Papers by Mamoun Sakkal
Abgadiyat, 2019
This article deals with tessellations where words are written in Square Kufic calligraphy and the... more This article deals with tessellations where words are written in Square Kufic calligraphy and their shape manipulated in such a way to make the space or background area between the letters also read as text. One of the most common examples of this type of design is the ‘Four Muhammad/Ali’ motif where the name Ali is spelled out in the space between the letters of the name Muhammad, and the two names are interlocked to form one cohesive design. In the ‘Six Ali’ motif, the same word is used for the text and its background.
It has been suggested that the name ‘Ali’ in the ‘Six Ali’ tessellation found on the façade of an early thirteenth century Islamic building in India is the only possible word that can be tessellated so that the text and its background are the same. In this article, I question this assumption and endeavor to find out if other forms of this design are possible with the same name, or with any other words.
Keywords: Square Kufic; tessellation; geometry; Arabic calligraphy; Islamic architecture;
Timurid; architecture; Samarkand; Bibi Khanum mosque; pattern;
Journal of Mathematics and the Arts, 2018
This paper offers an overview of a collection of architectural patterns ornamented with Square Ku... more This paper offers an overview of a collection of architectural patterns ornamented with Square Kufic inscriptions, focusing on the Bibi Khanum mosque built by Timur at the end of the fourteenth century in Samarkand. The paper discusses ways in which these repeating patterns may be seen as collections of adjacent and overlapping squares, several of which are original schemes that appear first in Timurid buildings. The paper details one of these schemes, Double Square, where two squares intersect on their diagonal axes. These patterns are presented as a system, rather than as individual designs, for the first time here. The intersecting square arrangements are uniquely appropriate for the rigid angularity of Square Kufic calligraphy; their patterns are a result of the practical application of script in architecture. They offer an exceptional union of calligraphy and geometry in the architectural arts of the Persianate world.
Cet article presente quelques principes de base des compositions de muqarnas. On y decrit le bloc... more Cet article presente quelques principes de base des compositions de muqarnas. On y decrit le bloc muqarnas, les familles de blocs reguliers et la maniere de les generer, les domes a muqarnas fondamentaux et les variations de plans creees en combinant des groupes organises. Pour illustrer I'etude, on utilise la famille des muqarnas a 45".
Hroof Arabiyya, 2019
In a previous issue of Hroof Arabiyya magazine, I briefly addressed the topic of the emergence of... more In a previous issue of Hroof Arabiyya magazine, I briefly addressed the topic of the emergence of the Square Kufic script and mentioned that the characteristics of Square Kufic appeared as a result of implementing this script with ceramic panels and not with building tiles or bricks. In this article, I would like to expand my presentation of the emergence of Square Kufic and to correct my previous opinion by reviewing early examples that were implemented with bricks in a period preceding the examples included in the above-mentioned article. Article in Arabic
Topologie structurale
This article presents some basic principles of muqarnas compositions. It describes the muqarnas b... more This article presents some basic principles of muqarnas compositions. It describes the muqarnas block, regular block families and how they are generated, basic muqarnas domes and the plan variations created by combining organized clusters. The study uses the 45" muqarnas family as an illustrative example.
Structural Topology, 1988
This article presents some basic principles of muqarnas compositions.
It describes the muqarnas ... more This article presents some basic principles of muqarnas compositions.
It describes the muqarnas block, regular block families and how they are generated, basic muqarnas domes and the plan variations created by combining organized clusters.
The study uses the 45-degree muqarnas family as an illustrative example.
يقدم هذا البحث لمحة عامة عن مجموعة من الزخارف المعمارية المزينة بنقوش مكتوبة بالخط الكوفي التربيع... more يقدم هذا البحث لمحة عامة عن مجموعة من الزخارف المعمارية المزينة بنقوش مكتوبة بالخط الكوفي التربيعي، ويركز على مسجد بيبي خانم الذي بناه تيمورلنك في نهاية القرن الرابع عشر في سمرقند. يعرض البحث طرقاً جديدة لرؤية هذه الزخارف كتركيبات للمربعات المتجاورة والمتداخلة، وأكثر هذه الزخارف هي تصميمات مبتكرة تظهر لأول مرة في المباني التيمورية. يشرح كاتب المقال واحداً من هذه الزخارف بالتفصيل وهو «المربع المزدوج» حيث يتقاطع مربعان بشكل قطري، ويعرضه كـ «سلسلة» أو «نظام» وليس كتصميمات فردية منفصلة، وهي رؤية جديدة لتحليل هذه الزخارف.
