Geometric proportions: The underlying structure of design process for Islamic geometric patterns (original) (raw)
Related papers
The Vocabulary of Perception and Design of Islamic Geometric Patterns
WIT Transactions on The Built Environment, 2018
This paper introduces a methodological distinction between three different scholarly interpretations of the forms and meanings of geometric ornaments in our heritage of Islamic art and architecture: an external cultural position, an esoteric religious argument, and an internal scientific approach. The major part of the paper is then directed beyond cultural allegiances or prescriptions of the Islamic faith and revolves instead around the internal formalistic and purely aesthetic aspects of reconstructing and making of geometric patterns, with the aim of exploring their vocabulary of perception, and their generative principles and inherent processes. The analysis starts at the very basic level where geometric patterns can be perceived as packing of open or enclosed surface polygons or linear configurations. Other means of perception relate to polygons' apparent and inherent geometry, tone or colour, and the application of a quasi-third dimension either through figure-ground reversal or by perceiving linear designs as interlocking elements beyond the 2d plane. The paper then investigates the relationship between means of visual perception and the inherent repetition, geometry and symmetry of patterns on the level of constituent polygons, repetitive tiles, and the design as a whole. Beyond the narrow meanings of likeness and identity in bilateral symmetry, alternative concepts of symmetry are introduced and then applied in setting up a comprehensive vocabulary of 2d geometric patterns based on the classification discovered by crystallographers and developed by mathematicians. The paper concludes by demonstrating the power of combining geometric and symmetry systems in recreating traditional designs or generating new patterns.
Evolution of Islamic Geometrical Patterns
Global Journal Al Thaqafah, 2012
Although Islam gives function and not form, Islam as a context has affects on forms and ornaments in somewhat. The great role of geometry in Islamic architecture due to restriction of using natural figures is an example. In this research, the application of Islamic geometrical patterns (IGPs), and suitability of their usage over architectural elements in terms of timescale accuracy and architectural-style matching is studied. A detailed survey of hundred wellsurviving buildings throughout the Muslim world of architecture has been conducted for this purpose and as a result, not only origin of patterns identified, but also radical artistic movements throughout the history of Islamic geometric ornaments revealed. Finally, this study sketches the evolution of IGPs through history, while regional diversities are also taken into account.
Evolution of Islamic geometric patterns
Frontiers of Architectural Research, 2013
This research demonstrates the suitability of applying Islamic geometrical patterns (IGPs) to architectural elements in terms of time scale accuracy and style matching. To this end, a detailed survey is conducted on the decorative patterns of 100 surviving buildings in the Muslim architectural world. The patterns are analyzed and chronologically organized to determine the earliest surviving examples of these adorable ornaments. The origins and radical artistic movements throughout the history of IGPs are identified. With consideration for regional impact, this study depicts the evolution of IGPs, from the early stages to the late 18th century.
ISLAMIC GEOMETRIC PATTERNS CONSTRUCTED BY CRAFTSMEN WORKING ON WOOD
Islamic art encompasses great achievements in 3-dimensional ornament (Mouqarnass) as well as in 2-dimensional (calligraphy, stylized floral designs, architecture, and abstract geometric patterns). In this presentation we are interested in the plane ornamental art, particularly in the geometric drawing or " Tastir ". These patterns adorn buildings, particularly mosques and tombs, throughout the Islamic world. They are perhaps best known to Americans and Europeans through the Alhambra palace in Granada, Spain. Broadly speaking, an Islamic pattern is a periodic arrangement of motifs, many of which are star-shaped. We describe here one method of construction of the geometric patterns encountered in the Islamic art. This method called " Hasba " (measure) is widely adopted by the Moroccan craftsmen (" Maâlam ") especially whose working on wood material and handed over to their disciples. It is based on geometric rules and the concept of symmetry. It can be adapted to other material (plaster, metal, marble,..). A large variety of simple patterns as well as sophisticated patterns are obtained by tracing grids with precise criteria of measurement within a polygonal frame.
Normalised grid/motif based patterns-Islamic geometric patterns
Proceedings. 1997 IEEE Conference on Information Visualization (Cat. No.97TB100165)
The studies of Isiamic Geometric Patterns (IGP) show that the methods of generation is based on a set of classical gridding systenzr. They are hierarchical and primarily based on the sacred geometrical primitives (triangle. square and circle). With such patterns, symmetries are as visible as the forms themselves. They signify an obtlous secondary meaning that is so often referred, in the sacred and religious texts, to as a higher order of significance. Based on the classical grid system, normalised grid-based patterns proposes a neu' language of design with a further aids of symmetries that holds these forms so robustly. It takes away their hierarchy by replacing it with a less tangible forms that are bounded by shear balance of symmetries. An underlined question for the reader is "Are we disturbing the semantics of these patterns, the meaning that ha1.e been portrayed by architect, tile designers anal visualists for a long time though their visual forms?"
2018
This dissertation examines the morphology of Islamic Geometric Patterns (IGP). Using mixed methods, including the simulation of historical designs and content analysis, this dissertation explores the question of how it is possible to mathematically describe the IGP. The study argues that the compositional analysis of geometry is not solely sufficient to investigate the design characteristics of the IGP, and the underlying mathematics and computational nature of the IGP should be considered when investigating historical IGP. The study presents a parametric description method that captures the reality of the IGP in numeric form and utilizes the form to derive representational codes that include the information necessary to construct a geometry. The representational codes are utilized to further investigate the actual and virtual design space of the IGP, aiming at identifying morphological similarities between historical designs. This research challenges the long-standing paradigm that considers compositional analysis to be the key to researching historical IGP. Adopting a mathematical description shows that the historical focus on existing forms has left the relevant structural similarities between historical IGPs understudied. The research focused on the historical, hexagonal-based IGP and found that hexagonal-based IGP designs correlate to each other beyond just the actualized dimension and that deep, morphological connections exist in the virtual dimension. Using historical evidence, this dissertation identifies these connections and presents a categorization system that groups designs together based on their 'morphogenetic' characteristics. iii DEDICATION To my parents, Samerah Alfaraj and Waleed Alani. To my wife, Rousel; and to my son and daughters, Ibrahim, Sarah, and Rania. iv ACKNOWLEDGMENTS I would like to express my gratitude to all of my committee members. I would like to deeply thank my doctoral dissertation chairperson, Dr. Carlos Kleiss, for his guidance at both the academic and personal levels as well as his understanding and continued support. I am thankful I had the opportunity to work with him. I would also like to thank Dr. Akel Kahera, who greatly inspired my work in the area of Islamic architecture. In addition, I would like to thank Joseph Choma for his great support and enthusiasm about my area of research, especially morphology. I would also like to thank Dr. Cliff Ellis for his insights and valuable inputs regarding research design. Furthermore, I would like to thank Dr. Mickey Lauria, the director of the PDBE program, for the many opportunities provided and his support. I would also want to acknowledge my friends at the PDBE program who have been with me through this incredible journey. Finally, I would like to thank the Higher Committee of Education Development in Iraq, the office of the Iraqi Prime Minister, and Aliraqia University for providing me this wonderful opportunity and for funding my doctoral research.