil P. Şahin

2. Assoc. Prof. Dr. Özlem Olgaç Türker

3. Asst. Prof. Dr. Münevver Ö. Özersay

 ABSTRACT

Commercial places are such places that should attract people’s attention. Moreover,

interior design of them is an important issue that attracts people to enter in.

Therefore, interior design of a shop may be as important as the goods that are sold in

the space. There are many approaches to design interior space of a shop such as

color, lighting, and material selection where those issues named by Brooker & Stone

(2010) as the tactics of interior design. Texture is one of the primary tactics while

designing interiors, which can affect customer perception and attract them to enter in

the shop.

Nowadays, designers use many various ways to design interior spaces. However,

most of them do not pay attention to the texture as a tactic of the design; it may be

because of the low level of awareness and knowledge about texture and the ways it

created.

This study evaluates the use of texture in commercial spaces and a shopping mall

called Istinye Park in Istanbul / Turkey has been determined as the case study.

Texture evaluation in this shopping mall is primarily based on the design point of

view as such it quested how texture was used or created besides questing the

people’s level of awareness about texture in interior design. Additionally, since there

are no much written sources on this subject, it could be said that this research would

work as a guideline for interior designers and people to understand what actually

texture is and how it could be used as a tactic in interior design.

iii
Keywords: Commercial Places, Shopping Mall, Retail Spaces, Interior Design,

Interior Design Tactics, Material, Texture.

iv
 ÖZ

Alışveriş Mekanlarında tasarım unsuru kullanıcının (müşteri) ilgisini çekerek mekanı

kullanmaya davet eden önemli bir araçtır. Bu bağlamda, mekanda teşhir edilen

ürünler kadar mekanın tasarımı da önem taşır. Mağaza tasarımında renk, aydınlatma /

ışıklandırma ve malzeme önemli rol oynayan etkenlerdir. Bu etkenler Brooker ve

Stone tarafından iç mekan tasarımı taktikleri diye nitelendirilir (2010).

Çalışmalarında iç mekan tasarımında doku kullanımını da önemli taktiklerden biri

olarak vurgularlar. Alışveriş mekanlarında doku kullanımı müşterinin algısını ve

dikkatini çekmekte etkili bir araçtır.

Günümüzde, tasarımcılar iç mekanları tasarlarken farklı yöntemler kullanır. Fakat, iç

mekan tasarımında etkili taktiklerden birisi olan doku kullanımına çok fazla önem

verilmez; doku kullanımı ve yaratılması konusunda yeterli bilgiye sahip olmamaları

bunun sebeplerinden birisi olabilir.

Bu çalışma, alışveriş mekanlarını araştırma alanı olarak belirler ve iç mekan

tasarımda doku kullanımı konusunu bu bağlamda irdeler. Araştırma alanı olarak

İstanbul’da bulunan İstinye Park Alışveriş Merkezi belirlenmiştir. Alışveriş

merkezindeki mağaza iç mekanlarında doku tasarımının incelenmesi ve kullanıcının

bu konuya ilişkin farkındalığı öncelikli olarak sorgulanan iki temel unsuru

oluşturmaktadır. Araştırılan konuya ilişkin yeterli sayıda yazılı kaynağın olmaması

nedeni ile bu çalışmanın iç mimarlar için bir kaynak kitap niteliğinde olacağı ve aynı

zamanda konuya ilişkin farkındalığı da artıracağı düşünülmektedir.

v
Anahtar kelimler: Alışveriş mekanları, alışveriş merkezi, mağaza, iç mekan

tasarımı, iç mekan tasarımı taktikleri, malzeme, doku

vi
DEDICATION

TO MY WIFE ,
FOR HER UNCONDITIONAL LOVE

vii
 ACKNOWLEDGMENT

I would like to take particular note of the people who made this research possible

with their great help and support.

I would like to extend my gratitude to my supervisor, Assoc. Prof. Dr. Nil

Paşaoğluları Şahin, who supported me through thick and thins of this thesis with her

insightful knowledge. Thank you for encouraging and directing me to follow my

interests.

I wish also to convey a special thanks to Assoc. Prof. Dr. Özlem Olgaç Türker, and

Assist. Prof. Dr. Münevver Özgür Özersay for their great support and encouragement

during my education.

At the end, I would like to dedicate this thesis to my family who encouraged me to

broaden the horizons of my imagination and supported me through my education. I

hope that dedicating this thesis to them, even though it is not much, could return a bit

of their love and kindness.

viii
 TABLE OF CONTENTS

ABSTRACT ................................................................................................................ iii

ÖZ.................................................................................................................................v

DEDICATION ........................................................................................................... vii

ACKNOWLEDGMENT........................................................................................... viii

1 INTRODUCTION .................................................................................................... 1

1.1 Subject Matter and Problem Statement .............................................................. 1

1.2 Aim, Research Questions and Limitation .......................................................... 5

1.3 Research Methodology....................................................................................... 7

2 THEORETICAL BACKGROUND OF THE STUDY: TEXTURE WITHIN

COMMERCIAL INTERIOR SPACES ..................................................................... 10

2.1 Commercial (Retail) Spaces ............................................................................. 10

2.1.1 History and Background of Commercial (Retail) Spaces ......................... 10

2.1.1.1 Ancient Period .................................................................................... 11

2.1.1.2 Middle Age......................................................................................... 12

2.1.1.3 Contemporary Periods ........................................................................ 13

2.1.2 Various Types of Retail Spaces ................................................................ 17

2.1.3 Shopping Center or Mall ........................................................................... 20

2.1.4 Interior Design Issues in Commercial Spaces ........................................... 24

2.2 Texture ............................................................................................................. 35

2.2.1 Definition of Texture................................................................................. 35

2.2.2 Role of Materials to Create Texture .......................................................... 43

2.2.3 Different Methods or Techniques to Create Texture ................................ 46

2.2.3.1 Creating Texture Through Articulation of Various Materials ........... 51

ix
 2.2.3.2 Creating Texture by Using Recycled and Raw Materials .................. 55

2.2.3.3 Texture Creation via Repeating Individual Objects or Goods ........... 62

2.2.3.4 Innovative Texture Through Smart Materials .................................... 65

3 EVALUATION OF THE USE OF TEXTURE AS A TACTIC OF DESIGN IN

‘ISTINYE PARK SHOPPING MALL’S INTERIOR SPACES- ISTANBUL/

TURKEY ................................................................................................................... 69

3.1 Istinye Park Shopping Mall .............................................................................. 69

3.1.1 Istinye Park’s Spatial Organization and Research Sampling .................... 70

3.1.2 Retail Spaces’ Evaluation Based On Use of Texture as a Tactic of Interior

Design at Istinye Park Shopping Mall ............................................................... 74

3.1.3 Questioning the User Awareness about Use of Texture at Retail Spaces at

Istinye Park Shopping Mall-İstanbul ............................................................... 109

3.1.3.1 General information about respondent ............................................. 109

3.1.3.2 Awareness of Customers / Visitors on Interior Design Issues ......... 111

3.1.3.3 Investigation of the Relationship between Customer – Shopping –

Interior Design of a Store / Shop with a Special Emphasis Put on Texture 114

4 CONCLUSION ..................................................................................................... 120

REFERENCES ........................................................................................................ 127

APPENDIX .............................................................................................................. 142

x
 LIST OF TABLES

Table 1: Research Methodology .................................................................................. 9

Table 2: Evolution of retail-commercial spaces through the history ......................... 17

Table 3: Retail spaces classification .......................................................................... 20

Table 4: brief introduction of a shopping center or mall ........................................... 24

Table 5: Brief explanation of interior design issue in commercial interior spaces .... 34

Table 6: Texture introductory through its definition ................................................. 36

Table 7: Texture Classifications ................................................................................ 43

Table 8: The relationship between material and texture creativity ............................ 45

Table 9: Various methods that can crate texture in interior design ........................... 67

Table 10: General framework of texture within the commercial interiors ................ 68

Table 11: Istinye Park Spatial Organization and Research Sampling ....................... 73

Table 12: The inventory sheet as a framework of texture evaluation in interior design

of the Istinye Park ...................................................................................................... 75

Table 13: Framework of the texture evaluation in retail interiors at Istinye Park

shopping center in Istanbul- Turkey .......................................................................... 76

xi
 LIST OF FIGURES

Figure 1: Milan Galleria-18th -one of the first shopping streets (URL 1) .................. 13

Figure 2: The Country Club Plaza in Kansas City/ Nichols-1922 (URL 2) .............. 14

Figure 3: The shape and facilities of various types of shopping centers - (building

type basics for retail and mixed-use facilities, written by Kliment et al. (2004, p.142)

- (A: Strip Shaped, B: Triangle Shaped, C: Double-Dumbbell Shape, D: T-Shaped,

E: Cluster Shaped, F: Dumbbell Shaped, G: U-Shaped, H: L-Shaped) .................... 23

Figure 4: Laminate flooring in commercial interior (URL 3) .................................... 27

Figure 5: The use of steel in commercial interior design (URL4) ............................. 28

Figure 6: Glass designed as partition wall in commercial interiors (URL 5) ............ 28

Figure 7: Laminate flooring in commercial interior (URL 6) .................................... 29

Figure 8: Vinyl flooring in interior design (URL 7) .................................................. 30

Figure 9: Use of textile in interior design (URL 8).................................................... 30

Figure 10: Terrazzo flooring design (URL 9) ............................................................ 31

Figure 11: Stone, slate and marble in interior design (URL 10) ................................ 32

Figure 12: Ceramic and interior design (URL 11) ..................................................... 32

Figure 13: Painting and wallpapering in commercial interior design (URL 12) ....... 33

Figure 14: Examples of natural texrure...................................................................... 37

Figure 15: Examples of artificial texrure ................................................................... 38

Figure 16: Examples of smooth surfaces ................................................................... 39

Figure 17: Examples of rough surfaces...................................................................... 39

Figure 18: Examples of visual texture ....................................................................... 41

Figure 19: Examples of tactile texture ....................................................................... 42

Figure 20: Maretials articulation create textured surfaces ......................................... 45

xii
Figure 21: Two dimensional texture design in the space ........................................... 47

Figure 22: Three dimensional texture design in the space ......................................... 47

Figure 23: Conceptual elements in interior design .................................................... 48

Figure 24: Visual elements in interior design ............................................................ 49

Figure 25: Relational elements in interior design by Zaha Hadid’s work at Palazzo

della Ragion ............................................................................................................... 49

Figure 26: Practical elements, combining forms and using them side by side .......... 50

Figure 27: Tides Restaurant -Lewis.Tsurumaki.Lewis-New York (Lewis, 2008)

(URL110) ................................................................................................................... 52

Figure 28: Paper Chandeliers installation by Cristina Parreño Architecture and MIT -

Madrid, Spain (URL111) ........................................................................................... 53

Figure 29: Starbucks Restaurant in Amsterdam (URL112) ....................................... 53

Figure 30: Creating texture in a wine shop, desined by Dencity LLC in Atlanta

(URL113) ................................................................................................................... 54

Figure 31: Slowpoke Espresso Café- Designed by Anne-Sophie Poirier-Australia

(URL114) ................................................................................................................... 56

Figure 32: New Hotel – Designed by the Campana Brothers – Athens, Greece (URL

115) ............................................................................................................................ 57

Figure 33: OWEN Design Store – Designed by Jeremy Barbour – Located in the

Meatpacking District New York (URL116) .............................................................. 58

Figure 34: Aesops Glass Bottle Store, Designed by Rodney Eggleston-Adelaide,

Australia ..................................................................................................................... 58

Figure 35: e-BARRITO store in Reggio Emilia, in northern Italy – Designed by

Francesca Signori (URL119) ..................................................................................... 59

xiii
Figure 36: Paper tube office – Designed by Zouk- Architects – South Korea

(URL120) ................................................................................................................... 59

Figure 37: Aesop at Merci by March Studio – Designed by Rodney Eggleston –

located in Melbourne Australian (URL121) .............................................................. 60

Figure 38: Cardboard-Designed Shop-Designed and constructed by Peter Masters

of Burnt Toast Designs- Manchester, UK (URL 122) .............................................. 61

Figure 39: Some example of texture creativity by reused and recycled materials .... 61

Figure 40: Best Cellars shop in New York, Designed by Rockwell Group (URL127)

.................................................................................................................................... 62

Figure 41: Aesop at I.T Hysan One Designed by Cheungvogl architects, Located in

Hong Kong-China (URL128) .................................................................................... 63

Figure 42: Show shops ............................................................................................... 64

Figure 43: Cagnolati optometry, designed by HEIKAUS, Duisburg in Germany

(URL131) ................................................................................................................... 64

Figure 44: Hip Shoe Shope, designed by Teun Fleskens in Tilburg, Netherland ...... 65

Figure 45: The Aegis Hypo surface’ designed by US-American dECOi architectural

group- texture innovating through smart material (URL134) .................................... 66

Figure 46: Istinye Park Shopping Mall in \Istanbul- Turkey (URL 135-136) ........... 70

Figure 47: 1st floor-Plane of the Istinye Park (The plan is developed based upon the

leaflets from the Istinye Park) .................................................................................... 71

Figure 48: Ground Floor-Plane of the Istinye Park (The plan is developed based upon

the leaflets from the Istinye Park) .............................................................................. 71

Figure 49: -1st Floor-Plane of the Istinye Park (The plan is developed based upon the

leaflets from the Istinye Park) .................................................................................... 72

xiv
Figure 50: -2st Floor-Plane of the Istinye Park (The plan is developed based upon the

leaflets from the Istinye Park) .................................................................................... 73

Figure 51: Location of Texture in retail spaces at Istinye Park Shopping Mall ........ 77

Figure 52: Materials, which created texture in Istinye Park interior design .............. 78

Figure 53: Existence of texture. Use of natural and artificial materials to create

texture in Istinye Park shopping mall ........................................................................ 80

Figure 54: Examples of texture creation by artificial materials in Istinye Park

shopping mall ............................................................................................................. 81

Figure 55: Examples of texture creation by natural materials in Istinye Park shopping

mall............................................................................................................................. 81

Figure 56: Ratio of 2/3-dimensional texture used in Istinye Park ............................. 82

Figure 57: 2-dimensional texture example in Istinye Park shopping mall ................ 82

Figure 58: 3-dimensional texture example in Istinye Park shopping mall ................ 83

Figure 59: Amount of rough and smooth surface quality in retail interiors at Istinye

Park shopping mall..................................................................................................... 83

Figure 60: Texture created by smooth surface quality in Istinye Park shopping mall

.................................................................................................................................... 84

Figure 61: Roughness in surface quality of texture in Istinye Park shopping mall

achieved by natural stone ........................................................................................... 84

Figure 62: Amount of visual and tactile texture used in Istinye Park shopping mall 85

Figure 63: Visual texture examples in Istinye Park shopping mall ........................... 85

Figure 64: Tactile texture examples in Istinye Park shopping mall achieved by using

timber, rubber, and stone............................................................................................ 86

Figure 65: Structure of evaluation to discover design of texture as a tactic of interior

design at Istinye Park ................................................................................................. 88

xv
Figure 66: Texture created on conceptual elements via line repetition in different

direction -Istinye Park interior design ........................................................................ 89

Figure 67: Texture created on conceptual elements via plane repetition in the same

size -Istinye Park interior design ................................................................................ 89

Figure 68: Texture created on conceptual elements via volume repetition in Istinye

Park interior design .................................................................................................... 90

Figure 69: Visual elements based on point repetition- Istinye Park facade design ... 91

Figure 70: Texture created by visual elements organized via line repetition -Istinye

Park shop window ...................................................................................................... 91

Figure 71: Texture created by visual elements organized via plane repetition -Istinye

Park interior design .................................................................................................... 92

Figure 72: Texture created by visual elements organized via volume repetition -

Istinye Park interior design ........................................................................................ 93

Figure 73: Texture created by relational elements organized via plane repetition -

Istinye Park interior design ........................................................................................ 94

Figure 74: Texture created by relational elements organized via plane repetition -

Istinye Park interior design ........................................................................................ 94

Figure 75: Texture created by practical elements organized via line repetition -Istinye

Park interior design .................................................................................................... 95

Figure 76: Texture created by practical elements organized via plane repetition -

Istinye Park interior design ........................................................................................ 96

Figure 77: Texture created by practical elements organized via volume repetition -

Istinye Park interior design ........................................................................................ 97

Figure 78: Texture design based on organization of elements of interior space in

Istinye Park ................................................................................................................ 97

xvi
Figure 79: How elements are repeated to create texture in Istinye Park interior design

.................................................................................................................................... 98

Figure 80: Methods and techniques, which are used to create texture in Istinye Park

interior design ............................................................................................................ 99

Figure 81: Texture creation by metal chains on shop window in Istinye Park ........ 100

Figure 82: Using curtain on the wall to create texture - Istinye Park interior design

.................................................................................................................................. 101

Figure 83: Creating 3-D texture on window shop by the articulation of planar glass

elements at Istinye Park interior design ................................................................... 101

Figure 84: Articulation of various materials to create texture in retail spaces / shops

in interior design of Istinye Park Shopping Mall ..................................................... 102

Figure 85: Use of recycled ceramics to create texture in Istinye Park ..................... 103

Figure 86: Reusing wooden boxes to create 3-D texture in shop window- Istinye Park

interior design .......................................................................................................... 104

Figure 87: Using recycled timbers to create texture- Istinye Park interior design .. 104

Figure 88: Using recycled and raw materials to create texture on the objects- Istinye

Park interior design .................................................................................................. 105

Figure 89: Texture created according to a special organization of goods- Istinye Park

interior design .......................................................................................................... 106

Figure 90: Using liquid materials on original surface and scratch them to create

texture in interior design of Istinye Park .................................................................. 107

Figure 91: Using solid materials and scratching them to create texture in interior

design of Istinye Park ............................................................................................... 108

Figure 92: Molding liquid materials to create texture in interior design of Istinye Park

.................................................................................................................................. 108

xvii
Figure 93: General information - age ranging and gender of the respondent to the

questionnaire survey- Istinye Park shopping mall ................................................... 110

Figure 94: General information – educational level of respondent- Istinye Park

shopping mall ........................................................................................................... 110

Figure 95: Intensity of people’s presence in the Istinye Park shopping mall during a

month ....................................................................................................................... 111

Figure 96: People consideration on interior design issue - Istinye Park shopping mall

.................................................................................................................................. 111

Figure 97: The most important issue in the field of interior design issue- Istinye Park

shopping mall ........................................................................................................... 112

Figure 98: Users’ knowledge about concept of texture as a tactic of interior design-

Istinye Park shopping mall ....................................................................................... 113

Figure 99: Rating use of texture as a tactic of interior design ................................. 114

Figure 100: The most important factor affecting shopping activity - Istinye Park

shopping mall ........................................................................................................... 115

Figure 101: Effect of use of texture on the shopping activity - Istinye Park Shopping

Mall .......................................................................................................................... 115

Figure 102: Element importance in interior design of a shop - Istinye Park shopping

mall........................................................................................................................... 116

Figure 103: Effect of texture in shop design - Istinye Park shopping mall ............. 116

Figure 104: Effect of texture in shopping activity - Istinye Park shopping mall ..... 117

Figure 105: Proper texture placement to attract customer attention - Istinye Park

shopping mall ........................................................................................................... 117

Figure 106: Special good organization is the way to create texture - Istinye Park

interior design .......................................................................................................... 118

xviii
Figure 107: People’s satisfaction to be in a shop with texture creation around -

Istinye Park shopping mall ....................................................................................... 119

Figure 108: The aim of texture creation in design of the shop - Istinye Park Shopping

Mall .......................................................................................................................... 119

Figure 109: Texture creation under four main element groups in interior design ... 121

Figure 110: Texture creation based on regular and irregular repetition .................. 122

Figure 111: Texture creation by using natural and artificial materials .................... 122

Figure 112: Smooth and rough surface quality according to texture creation in the

space ......................................................................................................................... 123

Figure 113: Use of visual and tactile texture in Istinye Park ................................... 123

Figure 114: Various Materials, which created texture according to design point of

view .......................................................................................................................... 124

xix
 Chapter 1

1 INTRODUCTION

1.1 Subject Matter and Problem Statement

There are different approaches and tactics to design of interior spaces. According to

Brooker and Stone “the details of the design proposal, that is, the intimate detailed

design of the individual elements can be described as the tactics. This included the

materials, surface finishes/ texture, shape, form, and nature of the components and

constituents of the interior” (2010, p.112). According to Nebraske (1997), texture,

material, lighting, and color creates our environment. It can be said that architectural

forms, textures, materials, lightings and colors all inject quality to a space (Ching,

2007).

