Final Thesis Annotation

Final Project to Obtain Master Degree in Architecture Title: Geometric Patterns in Islamic Decoration. Subtitle: A Parametric Envision of Portuguese and Azerbaijan Islamic Geometric Motifs. AYDAN AGHABAYLI / 20148101 Bachelor of Architecture PEDRO MIGUEL GOMES JANUÁRIO Scientific Advisor PAULO JORGE GARCIA PEREIRA Scientific Advisor AYDAN AGHABAYLI / 20148101 Introduction: The present Final project Master dissertation is part of an ongoing research project entitled: Bio i etics a d Digital Mo phoge esis . Portugal and Azerbaijan had strong Islamic influence in the past. Still nowadays we can feel signs of that impact in the both countries. It is noticeable in many areas likewise in architecture. Portuguese territory received this influence during the conquest of the Iberian Peninsula. Particular in architecture that has affected its decorative architecture use - Azulejo. Some of the examples of geometric tiling in Portugal were eliminated and destroyed during the restoration works or under the impact of any other external factors. But despite this, we find plenty of examples, in particular, cities of Portugal. The situation in Azerbaijan is a little bit different. Due to the fact that the majority of Azerbaijan's population are Muslim there are still many living examples of Islamic geometric motifs in architecture. The main focus of this dissertation will be given to the "girih" – a particular Islamic geometric pattern used in decoration that could be found in a wide area that covers from Portugal to Azerbaijan. As was written above in Portugal those geometric patterns were used mainly in Azulejos. Therefore, in Azerbaijan, we notice different manners of designing in the several cities: stone decorations and glass decorations on "shebeke" (an art of creating windows consisting of colorful glass and small wooden details attached without glue or nail using). In Azerbaijan there are mainly influences of three reign periods : Seljuk Empire, Shirvanshakhs before the Safavid dynasty and Qajar dynasty. According to the Islamic phylosopher Al-Gazali: "The visible world was created for connection with the invisible and there isn't anything in this world what is not a symbol of the other world". It means that everething was designed, not ony in architecture, but also in every field of Islamic art, has the spesific role and every detail is important to connection among the world we live and the world after death. As well all of those patterns have sacral meaning. Islamic artists were not just determining the meaning of the patterns, they also made calculations for the perfect proportional structure of patterns. This was very important in idealistic Islamic world. LISBON / 2015-2016 2 AYDAN AGHABAYLI / 20148101 In general Islamic geometric patterns are built on circles or squares base. Typically repeated, overlapped and interlaced geometric shapes create complex patterns which consist of a number of polygons repeated many times. In Islamic art the geometric figure of the circle represents the primordial symbol of unity and the ultimate source of all diversity in creation. The natural division of the circle into regular divisions is the ritual starting point for many traditional Islamic patterns. The decorative elements deployed use a range of symmetries that have now been classified as belonging to distinct mathematical groups, but the subtlety and beauty of the designs are unparallelled in modern mathematical thinking. On the present research after the making geometric patterns' survey, we are going to look on it throw the prism of parametric design. Parametric design is a type of modelling where we use parameters of model elements and realationsbetween those parameters. It helps to create fast and exact model of the object. After we could play with dimentions, scale, color etc. without damaging the model. Briefly it is a process based on algorithmic thinking that enables the expression of parameters and rules that, together, define, encode and clarify the relationship between the design going to be modeeling and the design we get as a result. State of the art: "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....For centuries, Islamic geometrical patterns are used as decorative elements over walls, ceilings, grilles, doors and openings, dome, minarets, to name a few. However, having no guideline and code for these adorable ornaments, has often caused inappropriate use, in terms of timescale accuracy, architecturalstyle matching and even identity." Evolution of Islamic Geometrical Patterns/Mohamed Rashid Embi, Yahya Abdullahi. For ithout sy etry a d proportio o te ple ca ha e a regular pla , ancient Roman architect, Marcus Vitruvius Pollio (80 BC to 15 BC) wrote in his famous treatise De Architectura. T e ty years LISBON / 2015-2016 3 AYDAN AGHABAYLI / 20148101 were spent in erecting the pyramid itself: of this, which is square, each face is eight plethora, and the height is the sa e... "A very strong link between art and mathematics is evident as the intellectual interplay of math and design create infinite patterns. Geometric patterns may be enjoyed