Professional Documents
Culture Documents
Revealing the Beauty of the Hidden and its Cultural Significance in Furniture
Savannah, Georgia
© May 2015
To Ammar, my best friend and partner in this journey, thank you for all the love and support.
I would like to express my sincere gratitude to George Perez the committee chair for guiding me
through this amazing journey. I would like to thank the rest of the committee members Sheila
Edwards for her insightful comments that molded me to be a better designer. I would also like to
thank John Pierson for his immense knowledge on woodworking techniques that helped guide
Sincere thanks goes to my parents Omer Alamoudi and Fatma Bafagih for their extreme
encouragement and support who make the hardest days easier. I would also like to thank my
sisters Khalida Alamoudi, Samar Alamoudi and my brothers Ahmed Alamoudi, Saeed Alamoudi
for always being there. I would also like to thank Eghnar Khayat for being a great friend, always
Finally I would like to thank my husband Ammar Aldabbagh, for his love, support and patience.
He was always by my side through the good and bad times. This thesis wouldn’t have been done
without him.
Thank you
Table of Content
List of Figures | 1
Abstract | 3
Introduction | 4
Cultural Identity | 6
A. Fashion | 9
B. Language | 10
C. Architecture | 11
3. Calligraphy | 24
Design | 30
A. Geora Stools | 32
C. Arabesqa Screen | 38
Conclusion | 40
Work Cited | 45
Al-Amoudi 1
List of Figures
Fig. 4. "The Premier Online Destination for Luxury Conservative and Modest Fashion, Inspired
by Arabia." | 10
Fig. 17. Minbar, King’s Throne, Prince chair, Qur’an Holder, Coffers | 28
Abstract
Hidden meanings: Revealing the Beauty of the Hidden and its Cultural Significance in Furniture
May 2015
This thesis identifies hidden meanings that once existed in Islamic architecture and
furniture. Many were hidden behind the construction, geometry, aesthetics and cultural behavior
of the Islamic culture. All these meanings were drawn from Islamic religious beliefs and were
implemented in every aspect of the Islamic life. This thesis explores these veiled meanings and
translates them into new contemporary furniture that tells a story and documents the beauty of a
fading culture. Furniture may be a tool that bridges the past and the future between the east and
the west.
Introduction:
“ Saudi society is in Flux. Trying to understand its dynamics is like painting a picture of a
Saudi Arabia is a newly developed nation with an ancient history that was established
officially on September 23, 1932. The Saudi culture was developed due to the interaction
between two different communities: the settled, who lived and worked in small cities and the
nomadic tribes that lived in the harsh desert environment where they travelled regularly. This
relationship was originally formed 6,000 years ago and played a role in defining the Saudi
culture (Long 1). In the 7th century A.D. the immersion of Islamic beliefs and values ruled the
country, a distinctive character that defined Saudi Arabia until today. Saudi Arabia is considered
the cradle of Islam where basic Islamic values of the Saudi culture and other Islamic cultures
were born, set and retained until this day and until the end of time. Despite its ancient history, in
the last 70-80 years Saudi Arabia has been exposed to vast social changes, more than has ever
been recorded in the Saudi history (Long 3). Saudi Arabia went into a rapid modernization in the
last few years due to the discovery of oil in 1932. Due to that event, the Saudi cultural identity
has been changing rapidly. The fast development affected many characteristics of the culture
dramatically. The vast oil revenues that were generated played a major role in the Saudi
economy and social development. As a result, major growths in the technology of transportations
and communications occurred. These advances exposed a conservative country to the outside
world as never before. Rapid cultural changes were a result of rapid modernization, which led to
major fluctuation in the Saudi society. Lack of stability somehow complicated the understanding
of the Saudi culture dynamism. However, this development created a complex culture that
Al-Amoudi 5
consisted of three elements: an ancient desert society, infused with Islamic beliefs, on the
collision route of modernization. The integration of these three themes seems incompatible yet in
fact appears to be fairly stable (Buchele 57). The result of this rapid development can be shown
in different aspects of the culture such as architecture, furniture, fashion, music, food and even
the spoken language, Arabic. With this modernization, the influence of the West increased as
many Americans and Europeans went to work in Saudi Arabia. Since it was a closed community
with no exposure to the outside world, it was exposed to a plethora of foreign influences. They
became more affected by the Western lifestyle and the progression they had in which the culture
began losing its authenticity. Due to the unexpected sudden wealth in such a short period of time,
Saudi Arabia went from a very poor nation to one of the richest nations in the world where most
people had difficulties processing the vast change. This accelerated development and influx of
cultural influences has its own advantages and disadvantages. No nation wants to be known or
portrayed as underdeveloped or be left in the cold while neighboring nations develop at a great
rate. Moreover, in a country whose culture is imprinted into every single national, it is that
culture that defines who they are as a society. “You cannot tell where you are going unless you
know where you have been”- Binzagr. Any culture has certain fundamental principles, pillars,
guidelines and rules that were once established and created when that place or society was born.
