Since 2013, cultural heritage tourism has been identified as a new segment to be developed by the Malaysia Tourism Promotion Board (MTPB). Today, the sector has undergone rapid growth and have a great impact on Malaysia’s tourism industry, as well as bring prospects for developing museum tourism in Malaysia. In this paper, to respond on the research scholarly interest in cultural management. The researcher discusses the roles of the museum to sustainable cultural heritage tourism growth with a special focus on challenges faces by Malaysia’s museum sector in developing museum tourism. Over the years, many researches have been done, and still researching by scholars on the need for cultural resource management placing focus on the role they take towards cultural economic development. The purpose of this research, among others, is to explore how museums in Malaysia could be more effectively utilized for museum tourism and to make suggestions for better utilization of the museum sector for cultural heritage tourism development. It is hoped that this paper will provide insights into an understanding of cultural heritage tourism in Malaysia with an emphasis on crisis and opportunity in developing museum tourism.

This paper based on a practice-based research on how to transform cultural features into designelements under the framework of culture-oriented design. The researcher plays a role as an explorer togenerate a product design based on the cultural product design model. To realize the research objective,Chulalongkorn University’s faculty of Communication Arts 50th anniversary souvenir design project wasselected. In the period of three months, the research was conducted with the application of cultural productdesign model. The research was structured under three phrases, phrase 1 (Identifi cation stage): the stageof researching cultural features to serve as a source of the design project. Phase 2 (Translation stage):the stage of translating cultural features into design resources for serving the design projects. Phase 3(Implementation stage): the stage of transforming cultural features into design elements. It is hoped thatthis paper will provide insights into an understanding of creative design process implementation particularlyfor culture-oriented design activities.   Penulisan ini difokuskan kepada penyelidikan berasaskan amalan tentang cara mengubah ciri-ciri budayamenjadi elemen reka bentuk di bawah rangka reka bentuk berorientasikan budaya. Penyelidik memainkanperanan sebagai penjelajah untuk menjana reka bentuk produk berdasarkan model reka bentuk produkbudaya. Untuk merealisasikan objektif penyelidikan, projek reka bentuk cenderamata ulang tahun ke 50fakulti komunikasi Seni Chulalongkorn dipilih. Dalam tempoh tiga bulan, penyelidikan telah dijalankandengan menggunakan model reka bentuk produk kebudayaan. Penyelidikan ini disusun di bawah tigafasa, fasa 1 (Tahap pengenalan): peringkat penyelidikan ciri-ciri kebudayaan untuk menjadi sumber projekreka bentuk. Fasa 2 (Tahap terjemahan): peringkat penerjemahan ciri-ciri kebudayaan menjadi sumberreka bentuk untuk menyediakan projek reka bentuk. Tahap 3 (Tahap Pelaksanaan): tahap mengubah ciriciri kebudayaan menjadi elemen reka bentuk. Diharapkan kertas kerja ini akan memberikan pemahamantentang pemahaman pelaksanaan proses reka bentuk kreatif khususnya untuk aktiviti reka bentukberorientasikan budaya.

Although thematic museums centered around food culture and culinary heritage have beenaround for decades, the concept of food museum is still fairly new in Southeast Asia. Only in2015, the first food-oriented museum – “Wonder Food Museum” was established in Penang,Malaysia. Since its establishment, the museum has received positive feedback from bothlocal and international visitors. From 2017 to 2019, the museum has been selected as therecipient of the Certificate of Excellence by international well renowned Travel organization -TripAdvisor Inc. Meanwhile, the museum’s contribution to the state’s cultural and tourismdevelopment has also been recognized by the state authority. In 2017 and 2019, the museumwas awarded the ‘Top Museum Award (Unique Concept)’, and ‘Best Tourism(Museum)Award’ by the INPenang International Awards respectively. By and large, WonderFood Museum is currently one of the most outstanding museums in Malaysia and a wellknownattraction in Penang. In this paper, to response on the research scholarly interest inmuseum tourism in Southeast Asia, the researcher has made an attempt to document thedevelopment of Wonder Food Museum from 2015 to 2019. The museum’s curatorial concept,exhibits production, exhibition planning and its overall management will be discussed andanalyzed. As the aforementioned this paper will provide insights into an understanding of foodmuseum’s development in Malaysia. Keywords: Food museum, food culture, culinary heritage, Malaysia’s museum, museumtourism, interactive museum

