Word Count: 5,121 words 1 st December 2023 Budding Interior Designers:
In-Depth Investigation of Emerging Designers' Grasp of Sustainability Principles
Alexa Cher-Alizee Elfarah Wilson
Online BA (Hons) Interior Design 133943
Module Leader: Christine Fasse
Course Leader: Marianna Velissaropoulou
I extend my deepest gratitude to my supervisor, Christine Fasse, for her unwavering support, guidance, and invaluable insights throughout the entire process of this dissertation. Her expertise and encouragement have been instrumental in shaping and refining my research.
Special recognition goes to NDA, as my time there served as the inspiration for this study. I express my sincere appreciation to the 35 participants from NDA who generously took part in this research study. Your willingness to engage and share insights has significantly enriched my findings. I am also grateful to my fellow students who contributed their experiences and perspectives, adding depth to the richness of this study. Your camaraderie has made this academic journey both enjoyable and enlightening.
I want to acknowledge my husband for providing unwavering support, understanding, and encouragement during this study. Additionally, heartfelt thanks to my friends for their encouragement, understanding, and occasional distractions that offered much-needed breaks.
To all those mentioned above, this research study would not have been possible without your unwavering support and encouragement. Thank you for being integral to the success of this academic endeavor.
In the dynamic realm of interior design, the resonance for sustainability grows louder, summoning a new generation of designers ready not just to heed the call but to fully embrace it. While some may be drawn by the trend or the allure of being a 'Sustainable Design Hero,' genuine advocates understand the imperative to go beyond superficial trends. This dissertation undertakes a critical examination of the knowledge and commitment of emerging designers to sustainable design principles. Focused on students from the National Design Academy(NDA) in the UK, the study employs a mixed-methods approach, encompassing analysis, observation, sampling, and surveys. Through scrutinizing material selection patterns and the incorporation of sustainable design principles, the research discerns gaps in educational programs, questioning whether emerging designers authentically champion sustainability or may inadvertently engage in greenwashing practices.
Keywords
Interior Design, Sustainable Design, Greenwashing, Authenticity, Ethical Conduct, Higher Design Education, Sustainable Design Principles
Cover Page
Ege Carpets (n.d.). Our Profile | Ege Carpets. [Online Image] www.egecarpets.com. Available at: https://www.egecarpets.com/about-ege-carpets/profile [Accessed 21 Sep. 2023].
Fig. 2
Hotels in Heaven (2023). Monteverdi Tuscany. [Online Image] hotelsinheaven.com. Available at: https://www.hotelsinheaven.com/monteverdi-tuscany/ [Accessed 11 Oct. 2023].
Fig. 3
Alexa Wilson, Sustainable Design- Concept Restaurant [2021]
Fig. 4
Westerlund, R. (2015). What is Critical Thinking? [Online Image] Rob Westerlund. Available at: https://robwesterlund.com/2015/02/28/what-is-critical-thinking/ [Accessed 11 Oct. 2023].
Fig. 5
Cheprasov, A. (2022). Here’s How Single-Use Floss Picks Are Greenwashed. [Online Image] Free Radikal. Available at: https://www.freeradikal.com/blog/floss-picks-greenwashing/ [Accessed 11 Oct. 2023].
Fig. 6
sampleboard.com (n.d.). Sustainability Is the New Luxury: How Sustainable Interior Design Can Transform Your Home. [Online Image] Available at: https://blog.sampleboard.com/sustainability-is-the-new-luxury-how-sustainable-interior-design-can-transform-your-ho me/ [Accessed 26 Oct. 2023].
Fig. 7
Man, S. (n.d.). Villa Lane – A dream Escape. [Online Image] Available at: https://www.bali-interiors.com/villa-lane-a-dream-escape/?doing_wp_cron=1612442729.6132509708404541015625 [Accessed 26 Oct. 2023].
Fig. 8
News, G.D. , Deppe,A. (2021). Julieta Benito Sanz and Dirk Lachmann create the 100% sustainable, multifunctional ‘Minimono Project’ as a bold attempt to craft a better future for furniture production. [online image] Global Design News. Available at: https://globaldesignnews.com/julieta-benito-sanz-and-dirk-lachmann-create-the-100-sustainable-multifunctional-minimono-project-as-a-bold-attempt-to-craft-abetter-future-for-furniture-production/ [Accessed 2 Dec. 2023].
Fig. 9
Neufert Stiftung (n.d.). Prof. Ernst Neufert. [Online Image] Available at: https://www.neufert-stiftung.de/en/ernst-neufert [Accessed 2 Dec. 2023].
Fig. 10
People's Daily Online (2021). In pics: Farmers harvest bamboo shoots in SW China’s Chongqing (6). [Online Image] People Daily. Available at: http://en.people.cn/n3/2021/0816/c90000-9884499-6.html [Accessed 2 Dec. 2023].
Fig. 11
Tu Delft (n.d.). 3.1.2 Life-Cycle of a Building. [Online Image] TU Delft OCW. Available at: https://ocw.tudelft.nl/course-readings/3-1-2-life-cycle-of-a-building/ [Accessed 2 Dec. 2023].