Especially in a place where customs, traditions, culture and, mainly, religion are the only
elements that define that place as whole and how people lived in it; it is essential to project these
principles through the newly created habitation. In order to create a sense of connectivity in this
society, where upcoming generations are veering from tradition, it is necessary to embrace the
past as a guide to the future. This is the key to a healthy, sane society. A society that wants to
Due to the vast development, the meanings of many characteristics in the culture and its
heritage were lost, which resulted in a generation that has no links to the past. Due to these major
influences and the impact of the oil wealth the cultural identity started to suffer. For instance, in
Islamic architecture there are countless concealed meanings that existed behind the complexity
of the construction, geometry and beauty of the aesthetics. From arabesque to the pointed arches,
minarets and domes, each element was used for a specific purpose, which would reflect a
beautiful cultural concept or had a particular message and meaning behind it. These meanings
were drawn from three significant elements: Islam, which is the predominant religion, the
Qura’an, which is the holy book, and traditions and customs that define Saudi society. However,
the invasion of Western architecture and culture resulted in minimizing the use of Islamic
architecture. Over time, this led to a lack of understanding and absorption of these meanings and
the importance of keeping them alive. The beauty of Islamic architecture and urbanity must be
This thesis looks into hidden meanings that existed in many aspects of the Islamic culture
and reinterpret the findings in a line of contemporary furniture. The designed collection is a
cohesive work intended to represent, document and reflect various distinctive meanings that
Cultural Identity:
The Kingdom of Saudi Arabia is considered to be the birthplace of Islam and the Arab
people. Islam is “the religion of the Muslims, a monotheistic faith regarded as revealed through
Muhammad as the Prophet of Allah” (Emerick 15). Saudi Arabia occupies the majority of the
Arabian Peninsula. However, the cultural identity is mainly defined by religion and ethnicity,
Al-Amoudi 7
which builds a connection to all the Muslims and Arabs beyond the nation’s borders. Saudi
Arabia contains 20 cities; 4 of them are considered to be the most important. Riyadh, which is
the capital of Saudi Arabia; Jeddah, which is the main port; and Mecca and Medinah, the two
holy cities. They attract settlers from many other Islamic countries due to their spiritual
significance as the holy cities and the core of Islam for all Muslims (Fig. 1 & 2). The birth of
Islam started in Mecca and spread when Muslims conquered the lands around it years ago, 623-
1050 CE. The Saudi cultural identity is defined as a religious identity. “Life in Saudi Arabia is
heavily based on their Islamic faith as this religion dictates many rules and laws, truly dictating
how most of the people live” (Yamani 3). Saudi Arabia is the nest of Islam and all Muslims.
Since the country is governed by religious guidelines, the society itself is very conservative. The
lives of many people revolve around religious obligations such as praying five times daily,
Friday prayers, and fasting during the holy month (Champion 21). Islam is reflected in the arts,
architecture, cultural products, social behavior and relationships, customs, traditional clothing,
etc. The Islamic religion is considered the most important thing in their lives. It is the guidance
Left, Figure 1. Mecca during prayer, Nomachi, Kazuyoshi, and Seyyed Hossein, 1977.
Right, Figure 2. Medinah at sunset, Nomachi, Kazuyoshi, and Seyyed Hossein, 1977.
Al-Amoudi 8
Before 1932, the country was divided into different parts and each part was ruled and
controlled by tribal rulers. It was so poor that their main income was through agriculture or a
pilgrimage to Mecca known as Hajj. Hajj is a religious duty for Muslims from around the world.
This activity takes place in the last month of the Arabic year. All Muslims are expected to do it at
least once in a lifetime. During this time, people were mainly divided into two main categories:
urban that settled in the city and nomads who travelled from place to place to survive (Buchele
Binzagr a Saudi artist and writer on Saudi Culture asserts in her book Saudi Arabia: An
Artist’s View of The Past that in pre-Saudi times, history was kept alive for tribesmen by poets
and their ballads. She also says that modern Saudi Arabia needs to be in touch with its social and
cultural past through social scientists, poets, artists and writers, so that from diverse experiences
it may create a Saudi whole. Only then can it survive the blitz of the non-Saudis keeping the
books, building the roads, running the machines, directing the organizations and establishments,
caring for the sick, teaching the young, and providing the entertainment (19). In order to assure a
sound environment for the will to survive and to be master over the desert, wealth and destiny,
Saudi Arabia must be integrated socially and culturally. The historic isolation of Saudi Arabia is
now at an end. Positive change to find a better, brighter future is the new norm. However,
traditions, religion, and customs must remain, just as the influence of new materials, values and
ideas do.
Once a poor desert hinterland, over night is has become a desert superpower
transistors, fashion boutiques, Pepsi Cola, popcorn and aerosol cans. With the oil
styles, Danish furnishings, French cosmetics and American hotdogs (Binzagr 18).
consumer goods, as it can effectively broaden horizons if the knowledge is utilized within the
framework of the values and beliefs of the people. Western technology is not only incorporated
in the social culture, it has a profound effect on the intellectual culture as well. Educational
activity is no longer managed by a school curriculum that is heavily loaded with religious classes
and studies. Instead, it is influenced by a controlled range of western programs such as “Star
Trek,” “Barretta” and “Disney World” (Binzagr 19). Since pre-Islamic times poetry, formal
prose and speech were the most important art forms that defined not only Saudi culture but also
the Arab region as a whole. However, with modern growth, generations have lost the
appreciation of this kind of art, which was another lost aspect of the culture.
A. Fashion
The customs and religion of Saudi Arabia require a conservative dress form for women
and men, as is true for the Middle East in general. Publicly, women wear the Abaya, which is a
black cloak that covers their body and head. Different regions have different traditional dress.