يعتبر تصميم «المربع المزدوج» ملائماً بشكل خاص للكتابات الهندسية للخط الكوفي التربيعي بزواياه الثابتة، وأشكاله ناتجة عن التطبيق العملي للكتابات في الزخارف الهندسية المعمارية، حيث يتم الاتحاد الكامل بين الخط والهندسة في الأبنية الاسلامية في وسط آسيا.
This paper offers an overview of a collection of architectural patterns ornamented with Square Ku... more This paper offers an overview of a collection of architectural patterns ornamented with Square Kufic inscriptions, focusing on the Bibi Khanum mosque built by Timur at the end of the fourteenth century in Samarkand. The paper discusses ways in which these repeating patterns may be seen as collections of adjacent and overlapping squares, several of which are original schemes that appear first in Timurid buildings. The paper details one of these schemes, Double Square, where two squares intersect on their diagonal axes. These patterns are presented as a system, rather than as individual designs, for the first time here. The intersecting square arrangements are uniquely appropriate for the rigid angularity of Square Kufic calligraphy; their patterns are a result of the practical application of script in architecture. They offer an exceptional union of calligraphy and geometry in the architectural arts of the Persianate world.
Structural Topology, 1988
This article presents some basic principles of muqarnas domes compositions. It describes the muqa... more This article presents some basic principles of muqarnas domes compositions. It describes the muqarnas block, regular block families and how they are generated, basic muqarnas domes and the plan variations created by combining organized clusters. The study uses the 45" muqarnas family as an illustrative example.
Identity magazine, 2006
I present in this article a brief review of Square Kufic calligraphy and the Arabic script used i... more I present in this article a brief review of Square Kufic calligraphy and the Arabic script used in it, as well as a glimpse of the history of Arabic calligraphy and its main styles. Then, I explore in some detail why Square Kufic calligraphy is used more and more nowadays in identity design. Throughout, I will present a few examples of my work to illustrate many of the ideas and show a range of possible designs based on this remarkable style of calligraphy.
Future Vision, 2003
An intriguing example of Square Kufic style of Arabic calligraphy was executed for King Pedero I ... more An intriguing example of Square Kufic style of Arabic calligraphy was executed for King Pedero I in his palace Alcazar in Seville, Spain, in 1364. Muslim artisans used blue and white ceramic tiles to form a decorative panel over the entrance facade to the courtyard. The geometric panel contained many crosses, which must have pleased the Christian patron, but was in fact composed of the phrase “There is no victor but God,” the slogan of the Nasrid rulers of Granada at the time, the city where these Muslim craftsmen came from to execute this project.
Hroof Arabiyya (Arabic Letters), 2004
The development of Square Kufic calligraphy in the 12th century was an exceptional step towards s... more The development of Square Kufic calligraphy in the 12th century was an exceptional step towards simplification in Kufic styles that evolved towards more complexity in the preceding centuries. This style, originally an architectural epigraphic style, is distinguished by its straight lines, right angles, and equal spacing between lines and spaces to conform to a regular grid. This article introduces a brief history of the development of Square Kufic calligraphy on architecture, the principles of its design and numerous variations, as well as examples of its use in modern works of art and design. From this review, it is evident that Square Kufic calligraphy is experiencing renewed interest after decades of neglect.
Conference Presentations by Mamoun Sakkal
The International Symposium for the Conservation of the Old City of Aleppo, Syria, 1983
Families of Muqarnas Blocks in Historical Compositions* By Mamoun Lutfi Sakkal Abstract: Muqarnas... more Families of Muqarnas Blocks in Historical Compositions* By Mamoun Lutfi Sakkal Abstract: Muqarnas is a unique architectural–decorative element introduced by Muslim architects and builders before the 10th century. It is made up of repeated units with a concave surface such that each layer in a muqarnas composition projects beyond the previous layer and creates a rich, articulated surface that changes in three-dimensions. These units will be called the muqarnas blocks in this paper. This paper presents a new method for generating the various forms of muqarnas blocks, explores the relationships between the blocks, and provides a method by which we can predict the possible forms of missing parts in a muqarnas structure based on the properties of the existing blocks’ remains. The study doesn’t address issues associated with restoration and preservation activities other than the geometric reconstruction of the muqarnas design. The method presented in this paper is called the “dome dividing” method because it is based on a simple process of dividing a dome’s surface to several divisions, then completing these divisions to create a full family of blocks. The most common families are presented, and a detailed discussion of the 45 degrees family is illustrated.