Fig. 12
Luo, J. (2020). Profile of Bill Bensley. [Online Image] Available at: https://www.tatlerasia.com/lifestyle/travel/my-bill-bensley-sustainable-hotel-design-practical-green [Accessed 2 Dec. 2023].
Fig. 13
Cullen, S. (2023). An interview with hotel designer Bill Bensley. [online] The Hotel Journal. Available at: https://thehoteljournal.com/bill-bensley-interview-sustainable-hotel-designer/ [Accessed 2 Dec. 2023].
Fig. 14
Forney, M. (2022). Meet This Year’s Oracle Sustainability Champions. [Online Image] Available at: https://blogs.oracle.com/sustainability/post/meet-this-years-sustainability-champions [Accessed 2 Dec. 2023].
National Design Academy
Architects' Data (German: Bauentwurfslehre), also simply known as the Neufert, is a reference book for spatial requirements in building design and site planning. First published in 1936 by Ernst Neufert, its 39 German editions and translations into 17 languages have sold over 500,000 copies.The first English version was published in 1970 and was translated from the original German by Rudolf Herz.
Wikipedia Contributors, 2017
In the context of this research, the principles of sustainable design find their roots in the fundamental pillars of sustainable development. The seven core principles encompass sustainable design within the construction field are Sustainable Design, Durability, Energy Efficiency, Waste Reduction, Indoor Air Quality, Water Conservation and Sustainable Building materials.
Greenwashing is the act of making false or misleading statements about the environmental benefits of a product or practice.
Lindwall, 2023
FSC
Forest Stewardship Council
R#
Results Data Number can be found in Appendices.
In today's interior design industry, deeply entwined with aesthetics and functionality, a critical moment has arrived for environmental stewardship and ecological balance (Zimmerman, 2023). The fundamental tenets of sustainable design have permeated the creative corridors of interior design, necessitating a re-evaluation of the role of emerging designers.
This dissertation embarks on a discerning exploration, scrutinizing the journey of budding interior designers. The aim of this dissertation is to present an in-depth investigation into the readiness of emerging designers to navigate the intricate landscape of sustainable design principles. The pressing question this research endeavours to answer lies at the heart of the intersection between academia and industry: Do students, poised to become the future torchbearers of the industry, stand as the veritable champions of sustainable design or, conversely, whether they inadvertently engage in greenwashing.
The significance of this study reverberates through the realms of academia and calls attention to the imperative for educational institutions to equip students with a profound understanding of sustainability and its associated principles. Beyond mere theoretical comprehension, without such holistic preparation, there is a palpable risk of nurturing a generation of designers inadvertently engaging in "greenwashing" practices, thus perpetuating a disservice to the environment, industry, and society.
This research focuses on the curricula of higher education programs offered by institutions such as the National Design Academy (NDA). The Bachelor of Arts (BA) Honours program in Interior Design comprises 11 modules, with Module 5, ‘Sustainable Design and Technology’, serving as the central focus of this dissertation. It encompasses all dimensions of sustainability principles, moving beyond the superficial aspects of aesthetics and materiality to encompass the comprehensive spectrum of sustainable design. A purposeful sample of seven students' design projects was carefully selected and subjected to rigorous analysis. This analysis aimed to identify recurring patterns and themes in material selection and the incorporation of sustainable design principles within their design approaches. To substantiate the findings and investigate the hypothesis that students tend to gravitate towards conventional or cliché materials in their designs, a well-designed questionnaire was developed and administered to 35 participants. Participants in this study are those who have completed Module 5. The questionnaire sought to elicit participants' preferences, knowledge, and decision-making processes concerning sustainable design principles. Additionally, it aimed to identify any barriers or gaps encountered by students from the educational institute. By employing this mixed-methods approach, the research sought to attain a comprehensive understanding of students' practices and perceptions pertaining to sustainable design.
Afacan (2013) examines the effects of an active learning environment and industry collaboration on interior design students’ awareness of sustainable design. The findings reveal that these pedagogical approaches significantly enhance students’ ability to integrate knowledge of sustainability into their design studio projects, resulting in improved academic outcomes. The results of Afacan’s study highlight the significance of incorporating active learning environments and cultivating strong industry connections for promoting sustainability education within interior design. By engaging students in hands-on experiences and facilitating collaboration with industry professionals, students are able to acquire valuable knowledge and practical skills related to sustainable design.
A crucial aspect emphasised in Afacan’s study is the importance of industry collaboration in sustainable design education. Through close engagement with professionals in the field, students gain insight into current industry practices and trends, allowing them to apply sustainability principles more proficiently. These findings indicate that industry collaboration fosters a deeper understanding of the interplay between interior architecture and indoor climate, resulting in the integration of sustainable heating, ventilation, and air conditioning elements into design projects.
