This paper aims to present a case study on an innovative educational framework designed to integrate the principles of Basic Design into a curriculum tailored for students with specific cultural and academic backgrounds. The paper's primary objective is to provide a testimonial of how classical compositional principles, rooted in the European tradition of Basic Design, can be effectively translated into a cross-cultural context through a carefully structured communicative strategy. By doing so, the paper seeks to demonstrate how such an approach can bridge cultural and educational gaps, fostering a deeper understanding of design principles among students with diverse backgrounds.

The course structure, detailed in the paper, is organized around 4+1 conceptual fields—Geometric-Intuitive, Gestaltic, Topological, Phenomenological, and Morphological. These fields guide students through a progressive exploration of aesthetic expression, from foundational principles to advanced applications. The methodology is rooted in a progressive, exercise-based approach, combining computer-aided and handmade exercises to create a portfolio of compositional works that evolve in complexity. The course is divided into two phases: individual exercises and a collaborative group project, ensuring a solid foundational understanding before advancing to higher-level applications.

The paper will present the learning outcomes achieved by students concerning the expected goals, as verified through classroom assessments. These outcomes demonstrate that the structured progression of exercises helps students systematically understand aesthetic expression and enhances their ability to apply these principles in product design. Additionally, the collaborative group project highlights students' ability to communicate and work effectively in teams, reflecting the realities of professional design practice.

The paper's conclusions will emphasize this framework's scalability to other cross-cultural contexts. The paper aims to provide actionable insights for educators and institutions seeking to adapt classical design principles to diverse classrooms by showcasing the course structure and its results. The reflections will stress the importance of a progressive, exercise-based approach in fostering cross-cultural understanding and innovation in design education.

In summary, this paper contributes a testimonial of what can be achieved when classical compositional principles are translated through a communicative strategy that considers students' cultural differences. It presents the course structure and learning outcomes to the expected goals, offering insights into how the framework can be scaled to other cross-cultural contexts. The conclusions will highlight the potential for broader application, providing valuable guidance for future initiatives to foster cross-cultural understanding and innovation in design education.

Keywords: Basic Design principles, Design education, Exercise-based learning, Field theory, Basic Product Design.