Seni kuno Feng Shui mempunyai pelbagai tafsiran dan aplikasi pada zaman kontemporari. Dari Feng Shui untuk rumah, ruang awam sehingga Feng Shui untuk perniagaan, semuanya tertumpu untuk menghasilkan tenaga positif atau 'Qi' dan untuk menggalakkan sudut baik dalam semua aspek kehidupan. Dalam konteks kontemporari, khususnya dalam dunia perniagaan di wilayah besar China, Feng Shui digunakan untuk menggalakkan aliran yang baik di tempat kerja demi mengukuhkan kesejahteraan pekerja, juga untuk menggalakkan lebih banyak kejayaan dalam perniagaan. Walaupun aplikasi Feng Shui untuk perniagaan adalah yang paling terkenal, masih terdapat bidang yang melibatkan penggunaan Feng Shui, iaitu dalam reka bentuk logo perniagaan. Dari perspektif Feng Shui, logo perniagaan dengan ‘Qi’ yang tepat sangat penting untuk kejayaan dalam perniagaan. Mengenai reka bentuk logo Feng Shui, terdapat panduan utama seperti pemilihan warna, susunan bentuk dan perkaitan simbolik gambar yang didasari oleh prinsip-prinsip penting Feng Shui. Oleh itu, untuk menggabungkan elemen Feng Shui ke dalam reka bentuk logo merupakan sesuatu yang kompleks dan berperingkat. Dalam kajian ini, untuk menjawab minat ilmiah terhadap logo Feng Shui dalam perniagaan, pengkaji telah berusaha untuk menunjukkan beberapa aspek penting dari penerapan Feng Shui dalam logo perniagaan, iaitu "Logo Simbolik Feng Shui", dan akan membincangkan bagaimana konsep Feng Shui mempengaruhi dan mencerminkan reka bentuk dan nilai estetika logo Feng Shui di wilayah Besar China. Diharapkan kajian ini dapat memberikan pemahaman mengenai aplikasi kontemporari Feng Shui dalam dunia perniagaan, terutamanya pada logo perniagaan Feng Shui.   The ancient art of Feng Shui has diverse interpretation and applications in the contemporary times, from Feng Shui for homes, Feng Shui for public spaces to Feng Shui for business, all focused on generating positive energy or ‘Qi' and promote the betterment in all aspects of life. In a contemporary context, particularly for the business world in Greater China region, Feng Shui is applied for good flow in the workspace in order to strengthen the well being of the co-workers, as well as to draw more business success. While these are the most well-known applications of Feng Shui for Business, there is another area where Feng Shui is highly involved, which is in the design of the business logo. From a Feng Shui perspective, auspicious business logo with right ‘Qi” is essential for business success. When it comes to Feng Shui logo design, there are major guidelines such as the selection of colors, an arrangement of shapes and images symbolic association that are based on important Feng Shui principles. Therefore, to integrate Feng Shui elements into a logo design can be a complex and lengthy subject. In this paper, to response on the research scholarly interest in Feng Shui for business logo, the researcher has made an attempt to point out some important aspects of Feng Shui’s application in business logo, which known as “Symbolic Feng Shui Logo”, and discuss how the concept of Feng Shui influence and reflect the design and aesthetic of Feng Shui logo design in the Greater China region. It is hoped that this paper will provide insights into an understanding of contemporary Feng Shui application in the business world, particularly on the Feng Shui business logo.

Logo diiktiraf sebagai satu bentuk komunikasi visual untuk mewakili individu, organisasi dan perusahaandalam bentuk tanda grafi k (tanda), simbol atau jata. Dalam bidang reka bentuk grafi k, “Reka bentukLogo”, adalah bidang penting serta cabaran yang paling sukar untuk disempurnakan. Oleh itu, untukmerekabentuk logo, pereka memerlukan proses reka bentuk yang sistematik untuk menghasilkan logoyang berkualiti. Oleh kerana keperluan ini, proses reka bentuk logo sebagai siri langkah atau perumusanyang bersesuaian yang direka oleh pereka dalam mewujudkan reka bentuk ‘logo berfungsi’ telah dikajisecara meluas oleh ahli akademik dan profesional reka bentuk. Dalam makalah ini, penyelidik sangattertarik dalam reka bentuk grafi k, penyelidik juga telah mencadangkan proses reka bentuk kreatif untukreka bentuk logo, dikenali sebagai “Five-I Logo Design Process”. Penyelidikan ini ditulis berdasarkanpendekatan penyelidikan etnografi auto dalam membincangkan proses reka bentuk kreatif yang memberitumpuan kepada amalan reka bentuk logo. Kertas ini ditadbir dalam tiga bahagian. (1) Semakan danperbincangan mengenai proses reka bentuk logo (2) Cadangan “Five-I Logo Design Process” untuk rekabentuk dan pembangunan logo. (3) Kajian kes pelaksanaan “Five-I Logo Design Process”. Diharapkankertas kerja ini akan memberikan gambaran mengenai pemahaman proses reka bentuk kreatif khususnyauntuk amalan reka bentuk logo. Logo is recognized as a form of visual communication to represent an individuals, organizations andenterprises in a form of the graphic mark (sign), symbol or emblem. In the fi eld of graphic design, “Logodesign”, is an important area as well as most difficult challenge to perfect. Therefore, to design a logo,designers need a systematic design process to guide them to reach an effective and efficient solution.Due to this requirement, logo design process as a methodical series of steps or formulation that designersemploy in creating ‘functional logo’ design has been widely studied by design academia and professionals.In this paper, to respond on the research scholarly interest in graphic design, the researcher has madean attempt to propose a creative design process for logo design, known as “Five-I Design Process”.The research is written based on auto ethnographical research approach in discussing creative designprocess which is focused on logo design practice. The paper is organized in three sections. (1) Reviewand discussion on logo design processes (2) Propose “Five-I Logo Design Process” for logo design anddevelopment. (3) Case study on implementation of “Five-I Logo Design Process”. It is hoped that thispaper will provide insights into an understanding of creative design process implementation particularlyfor logo design practice.