Afacan also acknowledges potential challenges that may arise in implementing sustainable design modules throughout an entire design course, particularly in terms of the administrative and logistical complexities associated with securing appropriate industry collaborators within the context of degree education. Despite these
challenges, integrating sustainable design is critical to preparing students for real-world challenges as it plays an essential role in architectural development.
Afacan’s study provides valuable insight into the significance of sustainable design beyond material selection. It highlights the need for educational institutions, such as the NDA, to adopt a more rigorous approach to incorporating sustainable design as an integral component throughout design courses. This is especially important within higher education, where students are expected to demonstrate maturity and experience. Given the undeniable relevance of sustainability in every aspect of the present world, it is imperative that institutions prioritise the inclusion of sustainable design principles across their programmes. This comprehensive approach will not only equip students with the necessary knowledge and skills
to implement their Sustainable Design knowledge into their design practice. Additionally, this will also allow them to cultivate a deeper understanding of the broader implications and responsibilities associated with designing for a sustainable future. The findings of Afacan’s study prompt further exploration and discussion on how educational institutions can effectively integrate sustainable design into their curricula, fostering a culture of sustainability within the design community.
Garrison’s (1990) research also provides compelling evidence in support of active learning environments, revealing a strong correlation between heightened levels of interaction during the learning process and positive outcomes, including enhanced attitudes towards learning, heightened satisfaction, increased student engagement, and greater motivation to achieve higher academic performance.
According to Akin (1984), design courses are characterized as problem-solving activities where individuals make independent decisions to attain design objectives. The inclusion of sustainable design principles within design curricula can enhance students’ problem-solving skills and equip them with the knowledge and competencies necessary to address sustainability challenges in their future careers.
The critical evaluation of this study on the NDA’s current approach to integrating sustainable design into its Interior Design Degree courses reveals significant shortcomings and deficiencies. Notably, sustainable design receives limited attention, confined to a single module. Students face inadequate guidance from tutors, limited
The most important attribute that education can bring to anyone is the ability to think critically. In an era where information and knowledge is universally available, it is the power to comprehend, assess and analyse which makes the difference – those are the critical thinking skills.
Charles Clarke, former UK Secretary of State for Education
opportunities for peer collaboration, and a lack of involvement from industry experts. The NDA fails to adequately equip students with a comprehensive understanding of sustainable design principles and the practical skills required for effective application in design projects. Consequently, students may not develop the necessary confidence and competence to tackle design projects at an industry level, let alone
This comic highlights how companies often engage in greenwashing, focusing solely on the use of bio-degradable and compostable materials without considering the broader environmental, social, and economic impacts – a critical oversight in achieving the full spectrum of sustainability principles.
address the complex challenges posed by sustainable design. As a result, significant concerns exist regarding the depth and breadth of knowledge acquired by students in this critical area.
The robust findings from Afacan (2013) and Garrison (1990) offer compelling evidence to substantiate the argument that incorporating industry collaboration and active learning environments is a promising approach to significantly improve the comprehension and application of sustainable design principles by interior design students throughout their academic and professional design projects.. These studies underscore the critical importance of fostering dynamic learning environments and meaningful engagement with industry professionals to provide students with invaluable real-world perspectives and experiences. The potential impact of industry collaboration on the academic curriculum must be scrutinized, especially in light of the European Commission's crackdown on greenwashing (Adegeest, 2021). The EC's recent report reveals that 42% of analysed sustainability claims lacked transparency and were potentially deceptive under EU rules. This underscores the urgency of addressing greenwashing through educational initiatives, as consumers increasingly seek environmentally sound products. The lack of substantiation in sustainability claims poses a significant cause for concern, emphasizing the need for concise and effective educational training.
A prudent and balanced approach is necessary, incorporating prevalent industry practices while addressing broader systemic sustainability concerns. This includes the prioritization of energy efficiency, effective waste management, among other relevant factors. By considering these multifaceted factors, institutions can ensure that students receive a comprehensive education that prepares them to authentically champion sustainable design in their future careers. Active learning environments and industry collaboration play an undeniable role in advancing sustainable design education and are critical to meeting the urgent need to prepare students to effectively tackle the complex challenges associated with sustainability in the field of design.
This section guides readers through four meticulous chapters, underpinned by data and facts. It offers a comprehensive understanding of emerging interior designers' perceptions, knowledge, and experiences in the realm of sustainable interior design.
Here, the exploration begins by meticulously dissecting participants' profiles, including age, educational backgrounds, and employment histories. It lays the groundwork for unraveling the stories of these designers shaping the future of sustainable design.
Chapter 2 delves deep into the heart of the matter, addressing knowledge, application, and barriers in sustainable design principles for interior design students. It dissects how participants understand and apply sustainable design and the challenges they face.
This chapter explores the prevalence of sustainable materials, with a focus on bamboo, in interior design. It raises concerns about overreliance on specific materials, particularly bamboo, due to students' limited awareness of its sources, socio-economic aspects, and potential exploitation. The environmental impact of bamboo and the need for greater awareness, research, and education on certifications are emphasized for fostering proficient sustainable design practices within the academic curriculum.