“Material and texture can make or break a design” (Gagg, 2012, p.164). Therefore,

the use of material and texture to design interior are endless, however, the proper use

of them will make a place more dramatic and the most subtle of effects. “The quality

of the architecture will be determined by the skill of the designer in using and

relating these elements, both in the interior space and in the space around building”

(Ching, 2007, p.33).

Rao (2012) discusses the material as the most significant element of design and

architecture. As he adds: “all of the buildings made of various materials; that means

without using material you can build nothing, that’s why it possesses significant role

1
than others in the first view”. On the other hand, Gagg (2012) argues about texture,

as he believes texture is “the handle, the walls, the noise that your feet make on the

floor as you enter a room and the bright reflections from the glass that distracts your

eye” (p.8). For instance, the first touchable things that an individual faced with when

he/she enter a place are material and texture. He also mentions that, successful design

is the result of careful material, texture and color selection.

Texture is a significant tactic. It directly affects the visual (perceptive) quality of the

interior space and this makes it an important element to be considered in design.

Gagg, (2012) believes that each texture has made by a material and all materials

could have texture. “Materials and texture that they either inherently possesses or

that can be applied to them will often define the essential qualities of a space” (p.8).

In fact well-chosen materials increase the quality of space and make suitable textures

as well (Coles, & House2007).

As mentioned before, texture is a tactic or design elements, which brings visual

quality to the space. It also affects interior design perception and the perception of

people who are within it. Nowadays, most of the people spent their time in indoor

environment_ work, sleep, eat, live, and enjoy time in closed spaces such as

residential and commercial spaces (Briggs, 2003).

Commercials places have important role for people and in their socialization (Farrell,

2010). Since they possess significance place in people’s lives, their design is possess

great importance. Kirkpatrick, (1994) points out how commercial spaces were a

strong part all through the history as he states: “from the agora of ancient Greece to

the super-mall of our modern cities, the market place occupies a special part of our

2
history and culture” (P.10). 200 years ago, shops were just along “Avenue” in global

cities such as New York, Paris, London, Tokyo and Rome (Barr, 1997). Throughout

the history, commercial places existed and were the important places for cities; they

always attract people and many researchers considered this subject thoroughly. For

example, in 1862, Thoreau wrote an essay named “walking” which answer a

question, “what would become of us, if we walked only in a garden or a mall”.

Shops and Stores are some types of commercial places. According to Webster in

Farrell (2010), shops are small retail stores; which people need to go there for their

needs and whatever they want during the weeks, month or year. Thus, it could be say

that shopping is an inseparable part of human life. Additionally, as Farrell (2010)

says: shopping will be fun and even therapeutic whether there be nothing in their

shopping bag. On the other hand, he also believes that window-shopping is one of

the primary pleasures, in addition as he mentions: design is a visual spectacle. It

shows how design of the shops is an important factor during shopping process.

Furthermore, Barr& Field (1997) argue about the importance of retail design, as they

believe: stores with high design will attract customer more than a poor design store.

“Design is any activity that leads to the production of a series of beautiful and useful

object” (Asensio, 2007, p.15). Each commercial place need to have its own design in

line with it needs and then it can response customer. On the other hand, as Mesher,

(2010, p.7) points out in his study: “the design of shops is an ever-changing cycle,

following fashion trends and consumer aspirations”.

The importance of shopping design is to establish contact between the producer and

consumer (Kirkpatrick, 1994). That is to say design of a shop having special lighting,

3
color, and material or texture might affect the display of goods and changes the

perception of the product different than it really is. In fact, there are three main

components of a design scheme: color, texture and form.

“There are lots of approaches in designing commercial places_ how to use color,

material, texture, form and light are the most important ones. Nowadays, drama,

color, lighting, sound, architecture and display are the things that are used in new

store design to merchandise ideas (Barr, 1997). “The ultimate goal of any good

design is an optimal combination of the elements of the composition for a logical

equilibrium of visual sensations. It is the capacity to transmit a message to the viewer

using psychological aspects of human perception and the cultural connotations of

certain elements” (Asensio, 2007, p.7).

As Gagg argues, “every interior space should create an experience for the user- that

is what we all hope to achieve as designer. In today’s drive for short turnaround

times and value for money, designer often make use of low- budget but high- drama

effects in their designs” (2012). Why do some designers find the search for new and

innovative material and texture such as exciting part of the job? It is because

materials and texture have the unique ability to help designer connect at an elemental

level through touch and sight with the intent and soul of a project. The look or feel of

a material can communicate mood and emotion in a very special way. Natural

materials or textures suggest a certain quality and honesty about the design”

(Dodsworth, 2009).

The commercial places are typical places where there is a continuous change in their

design according to the changing conditions of time. There is more possibility to

4
design interiors by integrating different materials to create textural effects when it is

compared with other types of interiors such as residential interiors. The use of texture

is one of the important design approaches in interior design but many designers

ignore it in design.

First observations clarified the confusion of users and designers understanding

related with texture that they mix it with the materials. People usually use material to

design their interior spaces but they usually do not pay attention to its texture.

Apparently, meaning of texture is not clear for most of the people, they usually do

not know the meaning of texture or the difference between texture and material and

they usually mix them up. On the other hand, most of the designers are unfamiliar

with the ways texture could be created. The shortage of studies and written sources

about texture and about its design in interior space thought to be the main cause of

the low level of people’s awareness about texture as a tactic in interior design.

Accordingly, this research focuses on the creation and use of texture as a tactic of

interior design and quests the use, role and design of texture in commercial interior

spaces.

1.2 Aim, Research Questions and Limitation

Aim

The aim of this research is to find out how texture can be created and how it is used

in commercial interior design. Besides, it also aims to make designers and users get

familiar with different articulations of texture in interior spaces. The subsidiary aim

is to raise awareness and understanding of both designers and users on different

5
methods or techniques of creating texture and use of the material that have special

texture in interiors.

Research Questions

The purpose of this thesis is to quest and respond mainly the role of texture on

interior design with a special emphasis that is put on commercial interiors. This study

aims to answer mainly two issues: Use of texture in commercial interior design as the

main aim and people awareness about use of texture as a part of interior design issues

as the secondary aim of this study.

Questions that will respond the main research objective better are:

1. How and with which methods and techniques texture could be created in interior

design and how it could be used in commercial interiors?

2. What kinds of texture design exists in commercial interiors?

3. What is the functional role of texture in commercial interior spaces?

On the other hand, to achieve the secondary aim this research will response to the

questions below:

1. What is the level of awareness of people about texture as the main question?

2. Do people know the difference between texture and material?

Limitation

This study is limited to the evaluation of the interior design of commercial spaces

and shopping mall is determined as the case study area. Evaluation of the interior

design issues is limited to the creation and use of texture, which all sort of 2D, 3D,

and tactile texture is considered under this evaluation. On the other hand, visual

textures are not included as the main focus of this evaluation since they are ready to

6
use sources not dealing with cost estimation on budgeting and economic side of it.

Additionally, the focus of the study is on retail spaces, thus restaurants, cinemas,

entertainment places, sport and service areas in the shopping mall were not examined

under this evaluation. Beside these, jewelry shops were also do not considered and

constitute the other limitation of this study since the researcher was not allowed to

make evaluation.

1.3 Research Methodology

This study is under both qualitative and quantitative research family. The qualitative

research is the literature review section where there is an interpretative approach of

the literature. Due to the shortage of written sources about the concept of texture, the

section which covers the methods and techniques of texture design is achieved

through the interpretation of existing interior design cases that leads to the

development of its own theory. And the quantitative part is organized under two

separate approaches, which are physical and social analyses through a case study

research. In the case study, physical analyses were carried out with the aid of

developed inventory forms to discover the use and creation of texture in the interior

space of retail spaces. Moreover, the social analyses have measured the users’ level

of awareness through a questionnaire survey.

Chapter 2 is a theoretical part of the study including two main subsections:

commercial / retail spaces and texture. In the first part, commercial or retail spaces

were considered about their history and various kinds of them. Then the study

focused on modern shopping centers and malls, elements that are important in their

interior design, besides materials that can be used in their interior design, and where

these mentioned materials were being used.

7
Second section, is more specific and important due to its significant role it possess

within the entire study as the backbone. It discusses the concept of texture with an

elaborate manner: What does it mean? How can texture be classified? How can it be

used and created? What is the role material plays to create it?

Chapter 3 evaluates the case of a shopping mall in Istanbul City-Turkey called

Istinye Park. The reason behind choosing this mall as a case study area was due to its

structure where there are several different examples of commercials spaces in

different types, size, function, quality and design existed. This chapter is based on

two main examinations. The first one is physical analysis according to the theoretical

chapter based on texture. Here the mall is examined through observation, taking

photos and making sketches of the ways designer used or created texture, that helped

to fill in the developed inventory forms for each shop, that leads research to the

results of the physical analysis.

On the other hand, people / customers’ level of awareness about the texture was

examined with the questionnaire survey. Here researcher handed in a questionnaire

form to the people who visited the mall during a week to quest what is the people’s

level of awareness about texture in interior design.

Lastly, in Chapter 4, the study concludes with the findings of physical analysis that

demonstrates how texture used is as a tactic of interior design in different

commercial interiors and findings of social analysis that demonstrates how much

people aware are about the use of texture in general and specifically in commercial

interiors. Table 1 shows research methodology and the structure of this study.

8
Table 1: Research Methodology

9
 Chapter 2

2 THEORETICAL BACKGROUND OF THE STUDY:

TEXTURE WITHIN COMMERCIAL INTERIOR
SPACES

The given information under the section ‘theoretical background’ is based on the

main aim of the research that is how texture is used in interior design and in

commercial interior. To achieve this, two main topics were re-viewed through the

literature based on previous studies under two sections, which are commercial (retail)

spaces and texture. Firstly, commercial space is discussed then in the following

sections, texture is reviewed.

2.1 Commercial (Retail) Spaces

This section was structured in a way that at first researcher defines the words: retail

and commercial briefly. After that, retail spaces are explained through the history

based on three periods: ancient period, middle age period, and contemporary period.

Then, various types of retail spaces are mentioned briefly; however, the main focus is

on the shopping center or mall where it has been discussed in a separate sub-section.

Finally, interior design issue in commercial spaces is explained in a more detailed

manner.

2.1.1 History and Background of Commercial (Retail) Spaces

Commercial is the word that came from commerce (Mesher, 2010). According to

Oxford English University’s Dictionary (2006, p.287), commerce means “the activity

of buying and selling, spatially on a large scale”; then Mesher (2010) introduces

shopping as an activity of selecting and selling goods or services to customers for

10
money or other goods. Current big commercial places are the development of earliest

shops or small stores, and shopping is the activity that takes place there (Mesher,

2010). Mesher (2010) introduces shopping as a daily activity, as he believes, the

places that people choose to shop will show their culture, and life style.

According to Altoon+ Porter Architects (2004, p.6), development of culture and

trade were depended on each other across the history. “From merchants on the spice

and silk routes to teenagers at the mall, our very human desire for community and

our instinct for commerce have led to the creation of gathering place with distinctive

character, structure and use” (Altoon+ Porter Architects, 2004, p.6). According to

Zafer (2001, p.6), “shopping has been changed over time according to political

systems, some inventions, revolution and wars”.

2.1.1.1 Ancient Period

Zucker (1959) talks about the beginning of retail spaces from 8th century in Ancient

Greek; he mentions the starting point of commercial spaces in urban environment

throughout the beginning of Greek civilization by Agora, so the Agora in Ancient

Greek (8th - 10th centuries) was mentioned as the beginning point of the commercial

spaces. It was a big open square space in Athens; the Agora was a place for ‘meeting,

theatrical events, festivals, markets, and elections’, such a marketplace amid

colonnades that merchants were selling their goods (Altoon+ Porter Architects, 2004,

p.6). In Timeserver standards for building types (2001, p.119), the Agora also is

mentioned as a shopping center in the heart of the Ancient Greek cities.

After Agora, ‘Forum’ came from Ancient Roman, as a Latin word where Forum

means an open market space, which was same with the concept of Agora. The

biggest forum was built by the architects of Trajan Emperor in AD110 “that covered

11
an area of 25 acres and featured a market with three stories of shops and stores”

(Altoon+ Porter Architects, 2004, p.7). Then Mumford (1998) mentions the Forum as

a public open space that ‘served both public commercial purposes’. Thus, in the

ancient periods, Agora and Forum were the only shopping areas in the urban scale.

2.1.1.2 Middle Age

The end of Roman Empire until the end of Baroque period is known as middle age

period (Zafer, 2001). After centuries, the Agoras were converted in to the various

types of shopping spaces and shopping places. Mesher (2010) explains different

types or retail sectors during the Middle Ages period and mentions the markets as the

first group of shopping places.

In the early Middle Age, hawkers, shopkeepers and handworkers were the only three

groups that ‘could be observed in the shopping trade’. According to Zafer (2001, p.7-

9), during the Middle age, shopping was as an important sector in people’s life; it

was in this time that “cities developed within an urban context with plaza, squares,

open spaces and road networks and shopping was a fundamental component of this

system”.

Three new shopping classifications were seen at the end of the Middle age, which

was classified according to the types of goods and their consumption. The first type

was ‘fashion business’ which also was out of shop and was related to fashion skills.

Fashion business happened when people produced a material and sold it at the same

time. Business of interior decoration was the second type of shopping during this

time; it included selling furniture such as sofa, mirror and home decoration things in

the shopping street, luxury items such as candles, gifts and all expansive products

were in the third category (Markham, 1998). At the end of the middle age, design

12
became as an important parameters in shopping areas. Markham (1998, p.44)

believes that “Contemporary shopping center concept is the extension of these three

types of shopping”.

2.1.1.3 Contemporary Periods

During 18th and 19th century, “retail moved from outdoor, open-air markets to

interior spaces, the temporary nature of retailing changed”. Milan Galleria in 18 th

century was one of the first shopping street, which covered by its ceiling, for

comfortable shopping in rain or snow; shopping became more ‘leisure time

experience’ instead of just being an activity of selling or buying [Figure1] (Kliment

et al, 2004, p.16).

Figure 1: Milan Galleria-18th -one of the first shopping streets (URL 1)

Then, after a certain period, price tag was gendered around late 19th century, where

this was caused the shopping convenience. Kliment et al. concedes it by saying

“retail stores began to carry more than one item or line of goods, creating the original

one-step shopping experience”. He also mentions Schlesinger and Mayer store

13
designed by Louis Sullivan as two examples of earliest shopping spaces under this

role (2004, p.17).

Development the mass of automobile by Henry Ford influenced retail’s design at the

turn of the 19th century; it was a new opportunity so modern shopping centers were

born. In the same direction, Kliment et al. (2004, p.17) states that “the automobile

afforded easy and convenient transportation,…very quickly it became apparent that

traditional pattern of city development could not accommodate the parking

requirement for the rapidly growing number of automobiles”. After the appearance

of parking in retail spaces, Club plaza opened by Nichols in 1922 as ‘the prototype

for the suburban shopping center’ [Figure 2] (Kliment et al. 2004, p.18).

Figure 2: The Country Club Plaza in Kansas City/ Nichols-1922 (URL 2)

Kliment et al. (2004), talk about the years of 1950s to 1960s as ‘the birth of the

shopping center industry’, as he says, it is true that the beginning of department

stores goes to 1930, but the first industry department store was North Gate Shopping

14
Center built in 1950s opened in Seattle-United State. Then quickly it became as a

model for other shopping centers.

