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This paper discusses geometric proportions which serve as a design tool, especially for Islamic pattern design. The key role of geometry in Islamic patterns is discussed with relation to proportions which act as the underlying structure of the design process. Evaluations based on spatial structure and esthetic criteria are integrated into the conce...
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Citations
... Spherical geometry's size and ratios are related to the curvature of the surface and the forces involved (Miguet et al., 2021). The golden ratio ð 1þ ffiffi 5 p 2 Þ is a mathematical proportion that appears frequently in literature (Dabbour, 2012;Ghyka, 1976). This quantity is based on the Fibonacci sequence; many natural formations, such as spirals in shells, leaf arrangements on stems, and human body proportions, have dimensionless ratios close to the golden ratio (Perera and Coppens, 2019). ...
... Analysis of plans, sections and facades includes proportioning systems based on dominant geometric shapes (square, circle, square, triangle) (Oikonomou, 2009(Oikonomou, , 2011(Oikonomou, , 2012(Oikonomou, , 2018(Oikonomou, , 2021Dragovic et al., 2019Dragovic et al., , 2020. While studies on the geometrical reproduction techniques of architectural element motifs and ornaments have also been conducted (Hajebi and Hajebi, 2021;Dabbour, 2012), it is noted that studies on the geometric analysis of structural elements have also examined the role that geometric relations play in the formation of all structural systems (Fuentes and Huerta, 2016). ...
Purpose
The purpose of the study is to provide a dataset about geometrical constructions of early Ottoman tombs for conservation studies. Thus, a proposal for the restitution phase of the damaged tombs aims to develop.
Design/methodology/approach
The study is composed of four phases. First, the representative plan and section drawings of early Ottoman Tombs were redrawn; second, a geometrical analysis was made, a proposal table was prepared for the restitution of the damaged tombs; and last, this table was applied to tomb examples and restitution drawings are verified with the original situation of the tombs.
Findings
Early Ottoman tombs may be interpreted through geometric shapes, including the square, circle, triangle, octagon, arsin grid and quadrature systems. The arsin grid system provides information about the position of the domes and the height of the drums and windows. Quadrature establishes the highest point of domes and entrances. The proposal table, developed from the obtained results, facilitated the identification of the original elements, including the dome, drum, window and portal. This information is crucial for conducting further studies on restitution.
Originality/value
The abundance and dispersed nature of tomb structures compared to other architectural designs pose challenges in their scholarly examination. The early Ottoman tombs, which experienced an increase in numbers following the Conquest of Istanbul, serve as the initial expressions and embodiments of novel architectural endeavors. Thus, the determination of design ideas of the early Ottoman tombs sheds light on Ottoman architectural practice, which has remained largely unknown and guided the conservation studies of the tombs that have lost their integrity and originality.
... Islamic geometric patterns have followed a polygonal and circular grid since their first appearance, and with the number of regions adopting them growing over the years, the more variations they have developed. Dabbour [7] states that the formation of IGPs consists of 4 steps: 1. The planning stage: determining the system of proportions based on the structure of one unit pattern. ...
... Geometry is intelligible and is favored in Islamic art for that reason [7]. It is considered sacred as it deals with the laws and principles of the creations and is perceived in their visual expression. ...
... It is considered sacred as it deals with the laws and principles of the creations and is perceived in their visual expression. Furthermore, it is quantitative and qualitative in nature; quantitative in regulating the patterns' order and construction, and qualitative in establishing the proportions of design forms and serves as a visual depiction of reality that expresses the order of the cosmos [7]. It is through geometric shapes that we see what its symbolistic nature alludes to, which is unity. ...
Islamic geometric patterns (IGPs) represent one of the most substantial design elements in the Islamic heritage. The last few decades have witnessed a great appeal in social sustainability, so, several endeavors have been made to preserve Islamic heritage through contemporary art and building design. This paper attempts to answer the debate on how the IGPs are defined in contemporary applications, and how far they evolved thanks to advanced technology. Therefore, the paper's purpose is to build an assessment tool to create contemporary IGPs applications in art and design adhering to sustainable strategies. Where the assessment tool should be utilized as a guideline to protect the IGP's originality. The paper follows a qualitative methodology and case study to analyze worldwide-recognized cases of art and design applications implementing IGPs in the last decade. The methodology was built on four phases with a focus on the criteria of selection that were determined based on recent Art and Design works from national and international artists and designers. The key results of the analysis study demonstrated the transforming power of Islamic geometric patterns (IGPs) in the domains of contemporary art and architecture, showcasing their capacity to infuse cultural significance into contemporary designs. The paper's significance is embodied in providing architects and artists with a clear assessment tool to consider in applying IGPs in contemporary applications with respect to the characteristics and types of IGPs. The research has objectives, including exploring interpretations of contemporary Islamic applications and identifying emerging directions and trends, in preserving Islamic heritage through modern design and art. The validation of the assessment tool enhances its value for designers and artists who want to apply IGPs.
