Embellishing ceramic tiles with symbolic textile design patterns for interior space

Abstract

This practice-based research through Design (RTD) study focuses on the integration of cultural heritage symbols into contemporary interior design practice through the embellishment of ceramic tiles with symbolic textile patterns. Anchored in symbolic interactionism and employing design thinking from multiple disciplines, the study creates a series of ceramic prototypes inspired by Ghanaian Adinkra symbols. Through iterative studio practice, digital simulation, and reflective analysis, the study demonstrates how culturally embedded symbols can be translated into functional design elements that foster cultural awareness, identity, and narrative in interior spaces. The research makes a theoretical contribution to design theory through the development and articulation of generalizable and transferable principles for culturally sustainable design practice, including deep symbolic understanding, intentional symbolic translation, chromatic cultural coding, and spatial meaning alignment; while also positioning the developed design tiles as RTD research artefacts that incorporate cultural innovations and insights.

Keywords

research through design textile design cultural sustainability ceramic tiles adinkra symbols

Introduction

Ceramic art has historically had a deep connection with textile art, particularly among indigenous civilizations in Southern British America and the Northern United States, which stretches from the Atlantic coast to the Rocky Mountains (Holmes, 1901). Historical records show that early pottery forms frequently featured textile-like patterns and motifs, implying a close tie between these two artistic traditions. Holmes (1901) observes that fabrics have historically affected porcelain painting by introducing geometric elements that have created numerous beautiful designs. The significance of pattern design in artistic expression has been extensively examined, with a focus on cultural representation and identity (Gatto et al., 2000; Pires and Sun, 2017). Similarly, Hussin (2006) exhibits Islam’s transformative influence on textile themes in Peninsular Malaysia, illustrating how cultural interchange is always reshaping artistic practices. Despite these ties, contemporary pottery design in many African contexts, particularly in Ghana, has not fully explored the incorporation of indigenous textile symbolism into modern applications. This gap restricts the expression of local identity in contemporary design thinking and design, resulting in an underutilization of rich traditional aesthetics in modern art forms. The issue, therefore, is to bridge the gap between traditional creative history and modern design innovation, ensuring that cultural emblems remain relevant in contemporary practice. The development of embellishing ceramic tiles with symbolic textile patterns is a human-centred design challenge that, when specifically applied to Ghanaian Adinkra symbols, becomes a powerful method of translating reflective philosophical concepts from a transient medium (cloth) into a permanent architectural element (tile), thereby embedding cultural memory and identity into the very fabric of an interior space.

In Ghana, the Adinkra cloth, traditionally associated with the Asante people, embodies symbolic patterns that reflect collective wisdom, philosophy, and social values. The symbols are a visual lexicon from the Akan people of Ghana and Côte d'Ivoire. Each symbol captures a complex proverb, metaphysical concept, and historical event, making them a deeply ‘symbolic textile design pattern' system (Antubam, 1963). According to Osei, a renowned authority on Ashanti culture, Adinkra symbols communicate profound proverbs that embody the moral and philosophical ideals of the Asante people (Gyekye, 1996). Traditionally reserved for royalty and religious authorities, the Adinkra cloth symbolises sacredness and authority (Boadu 2011). In modern contexts, however, these symbols are increasingly being used to raise cultural awareness and retain traditional identity within globalised artistic landscapes (Buami et al., 2022). Their application on tiles is a modern evolution of their traditional use on stamped funeral cloths.

This study aims to articulate and demonstrate a transferable research-through-design (RTD) methodology for integrating indigenous symbolic systems into contemporary design practice, while simultaneously developing a series of culturally meaningful ceramic tile prototypes that embed Adinkra symbolism into functional interior surfaces. The study seeks to contribute to design knowledge by: (1) proposing a structured process for symbolic translation from textile to ceramic media, (2) establishing four transferable principles for culturally sustainable surface design, i.e., deep symbolic understanding, intentional symbolic translation, chromatic cultural coding, and spatial meaning alignment and (3) positioning design artefacts as vehicles for cultural continuity and identity expression in globalized contexts. (4) Distinguishing these abstracted principles from their specific expressions in the Adinkra-based tile prototypes, demonstrating generalizability across cultural and material contexts. Furthermore, the study contributes to the discourse surrounding the long-term preservation of cultures and the renewal of indigenous knowledge within the creative arts by incorporating traditional motifs into modern artistic forms (Sayuti et al., 2018).

Review of literature

History of the Adinkra cloth production in Ntonso

Three companions named Kwaku Nsiah, Kwadwo Anane, and Pinkyehene, who were from the Ntonso community, are credited with producing the Adinkra textile (Nubour 2006). Oral history states that these buddies first made their colours with mud, then with ‘Kuntunkuni' roots, and finally with ‘Koben' natural fibre dyes. They made their relief blocks of the Adinkra designs out of cocoyam and cassava. The first calabash stamps still in use for Adinkra printing were later carved by Kwadwo Anane (N.Y Boakye, personal communication, 10 November 2015). Owusu-Sampah (2014) explains that the relief blacks are carved on the gourds by men. This may be because the first gourds that were used for the Adinkra cloth production might have been produced by men. To be able to preserve them, the calabash stamps are soaked for a few minutes in hot ‘Adinkra duro’ to keep them bug-free between use. Using hand-spun yarns, handwoven fabric was used as the printing medium. Today, silk screens and hand blocks are used alongside the gourd created stamps for registering prints in Adinkra clothes (see Figure 1). The gourd or calabash stamps still maintain the originality and uniqueness of the Adinkra cloth production. Also, it paints the cultural heritage of the Asante people vividly.

Figure 1.

Adinkra printing blocks Source: Author’s photograph.

In some instances, the design of the Adinkra cloth is made by applying wide horizontal strips of silk yarns in a pattern-like design. This therefore, portrays the rhythm of design application in cloth design. The cloth is allowed to dry without any further application (see Figure 2).

Figure 2.

Adinkra printing process. Source: Author’s photograph.

Historically, the Ntonso community’s people worked in the creation of Adinkra fabric to the tune of 90% (Frimpong et al., 2013). Over time, due to the lack of interest of the youth in the Adinkra textile manufacturing industry, the numbers are now decreasing. A visual timeline of Adinkra cloth production evolution is provided in Figure 3.

Figure 3.

Timeline of Adinkra Cloth Production in Ntonso Source: Construct based on Nubour (2006), Owusu-Sampah (2014) & Frimpong et al. (2013).

History of embellished ceramic tiles from a cross-cultural perspective

With the vigorous development of cultural and creative industries, the relationship between culture and design is becoming increasingly closer. For design, culture enhances the core value of products and stimulates the innovation process; for culture, design serves as the driving force of cultural development (Zhu, 2020). The history of embellished ceramic tiles, viewed from a cross-cultural lens, reveals a fascinating dialogue between tradition, technology, and emotional symbolism (Lin, 2007). Ceramic art, as part of material culture, has always engaged with various traditions, serving as a medium through which societies express identity, spirituality, and aesthetics (Clemmer, 2003). These communicative processes emerge when collections of ceramic items are carefully scrutinized with special attention to the design motifs on the ceramic items. The designs on tiles meant something important to the purchaser, but obviously they also meant something to the tile’s maker. That is, the objects are ‘multiply coded’ (Grafik 1998). The evolution of ceramic tile embellishment is not a linear path of modernization but rather a reciprocal dialogue between tradition and innovation (Lin, 2007). This phenomenon mirrors African traditions where indigenous symbols such as Ghana’s Adinkra motifs have transitioned from fabric art to ceramics, preserving cultural identity in the process. For instance, the Taiwanese reinterpretation of indigenous motifs into ceramics by Lin (2007) parallels the use of Adinkra symbols in Ghana. Both cases show how ancient cultural symbols are being revitalized through modern technologies to maintain relevance in contemporary global markets. Similarly, the work of Kang (2016) on social design in Cambodian pottery communities echoes the localized initiatives in Ghana’s Ashanti Region, where traditional artisans engage in collaborations to adapt their crafts to new contexts without losing their cultural essence. In Ghana, embedding Adinkra symbolism into ceramics serves to connect users to their heritage daily, transforming functional spaces into realms of cultural storytelling (Howard et al., 2012). This aligns with Zurvani (2024) interpretation of cultural symbols as vehicles for conveying social values. Cross-culturally, the embellishment of ceramics with traditional symbols acts as both a means of preserving cultural heritage and creating commercially viable products. Sayuti et al. (2024) highlight how embedding ethnic motifs in modern ceramics can generate global market appeal.