After Second World War, consideration to the fashion was caused the rise of

boutiques in the late 1950s; in terms of fashion, branding plays important role, where

it has been stated as: commercial may considers an exhibition that tells a story of a

brand (Mesher, 2010). Mesher (2010) expanse the earliest examples of branding with

the appearance of logos on food packages, that is traced back to 18th century. As he

mentions, the brands affect the interior design of the commercial spaces. Nowadays,

these old commercial places have turned into huge malls and shopping centers

(Zafer, 2001).

According to Feinberg (1960), the birth of shopping center goes back to the 1907s.

On the other hand, Feinberg & Meoli (1991) believes that the start of shopping

centers was in 1920s. 2 years after, the Country Club Plaza was created in suburban

Kansas City. Then, in 1931, Dallas was the place for Highland Park Shopping

Village; it was the first group of shopping stores that had its own parking area ‘with

the stores facing away from the access road’ (Feinberg, 1960). Finally, in 1956 the

first enclosed mall was established in a suburb of Minneapolis (Feinberg & Meoli,

1991).

In the earliest 19th century, most of shopping spaces developed through streets called

boulevard. As it is stated by Zafer: “at the beginning of the century shopping space

was developed along the streets and boulevards and later on they became the centers

of the city” (2001, p.67). However, development was not stop in that level, during

mid-19th century, invention of elevator brought a new live to the form of retail

15
spaces, so they began to be designed vertically in many floors after 1970s (Kliment

et al. 2004). As Mesher points out, it was “for the first time, huge arrays of products

were available under one roof” (2010, p.63).Then by the advancement of technology,

internet, media and globalization, people life style have been changed; lots of

business commercial spaces with many factors have been designed that offer people

great opportunity to choose among there.

Industrialization is mentioned as the main factor that changed the nature of the

shopping places, “the industrial system has introduced to the city a variety of

commercial functions which were never available in the simple marketplace of an

ancient town” (Gallon, 1975, p.350-352 cited in Zafer, 2001, p.71). Afterwards, the

aesthetic value of design was also considered where most of the retail or commercial

spaces were designed complexly by more facilities for people comfort (Zafer, 2001,

p.71).

Nowadays, retail places are in a big challenge to attract more people by having

various facilities in their spaces. As Kliment et al (2004) mentions, people attraction

is the cause of creating or designing many different retail or commercial types in the

world. In addition to this, Vercelloni (1999, p.6) states that “the latest generation of

shopping centers has become a sort of fun town where weekends can be whiled away

in movie theaters, restaurants, gyms and swimming pools. Furthermore, the stores

came in a variety of style and size”.

16
 Table 2: Evolution of retail-commercial spaces through the history

2.1.2 Various Types of Retail Spaces

According to Markham “the shopping center is defined as a group of retail and other

commercial and leisure activities that have been planned, developed, managed and

owned as a single property” (1998, p.81; Zafer, 2001, p.74). Thus, it can be

categorized in different groups. Retail spaces classifications might be grouped out

17
according to their history, their character, their size, their sites, their functions, or to

their proportion.

Altoon+ Porter Architects (2004) classify the forms of retail spaces in 16 groups

according to their evaluation throughout the history as: (1) Agora, (2) Caravanserai,

(3) Forum, (4) Bazaar, (5) Souk, (6) Mercado, (7) Floating Market, (8) Haymarket,

(9) Flea market, (10) Market Hall, (11) Galleria, (12) Piazza, (13) Passages, (14)

G.U.M (the Gosudarstvenny University Magazine), (15) Main Street, and (16)

Commercial streets.

Then in ‘time-saver standards for building types’ (2001), retails are categorized

according to their building character in 11 groups as: (1) Pedestrian area, (2)

Shopping centers, (3) Neighborhood centers, (4) Community centers, (5) Regional

centers, (6) Superregional Centers, (7) Specially centers and theme Centers, (8)

Mixed-use Centers, (9) Urban Centers, (10) Outlet Centers, and (11) Off-price

centers.

In addition, Mesher, (2010, p.43) also states that “Retail spaces can be defined

through different retail sectors”, as he believes that every place can fall into the retail

spaces and mentions that “each sector has been influenced through social and

economic conditions, politics, history and the development of design processes”

(Mesher, 2010, p.33). He describes these sectors in four main groups of retailing:

“(A) the first one is “Food”: the evaluation of the market into supermarket and

specialty food stores , (B) second one is “Fashion” which includes all clothing, shoes

stores and all of beauty products, (C) third one is about “Home Retailing” such as

furniture, all fabrics and also cookware, (D) and the last one is about

18
“Entertainments” such as ‘sport, technology, travel and finance” (Mesher, 2010,

p.33).

Then he divides retail spaces in 14 groups according to their sites: (1) High Street,

(2) China stores, (3) Arcades, (4) Shopping center or mall, (5) Out-of-town, (6)

Retail outlets, (7) Retail parks and showrooms, (8) Mega centers, (9) Hypermarket,

(10) Train stations, (11) Petrol and service stations, (12) Airports, (13) Galleries and

exhibitions, (14) Virtual shopping.

On the other hand, Zafer (2001, p.76) categorizes retail spaces in 8 groups according

to their size, location and activities as such: (1) Free standing store: Super store and

Hypermarket, (2) The focused center, (3) The retail park, (4) The shopping mall, (5)

The regional center, (6) Specially and festival center, (7) Ancillary retailing and (8)

Theme center. However, the focus of this study is especially on shopping centers or

malls. In the following, this study discusses the concept of shopping center or mall in

a more detailed manner.

19
 Table 3: Retail spaces classification

2.1.3 Shopping Center or Mall

Shopping centers or malls are modern types of earliest retail spaces. Moreover, there

are many additional parts in them such as children play area, restaurants, resting area

and beauty salon besides shopping activity. Therefore, people can enjoy their time

more in such places.

20
Kliment et al (2004, p.234) defines shopping center as “a group of architecturally

unified commercial establishments planned, developed, owned and managed as an

operating unit and providing on-site parking. A center’s size and orientation are

generally determined by the market characteristics of the trade area in service.” In

addition, he also mentions the malls and open-air strip centers as its main

configurations; then he continues by explaining mall’s definition, as he says, “malls

are typically enclosed, with a climate-controlled walkway between two facing strips

of stores. The term represents the most common design mode for regional and

superregional centers and has become an informal term for these types of centers”

(Kliment et al., 2004, p.229).

In other words, a shopping center can be defined as complex of many retail stores,

and the purpose of it is mentioned by Chiara & Crosbie (2001, p.119) as a place “to

give maximum shopping convenience to the customer and maximum exposure to the

merchandise”.

According to Mesher (2010, p.73), the pioneering of shopping centers or malls was

in America. During 1950s, architects started to design huge commercial area outskirt

of the cities, where there was a need of plenty parking spaces and other services to

have ‘suitable accesses’. On the other hand, Zafer (2001, p.87) as states “usually

shopping malls are located in the town center or downtown. The reason of their

location in the town is to allow a conventional layout and adequate arrangement of

goods delivery and pedestrian access”.

Most of the earliest shopping centers were built by concrete structure, which was not

very friendly. After a certain period, with the advancement of technology, variety of

21
new products and materials gave chance to designer to choose different items.

Nowadays, various modern materials such as steel and glass build most of the

commercial spaces, thus architects take opportunity to design spaces that are more

elegant. Modern shopping center’s design, also attracted interior designers and urban

designers too, where this lead to a collaboration between three groups including

interior designers, architects and landscape designers to work together (Mesher,

2010, p.73).

According to design perspective, shopping centers are usually design in one, two or

three floors. There are many patterns for shopping center’s area; as stated by Chiara

& Crosbie (2001, p.142) some of these are such as : Strip Shaped, L-Shaped, U-

Shaped, Cluster Shaped, T-Shaped, Triangle Shaped, Dumbbell Shaped, Double-

Dumbbell Shape, and Vertical Shaped; where it has been also mentioned that ‘most

of today’s centers fit into one of these patterns’.

Beside these, Vertical Shaped is one of the latest or newest patterns of shopping

center design. In this type, due to the increase in height of levels, designers have to

located elevator or escalators in the building to bring shoppers upper levels. There

usually is a central atrium in the middle of the building and stores are located around

it. “Such centers are usually in downtown areas or close to other high-density

development. Large centers built throughout the years lead to the opening of malls.

Those that are being built today are almost invariably closed-mall centers” Kliment

et al. (2004, p.143).

All of these design patterns included parking, service space, and anchor area,

however their main differentiations arose between the mentioned three main issues

22
placement, the number of floors, the location besides the number of anchors and the

form how they are located on the site. Figure [3] summarizes their shape and

facilities schematically.

Figure 3: The shape and facilities of various types of shopping centers - (building
type basics for retail and mixed-use facilities, written by Kliment et al. (2004, p.142)
- (A: Strip Shaped, B: Triangle Shaped, C: Double-Dumbbell Shape, D: T-Shaped,
E: Cluster Shaped, F: Dumbbell Shaped, G: U-Shaped, H: L-Shaped)

23
 Table 4: brief introduction of a shopping center or mall

2.1.4 Interior Design Issues in Commercial Spaces

According to limited number of sources that are directly related to retail’s interior

design, the following parts under this section will be discussed through three

researchers work: Mesher’s work called ‘Basic Interior Design-Retail Design’;

through Gagg’s work, called ‘Basic Interior Design-Material and Texture’, and

Dodsworth’s work called ‘The Fundamental of Interior Design’. These three studies,

24
specifically Mesher’s approach, directly related to the interior design point of retail

spaces and their detailing.

Besides the importance of architectural elegance of a shopping center for urban

environments, considering its indoor environment is also mentioned as a significant

issue for designers and customers (Gagg, 2012). According to its interior, a shopping

center or mall consist of many stores and other service spaces in it. After entrance,

which is described as the first thing that people face with while entering, a whole

view of indoor environment affects people’s perception principally. Mesher (2010)

states that walls, floors and ceiling are the main components of indoor spaces, despite

these, everything is additional or might be just for decoration. He also believes that

taking these additional parts into consideration and design them is very important.

On the other hand, he also talks about the importance of lighting and color in retail

spaces. As he states, “retail spaces are known for using high levels of Lux” (Mesher,

2010, p.104). In addition to this, he believes that retail spaces spend a huge amount

of money to the electricity, for the interior ventilation, for the music, for lighting,

services, and for many other things 12 or sometimes 24 hours a day. They use natural

lighting as much as they can by different types of atria and openings; however still

they pay lots of money to get help of artificial lighting to make the space comfortable

for visitors (Mesher, 2010).

Furthermore, he mentioned color as much important as light. As he says, is it true

that light helps to perceive color. However, pattern and color are other important

factors in terms of retail interior design. Color may attract customer to the shop

window, it also may affect customer’s perception to be more comfortable in a place

25
more than in the other place in the same retail space. On the other hand, he continues

talking about the role of material into retail interior design, but he believes that it is

the point, which can be considered after light and color. Because, all materials has

their special color, that could be understandable under proper lighting (Mesher,

2010).

In terms of design point of view, Mesher (2010) discuses about materials after light

and color, as he mentions, materials are very important object in design; “Interior

designers work predominantly with materials, gauging how they look, feel and

enhance the interior environment” (Mesher, 2010, p.95).

As Mesher (2010, p. 95) states, “Hundreds of materials are available for use in the

retail environment”, but he believes that there are different aspects of using them. For

example, some materials are suitable just to be used for ‘constructional stage of the

interiors’ because of their structural qualities. On the other hand, “Some materials

lend themselves to create the interior look through the fixtures and finishes” (Mesher,

2010, p. 95). Thus considering them, besides understanding how to use them and

their details is as significant as design issues. Then, he introduces some materials that

are mostly used in indoor retail environment such as Timber, Steel, Glass, Laminate,

Vinyl and Rubber, Textile, Concrete / Terrazzo / Quartz, Stone / Slate and Marble,

Ceramic, Paints and Wallpapers.

In the following, various usages of the mentioned materials within the interior space

are introduced briefly based on the mentioned three researchers’ approaches:

26
 Timber: Timber is mentioned as a convenient material for both structure and design.

Dodsworth, (2009, p.70) categorize it in to two groups, hardwood and soft wood.

Softwood mostly use for structure or building construction which is usually hidden

from eyes, but sometimes it may be used in interior look too; hardwood is the main

wood usually which was used in design, flooring or furniture. In retail indoor

environment, hardwood could be used as MDF and chipboard (Dodsworth, 2009,

p.70) [Figure 4].

Figure 4: Laminate flooring in commercial interior (URL 3)

 Steel: steel is used in terms of retail space; ‘Stainless steel, aluminum and powder-

coated mild steel’ are mentioned as the main steel materials (Mesher, 2010, p.96).

There are many ways to use steel in retails such as structure, shop front or as window

frame. It can work with fixture or furniture design or ‘as a part of the signage

construction’ (Mesher, 2010, p.96) [Figure 5].

27
 Figure 5: The use of steel in commercial interior design (URL4)

 Glass: Glass may be introduced as a spatial material which designers use it to fill the

gaps in buildings; in history point of view, the purpose of using glass goes back to

the integration of light into space. But in terms of retail spaces, it exists for

displaying shop’s vitrines and sometimes play important role to design interiors too.

For example, the glass could be used as dividing walls, counter, or as holder

elements (Gagg, 2012, p. 71) [Figure 6].

Figure 6: Glass designed as partition wall in commercial interiors (URL 5)

28
 Laminate: “Laminates are constructed by layering and fusing Kraft or printed papers

and resins, with a decorative layer on top, coated in melamine” (Mesher, 2010, p.97).

By considering interior retail design, Mesher mentions its function as ‘surfaces for

counter, wall, door, and floor finishes mimicking timber’. Sometimes, designers use

them for decoration such as creating a new wall, because of its quality, which is easy

to clean and durable. Designers use it often in public spaces just like retails (Mesher,

2010, p.97) [Figure7].

Figure 7: Laminate flooring in commercial interior (URL 6)

 Vinyl and rubber: Both of vinyl and rubber can come as sheet or tile, in various color

and are used as finishing materials on surfaces. They both can be water resistant after

be sealed. Both of them are similar in many points of view, where the only difference

is their price; rubber is more expensive than vinyl (Mesher, 2010, p.97 and Gagg,

2012, p.90) [Figure 8].

29
 Figure 8: Vinyl flooring in interior design (URL 7)

 Textile: Textiles have been used in different forms for thousands of years. It usually

is used as furniture and window treatments in indoor environment. Dodsworth (2009,

p.110), believes that “they can do great thing for our senses; they catch and turn

light, and they create dramatic shifts of light and shade, introduce rich texture as they

hang in folds”. He called textile as another name of Fabrics and classifies it in to

three main groups as natural fabrics, man-made-fabrics, and synthetic fabrics [Figure

9].

Figure 9: Use of textile in interior design (URL 8)

30
 Concrete, terrazzo, quartz: As a building material concrete normally is a

constructional material ( Dodsworth, 2009). However, by Mesher (2010) mentions it

as hard-wearing materials which are mostly used as floor finishing that can be

polished, can get color when it is mixed with pigment and can also create texture

when it is modeled. “Concrete, once refined into terrazzo, can be mixed with

aggregates such as marble or granite to create a conglomerate, which means that

different stones are mixed together. Some conglomerates have quartz added for

sparkle. Concrete can be ground down and recycled but this process creates harmful

emissions” Mesher (2010, p.99) [Figure 10].

Figure 10: Terrazzo flooring design (URL 9)

 Stone, slate and marble: Stone can be used in both at construction and decoration

stages in many types, as it is a natural material. In addition, in different applications

each piece of it has its spatial pattern. In commercial and retail spaces it could be

used as finishing material on the walls or floors or could be used for counter

(Dodsworth, 2009, p.73) [Figure 11] .

31
 Figure 11: Stone, slate and marble in interior design (URL 10)

 Ceramic: it is called as a hardwearing material, which is waterproof and usually is

displayed as square tiles for finishing. Sometimes designers use it due to its similar

look to stone, however ceramic is usually used as finishing part of floor, walls and

sometimes as mosaic pattern (Mesher, 2010, p.100) [Figure 12].

Figure 12: Ceramic and interior design (URL 11)

 Paints and Wallpapers: walls and ceiling could be clad with these materials;

wallpapers are more fashionable than paining but both could be used for retail spaces

design (Mesher, 2010, p.100) [Figure 13].

32
Figure 13: Painting and wallpapering in commercial interior design (URL 12)

33
 Table 5: Brief explanation of interior design issue in commercial interior spaces

Materials are one of the significant things in interiors design of commercial spaces.

Besides, they can be used in different ways. Materials may be varying in their color,

and the ways designers use them will create different forms and various texture in

interior space.

34
2.2 Texture

Texture is the main concept of this study. Accordingly, the following information is

structured first with the definition of texture. It introduces texture in architecture and

with a design point of view besides existence of texture, texture according to surface

quality, and texture based on perception is also discussed under this section.

Moreover, different methods and techniques to create texture, role of materials to

create texture, texture creation according to combination of various materials such as

raw materials and recycled materials, creating texture via individual objects, and the

way smart material creates it are the other significant issues that are discussed under

this section.

2.2.1 Definition of Texture

Texture as a word has various meanings in different disciplines. For example, the

taste of different foods in the mouth such as creamy, crunchy or meaty defined as

texture (Longman dictionary of Contemporary English, 2009). On the other hand,

texture is defined by Longman dictionary of Contemporary English as “the way

surface or materials feels when you touch it, spatially how smooth or rough it is”

(2009, p. 1823). Furthermore, Concise Oxford English Dictionary defines texture as

tactile surface quality and believes that texture is “the character of a textile fabric as

determined by its threads”, besides, it is also defined as “Art representation of the

tactile quality of surface” (2006, p. 1491).

The Metapolise Dictionary of Advance Architecture (2003, p.622) introduces texture

as the quality of ‘last layer of integral material’. However, the important thing is that

all these dictionaries define the word texture as the waves or noises on the surfaces,

35
summarily they all mention a common description as the feeling when touching or

seeing surfaces is their texture.