In the conclusion, readers encounter personal judgments and analyses, drawn from the data and insights presented. These chapters pave the path to answering the core research question: "Are Budding Interior Designers True Future Champions of Sustainable Design, or Greenwashing Enthusiasts?" They promise a deeper understanding of the intricate dynamics and provide a comprehensive response to this paramount query.
Out of the 35 individuals participating in this study, 91.4% (R7) are currently enrolled as students at NDA, with the remaining participants being graduates of NDA. The demographic distribution aligns with the study’s objective of gaining insights into the current institutional landscape and assessing changes that have transpired since the author's learning experience at NDA, spanning from 2019 to early 2022. In delving deep into participants’ knowledge and experiences at the NDA, particularly within the context of the sustainable design module, this study seeks to answer a pivotal question: Have the institution's recent educational and curriculum development endeavours effectively prepared students for the evolving sustainability demands in the design industry?
65.8% (R2) of participants have a background in design education, while a comparable percentage, 65.7% (R3), did not have prior employment in the design industry before commencing the BA (Hons) Programme at NDA. This suggests that a significant portion of the sample has already gained fundamental problem-solving skills through prior education. The participant pool includes individuals from diverse non-design-related professional backgrounds who have entered the field of interior design. While this diversity holds the promise of fresh perspectives and innovative problem-solving approaches, it may also indicate a lack of foundational experience within the design industry, especially concerning
established design standards. It is crucial to recognise that educational backgrounds alone may not fully equip emerging designers to tackle the industry-specific challenges of sustainable design. Notably, 71.4% (R4) of participants express a strong desire to leverage their degrees for career opportunities, this inclination aligns with the common expectation that students pursue a degree with the aim of enhancing their career prospects. 62.9% (R5) of participants aspire to be self-employed in the future, and a significant 80% (R6) express a desire to specialise in residential design. As the industry welcomes a new generation of designers from diverse backgrounds, the significant numbers aiming for self-employment and specialisation in residential design raise pivotal questions about their preparedness to tackle the specific challenges of a design career, especially in the context of sustainability. It also emphasises the need to consider how these students intend to navigate the intricacies of sustainable design, particularly as self-employed individuals without the guidance of more experienced industry professionals.
A substantial number of participants reported early exposure to sustainable design principles. Surprisingly, 80% (R13) were aware of sustainable design principles even before beginning their courses. However, on a different survey question (R14), only 28.6% indicated they were formally informed about these principles before starting the course, emphasizing a distinction between casual awareness and structured education on sustainable design principles. A significant 71.4% (R8) of participants demonstrate a clear understanding of sustainable design principles, defined as exhibiting a comprehensive and well-defined
grasp of key concepts, principles, and practices associated with sustainable design.
62.9% (R10) of participants developed their interest in sustainable design during their design courses, suggesting a discernible increase in enthusiasm for sustainable design as they advanced through their studies. This reflects the broader educational programme's capacity to inspire students to delve more deeply into sustainable design, both in terms of understanding its intricacies and applying its principles in practical terms. It is essential to assess how this newfound interest translates into practical skills and solutions. A relatively small proportion, 22.9% (R15), already possessed prior experience with sustainable design principles before starting the course. Only 25.7% (R11) of participants were informed about sustainable design at the beginning of their degree programs, indicating that the early stages of their design education may not have adequately emphasised the importance of sustainability. This finding underscores the significance of an early, comprehensive introduction to sustainable design principles within curricula. Those students who already possess a foundational understanding of sustainability may find it significantly influences their academic and career trajectories.
Lastly, it is worth noting that while 60% (R9) of participants express an interest in pursuing sustainable design as a future career, 28.6% (R9) remain unsure about this path. Understanding the factors driving this divergence in interest is a key area for further exploration.
Herbert Simon’s definition of design offers invaluable insights within the context of the participants’ demographics. Simon defines design as “everyone who devises courses of actions aimed at changing existing situations into preferred ones” (Simon, 1996, p.111).
Berlin designers Julieta Benito Sanz and Dirk Lachmann introduce the Minimono Project, a meticulously researched sustainable furniture collection developed over two years. The aim is to embody circular design principles and enhance the sustainability of furniture production. The multifunctional pieces are crafted from recycled HDPE plastic sheets, encouraging responsible consumption. The use of upcycled, non-toxic plastic adds an eco-friendly dimension to the collection, showcasing a commitment to both durability and environmental consciousness. News, 2021
Author’s critic:
This critique challenges the Minimono Project's efficacy in promoting widespread sustainability, questioning its niche focus on children and art enthusiasts. The absence of a contemporary, accessible design for the general public, coupled with a potentially expensive artisanal process, raises concerns about economic inclusivity. The argument questions the £121.00 stool's affordability for those with regular incomes, suggesting a potential misalignment with promoting conscious consumption. This prompts an examination of whether the product aligns with the needs and preferences of the general populace, raising concerns about its potential exclusivity and the effectiveness of its design for a wider audience beyond niche markets?
This definition underscores the fundamental nature of design as a problem-solving process, with its core focus on enhancing the current state to create a more desirable future.