Contemporary design on ceramic ware

The chemistry between culture, technology, and emotional expression marks the evolution of embellished ceramic tiles. Studies from Ayob and Jusilin (2016), Zhang &Yang (2016), and Lin (2007) highlight the integration of indigenous motifs, 3D-printing technologies, and socially sustainable design in Asia. These global trends draw parallels with African art traditions, particularly in the symbolic and communicative aesthetics of the Asante people of Ghana through the use of Adinkra symbols. Adinkra symbols represent concepts of wisdom, unity, strength, and spirituality. These symbols, traditionally stamped on cloth, have gone beyond their textile roots to influence woodcarving, metalwork, and contemporary ceramic designs (Adjei et al., 2023). Like the Taiwanese reinterpretation of indigenous motifs into modern ceramic forms (Lin, 2007), the integration of Adinkra symbols into ceramic tile design can be seen as a localized movement toward preserving cultural identity (Essuman et al., 2024) while embracing modern production techniques. From a cross-cultural perspective, just as Zhang and Yang (2016) utilized CAD software and 3D printing to modernize ceramic production, similar stands can be adopted locally to utilize digital fabrication tools to elevate the traditional symbols onto global marketable ceramic surfaces. This aligns with the ‘form follows function’ paradigm, challenging conventional ceramic production methods based on a reinterpretation of the tenets formulated by Sullivan (1896) as an integration of symbolic meaning (form) with practical tile application (function). In this context, the Adinkra motifs are viewed as communicative and cultural elements that actively shape meaning and experience within interior spaces. Also, Kang’s (2016) work on social design in Cambodia pulsates with Ghanaian local ceramic producers. Community-based artistic practices in regions like Kumasi in the Ashanti Region, where traditional Adinkra printing still thrives, can benefit from design collaborations that elevate local knowledge and artistry. Studies by Xin and Xiao (2009) and Lacey (2009) on emotionally resilient designs align with the symbolic essence of Adinkra. Each symbol inherently carries emotional weight and moral teachings, which forge a deep connection between users and the objects they interact with. These studies showed how designers might be inspired by these patterns and use them to create mass-produced ceramic products. While flora and fauna remain dominant themes in global ceramic design, the spiritual and philosophical richness of Adinkra motifs offers a unique African counterpoint. Their integration into ceramic tiles extends the tiles’ utility from mere construction or decoration to tools of storytelling, moral instruction, and cultural preservation.

The global evolution of embellished ceramic tiles is not a one-directional process of modernization, but a reciprocal dialogue between tradition and innovation. Examining the Asante use of Adinkra in ceramics within this broader context, we recognize that cultural specificity does not isolate a practice, it enriches it. The future of ceramic art lies in these intercultural exchanges, where modern tools amplify ancient voices, and local motifs meet global audiences without losing their soul.

Textile ‘surface’ design

A surface that is designed can be referred to as a surface design. Surface design is frequently used in reference to pattern printing on textile substrates. Because a surface may be anything that can be viewed, touched, or utilized (Briggs-Goode and Townsend, 2011). With these methods in mind, it is simple to see that the surface design extension is quite extensive and interdisciplinary, with many materials, production techniques, and applications still needing further consideration (Pires and Sun, 2017). Most designers define surface design as pattern prints having both aesthetic and symbolic purposes when referring to textiles. It is simple to recognize such understatement since continuous surfaces like textiles, carpets, and wallpaper frequently use this style in surface design (Rubim, 2004). According to Rüthschilling (2002), the genesis of the term surface design was confined to textile design. According to Rubim (2004), surface design encompasses all facets of textile design in addition to paper, ceramic, plastic, rubber, and rubber design. It may also be merged with graphic design, as in drawings or website interfaces. Rüthschilling (2002) further notes that as surfaces grow more essential in everyday life, the term surface design is no longer tied to merely a certain material. Surface design, according to Laranjeira and Marar (2014), is a multidisciplinary field with several subfields dependent on the formal composition of the item, the materials, methods, and manufacturing processes employed in the project’s creation. The fact that surface design is continually changing and allowing for new applications across the widest range of media and scales highlights how crucial it is to comprehend, investigate, and create new kinds of surfaces. For Rüthschilling (2002), the surface can be viewed as two-dimensional or three-dimensional with visual, tactile, functional, and symbolic properties. This assertion is supported by Rubim (2004), who argues that every surface may host a surface design project. These projects are typically two-dimensional, though they can potentially be three-dimensional, and their primary purpose is purely aesthetic. However, because of advancements in textile technology, it may today be two- or three-dimensional and serve both practical and technological purposes. As new technologies develop, textile design methodologies also see new surfaces and surroundings to investigate design options for ceramic tiles for interior spaces.

Collaborative design

Collaborative design, which emphasizes teamwork and knowledge sharing, is a growing trend in both design and design education. This approach is especially visible in multidisciplinary project work, where diverse knowledge comes together to boost creativity and innovation (Cross, 2011). Collaboration is highly valued in textiles and ceramics because it allows creative practitioners to experiment with new ideas and push the boundaries of their craft (Ayob and Jusilin, 2016). This collaborative technique is frequently recognized as a ‘core craft value’, as it provides a distinct framework for investigating and assessing crucial traits such as creativity and beauty, both during the design process and in the finished goods (Rubim, 2004). To develop design ideas that react to current consumer patterns, it is critical to improve collaboration procedures in the textile and ceramics sectors. Furthermore, the area of textile design is expanding beyond its traditional limitations, as garment design incorporates a broader range of uses that go beyond the body (see Figure 4). This evolution reflects a larger view of textiles as adaptable materials capable of enhancing different areas of interior and product design (Nimkulrat, 2010).

Figure 4.

Ceramic wares inspired by textile design patterns. Source: Author’s Photograph.

Theoretical framework

Symbolic Interactionism is a sociological theory that looks at how humans create and interpret meaning through social interactions. This idea, which emerged in the early twentieth century, is particularly effective for describing human behaviour, social systems, and identity development. Symbolic Interactionism, unlike structuralist approaches, focuses on micro-level interactions and subjective experiences, making it a valuable perspective in sociology, psychology, and communication studies. The three main concepts of symbolic interactionism are meaning, language, and mind (Mead, 1934). According to Mead (1934), humans act on the meanings they assign to objects, people, and events. These meanings come from social interactions and develop through interpretation. Blumer (1969) built on this idea, claiming that human action is governed by socially constructed meanings rather than just responding to information. The theory is widely applied in various fields, including social psychology, education, and media studies. Cultural patterns influence how people make symbolic touch. Different cultures use distinct symbols and communication patterns to impact perception and interaction. Gestures, language, and rituals, for example, vary widely between societies and influence interpersonal relationships (Geertz, 1973). Symbolic Interactionism describes how people from different cultural backgrounds navigate and comprehend symbols in their social environments. For example, in education, teachers' perceptions and interactions with students have a significant impact on their self-esteem and academic accomplishment (Rosenthal and Jacobson, 1968). Similarly, in media studies, symbolic interactionism helps to understand how media consumers receive and assign meaning to messages, so changing their views and attitudes (Gamson, 1992). Despite its accomplishments, Symbolic Interactionism has been criticised. One major flaw is its disdain for macro-level social structures and power dynamics (Giddens, 1984). Critics argue that the theory focuses too heavily on individual activity while ignoring bigger social forces that influence meaning-making (Collins, 1994). Furthermore, the theory’s use of qualitative techniques has been critiqued for being subjective and lacking generalisability (Charon, 2010).