Table 6: Texture introductory through its definition

Bair, (2009) maintains the texture as an effective factor in the perception of a form

and shape. Texture also determines the degree to which, the surface of the form

reflects or absorb incident light (Ching, 1996). The world is full of natural texture; it

exists on the surfaces of all visible objects (Dischler, & Ghazanfarpour, 2001). Oh, &

Choe (2007) believe that distant surface which belong to various objects could be the

physical definition of texture. In addition, Natalie (2012) states that “texture suggests

the quality of any surface, may it be soft, hard, smooth, coarse, solid or reflective” .

It displays the sense of the surface by touching the objects; people can understand

whether its surface is rough or it just look as it is.

“Texture can be found in all manner of guises; it can be the roughness of a piece of

chenille fabric or the natural undulations of unfinished timber. Or it could be the

luster or brushed steel or the combination of reflectivity and transparency chaptered

by a sheet of glass, texture by itself is not enough, though it is the variety of texture

that is so important in stimulating interest in a scheme” (Dodsworth,2009, p.116).

Texture can do a lot, it is everywhere and on everything; each object has its texture

no matter smooth or rough. It can be “soft or solid, smooth or coarse, loose or dense,
36
 light or heavy. Texture is an intrinsic property of each and every thing” (Oei &

Dekegel, 2002, p. 25).

A. Existence of texture: texture could be existed naturally and artificially. The nature is

full of texture. It could be said that there is a very strong relationship between nature

and the texture; it exists all around the world such as on trees, leafs, grasses, ground,

sky, seashells, sea animates, animals, birds and all natural things around the world

have their special texture [Figure 14].

Figure 14: Examples of natural texrure

On the other hand, there is also artificial texture that is made by man-hand with using

various tools to shape materials in different ways. For example: the concrete may

create texture on surfaces, glasses sometimes made by textured quality, the way

37
 using stone and brick in different ways may also create texture artificially. In terms

of artificial texture, the way individuals use different materials is very important

(Gagg, 2012). Fabric, plastic, iron, wood, paper, and many other materials can create

texture in different ways. Figure 15 shows some artificial texture made by people via

tools or by hand.

Figure 15: Examples of artificial texrure

B. According to its surface qualities: Surface characteristics of any shape or forms are

called texture. All shapes have surface and all surfaces have their own certain

character; it may be ‘smooth or rough, plane or decorated, matt or glossy, soft or

hard’ (Wong, 1972, p.79). Then Colli (n.d) describes texture of the surfaces under

two major groups as the smoothness and the roughness. According to the Longman

dictionary, rough is said to something with uneven surface [Figure 16]; and in

opposite, a surface with even quality is called smooth [Figure 17].

38
 Figure 16: Examples of smooth surfaces

Figure 17: Examples of rough surfaces

C. According to its perception: Zhoa (2006) explains texture as the important side of

surface quality; he/she divided texture into two categories, as Visual and Tactile.

“Tactile texture refers to the immediate tangible feel of a surface. Visual texture

refers to the visual impression that textures produce to human observer, which are

39
relative to local spatial variation of simple stimuli like colour, orientation and

intensity in an image” (p.6). Similarly, Nebraske, (1997) believes that there are two

types of texture, the first one perceived directly through touch and the second one

indirectly through vision. As he says, “we can feel tactile textures but visual textures

just are impressions of texture. Tactile texture is felt, while visual texture is seen

imparting impressions of texture and visual texture is often referred to as pattern”.

In addition, Brooker & Stone (2010) also states that people have different

experiences of lots of patterns or surface qualities during their life. They know many

of them in their brain so if they see it as a picture in somewhere they feel it.

“Textures are important visual cues about surface property, scenic depth, surface

orientation, and etc. Amazingly, human vision system utilizes the information

effectively in interpreting the scene and performs very efficient texture

discrimination and segmentation. Researches show that texture perception in human

vision is one of the early steps towards identifying objects and understanding scene”

(Zhou, 2006, 6).

-Visual texture: Wong (1972) also categorizes texture under two similar groups as

visual and tactile. According to him, visual texture strictly refers to two-dimensional

surface qualities, and it can be seen just by eyes. Wong (1972) mentions that there

are three kinds of visual texture which include decorative texture, spontaneous

texture and mechanical texture. Decorative texture used for surface decoration and

subordinates the shape. This type of texture acts as an addition and can be removed

without affecting the original shape too much. On the other hand, he introduces

spontaneous texture as a kind of surface quality that texture and shape depend on

40
each other. It cannot be separated like decorative texture, “because the marks of

texture on a surface are the shapes at the same time” (p.79). Wong explains the

mechanical texture through an example, as he mentions, “A typical example of this

kind of texture is the photographic grain or screen pattern we often find in printing.

Mechanical texture can also be found in designs created by typography and in

computer graphics” (1972, p.79) [Figure 18].

Figure 18: Examples of visual texture

There are many ways to create visual texture such as: (1)drawing or painting, (2)

printing, transferring or rubbing, (3) spraying, spilling and pouring, (4) staining and

dyeing, (5) smoking and burning, (6) scratching, scraping, (7) photographic

processes (Wong, 1972, p.79-81).

- Tactile texture: It is defined as a texture that can be felt both by eye and hand.

According to Wong (1972, p.81), “tactile texture rises above the surface of a two-

dimensional design and approaches a three- dimensional relief”. Whenever surface is

41
touched, tactile texture is existed there, Figure 19 shows some examples of tactile or

tangible texture.

Figure 19: Examples of tactile texture

Colli (n.d) states that touchable and sight able surfaces are nearly close to each other.

For example, when people see a piece of polished metal, they know that it is smooth,

by just seeing it they remind their experiences they already had by the shape or

quality of smooth things. In addition, surfaces might have visual weight by their

texture. Smooth and reflective surfaces looks lighter and closer, on the other hand,

rough and matt textured surfaces tent to appear heavier. According to Colli (n.d)

“polished marble cladding will appear lighter than timber paneling, despite the

reveres being true.” Zhoa (2006) divides textured surfaces quality on regular and

irregular categories that is used as methods of pattern designing.

42
 Table 7: Texture Classifications

2.2.2 Role of Materials to Create Texture

Most of materials can create texture. According to Katnik & Weinstock (2012), in

terms of texture the way materials are organized is the most important point; he

continues that designer should consider the methods of how to form materials or how

to put them together to create a proper textured design. As Gagg (2012) gives

example, the wood is from nature and is famous in interior design and furniture. A

rich variety of color and texture is offered by wood, there are infinite ways to shape

43
wood, “its characteristic, including an ability to be worked in many ways, have given

us a rich flexibility in building” (Soucek, 1995). Stones are another example of

natural material, which usually is being used in architecture; Dodsworth (2009)

mentions the stones as a material that comes with various surface qualities and

textures.

Everything that can be hold or seen, take shape according to materials and world is

rich of material, they are always around us. As Beylerian & Dent (2005) suggests, by

looking around, a world full of materials will be observed, glasses, woods, polymers,

fabrics, ceramics and thousands of other different object with their own spatial

materials. “There are a great number of materials and products currently being

developed that are close to market in production or already available” (Ritter, 2007,

p.26).

According to (Gagg, 2012) most of the materials have their own texture, or they can

create texture during design process. For instance, stones, brick, and wood have their

special texture on their surfaces after their production. On the other hand, sometimes

the way designers use them could make texture in their surfaces. The concrete itself

is a liquid material, designer may use it on the surface in a smooth quality or may use

it such an orange peel wall design. However designer can make a lot of simple

concrete volumes in shame or different size and put them side by side with various

directions to create a textural plane with it. Designers also can use the previously

mentioned methods to all other materials in order to create texture. For instance, by

cutting wood in different size and butting those together with different direction

could be a very simple method of creating texture with wood.

44
Figure 20 shows how different combination and molding of materials may create

textured surfaces. Yet, it is not the only way, there are many other ways to use and

create texture in a designed space.

Figure 20: Maretials articulation create textured surfaces

Table 8: The relationship between material and texture creativity

45
2.2.3 Different Methods or Techniques to Create Texture

“To be creative is part of the human psyche” (Dodsworth, 2009, p 8). As Ritter

(2007) mentions, it is over 25 years that life in buildings is changed. Nowadays,

designers are in a challenge to search about new methods to design, such as

innovation, or originality. They are looking for new and innovative materials,

“because materials have the unique ability to help us connect at an elemental level

through touch and sight with the intent and soul of a project” (Dodsworth, 2009,

p.107). As Dodsworth (2009) mentions, new ideas bring new methods in design.

As it is already mentioned, texture has been introduced as one of the important

design characteristic, so designer should think about its design and also the ways in

how to create it. There are many ways to create or design texture; it can be created by

using and ordering single materials, forms, and shapes. Using recycled materials or

using objects in a special way may also create texture (Coles & House. 2007).

Coles & House (2007), categorize texture in interiors into two parts: 2-dimensional

and 3-dimensional textures. Figure 21 demonstrates some examples of two-

dimensional texture of surface design. Moreover, Figure 22 is displaying some three

dimensional texture in interior design examples. According to the Longman

Dictionary, usually, two dimensions are called to the things that just have length and

width like shapes. In addition, three dimensions are called to the objects with length,

width, and height. However, in terms of interior design and textural design, both two

and three dimensional texture has length, width, and height but different in terms of

height since they both should have height to be tangible, if they do not, they will be

just visual texture not two dimensional (Coles & House, 2007). In other words, in

architecture, it could be said that if texture is fixed on the surfaces, it can be called

46
two-dimensional and if it is free in the space, it can be called three-dimensional

texture.

Figure 21: Two dimensional texture design in the space

Figure 22: Three dimensional texture design in the space

47
 As Wong (1972, p.79) states, “appropriate texture adds richness to a design”. Thus,

creating it needs some knowledge about design elements and roles. He distinguishes

design elements under four groups: Conceptual elements, visual elements, relational

elements and practical elements. As he believes, all elements are related to each

other, and it is important for designers to know all of them and their relationships,

since their organization affects people’s future discussion (1972, p.7).

A. Conceptual elements: these element are not actually exist, for example people know

that a form comes from combining some planes, planes exist by lines and a line starts

and finishes by point, but it looks just as a volume of form (Wong , 1972, p.7)

[Figure 23].

Figure 23: Conceptual elements in interior design

B. Visual elements: Visual and conceptual elements work together. They actually create

visual elements that people can see. Repetition of shape, color and texture are

categorized under this part. The elements under this group are two-dimensional

shapes even they are geometrical or non-geometrical shapes, colored or black and

white, with a smooth surface quality because they are visual and should be

understood by eyes.

48
 According to artistic design, visual elements are just included visually. However, in

terms of architecture and interior design tangible objects can fall under this

classification too (Wong, 1972, p.7) [Figure 24].

Figure 24: Visual elements in interior design

C. Relational elements: Relational elements mostly deal with the ‘interrelationship of

the shapes in design’ and include direction, position, space, and gravity. When Wong

mentions direction, he means that, how a shape is related to the other shapes nearby

or to the observer. The position of a shape means its relationship to the frame or

structure. It may be vertical, horizontal and diagonal. (Wong, 1972, p.7-8) [Figure

25].

Figure 25: Relational elements in interior design by Zaha Hadid’s work at Palazzo
della Ragion

49
D. Practical elements: Representation, meaning and function are under this part.

Representation means how a shape is presented by nature or man-made. Moreover,

when a design has a message, it is its meaning. In addition “function is present when

a design is to serve a purpose” (Wong, 1972, p.8).

Despite the fact the point, line, plane, and volume are the components of conceptual

elements, they can also be recognized as form individually. It is true that points

create line, lines make plane and planes create form, but each of them may create

form individually then they can create new forms; as mentioned before, combining

forms or using them beside each other are the ways to create new textures (Wong,

1972, p.9-10) [Figure 26].

Figure 26: Practical elements, combining forms and using them side by side

Repetition is a way to create texture, visualy or tangibly, naturally or artificially,

smooth or rough. This repetition could occur regularly or irregularly to create

rhythm. It could also be created according to the repetition of linear or planar

elements. Repeting point and volume also can create texture. However the importat

thing is the way repeating elements creates texture. No matter if repetition is

happening according to direction, position, size, shape and color of element, the

concept of repetition is the most important activity in the case of texture creativity.

50
2.2.3.1 Creating Texture Through Articulation of Various Materials

As it was mentioned before, despite materials almost have their own texture on their

surface, even smooth like glass or steel and rough like wood, combining materials

and using them side by side or combining them together could also create texture in

the space and on the surfaces. Nowadays, designers found out various methods to

design interior with the integration of texture. Some of these new or recent textural

design is discussed under this section through exemplification of existing cases.

Examples are selected based on different usage of various materials which create

texture. According to the variety of materials, the following examples are choosen

randomly among diversity of materials from natural and artificial materials. Timber,

paper tubes, and bamboo skewer are the materials that are exemplified under this

part.

For instance, ‘Tides Restaurant’ designed by Lewis.Tsurumaki.Lewis group in New

York is a proper example of bamboo skewer ceiling design which is an interesting

example of texture creativity. As Lewis (2008, p.130) explains, the purpose of this

ceiling design was ‘to create a topographical effect’, he mentions the sea grass as its

concept design and adds, “This effect was achieved by aggregating bamboo skewers

in carefully calculated pattern to form a dance intricate ceiling seascape”.

In this restaurant, bamboos are mentioned as many individual linear materials that

are combined together and repeated side by side rhythmically. The shapes of

bamboos are same as each other but they are organizing to be varied in height to

create special texture on the ceiling [Figure 27].

51
 Figure 27: Tides Restaurant -Lewis.Tsurumaki.Lewis-New York (Lewis, 2008)
(URL110)

On the other example, texture is created by the use of paper chandeliers where

Cristina Parreño Architecture and MIT in Spain call it Paper Chandeliers installation

designed. “Paper Chandeliers is a big undulating roof made out of paper tubes that

articulates the spatial environment mediating between the art installation and the

architectural project” Cristina Parreño Architecture (2013). This team made cylinders

as individual shape by normal paper that has smooth surface quality, and then by

combining hundreds of these tubes they could create a textured ceiling design. The

form of this texture is created according to the tubes alternating repetition that creates

rhythm; the tubes are same with their color and shape but they are varying in their

size and height [Figure 28].

52
Figure 28: Paper Chandeliers installation by Cristina Parreño Architecture and MIT -
Madrid, Spain (URL111)

Starbucks Restaurant in Amsterdam also exhibits textural ceiling example. In this

restaurant, designers used 1,876 pieces of individually sawn timber blocks then they

put timbers next to each other by repeating them through proportion and repetition to

create a textured ceiling; besides they create texture all around the restaurant, on the

other surfaces as well [Figure 29].

Figure 29: Starbucks Restaurant in Amsterdam (URL112)

53
The following example of creating texture arose in a wine shop. In this shop texture

is created according to the fully repetition of the simple timbers with the same shape

and size. Their orientation is also in the same position and same direction. Besides

the way these timbers are organized to create textural pattern, they also play shelf

role to hold wines bottles. This is a creative point of view, but on the other hand, in

this shop the slates also created texture too. As it is displayed, slates which have their

own texture also are used to design this shop [Figure 30].

Figure 30: Creating texture in a wine shop, desined by Dencity LLC in Atlanta
(URL113)

In terms of using material to create texture, it may be created just by using the

materials that have their own texture such as slates, which was mentioned in last

example. On the other hand, designer may create a different value from an element

and then by organizing those values texture is created. Forming materials or using

many of simple materials is another method to create texture. The important thing

under all of these mentioned techniques is repetition. Without repetition, texture may

not be existed.

54
2.2.3.2 Creating Texture by Using Recycled and Raw Materials

According to Ritter (2007, p.26), recycled material is called to the “materials are

manufactured mainly from crushed and cleaned waste. Unless the raw material is

sorted in advance to separate out the valuable fractions, the resulting products are

usually of lower quality than the originally used materials”.

Beside protecting environment and saving energy, using recycled material also helps

designer to think about the new design techniques. It is not a new concept; people

have been recycling them for thousand years. However, recycling is another way,

which can create texture. The examples under this section introduce interior designs

that use recycled material to create texture. The materials that are used in such

examples are recycled timbers, brown paper bags, glass empty bottles, paper tubes,

cardboard boxes, and packing boxes.

The first example is Slowpoke Espresso Café- Designed by Anne-Sophie Poirier in

Australia. Walls in this café are designed by using recycled timbers. In this café,

designer was used rectangular recycled timbers in different size and height. The

mentioned timbers are attached on the wall with a haphazard order to create texture.

Besides its aesthetic perspective, some part of the walls can be used as shelves to

hold cups or sugar dish that is functional [Figure 31].

55
 Figure 31: Slowpoke Espresso Café- Designed by Anne-Sophie Poirier-Australia
(URL114)

New Hotel designed by the Campana Brothers in Athens is another example of using

recycled material to create textural surface. ‘New Hotel is renovated from the former

Olympic Palace Hotel’; walls, columns, and some furniture are used in this hotel is

created by the articulation of junk woods. These materials were attached on the wall

with a haphazard order to create texture in variety of size and shape and are

organized based on different position and direction [Figure 32].

56
Figure 32: New Hotel – Designed by the Campana Brothers – Athens, Greece (URL
115)

There are many other ways to reuse material in order to create texture. For example,

OWEN Design Store in New York was used 25,000 brown paper bags to create

texture on its wall and ceiling. The texture in this shop is created by rumpling the

papers in the same size and shape with full repetition in a formally ordered way that

creates flowing effect [Figure 33].

57
 Figure 33: OWEN Design Store – Designed by Jeremy Barbour – Located in the
Meatpacking District New York (URL116)

The other example to be given is a texture created via 7,560 recyclable amber glass

bottles. This store is called Aesops Glass Bottle Store which is famous by its ceiling

design. The bottles were used here is the product of Aesops brand. They are same in

their size and shape however designer was organized them up and down that was

created a rhythm. Full repetition of these elements side by side with a movement on

location was created a wave ceiling design [Figure 34].