Aligning Simon’s definition with the viewpoint presented by Giard and Schneiderman (2013) in The Handbook of Design for Sustainability provides a comprehensive understanding of the contemporary significance of design. Giard and Schneiderman emphasise that the success of design is intricately connected to its capacity to resonate with the preferences of individuals within the broader societal, economic and environmental context. In this context, people represent the ultimate users of design solutions, and their preferences play a pivotal role in determining the effectiveness of the design. This insight suggests that curriculum learning outcomes should be modernised to remain relevant in the present global context, where sustainability has become a paramount concern. It also raises a pertinent question as to why environmental considerations are frequently relegated to an afterthought, with aesthetics taking precedence over sustainability.
Ernst Neufert (1900–1986) was a German architect and author best known for his influential work, "Architects' Data" ("Bauentwurfslehre" in German). Published in 1936, the book has become a fundamental reference in architecture and design. Neufert's work provides architects and designers with essential data on building dimensions, spatial requirements, and design elements. It serves as a comprehensive guide, offering standard measurements and principles for efficient and functional architectural design. - Neufert Stiftung, n.d.
Further analysis reveals that only 8.6% of participants apply Neufert Architects’ Data all the time, with an additional 8.6% using it most of the time. A larger proportion of participants, 25.7%, apply the reference sometimes, while a substantial 57.1% do not apply it at all (R17). These statistics highlight a significant gap between awareness and practical application, suggesting that even students who may possess knowledge of this resource do not consistently employ it in their design work.
These results suggest the current academic structure of the programme does not consistently highlight the importance of integrating reliable data sources into interior design education, a practice that should be ingrained in students as they progress through their courses. Module assessments predominantly align with predefined learning outcomes, which, in some cases, may not encompass the complexities of real-world sustainable design practice in the field of interior design.
Surprisingly, only 60% (R16) of participants demonstrate familiarity with Neufert Architects’ Data or comparable references. Astonishingly, some students admitted they had never heard of it or were entirely unaware of its existence. This finding is unexpected, as one would anticipate near-universal acquaintance with this foundational resource prior to initiating Module 5, given that Neufert Architects’ Data is introduced in Module 2, ‘Space Planning’.
One reason this issue may arise is the lack of enforcement of the utilisation of anthropometric data, such as Neufert Architects’ Data , in design assignments. Although assignment instructions occasionally mention the use of such data, it is rarely enforced so students who find it inconvenient to integrate this data into their projects may not do so.
It is imperative to recognise the importance of introducing essential references like Neufert Architects’ Data , not just as a resource but as a means to seamlessly infuse sustainable design
principles into students’ creative processes. Only 25.8% (R39) of participants expressed awareness of the relationship between sustainable design principles and the use of Neufert Architects’ Data , which is surprisingly low considering that this reference work was introduced in Module 2 and its use is encouraged throughout the course. The role of Neufert Architects’ Data as an indispensable guide and starting point for designers should not be underestimated. The handbook provides crucial information on energy efficiency, spatial planning, and management, readily accessible within its pages.
It encompasses chapters that specify minimum standards, addressing aspects such as space planning, safety, and accessibility requirements. These standards play a crucial role in ensuring that architectural designs meet essential functional, ergonomic, and safety prerequisites, establishing a foundational framework for the design process. Although these aspects may not directly prescribe sustainable design solutions, they undeniably contribute to the crafting of purposeful designs that harmoniously align with fundamental sustainability principles.
Interest in sustainable design before and after learning about its relationship to Neufert Architects’ Data undergoes an intriguing shift. Initially, prior to being informed about the connection, 60% of participants indicated interest, while 28.6% remained uncertain about their interest in sustainable design at the time of this study (R9). However, post-awareness, there is a 20% point increase in the number of students who are unsure, accompanied by a 40% point
decrease in those who express interest (R18). This indicates that more students are uncertain about their interest towards sustainable design, suggesting untapped potential among students waiting to be unlocked with the appropriate guidance and motivation.
The revelations become even less striking when we explore the barriers faced by students in utilising Neufert Architects’ Data (R19). Many students consider its use inconvenient, feeling that it limits creativity and innovation in the design process. A significant portion believes that it is unnecessary in every design, as it is inflexible and does not allow for customisation or adaptation to specific project needs. Surprisingly, some students stated that the edition they own does not contain sustainability information, and one even claimed not to have studied the Neufert Architects’ Data . These unexpected responses raise questions about the programme’s grading processes and how students navigated Module 2 without utilising this critical data. Several students have expressed that they did not feel the need to utilize the data within their designs, while others indicated they had not heard of it and expressed a willingness to conduct further research into Neufert Architects’ Data since the commencement of this study. This signifies that they are not aware of its existence despite the data being introduced in the module textbook.
This analysis highlights the significance of both introducing essential references and drawing attention to the correlation between these resources and sustainable design. It is evident that there are several reasons students may not fully exploit this resource, including concerns about inconvenience, creativity limitations, and a perception of inflexibility.
