The peculiarity of worship spaces in the Islamic architecture is evident by its symbolic connotations with doctrinal connections, thus the niche has a major status in that symbolic connotation, which transformed due to the cultural interaction from a rock on the wall directed towards Mecca into an element of integrated structural entity with performative and aesthetic characteristics. The spread of the Islamic religion contributed to subjecting it to a design acculturation process, thus the problem of the research was raised by the following question: has the evolutionary tendency of acculturation been able to effect a major transformation in the niche design? The research aims at identifying the design acculturation and its translation methods of niche as a design text. The theoretical framework consists of two sections, the first addressed acculturation and its design translation and the second is the niche design acculturation.
The research arrived at indicators that contributed to preparation of the intentional sample analysis form. The research adopted a comparative description approach to reach at a set of results and conclusions including that: the acculturation addresses the niche by design as a translatable text in different styles subject to the environmental data of all kinds and the personality of the designer, and it does not go beyond the standards of Islamic thought and the reason of constructing it as a substantial element of the prayer space.
Keywords: acculturation, design, space, niche
Literary translation is one of the most difficult types of translation ,because it conveys feelings that differ from one person to another, and since the language constitutes an obstacle to understanding the Andalusian excerpts, the translators resorted to translating it, and this was a second start to the text, different from its first start, is said from the tongue of the Al-washah , The muwashshah is a poetic art that appeared in Andalusia after the Arabs entered it ,characterized by special system It differs from the traditional Arabic poem, as it has a beginning represented in the beginning of the muwashshah and several equal parts ending with differentrhymes.
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