Figure 34: Aesops Glass Bottle Store, Designed by Rodney Eggleston-Adelaide,

Australia

58
In E-BARRITO store in Reggio Emilia, in Northern Italy or Paper tube office in

South Korea are the two examples for creating texture via using recycled material,

where the main material used in these two designs are paper tubes. These tubes are

ordered side by side with same thickness, but in different lengths used repeatedly to

create texture [Figure 35-36].

Figure 35: e-BARRITO store in Reggio Emilia, in northern Italy – Designed by

Francesca Signori (URL119)

Figure 36: Paper tube office – Designed by Zouk- Architects – South Korea
(URL120)

59
Furthermore, in Aesop at Merci Designer “installation uses the brand’s own

packaging in an undulating installation that rises up on one wall and spreads across

the ceiling” (Dezeen magazine, 2011, “Located within Parisian” para 2). In this shop

design, boxes are used by grouping them in a grid to crate texture. On the other hand,

organizing boxes in the middle of the space and putting them over each other also

made three-dimensional texture [Figure 37].

Figure 37: Aesop at Merci by March Studio – Designed by Rodney Eggleston –

located in Melbourne Australian (URL121)

In a shop called ‘Cardboard-Designed Shop’ in UK, designer mentions that this is a

shop which is designed with 100% recycled materials. Design of shop consist its

spatial design by cardboard boxes, and also statues are created with the same

material. In the entire view, its design looks like a mass of texture. “The cardboard

dogs were designed after seeing the logo for the shop retaining the eco recycling

story. The dogs were inspired by the collie in the Smithfield logo ( Lea Stewart,

12/10/09) [Figure 38].

60
 Figure 38: Cardboard-Designed Shop-Designed and constructed by Peter Masters
of Burnt Toast Designs- Manchester, UK (URL 122)

According to design point of view, recycling used as a tool to create textural design

into space which is not limited just to the above mentioned examples. There are

many other recycled things or materials and objects in the world that may create

textural design at different scales of design [Figure 39].

Figure 39: Some example of texture creativity by reused and recycled materials

61
Accordingly, the use of various materials, recycled materials and raw materials as it

was mentioned formerly, repetition and rhythmic organization of the same or

different size, shape, location and position of the elements are effective points to

create texture in design. Texture may also be created via three or two-dimensional

materials but the result is a three dimensional texture creation in the space.

2.2.3.3 Texture Creation via Repeating Individual Objects or Goods

Sometimes, organizing objects in a special order may also create texture in the space.

For instance, Best Cellars, which is a shop, selling wine, is designed by creating

holes on the wall and putting wine bottles into them. In this shop, the display of

goods were organized to create texture and the main concept of it was to display each

bottle as star (Vercelloni , 1999, p.12) [Figure 40].

Figure 40: Best Cellars shop in New York, Designed by Rockwell Group (URL127)

62
The other example, which is Aesop at I.T Hysan One and designed by architects

Cheungvogl, displays an interesting texture creation by objects. In this shop, designer

puts many glass boxes on top of steel rods, and by playing with their height and their

position texture was created [Figure 41].

Figure 41: Aesop at I.T Hysan One Designed by Cheungvogl architects, Located in
Hong Kong-China (URL128)

Following examples are two shoe shops. In the picture in right side, each shoe is

located and pined to the wall side by side and each one over the other one. Thus,

shoes posses the role of element and by their fully repetition in terms of loccation

texture is created on the wall. However, the picture on the left side displays some

shelves as an element which are holding the shoes; repetition of elements creates

texture [Figure 42].

63
 Figure 42: Show shops

Cagnolati optometry by HEIKAUS, Duisburg in Germany many colored cubes with

different size and color, which are organized repeatedly with different position and

location as designed elements creates texture [Figure 43].

Figure 43: Cagnolati optometry, designed by HEIKAUS, Duisburg in Germany

(URL131)

Designer of The Hip Shoe Shope made many elements just like a dice form with the

same shape, size and color and organized them together with the same position; fully

repetition of these forms create texture [Figure 44].

64
 Figure 44: Hip Shoe Shope, designed by Teun Fleskens in Tilburg, Netherland

Texture in some cases is a surface quality, but in some other cases could be achieved

by the organization of objects, furnitures or goods in a special order as it was

examplified by the examples given above. There are limitless possiblities with the

help of various objects or goods to create texture.

2.2.3.4 Innovative Texture Through Smart Materials

According to Ritter (2007, p.10), “smart material is a relatively new term for

materials and products that have changeable properties and are able to reversibly

change their shape or color in response to physical and /or chemical influence , e.g.

light temperature or the application of an electric filed”. Thus, they can be defined as

an intelligent material through its environment and what is happened around it.

Smart materials are classified in three categorizations: non-smart materials, semi-

smart materials, and smart materials (Ritter, 2007). According to Ritter’s words:

“architecture can be designed to change is changed in special ways” (2007). This

changeability may be based on material’s color/ appearance, their shape, their sound,

and their scent.

For instance, Addington & Schodek (2005) introduce US-American dECOi

architectural group and mention their work which is called ‘the Aegis Hypo surface’.

65
In this work, the architect was designed a surface through ‘a number of pneumatic

actuators’ tiles which are moveable. According to their movement, the design of

whole surface are changed based on its noise, its shape and its light. Beside these,

while they are moving on the surface, they also create texture which is shown in

following figure [45].

Figure 45: ‘The Aegis Hypo surface’ designed by US-American dECOi architectural
group- texture innovating through smart material (URL134)

66
Table 9: Various methods that can crate texture in interior design

67
Table 10: General framework of texture within the commercial interiors

68
 Chapter 3

3 EVALUATION OF THE USE OF TEXTURE AS A

TACTIC OF DESIGN IN ‘ISTINYE PARK SHOPPING
MALL’S INTERIOR SPACES- ISTANBUL/ TURKEY

The aim of this section is the evaluation of the ways, methods texture is used in retail

spaces/stores according to its interior design, and Istinye Park Shopping Mall was

determined as the case study area. Accordingly, all retail spaces were observed one

by one in all floors in order to understand the way designer use texture as a part of

interior design. Meanwhile, a questionnaire survey was also carried out in Istinye

Park with the customers or users during a week in order to understand the people’s

awareness about use of texture as a tactic of interior design.

This section firstly gives brief information about İstinye Park Shopping Mall;

secondly, the methods of evaluation put forward and thirdly followed by the

evaluation results of physical and social analysis that leads the research to its

conclusion.

3.1 Istinye Park Shopping Mall

Istinye Park is a shopping mall that is located in the city of Istanbul in Turkey. It was

designed by DDG- Development Design Group Inc. and opened in September 2007

(Istinye Park, n.d). This is a place, combining entertainment area, sports, shopping

spaces, gym, restaurants, and 12 cinemas. In the lower plane, there is also a bazaar

designed in line with traditional Turkish style included 20 small specialty stores and

supermarkets (Istinye Park, n.d). Figure 46 displays an overall view of Istinye Park.

69
 Figure 46: Istinye Park Shopping Mall in \Istanbul- Turkey (URL 135-136)

3.1.1 Istinye Park’s Spatial Organization and Research Sampling

Istinye Park is a mall in linear form, which was designed as four-floor building over

parking area that was started from first Floor to -2nd Floor. This mall spatially

organized in 290 designed areas under seven main groups such as department store,

clothing (ready to wear), home and electronic, culture and art and entertainment,

beauty/health and accessories, food and drink, hobby and gift, and service areas.

i. 1st Floor: This floor includes 64 designed space containing 2 department stores, 2

home and electronic, 42 clothing shop, 7 beauty/ health and accessories, 1 specialty

retail which sells car, and ten restaurants. As it was mentioned before, the focus of

this evaluation will be on the textural design point of view in retail spaces whereas

restaurants, recreation spaces and retails with smooth surface (non-texture) were

excluded and accordingly 33 retail spaces were examined in the 1st floor out of 64

spaces. [Figure 47].

70
 Figure 47: 1st floor-Plane of the Istinye Park (The plan is developed based upon the
leaflets from the Istinye Park)

ii. Ground floor: The ground floor encompass 89 designed space which contains 3

department store, 2 home and electronic, 56 clothing, 21 beauty/ health and

accessories and 4 restaurant. As it is demonstrated in the Figure 48, according to the

consideration of texture in design, 39 retails out of total 89 space were evaluated

according to the ways the designer create or used texture.

Figure 48: Ground Floor-Plane of the Istinye Park (The plan is developed based upon
the leaflets from the Istinye Park)

iii. -1st Floor: Figure 49 displays -1st floor of Istinye Park. This floor includes 3

department stores, 3 home and electronics, 39 clothing shops, 5 hobbies/ gifts and

71
 specially retails, 5 beauty/ health and accessories, 1 culture/ art and entertainment,

and 16 restaurants. 28 retails in total were evaluated which considered texture as a

part of their design.

Figure 49: -1st Floor-Plane of the Istinye Park (The plan is developed based upon the
leaflets from the Istinye Park)

iv. -2nd Floor: In this floor there are 65 designed space including 21 home and

electronic, 11 services, 9 specialty retail, 1 beauty/ health and accessory, 1 culture,

fun and entertainment area and a market place with the concept of Traditional

Turkish Bazaar which was composed of 22 little supermarkets and restaurants. In

this floor, most of the spaces are designed with smooth surface quality and there was

a market place that was not considered as a case study area. Therefore, only 6

designed spaces out of 65 spaces were evaluated according to the textural point of

view [Figure 50].

72
Figure 50: -2st Floor-Plane of the Istinye Park (The plan is developed based upon the
leaflets from the Istinye Park)

As already mentioned, there are 290 designed spaces in the Istinye Park. However, as

a result of the first observations, texture as a tactic of interior design was determined

at 106 retail stores out of 290. Therefore, in total, 106 shops are evaluated, and

considered according the ways they were used texture in their design.

Table 11: Istinye Park Spatial Organization and Research Sampling

73
3.1.2 Retail Spaces’ Evaluation Based On Use of Texture as a Tactic of

Interior Design at Istinye Park Shopping Mall

As a result of the first observations it has been revealed that the determined 106

shops were used texture in various ways. Accordingly, the evaluation of the use of

texture has been carried out in line with the framework determined as a result of the

theoretical background (see Table 9). Therefore, at first the focus was on the

placement/location of texture within the retail space_ where it is used more.

Secondly in accordance with the material was used to create texture.

However, the main focus of this evaluation is on the design point of view which

emphasizes how texture is used or created1 in the retail spaces. Accordingly at first,

identity of texture, is it 2 dimensional or 3 dimensional, is it natural texture or

artificial texture, what is its surface quality _ smooth or rough, texture perception _ is

it visual or tactile were investigated. Second, texture’s organization in the space

according to Wong’s approach (1972) _ conceptual elements, visual elements,

relational elements, and practical elements besides design principle that considers

element’s repetition mainly were investigated. Moreover, as third, methods and

techniques to create texture besides consideration of the ways elements are organized

to create texture were evaluated.

1
Use of texture directly related with the location, existence of texture, however creation is related to
the ways it was designed.

74
Table 12: The inventory sheet as a framework of texture evaluation in interior design
of the Istinye Park

75
 Table 13: Framework of the texture evaluation in retail interiors at Istinye Park
shopping center in Istanbul- Turkey

A. Evaluation of use of texture according to the location / placement and use of

materials to create texture

As it was mentioned previously, location of texture as a part of design idea and

materials were used to create texture was mentioned as the two primary

investigations of the use of texture in the mentioned mall. Accordingly; analysis

revealed that, placements of texture are categorized in 7 main groups: on shop

window, on the façade, nearby the goods, inside on the wall, inside on the floor,

inside on the ceiling, and inside on the objects.

76
Analysis put forward that texture mostly is used in-side of the shops on the walls

primarily, on shop windows and on facades following. Adversely, using texture

nearby the goods, inside on floor, on the objects or on ceiling are preferred rarely

[Figure 51].

Figure 51: Location of Texture in retail spaces at Istinye Park Shopping Mall

As it was previously emphasized, Gagg (2012) mentioned that materials are the tools

for the texture existence. Accordingly, role of materials that create texture was also

analyzed in this study. Figure below summarizes the results of the analysis regarding

the use of materials to create texture in retail spaces at the Istinye Park [Figure 52].

77
 Figure 52: Materials, which created texture in Istinye Park interior design

The result of this evaluation introduces Timber as the most common material of

texture creation in Istinye Park interior design. On the other hand laminate, glass, and

ceramic are less common to create texture in design. Additionally, steel, vinyl/

rubber, and paint/ wallpaper are used in average level to create texture in the

mentioned mall.

Besides the materials, which was mentioned by Gagg (2012), the result of texture

evaluation in Istinye Park introduced plaster and different types of bricks as the other

two different materials that create texture in interior design [Figure 52].

78
Table 13: Texture placement and materials, which create texture in the Istinye Park

B. Evaluation of creation of texture according to its existence / surface quality /

perception

The focus of this section will be the existence, surface quality and perception of

texture. Accordingly, the study evaluates the existence of texture as natural or

artificial besides two-dimensional or three dimensional; its surface quality as smooth

or rough; and its perceptions as visual or tactile.

The aim of this evaluation is to clarify the ways texture can show itself in the space

and how people can see and understand the texture existed in the interior spaces as a

tactic of interior design.

79
a. Existence of Texture: texture existence in the mentioned shopping mall is classified

into two main groups as “Natural texture” and “Artificial texture”. In the case of

Istinye Park, it has been found out that most of the materials, which used to create

texture, are artificial2.

Figure 53: Existence of texture. Use of natural and artificial materials to create
texture in Istinye Park shopping mall

Steel, glass, laminate, vinyl-rubber, textile, concrete-terrazzo-quarts, ceramic, paint-

wallpaper, brick, and plaster are the materials which are known as artificial materials.

Such materials are made or produced by man-hand and do not exist in the nature.

Following examples, exemplifies some of the ways those designers used artificial

materials to create texture in interior design of retail spaces [Figure 54].

2
Timber and stone are the materials over 14 materials (steel, laminate, vinyl and rubber, textile,
concrete, ceramic, paint or wallpapers, plaster, brick, product) which are existed naturally.

80
 Figure 54: Examples of texture creation by artificial materials in Istinye Park
shopping mall
On the other hand, timber, stone, slate, and marble are the natural materials that were

achieved because of the analysis which were used in the retail spaces at Istinye Park

to create texture [Figure 55]. The so-called materials are such materials with two

possibilities: they have their own texture on their surface, or they can create texture

by the way they are specially organized.

Figure 55: Examples of texture creation by natural materials in Istinye Park shopping
mall

On the other hand, existence of texture can be classified according to their shape or

form as 2 dimensional [2D] or 3 dimensional [3D]. Accordingly, as a result of the

analysis, it has been achieved that the most of the textures in interior design of the

81
shops in Istinye Park are 2-Dimensional and there are very few texture designs in the

shops that was created with 3-dimensional forms.

Figure 56: Ratio of 2/3-dimensional texture used in Istinye Park

Accordingly, 2-dimensional texture is the texture that exist on surfaces as relief

affect and 3-dimensional texture is the texture, which is created as a result of the

articulation of volumetric elements_ forms.

In the following, there is an example of two-dimensional texture, which is a special

articulation of the material to create a relief as a texture [Figure 57].

Figure 57: 2-dimensional texture example in Istinye Park shopping mall

82
 On the other hand, figure below exemplifies one of the 3-dimensional texture

examples of which texture is created on the shop-window with the organization of

3D forms [Figure 58].

Figure 58: 3-dimensional texture example in Istinye Park shopping mall

b. Surface quality: texture’s surface quality in Istinye Park is examined in two main

classifications: roughness and smoothness. According to this examination, in the

Istinye Park, smooth surface quality of texture is more often designed in the interior

spaces rather than rough surface quality [Figure 59].

Figure 59: Amount of rough and smooth surface quality in retail interiors at Istinye
Park shopping mall

The quality of the texture’s surface is categorized according to the feeling of seeing

and watching. For example, the quality of surface could be understood if someone

83
 touches or sees the texture, what does he feel, smooth or rough? Next example, were

chosen from two shops in Istinye Park according to the texture created with smooth

and rough surface quality [Figure 60-61].

Figure 60: Texture created by smooth surface quality in Istinye Park shopping mall

Figure 61: Roughness in surface quality of texture in Istinye Park shopping mall
achieved by natural stone

c. Perception: texture perception is a feeling of seeing and touching. Throughout the

analysis of cases, the surface qualities that can be felt by touch were classified as

tactile texture where the majority of existing textures are categorized under this type.

84
And adversely, if texture can be felt by eyes is classified as visual texture which is

not often existed in the analyzed case areas at Istinye Park [Figure 62].

Figure 62: Amount of visual and tactile texture used in Istinye Park shopping mall

Painted surfaces, wallpapers, and textures that are covered by glass that are smooth

were categorized under visual texture. Examples below demonstrate some of the

retail spaces designed with visual texture [Figure 63].

Figure 63: Visual texture examples in Istinye Park shopping mall

On the other hand, many different types of tactile texture examples are found out in

various retail spaces that were designed in 2-d, 3-d or both, where people can feel

their quality by touch. It even can be a wallpaper or relief painting. Examples below

85
show some of the tangible textures in interior design of Istinye Park’s shops [Figure

64].

Figure 64: Tactile texture examples in Istinye Park shopping mall achieved by using
timber, rubber, and stone

C. Evaluating design / creation of texture

This part of the evaluation focuses on the examination and investigation of texture

according to the ways it can be created and used. First of all, in terms of design point

of view, texture creation and use of it are examined according to the organization of

the elements of interior space based up on Wong’s (1972) approach categorizing

them such as conceptual elements, visual elements, perceptional elements, and

practical elements. Additionally, as it has been primarily achieved as a result of the

theoretical background, texture is mainly achieved through the repetition of design

elements; therefore, the texture creation in retail spaces with the ways elements are

repeated is also investigated under this section according to: repetition of point,

repetition of line, repetition of shape, and repetition of volume.