One notable observation is that, despite close relationship of sustainable design to the field of construction, the module 5 textbook used in the BA Honours Interior Design program at NDA does not explicitly emphasise the application of sustainable design principles in their design assignments. Providing students with clear guidelines for sustainable design would significantly enhance the students relevance in the industry. This enhancement would be particularly beneficial within the context of the Sustainable Design and Technology module.
Module 5 textbook does briefly mention ‘Part L’ of the UK Building Regulations, which outlines elements contributing to building sustainably. Some of these elements such as energy efficiency aligns with the seven core principles of sustainable design within the construction industry. This alignment suggests a potential synergy between interior design and construction when it comes to sustainable design.
The introductory sections of the textbook provide a rudimentary explanation of sustainable design but lack the detailed elaboration and specific
references crucial for guiding students in their exploration of sustainability within the field of interior design. Updates are needed to align the textbook with the contemporary emphasis on sustainability within the construction and design domains.
To provide some context and comparison, the author’s Level 6 learning experience at KLC School of Design focused on sustainability as a crucial component that was consistently incorporated into students’ design-based assignments. Meanwhile, at NDA, sustainability is not integrated into design-based assignments following its introduction in Module 5 until the end of Module 11. This discrepancy in approach highlights the need for a more comprehensive incorporation of sustainability principles within the educational framework at NDA.
Promising signs emerge as students actively incorporate sustainable design elements into their design-based assignments. Notably, 42.9% (R38) of participants have independently embraced the integration of sustainable design principles into their assignments, surpassing the prerequisites mandated by learning outcomes in Module 5. This reflects a commendable level of maturity and responsibility in their design development in their academic pursuits.
One of the learning outcomes in Module 5 mentions ‘sourcing green and eco-responsible manufacturers and suppliers’. The assessment process, however, primarily evaluates materials at the surface level. For instance, students who use
bamboo might assert that their bamboo is eco-sourced from England, even though the plant is not native to the country and would have required the emission of carbon to arrive in England. The assessor does not pose questions or encourage deeper research into such materials. Consequently, the impression may arise that the assessment process prioritises superficial eco-friendliness claims made by companies rather than thorough sustainability considerations.
Only 31.5% (R42) of participants express confidence in their ability to incorporate sustainable design principles into their future design projects. This statistic leads to several questions. Does the importance and emphasis of Module 5 significantly differ among students? Is it only a fraction of students who implement teachings and concepts beyond what is explicitly conveyed in the school’s materials? When students were queried about the barriers
they encountered, an overwhelming majority, 80% (R41), acknowledged facing obstacles in implementing sustainable design principles in their design-based projects. When asked about the specific barriers impeding the implementation of these principles (R40), students’ responses unveiled several common hindrances, even among those who do incorporate these principles. The shared barriers include a lack of knowledge, limited access to sustainable materials and products, restricted time and resources for incorporating sustainable design principles, limited access to learning materials about sustainable design, limited access to tutor support on sustainable design, and an absence of requirements related to sustainability within project briefs. This conundrum implies that the barriers are not just related to students’ willingness to integrate these principles; they are deeply ingrained within the educational structure itself.
In evaluating students’ application of sustainable design principles, several critical themes come to light. While it is commendable that 94.3% (R20) of students consider the life cycle of materials and 91.4% (R21) incorporate energy-efficient lighting considerations in their designs, these are foundational aspects of sustainable design. They should serve as the minimum standards in sustainable interior design rather than being perceived as exceptional.
The data also underscores significant areas of concern. A mere 22.9% (R23) of participants conducted research and applied sustainable construction techniques and practices in their design projects. This figure highlights a noticeable gap in the application of advanced sustainable construction knowledge, a critical component in the holistic practice of sustainable design.
Furthermore, only 17.1% (R24) of students considered the integration of renewable energy resources like solar panels in their designs. This raises concerns in an era where renewable energy needs to play a crucial role in reducing the carbon footprint of architectural and interior design projects.
The limited exploration of sustainable waste management strategies, with only 17.1% (R25) of students incorporating such practices, is another area of concern. This statistic prompts questions about students’ awareness of the significant environmental impact of waste and the necessity for the inclusion of comprehensive waste management strategies in their designs.
28.6% (R26) of students evaluated the environmental impact of the transportation and logistics involved in sourcing materials for their designs. While this percentage is higher than some of the previous figures, it still indicates that there is a substantial portion of students who may need to deepen their understanding of the broader sustainability implications in material sourcing and logistics.
Perhaps the most concerning revelation is that only 45.7% (R36) of students evaluated the environmental impact associated with the materials they chose for their designs. This limited evaluation neglects the core principle of sustainability, which encompasses the complete life cycle of materials—from extraction and production to transportation and disposal. In cradle-to-cradle thinking, where materials are designed to be reused or recycled, thereby minimising waste and environmental impacts (Sustainability Guide, 2022). The consideration of material utilisation or disposal after their lifecycle, such as in the event of business closure or other circumstances, was addressed by just 25.7% (R37) of students. This low adoption rate emphasises the need for a comprehensive understanding of the principles underpinning sustainable design.