The International Symposium for the Conservation of the Old City of Aleppo, 1983
Families of Muqarnas Blocks in Historical Compositions
By Mamoun Sakkal
Muqarnas is a unique ar... more Families of Muqarnas Blocks in Historical Compositions
By Mamoun Sakkal
Muqarnas is a unique architectural–decorative element introduced by Muslim architects and builders before the 10th century. It is made up of repeated units with a concave surface such that each layer in a muqarnas composition projects beyond the previous layer and creates a rich, articulated surface that changes in three-dimensions. These units will be called the muqarnas blocks in this paper.
This paper presents a new method for generating the various forms of muqarnas blocks, explores the relationships between the blocks, and provides a method by which we can predict the possible forms of missing parts in a muqarnas structure based on the properties of the existing blocks’ remains. The study doesn’t address issues associated with restoration and preservation activities other than the geometric reconstruction of the muqarnas design.
The method presented in this paper is called the “dome dividing” method because it is based on a simple process of dividing a dome’s surface to several divisions, then completing these divisions to create a full family of blocks. The most common families are presented, and a detailed discussion of the 45 degrees family is illustrated.
Journal of the History of Arabic Science, 1997
This is a survey of ribbed domes in Spain and North Africa. A ribbed dome is a structure where a ... more This is a survey of ribbed domes in Spain and North Africa. A ribbed dome is a structure where a pair of parallel arches is rotated to intersect and produce a star pattern. The star pattern reinforces the old notion of the dome as the sky. To avoid the problem of having too many ribs intersect in one point at the apex of a dome, Arab-Muslim builders used a pair of arches instead of only one, thus leaving an open space in the apex of the dome where the node of intersecting ribs used to be. After a brief introduction and definitions, the geometry and mathematical properties of ribbed domes are explored, their basic types and variations are illustrated, and a survey of eight-pointed star ribbed domes in Spain and North Africa, is presented in a chronological order, 45 domes in all. Star ribbed domes with twelve and sixteen vertices form a later development and are not discussed in this paper, but they are presented in the last figure that shows a comprehensive picture of the development of ribbed domes by region, from their first appearance in the 10th century through the 17th century AD. The influence of the star ribbed domes on Romanesque, and eventually Gothic, architecture in Spain and Europe is shown in several Christian buildings that use this architectural feature, sometimes similar to the Islamic prototypes, other times after certain modifications were applied. The continuation of Arab-Muslim architectural traditions and aesthetics in Mudejar architecture is widely acknowledged. This survey shows that the use of ribbed domes was more prevalent than previously believed, especially in Spain between the 13th and 16th century, a period when Spain was actively trying to convert its Arab-Islamic heritage into a European-Christian one.
Drafts by Mamoun Sakkal
C&E American University Institute Magazine, 2006
An interview with Mamoun Sakkal, Arabic type designer, where he answers the following questions:
... more An interview with Mamoun Sakkal, Arabic type designer, where he answers the following questions:
1. How did you first get interested in design and what lead you to specializing in Arabic typography?
2. How do you feel about the approach towards the adaptation of Latin logos to Arabic for major brands or companies? Are designers going in the right direction?
3. How is globalization affecting Latin/Arabic logo adaptation? Is there a viable market for logo adaptation more so now than in the past? Also, how important is Arabic adaptation to companies that want to advertise in the Middle East? Should the Arabic language be secondary to the Latin language, or vice-versa? Should we even use adaptations in design?
4. What is the process you go through, and factors you keep in mind, when you convert Latin into Arabic logos? Are there rules you adhere to, and if there are, can they be broken?
5. What common mistakes are you seeing with other designers in logo adaptation from Latin to Arabic? How would you recommend solving or avoiding these problems?
6. In adapting Latin logos into Arabic, should the width and height of the logo be the same in Arabic as it is in Latin, taking into consideration the ascenders and descenders of the Arabic letters?
7. In logo adaptation, while converting Latin typefaces into Arabic do adapted Arabic typefaces need to be true to their cultural traditions or forms? Are there any exceptions?
8. How would you adapt a Latin logo into Arabic with a visual incorporated into the letters? Additionally, if there are serifs present in the Latin logo, should there be serifs in the Arabic adaptation as well? If so, how should it be done?
9. Are there opportunities for work in this field not only in the Arab World, but also in the West? Is there a great demand in the West for designers skilled in Arabic typography and Latin/Arabic logo adaptation?