Besides, this investigation will focus on the various methods and techniques which

texture could be created with. These mentioned methods are based on 4 main

categorizations which were developed as a result of the literature review (see table

9); these are creating texture through combining various materials, creating texture
86
by using recycled and raw materials, texture creating via individual objects,

innovative texture through smart materials.

C.1. Texture creation based on the organization of elements of interior spaces and

principles of design:

Besides texture identity, this study also focuses on the ‘design of texture’ as a tactic

of interior design with a special emphasis. Accordingly, main elements of interior

space were categorized under the mentioned 4 groups according to Wong’s approach

as conceptual, visual, relational, and practical elements. Vsarious texture designs

from each of these mentioned elements will be discussed one by one in order to

decode the design principles of each different texture created.

In the following section, design of texture will be discussed elaborately in each

different case with a structure that is demonstrated in the figure below and each of

them will be supported by visual examples from Istinye Park shopping mall.

87
Figure 65: Structure of evaluation to discover design of texture as a tactic of interior
design at Istinye Park

Conceptual elements: The elements, which do not actually exist, are called

conceptual elements. In Istinye Park Shopping Mall, texture organization based on

conceptual elements evaluated under repetition (regular / irregular) of four main

groups of element: point, line, plane, and volume repetition. According to this

evaluation, there is no case exemplifying the point repetition based on conceptual

element in the case study area.

a.ii. conceptual elements based on line repetition: following example shows 3-D

texture creation based on conceptual element. In this shop window, texture is created

by linear steel elements. These elements actually created conceptual cubes on the

shop window in same size but different direction or position [Figure 66].

88
 Figure 66: Texture created on conceptual elements via line repetition in different
direction -Istinye Park interior design

a.iii. Conceptual elements based on plane repetition: Next example is one of the

texture creation according to plane repetition in conceptual organization. As it is

mentioned in the schematic picture, there are many types of squares with different

size in the picture, but viewers just can see many small squares in the same size

which was created the surface [Figure 67].

Figure 67: Texture created on conceptual elements via plane repetition in the same
size -Istinye Park interior design

89
 a.iv. Conceptual elements based on volume repetition: Following example is a

conceptual element with triangular prism repetition. In this texture creation, designer

designed each prism in a specific manner. In the first look, it seems that many small

stones are crushed and placed next to each other. Nevertheless, with a focused look,

it is achieved that many regular shapes repeated and designed to create texture

[Figure 68].

Figure 68: Texture created on conceptual elements via volume repetition in Istinye
Park interior design

 Visual elements: 2-D elements are called visual elements and usually are created by

different shapes, colors, and texture. According to architectural perspective, visual

elements also can be tangible too. According to this definition, following examples

demonstrates visual elements in Istinye Park shopping mall based on 4 main group of

elements repetition. Visual elements here are called to the elements which show

themselves as they are designed; in this case people can feel them by eyes before

touching them.

b.i. Visual elements based on point repetition: next example shows point repetition

based on visual element organization. In this case, designer cut thousands of straws

90
into tiny pieces, attached them together on all through the original surface in 3 layer

in order to texture creation. After that, he covered them by glass material all over the

façade [figure 69].

Figure 69: visual elements based on point repetition- Istinye Park facade design

b.ii. visual elements based on line repetition: next example is about line repetition to

form visual elements. In this case, there are many vertical and horizontal linear

intersect with each other and create square texture with same size on the shop

window [Figure 70].

Figure 70: Texture created by visual elements organized via line repetition -Istinye
Park shop window

91
b.iii. visual elements based on plane repetition: repetition of plane is other method to

create texture b the use of visual elements. Following example shows two different

shop’s interior design in Istinye Park shopping mall. On the left example, planer

timber elements articulated next to each other in order to create texture on the

ceiling. On the other hand, the example on right side shows organization of planer

elements that were for the creation of texture[Figure 71].

Figure 71: Texture created by visual elements organized via plane repetition -Istinye
Park interior design

b.iv. Visual elements based on volume repetition: Next example shows repetition of

volumetric elements. In this example, designer used original stones to design interior

wall. In this case, designer did not care special size or shape of elements. He just

used stones as their original size and form side by side and over each other in a way

to make a whole textural wall inside the shop [figure 72].

92
 Figure 72: Texture created by visual elements organized via volume repetition -
Istinye Park interior design

 Relational element: relational element is called to the elements which their existence,

shape, position, or direction is depended to the other element. According to this

definition, point, line, shape, and volume repetition also investigated in Istinye Park

interior design. The result of the analysis shows that there was no attention to the

point and line repetition based on relational element.

c.iii. relational elements based on plane repetition: in the following example, planar

timber elements were placed next to each other in the shop window’s floor. On the

other hand, there are ropes which are filled the gap between the timbers. These

relational timbers and ropes are repeated all through the shop window on the floor

that creates texture.

93
 Figure 73: Texture created by relational elements organized via plane repetition -
Istinye Park interior design

c.iv. relational elements based on volume repetition: next example is another

relational element based on volumetric repetition. In this case, as it was mentioned

before, the position and direction of elements placement are related to each other.

The wooden boxes were placed vertically and horizontally next to and above each

other decussately to create texture on the shop-window.

Figure 74: Texture created by relational elements organized via plane repetition -
Istinye Park interior design

94
 Practical element: practical element is called to the element, which presents a special

meaning or function. Accordingly, texture creation based on practical elements at

Istinye Park shopping mall also evaluated based on the 4 main elements repetition.

Point repetition is the one, which was not revealed within the interior design of

Istinye Park shopping mall on practical elements that create texture.

d.ii. practical elements based on line repetition: next example shows a carpet on the

floors in one of Istinye Park shops interiors. The design of this carpet is a concept of

animal’s skin, were there are white and brown linear elements which were repeated

all through the carpets to create texture [figure 75].

Figure 75: Texture created by practical elements organized via line repetition -Istinye
Park interior design

d.iii. practical elements based on plane repetition: next example is a shop which

sells wedding dresses. All objects in the shop is arranged and designed with black

color other than dresses. As wedding dress is known as white color, designer wants

to emphasize it with blacken background. Designer designed a dark background of

blooms made by steel materials on the shop-window behind the two models to

emphasis goods. Additionally, designer also added white blooms with the same

95
material as the shadow of the wedding dress on the mentioned dark designed

materials. Here following example planer elements (blooms) were repeated

irregularly to create texture [Figure 76].

Figure 76: Texture created by practical elements organized via plane repetition -
Istinye Park interior design

d.iv. practical elements based on volume repetition: volume repetition is the other

type of element repetition under practical element classification. Following example

is from a bag shop in Istinye Park. On its shop window, designer molded rubber

material in a very special technique it like an open present paper box and placed the

goods in each of them. These elements are repeated all through the shop window in

different forms, which are practical element to exhibit goods and created texture with

regular repetition [Figure 77].

96
 Figure 77: Texture created by practical elements organized via volume repetition -
Istinye Park interior design

As a result of the evaluation of 106 retail spaces in Istinye Park, the study clarified

that at the majority of these shops texture was created based on the organization of

visual elements. On the other hand, it has been clarified that at few evaluated shops,

texture was designed by the organization of conceptual elements and texture

creation based on the organizaiton of relational elements and practical elements are

considered rarely at the evaluated shops [Figure 78].

Figure 78: Texture design based on organization of elements of interior space in

Istinye Park

97
As it was discussed beforehand, design of texture was mainly based on the repetition

of design elements in 4 main ways including: repetition of points, repetition of lines,

repetition of planes, and repetition of volumes. Istinye Park shopping mall was

mainly considered the repetition of elements in the place.

According to this investigation, repetition of the shapes or planes was found as the

most common way to create texture in the mall’s interior design. After that,

repetition of lines, volumes, and points are respectively considered to create texture

in interior design of the Istinye Pak shopping mall [Figure 79].

Figure 79: How elements are repeated to create texture in Istinye Park interior design

C.2. Investigating methods and techniques to create texture in interior design of

retail spaces at Istinye Park:

As it was mentioned before, texture in retail spaces will be detected according to the

ways, methods and techniques that were used to create it. As a result of the

investigation, it has been achieved that texture creation according to the articulation

of various materials is the most popular way to use or create texture.

98
Accordingly; creation of texture based on articulation of various materials is

achieved as the most frequently used technique to create texture in the majority of

the evaluated shops. Then, it has been achieved that there is one more technique in

addition to the stated 4 categories which is molding and scratching materials that was

found as the other common way to create texture. Thirdly, creating texture by

individual objects, re-cycled and raw materials are found respectively low compared

to the previously mentioned techniques in the design of retail spaces of the

mentioned mall. Additionally, innovative texture through smart materials is the one

with lack of interest in design of retail spaces at Istinye Park’s. Smart material is a

new technique of creating innovative texture on the surfaces. However, in the case of

Istinye Park Shopping mall; designers fall short to use smart material for creating

texture in interior design of the retail spaces [Figure 80].

Figure 80: Methods and techniques, which are used to create texture in Istinye Park
interior design

99
C.2.1. Creating textures through articulation of various materials:

There are many ways in the articulation of various materials which was created

texture in Istinye Park’s interior design. Summarily, design of some shops is

exemplified in the following in order to discuss how texture could be created based

on the articulation materials.

Example below exemplifies use of huge amount of metal chain side by side and next

to each other to create texture on the shop window [Figure 81].

Figure 81: Texture creation by metal chains on shop window in Istinye Park

The other investigated way which can create texture and categorized under this

section is to use textile’s flexibility. Textile is a proper material for designing various

types of curtains. Besides, instead of using curtain just behind the windows, in one of

the shops in İstinye Park it has been used in such ways that using a normal curtain on

one of the interior walls entirely acts as a background behind the goods and create a

proper texture [Figure 82].

100
 Figure 82: Using curtain on the wall to create texture - Istinye Park interior design

In the next example, designer used planar glass elements and interlocked them to

each other on different directions. According to this special design, 3-dimensional

texture was created on the window shop. Additionally, this 3-D texture also has

functional role as it acts as goods’ holder on the window shop too [Figure 83].

Figure 83: Creating 3-D texture on window shop by the articulation of planar glass
elements at Istinye Park interior design

101
Briefly, as a result of the physical analysis in Istinye Park, it has been achieved that,

there is a common way to create texture with the articulation of various materials

where designer chose a simple material, and then he attached them side by side,

above or next to each other as a common technique. In this organization, each simple

object or material may be different or similar in size and direction. However, the

achieved results show very regular texture creation in their design [Figure 84].

Figure 84: Articulation of various materials to create texture in retail spaces / shops
in interior design of Istinye Park Shopping Mall

C.2.2. Creating texture by using recycled and raw materials:

As a result of the evaluation it has been revealed that, there are textures created by

the use of recycled and raw materials. Following example show one of the shops

where, designer was used old second hand ceramics on the counter surface to create

102
texture. Since these ceramics are recycled, design of each one of them was different

in terms of surface quality and color. This differentiation also made another texture

in the whole view [Figure 85].

Figure 85: Use of recycled ceramics to create texture in Istinye Park

At another shop, a special 3-dimensional texture was created where designer reused

many wooden boxes which were usually used to carry fruits. Many boxes were

organized on the shop window side by side or with different position and direction to

create texture. This way of box organization created texture in a proper way. [Figure

86].

103
Figure 86: Reusing wooden boxes to create 3-D texture in shop window- Istinye Park
interior design

At another case designer created an emphasis on the goods by the help of wooden

surface in front of original wall where this additional part designed by the

articulation of recycled timbers and then the goods were attached on it [Figure 87].

Figure 87: Using recycled timbers to create texture- Istinye Park interior design

104
The case study clarified that there is another common way to use recycled and raw

materials to create texture in retail spaces. For instance, in some shops, designers

created texture on the objects, or even create various objects by recycled and raw

materials that such materials also created texture. [Figure 88].

Figure 88: Using recycled and raw materials to create texture on the objects- Istinye
Park interior design

C.2.3. Texture creation via individual objects:

As a result of the theoretical background on the concept of texture it has been stated

that texture could also be created as a result of special organization of goods within a

space. Physical analysis results, demonstrate that some shops where there is a special

order of goods have created texture. It has been achieved that most of shoe and optic

shops in Istinye Park could be categorized under this classification [Figure 89].

105
Figure 89: Texture created according to a special organization of goods- Istinye Park
interior design

C.2.4. Texture is created by molding and scratching the surfaces:

Molding and scratching various materials are other ways of texture creation which

was investigated as a result of the case study. In İstinye Park shopping mall,

designers were used 2 different ways to scratch materials. The first and more usual

way was using liquid material as finishing material on the original surface. After that,

while the material is still wet, designer scratches it to create texture on it [Figure 90].

106
 Figure 90: Using liquid materials on original surface and scratch them to create
texture in interior design of Istinye Park

On the other hand, there is another way to scratch materials to create texture. In the

case of Istinye Park, designer also scratched solid materials to create texture.

Following example displays a shop with textural wooden surface. In this shop,

designer was used same square size of timbers, scratched each of them and attached

the designed timbers side by side on the surface to create a proper textural design

[Figure 91].

107
 Figure 91: Using solid materials and scratching them to create texture in interior
design of Istinye Park

Furthermore, as it was mentioned, molding is the other way to create texture. In

Istinye Park, cases have been determined where designer molded liquid materials and

then placed them next and above each other on the surfaces. Next two examples

display two different methods of texture creation based on molding materials in

Istinye park interior design [Figure 92].

Figure 92: Molding liquid materials to create texture in interior design of Istinye Park

108
3.1.3 Questioning the User Awareness about Use of Texture at Retail Spaces at

Istinye Park Shopping Mall-İstanbul

Users’ awareness about use/concept of texture in retail spaces design was assessed

with a questionnaire survey. The aim of this questionnaire was to understand

people’s knowledge about texture and in order to quest if they know what the

difference between texture and material is.

Accordingly, questionnaire survey was carried out at Istinye Park shopping mall in

Istanbul during 10 days. 162 people selected through random sampling responded the

questionnaire survey under three main sub question groups: the first part was

constituted the general information about respondent; second part was included

people’s awareness generally on interior design issues and specifically on the

concept of texture and the relationship between interior design of the space and

customer besides shopping.

3.1.3.1 General information about respondent

As it is mentioned before, the questionnaire was given to 162 people who were in

Istinye Park during 10 days. The people who answered the questions were

categorized according to the four main groups or age ranging: under 20, 21-30, 31-

50, and over 50.

The ages between 21 -30 is with the high percentages and the ages over 50 is with

the less percentages of respondent who helped with this investigation. Additionally,

most of the people who answered the questions were female and the men were just

68 people of 162 people [Figure 93].

109
 Figure 93: General information - age ranging and gender of the respondent to the
questionnaire survey- Istinye Park shopping mall

The questionnaire was distributed between the people who were educated based on 4

main groups: under bachelor, bachelor, master, and PhD programs. According to this

investigation, most of the respondents were respectively educated bachelor, under

bachelor, and master. There were just 7 people with PhD [Figure 94].

Figure 94: General information – educational level of respondent- Istinye Park

shopping mall

Further report indicates the intensity of people’s presence in the Istinye Park

shopping mall during 10 days. This investigation shows the level of people presence

in Istinye Park. In order to the priority, most of the respondents come to Istinye park

110
at least once a month; after that, the priorities are every day, a few days a week, once

a week, less than once a month and at every two weeks [Figure 95].

Figure 95: Intensity of people’s presence in the Istinye Park shopping mall during a
month

3.1.3.2 Awareness of Customers / Visitors on Interior Design Issues

According to the second part of the questionnaire survey, the first things that people

were asked was their level of interest about interior design issues. The answers show

that a high percentage of respondent were interested in interior design issues.

Figure 96: People consideration on interior design issue - Istinye Park shopping mall

111
The result of the previous question shows that most of the people are interested in

interior design issues. Therefore, they were also asked to choose the most important

issue for them in the field of interior design (rate from 4-1-most-least). The four

items that they were asked to choose was color, lighting, texture, and

objects/furniture.

Accordingly, it has been achieved that people are mostly interested in design objects

and furniture. Afterwards, color was mentioned as the effective issue of interior

design. Lighting is the following that people believe it may affect interior design

quality. However, as a result of the survey it has been achieved that most of the

people do not interested in texture as much as the previously stated tactics of interior

design. The result shows that in most of the people’s opinion, texture is the last thing

that may affect the quality of interior design of a space [Figure 97].

Figure 97: The most important issue in the field of interior design issue- Istinye Park
shopping mall

On the other hand when they were quest whether they know what the texture is, most

of the respondents responded as they know what texture is. There are just a few

people from 162 people which acknowledged that they have no idea about what

112
texture is. On the other hand, most of the people who believe that they know texture;

do not pay attention to its use in design of their close environment [Figure 98].

Figure 98: Users’ knowledge about concept of texture as a tactic of interior design-
Istinye Park shopping mall

Additionally, respondents were asked to rate 4 pictures in the given questionnaire

sheets, which was showing four different interior design/space including texture or

not. The pictures a/b was two interior space designed with no consideration of

texture, on the other hand, picture c was showing a two dimensional texture creation

in the space and the last picture was an interior space including three dimensional

texture as a part of its design. Out of 162 respondent, one person choose the first

picture as a place which used texture in its interior design(a), no one selected the

second and the last pictures(b / d), 65 people mentioned the third picture(c), and 52

people did not answer the question.

113
Furthermore, as they were allowed to choose more than one picture, there were just

44 people who have chosen the pictures c / d, which was the expected respond. And

unfortunately, 52 people did not answer the question [Figure 99].

Figure 99: Rating use of texture as a tactic of interior design

3.1.3.3 Investigation of the Relationship between Customer – Shopping –

Interior Design of a Store / Shop with a Special Emphasis Put on Texture

In the third part of the questionnaire survey, the first things that people were asked

was their opinion about the most attractive thing which takes their attention during

the shopping activity. Despite of 13 people who did not answer the question, most of

the people believed that goods are the most important thing that takes attention

during shopping activity. On the other hand, some other people were mentioned that

it is the behavior of the staff and shop’s design as the important factors affecting

shopping activity [Figure 100].