However, due to the rapid change, this was affected as well. Over the last ten years, traditional
clothing changed rapidly from very traditional to very Western. People were fascinated with how
Western and European people dressed (Binzagr 18). The influence first started spreading out into
more liberal Arab countries like Egypt and Lebanon, and then slowly merging into Saudi Arabia.
Left, Figure 3. Acia AKF. "The Hybrids." The Hybrids RSS2. N.p., n.d. Web. 05 Apr. 2015.
Right, Figure 4. "Luxury Conservative & Modest Fashion, Inspired by Arabia."
caused quick withdrawal from any traditional dress code, which was kept mainly for
festive occasions. Around 2000, Western dress was practically the norm, especially in the
Eastern Province. This fast change caused quite a disconnection traditionally and socially, which
lead to the birth of hybrids. Hybrids are typically western dress with an Arab, Middle Eastern
This new mix of East and West got significant attention and became a big phenomenon.
Most people accepted and related to this new trend because through it culture was embraced in a
new way and people were brought closer to the culture to which they once were connected.
B. Language
Arabic is the language of all citizens in Saudi Arabia and about half the immigrants.
Since the culture revolves around the Islamic religion, the importance of the Arabic language
goes back to the fact that the two sacred books in Islam, the Qur’an and the Sunnah, were
revealed and written in Arabic. Both of these sources are Arabic in their meanings, idioms and
wording. As a result, in order to completely understand these sacred texts and their meanings,
Al-Amoudi 11
understanding the Arabic language is key. Classical Arabic (Fusha) is the language the Qur’an
was revealed in. This type of Arabic is high literature, and it is used for prayers and religious
rituals. Modern standard forms were used in lectures, poetry and other formal purposes. In
conversations and daily life people tend to use colloquial Arabic (Amiya). There are many
internal variants and sub-dialects. However, English is the main second language. Due to the
influence of English, a new language started to appear called Arabish or Arabizi, a hybrid form
of text messaging that merges Arabic and English. Latin characters are used to replace the Arabic
pronunciation. This phenomenon resulted in slowly losing the Arabic language, especially in
younger generations who were heavily affected by social media. Drifting away from a language
that not only defines the culture but also the religion will have a serious consequence in the near
future. This will only result in broadening the gap between generations and their cultural identity.
C. Architecture
Architecture was one of the obvious urban forms that were affected dramatically by
modernization. People moved from the desert to new houses in the city, and people in the city
moved to bigger houses that they didn’t feel comfortable in. These buildings were designed by
foreign architects who had limited experience and minimal interaction with conservative
cultures. Traditions and religion are complexly interwoven in a conservative culture, which
makes it extremely difficult for designers outside the region to grasp every single need. This
unfamiliarity, led to architectural instability around the country. Every single neighborhood had a
mixture of styles that were adopted from the outside, which increased the confusion
tremendously. With modernization, people in the towns went to the West for education and
found themselves frustrated and rootless. They were exposed to ideas and values that were
Al-Amoudi 12
conflicting with the traditional Islamic morals and ethics, which made the gradual process of
development challenging. It is difficult to blend the old with the new. In many cases it takes time
to absorb and to eventually adjust to the new framework. Saudis as individuals and groups are
caught up in crosscurrents socially, politically and economically (Binzagr 19). Saudi Arabia was
fascinated with the idea of development yet did not anticipate the cultural damage that occurred.
Due to progress and development over the last century and a half, the Saudi population
increased significantly. The government of Saudi Arabia had to cater to the people’s need in
providing more buildings. In a country that wasn’t equipped with the right technology to provide
the basic needs to the people, the only solution was to get assistance from the West. At some
point the Islamic region had to come to terms with Western influences and the experience was
traumatic. The traditional urban fabric of the culture was completely destroyed in the Islamic
world.
The impact of the Western influences was destructive not only politically but also
culturally. It affected every single form of the culture from urban structures and architecture to
paintings and pottery. Various architectural styles such as, Baroque, Rococo, British and
American architecture blended together. Many elements of style were adopted from different
places in the world. Each of these elements was perfectly suited to the environment they were
originally designed for but not necessarily in the new environment. In Saudi Arabia that was the
case. These elements didn’t do anything for the culture except to increase the confusion and
irritation. Binzagr asserts in her book Saudi Arabia an Artist’s View of The Past “Mosques
spawn baroque detailing, city plans echo Haussman’s Paris, the Delhi of Raj is reshaped along
Neo Roman lines by Lutynes” (19). This mixture of elements increased the confusion to an
extent where locals no longer have any relation to the environment they live in (Hillenbrand 7).
Al-Amoudi 13
To save the remnant of this fading culture the pace of the change has to decelerate tremendously.