... In architecture, proportion connects different architectural elements or compositions that may provide harmony and beauty (Aljubori and Alalouch, 2018). The three primary proportional roots of ffiffiffi 2 p , ffiffiffi 3 p , and ffiffiffi 5 p , on which all Islamic arts and building forms are founded (Dabbour, 2012;Khalil and Wahid, 2013), are the ratio of the golden mean and the most significant geometric proportionate systems in prehistoric architecture, particularly in Islamic art and architecture (Akhtaruzzaman and Shafie, 2011;Korsavi and Fig. 4 The steps to achieve the golden rectangle. Source: The Authors. ...
... The following nine in this series equals the sum of the two values before it, and the ratio of the next value to the initial value is known as the golden ratio (Gangwar, 2017). One of the pillars of sacred geometry is the sacred mean, also known as Phi (4), the divine ratio, the golden section, or the golden ratio (Dabbour, 2012;Stakhov, 2006). The golden ratio is produced in mathematics by ( ffiffiffi 5 p þ1)/2. ...
... The golden rectangle is also built of a square with the same dimensions, expands as shown below, and forms chords with the numbers ffiffiffi 2 p , ffiffiffi 3 p , and ffiffiffi 5 p (Figs. 5e7). In order to create the renowned spiral movement with these dimensions, we must first create a square with a side length of one square meter, then another square with the length of 2a from the longer side of the bigger side, and lastly, a golden rectangle (Dabbour, 2012). ...
... For example, geometry is not an important enough word to feature in the index for either of the books Islamic Art (Brend, 1991) or Islam Art and Architecture (Hattstein & Delius, 2007), and neither are concerned with the underlying graphic means that provide Islamic design's skeletal framework. To emphasise the fundamental importance of geometry in Islamic patterns several studies over the last 50 years have remedied this (for example : Bonner, 2003;Critchlow, 1983;Dabbour, 2012;Kharazmi & Reza, 2016). ...
... These respectively equate with human consciousness, the earth/materiality, and creation (Foster, 2004, 5), and tesselate to infinitely cover a surface leaving no gaps. Based on several attempts to depict the geometry of Islamic design principles (Broug, 2019;Dabbour, 2012;Foster, 2004) the triangle, square and hexagon may be formed in several ways, depending on how secondary circles are arranged to either overlap or touch the central circle. See Figure 10. ...
... These geometric concepts are an important part of the spatial and architectural art of the mosque. In Islamic geometric patterns, geometry is also determined and applied by Muslim culture as a universal language, which is one of the most important multicultural design symbols (Dabbour, 2012;Ghasemzadeh et al., 2013;Sidawi, 2013). Therefore, this study aims to explore and evaluate the geometrical patterns and philosophical values underlying the architecture and ornaments of the Javanese traditional Mosque, which are used for the mathematical learning process in primary school. ...
Aim. This study is an ethnomathematical study that aims to describe and interpret the philosophical value and geometrical patterns of the famous architecture and ornament of the Indonesian traditional Mosque. Journal of Education Culture and Society No. 2_2023 513 Methods. This report subsequently used an ethnographic method, with data being obtained through observation, documentation, and Focus Group Discussion (FGD). Furthermore, the study subjects were a cultural practitioner and a group of educators, containing five primary school teachers in Central Java, Indonesia. Interviews, observation, and documentation were conducted during the research. The data was analysed qualitatively. Results. First, from the data analysis, it was found that there are several philosophical values contained in the architecture and ornaments of a Javanese traditional mosque such as the relationship that must always exist between humans and God and fellow human beings, Islam, iman (faith), Ihsan (kindness), openness, honesty, obedience, and humility. The second indicates the relationship between the Javanese architecture and ornament of the Indonesian traditional Mosque and the geometrical patterns (the cuboid, and cylinder), symmetrical patterns, and geometry transformation (rotation) used as the source of learning and starting point to the mathematical learning process. Conclusions. These results were specifically useful to primary school teachers when teaching geometry. Through culture as a context or starting point, the new mathematical learning resource was also used for geometric learning. In addition, the philosophical significance of these artifacts fostered an interest in the indigenous culture and good character values.
... It can be applied in a simple form as well as in a richly complicated design. In fact, Dabbour [6] claimed that Islamic designs heavily rely on geometry; it has a central role and great importance to Islamic designs. ...
Recently, scholars have embraced sustainability as a crucial concept deeply ingrained in architectural designs, particularly Islamic geometric patterns (IGP). These patterns hold significance in reflecting Islamic history, identity, and culture. This systematic review explores how scholars have integrated IGPs into modern design, considering the sustainability aspect. The Preferred Reporting Items for Systematic Reviews (PRISMA) reporting checklist was used due to its organized structure as a guide to conduct this review (2012–2022). Data was collected through recognized databases (i.e., Scopus and ProQuest) that house a wide array of journals and publications. Selected journals were categorized based on sustainability pillars—environmental, economic, social, and cultural. In addition, case studies from the region are discussed, as studies didn’t explicitly explore the connection between sustainability and the use of Islamic geometric patterns in modern design. Findings indicate that papers predominantly discuss the positive effects on environmental and economic sustainability through IGP implementation. Conversely, social sustainability received comparatively less attention from scholars. Case studies showed that most building designs in the Middle East use IGP to conserve Islamic history and identity, especially in the United Arab Emirates (UAE). This review sheds light on the potential of geometric patterns as a vehicle for sustainable design and contributes to the broader discourse on sustainable architecture.