114
 Figure 100: The most important factor affecting shopping activity - Istinye Park
shopping mall

Furthermore, most of the respondents (86%) believe that texture creation in interior

design of a shop could play significant role on the shopping activity. Besides, they

were also responding that design of a shop could take people’s attention and attract

them. Moreover, they mentioned that when texture was created on the shop-window,

it plays an effective role to take attention of the customers. [Figure101].

Figure 101: Effect of use of texture on the shopping activity - Istinye Park Shopping
Mall

As it was mentioned previously that the design of a shop with a special manner could

take people’s attention most of the responding people mentioned that it is the objects

115
/ furniture first, color, lighting, and texture from higher effective to lesser as the

factors that are attracting users [Figure 102].

Figure 102: Element importance in interior design of a shop - Istinye Park shopping
mall

On the other hand, respondents also believed that texture increases the quality of the

designed space and it also affects the atmosphere of a shop positively. As they

respond, customers were interested to see texture in the design of the shops.

According to the given answers, people accept texture as one of the tactics of design

[Figure 103].

Figure 103: Effect of texture in shop design - Istinye Park shopping mall

116
Additionally, they were asked about the texture creation in shop design. Accordingly,

it seems that responding people believes texture is an important design element in

shop design. The percentages of the answers shows that texture may play an

important role in shopping activity and can take customers’ attention [Figure. 104].

Figure 104: Effect of texture in shopping activity - Istinye Park shopping mall

As next evaluation demonstrates, most of the respondents believe that interior walls

are the most proper surfaces within the space for the placement of texture in order to

attract customer attention. On the other hand, many other people mentioned the

facades and shop windows as proper locations that should be designed with texture to

attract more customers. Besides these, some of the respondents pointed out that an

attractive place to be designed with texture is nearby the goods, inside on the objects

and inside on the walls [Figure 105].

Figure 105: Proper texture placement to attract customer attention - Istinye Park
shopping mall
117
Additionally, most of the people believe that if there is a special organizing of goods

that creates texture in the interior space of a shop, this can also attract people and will

be an effective manner to increase the quality of the space. They actually believe that

such special organization of goods may affect shopping activity and will have

specific effect to raise the selling intensity. Thus, it could be summarized that special

organization of goods is a technique to create texture and this action affects the

quality of the space and increase shopping activity [Figure 106].

Figure 106: Special good organization is the way to create texture - Istinye Park
interior design

When it was asked respondents, how do they feel in a space which has special

interior design with the integration of texture? Apart from the people who did not

answer the question or the people who were not satisfied to be in a shop with texture

creation, many respondents answered that they had good feeling to be in a shop with

texture creation around [Figure 107].

118
 Figure 107: People’s satisfaction to be in a shop with texture creation around -
Istinye Park shopping mall

Finally, they were also asked to state their thoughts about effects of using texture in

interior design of shops and most of the people respond that the aim of texture

creativity in interior shop design is related to the aesthetics of space and to attract

customers’ attention to the shop. Feeling comfortable or enhancing acoustics were

the other responds which were stated relatively low compared to the effects of

attraction and aesthetics. [Figure 108].

Figure 108: The aim of texture creation in design of the shop - Istinye Park Shopping
Mall

119
 Chapter 4

4 CONCLUSION

Texture in interior design of retail or commercial spaces is tactic that can both

attracts people attention, direct them to enter in and increase the quality of the

designed space. This study carried out a research on the mentioned subject with a

problem statement, which it argued that users do not know detailed information

about texture whereas designers on the other hand have shortage of knowledge in the

creation of it. Furthermore, the matter of confusion between texture and material

emphasized as the other concern.

Accordingly, as a result of the carried out research, this study revealed the three main

issues in general:

1. Sources / references on texture creation are very limited and the existing studies

point out the relationship between texture and the material or surface quality

rather than design of texture.

2. People generally aware of and interested in the texture in interior spaces however

their knowledge is limited to visual and 2D texture where 3D texture is not

known or admitted by them.

3. According to functional role of texture in the design of commercial interiors, this

study has been revealed that texture usually is used practically to display and

emphasize special goods, object, or place. Display of new products and counter

120
 area achieved as the frequently detected and proper examples, which were

usually demonstrated with texture.

Particularly, it has been achieved that in practice many designers use various types of

natural or artificial materials to create texture. However, in the written sources the

methods of creating texture is not explicit. Accordingly, this study conclude

explicitly the creation /design of texture in detail as a result of the analysis of the

cases via literature survey and by the investigation of texture through a case study

research that may also work as a guideline in the further studies as such:

i. Texture could be created on four different group of elements in interior space

such as conceptual elements, visual elements, relational elements and practical

elements.

Figure 109: Texture creation under four main element groups in interior design

ii. Texture could be created mainly with the regular repetition and irregular

repetition (rhythmic) of different elements of design, which are points, linear

elements, planar elements and volumetric elements.

121
 Figure 110: Texture creation based on regular and irregular repetition

iii. Natural or artificial materials in 2D shapes or 3D forms may achieve texture

creation according to the mentioned methods.

Figure 111: Texture creation by using natural and artificial materials

122
 iv. Created texture may have smooth or rough surface quality.

Figure 112: Smooth and rough surface quality according to texture creation in the
space

v. Perception of texture could be grouped as visual or tactile that visual texture

is just a texture, which is designed to be exist like photos, some of wall papers, or all

printed textural material and tactile texture starts with relief and felt when it is

touched.

Figure 113: Use of visual and tactile texture in Istinye Park

vi. Texture could be created with various materials that Gagg (2012) mentioned

in his study such as timber, steel, glass, laminate, vinyl and rubber, textile, concrete /

terrazzo / quarts, stone / steel / marble, ceramic, paint and wallpaper. In addition to

123
his study, this research determine that there could be some other materials which can

create texture in design such as brick and plaster as it was detected in some of the

shops in the Istinye Park.

Figure 114: Various Materials, which created texture according to design point of
view

vii. Results of literature review besides the case study research has been clarified

that there are 4 different methods or techniques to create texture in interior design

that are

a. Creating texture through articulation of various materials

b. Creating texture by using recycled and raw materials

c. Texture created via repetition of individual objects

d. Innovative texture through smart material

124
During the case study it has been revealed that 3 of the above mentioned methods

were used to create texture in interior design of a shop except creating texture

through the smart material.

e. In addition to the above stated methods molding and scratching the liquid

materials such as concrete, plaster, rubber, and glass found as the other

technique, which create texture in interior design.

The above-mentioned issues may work as a guideline for designers or candidates of

designer who would like to consider texture in the interior design issues.

As the last words, it could be said that, use or creation of texture in interior design of

any place increase the quality of the designed place/ space. It may attract people

attention in commercial places to orient them to the special goods or texture also may

direct people to show a specific space or way. On the other hand, use of texture in

interior design also has aesthetic aspects, which affects people perception while they

are in the space.

On the other hand, this study particularly achieved use of texture in commercial

spaces with a detailed investigation where use of texture on their shop window, or on

the walls in indoor spaces investigated primarily which people/ customers usually

communicate them by eyes. It means that, the relationship between customers and

texture in commercial places is usually based on visual perception with no matter if

they are used as a visual texture or tactile texture. It has been achieved as a result of

the analysis that mainly it is tactile texture which is 3 dimensional and the most

frequently used material to create texture is timber.

125
Upon the above stated results there are other concerns about the concept of texture

that could also be taken into consideration in further researches. For instance;

 Perception or meaning of the texture could be another point of view to be

searched. Each texture has its special identity, which gives specific feeling to the

viewer. Here in this study perception of texture mainly deal with the visual

quality of the texture created as visual or tactile. However, how people perceive

texture was not quested; each different person might evaluate the meaning of

texture differently that could be a further investigation about concept of texture.

 As texture is a tactic of design, it also could be mentioned as an artistic element

and pieces of art could be used to create it which affect both people and spaces

perception. Therefore, the role of art during the texture creation may be

considered or researched as a further study. Besides the possible relationship

between texture and art could bring further investigations where the cooperation

of interior architect and artist would also be handled in a new study.

126
 REFERENCES

Addington, M. & Schodek, D. (2005) Smart Material and New Technology For

architecture and design professions, Oxford: Elsiver Architectural Press

Altoon+ Porter Architects. (2004). Designing the world’s best retail centers,

Australia: The image publishing group Ltd

Asensio, O. (2007). Design Design: Furniture & Lights. North America: Abrams

Barr, V. (1997). Store: Retail Display and Design. PBC International Inc.

Briggs, D. (2003). Oxford Journals: Environmental pollution and the global burden

of disease, 68, 1-24. doi:10.1093/bmb/ldg019

Beylerian, G. & Dent, A. (2005). Material ConneXtion: A Global Resource of New

and Innovative Materials for Architects, Artists And Designers, Ed. by Moryadas, A.

High Holborn, London: Thames & Hudso

Brooker, G. & Stone, S. (2010). What ıs ınterıor desıgn?. Swıtzerland: A RotoVısıon

Book

Cabral, M. & Lefebvre, S & Dachsbacher, C & Drettakis, G. (2009), “Structure-

preserving reshape for textured architectural scenes” Computer Graphics Forum

(Proceeding of the Eurographics conference). 28(2).

127
Ching, F. D. k. (2007). Architecture Form, Space, and order, Hoboken-New Jersey:

John Wiley and Sons Inc.

Coles, J & house, N. (2007), The Fundamental of Interior Architecture, Switzerland,

AVA Publishing SA

Colli, C. (n.d). Styling and Photography. Retrieved from:

http://www.cristinacolli.com/design-basic-series-texture-pattern

Cristina Parreño Alonso (2013). Mit architecture. Retrieved from:

http://www.contemporist.com/

De Chiara, J. & Crosbie, M. (2001). . In Timeserver standards for building types (p.

119). Ohio: McGraw-Hill

dezeen magazine, (2011). Aesop at Merci by March Studio. Retrieved from:

http://www.dezeen.com/2011/01/04/aesop-at-merci-by-march-studio/

Dodsworth, S. (2009) The Fundamentals of Interior Design. Switzerland: AVA

Publishing SA.

Farrell, J, J. (2010). One Nation under Goods: Malls and the Seductions of American

Shopping. Washington, D.C.

Feinberg, S. (1960). What Makes Shopping Malls Tick. New York: Fairchild

Publications

128
Feinberg, R. A. & Meoli, J. (1991). A Brief History of the Mall. Advance in

Consumer Research, 18(1), 426-427

Gagg, R. (2012). Basic interior design – texture +material. Switzerland: AVA

Publishing SA

Gausa, M., Guallart, V., Muller., W., Soriano, F., Porras, F., & Morales, J. (2003). In

The Metapolis Dictionary of Advanced Architecture: City, Technology and Society in

the Information Age (p.622), Actar Birkhauser Distribution

In Longman dictionary of Contemporary English. (2009). (p. 1823 & 1491). :

Pearson ELT.

Istinye Park. (n.d). About Istinye Park. Retrieved from:

http://www.istinyepark.com/en/Home/Kurumsal

Katnik, T. & Weinstock, M. (2012, March 1). Material, Form and Force. Material

Computation, 104-111.

Kirkpatrick, G, C. (1994). Shop & Boutiques. PBC International Inc.

Kliment, S. A., & Barr, V., & Jerde Partnership International (2004), BUILDING

TYPE BASIC FOR retail AND mixed-use facilities, New York: John Wiley&Sons,

INC.

129
Lewis, P. & Tsurumaki, M. & Lewis, D.J. (2008), Lewis.Tsurumaki.Lewis:

Opportunistic Architecture, New York: Princeton architectural press

Markham, J. E. (1998) The Future of Shopping: Traditional Patterns and net effects,

Hound mills: Mac Millan press

Mesher, L. (2010), BASIC INTERIOR DESIGN- retail design. Switzerland: AVA

Publishing SA

Mumford, L. (1998) The City in History: Its Origins, Its Transformations, and Its

Prospect, MJF Books

Natalie, X. (2012). Mooi interiors. Retrieved from: http://Mooi-interiors.net

Nebraske, O. (1997), Design Guide for Interior, USAGE publication

Oei, L. & Kegel, C. D. (2002). The Elements of Design. Thames & Hudson Ltd.

Rao, M. P. (2012), Interior Design Principles and Practice. India: standard

publishing company

Ritter, A. (2007) Smart Materials- In Architecture, Interior Architecture and Design,

Basel, Berlin, Boston: Birkhauser: Publishers for architecture

Soucek, C. (1995). Design with Wood: the creative touch. PBC international, Inc.

130
Soanes, C. & Stevenson, A. (2006). In Concise Oxford English Dictionary (287 &

1491). Oxford: Oxford University Press.

Vercelloni, M. (1999), New stores in USA, Milan: EDIZIONI L’ARCHIVOLTO

Wastiels, L. & Schifferstein, H.N.J. & Heylighen, A. & Wouters, I. (2012). “Red or

Rough wat makes materials warmer?” material and design. 42. Pp.441-449

Wienand, N. (2007), Materials Specification Detailing, Taylor & Francis Inc

Wong, W. (1972) wucius wong Principles of Two Dimensional Design, Canada: John

Wiley & sons, INC

Zafer, N. (2001). an analytical study on shopping center development (Unpublished

master’s thesis). Eastern Mediterranean University-Department of architecture,

Famagusta, North Cyprus

Zhou, D. (Feb.2006) Texture Analysis and Synthesis using a Generic Markov-Gibbs

Image Model. (Doctoral Thesis, University of Auckland, Department of Computer

and Science).Retrieved from :

https://www.cs.auckland.ac.nz/~georgy/research/texture/thesis-html/thesis.html

Zucker, P. (1959) Town and Square: From the Agora to the Village Green.

Cambridge: M.I.T Press

131
URL1:http://upload.wikimedia.org/wikipedia/commons/thumb/0/04/The_Galleria_V

ittorio_Emanuele_II_in_Milan_2013-09-18_%2802%29.jpg/800px-

The_Galleria_Vittorio_Emanuele_II_in_Milan_2013-09-18_%2802%29.jpg

URL2:http://www.panoramio.com/photo/1432200

URL3:http://www.australiandesignreview.com/wpcontent/uploads/old_img/Jurlique-

Wintergarden-1.jpg

URL4:http://retaildesignblog.net/wp-content/uploads/2013/01/BAPE-store-

Shanghai.jpg

URL5:http://www.medinaglass.co.uk/images/home_image.jpg

URL6:http://retaildesignblog.net/wp-content/uploads/2013/11/Barbisio-Factory-

fashion-boutique-by-DUO-Commercial-Design-Catania-Italy.jpg

URL7:http://flooring-solutions.com/assets/Vinyl-Flooring-Armstrong.jpg

URL8:http://retaildesignblog.net/wp-content/uploads/2013/02/Kvadrat-stand-by-

Raw-Edges-Design-Studio-Stockholm-05.jpg

URL9:http://arcadianflooring.com/images/fed4a.jpg

URL10:http://retaildesignblog.net/wp-content/uploads/2012/01/Clip-Concept-Store-

by-Pedra-Silva-Architects-02.jpg

URL11:http://www.amtico.com/images/en-gb/stone-flooring-retail-graphite-

slate/ceramic-flooring-graphite-slate-in-

retail.jpg?width=1880&height=1100&mode=crop

URL12:http://shopmaniac.ro/wp-content/uploads/2013/07/pepe-jeans-romania-

270x180.jpg

URL13:https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQOqxrc-

eLeZUNnqEGzebJb2gsLaEE2YuQaK55gOfxRGO8rHlP0x0Tq2A

132
URL14:http://static4.depositphotos.com/1021868/364/i/950/depositphotos_3643282-

Natural-texture.jpg

URL15:http://content.clickbooq.com/707/photos/9fd38e7e40.jpg

URL16:http://epicureandculture.com/wp-content/uploads/2013/03/snail.jpg

URL17:http://desert13.weebly.com/uploads/1/7/4/6/17469435/5504643_orig.jpg

URL18:http://www.thegenieconcept.com/wpcontent/uploads/2012/11/depositphotos

_3329087-Green-Grass-Background-Good-for-Natural-Texture.jpg

URL19:http://d2k4scdf5emtl4.cloudfront.net/files/37/1429/various-natural-textures-

pack-01-screenshots-6.jpg

URL20:http://www.printtextures.com/components/com_virtuemart/shop_image/prod

uct/hd-texture-walnuesse-schale-11LR0183S.jpg

URL21:http://viztacular.files.wordpress.com/2009/11/spidertexture.jpg

URL22:http://t0.gstatic.com/images?q=tbn:ANd9GcTsgiC5AdH1c8_ynoDd-

f0s7HogoWoHmePwtgDvCzCcMXftIz70Ng

URL23:http://www.quizz.biz/uploads/quizz/640877/11_TEjO1.jpg

URL24:http://www.ehd-wallpapers.com/plog-

content/images/1024x768/nature/green-plant608-hd-computer-background-picture--

nature-wild-wide--free-wallpaper.jpg

URL25:http://cdn.akairan.com/akairan/tandorosti/images/img/h503h23.jpg

URL26:http://webcentrick.files.wordpress.com/2013/03/elephant-texture-2.jpg

URL27:http://images.nciku.com/sourcing_images/17/17061_getty_20080128162523

.jpg

URL28:http://wallpapertube.com/file/30146/600x338/16:9/miscellaneous-wood-

wallpaper.jpg

133
URL29:http://www.wildmanstevebrill.com/JPEG'S/Plant%20Web%20Images/Dande

lionSeedhead.jpg

URL30:http://thumbs.dreamstime.com/z/corn-texture-closeup-17177369.jpg

URL31:https://encryptedtbn1.gstatic.com/images?q=tbn:ANd9GcR4uhnnbrzoeaLJX

ggoOUfLIzk10W5bBow0xcHqhVnZRP6MrtCAOgEKmd4q

URL32:http://archives.deccanchronicle.com/sites/default/files/styles/article_node_vi