purely as decorative art, or as a didactic experience of art and science in unity. Many of these are extremely elegant and convey something deeply profound about the aesthetic beauty of geometric forms. The calculations and organizations range from simple structures to complex detailed designs forming compositions that reveal beauty unparalleled by any other art form. This unified yet diverse form holds great significance to meditative art. Layering, interlocking and interweaving an arrangement of elements create geometric patterns that multiply reflecting the infinite. Exploring their structures and roots, Islamic geometric patterns can give added levels of contemplation to those understanding them, and perhaps those who might not. " Exploring Islamic Geometries Maryam /J. Al-Ainati "There are three types of embroidery used in Islamic architecture:    Patterns made by geometric models, often with unknown semantics; Perfect patterns, consisting of the stylized shape of vivid colors; Geometric patterns ade from graphic text, motift of plants containing." The Meaning of Geometric Motifs in Islam Architecture/Yusiphova Nardana "The first known uses of the tile in Portugal as monumental lining the walls were made with SpanishMoorish tiles, imported from Seville around 1503. The Arab presence in the Iberian Peninsula was felt by the permanence of a practice of Ceramics, being the great Seville tile manufacturing center also in archaic techniques-dry rope and edge until the midsixteenth century. The evolution of reasons has gone from laçarias and Moorish geometric chained to plant European themes and animalistic, between Gothic and Renaissance taste pure. However remains in Portugal, more than reason itself, a Moorish taste for excess total decorative coatings of space, kind of horror to emptiness." LISBON / 2015-2016 4 AYDAN AGHABAYLI / 20148101 www.instituto-camoes.pt "The role of art in Western and Islamic societies was quite different. Western and Islamic art emerged from the same seed – Roman and Byzantine art, but were fertilized with different ideas. Christianity brought a new focus in the Greco-Roman world and defined Western art for centuries onwards, and the birth of Islam formed a mentality expressed in Islamic art. Western art was a mirror of social ideas and the worldview of a person at that particular period of time. Medieval art was mostly sacred and practical; it was basically craft. Gothic cathedral constructions and Gospel illumination are considered as totally sacred art, while stained glass, woodwork, stone carving, enamel works and bone carving mostly served religious needs. The life of medieval man was regulated by the Church and focused on the salvation of his soul." Unity in Diversity– Reflections on Styles in Islamic Art/Marina Alin Objectives: The main purpose of the work is to find out if there are any connection and similarities between Islamic geometric patterns in Portugal and Azerbaijan. If so, reveal the level and technique in those this relationship appears. Make comparison between them. Find out similarities and differences. Make a catalog of found patterns and look into this using the criterias. Thus, our core research will be to establish (and understand) a relationship between examples of Islamic geometric patterns in Portugal and in Azerbaijan regions. In order to achieve our goal/goals we will perform a survey of geometric methods of the most important buildings with those Islamic geometric patterns in both countries. Select which ones are more interesting. Locate where these geometries are appeared and why? Obtain information about geometric patterns, their color, technique to apply, to fabricate, dimension, physical properties, area, luminosity (relation between shape and function), scale, physical dimensions of the covering area, proportion etc. LISBON / 2015-2016 5 AYDAN AGHABAYLI / 20148101 Hypotises: o Determine if there are any relationships between Islamic geometric patterns in Portugal and Azerbaijan. o Having done this research are we able to reinvent new patterns and apply them to buildings either in Portugal or in Azerbaijan. Bibliography: 1. Par J. Bourgoin (1879) Les éléments de l'art arabe : le trait des entrelacs. [Online] Paris. Aviable from: http://inha.revues.org/pdf/4593 [Accessed 14th September 2015] 2. Qadi Əli ev Me a Əcə i Na çıva i Ya adıcılığı da Ahə gda lı 3. Baku. Eric Broug (2008) Islamic Geometric Patterns. London, Thames and Hudson. 4. The Metropolitan Museum of Art (2004) Islamic Art and Geometric Design. New York. 5. Titus Burckhardt (2009) Art of Islam Language and Meaning. World Wisdom. 6. José Meco (1988) The Art of Azulejo in Portugal. Portuguese Glazed Tiles. Lisbon, Betrand Editora. 7. J. M. Dos Santos Simões (1990) Azulejaria em Portugal nos Séculos XV e XVI. Introdução Geral. Lisboa. 8. Owen Jones (1995) The Grammar of Ornament. London. 9. José Meco (1993) O Azulejo em Portugal. Lisbon. 10. Luísa d'Orey Capucho Arruda (1989) Figuras de convite na azulejaria portuguesa do século XVIII [ Texto policopiado]. Lisbon. 11. Luísa Arruda (1998) Caminho do Oriente : guia do azulejo. Lisbon. 