Practically, this study is grounded in a design methodology that emphasizes the interpretation of visual symbols as reflective of cultural identity and social experience. Drawing from Yoshikawa’s (1989) assertion that abstract models help professionals operate in unseen systems, this research adapts that principle to symbolic design. It posits that motifs, particularly culturally embedded ones like Adinkra symbols, function as conceptual models within visual culture, serving as abstract representations of lived realities and philosophical tenets. While Yoshikawa favoured the term ‘design methodology' over ‘theory’, the core idea remains that symbols and visual forms function as abstract representations of lived realities … Yoshikawa (1989) stated ‘The electricians, he said, “never see what happens with electric current and must rely on abstract models well established on the basis of theory”’. To operationalize this principle in the creation of new interior spaces, the research adapted design thinking framework, a non-linear, iterative process for human-centred problem-solving (Plattner, 2013). This framework provides the methodological bridge between abstract cultural theory and tangible design intervention. In this context, Adinkra symbols, historically printed on cloth by the Asante people of Ghana, are repurposed into ceramic tile design through this process. They are not applied as mere aesthetic embellishments but are positioned as deliberate interventions that prompt viewers to engage with cultural memory, values, and moral philosophy. These patterns act as visual metaphors, allowing for the non-verbal communication of complex ideas such as unity, resilience, and spiritual awareness. This framework aligns with semiotic theory, which posits that signs and symbols derive meaning from cultural systems (Barthes, 1964; Eco, 1979). The symbols on the tiles become part of the viewer’s perceptual schema, triggering associations rooted in societal norms. This integrated approach provides a framework for investigating how design can systematically bridge profound traditional meaning with the demands of contemporary functional use, transforming interior spaces into environments of both cultural continuity and modern relevance. Table 1 illustrates how symbolic interactionism and semiotics inform each stage of the design process.

Table 1.

Theoretical framework applied to design phases.

Design phase	Theoretical concept	Application in study
Observation	Meaning-making (Mead, 1934)	Selecting symbols based on cultural significance
Idea creation	Symbolic translation	Transforming Adinkra motifs into tile patterns
Design development	Material semiotics	Incising symbols into clay as embodied meaning
Final sample	Cultural communication	Simulating tiles in interiors to assess narrative impact

Methodology

This study adopts a Research Through Design (RTD) methodology, where design practice is the primary mode of inquiry (Frayling, 1993; Zimmerman et al., 2007). In RTD studies, artefacts, in this case the ceramic tiles developed in this study, are essentially research prototypes that incorporate and probe the research questions, generating knowledge through iterative making, reflection, and critique (Stappers & Giaccardi, 2017). The studio-based practice followed a structured design process (see Figure 5) adapted from Marshall (2010), according to Buami et al. (2022), and was informed by the principles of Design Thinking (Plattner, 2013), in which each phase contributed to both design outcomes and theoretical insight. The design studio was based on a collaborative design effort involving textile designers, ceramic artists, and interior design researchers working in a shared studio environment. This interdisciplinary collaboration ensured that symbolic, material, and spatial considerations were integrated throughout the design process.

Figure 5.

Cyclic model of design process. Source: Researcher’s construct (2025), developed from models by Marshall (2010).

Design development

Design is typically the result of a system approach and connected reaction, which are defined as integrated concepts (Cross, 2011). Depending on the design development, the project’s design process model, represented in Figure 5, was developed. This is used as a model in the studio for the creation of fresh textile patterns for diverse uses. The four stages of the model include observation, idea creation, design development, and manufacturing of the final design sample, which correspond to the non-linear stages of design thinking. Each stage outlines the many steps that were taken to create original fabric patterns for ornamentation that represented the symbolic mirror of society.

Observation – Stage 1

This stage required choosing from the library of history books symbols that might be utilized as inspiration for Adinkra symbols and that have a literal significance in our daily lives. To determine the symbol’s compositional make-up and acquire an understanding of its existence, these symbols are tracked in accordance with their historical context. The selection process for design development took into account the literal meaning, impact of the interpretation, and pictures that were discovered through further search on the internet and in books (see Table 2 for examples). This foundational research directly informed the concept stage, where the core design problem was framed not as a superficial stylistic exercise, but as a critical question: How can these symbols be translated into a contemporary design language to create interior surfaces that foster cultural identity and narrative, while meeting modern functional requirements?

Table 2.

Adinkra symbols used and their meanings.

Symbol	Name	Meaning
	Nyàmé dúá	Altar of God
	Nyàmé dúá	Symbol of God’s protection and presence
	Bí ǹká bì	bite not one another
	Bí ǹká bì	Symbol of peace and harmony
	Adinkra hene	King of the Adinkra symbols;
	Adinkra hene	The symbol for authority, leadership, and charisma
	Dweninmmen	The horns of a ram, it represents strength, humility, wisdom, and learning
	Akoben	War horn, it is a symbol of a call to action, readiness to symbol of vigilance, wariness, readiness, and voluntarism
	Mate Masie	What I hear, I keep.
	Mate Masie	The implied translation is ‘I understand’. The symbol of wisdom, knowledge, and prudence

Source: https://www.adinkrasymbols.org/assets/resources/adinkra-symbols-and-meanings.pdf

Selected Àdìǹkrá symbols and their meanings

An Akan adage states that if one forgets the talking drum of his or her homeland (or background), they would be lost when trying to find their village. This means that in order to feel a connection to one’s people, it is important to understand the importance or meaning of each socioculturally archetypal form of communication. It also highlights the significance that the Akan people have on communicating through àdinkrá. In this part, the study outline a few of the symbols together with their unique referent names, exact translations, and the meanings they convey. Symbols are exact replicas of a people’s inside a specific culture’s meanings of words, things, actions, emotions, behaviour, and ideasture. Symbols and their meanings have the power to inspire and direct people’s behaviour (Agyekum, 2006). This theoretical perspective informs the design intention that tiles may influence spatial perception and cultural engagement. According to Gyekye (1996), the preliterate cultural environment of creative productions required symbolism, or the expression of ideas and meanings through art. Sarpong (1974) explores Asante clothing patterns. The Adinkra symbols, in particular, convey religious, aesthetic, and cultural values, according to Nkansah-Obrempong (2002). To him, these symbols, which represent the religion and culture of the Akan people, have a special quality. The selected symbols include

i)Nyàmé dúá (Illustrated in Table 2)

Nyàmé dúá means ‘altar of God’. It is literally translates as ‘God’s tree’ and, indeed, it is the name of a particular tree in Akan, which could grow structurally tall and wide. This àdìǹkrá indicates a place of worship and, with the use of it, we are called to give reverence to God by respecting places where He is worshipped and kept it sacred. Presently, even, some churches inscribe this àdìǹkrá at particular places in their premises as a reminder to congregants (who understand it) about the need to respect the house of God.

ii)Bí ǹká bì (Illustrated in Table 2)