10. What advice would you give to C&E AUI graphic design students and graduates who are planning to work in the field of Latin and Arabic typography? Would you recommend post-graduate studies or work experience, or both?
11. Finally, how do you see the role of the designer in an increasingly globalized world? Does the designer have a role to play as a cultural intermediary or an ‘interculturalist’.
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Papers by Mamoun Sakkal
It has been suggested that the name ‘Ali’ in the ‘Six Ali’ tessellation found on the façade of an early thirteenth century Islamic building in India is the only possible word that can be tessellated so that the text and its background are the same. In this article, I question this assumption and endeavor to find out if other forms of this design are possible with the same name, or with any other words.
Keywords: Square Kufic; tessellation; geometry; Arabic calligraphy; Islamic architecture;
Timurid; architecture; Samarkand; Bibi Khanum mosque; pattern;
It describes the muqarnas block, regular block families and how they are generated, basic muqarnas domes and the plan variations created by combining organized clusters.
The study uses the 45-degree muqarnas family as an illustrative example.
يعتبر تصميم «المربع المزدوج» ملائماً بشكل خاص للكتابات الهندسية للخط الكوفي التربيعي بزواياه الثابتة، وأشكاله ناتجة عن التطبيق العملي للكتابات في الزخارف الهندسية المعمارية، حيث يتم الاتحاد الكامل بين الخط والهندسة في الأبنية الاسلامية في وسط آسيا.
Conference Presentations by Mamoun Sakkal
By Mamoun Sakkal
Muqarnas is a unique architectural–decorative element introduced by Muslim architects and builders before the 10th century. It is made up of repeated units with a concave surface such that each layer in a muqarnas composition projects beyond the previous layer and creates a rich, articulated surface that changes in three-dimensions. These units will be called the muqarnas blocks in this paper.
This paper presents a new method for generating the various forms of muqarnas blocks, explores the relationships between the blocks, and provides a method by which we can predict the possible forms of missing parts in a muqarnas structure based on the properties of the existing blocks’ remains. The study doesn’t address issues associated with restoration and preservation activities other than the geometric reconstruction of the muqarnas design.
The method presented in this paper is called the “dome dividing” method because it is based on a simple process of dividing a dome’s surface to several divisions, then completing these divisions to create a full family of blocks. The most common families are presented, and a detailed discussion of the 45 degrees family is illustrated.
Drafts by Mamoun Sakkal
1. How did you first get interested in design and what lead you to specializing in Arabic typography?
2. How do you feel about the approach towards the adaptation of Latin logos to Arabic for major brands or companies? Are designers going in the right direction?
3. How is globalization affecting Latin/Arabic logo adaptation? Is there a viable market for logo adaptation more so now than in the past? Also, how important is Arabic adaptation to companies that want to advertise in the Middle East? Should the Arabic language be secondary to the Latin language, or vice-versa? Should we even use adaptations in design?
4. What is the process you go through, and factors you keep in mind, when you convert Latin into Arabic logos? Are there rules you adhere to, and if there are, can they be broken?
5. What common mistakes are you seeing with other designers in logo adaptation from Latin to Arabic? How would you recommend solving or avoiding these problems?
6. In adapting Latin logos into Arabic, should the width and height of the logo be the same in Arabic as it is in Latin, taking into consideration the ascenders and descenders of the Arabic letters?
7. In logo adaptation, while converting Latin typefaces into Arabic do adapted Arabic typefaces need to be true to their cultural traditions or forms? Are there any exceptions?
8. How would you adapt a Latin logo into Arabic with a visual incorporated into the letters? Additionally, if there are serifs present in the Latin logo, should there be serifs in the Arabic adaptation as well? If so, how should it be done?
9. Are there opportunities for work in this field not only in the Arab World, but also in the West? Is there a great demand in the West for designers skilled in Arabic typography and Latin/Arabic logo adaptation?
10. What advice would you give to C&E AUI graphic design students and graduates who are planning to work in the field of Latin and Arabic typography? Would you recommend post-graduate studies or work experience, or both?
11. Finally, how do you see the role of the designer in an increasingly globalized world? Does the designer have a role to play as a cultural intermediary or an ‘interculturalist’.
It has been suggested that the name ‘Ali’ in the ‘Six Ali’ tessellation found on the façade of an early thirteenth century Islamic building in India is the only possible word that can be tessellated so that the text and its background are the same. In this article, I question this assumption and endeavor to find out if other forms of this design are possible with the same name, or with any other words.