Awareness is key since younger generations are oblivious to this significant loss. In order for up-
coming generations to reconnect with the Saudi culture, it is important to retain the values that
define that culture. Cultural values should not be omitted or borrowed; they should be embraced
and incorporated within new design ideas to reflect the cultural identity of that place. Only then,
Saudis will begin to feel that connection to their cultural identity. As many generations are
desensitized to the cultural value they are losing, they need to evaluate the harm caused and find
a solution that satisfies all needs. Beauty lies in the story telling, in the memory that once existed,
in the meaning of a culture within an environment. Islamic architecture is one of the urban forms
the Islamic religion, which is the foundation of Islamic beliefs and morals. This type of
architecture started in the 7th and 8th century, when Muslims started to conquer land, starting with
the Mediterranean world and continuing all the way to India and China. Bosch a professor in
Florida State University defines Islamic architecture as “The architecture of the peoples of
Islamic faith” (548). Hinchman, the author of History of Furniture a Global View states that
Islamic architecture and arts are focused on religion. There is no Islamic architecture without
Islam and there is no Islam without Mohammed (93-99). As Islam spread, local traditions of
each region merged with Islamic architecture. The use of local materials of each region was an
important concept in Islamic architecture believing in the idea that all things come from and
Al-Amoudi 14
return to earth. Over time, design and decorative motifs travel and transmute. The process of
transformation also differs from culture to culture. Usually these motifs migrate from urban
forms to buildings in architecture and then to furniture. Some of these motifs might lose part of
their functionality during the process but the essence of the originality remains. Bosch states that
there are four main building types that define Islamic architecture, mosques, madrasahs
(schools), palaces, and tombs (548). Since religion is the core characteristic of Islamic
architecture, it finds its expression mainly in religious buildings such as Mosques, where
Muslims worship their one and only god. Where as Madrasahs are the schools where they learn
the pillars of their Islamic religion. “The mosque lies at the very heart of Islamic architecture. It
is an apt symbol of the faith which it serves” (Bosch 548). The mosque is considered one of the
most important buildings in Islamic architecture due to its timeless quality, which means that the
purpose of its existence never changes under any circumstances. In contrast to other buildings,
like palaces for instance, they change according to certain circumstances such as, the change of
fashion or traditions or the death of a king or a ruler. These buildings changed according to
philosopher states in his book Islamic Art and Spirituality, that Islam consists of a divine law
called Shari’ah. It is a spiritual way of life, guiding Muslims towards the righteous path that
directs the law and leads the way. Islamic art and architecture is based on the Islamic divine law
that defines the relation between god, man and society (30-38). This law plays an important role
in creating a background or an atmosphere for Islamic art and architecture. Divine law sets
guidelines for certain arts and supports others. Islam guides people and teaches them how to
conduct themselves and how to make things within a certain framework. Besides providing a
Al-Amoudi 15
social background for artists, it helps mold the artist’s soul in perfecting a piece of art that is
infused with Islamic values. These values were derived from the Qur’an and the prophetic
Hadith. Islamic spirituality had a significant role in creating Islamic arts. The term spirituality
implies inwardness and interiority of one’s spirit, which is reflected in many forms of Islamic art
and architecture (Nasr 35). The origin of Islamic art and architecture lies within the inner
dimension of Islamic traditions and values that were preserved and sustained over the ages.
Islamic architecture revolves around the interior dimension and the inner beauty within a space.
Islamic architecture has many hidden meanings, religious values and cultural ideals
beneath the visible construction. It is known as architecture of the hidden, architecture of the
hidden beauty or architecture of the veil. These various terms stem from the meanings, ideas, and
values of Islam, which are translated into physical elements that are showcased throughout the
architecture. The beauty of the architecture lies behind not only the construction itself but behind
the meaning and symbology that it contains. The idea of the veil has three aspects, religiously,
socially, and traditionally, that are completely intertwined. To veil something is to hide, conceal,
cover, or to preserve it. The idea behind the veil is to preserve and conceal the beauty of
something. Kenzari, Bechir, and Yasser Elsheshtawy note that traditional Arab Muslim societies
revolve around preserving privacy and the idea of concealment. Generally, Arab Muslim cities
lack the lively piazzas and plazas that commonly existed in the medieval European cities.
Veiling in the Qur’an means separation, an act that is usually associated with women, a religious
duty that is mentioned in Islamic scared books (17). It is a piece of transparent or opaque fabric
that is worn over the head and sometimes over the face for concealment. It is used to protect
them from foreign elements and to preserve the appearance of something or someone (Fig. 5).
Al-Amoudi 16
Wearing of the veil defines the transition from childhood to puberty and then to marriage.
Women in Islamic culture veil themselves to preserve their beauty to one man, mainly the
husband.
conservative culture, privacy is a key feature that defines it. The veil works as a device that
allows women to partake and participate in public life. It encourages participation in social life
beyond their palaces and homes while maintaining their privacy (Kenzari, Bechir, and Yasser
Elsheshtawy 19).
Al-Amoudi 17
These hidden meanings are reflected in various elements in Islamic architecture. Islamic
architecture is fixated on the idea of preserving the beauty of interiors, which is inspired by the
idea of the veil. By analyzing Islamic buildings, one can see that Islamic architecture focuses on
the inner beauty of a space, which is more private, rather than focusing on the exterior spaces
that are more public. This resulted in very simple exteriors in contrast to very elaborate interiors
not for the public to see or experience (Bosch 156). The elaboration within the interior spaces
creates a mystery that affects the way people experience the space. The transition from simplicity
to elaborations from exteriors to interiors reflects the same transition of veiling and unveiling.
Another architectural element that was inspired by the veil was called the Mashrabiya, a
wooden lattice window or perforated screen (Fig. 6). It is an architectural device that allows
women to see from the inside and not be seen from the outside (Kenzari, Bechir, and Yasser
Elsheshtawy 19).
Left, Figure 6. Exterior view of Mashrabiya, Kenzari, Bechir, and Yasser Elsheshtawy. Right,
Figure 7. Interior view of Mashrabiya, Kenzari, Bechir, and Yasser Elsheshtawy.