... Similar to how words in a spoken language represent meaning, geometric proportions in architectural patterns can be thought of as a design language. Proportions are able to address and reflect the natural laws that are responsible for governing the fundamental harmonies of nature, and they are able to be described by means of mathematics and geometry [3]. Here in this research, Ao nagas' traditional practice of house making is studied. ...
In Nagaland, tribal architecture represents the unique style of representing the arts, crafts, architectural elements and aesthetical features. These houses are built in specific proportions, which are followed by the tribes. These proportions have evolved through years of practice/tradition of house making. Community plays a significant role in building these houses. While developing their art forms, Ao tribe people take inspiration from nature, representing the flora and fauna of that area. Also, the materials chosen for creating the artworks depend on the biodiversity and availability of materials in the surrounding area. These tribes have developed their principles and characteristics of design in terms of form, shape, material, and colour, which they use while designing the patterns and motifs. Arju House is studied in this paper to understand and analyse the art style these tribes are following from the generations. Artworks are documented here using photogrammetry, and then their shapes are studied by simplifying them into abstract form to understand the characteristics which were followed in creating them. Photogrammetry helped to cross-check and do the volumetric analysis. Also, spatial analysis of structure is done to examine the relation of proportions in terms of scale, appearance, and preventive measures. This study focuses on identifying those proportions with the help of digital documentation of the places with the help of photogrammetry and developing a unit system that was followed while constructing them.KeywordsProportionsGeometryFormArt styleAo tribeNagaland
... Rock-hewn churches, Lalibela, Ethiopia, built by Ethiopians around 13th century CE which regarded as sacred geometry. Sacred geometry is the architecture of the universe, which is the eternal visual language wrapped around the root concepts of the manifest universe and it is the unchanging, perfect and timeless geometrical realties springing from Divinity (Dabbour, 2012). In sacred geometry there highly complex variety of spiritual procedures that attributing a cultural or religious value to the graphical presentation of the mathematical relationship and the design of manmade objects that symbolize or represent the mathematical relationships. ...
The purpose of this study was to investigate elements of the history of mathematics in secondary school mathematics textbooks in Ethiopia. In line with this, the study also identified the extent to which mathematics is seen as a social construct in textbooks. To achieve these four mathematics textbooks from Grades 9 to Grade 12 were selected for this purpose. The document review method used to determine the extent of use of elements of the history of mathematics, the stage in the unit it used, and the learning domains of mathematics it covered in these textbooks are considered. For document analysis purposes Erdoğan et al.’s (2015) classification of elements of the history of mathematics was adopted. This distribution involves historical notes, notes on usage areas of mathematics, applications with historical notes, and historical elements in students’ extracurricular activities. The result has indicated that it has found 26 elements of the history of mathematics and the highest number found in the grade 11 Mathematics textbook. The learning domain algebra in the form of historical notes also received the highest coverage than others. Moreover, the result has indicated most elements of the history of mathematics were used at the beginning stage of the unit. Finally, the study has concluded that elements of the history of mathematics are not sufficiently integrated with the contents of mathematics textbooks. Several elements of the history of mathematics are far from the social context of the learner, as indicated in the textbooks.
... Its quantitative dimension regulates the form and construction of pattern architecture. Its qualitative nature sets the proportions of architectural form and represents an aesthetic expression [16,19,24]. ...
... Researchers argue that geometry manifests mathematical ratios and proportions, which are central to Islamic art. In these arguments, the Islamic pattern is a manifestation of the harmonic subdivisions of the circle and its template polygon grids [12][13][14][24][25][26][27][28]. The hexagonal geometric polygon systems are employed in the construction of Islamic pattern design variations, which correspond symbolically to the creation of the universe. ...
The Minbar of Salah Al-Din is considered a masterpiece of traditional Islamic arts and crafts heritage. It stood in Al-Aqsa Mosque in Jerusalem for nearly 800 years until it was burned down completely in 1969. In 1993, King Hussein of Jordan gave instructions to initiate the process of reconstructing the Minbar based on old photos of the original one and small wooden pieces that remained after the fire. The reconstruction job was commissioned in 2002 and finished in 2006 as a replica of the original one. This paper discusses the lessons learned from the reconstruction process through the analysis of geometric principles and features of the design process and construction of the Minbar, towards the rekindling of this artistic heritage. The Minbar geometric patterns are constructed of many interlocking pieces of wood, each carefully carved to fit together like a three-dimensional puzzle. The novel contribution of this study is in the relationship between the geometric construction of the patterns and the Interlock (ta'sheeq) construction methodology. Which will hopefully provide a deeper understanding of the structure of the Minbar, allowing architects and craftsmen to achieve improved control over their new design's compositions and structure.
