Intercultural Design GCD61304
February 6,2025
22/03/2025 - 06/02/2025(Week 1 - Week 7)
ZHOU BOYING / 0369087
Intercultural Design / Bachelor of Design (Honours) in Creative Media / Taylor's University
LISTS
- Instructions
- Project 1
- Project 2
- Final Project
- Feedback
- Reflections
Instructions
Project 1
GRP37 Proposal - Muslim Cultural Design.
In the initial project discussion, our group carried out multiple discussions around 'The Application of Muslim Culture in Daily Design'. Since each member had different views on how to show the application of Muslim culture in design, our discussion lasted for a long time. Initially, we hoped to express the core elements of Muslim culture through daily items (such as tableware, mobile phone cases, pen holders, etc.), and planned to ask our supervisor to help us optimize the direction.
We initially considered several proposal directions, including:
The influence of Muslim culture on daily design: Explore how Muslim culture is reflected in the design of daily items such as tableware, mobile phone cases, and household items.
Cross - cultural design: Research how to integrate Muslim culture elements from different regions (such as Chinese Muslims and Malaysian Muslims) into modern design.
The integration of halal symbols and modern design: Explore how to combine halal symbols with items in modern life and design products that conform to traditional culture and have a modern feel.
However, in our initial proposal, the supervisor pointed out that the research direction of our project was too broad and lacked a clear core theme. This made us realize that we need to focus more on a specific area to ensure the depth of research and the executability of the design. The supervisor suggested that we could focus on more concrete cultural elements, such as architecture and art decoration, because Muslim culture has more distinct characteristics in these fields.
After group discussion, we finally decided to adjust the project to focus on Muslim architecture design. This adjustment makes our research more focused and enables us to deeply explore the geometric patterns, decorative styles in Muslim architecture and how to apply them to modern design.
This transformation not only brings a new direction to our project, but also new challenges. Compared with the previous design of daily items, the current research focuses more on the analysis of architectural structures and decorative styles. We began to collect visual materials of mosques, Islamic palaces and other buildings, and study the role of geometric patterns and Arabic calligraphy in architectural decoration. This process not only deepens our understanding of Muslim culture, but also makes our design more culturally profound and historically valuable.
Video
Project 2
Muslim architecture research record
During this research process, my team members and I delved into the artistic and cultural values of Muslim architecture. This research was not only an academic study, but also a journey of cultural exchange.
Research background
Our research topic focused on Muslim architecture. We hoped to gain in - depth understanding of the artistic styles, historical backgrounds of Muslim architecture and its evolution and integration in different regions through on - the - ground investigations and data collection.
Fortunately, our team members were from different countries, and one of them was a Muslim from China. She provided us with the data of mosques in her hometown. In addition, our Muslim classmates and friends also shared pictures and relevant information of mosques in their hometowns, enriching our research materials.
Research content
The Muslim architecture materials we collected covered mosques in different countries, mainly including:
Muslim architecture in China
Mosques in China have integrated traditional Chinese - style architectural styles and Islamic architectural elements.
For example:
- Tongxin Grand Mosque: mainly made of wood structure, with the flying eaves of Chinese classical architecture on the roof.
- Nanguan Mosque: It has a magnificent main hall and a typical Arabic - style dome.
- Dongguan Mosque: It combines Chinese traditions and Islamic styles and is one of the most representative mosques in Ningxia.
These buildings show how Islamic culture fuses with local architectural styles in China to form a unique artistic expression.
Muslim Buildings in Malaysia
In order to gain a deeper understanding of Muslim buildings, our group also conducted on - the - spot investigations of several well - known mosques in Malaysia. The most shocking one among them is the Putra Mosque. It is built with soft pink marble, integrating Middle - Eastern and Malay traditional architectural elements, creating a quiet and sacred atmosphere.
In addition, we also visited:
- National Mosque of Malaysia: A modern - style Islamic building with a unique folding - roof design.
- Malacca Straits Mosque: This floating mosque is built on the seashore and seems to float on the water when the tide rises, which is extremely visually impactful.
Muslim Buildings in Other Countries
Apart from China and Malaysia, we also studied mosques from other countries, such as the Amr ibn al - As Mosque in Egypt. This mosque has a long history and is one of the earliest mosques in Africa. In addition, the Al - Azhar Mosque is not only a religious place but also an important academic center in the Islamic world.
Research Methods
During the research process, we adopted multiple ways to collect data:
- On - the - spot investigation: Visiting mosques, observing architectural styles, decorative elements and spatial layouts.
- Interviews and Exchanges: Communicating with Muslim friends and mosque staff to obtain the cultural significance behind the buildings.
- Literature and Network Data Research: Consulting academic papers and historical materials to supplement background information.
