Strategic Design Language: Malaysia Cultural Icon In Brand Identity Translation
| dc.contributor.author | Azhari, Ahmad Zaki | |
| dc.date.accessioned | 2017-01-11T07:37:42Z | |
| dc.date.available | 2017-01-11T07:37:42Z | |
| dc.date.issued | 2016-10 | |
| dc.description.abstract | This research was to explore the most familiar and accepted cultural icons can be as generating tool as an interpretation of 1Malaysia cultural branding. The cultural icons in which the Malaysians familiar and accept as symbols in their everyday lives, the association of the Malaysian demographic in relation to cultural icons that they choose and the relationship of the three levels of design in relation to cultural. The sampling of this study consists of the Malay, Chinese and Indian as they are the majority of Malaysia population and the total of samples will be 328 which is 207 from the samples are Malays that represents 50.1% of Malaysian, 93 samples are Chinese which is 22.6% of Malaysian and 28 samples are Indian that represents 6.7% of Malaysian out of 27 million population in Malaysia included in Borneo's Malaysia Using descriptive, Cramer‟sV and Chi-square test, variables were analysed. The, A'Famosa and Christ Church architecture of Melaka are the most familiar architecture icon chosen by the respondents, the labu sayong form Perak is the most familiar product cultural icons and the turtle is the most familiar nature icons. It was found that races and states of origin have weak association to architecture icon chosen but interests have moderate association. But in the case of product icon chosen, interests and states of origin have weak association but races in fact have moderate association. As for nature icon chosen, races have weak association but interests and state of origin have moderate association. there is no relationship at all between the three levels of design to cultural icons chosen by respondents except for only one variable which is the choosing of architecture icon seems has relationship to reflective. the result indicate there is no relationship at all between the three levels of design to cultural icons chosen by respondents except for only one variable which is the choosing of architecture icon seems has relationship to reflective. The result of the relationship between races, states of origin with visceral in relation to cultural icons show that there is no relationship. The new variable of interest tested also indicate there is no relationship with visceral in relation to cultural icons chosen. The results reveal that there is no relationship between interests and states of origin with behavioral to culture icon chosen. But races do have relationship with behavioral to architecture and nature except for product icon. Finally, the study comes up with guidelines of the most chosen icons and also the questionnaire that consists of theory of cultural branding that can be used as a generator tool as an interpretation of 1Malaysia cultural branding. With this research, hopefully may help the designers to understand more on how actually the three levels of design works on icons chosen. To learn more what are the main factors in three levels of design which are visceral, behavior or reflective that gives more or less impact in choosing a Malaysia cultural icons by Malaysian. Did biased really exist in this matter? This is somehow may help the designers to open their mind and gives them an ideas or clearly pictures on designing a design that need to be relate with the Malaysia true identity. It‟s also may help the designers to establish a guideline in 1Malaysia concept Therefore, the findings would provide guidelines for Malaysian designers to adapt in designing cultural branding. | en_US |
| dc.identifier.uri | http://hdl.handle.net/123456789/3398 | |
| dc.subject | Cultural icons can be as generating tool as an interpretation | en_US |
| dc.subject | of 1Malaysia cultural branding. | en_US |
| dc.title | Strategic Design Language: Malaysia Cultural Icon In Brand Identity Translation | en_US |
| dc.type | Thesis | en_US |
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