Al-Amoudi 18
It interpreted the idea of separation and segregation of women from men where they can
see and never be seen. The motion of the veil was another hidden meaning that inspired the
design of the Mashrabiya. Kenzari, Bechir, and Yasser Elsheshtawy argue that the veil is not a
permanent shutter that remains fixed. Under political, social and mystical circumstances it can be
lifted and moved (20-22). The construction of the lattice window traces back to the idea of
uplifting the veil. The technique of using holes and perforations in the window is to break the
solidness and rigidity of it and to create a closer step to reach beyond the physical screen (Fig. 7).
The holes in the screen reflect that motion of uplifting the veil and reaching for the inner beauty
Islamic art is a fundamental element that defines the Islamic culture. It is based on many
principles that combine logic, order and unity. Islamic art varies from other forms of art in terms
of design, form, and material, as well as in symbolism and meaning. It can be defined as being
more feminine and colorful compared to western art. It is an art that provoke the intellectualism,
which intrigues the human mind to think and discover the hidden meanings behind it (Philipps).
Arabesque is a form of decorative art that is used to decorate windows, screens, walls and
buildings (Fig. 8 & 9). It is an intricate application of repeating rhythmic linear patterns, either
geometric or floral. It echoes plant forms and shapes that are usually carved out of stone or made
out of wood. The art of Arabesque is used in Islamic architecture for different reasons and
functions. These different patterns and shapes were chosen and formatted based on the message
it contained. Arabesque basically means “in the Arab Fashion” which is a way of decorating
surfaces with embellishments and repetitive arts (Al Alfi 43). The law of Islamic religion is one
Al-Amoudi 19
of the factors that controlled Islamic arts and the way arabesque is created. It prohibits the use of
animal or human figures to prevent any idolism towards anything else but God. The depiction of
any human or animal imagery was rare in Islamic decorative arts. Any metaphysical concepts
such as the Holy Spirit, Christ, Trinity Saints, and many more were nonsexist in Islam (Prisse
34).
Consequently, the need for figural images and forms didn’t exist, especially in public places.
Historic resources reveal the existence of some animal and human representation in several
residences of the wealthy, which was rare and far away from any Islamic values.
However, the concepts of Islamic arts came from the idea that humans are God’s great
creation and the creation of living forms belongs to only him. No form of art would match the
beauty and complexity of his creation because it is incomparable (Allan 17-37). Therefore,
according to Ling an English writer and scholar, Islamic artists developed geometric arts to a
level of perfection and sophistication that have never been seen before. The generation of these
patterns conveys main features of Islamic art such as continuity, symmetry and repetition. The
integration of geometry was made to create a perfect balance between negative and positive
areas, which ties back to that cultural concept of unity. It is a source of ornamentation that
Al-Amoudi 20
expresses movement and rhythm over a rigid space. It consists of a complete manipulation of
rhythmic transcription and crystalline nature. It exhibits the merging of two principles of
artworks, rhythm and geometry, into one piece of art (19). Arabesque, like any other aspect of
the Islamic culture, originates from Islam. The choice of geometric forms and the placement of
these patterns depend upon the Islamic view of the world. The meaning behind these delicate
patterns extends beyond their physical construction. These repetitive patterns symbolize infinity
and the infinite power of God, and the complexity of the patterns represent God’s creations.
Islamic designs create a spiritual aura while respecting the delicate concept of
aniconism. Aniconism is a practice or a belief that teaches one to cherish the sanctity of
religious figures and to avoid depicting any gods or prophets or and in other manifestations, any
human beings or living creature (lbric 22). However, repetition and symmetry developed a sense
of order that was created intentionally to evoke and simulate the brain. Surprisingly, the creators
of these arts remain anonymous. The reason for this ties back to the concept of submitting
oneself and one’s creative individuality to the divinity of God and to receive a higher notion of
beauty (Burckhardt 34). Muslim artists mastered arabesque and the art of geometry. Arabesque
mainly consists of three forms: geometric patterns, floral patterns and calligraphy. These three
forms had many elements in common, some of which are symmetry, repetition, coverage,
adaptability and movement. Moreover, there are two methods to the art of Arabesque. The first
method embraces the rules that direct the world’s natural order. These rules contain the basic
principles that make objects structurally possible. The second method revolves around the
flowing organic nature of floral forms and plants. This method expresses the idea of femininity
and the nature of giving life. After analyzing many of the Islamic buildings and arabesque arts,
Arabesque differs slightly from one Islamic culture to another yet the construction and
the hidden meanings behind the complex geometry remains the same. The principles are clearly
unified around the various buildings as in mosques and many other Islamic buildings around the
world. To perceive the complex geometry and detailed patterns, one’s mind must wander behind
this intricate construction. One ponders the principles that made this possible for arabesque
artists to create such intricate forms. One of the reasons that helped the development of this kind
of art was the development of geometry, math and science in the Islamic world. Briggs, the
author of. Muhammadan Architecture in Egypt and Palestine, states that this art of geometric
patterns requires a substantial knowledge of science and geometry and these arabesque artists
mastered them. Geometric arabesque patterns are comprised of various shapes and forms that
originate from a circle. Then, from a circle, three major shapes are composed: a triangle, a square
and the last shape is a hexagon, which represents heaven (Fig. 13) (Critchow 29-33).
