Abstract:
Islamic art has a rich history dating back to the 7th century, and its influence can be seen in architecture, calligraphy, textiles, and other forms of creative non-figural expression. One of the defining characteristics of Islamic art is the use of geometric patterns, which have been an integral part of its design aesthetic for centuries. These patterns decorate surfaces, often as intricate tessellations (repetitions) that create mesmerizing visual effects. Over time, these patterns have become a symbol of Islamic art and architecture and continue to inspire contemporary artists and designers today.
This thesis investigates the potential of Islamic geometric patterns to extend beyond their typical use in architecture. Through an exploration of relevant literature, primarily through the work of Knippenberg, Habraken, and Teuffel, as well as Melancon, Gorissen, Garcia-Mora, Hoberman, and Bertoldi, characteristics of the unique qualities of the shapes found within tessellations present in Islamic art are identified. Additionally, model-making and pattern-deconstruction exercises are conducted to deepen understanding of the pattern-construction process.
Using these methods, the thesis focuses on one particular pattern located in Masjid-i-Sayyed in Isfahan, Iran, and several other locations. This pattern is then utilized to create a new modular form inspired by the original tilings, which suggests infinite tessellation and many manipulation possibilities. By creating these new modules, the researcher challenges the original orientation that traditional Islamic tilings were created and instead proposes a more expansive view of their potential.
This thesis holds significance as it contributes to the ongoing discourse surrounding Islamic art and geometry. It provides new insights into the possibilities of manipulating Islamic geometric patterns, which artists, designers, and architects can apply in their respective fields. Furthermore, it emphasizes the unique qualities of these patterns and how they can be utilized to create new aesthetically pleasing and structurally sound forms. Ultimately, this thesis expands our comprehension of Islamic art and geometry and provides a foundation for further research.
Description:
This investigation studies Islamic Geometric Patterns (IGP) as they appear in art and architecture and presents new approaches to pattern manipulation through pattern deconstruction and folding methods. Most IGPs are rarely transformed from their presented state as decorative elements and are only used as such. In this investigation, the researcher identifies one IGP repeated across artworks in the Middle Eastern Region and transforms the selected pattern through the previous methods mentioned (pattern deconstruction and folding). Due to using a pattern with origins in geometry, the new transformed module can be tessellated in multiple directions in a
similar fashion to the original pattern.
A brief investigation of non-figural artwork was conducted to gather a better understanding of IGPs and their current uses. Non-figural artwork is an art form that does not contain or suggest any living creature within it. This art gained popularity in Islam among artisans who wanted to express themselves and show praise to God without misrepresenting God’s creations. The three types of non-figural art that quickly grew in popularity were calligraphy, botanical imagery, and geometric patterns. It is common to see all three of these in one piece of art to create thought-provoking work with a deeper meaning.
Most would agree that the calligraphy within the artwork allows an individual to see a greater connection to God within a piece as, in most cases, the calligraphy is direct quotes from the Quran. However, there is disagreement around this. Although calligraphy provides a more direct connection to God, Keith Critchlow, British artist and professor of architecture, believes that the geometry within art is what holds a connection to a higher being and that patterns are intended to aid those who look to have a higher understanding of the world around them. Critchlow believes these patterns exist not simply as ornamentation but to help viewers see the spiritual realm. In contrast to Critchlow’s beliefs, Doris Behrens-Abouseif, previous Nasser D Khalili Chair of Islamic Art and Archeology at SOAS University of London, believes the ideas of ‘morality’ and ‘beauty’ are not interchangeable terms. Abouseif argues that beauty does not exist with a relationship of religious or moral standing but on its own. Shapes belong to no religion or culture. This research, as it deals with the deconstruction of geometry rather than its potential religious significance, sides with the thoughts of Abouseif.
After reviewing different positions within the literature, a general pattern study was conducted. Due to the nature of non-figural art, many IGPs were paired with the organic shapes of flowers and the curving lines of calligraphy; the general pattern study presents the IGP as it is seen as well as the underlying pattern that is implied, to provide a better visualization of the geometry that is present in the artwork as a semi-broad introduction to all of the shapes that are commonly seen in these compositions. It is also seen in this study that patterns are capable of spanning across surfaces of different planes. To look at this further, the general pattern study is then conducted on domes, identifying the individual shapes that appear on the domes and how the process of tessellation occurs across the surface of a dome. The general pattern studies were followed by a more in-depth shape analysis, finding that two categories of shape within IGPs are typically separated into Star and Girih shapes.
Star shapes are precisely what they are named to be, stars. The complexity of a star is categorized by the number of points it is given. Most stars seen in IGPs have points divisible by 4,5, or 6; these stars make up 95% of all star shapes in Islamic art. The other category of shapes seen are called Girih shapes. 5 shapes fall into this category: the decagon, pentagon, irregular hexagon, rhombus, and bowtie. The sides of all of these shapes share a similar length. This allows any of them to match with one another in any orientation while still being able to repeat infinitely and seamlessly.
Once a general understanding of IGP’s was gathered, the study transitioned to the manipulation of tile patterns to discover their potential as 3-dimensional forms. Before allowing the researcher to explore self-driven investigations, there was a brief study of other investigations that had similar goals in mind. The first precedent shown was a research project conducted by Harvard graduates, investigating the manipulation of folded patterns through origami and inflatable structures The engineers developed a way of designing structures based on origami folding that shape expands and contracts from inflation. This allows the structures to fold up flat for storage and transport while being constructed of solid and rigid materials. This investigation aims to implement these structures as deployable units in disaster zones to be emergency shelters (Melancon, Gorissen, García-Mora, Hoberman, Bertoldi; Knippenberg, Habraken, Teuffel.).
The second study analyzed deployable structures conducted by Ruud van Knippenberg, Arjan Habraken, and Patrick Teuffel. The study recognizes that multiple folding typologies can generate various forms. This study investigates non-singular, rigid folding arrangements and classifies them as having a high potential for translation into an actual structure.
By learning from the previously mentioned studies, the researcher can deconstruct an existing IGP and later reconstruct the pattern in different orientations to create new, modular shapes, showing how they can be created with the potential for tessellation and can be applied to design. The hundreds of patterns that currently exist have the possibility of generating their modules at different complexities and scales.