12. A.J.Barros Veloso, Isabel Almasqué (1991) Azulejaria de Exterior em Portugal. LISBON / 2015-2016 6 AYDAN AGHABAYLI / 20148101 13. João Castel'Branco Pereira (1995) Portuguese Tiles from the National Museum of Azulejo, Lisbon. Lisbon. 14. Biblioteca de Arte da Fundação Calouste Gulbenkian (2010) Biblioteca DigiTile – Azulejaria e Cerâmica on Line. [Online] Aviable from: www.digitile.org [Accessed 11th December 2015] 15. “alahov M.“., Na da e Y.I. Mi a lıkta geo et ik süs otifle i. İ cese et (Güzelsabatlar) dergisi, B., no: 3. [Online] [16-17] Keywords: #Islamic Decoration #Geometric Patterns #Azerbaijan #Portugal #Parametric Drawing Methodology: PHASE 1. [February 1 - February 24] Make a survey of the most important interesting patterns in Portugal. Observe possible examples of research subject in place, make documentary analysis, interview and get information from the people who made researches on this subject before. Make analyses of the location of geometric patterns. Identify logic of that location. Obtain all the possible information about those patterns: color, technique to apply, to fabricate, dimension, physical properties, area, luminosity (relation between shape and function), scale, physical dimensions of the covering area, proportion etc. PHASE 2. [February 25 - March 15] Make the same analyses in Azerbaijan. Obtain all possible information about investigated patterns. PHASE 3. [March 16 - April 10] LISBON / 2015-2016 7 AYDAN AGHABAYLI / 20148101 Idenify similariies and differences among the paterns in Portugal and Azerbaijan. Make a catalog of researched geometric paterns. PHASE 4. [April 11- May 20] Using obtained material to reinvent new paterns. Use parametric design tools to reach the goal. As a sotware using of Grasshopper 3D plugin for Rhinoceros 3D. PHASE 5. [May 21 - June 22] Apply those paterns to the new buildings in Portugal and Azerbaijan. This phase will be a connecion between the whole research. PHASE 6. [ June 23 – July 5] Preparing the presentaion of the thesis. Calendar of the Work: Activities February March April May June July Deepening and Updaing of Literature Review Reseing the Departure of Quesions and Hypotheses Development of Urban Analysis of the Zone and SWOT Analysis Development of Data Collecion Instruments Tesing and Validaion of Data Collecion Tools and Informaion Collecion and Analysis of Data and Informaion Discussion of Results Preparaion of Design Proposal: Jusificaion of the Opions, Program Seing, etc. Drawing the Conclusions Review the Final Document LISBON / 2015-2016 8 AYDAN AGHABAYLI / 20148101 The Final Structure of Master Project: 1. INTRODUCTION 1.1 General Framework............................................................................................................. 1.2 Objectives............................................................................................................................ 1.3 Methodology....................................................................................................................... 2. ISLAMIC GEOMETRIC PATTERNS 2.1 Overview of the Islamic Patterns........................................................................................ 2.2 Analysis of Islamic Geometric Patterns in Portugal............................................................ 2.3 Analysis of Islamic Geometric Patterns in Azerbaijan........................................................ 2.4 Relations between Islamic Geometric Patterns in Portugal and in Azerbaijan.................. 3. A PARAMETRIC ENVISION OF PORTUGUESE AND AZERBAIJAN ISLAMIC GEOMETRIC PATTERNS 3.1 Parametric Analyses of Explored Geometric Patterns......................................................... 3.2 Reinventing New Geometric Pattern................................................................................... 4. FINAL PROJECT 4.1 Applying Parametric Geometric Patterns to the Architecture............................................ 4.2 5. CONCLUSION............................................................................................................................. 6. LIST OF FIGURES........................................................................................................................ 7. LIST OF TABLES.......................................................................................................................... 8. BIBLIOGRAPHY.......................................................................................................................... 9. ATTACHMENTS 9.1 Process of the Work............................................................................................................. 9.2 Project.................................................................................................................................. 9.3 Panels................................................................................................................................... LISBON / 2015-2016 9 AYDAN AGHABAYLI / 20148101 9.4 Model................................................................................................................................... LISBON / 2015-2016 10