Bí ǹká bì, meaning ‘bite not one another’, immediately advocates for peaceful co-existence among people. A traditional curator, Osei Kwadwo, however, adds another dimension to this àdìǹkrá. Of what seems like a contradiction to what Bí ǹká bì immediately advocates, he suggests that this àdìǹkrá calls for a tit-for-tat; that is, we must not bite one another but, if somebody bites you, you too should also bite him. In other words, it does not make sense to preach peace in impossible circumstances; even the worm will turn, when the going gets tough.

iii)Adinkra hene (Illustrated in Table 2)

Adinkrahene means ‘King of the Adinkra symbols’. It is a symbol for authority, leadership, and charisma. The etymology of Adinkrahene is Adinkra plus ɔhene, literally ‘Adinkra king’ or ‘king of the Adinkras’. This symbol is reportedly the inspiration of the design of the other symbols. The elegant figure with three concentric circles is easy to draw and its abstract form connotes the importance of ideas and concepts, which are the essence of Adinkra, they are visual representations of important concepts in Akan philosophy. Adinkrahene is inspired by the overlapping circles that form a water drop. A drop of water or a small stone dropped in water affects the entire body of water, symbolising how a leader with great authority and charisma should be able to influence people positively to grow and succeed in their endeavours. On the other hand, if the ripples are negative, you will experience a negative outcome. According to Ralph Nader, ‘The function of leadership is to produce more leaders, not followers’. This is regarded as transformational leadership; a leader may change a follower’s worldview or psyche and inspire them to desire to lead themselves. This implies that the ultimate goal of leadership should be to elevate and inspire. In order to assist their followers become the individuals they know they can be, leaders should challenge those they are in charge of to reach new heights (Wijewantha and Kailasapathy, 2015). Adinkrahene is praised for its elegance and simplicity, yet one wonders whether its ostensibly abstract shape wasn’t influenced by more tangible things or processes, such as those that may occur in nature. These roots are common among Adinkra symbols; thus, such inquiry is to be encouraged.

iv)Dweninmmen (Illustrated in Table 2)

Dweninmmen means ‘the horns of a ram’. It represents strength (in mind, body, and soul), humility, wisdom, and learning (E. Adusei, personal communication, 15 May 2022). .E. Adusei further asserts that Dweninmmen is a symbol of strength with humility. Sheep are humble and can be easily guided. In contrast to goats, they may be guided to and away from food at the shepherd’s command. The Akans value humility as a virtue. It is encouraged to maintain modesty in lifestyle and attire, and there are constant reminders of the shortness of life. One of these reminders is the adinkra sign Owuo Atwedee, for instance.

Everyone will eventually ascend the ladder of death, so the proverb goes. It serves as a reminder that no matter how strong and powerful one is, death is unavoidable. All of our endeavours to create components that would defeat death have failed because we have conquered it. Whatever you choose to call it; nature, God, whatever, there is at least one force at work in human events that ultimately triumphs. Being modest is organising one’s life and activities with this in mind.

Everyone struggles with maintaining modesty in the face of success and money (K. Hene, personal communication, 22 December 2021). This may be as a result of the belief that one is solely responsible for everything that occurs in his or her life. According to K. Hene, some people think that both the wealth of the wealthy and the poverty of the destitute can be attributed to each group’s individual efforts. Given this line of reasoning, it is acceptable to celebrate one’s own accomplishment while demeaning those who have achieved less. T. Dzata (personal communication, 20 June, 2022) explained further on the symbol that it exhibits vertical symmetry because it is actually a picture of two opposing horns. That is the orientation of horns of rams when they fight. The scene can be quite mesmerizing as they move away from each other and then run towards each other at top speed to smash their horns against each other. One can imagine it must be a rather frightful experience for at least one of them if not for both. In an attempt to establish dominance and authority, these otherwise humble creatures deem it necessary to hurt themselves if they have to, all so they can prove a point E. Adusei (personal communication, 15 May 2022). Perhaps the ability to hold oneself in check, the ability to restrain oneself when provoked, should be cherished as an even higher ideal.

V. Akoben (War Horn) (Illustrated in Table 2)

Akoben means ‘war horn’. E. Adusei, an art historian, explained that Akoben is a symbol of a call to action, readiness to be called to action, readiness, and voluntarism. Akoben is a traditional instrument that was sounded when there was a war against one place (kingdom, society, country, or family) In the olden days when this war horn is sounded, everyone became alert and cautious as to what he or she would do in readiness to take action against their opposes. The war horn was blown to assemble the nation for war. Everybody had to be alert to interpret the message that it was being used to convey so as to respond with the right action. The Environmental Protection Agency (EPA) of Ghana has a rating program called Akoben that measures ‘the environmental performance of companies based on their day-to-day operations’ (Bawua and Owusu, 2018). According to K. Hene (personal communication, 22 December 2021), this symbol is to caution each and every individual working or non-working class to be very vigilant in all that one does, ready at all times to execute a task ahead and this calls for proper planning and willingness to do the task. The three stones on which the horn rests symbolise the strength of different individuals, which signifies that only one person cannot execute a task alone without the help of others. There is a need to come together as one to fight the battle together.

vi. Mate Masie (Refer to Table 2 for image) According to K. Hene the symbol of the month is ‘Mate Masie’ and is an Adinkra symbol that means ‘What I hear, I keep’. This symbol represents wisdom, knowledge and prudence. The literally can be translated as ‘I understand’ and highlight the significance of learning and gaining knowledge through the discretion and prudence of listening to what other persons have said. Essentially, one can gain knowledge and wisdom simply by listening to their community and environment and having the foresight to do so. For us, this speaks to the importance of listening to others and the ability to adapt and learn in both old and new spaces.

The application of these symbols on tiles serves a dual purpose as it acts as a tangible connection to Ghanaian heritage and functions as a form of cultural sustainability and education, translating traditional wisdom into a durable, modern material form (Aflakpui et al., 2023; Boakye-Yiadom et al., 2025; Wilson, 2021).

Idea creation – Stage 2

Idea creation is a methodical process for creating fresh thoughts in the creative world. At this time, design content that would be appropriate for creating textiles for interior design trends depended on existing symbols and implicit knowledge to create two-dimensional shapes that had the appearance of three dimensions, while also taking into account prospective uses in interior spaces. Traditional Akan symbols from Ghana served as the inspiration for the design elements that were subsequently applied to ceramic tiles. In this creative phase, the defined problem was addressed through expansive ideation. Adinkra symbols were used as a starting point for this ‘design as research' strategy, employing Adobe Photoshop to transform the symbols into usable motifs. This involved systematically experimenting with various arrangements and suitable pattern styles to generate a wide spectrum of creative possibilities for the proposed ‘symbolic textile' surfaces.

Design development – Stage 3

This phase involved the hands-on creation of ceramic tiles embellished with incised adinkra symbols (see Figure 6). The transition from concept to physical prototype phase embodied a practice-led research methodology, where thinking is inextricably linked to making (Groth, 2017; Nimkulrat, 2010; Sennett, 2008). The making process combined established ceramic techniques with innovative approaches to surface design. The clay was prepared through soaking, sieving, pounding, kneading, and wedging to achieve optimal plasticity and material integrity, a critical step for preventing defects and ensuring a quality canvas for the designs (Owusu and Boateng, 2023). The digitally generated Adinkra patterns were then translated onto the prepared clay slabs. This was achieved by printing the designs and using them as guides for transfer, followed by precise incision using hand tools (see Figure 6). This step highlights a critical synthesis of digital guidance and manual dexterity (Rowley, 1997; Tetteh and Appiah, 2022). The incision technique was further augmented by stamping and carving to create aesthetic variation and textural richness across the tile surfaces. The tiles were fired and displayed on the studio walls for reflection on their success in communicating the intended cultural narrative, their aesthetic impact, and their technical execution (see Figure 7).