Issam El-Said an English artist and scholar, states in his book Geometric Concepts in
Islamic Art that the theory behind the complexity of the geometric patterns is based on the unit
proportion of Root Two and Three. Basically, a circle can be split into four or divided into
multiples of four identical parts. These divisions result in creating geometric shapes that
compose different geometric patterns and configurations. This method is known as the Root Two
System of Proportion. However, the second method is the Root Three System of proportion,
which is based on splitting the circle into six or multiples of six identical parts to create
all its forms. The second type of arabesque art is vegetal and
geometric patterns not only to create elaborate designs but also as coverage due to its organic
The floral patterns are definitely inspired by nature. However, they are not exact replicas of the
environment; moreover, they are highly stylized version of it and its beauty (Al-Ulfi 115). These
patterns are composed of plants and vine leaf configurations. As they keep growing and swirling
they cover the surface, tending to resemble the idea of infinity. These patterns are a reflection of
nature, exhibiting God’s creation. Their main purpose is to serve as a reminder to appreciate the
3.Calligraphy
Calligraphy is the third mode of decorative arts in the Islamic culture. It consists of
artistic inscriptions and letterings that were combined with geometric and floral patterns. It can
be seen in many art forms across the Islamic culture from architecture to pottery, in interiors and
exteriors. It is considered one of the highest art forms in the Islamic culture, and is a visible
expression of the art of the spoken word (Christie 286-288). This principle is applied to the art of
calligraphy as well. Scripts from the Arabic language have inspired the development of a variety
“written word beyond the pen and paper” into various forms of art and materials (Briggs 179).
Because of this, calligraphy is considered an original distinctive form of Islamic art. The art of
the written word has a specific aesthetic that embodies a talismanic element consisting of
Al-Amoudi 25
religious powers. In general, calligraphic inscriptions include Qur’anic writings and quotations,
religious descriptions, praise for God, poems, and aphorisms. The significance of calligraphy in
Islam traces back to the importance of the Arabic language. The holy Qur’an was revealed to
prophet Mohammed in Arabic. Therefore, Arabic calligraphy always contains religious content
that exhibits the word of God and the Qur’an (Christie 179).
Qur’anic Arabic text is sacred for all Muslims around the world. There is no doubt that
calligraphic art is not only brilliant in terms of adaptability and innovation, but also in creating
balance between conveying the written word and translating its meaning through a unified
aesthetic style.
The perception of space is directly perceived according to the way light integrates into
that space. Everything we experience and everything we see is affected by the way light is
interpreted around us. Lighting, either natural or artificial, plays a major role in constructing
experiences and emotions in interior spaces. Throughout the history of religion over the past
centuries, light has always been related to the sacred. The sun is the main source of lighting and
it is viewed as the natural, supreme form of sacred nature in many cultures. In Ancient Egypt,
light and sun were permanently linked with the gods. They viewed the sun as the eye of the god
Ra, the creator of the universe. They believed that Ra’s eyes were the source of existence and all
creation. However, light had various hidden meanings in different cultures and was given great
significance in Judaism, Christianity and Islam (Donohue & Esposito 27). In Islam, light is never
considered as being holy. It is used metaphorically to represent the holy and deliver certain
religious messages. The meaning varies depending on the way light is conceived within that
space. Light in Islamic architecture played a major role in the way some buildings were
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constructed and designed. The way light integrates within a space affected the experience of the
viewer especially in religious buildings. It is considered one of the essential tools that are used in
Islamic architecture to achieve a dramatic effect in interior spaces. Far from the literal or
functional aspect of light, which is to light up the environment, the contrasting effect of light and
compelling. It was utilized to evoke spiritual and mystical emotions. The Qur’an states that “God
is the light of the heavens and the earth” which means that light in the Islamic culture resembles
one’s faith in God. It symbolizes unity and the power of bringing people together and connects
In Islamic architecture, one way of integrating the exteriors with the interiors is through
screens. Burckhardt, Titus, and Michaud state in their book Art of Islam: Language and Meaning
Figure 16. Screen, play of Light and to create separation or partition within an interior
space, which is a key element in Islamic architecture and interiors (45). The screen could be
classified as another type of Mashrabiya was composed of intricate geometric patterns similar to
the patterns of the arabesques made of wood or stone (Fig. 16). The complex carved screens in
Islamic architecture are used to create an interesting play of light and shadow by casting complex
Light in interior spaces, especially in religious buildings, symbolizes God and His
creation within the interior space. It also symbolizes the path of guidance to the soul, the right
path in life, which all must follow throughout their existence. As other elements in Islamic
architecture, light was used for various purposes based on the meaning it embodied and message
it delivers. In other words, the penetration of light within buildings symbolizes the presence of
God and is valued as a divine element that connects humans to God on a daily basis.
History is not clear on the type of furniture and interior decorations that have been used
before and during the Islamic period. Resources are very limited in explaining any analysis of
Islamic furniture. However, with no doubt some houses did have amenities that provided some
level of comfort that were available at that time. In the traditional Islamic societies, wooden
furniture in the sense of tables and chairs were extremely rare until relatively recent times.
Throughout the Islamic and Arabic communities from the dry lands of North Africa to the warm
lands of the Middle East, Central Asia and India, it was found that kneeling and sitting on the
floor or the ground was very comfortable, as well as practical. Hinchman explains that the
majority of houses were furnished with carpets made of papyrus and wicker palm. Soft carpets
were used as protection from dirt while sitting. Pillows and cushions were used to increase the
level of comfort. Moreover, carpets and pillows were the common type of furniture in residential
spaces of the upper as well as the lower social classes. To sit on the ground on rugs, carpets and
cushions crossed-legged is considered a common social practice that even rulers embraced.