Keywords: Square Kufic; tessellation; geometry; Arabic calligraphy; Islamic architecture;
Timurid; architecture; Samarkand; Bibi Khanum mosque; pattern;
It describes the muqarnas block, regular block families and how they are generated, basic muqarnas domes and the plan variations created by combining organized clusters.
The study uses the 45-degree muqarnas family as an illustrative example.
يعتبر تصميم «المربع المزدوج» ملائماً بشكل خاص للكتابات الهندسية للخط الكوفي التربيعي بزواياه الثابتة، وأشكاله ناتجة عن التطبيق العملي للكتابات في الزخارف الهندسية المعمارية، حيث يتم الاتحاد الكامل بين الخط والهندسة في الأبنية الاسلامية في وسط آسيا.
By Mamoun Sakkal
Muqarnas is a unique architectural–decorative element introduced by Muslim architects and builders before the 10th century. It is made up of repeated units with a concave surface such that each layer in a muqarnas composition projects beyond the previous layer and creates a rich, articulated surface that changes in three-dimensions. These units will be called the muqarnas blocks in this paper.
This paper presents a new method for generating the various forms of muqarnas blocks, explores the relationships between the blocks, and provides a method by which we can predict the possible forms of missing parts in a muqarnas structure based on the properties of the existing blocks’ remains. The study doesn’t address issues associated with restoration and preservation activities other than the geometric reconstruction of the muqarnas design.
The method presented in this paper is called the “dome dividing” method because it is based on a simple process of dividing a dome’s surface to several divisions, then completing these divisions to create a full family of blocks. The most common families are presented, and a detailed discussion of the 45 degrees family is illustrated.
1. How did you first get interested in design and what lead you to specializing in Arabic typography?
2. How do you feel about the approach towards the adaptation of Latin logos to Arabic for major brands or companies? Are designers going in the right direction?
3. How is globalization affecting Latin/Arabic logo adaptation? Is there a viable market for logo adaptation more so now than in the past? Also, how important is Arabic adaptation to companies that want to advertise in the Middle East? Should the Arabic language be secondary to the Latin language, or vice-versa? Should we even use adaptations in design?
4. What is the process you go through, and factors you keep in mind, when you convert Latin into Arabic logos? Are there rules you adhere to, and if there are, can they be broken?
5. What common mistakes are you seeing with other designers in logo adaptation from Latin to Arabic? How would you recommend solving or avoiding these problems?
6. In adapting Latin logos into Arabic, should the width and height of the logo be the same in Arabic as it is in Latin, taking into consideration the ascenders and descenders of the Arabic letters?
7. In logo adaptation, while converting Latin typefaces into Arabic do adapted Arabic typefaces need to be true to their cultural traditions or forms? Are there any exceptions?
8. How would you adapt a Latin logo into Arabic with a visual incorporated into the letters? Additionally, if there are serifs present in the Latin logo, should there be serifs in the Arabic adaptation as well? If so, how should it be done?
9. Are there opportunities for work in this field not only in the Arab World, but also in the West? Is there a great demand in the West for designers skilled in Arabic typography and Latin/Arabic logo adaptation?
10. What advice would you give to C&E AUI graphic design students and graduates who are planning to work in the field of Latin and Arabic typography? Would you recommend post-graduate studies or work experience, or both?
11. Finally, how do you see the role of the designer in an increasingly globalized world? Does the designer have a role to play as a cultural intermediary or an ‘interculturalist’.
In this chapter some of the ways calligraphic designs are used today is presented, and the answers sought for two questions: “Is computer an appropriate and useful tool for calligraphy?” “What effects would the use of computer have on the art and craft of calligraphy?”
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Architecture at the University of Washington, 1982.
Chapter 1. History: Muqarnas in General, Muqarnas Domes. Chapter 2. Research Status. Chapter 3. The Geometry of the Muqarnas Block: Definitions, Principals of Block Generation, Families of Blocks. Chapter 4. The Geometry of Muqarnas Compositions: Definitions. Methods of Muqarnas Dome Compositions. Catalog of 45º Family Regular Compositions. Chapter 5. Application Possibilities: Materials and Technology, Architectural Uses. Contains a bibliography and two appendixes on Computer Graphics and Graphic Representations from other Authors. This profusely illustrated thesis received All College Award for graduate work, College of Architecture and Urban Planning, University of Washington, Seattle, 1982, and Best Thesis Award, Department of Architecture, University of Washington, Seattle, 1982.