ew/public/previewimage/commentary/2013/Jun/crocodile-ap-0702.jpg

URL33:http://static.hdw.eweb4.com/media/wp_400/1/1/6607.jpg

URL34:http://img.thesun.co.uk/aidemitlum/archive/01453/SNN1519ROCK---

_1453671a.jpg

URL35:http://www.photovaco.com/wp-content/uploads/2011/09/free-photo-

strawberry-724.jpg

URL36:http://www.featurepics.com/FI/Thumb300/20061101/Panther-Texture-

126025.jpg

URL37:http://www.asknature.org/images/uploads/product/a3dda50e918bfd34b509b

96f2ca62979/aa3492c209ce5e31208c9d5daf065070.jpg

URL38:https://lh4.googleusercontent.com/_zC0RZlKx6c/AAAAAAAAAAI/AAAA

AAAAAAA/NG6jxCvKiBY/photo.jpg

URL39:http://hajj.ir/Shared/Sites/Site(14)/jamali/tabashir-(3).jpg

URL40:http://images.designpanoply.com/20-free-sand-and-water-textures-for-the-

summer/Free-Water-Textures-8.jpg

URL41:http://www.ninha.bio.br/biologia/repteis_anfibios/22nov2012/tartarugap.jpg

URL42:http://wallpaper-download.net/wallpapers/styles/large/public/animal-

wallpapers-peacock-background-wallpaper-31108.jpg?itok=gYUaKI8i

134
URL43:http://creativeherald.com/wp-content/uploads/2012/07/Tyre-Texture-

500x375.jpg

URL44:http://www.colourbox.com/preview/2358736-365698-textured-obsolete-

crumpled-packaging-brown-paper.jpg

URL45:http://thevmspace.com/wp-content/uploads/2012/10/LOOP-sound-

absorbing-panel-by-Anne-Kyyro-Quinn-280x170.jpg

URL46:http://images.reachsite.com/68a3cc5b-d199-4c24-a56c-

6c4d44e50be1/media/741907/medium/741907.PNG?gen=1

URL47:http://lucywrightdesign.files.wordpress.com/2014/02/15392-wood-texture-

wall-sculpture-

u907866c3925413d634388212564368735_john_whitmarsh_wall_art_mosaic_3jpg.j

pg?w=940

URL48:http://www.showroom411.com/Media/Category/stonevaneer.jpg

URL49:http://1.imimg.com/data/E/D/MY1525944/Texture_Painting_125x125.jg

URL50:http://www.2expertsdesign.com/wp-content/uploads/2011/12/textures-23-

l.jpg

URL51:http://3.bp.blogspot.com/xZUlyrMe2r4/TzP2xT58MEI/AAAAAAAACcE/w

FpuxcyvKF4/s1600/DSC_0455copy.jpg

URL52:http://4.bp.blogspot.com/pssvM4GmB5s/UCnqcLmgiXI/AAAAAAAAXyc/r

6I0Jqhauek/s1600/texture_1000.jpg

URL53:http://pinpersia.com/wpcontent/uploads/2013/06/farstock-knit-30.jpg

URL54:http://cityouts.com/wp-content/uploads/2014/05/stamped-ashlar-slate-

pattern-728x546.jpg

URL55:http://fc01.deviantart.net/fs71/i/2011/245/4/3/blue_feather_texture_2_by_ss_

swift-d48noxl.jpg

135
URL56:http://t2.gstatic.com/images?q=tbn:ANd9GcQAnAlpPEqVAU5BYz8qCDF

wW5EBf0IGZUmWi_2by4saHRVlPqFQ&t=1

URL57:http://cdn3.volusion.com/3ua53.wm7vn/v/vspfiles/photos/168-PB105-0.jpg

URL58:http://ianayris.com/wp-content/uploads/2014/04/Design-Install-Tile-

Flooring.jpeg

URL59:http://www.weinteriordesign.com/wp-content/uploads/2012/03/15-New-

Unique-Wooden-Table-Design-by-Etel.jpg

URL60:http://www.hoskinghardwood.com/uploads/products/TarkettLam/Trends/350

10188844.jpg

URL61:http://image.yaymicro.com/rz_1210x1210/0/543/dark-gray-stones-rough-

texture-543cb7.jpg

URL62:http://www.sdwhaven.com/wp-content/uploads/2012/05/SDWHaven-Rough-

Brick-Textures.jpg

URL63:http://s3.freefoto.com/images/904/01/904_01_1268_web.jpg

URL64:http://www.butterflyredesigns.com/images/news_2009_10.jpg

URL65:http://colorlava.com/wp-content/uploads/2013/03/Beautiful-Tree-Bark-

Texture-520x348.jpg

URL66:http://thumbs.dreamstime.com/z/wrinkled-elephant-skin-12102118.jpg

URL67:http://blog.patternbank.com/wpcontent/uploads/2012/08/Michael_Chase_tex

ture_prints_Photos_Visual_art_trends_9.jpg

URL68:http://t0.gstatic.com/images?q=tbn:ANd9GcRZg_iiEOeUjn_yhrU43PMi8H

N-rRtO9mglzFuWYdndv_EqY4J&t=1

URL69:http://www.kirstenconner.com/wp/wpcontent/uploads/2010/10/Nestcollectio

n12.jpg

136
URL70:http://seamlesspatternchecker.com/hash/seamless-patternsamples/0/0/3/003-

diamond-seamless-geometric-pattern-abstract-polygontexture-94322254.jpg

URL71:http://dan.lecocq.us/wordpress/wpcontent/uploads/2009/11/surface2_texture.

png

URL72:http://kruschrhoades.files.wordpress.com/2012/10/dscn2312.jpg

URL73:http://images.fotocommunity.de/bilder/kinder/kinder-ab-2/kinderhaende-

58431834-689f-423c-8c49-f20e3207c762.jpg

URL74:http://www.disabilityarts.org/domains/disabilityarts.org/local/cache/BlindArt

_tactile_textures.jpg550x421.jpg

URL75:http://www.lordstravel.co.za/images/gallery/pic_16.jpg

URL76:http://rc2009tangibleinteractions.files.wordpress.com/2009/01/cilia_w_hand.

jpg?w=500

URL77:http://jenniseportfolio3.wikispaces.com/file/view/0710261920221texture.jpg

/230685900/0710261920221texture.jpg

URL78:http://innovationforbreakfast.com/wpcontent/uploads/2013/10/grassroots-

300x208.jpg

URL79: http://www.forsthofalm-life.com/wp-content/uploads/2013/04/Holz-

Rausch1.jpg

URL80:http://thumbnail.image.rakuten.co.jp/@0_mall/mnkmok/cabinet/culturedston

e/yr-bcr-f11.jpg?_ex=400x400&s=2&r=1

URL81:http://retaildesignblog.net/wp-content/uploads/2013/10/Ane-timber-stool-by-

t-bac-design-03.jpg

URL82:http://hd.lubpedia.com/wp-content/uploads/2014/01/Stone-Nature-

Wallpapers-5.jpg

URL83:http://b.rgbimg.com/cache1vCLX3/users/x/xy/xymonau/600/om5nnSK.jpg

137
URL84:http://image.yaymicro.com/rz_512x512/0/57f/bamboo-texture-architecture-

decoration-in-asia--57fbce.jpg

URL85: http://www.hiwtc.com/photo/products/7/16/29/162912.jpg

URL86:http://us.123rf.com/400wm/400/400/vladitto/vladitto1009/vladitto10090011

8/7891761-stone-wall-texture.jpg

URL87:http://t3.gstatic.com/images?q=tbn:ANd9GcTksZKah3nq6S9v7qmjz_8kRN

Z1SupyvD8AXNA1S7S0PP8yDoM&t=1

URL88:http://t1.gstatic.com/images?q=tbn:ANd9GcQAl4K7JO9EKjvgtpSyooOncw

AwA_L8FsjpQPx4Y1FRjw5FmgzFbQ

URL89:http://designkastle.com/wp-content/uploads/2011/04/Bedroom-Ideas-with-

Stone-Wall-Decoration.jpg

URL90:http://worldhousedesign.com/wp-content/uploads/2009/12/Palm-Desert-

Residence-by-Heliotrope-Architects-21-300x199.jpg

URL91:http://2.bp.blogspot.com/gN3GLHnr0AM/TfNx2wAtwzI/AAAAAAAAA-

0/ydo6YiqySHU/s1600/1.jpg

URL92:http://retaildesignblog.net/wp-content/uploads/2011/05/lEclaireur-paris-

01.jpg

URL93:http://2.bp.blogspot.com/a5xCAFGtVAw/TktBVubmusI/AAAAAAAABJ4/

X-u09xTYwB4/s1600/2.jpg

URL94:http://www.claffisica.org/wp-content/uploads/2013/12/Natural-Look-

Wooden-Ceiling-Modern-Black-Stair-Interior-Stone-Veneer-Fireplace-in-Living-

Room-Decoration-Coombined-with-Wooden-Flooring-324x150.jpg

URL95:http://www.adelto.co.uk/wp-content/uploads/2013/05/Commercial-Interior-

Design-Kosovo-04.jpg

138
URL96:http://moyuc.com/images/2013/10/stairs-900x1354-unique-curve-stairs-idea-

to-make-our-house-more-artistic-moyuc.com-417x250.jpg

URL97:http://thepeagreenboat.com.au/blog/wpcontent/uploads/2012/04/thepeagreen

boat_hashi-mori_02.jpg

URL98:http://www.workshopdesign-store.com/photo/art/default/2285672-

3194082.jpg?v=1289674414

URL99:http://gizfactory.com/uploads/Starbucks3-top265x234.jpg

URL100:http://www.trendsnow.net/cms/uploads/2012/11/the-ice-cream-castle-by-

scenario-interior-architects-01-600x255.jpg

URL101:http://assets.inhabitat.com/wpcontent/blogs.dir/1/files/2010/06/livingpixelsl

ighting01.jpg

URL102:http://static.progressivemediagroup.com/uploads/imagelibrary/Weird_Hotel

_Design_Concepts.jpg

URL103:http://www.woodindesign.com/wp-content/uploads/2012/04/9-Green-

Square-North-Lobby-by-Geyer-via-contemporist--462x308.jpg

URL104: http://www.novate.ru/files/u9180/colours_13.jpg

URL105: http://www.novate.ru/files/u9180/colours_03.jpg

URL106: http://www.yatzer.com/assets/Article/2097/images/zaha-hadid-at-Pazazzo-

della-Ragione-Padua-Italy-photo-by-Fabrizio-Marchesi-yatzer_10.jpg

URL107:http://www.yatzer.com/assets/Article/2097/images/zaha-hadid-at-Pazazzo-

della-Ragione-Padua-Italy-photo-by-Fabrizio-Marchesi-yatzer_2.jpg

URL108:http://eveyeshot.files.wordpress.com/2013/03/the-molo-studio-interior-

design-920x612.jpg?w=637

URL109:http://eveyeshot.files.wordpress.com/2013/03/the-molo-unique-paper-craft-

design-920x612.jpg

139
URL110:http://classconnection.s3.amazonaws.com/655/flashcards/2150655/png/scre

en_shot_2013-12-07_at_42202_pm-142CEF06DB93E554C9D.png

URL111:http://www.contemporist.com/2013/03/07/paper-chandeliers-by-cristina-

parreno-architecture-with-mit/)

URL112:http://retaildesignblog.net/?p=17591&upm_export=print

URL113:http://www.66us.com/wp-content/uploads/2014/04/beauteous-intoxicating-

design-29-wine-cellar-and-storage-ideas-for-the.jpg

URL114:http://retaildesignblog.net/2011/07/19/slowpoke-espresso-cafe-by-anne-

sophie-poirier-fitzroy-australia

URL115:http://www.hotel-pictures.net/new-hotel-athens-greece-%E2%80%93-

creativity-at-its-best

URL116:http://www.designboom.com/architecture/tacklebox-owen-store-interior-

composed-of-25000-brown-paper-bags

URL117:http://www.echochamber.com/n2k/aesopadelaide/Aesop-Adelaide-S2.gif

URL118:http://mediacdn.aesop.com/media/articles/images/article_thumb/Adelaide.g

if

URL119:http://inhabitat.com/100-recycled-cardboard-interior-is-totally-tubular

URL120:http://inhabitat.com/zouk-architects-repurpose-moving-materials-into-

paper-tube-office

URL121:http://www.dezeen.com/2011/01/04/aesop-at-merci-by-march-studio

URL122:http://dudye.com/cardboard-designed-shop-100-recycled-materials

URL123:http://www.varietedesign.com/wp-content/uploads/2013/08/useful-

recycled-designer-chair-using-wine-corks.jpg

URL124:https://encryptedtbn2.gstatic.com/images?q=tbn:ANd9GcRpcPQYTjbWma

srrBljcvnsX3HELTdoytrRhg4mLVi2RNgFPMi6

140
URL125:http://www.interiordesign2014.com/wpcontent/uploads/2013/10/12df3__M

eb-Rure-designrulz-001.jpg

URL126:http://www.evollt.com/images/2013/08/office-workspace-

uniqueterracycles-office-interior-design-with-recycled-material-cool-

conferencetable.jpg

URL127:http://www.rockwellgroup.com/projects/entry/best-cellars

URL128:http://www.dezeen.com/2011/12/11/aesop-at-i-t-hysan-one-by-cheungvogl/

URL129:http://shopdesigngallery.com/wpcontent/uploads/2011/05/dzn_FitFlop-

store-by-Sybarite-5.jpg

URL130:http://stupiddope.com/wpcontent/uploads/2013/05/dezeen_Camper-by-

Nendo_ss_1.jpg

URL131:http://retaildesignblog.net/wp-content/uploads/2014/03/Cagnolati-

optometry-by-HEIKAUS-Duisburg-Germany-02.jpg

URL132:http://www.iintrepidinc.com/storage/thumbnails/995275114093206-

thumbnail.jpg?__SQUARESPACE_CACHEVERSION=1315746038763

URL133:http://www.bodew.com/wp-content/uploads/2011/09/Cool-Shoes-Shop-

Design.jpg

URL134:http://golancourses.net/2010spring/wpcontent/uploads/2010/01/hyposurface

.jpg

URL135: http://www.ims.com.tr/UserFiles/image/Istinye%20Park2.jpg

URL 16: http://www.whattodoinistanbul.net/wp-content/uploads/2010/10/Istinye-

Park-entrance.jpg

141
5 APPENDIX

142
 Eastern Mediterranean University-Faculty of Architecture-Department of Interior

Architecture-Master of Science in Interior Architecture-Famagusta-N.Cyprus

April 2014

This Questionnaire is a part of Master’s study of Mohammad Kamalzadeh supervised by

Assoc.Prof.Dr. Nil Paşaoğluları Şahin at Eastern Mediterranean University, Department of Interior

Architecture, Masters Program. It aims to quest the use of texture as a tactic of Interior Design where

the focus of the measurement is the commercial spaces and the case study area was determined as

İstinye Park Shopping Mall-İstanbul. . It mainly aims to measure people’s awareness and reaction

about the use of texture inside/outside the shops. We would be grateful to you if you spend a short

time to participate the questionnaire survey.

Yours Sincerely

Mohammad Kamaladeh Assoc.Prof.Dr. Nil Paşaoğluları Şahin

143
 A. GENERAL INFORMATION ABOUT RESPONDENT:

Age:

Under 20 21-30 31-50 over50

Education:

Under bachelor Bachelor Master PhD

Profession:

Gender M/F:

Intensity/frequency of use:

Everyday a few days of a week once a week every two week once a

month less

B. AWARENESS ON INTERIOR DESIGN ISSUES

1. Are you interested in Interior Design Issues?

a. Yes b.No

b. What do you think the most important issue is in the field of interior design? Rate over

4-1:(4-the most, 1: the least)

a.Color b.Lighting c.Texture d.Objects/Furniture

3. Do you know, what is texture in interior design?

a. Yes b. a little bit c. Not

at all

4. If you know about texture, have you ever seen texture around you?

a. Yes b. Not at all

144
 If your answer is yes, can you remember a place just because of its texture design?

………………………………………………………

Have you ever used texture in your life? For example your home, office, room…

a.Yes b. Not at all

Which one of these places use texture in interior design? (You may chose more than one)

C. RELATIONSHIP BETWEEN CUSTOMER-SHOPPING-INTERIOR DESIGN OF A

STORE/SHOP

5. What takes your attention most, when you are shopping?

a. Staff Behavior b. Goods c. Shop’s

design

6. Does well designing of shops play any role on your shopping?

a. Yes b. A little bit c. Not at all

145
7. Do you think special design of a shop window takes attention of the customer?

a. Yes b. No

8. If your answer is yes, which one of the following design issues is the most important in a

shop interior design? (rate from 4-1-most-least)

a.Color b.Lighting c.Texture d.Objects/furniture

9. Do you like the use of texture inside/outside the shops?

a. Yes b. No

10. Do you think texture increases the quality of interior design/atmosphere of a shop positively?

a.Yes b.No

11.Do you think use of texture as a part of interior design takes attention of customers?

a.Yes b.No

12.Do you think use of texture affects the shopping activity by directing a special focus on the

goods?

a.Yes b.No

13. Which use(s) of the texture as a part of interior design attracts customers more?

a.On façade b.On shop window c.Inside-on the ceiling d.Inside-on the wall

e.Inside- on the objects f.Nearby the goods

14.Do you think organizing goods in an order that will create a texture affects interior design

action?

a.Yes b.No

15.Do you think organizing goods in order to create texture affects shopping?

a.Yes b.No

16.Do you remember any shop in this shopping mall that is taking attention with the use of

texture as a tactic of interior design /inside/outside/façade?

----------------------------------------------------------------------------------------------------------------------

17.How do you feel in a shop that is designed with the integration of texture as the main idea of

interior design?

----------------------------------------------------------------------------------------------------------------------

-----

146
 18. Why do you think texture might be used as a tactic of interior design inside/outside a shop?

a.Acoustic b.Aesthetics c.Feeling comfortable d.Taking

attraction

e.Other:………………………………………..

Thank you for participating the questionnaire survey.

147