Another common practice in Islamic interiors was sitting on slightly raised platforms. These
platforms could be freestanding or part of the building structure. It was a raised platform with
four columns that held the roof filled with carpets and cushions. It functioned as an audience
Al-Amoudi 28
chamber or place where business deals were made (99-100). Pillows were offered to guests as a
sign of honor and generosity. Owning some furniture like beds or chairs was a sign of wealth and
prosperity. Additionally, when chairs entered this part of the world, it was due to Western
influences and international exchange. It was not a matter of necessity but a matter of status,
wealth and power. On the other hand, there were some key furniture types that were well known
in the Islamic world. These pieces primarily revolved around luxury and wealth such as the
minbar, the prince chair, the king’s throne and the Qur’an holder (Fig. 17).
Figure 17. Minbar, King’s Throne, Prince chair, Qur’an Holder, Coffers
These significant pieces of furniture had one thing in common: they only served holy
objects or key personnel in the society. Another main reason for the lack of furniture in the
Islamic region was due to the absence and the high cost of wood. The use of it was reserved for
fundamental needs in the culture, such as boat building for travelling, roof supporting and door
making (Hinchman 102). Therefore, throughout the Islamic region, craftsmen and artists treated
wood as a valuable resource. They learned to use minimal pieces of it to achieve innovative
artistic forms. These techniques can be seen in the construction of Arabesque and Mashrabiya
Al-Amoudi 29
patterns. Daily activities such as sleeping, sitting and dining customarily happened on the
ground, which affected the scale and amount of furniture created. In the Islamic culture, people
tend to have a strong connection with the ground (Hossein 27). This connection formulates
originally during their daily prayers, where they connect to God five times a day. From puberty
this act ties back to the belief that a believer becomes the
houses contained, such as easy to carry lights, basic foldable furniture and numerous coffers and
chests (Hinchman 100). These houses contained a minimal amount of furniture due to that
lifestyle. Ornaments and embellishments on the surfaces were similar to the ones found in
architecture. They were mainly created with geometric configurations, floral patterns and Arabic
calligraphy. Due to the, cultural change brought on by oil revenue, the necessity of having
different types of artifacts increased. The absence of furniture in the Islamic world led to an
appreciation of Western furniture, like Danish furniture even though these foreign artifacts did
not necessarily fit the cultural need. However, unfamiliarity with the construction of these types
Design
Throughout the Islamic Arab region, the influence of the West is still on the rise as the
Arab cultural identity is in severe deterioration. Due to that, the appreciation of local goods is
non-existent whereas the Western goods are considered superior in quality. Saudi Arabia is
considered one of the most conservative cultures in the Arab region that has managed to retain
certain aspects of their culture. Saudis as a people have managed to preserve their cultural value
on a personal level. However, they build and live their personal lives in Western designed
houses, they shop in malls built by Western architects, and they only purchase and appreciate
Western goods. The clash of two cultures created two distinct circumstances. First, it increased
the cultural gap between generations. First, it increased the cultural gap between a generation
that has a significant connection to the past and still appreciates cultural traditional values, and
another in which these connections are fading. Second, it created a generation that has no
Every culture is defined through its built environment, architecture, art, music and
literature. Any change or influence on these parameters affects the flowing dynamic of the
culture, which is the case in the Arab region. One way to bridge this gap is to retain the essence
of the elements that defines the Arab culture and introduce it in a modern way that copes with
development today. The idea for this thesis began to form and stem from a desire to explore
ways to merge the essence of the Middle East into contemporary forms, using Arab traditions
and culture as a springboard into modernity. This could be a way to connect the dots and bridge
Al-Amoudi 31
the gaps between generations and the East and West. Buildings, furniture and clothing are direct
extensions to our bodies, a reflection to our identity. Centuries ago, the distinctive Islamic arts
defined the whole Islamic region. Throughout time these arts were neglected and left to fade. As
a designer from that region it is a responsibility towards my culture and traditions to awaken a
sense of memory and shed light on a past beauty. After dense research and observation it was
identified through this thesis that the beauty of Islamic art and architecture lays beyond the
beauty of the physical construction but in the hidden symbolic meanings it contains. These
meanings were derived from religion, traditions and cultural norms that were reflected through
architecture, furniture, and the decorative arts. The symbolic meanings discovered through
research were the inspiration for all the designed pieces. During the design process these hidden
meanings were used as a guideline to determine the typology. It affected the design of each piece
in terms of forms, shapes, construction and proportion. The collection celebrates the hidden
meaning that exists in the Islamic region and translates these meanings into a cohesive line of
furniture. The designs were formed to create an essence of the Middle East through combining it
with universal taste connecting two contrasting cultures through design. The pieces transform
some of my Arab Islamic heritage into contemporary forms that take it beyond physical
construction and design into a deeper level of consciousness. I am a believer that the Arab
culture has its own charm, featuring decorations and captivating ornaments that can be
internationally appreciated. The collection consists of 3 designs: Geora Low Stools, Bambusa
A. Geora Stools
Circles, triangles, squares and hexagons were the foundation for all geometric patterns in
Islamic architecture. Since geometry was a major characteristic that defined the Islamic arts, the
shape of the seats was based on the projection of a square into a smaller square to achieve certain
angles. This series consists of two low upholstered stools where the seat sits on four wooden
legs. The legs were turned to a taper, to reflect the same angles of the seat, creating a sense of
unity. Geometric and floral patterns were laser cut on a piece of leather strapped on the bottom
quarter of the seat. The leather continues to cover part of the legs to create a sense of continuity.