Figure 6.

Conceptual ceramic adinkra tile (slab modelling technique) Source: Studio work, 2025.

Figure 7.

Fired conceptual tile prototypes. Source: Studio work, 2025.

Figure 6 illustrates the hands-on process of incising Adinkra symbols into clay tiles, showing the transition from digital design to physical artefact.

The resulting tiles are not particularly final products but research prototypes, material embodiments of the study’s inquiry into symbolic translation, cultural preservation, and design innovation. They serve as tangible probes for evaluating how cultural narratives can be embedded in interior surfaces.

Final design sample – Stage 4

This stage of the study involved the critical evaluation of the prototype tiles through advanced digital simulation. The process entailed rendering the six distinct tile designs derived from the Adinkra symbols Nyame Dua, Bi Nka Bi, Adinkra Hene, Dweninmmen, Akoben, and Mate Masie onto photorealistic models of interior walls and floors (see Table 3). In design research, simulation functions as a vital intermediary step between physical prototyping and full-scale implementation, allowing for the assessment of aesthetic integration, spatial impact, and user perception in a controlled yet realistic context (Gulay and Lucero, 2019; Kim, 2019). This method enables the researcher to predict outcomes, test variables, and refine the design proposition without the immediate material and financial costs of physical installation (Archer, 1995). The simulation process involved using software (Coral draw 13) to apply the tile designs as seamless textures onto 3D architectural models. This technique registered the Adinkra-embellished ceramic tiles as an integrated and innovative finishing technique for interior spaces. Visualizing the tiles at scale within virtual environments such as walls and commercial floors, the study evaluated how the symbolic patterns influenced the perception of the space, that is, assessing factors like visual weight, cultural resonance, and harmony. For instance, the assertive Akoben (war horn) pattern was simulated in an entryway to communicate alertness and security, while the harmonious Bi Nka Bi (peace) pattern was applied to a lounge area to foster a serene atmosphere. This stage validated the research outcome. It demonstrated practically how these culturally-grounded designs could transition from studio objects to functional architectural elements. The simulations provided concrete evidence of how the ‘symbolic textile' aesthetic could transform a space, proving that the integration of Adinkra symbols into ceramic tiles offers a viable and complex method for embedding narrative depth and cultural identity into contemporary interior design (Table 3).

Table 3.

Fabric designs embellished on the tile design for interior space.

Source: Researchers construct.

Rationale for symbol-to-space alignment

The attribution of a particular Adinkra symbol to designated interior functions represented an important, meaning-driven phase of the design research. The decision-making procedure resulted from a focused hermeneutic process, interpreting the proverbial significance of every Adinkra symbol to identify its most fitting spatial narrative. The mapping, shown in Table 4, illustrates how cultural semantics can directly contribute to functional design logic, transforming spaces into environments of intentional cultural communication.

Table 4.

Symbol-Interior Function Mapping.

Symbol	Meaning	Interior application	Rationale
Akoben	Alertness	Entryway, Office	Communicates vigilance
Bi Nka Bi	Peace	Living room, Bedroom	Fosters harmony
Nyame dua	Sacredness	Meditation space	Encourages reverence

The attribution of design to the walls, floors, or both resulted from consideration of: (1) symbolic appropriateness, that is, sacred symbols placed at eye level, (2) durability considerations for high-traffic areas, and (3) visual impact in simulated environments. The strategy in spatial attribution guarantees that the embellished tiles function as active agents of cultural discourse rather than passive ornamentation.

Colour as cultural code: Philosophical rationale

The chromatic strategy applied constitutes a critical layer of the symbolic translation process. The colour philosophy, summarized in Table 5, is rooted in Akan cultural associations, where hues function as semantic units within a broader system of meaning. The selected palette functions as a parallel symbolic language, where Burnt Orange speaks of sacred earth and ritual, Green narrates growth and vitality, Earth tones ground concepts in humility and antiquity, and gold signals communal value and unity.

Table 5.

Adinkra symbols, meanings, and colour philosophy.

Symbol	Meaning	Colour Choice	Cultural Rationale
Nyame dua	God’s altar	Burnt orange, blue	Orange = sacredness; blue = divinity & peace
Bi Nka Bi	Peace	Green, gold	Green = growth; gold = unity & value
Dweninmmen	Strength, humility	Brown, beige	Earth tones = humility, connection to land

Discussion of results

The combination of Adinkra textile patterns into ceramic tile design for interior spaces represents a compelling fusion of functional utility and cultural expression. These embellished tiles can be used for flooring, wall cladding, and backsplashes to enhance aesthetic value and deepen emotional and symbolic engagement with interior environments. The patterns were identified through a culturally embedded design process rooted in the symbolic language of Adinkra symbols and were guided by the researchers’ objective to foster cultural consciousness and social dialogue through visual storytelling. The symbols, rooted in centuries-old Asante cultural philosophy, enable interiors to act as non-verbal communicative spaces, expressing social values, spiritual beliefs, and historical consciousness without the need for literal language. Supported by semiotic theory, which argues that symbols are embedded within cultural systems and derive meaning from those contexts, this technique elevates the tiles to artefacts of cultural transmission. This aligns with the theoretical position articulated by Yoshikawa (1989), where design methodology emphasizes abstract models that mediate experience and understanding. Embellishing ceramics tiles with textile design patterns for interior spaces is a creative way to add texture and interest to a room. This can stimulate and provoke the imagination of its audience to appreciate their deeper cultural undertones and serve as non-verbal expressions of complex ideas. These designs can be used for various applications such as flooring, wall cladding, or backsplashes (See Table 3).

• Final design 1.

The combination of Dweninmmen, Akoben and Adinkra hene demonstrate some relationship between them where this is a call for action, readiness in all that one does, there is the need for humility, wisdom and knowledge and overall, the need for authority to operate a set agenda. These are some practical traits that are needed to be fostered in our society. The chosen colours are brown which is associated with the colour of the soil depicting decay, hunting or farming and the green signifies growth, newness, fertility, vitality which means that when the said values are considered, there will be societal development. Once the viewer perceives this design in the interior space, the symbolic pattern with its inherent colours create a personal impression of hope against societal concerns like inequality leading to migration. The busy nature of the background design promotes positive attitude and the sense of belongingness, fostering cultural pride and social togetherness (Hussin, 2006). Spiritually Akoben symbolizes devotion, loyalty, and service to mankind.

• Final design 2.

The use of the two symbols namely, Nyame dua and Dweninmmen in the design signifies God’s altar which is a place for worship and in that regards, one need to worship with some humility guided by the power of God. While in the presence of God, one need to be submissive having the belief that God is the most sacred and powerful of all. The burnt colour of Nyame dua design depicts the everlasting power of God’s present on earth. The blue colour signifies the love and happy mood of God’s presence among believers on earth when they gather to worship. The design heightens the spiritual awareness in the viewer. Once the viewer immerse in the design, concerns like superstitious beliefs and decline in values are averted. ‘The symbol reminds offenders of the uncompromising nature of the law. It, however, discourages all forms of slavery’. Link with ‘Epa’ (A symbol of law and justice)

• Final design 3.

