Effect of Egyptian Culture on the Design of Jewelry (Cultural Design Based on Ancient Egyptian Patterns)

We are now living in an era in which modern media and advanced technology, including satellites, satellite channels, and the information network, are intensifying, all of which are working to dissolve cultural subjectivity and remove popular legacies to replace them with Western cultural values ??and behavior patterns. Hence, the Egyptian researcher sees the necessity of reviving contemporary inspired, where every civilization in history has its own culture and pattern which always reflects civilization and expresses their lives and beliefs. Herein, we will mention about the ancient Egyptian civilization, in northeastern Africa that dates from the 4th millennium BCE. It has many achievements, which preserved in its art and monuments. It holds a fascination that continues to grow as archaeological finds expose its secrets. This article focuses on ancient Egyptian culture through the patterns of their beliefs, and how did these patterns affect the designs of the jewelry, and how we can benefit from these patterns in the creation of innovative designs. Here, we focused on the Egyptian pattern because of its great importance in ancient Egypt. Besides, its distinctive shapes enable us to create new modern designs for this era.

Socio-cultural design as a means of moral education of schoolchildren in the conditions of modern education

The purpose of the article is to analyze the features of socio-culturпal design as a means of moral education of schoolchildren in the context of modern education. On the basis of an interdisciplinary analysis of scientific sources, the essence of socio-cultural design, its principles and role in the formation of the moral qualities of the younger generation are determined. The article presents the materials of a psychological and pedagogical experiment to determine the level of moral education of schoolchildren of different ages, as well as the pedagogical conditions identified and formulated by the authors in the form of conclusions. The proposed diagnostic tools made it possible to determine the effectiveness of the application in educational practice of the Program for the sociocultural design of schoolchildren developed by the authors of this article.

Culture Sustainability through Co-Curricular Learning Program: Learning Batik Cross Review

As the application of colored designs on cloth using wax in certain areas in decorating items of clothing, Batik is made through several steps that come from drawing the pattern on the paper followed by imitating the pattern on fabric, which is called ngeblat. The next phase is followed by drawing the pattern using wax, which is called mencanting. The subsequent step is the process of coloring the pattern of Batik, called pencoletan, and then subsequently followed by color-locking on Batik through covering the Batik with wax, namely basic color dyeing. This process is called menembok. The final step is making the panting process through washing, called nglorod. This process should attempt to maintain Batik with cultural sustainability, as its process contains several values, such as discipline, creativity, independence, patriotism, responsibility, cooperation, and environmental care. Based on this background, this paper attempts to examine the Batik’s cultural design and to explore its sustainability through co-curricular school program activities. This study focuses on examining the potential in the process of the application of colored design through elaborating the supporting and interfering factors in a co-curricular learning program of Batik. The analysis was made through several points, namely a co-curricular learning program of Batik for enhancing cultural sustainability, a co-curricular learning program of Batik for enhancing national culture and community responsibility, and co-curricular learning of Batik for sustainability and environmental accountability.

Incorporating Cultural Design Elements in Mobile Applications Creative Industries in Malaysia: A Conceptual Study

In the creative industries sector, mobile applications are the creative multimedia division for advancing technology, the industry revolution 4.0 (IR 4.0), in developing creative products. The creative industries benefit from the usage of mobile applications since it allows for the digital manufacturing of creative products that meet the IR 4.0 era. However, research on the use of cultural design aspects in mobile applications has several limits. This research aims to talk about the conceptual framework for the research that will be done to tackle the issues that occur. According to preliminary findings, the design concepts analysed a lack of cultural design aspects. Therefore, the researcher will research to generate design guidelines for mobile applications for the creative industries that include cultural design elements.

Methodology for predictive socio-cultural design

This article examines the main methodological provisions for the theory and practice of predictive socio-cultural design. The article examines the main problems, which the developers of projects in the socio-cultural sphere are facing; emphasizes the communicative content and project activities focus; analyses the achievements of the Russian school of predictive social design initiated by T.M. Dridze and their significance for modern design practice. The theoretical and activity-related, as well as systematic and situational analyses of project activity in terms of the social interaction paradigm are considered to be the initial methodological requirements. The social levels of this interaction and the corresponding strategies for project activities are of particular attention. The leading role of the cultural content and the cultural context of predictive socio-cultural design is highlighted in the critical analysis of the project experience accumulated during the autonomous sociological approach and social engineering, which remain insufficiently effective in their development and implementation.

The Tacit Dimension

In architecture, tacit knowledge plays a substantial role in both the design process and its reception. The essays in this book explore the tacit dimension of architecture in its aesthetic, material, cultural, design-based, and reflexive understanding of what we build. Tacit knowledge, described in 1966 by Michael Polanyi as what we ‘can know but cannot tell’, often denotes knowledge that escapes quantifiable dimensions of research. Much of architecture’s knowledge resides beneath the surface, in nonverbal instruments such as drawings and models that articulate the spatial imagination of the design process. Awareness of the tacit dimension helps to understand the many facets of the spaces we inhabit, from the ideas of the architect to the more hidden assumptions of our cultures. Beginning in the studio, where students are guided into becoming architects, the book follows a path through the tacit knowledge present in materials, conceptual structures, and the design process, revealing how the tacit dimension leads to craftsmanship and the situated knowledge of architecture-in-the-world.