The idea of hiding part of the seat and the legs to emphasize them reflects the Islamic concept of
the veil: the idea of veiling and unveiling something to expose its beauty. The cut patterns create
interesting visual contrast between the dark and light fabric. The patterns created were inspired
from the actual geometric and floral patterns, which exist in Islamic architecture and decorative
arts. In this design the patterns were used to break down the solidity of the shape attracting the
viewer’s attention to the delicate patterns that reflect the essence of the Middle East. The stools
are almost identical except of the pattern used. One reflects the geometric patterns and the other
one reflects the floral patterns. The name for these stools originated from both words geometry
flora, combining them both resulted in the name of Geora. This is another concept derived from
Figure 21. Detail of Physical work 2 Figure 22. Detail of Physical work 3
This set consists of a low coffee table and two cushioned seats. The concept behind this piece
was to embrace the connection to the ground that exists in the Islamic culture. This is translated
in the proportions and scale of the pieces. The height of the tabletop was designed to be used
comfortably sitting on the ground or using the cushion provided. Either way, it encourages the
spiritual relationship with Mother Earth. The set was designed to encourage communication.
They work together as a central piece that people can gather around, sit, drink coffee and chat.
The cushion underneath sits on a wooden platform with small feet, easily accessible to move
around. The size of the ottomans fit up to two people. The pattern on the top and sides were
designed to convey the idea of geometry that exists in Islamic architecture and decorative arts.
The pattern was used to break the rigidity of the top, to give the set a sense of movement and an
organic feel. It creates a visual contrast between the hard wood and the soft fabric. The
perforation of the top and the position of the table over the cushion were inspired by the idea of
the veil and hidden beauty. The table veils parts of the cushion where it creates the illusion of a
singular piece. As people interact with it, they reveal its hidden beauty. The beauty of the pierced
pattern that was concealed by the solid cushions is exposed. These patterns create an interesting
play of light and shadow that reflects its elegance. The choice of material was mainly for two
reasons: first, to create a contemporary twist that could appeal to wide variety of people, and
secondly, this type of wood was suitable to use with the CNC to achieve the desired design.
Al-Amoudi 36
C. Arabesqa Screen
The screen is considered a common artifact in the Islamic culture that was used for privacy,
separation and protection. This idea of this screen was inspired by the transparency and delicacy
of the veil. The veil is a delicate fabric that women use to conceal themselves with in the Islamic
society. This concept was reflected in the choice of material. It was designed out of 1/8-inch
acrylic combining traditional Islamic motifs with contemporary materials. The geometric
patterns were created following the mathematical system that Islamic artists used in earlier times.
The Arabesqa screen is easily assembled. It consists of 4 acrylic pieces and 24 cast rubber
connectors. It functions as a space divider that reflects the beauty of Islamic geometry.
In Conclusion
Architecture, furniture and fashion are direct reflection of one’s identity. It is an extension
to our soul, body and culture. Throughout history, Islamic artists have created distinctive features
that defined the characteristics of the culture through different art forms such as architecture and
the decorative arts. Due to the vast development in the urban Islamic fabric and culture, and lack
of preservation, these arts have been left to fade. The deterioration of these arts has led to a major
loss in the cultural identity. In the present day, the Islamic Arab region has failed to forge their
identity through design. Development is a fundamental element for a bright future, yet the key to
maintaining that future is by projecting the cultural identity through that progression. This thesis
has taken a look into the different elements that defined the Islamic culture. It has identified the
hidden meanings that once existed behind various art forms in terms of construction, geometry
and aesthetics. These meanings were driven by religion, social traditions, and cultural behavior.
The collection was designed to explore these hidden meanings and translate them into
contemporary furniture that tells a story and documents the beauty of a lost culture. The designed
work becomes the vehicle that connects the past to the future and East to the West. The desire to
merge Middle Eastern and Western techniques determined the material choices such as leather,
canvas, bamboo, acrylic and cast rubber. Each piece was designed to convey a hidden meaning
that was discovered through intensive research. The Geora stools were designed to convey the
idea of veiling and unveiling, which is a hidden concept that inspired the Islamic architecture.
The design of the Bambusa coffee table was inspired by the idea of the hidden beauty, which was
another concept reflected in the architecture and different artifact. The Arabesqa screen was
designed to convey the concept of transparency and delicacy of the veil, which is a concept that
The result of this thesis is a coherent line of furniture that showcases the hidden beauty of
the Islamic culture through a contemporary lens that bridges two contrasting cultures. The
designed furniture was displayed in the Five To One exhibition. In this exhibition five designers
from different cultures and backgrounds came together for one show.
To take this thesis further, I would like to keep experimenting with the idea of embracing
the essence of the Middle East through contemporary lines, forms and shapes. It is my hope that
through these designs the lack of confidence in their local products will change. To create a new
formula that takes local products to a higher level, where culture can once again be appreciated.
This will be accomplished by creating multicultural designs and techniques that elevate the
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