The final design 3 represents Bí ǹká bì, which literally means one must not bite another. In a society, there is the critical need for people to support each other but not backbite which allows for disputes and hinders development. Moreover, when there is love for each other, there will be productivity every aspect of life. The symbol cautions people whose tribal sentiments cause them to look down upon people who are not members of their tribes and tend to insult them with slightest provocation. Additionally, Dweninmmen as the altar of God, support to bring peace and continuous blessings onto the community, where one begins to enjoy and understand the creations according to God’s own plan. The dominant green colour implies the fruitfulness of God when there is obedience according to his commands. It is a creative way to add depth and interest to an interior space. The design fosters in the viewer the sense of peaceful co-existence which is a value on decline. The hazy background is indicative of the fact that togetherness breathes peace and light (“nkanea”) for technological advancement.

• Final design 4.

The symbol used in design 4 is Mate Masie which means what you hear you must keep it. In other words, one must not encourage gossip in our society which brings division thereby resulting in lack of development. Akans consider someone who hears something and keeps it for future remembrance as intelligent and wise. Furthermore, one should listen to what people have shared to guide them in their day-to-day activities. The symbol teaches the importance of meditating on information received prudently to gain wisdom and knowledge. The brown colour used denotes the earth which signifies antique (aged) nature of things in the environment. It also brings a sense of warmth and coziness to a space. It takes maturity to behave in a responsible way for peace and order. The viewer is welcome into an atmosphere of harmony and humanity upon seeing the design. Like the saying ‘if you will not praise me, don’t spoil my name’, the design together with its colours warns against ingratitude and disrespect. People should strive to show appreciation at all times as being inconsiderate and ungrateful does not promote communal living.

• Final design 5.

The Bí ǹká bì here again explains not to step on each other’s for peace to prevail and once there is peace, there will be tolerance for community engagement for resource utilization for development. The symbol cautions against gossiping, blackmailing, backbiting, provocation, cheating, bribery, and corruption and other social vices which can retard societal growth and generate conflict. The yellowish gold colour implies royalty of possession in terms of minerals such us gold, diamond, silver as part of the nature’s inheritance. This therefore needs good relationship between community members to put these resources into good use. This design throws light on public awareness on societal concerns like conflict. The design creates a sense of ‘crossing paths’. A life devoid of challenges is not a life truly lived. Every live has its own fair share of ups and downs and in your journey, you will cross paths with various people who will impact your life either positively or negatively. Textile patterns explored add a tactile quality to the tiles, creating a sense of depth and dimensionality that is not typically found in plain or unadorned ceramics.

The argument put forth is that design, particularly in interior spaces, should rise above mere decoration to serve as a vehicle for cultural continuity and identity expression (Essuman et al., 2024). This position is supported by Macquet’s (1992) theoretical framework on African art as a philosophical system, and further supported by recent scholarship advocating for material-based knowledge production in design (Nimkulrat, 2012; Owusu and Boateng, 2023; Sennett, 2008).

Colour philosophy dialogue

Their approach to colour in the Adinkra-embellished tiles is deeply grounded in Akan cultural philosophy, where colour is understood as a nonverbal signifier of values, state of being, and natural principles. Rather than serving a purely decorative role, each colour acts as a visual expression of values, emotional states, and natural force. The selection process draws from documented Akan symbolism, the intended functions of interior spaces, and insight from colour psychology as they align with cultural meaning. Each colour pairing was carefully chosen to strengthen and amplify the core proverb and message carried by its corresponding Adinkra symbol. For Nyame Dua, the combination of warm, earthy orange and cool, celestial blue visually narrates the connection between the human and the divine. The orange reflects the grounded presence of the earth and altar, while the blue evokes the sky and the spiritual realm, visually expressing a connection between humanity and God. In the case of Bi Nka Bi, green and gold work together to tell a story of harmony and reward, that is, green symbolizing peace and growth, and gold representing prosperity, value, and positive outcomes that arise from peaceful coexistence. The colours were also considered for their phenomenological impact within an interior environment. The warm, grounding earth tones of Dweninmmen and Mate Masie (browns, beiges) are intended to foster an atmosphere of stability, reflection, and comfort, ideal for spaces of learning or quiet contemplation. The more vibrant green and gold of Bi Nka Bi aim to energize and uplift a space, encouraging social connection, optimism, and harmonious interaction. In this way, colour is treated as a parallel language to form. Just as each Adinkra symbol uses geometry to distill complex ideas into visual form, its assigned colour serves as an abstract representation of related values and elements from both the natural and social world. Developing this colour philosophy through research into Akan cultural systems ensures that the design decisions emerge from within the cultural context and parameters, rather than relying on generalized and imported colour theories. As a result, the tiles function as complete visual narratives, where form and colour work together to communicate wisdom, influence behaviour, and connect individuals to a shared cultural identity within contemporary interior spaces.

Implications for cultural sustainability and design practice

The reinterpretation of Adinkra symbols from textile to ceramic tiles goes beyond visual experimentation; it carries significant implications for cultural sustainability and contemporary design practice. This research contributes to design thinking on three fronts. Theoretically, it extends symbolic interactionism in design by demonstrating how culturally coded symbols can be translated into material artefacts to foster identity, meaning, and a sense of belonging. In doing so, it bridges semiotics, cultural studies, and design practice, proposing a coherent framework for symbolic translation of traditions into modern design context. Methodologically, the study demonstrates the value of a research-through-design (RTD) approach, demonstrating how studio-based practice can function as a legitimate mode of knowledge production. The four-phase model, that is, Observation, Idea Creation, Design Development, and Final Sample, supported by digital simulations, provides a replicable pathway for culturally informed design innovation. Practically, the ceramic tile prototypes function as tangible research artefacts that demonstrate how traditional motifs can be reimagined using both digital and manual techniques for contemporary interior spaces. In this way, the project supports cultural sustainability by allowing heritage designs to evolve within new contexts, while also offering a transferable model for designers and artisans working in similar cultural settings. At the same time, the use of indigenous motifs in contemporary design raises important ethical concerns around preservation and appropriation. This study responds to those concerns by adopting an approach rooted in cultural engagement rather than extraction. Each Adinkra symbol was carefully researched in relation to its historical background, proverbial meaning, and social function (Antubam, 1963; Gyekye, 1996). Situating the design process within the cultural geography of the Asante people and acknowledging the craft traditions of Ntonso, the research respects both the origins and the cultural significance of the symbols. This approach reflects Geertz’s (1973) view of culture as a system of meaning to be interpreted, not merely a source of visual elements to be borrowed. The resulting tiles act as cultural translations, adapting symbolic knowledge to a new medium while striving to preserve its original meaning. In practice, this offers a responsible model for designers seeking to integrate traditional knowledge into contemporary applications without stripping it of context or respect (Sayuti et al., 2024).

Socially, the Adinkra-inspired tiles transform interior spaces into sites of cultural narration. Walls and floors become active carriers of values, history, and shared wisdom. Regular interaction with these symbols can reinforce cultural identity among Ghanaians and members of the diaspora, serving as everyday reminders of heritage in an increasingly globalized world (Essuman et al., 2024). The project also encourages dialogue across generations. Through the use of digital tools with contemporary materials, ancient symbols become accessible and relevant to younger audiences, while the grounding of the work in historical research validates the knowledge of elders and cultural custodians. This bidirectional exchange mirrors the collaborative ethos of the design process, bridging traditional knowledge systems and modern design practice. As Macquet (1992) suggests, African art functions as a philosophical system; embedding it into daily environments allows culture to remain active and evolving rather than frozen in the past.

The study further outlines a pathway for economic empowerment through creative industry development. The RTD process, from symbol selection and digital pattern creation to physical fabrication, presents a collaborative model where traditional artisans can partner with designers and ceramic manufacturers. This approach moves beyond singular craft objects toward scalable, market-ready products for interior design. The digital simulations (Table 3) demonstrate the commercial potential of these tiles across a range of applications, including residential, hospitality, and corporate spaces. Consistent with Sayuti et al. (2018), the findings suggest that products integrating ethnic motifs with contemporary aesthetics can attract strong interest in both local and global markets. By creating value-added products that balance cultural authenticity with modern design sensibilities, this approach has the potential to establish a niche market for premium Ghanaian design exports, supporting artisans, designers, and manufacturers while strengthening Ghana’s cultural presence internationally.

