Despite the strength, beauty and depth found in the Islamic art, people hold limited knowledge towards it, which creates a superficial and limited understanding of the “Islamic” specification in an object or a design. A one year research project investigated this issue from different points of view. Initially, a survey was made reaching the result which states that people keep a superficial understanding of Islamic art limiting it to decorative patterns and calligraphy. In order to overcome this, a historical research was conducted in order to investigate and understand the belonging of certain design aesthetics and forms to specific dynasties in relation to location and time as a potential knowledge container. However, the people’s awareness about strength and beauty of Islamic art would stay limited. Therefore a third approach tried to borrow from the Critical design research strategy, which is aimed at leveraging designs to make consumers think about the everyday objects. It challenged peoples’ shallow perceptions about the role of the daily used products, as opposite of affirmative design. A public experiment was conducted in a public park, juxtaposing contradictory design styles through using “unislamic” forms with Islamic decorations and vice versa.

Critical Design Approach to understand current public’s perception of Islamic Art and Design

Andreas Sicklinger
;
2018

Abstract

Despite the strength, beauty and depth found in the Islamic art, people hold limited knowledge towards it, which creates a superficial and limited understanding of the “Islamic” specification in an object or a design. A one year research project investigated this issue from different points of view. Initially, a survey was made reaching the result which states that people keep a superficial understanding of Islamic art limiting it to decorative patterns and calligraphy. In order to overcome this, a historical research was conducted in order to investigate and understand the belonging of certain design aesthetics and forms to specific dynasties in relation to location and time as a potential knowledge container. However, the people’s awareness about strength and beauty of Islamic art would stay limited. Therefore a third approach tried to borrow from the Critical design research strategy, which is aimed at leveraging designs to make consumers think about the everyday objects. It challenged peoples’ shallow perceptions about the role of the daily used products, as opposite of affirmative design. A public experiment was conducted in a public park, juxtaposing contradictory design styles through using “unislamic” forms with Islamic decorations and vice versa.
PAD
Andreas Sicklinger; Alaa Baligh; Sherin Helmy
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11585/677309
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