Islamic Art Element in Modern Furniture Design Based on Three Types of Design Thinking Approaches

Shahriman Zainal Abidin, Rafeah Legino, Mohamad Hariri Abdullah, Nur Izyan Syazwani Ismail

Abstract


This paper discusses the three most prevalent elements of Islamic art that are embedded in modern furniture. This study is isolated from three design thinking approaches. A comparative study has been executed between three most apparent elements of Islamic art, which are arabesque, geometric and calligraphy. Those three types of design are applicable and relevant to modern furniture design nowadays. Therefore, the Islamic model was the paradigm in defining the furniture design character. The unstructured parameter within the appropriate method is a significant way of collecting the findings and usually used in the area of furniture design. The main results of this study are on how Islamic pattern is linked with the artistic design elements. The outcome of this investigation also contributes to a significant tendency in contemporary furniture design thinking solutions. Finally, this paper ends with discussions from three types of design thinking, which is the normative, reflective and hermeneutic design that collaborates with the current modern furniture design.

Keywords


Furniture Design, Hermeneutic, Islamic Art Element, Normative, Reflective

Full Text:

PDF

References


Abas, S. J. (2001). Islamic Geometrical Patterns for the Teaching of Mathematics of Symmetry. Special issue of Symmetry: Culture and Science. Symmetry in Ethnomathematics, pg 55. Budapest, Hungary: International Symmetry Foundation.

Abidin, S. Z. (2012). Practice-based design thinking for form development and detailing. Trondheim: Norwegian University of Science and Technology.

Ali, N. S., Khairuddin, N. F., & Abidin, S. Z. (2013). Upcycling: Re-use and recreate functional interior space using waste materials. Proceedings of E&PDE 13, 15th International Conference on Engineering and Product Design Education – Design Education – Growing Our Future, Dublin, DS76, 798-803.

Darke, J. (1979). The primary generator and the design process, Design Studies, Vol. 1, Issue 1, pp. 36-44.

Dunham, D. (2016.). Hyperbolic Islamic Patterns - A Beginning. Retrieved December 12, 2016,

From http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.437.9415&rep=rep1&type=pdf

Gedenryd, H. (1998). How Designers Work. Lund: Lund University.

Legino, R., & Forrest, D. (2015). Symmetrical motif design in Malaysian batik sarong patterns. In International Colloquium of Art and Design Education Research (i-CADER 2014) (pp. 695-701). Springer, Singapore.

Lin, C. H. & Hsu, Y. L. (2004). The Influence of Digital Architecture on Virtual Furniture Design. Department of Visual Communication Design, Kao Yuan Institute of Technology National Institute of Design, pg7. Swinburne University of Technology 10/12A A’Beckett Street Prahran Victoria 3181 Australia.

Megahed, S. A (2015). Emerging Trends in Sustainable Furniture Design: An Experimental Study on Arabic Calligraphy. Emirates Journal for Engineering Research, 20(1), 17-26. Rowe, P.G. (1987). Design Thinking. Cambridge, MA: MIT Press.

Schön, D. A., & Wiggins, G. (1992). Kind of seeing and their functions in designing. Design Studies, 16(3), 135 – 156.


Refbacks

  • There are currently no refbacks.


Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

The Pertanika Journal of Scholarly Research Reviews, (e-ISSN: 2462-2028, ISSN: 2636-9141) published by Universiti Putra Malaysia Press