Furthermore, this study offers a concrete model for culturally responsive design education. It advocates an interdisciplinary pedagogy that merges cultural studies, graphic design, craft, material science, and interior architecture. This approach moves design education beyond universalist, often Western-centric principles towards a situated practice that values local knowledge and context (Cross, 2011). Students are encouraged to view design as a process of meaning-making rooted in social and cultural realities, preparing them to become ethically conscious and culturally informed practitioners. The collaborative nature of the project also reinforces the importance of shared knowledge and co-creation as core craft values (Rubim, 2004), equipping future designers to address complex real-world challenges

In essence, this study offers a practical and ethical model for achieving cultural sustainability through design, one that honors heritage, strengthens social connections, creates economic opportunities, and enriches design education. It ultimately argues that meaningful and innovative design emerges from deep, respectful, and creative engagement with the world’s diverse cultural traditions.

Conclusion

This study has demonstrated that embellishing ceramic tiles with traditional Adinkra symbols constitutes a significant methodological and cultural innovation in interior design. By employing a practice-based Research through Design approach, the project shows how creative design practice can generate new theoretical insights while grounding design in cultural relevance. The method successfully merges the essential qualities of traditional textiles with the material practicality of ceramics: the ‘soul of fabric’ is embedded into the ‘body of ceramic’ tiles, translating textile-based symbolism into durable surfaces and thereby embedding cultural memory into the architectural fabric of contemporary spaces. Far more than an aesthetic exercise, this integration of symbolic motifs into tile design is a deliberate strategy to reinvigorate African interior design traditions and articulate a culturally sustainable design framework. In doing so, it positions crafted artefacts as carriers of identity and narrative and offers a replicable model for design research that bridges theory and practice. The four principles, including deep symbolic understanding, intentional symbolic translation, chromatic cultural coding, and spatial meaning alignment, constitute the core theoretical contribution. Distinguishing these abstracted principles from their Adinkra-based prototypes offers both a concrete demonstration and a portable framework.

The design projects explored in this study reveal core values underlying indigenous textile and ceramic crafts and demonstrate how collaborative design concepts can be transformed into innovative design solutions for modern interiors. The approach addresses both emotional and practical imperatives. Aesthetically, it introduces visual warmth and narrative depth into interior environments, transforming otherwise cold, hard surfaces into unique focal points that communicate heritage and meaning without sacrificing spatial clarity. Practically, ceramic tiles with embedded Adinkra motifs provide a durable, hygienic, and long-lasting medium for bringing cultural expression into high-traffic, moisture-prone areas where traditional textiles would deteriorate, thus literally preserving cultural motifs in the built environment. Furthermore, this framework has important social and educational implications. It empowers communities to ‘wear’ their stories on walls and floors and encourages open sharing of ideas, skills, and traditions across disciplinary and geographic boundaries. Such collaboration enriches design education and practice through cross-cultural exchange. Economically, culturally rooted design strategies of this kind can create new opportunities for artisans and local industries by endorsing heritage crafts in the contemporary market. To this end, the study calls for a new design language grounded in Africa’s decorative arts heritage. It urges designers and practitioners to integrate symbols from their own cultural contexts into interior artefacts, thereby maintaining and communicating cultural values that might otherwise be lost. In doing so, contemporary design can both preserve identity and foster global dialogue, forging a future for architecture and interior spaces that is as deeply rooted in cultural identity as it is open to global conversation.

Footnotes

Acknowledgments

A special thank you to everyone with whom we spoke in-person to obtain insightful information.

ORCID iD

Samuel Nii Adamah Sampah

Ethical considerations

There are no human participants in this article, and informed consent is not required.

Author contributions

Edem Kwami Buami – Conceptualization, Methodology, Analysis, Writing (Original Draft), Review; Samuel Nii Adamah Sampah – Conceptualization, Methodology, Analysis, validation, Writing – Review & Editing; Henrietta Meakoa Barfi-Mensah – Conceptualization, Supervision, Writing – Review & Editing; Charles Kumah – Supervision, Writing – Review & Editing; Rejoice Makafui Tsotorvor – Writing – Review & Editing

Funding

The authors received no financial support for the research, authorship, and/or publication of this article.

Declaration of conflicting interests

The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Data Availability Statement

Data will be made available upon request*.

References

Adjei

Asubonteng

Agyei

(2023) Advancing Indigenous pottery for modern application: an appraisal of a Ghanaian modernist Ceramist-James Kwame Amoah. Journal of Science and Technology 41(2): 102–113.

Aflakpui

Deh

Gilbert

SKJ

, et al. (2023) The iconography and iconology of Adinkra symbols: an authentic source of themes for teaching drama in education at the University of Ghana. American Research Journal of Humanities and Social sciences 9(1): 43–51.

Agyekum

(2006) Aspects of language, culture, and family issues in Ghana (W/A). Lincom, pp. 121–135.

Antubam

(1963) Ghana’s Heritage of Culture. Leipzig, Germany: Koehler and Amelang, 91.

Archer

(1995) The nature of research. Co-Design Journal 2(11): 6–13.

Ayob

Humin

(2016) Nilai estetika dalam penghasilan rekaan seramik kontemporari berinspirasikan motif etnik borneo. Jurnal Gendang Alam (GA) 6: 1.

Barthes

(1968) Elements of Semiology Hill and Wang. Seventeenth Printing.

Bawua

Owusu

(2018) Analyzing the effect of Akoben programme on the environmental performance of mining in Ghana: a case study of a gold mining company. Journal of Sustainable Mining 17(1): 11–19.

Blumer

(1969) Symbolic Interactionism: Perspective and Method. University of California Press.

10.

Boadu

(2011) Outburst: Adinkra as a Good Communication Tool in Ghana. Outburst. Available: https://juliusboadu.blogspot.com/2011/11/normal-0-false-false-false-en-gb-xnone.hhtml

11.

Boakye-Yiadom

Donkor

Mensah

(2025) Exploring the role of project-based learning in higher education to promote indigenous knowledge through sculpture students’ engagement with Ghanaian Adinkra symbols. Discover Global Society 3(1): 4.

12.

Briggs-Goode

Townsend

(eds) (2011) Textile Design Principles, Advances and Applications. Burlington; Elsevier Science.

13.

Buami

Gbadegbe

Kassah

, et al. (2022) Beads as motifs in African print and contemporary fashion and interior trends. Journal of Textile Design Research and Practice 10(3): 317–333.

14.

Charon

(2010) Symbolic Interactionism: An Introduction, an Interpretation, an Integration. Pearson.

15.

Clemmer

(2003) Motifs with messages: ceramic objects as forms of communication. Semiotica 2003: 147.

16.

Collins

(1994) Four Sociological Traditions. Oxford University Press.

17.

Cross

(2011) Design Thinking: Understanding How Designers Think and Work. Bloomsbury Publishing.

18.

Eco

(1979) A Theory of Semiotics (Vol. 217). Indiana University Press.

19.

Essuman

Adom

Asare-Aboagye

, et al. (2024) Visual eisegesis on newly created Ghanaian cultural symbols with inspirations from existing adinkra symbols in Ghana. Indigenous: Jurnal Ilmiah Psikologi 9(2): 196–217.

20.

Frayling

(1993) Research in art and design. Royal College of Art research papers, Vol. 1, pp. 1–5.

21.