In the realm of interior design, the selection of sustainable materials often tends towards options like bamboo, wood pallets, reclaimed wood, and rattan, as evidenced by the fact that 94.3% (R27) of participants claimed they use these materials in their designs. While these materials are not without merit, their frequent use can lead to interiors characterised by an overabundance of earthy browns, bordering on a clichéd and recycled aesthetic. This may hinder the potential for creative exploration with salvaged materials, limiting the diversity of design outcomes.
One disconcerting aspect brought to light by the data is that a significant portion of students, 45.7% (R29), predominantly opt for bamboo as their sustainable material of choice. Only 17.1% (R30) of participants were aware of the specific sources of the bamboo used in their designs, and a mere 11.4% (R33) considered the social and economic aspects of bamboo production, including factors like fair trade practices and support for local communities. Even more concerning is that only 14.3% (R28) of participants are aware of bamboo exploitation. While bamboo is undoubtedly a sustainable choice (Yadav and Mathur, 2021), this trend raises concerns about the depth and diversity of students’ knowledge of innovative sustainable materials.
This is especially troubling considering the growing demand for bamboo as a supposedly sustainable resource. A TV program titled ‘To Bamboo or Not to Bamboo?’ by National Geographic delves into the intricate reality of
bamboo and raises thought-provoking questions about its role in sustainable design—is it a solution or a new problem in the context of sustainability? While bamboo’s rapid growth and mechanical durability make it an appealing material, increasing demand could potentially lead to deforestation as land is cleared to make way for bamboo plantations (Gallagher, 2011).
Presenter Edward Ng (2023) underscores that if deforestation becomes a necessity to accommodate bamboo plantations, it will undermine bamboo’s standing as a genuinely sustainable resource. Pushing producers, often small-scale operations in remote villages, to resort to deforestation to meet the escalating demand for bamboo contradicts the principles of sustainability, from both environmental and social standpoints. Such actions not only impact the local ecosystem but also disrupt the livelihoods of communities relying on these forests.
The environmental consequences of bamboo treatment processes also deserve thorough examination, yet only 5.7% (R34) of participants delved into the environmental impact of bamboo treatment in their designs. There is a clear need for greater awareness concerning the biodegradability of bamboo, particularly after it has been subjected to chemical treatment. While Lam (2023) in the TV program argues that small businesses may encounter challenges in obtaining certifications such as B Corp, it remains essential for all businesses, regardless of their scale, to adhere to established sustainability standards.
Let’s all lose the greenwash and do something real. Bensley, 2020.
Author’s thought: If students engage in independent research and take the initiative to learn a broader perspective of sustainable design, they would likely come across designers like Bill Bensley. A renowned architect and designer celebrated for his innovative and sustainable approach to hotel and resort design, leaving an indelible mark on the hospitality industry with his distinctive and often whimsical creations. His designs seamlessly blend luxury with environmental consciousness, featuring lush landscapes and eco-friendly elements. Bensley is recognized for his commitment to sustainability, incorporating local materials and cultural influences into his projects. His portfolio spans numerous high-end resorts and hotels across the globe, showcasing a unique blend of creativity, luxury, and environmental responsibility.
Moreover, he has produced a white paper called “Sensible Sustainability Solutions,” aiming towards the global hotel industry, offering insights and practical solutions. Based on the analysis of one photo (Fig. 13), it becomes evident that sustainable design is not constrained to a green and brown palette, nor does it require the appearance of salvaged or recycled materials. When approached maturely and thoughtfully, sustainable design can be creative and successful, encouraging designers to explore sustainability from different perspectives. Sources: Cullen, 2023. Kilburn, 2020. Luo, 2020.
The mere 8.6% (R32) of participants who report researching certifications underscores the pressing need for heightened education and awareness about certifications for materials like bamboo and other wood-based resources.
In cultivating a mature understanding of sustainable design, students are not only required to engage in critical problem-solving but also to conduct independent research. It is heartening to note that 80% (R31) of the students displayed a willingness to diversify their material choices by exploring alternative sustainable materials beyond bamboo for their designs. Despite this openness to broader considerations, the current NDA academic curriculum does not comprehensively address these multifaceted challenges. This gap could leave students with the misconception that their educational exposure alone is sufficient for achieving proficient sustainable design practices.
The field of interior design must recognise that sustainable design goes beyond material selection and life-cycle assessment considerations. It embodies a holistic approach that rigorously avoids wasteful design practices. There is a need for an evolution in curriculum and pedagogical approaches to equip students with the knowledge and skills essential for authentic sustainable design excellence. The observations within this study bring to light persistent inadequacies within the NDA curriculum when it comes to imparting pivotal knowledge about sustainable design and its underlying principles.
Despite the assertion by 60% of students (R51) asserted that they have received guidance and support, the prevailing sentiment is that such assistance is of an average quality at best and tends towards being unhelpful. In alignment with the author’s experience and personal perception, a considerable 77.1% (R44) of students perceive the teaching materials as inadequate in information and outdated. Additionally, 85.7% (R45) highlighting insufficiency in teaching delivery,
and 71.5% (R46) expressing dissatisfaction with the overall quality of teaching.