- Questionnaire Survey: Collecting data on different people's awareness and interest in Muslim buildings.
Research Gains and Insights
Through this research, I have a deeper understanding of the aesthetic system of Muslim architecture. Muslim architecture is not only a religious place, but also an expression of culture and art. From Chinese mosques to the Water Mosque in Malaysia, and then to the magnificent buildings in the Middle East, each mosque carries profound historical and cultural values.
In addition, I also deeply realize the importance of cross - cultural communication. Through conversations with Muslim friends, I learned that the mosque is not only a place for worship, but also the center of community activities. Every detail of the building - whether it is calligraphy, geometric patterns, or vine - like decorations - contains rich cultural symbols.
Final Project Record: Muslim Architectural Logo Design
In this final project, our group decided to focus on Muslim architecture and, by designing a Logo with cultural symbolic significance, apply it to daily items such as bags and tissue boxes, thereby expressing the aesthetic value of Muslim culture.
Research Background
Initially, our research direction was rather broad, covering the application of Muslim culture in daily design, such as tableware, mobile phone cases and pen holders. However, the feedback from our supervisor made us realize that we needed to be more focused. Therefore, we re - examined the research content and finally decided to take Muslim architecture as the core research direction. Mosque architecture not only bears the core concepts of Islamic culture, but also has rich geometric patterns, calligraphic decorations and unique architectural styles, making it an ideal source of design inspiration.
Design Process
During the logo design process, we hope to integrate mosque elements from different regions to reflect the unity of Islamic culture and at the same time show the diversity of architectural styles.
Concept Determination
- We decided to combine elements of mosques from Qinghai province in China and the Malaysia floating mosque, presented in the form of water reflections, symbolizing the blending of cultures.
- We use simple geometric patterns combined with the smooth lines of Islamic calligraphy to create a modern - feeling design.
- We choose the representative blue as the main color tone, symbolizing tranquility, faith, and cultural inheritance.
- We print the final logo on bags and tissue boxes. Using daily items as a medium, let more people pay attention to Muslim culture.
- In this way, we hope to arouse people's interest in Muslim culture and prompt them to take the initiative to understand its historical and artistic values.
Final product.
- Logo design concept: Integrate mosque buildings in different regions and show the connection of cultures in the form of reflection.
- Final presentation: The product not only retains the artistic features of Muslim architecture, but also has the simple beauty of modern design.
Summary and Gains
This project has enabled me to learn how to transform cultural elements into modern design, and enhance the cultural depth of the design through on - the - spot research. From the initial adjustment of direction to the final logo design and product implementation, every stage is full of challenges, but it also makes us understand the unique charm of Muslim architecture better.
Ultimately, our goal is not just to design a logo, but to hope that through design, more people will pay attention to Muslim culture and promote cultural exchange and understanding.
Final presentation
TikTok Link：Intercultural Design
Feedback
Week 1-3
Specific feedback:
In the first three weeks, the goal of our group was to gain an in - depth understanding of Muslim culture and apply it to the design. First of all, we studied cultural elements such as Islamic symbols, geometric patterns, and Arabic calligraphy, and collected a great deal of inspiration. These cultural elements would become the basis of our design. Then, we determined three design directions, including tableware (bowls, cups, chopsticks), mobile phone cases and pen holders. Each design needs to reflect both cultural significance and practical functions at the same time.
In the second stage, we began to draw sketches and wrote brief descriptions for each design to explain the cultural background and practical functions of the design. At the same time, we also collected relevant visual reference materials to help us better improve the design.
By the third week, we sorted out all the research and design sketches and integrated these contents into a clear PPT. The PPT showed our research results, design ideas, and explained how each design balanced cultural significance and practicality.
General feedback:
The key to the work in the first three weeks lies in the combination of research and design. We ensure that the core elements of Muslim culture are reflected in each design and take their practical applications into account. Our sketches clearly express the design concepts, and the PPT also presents our work in an organized manner, ensuring that the content is concise, clear, and focused.
Week 4-6
Specific Feedback:
From the fourth to the sixth week, our group entered a more in - depth research stage and began to conduct field investigations to collect more information related to Muslim architecture. Due to the tutor's suggestion, we shifted our research focus from daily - item design to Muslim - architecture design. Therefore, the main goal of this stage was to explore the cultural characteristics of Muslim architecture and analyze how to apply them to modern design.
First of all, the members of our group respectively collected information on Muslim architecture from different regions. Among them, a Muslim group member from China shared photos of the mosques in her hometown and relevant background information. At the same time, we also solicited information on Muslim architecture in their local areas from Muslim classmates and friends from different countries. This enabled our research to cover a wider range of cultural backgrounds, allowing us to analyze the similarities and differences of Muslim architecture in different regions.