Frimpong

Amankwaah (2013) Contemporary Trends in Adinkra Cloth Production: Design, Printing Technique, Base Fabric, and Printing Paste (Dye). International Journal of Fiber and Textile Research, 3(1), 43–48.

22.

Gamson

(1992) Talking Politics. Cambridge University Press.

23.

Gatto

Porter

Selleck

(2000) Exploring Visual Design: The Elements and Principles. Davis Publications.

24.

Geertz

(1973) The Interpretation of Cultures. Basic Books. Environment, Vol. 5, 25–39.2

25.

Giddens

(1984) The Constitution of Society: Outline of the Theory of Structuration. University of California Press.

26.

Grafik

(1998) Signs in Culture and Tradition. Savaria University Press.

27.

Groth

(2017) Making sense through hands: design and craft practice analysed as embodied cognition. (Doctoral thesis, Aalto University, School of Arts, Design and Architecture). Available at: https://aaltodoc.aalto.fi/items/8fdce3e0-a7aa-4108-9dd1-9e617130c98e.

28.

Gulay

Lucero

(2019) Integrated workflows: generating feedback between digital and physical realms. In: Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems, 1–15. DOI: 10.1145/3290605.3300290.

29.

Gyekye

(1996) African Cultural Values: An Introduction. Sankofa Publishing Company.

30.

Holmes

(1901) American anthropologist, Jul - Sep 1901. American Anthropologist 3(3): 397–403, URL: https://www.jstor.com/stable/659198

31.

Howard

Sarpong

Amankwah

(2012) Symbolic significance of African prints: a dying phenomenon in contemporary print designs in Ghana. International Journal of Innovative Research and Development 1(11): 605–624.

32.

Hussin

(2006) Motif Alam Dalam Batik Dan Songket Melayu. Dewan Bahasa dan Pustaka.

33.

Kang

(2016) Social design as a creative device in developing countries: the case of a handcraft pottery community in Cambodia. International Journal of Design 10(3): 2.

34.

Kim

(2019) A design methodology using prototyping based on the digital-physical models in the architectural design process. Sustainability 11(16): 4416.

35.

Lacey

(2009) Contemporary ceramic design for meaningful interaction and emotional durability: A case study. International Journal of Design 3(2): 87–92.

36.

Laranjeira

Marar

(2014) Caos & Complexidade Design De Superfície E Os Novos Paradigmas Da CiêNcia. Educação Gráfica 0: 204.

37.

Lin

(2007) Transforming Taiwan aboriginal cultural features into modern product design: a case study of a cross-cultural product design model. International Journal of Design 1(2): 2.

38.

Macquet

(1992) Africanity: The Cultural Unity of Black Africa. Oxford University Press.

39.

Marshall

(2010) A research design for studio-based research in art. The Teaching Artist Journal 8(2): 77–87.

40.

Mead

(1934) Mind, Self, and Society. University of Chicago Press.

41.

Nimkulrat

(2010) Material inspiration: from practice-led research to craft art education. Craft Research 1(1): 63–84.

42.

Nimkulrat

(2012) Hands-on intellect: integrating craft practice into design research. International Journal of Design 6(3): 1–14.

43.

Nkansah-Obrempong

(2002) Visual theology: the significance of cultural symbols, metaphors and proverbs for theological creativity in the African context: a case study of the Akan of Ghana. Journal of African Christian Thought 5(1): 38–47.

44.

Nubour

(2006) Evaluation of the Textile Industry at Adanwomase, Bonwire and Ntonso in the Ashanti Region of Ghana. Unpublished master thesis. Kwame Nkrumah University of Science and Technology.

45.

Owusu

Boateng

(2023) Clay preparation techniques in contemporary Ghanaian ceramics: balancing tradition and innovation. Ghana Journal of Creative Practice.

46.

Owusu-Sampah

(2014) Thesis. Rochester Institute of Technology. Accessed from:https://scholarworks.rit.edu/theses

47.

Pires

Sun

(2017) Têxteis tridimensionais a partir de uma perspectiva do design de superfície. In: Paper Presented at 13th Fashion Colloquium. São Paulo, pp. 1–10. https://researchportal.hw.ac.uk/en/publications/t%C3%AAxteis-tridimensionais-a-partir-de-uma-perspectiva-do-design-de-

48.

Plattner

(2013) An Introduction to Design Thinking. Iinstitute of Design at Stanford, pp. 1–15.

49.

Rosenthal

Jacobson

(1968) Pygmalion in the Classroom: Teacher Expectation and Pupils' Intellectual Development. Holt, Rinehart & Winston.

50.

Rowley

(1997) Introduction. In: Rowley

(ed) Craft and Contemporary Theory. Allen & Unwin, pp. xiv–xxvi.

51.

Rubim

(2004) Desenhando a Superfície. Edições Rosari.

52.

Rüthschilling

(2002) Design de superfície: prática e aprendizagem mediadas pela tecnologia digital 187. (Doutorado). Faculdade de Educação. Universidade Federal do Rio Grande do Sul, UFRGS: https://hdl.handle.net/10183/131159

53.

Sarpong

(1974) Ghana in Retrospect: Some Aspects of Ghanaian Culture, Accra: Ghanaian Publishing Corporation. Retrieved from https://cir.nii.ac.jp/crid/1971149384791720343

54.

Sayuti

NAA

Zainal

Zamri

AFA

, et al. (2018) From culture toinnovative product: batik design in porcelain wares. Malaysian Journal of Sustainable 5(2): 25.

55.

Sayuti

Mohd Noor

MAA

Bin Mohd Naser

, et al. (2024) A study on Songket motifs, familiarity, preferences, and the potential application of generative ai to create innovative cultural product designs. Alam Cipta: International Journal on Sustainable Tropical Design Research & Practice 17(2): 1.

56.

Sennett

(2008) The Craftsman. Yale University Press.

57.

Stappers

Giaccardi

(2017) Research through design. The encyclopedia of human-computer interaction. The Interaction Design Foundation, 1–94.

58.

Sullivan

L. H.

(1896) The tall office building artistically considered. Lippincott’s Magazine 57: 403–409.

59.

Tetteh

Appiah

(2022) Digitizing tradition: a review of Corel-based design approaches in African symbolic art. Contemporary Design Perspectives 8(2): 101–118.

60.

Wijewantha

Kailasapathy

(2015) Global leadership development through transformational leadership and psychological empowerment: a study in multinational companies in Sri Lanka. In: A paper presented at the 2nd Global Conference on IHRM organized and held at Chambers Building, The Pennsylvania State University, University Park, PA 16802, USA. pp. 14–15.

61.

Wilson

(2021) Adinkra symbols and proverbs as tools for elucidating indigenous Asante political thought. The Asante World 1: 201–224.

62.

Xin

Xiao

(2009). The innovation of the design in daily ceramics. In 2009 International Forum on Computer Science-Technology and Applications 1: 476–478. IEEE.

63.

Yoshikawa

(1989) Design philosophy: the state of the art. CIRP Annals 38(2): 579–586.

64.

Zhang

Yang

(2016) Ceramic product forming technologies research based on 3D printing. IEEE Access 4: 9345–9349.

65.

Zhu

(2020). Construction and application of the design method of cultural products based on the meme of Liao dynasty ceramics. In E3S Web of Conferences (Vol. 179, p. 02016). E3S Web of Conferences.

66.

Zimmerman

Forlizzi

Evenson

(2007) Research through design as a method for interaction design research in HCI. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems 493–502. doi: 10.1145/1240624.1240704

67.

Zurvani

(2024) Examining Clifford Geertz’s cultural approach to semiotics of religion. The International Journal of Humanities 31(4): 48–69.