In practical application, students often resort to consulting references from alumni and imitating the work of those who are one module ahead. This ‘blind leading the blind’ scenario represents a discernible challenge in the learning process. This domino effect, yielding successive generations of uninformed designers is disconcerting.
Armed with the requisite tools and knowledge, students can excel in sustainable design. This assertion garners unanimous support from all participants (R52) who unanimously advocate for more comprehensive education and training on sustainable design principles within interior design programs. All participants further concur on the criticality of applying these principles within the interior design industry.
The unanimous agreement of participants (R48) suggests that a more comprehensive integration of sustainable design in each module of the course would enable students to acquire greater knowledge and enhanced proficiency in applying sustainable design principles. Additionally, collaboration with industry professionals is seen as crucial to providing students with a more profound understanding of sustainable design.
It is evident that deficiencies in the delivery of sustainable design education hinder students’ ability to acquire comprehensive knowledge and proficiency in sustainable design principles. Students’ inclination towards greenwashing in their projects may stem from the limitations of the academic institution itself. However, it is also
important to recognise that students at this level of education should also demonstrate traits of maturity, independent research, exploration, and advanced problem-solving to excel in the design field.
To address the research question, ‘Budding Interior Designers: True Future Champions of Sustainable Design or Greenwashing Enthusiasts?’, a credible foundation exists supporting the author’s judgement that students may inadvertently be involved in greenwashing practices. Despite the observed dedication to their foundational knowledge and application of sustainable design principles, The integration of sustainability manifests as an inadequate effort. This inadequacy is evidenced by the absence of comprehensive life cycle assessments, little discernment over material selections, and the lack of inclusion of independent research and exploration of other elements within the realm of sustainable design principles.
This dissertation acknowledges its limitations. The study's participants do not represent the entirety of NDA's student body. The volunteers for analysis primarily consisted of students graded A, which does not necessarily indicate a comprehensive understanding of sustainable design principles but rather meeting curriculum learning outcomes. The institutional shortcomings should be addressed to cultivate well-informed generations of designers. Furthermore, this dissertation is bound by anonymity constraints, limiting the presentation and description of student work. Thus, the study's representation remains partial.
Cover Page
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Fig. 2
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Fig. 3
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Fig. 4
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Fig. 8
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Fig. 11
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Fig. 12
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Barrier Utilizing Neufert’s Architect Data
Inconvenient
Limits creativity and innovation in design and its process
I dont think it is necessary to apply in every design I feel like it can be inflexible & not allow for customization or adaptation to specific needs of a project
Others
My edition of Neufert’s is not the latest edition which contains the sustainable information (I have however sustainable design certification)
Not even studied it
Unsure
As of yet I haven't needed to use it within my designs so I would need to learn how it could benefit me going forward.
I need more research into this topic
I have never heard of this I don’t know what it is
Evaluated the Environmental Impact of Transportation and Logistics Involved in Sourcing Materials for Their Designs
Used these Materials: A) Bamboo
Wood Pallet C) Reclaimed Wood
Rattan
Aware of the Specific Sources of the Bamboo Used in Their Designs
Aware of Bamboo Exploitation
Conducted Research on the Certifications or Standards Related to Sustainable Bamboo Sourcing
Considered the Social and Economic Aspects of Bamboo Production, Such as Fair Trade Practices or Supporting Local Communities
awareness
Investigated the Potential Environmental Consequences of the Bamboo Treatment Processes Used in Their Designs
Encouraged to Explore Technologically Advanced Sustainable Materials Beyond the
Evaluated the Constructions, Transportation and Carbon Footprint Associated with the Materials They have Chosen for Their Designs
Considered Materials Utilization or Disposal After Reaching the End of its Lifecycle, such as in the Event of Business Closure or Other Circumstances
Barrier Not Implementing Sustainable Design Principles in Design-Based Assignmments
Limited access to sustainable materials and products
Limited time/resources to incorporate sustainable design principles
Limited access to learning materials to inform them of sustainable design
Limited access of tutor's support to inform them of sustainable design
Not required in the brief
Faced Barriers in Implementing Sustainable Design Principles in Their Design-Based Projects
Confidence in Their Ability to Incorporate Sustainable Design Principles in Their Future Design Projects
Barrier Implementing Sustainable Design Principles in Design-Based Assignmments
Lack of knowledge
Limited access to sustainable materials and products
Limited time/resources to incorporate sustainable design principles
Limited access to learning materials to inform them of sustainable design
Limited access of tutor's support to inform them of sustainable design
Not required in the brief
On a scale of 1-5, how important do you think sustainable design principles are in the interior design industry?
Assumptions to Increase Participation in Sustainable Interior Design Within the Industry
design principles
Alexa Cher-Alizee Elfarah Wilson Online BA (Hons) Interior Design 133943 1 st December 2023