Next, we carried out field investigations and visited several Muslim mosques in Malaysia, including the famous Putra Mosque. Through on - site observation, we gained an in - depth understanding of the structures, geometric decorations, calligraphic elements, and color combinations of Muslim architecture, and recorded a large amount of visual materials and research notes.
On the basis of these investigations and research, we further sorted out the collected materials and began to think about how to transform Muslim - architecture elements into modern - design concepts. The focus of this stage was to analyze geometric patterns, arched structures, Islamic calligraphy, etc. in architecture and explore how to apply these elements to our design projects.
General Feedback:
The focus of the work from the fourth to the sixth week was on field investigations and in - depth research. Through comparative research on Muslim architecture in different regions, we have a more in - depth understanding of its cultural background and design characteristics. At the same time, field observation provides an intuitive visual experience, enabling us to analyze the decorative styles and spatial layouts of buildings more meticulously. This process not only enriches our research content but also lays a solid foundation for the subsequent design stage.
In future work, we need to think about how to transform the collected information into actual design while ensuring that our design conforms to the cultural characteristics of Muslim architecture and can also meet the needs of modern design. The research results of this stage are crucial to our project, which makes us more clearly recognize the design essence of Muslim architecture and how to innovate and apply it in modern design.
Week 6-7
Specific Feedback
During the sixth to seventh weeks, we focused on the final refinement of the Muslim architecture logo and explored its application on bags and tissue boxes. After previous research and on - site investigations, we extracted the core visual elements of Muslim architecture and attempted to transform them into modern designs.
First of all, in the logo design, we integrated geometric patterns, mosque silhouettes and Islamic calligraphy to show the unique aesthetics of Muslim architecture. Meanwhile, we continuously adjusted the structure and color scheme of the logo to ensure that it conforms to both Muslim culture and the aesthetic requirements of modern design.
Subsequently, we discussed the application scenarios of the logo and decided to apply the design to bags and tissue boxes. We analyzed the adaptability of different materials to the logo to ensure that the final visual effect can highlight the characteristics of Muslim architecture.
In the final PPT presentation, we organized the research process, logo design concept, product application effect, and made adjustments in combination with the feedback from tutors and classmates to ensure that the design has both cultural depth and meets the application requirements of modern products.
General Feedback
During the sixth to seventh weeks, our group entered the most crucial implementation stage, truly implementing the previous research results into design works. The focus of this stage was to transform cultural elements into visual designs that can be actually applied and ensure that the logo can meet the needs of different products.
We learned how to maintain the balance between cultural expression and modern aesthetics in the design, and through continuous adjustment and optimization, made the logo more in line with the characteristics of Muslim architecture. Finally, we not only completed a unique design solution, but also presented our research results in the form of products, enhancing the communication and cultural value of the design.
Reflections
Experience:
n the Intercultural Design course, I learned how to integrate cultural elements into modern design and create works with depth by studying different cultural backgrounds. Initially, our research scope was rather broad, including the application of Muslim culture in the design of daily necessities. However, at the suggestion of our supervisor, we turned to Muslim architecture to make our research more focused.
During the teamwork, our team members contributed architectural materials from different countries respectively. For example, a Chinese Muslim team member provided photos of the local mosque in his hometown, and other members also collected Muslim architecture cases in different regions. In addition, we also made on - the - spot investigations of the Pink Mosque in Malaysia and obtained first - hand visual and structural information. Finally, we applied the research results to the Logo design of Muslim architecture and used it on bags and tissue boxes to show the combination of culture and modern design.
Observation:
During the research process, I found that the design language of Muslim architecture is both unified and diverse worldwide:
Common points: Most mosques use geometric patterns, arched structures, and calligraphic decorations, and these elements symbolize faith and harmony.
Regional differences:
Middle East: The architecture is magnificent, emphasizing gold and marble materials, such as Al - Azhar Mosque.
China: It integrates Han - style architectural styles, such as wooden structures and upturned - eave designs, for example, the Huajue Lane Mosque in Xi'an.
Southeast Asia: It combines local cultures and is rich in colors, such as the Pink Mosque in Malaysia.
In addition, I also observed that mosques are not only religious places, but also centers of social and cultural exchanges, which inspired us to incorporate elements symbolizing cultural integration into logo design.
Findings:
Cross - cultural design is not just about visual presentation, but more importantly about understanding the cultural background. For example, Islamic geometric patterns are not just decorations, but also represent order and faith.
The balance between tradition and modernity. Directly copying architectural elements may be too complicated, so we adopt simplified geometric design, which not only retains the cultural characteristics but also conforms to modern aesthetics.
Design is a bridge for cultural exchange. By applying the Muslim architecture logo to bags and tissue boxes, we not only convey cultural elements, but also make more people pay attention to and understand Muslim culture.
Conclusion
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