DOCSLIB.ORG

Naser Hassan AI-Rifaei

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Naser Hassan AI-Rifaei The Principle of Movement in Moroccan Design; as a source of inspiration for contemporary artistic applications Practice-based research in Art and Design Naser Hassan AI-Rifaei A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2009 University of Brighton Abstract This project focuses on utilizing the principle of movement contained in traditional Moroccan design (PMMD) for the production of new and inventive artworks. The PMMD is one of the main concepts that rules the creation and construction of design elements; it consists of a group of advanced technical procedures applied to achieve the highest levels of unity, harmony, variation and rhythm between lines and shapes. Great consideration in the PMMD is given to the viewer's perception, as all parts are formed to be equally interesting and to work harmoniously together suggesting ways for the viewer's eye to interact with and move in and throughout the composition. The purpose of this research is to examine viable methods for stimulating new ideas by taking the aesthetic and technical significances of the PMMD as a source of creative inspiration. The work involved analyzing the relationship between form, method and perception in traditional compositions by exploring the role of PMMD in 1) the process of creating and shaping design elements separately, 2) methods of relating the lines and shapes of different design components. Data on PMMD was collected from recent literature on Islamic art and Moroccan design, from interviews with master-craftsmen, and from my personal analyses and observations. The studio engagement, which is represented in a group of oil, batik and acrylic paintings, explored the transformation of PMMD's arrangements to my personal artistic style, in which I offer varied ways of developing, refining and connecting the traditional forms with contemporary concepts of art. 2 Acknowledgements "In the name of Allah, the Beneficent, the Merciful. All praise is due to Allah, the Lord of the Worlds. The Beneficent, the Merciful. Master of the Day of Judgment. Thee do we serve and Thee do we beseech for help. Keep us on the right path. The path of those upon whom Thou hast bestowed favours. Not (the path) of those upon whom Thy wrath is brought down, nor of those who go astray" (AI-Fatiha, the first chapter of the Holy Quran). I owe a huge debt of gratitude to several people without whose assistance and support this research would not have been possible. First and foremost, I would like to extend my grateful and sincere thanks to Dr. Peter Seddon my chief supervisor, for his guidance, enthusiastic supervision, unfaltering trust and constant encouragement, which have been essential to my success. I would like to thank him for who he is as a person; sagacious, honest, responsive and supportive in the difficult times I have been through. I would like also to thank my assistant supervisor Dr. Paddy Maguire for his contribution and for valuable discussions. My thanks are due to Professor Jassem Abdulgader, Dr. Mohammed Al-Mahdi and Dr. Mahmoud Said for their precious suggestions and valuable assistance which were of great benefit in the progress of my work. I would especially like to acknowledge my informants in Morocco, master-craftsman of woodwork Kammal Bellamin and master of calligraphy and ornamentation Ibrahim Haneen, for their time, patience and kindness in dealing with my continuous inquiries 3 and for copious information that made my final work rewarding. My sincere thanks also go to Dr. Jan-Mark Castera for his generosity in allowing me to use photographic images from his book (Arabesque), and also for his valuable interest in and discussions about my artworks. I wish to express my grateful appreciation to the Centre for Research and Development at the Faculty of Arts and Architecture, University of Brighton, especially those members who were a great help when it was most required, Professor Jonathan Woodham, Ms. Lena Warming, Dr. Michael Wilson, Dr. Chris Pierce, Dr. Anne Galliot, and from the Registry Ursula O'Toole. Finally, my appreciation and gratitude goes to all my family and friends for their continuous help and encouragement, and most importantly, my dear wife and children for their enduring support, patience and endless love. 4 Declaration I declare that the research contained in this thesis, unless otherwise formally indicated within the text, is the original work of the author. The thesis has not been previously submitted to this or any other university for a degree, and does not incorporate any material already submitted for a degree. Signed: Dated: 6-4- -2.CJ(;} 5 Table of contents Abstract--------------------------------------------------------------- 2 Acknowledgements----------- -------------------------------------- 3 Declaration------------------------------------------------------------- 5 Table of contents----------------------------------------- -- 6 Nomenclatures------- ----------- - ·------------- 9 Chapter 1 - Theoretical framework Introduction - background to the study-------------------10 Outline of successive chapters----- --------------------- 17 The PMMD and distinctiveness of Moroccan design---------------------18 Research problem--- --------------------------- 22 Research questions.------·--------- --- --------- 24 Aims of the research---- -------------------- 25 Methods and procedures---------------------- ---- 26 Importance of the study---- ----- ---------- 28 Chapter 2 - The principle of movement in contemporary art 1 Introduction--------------------------~---- - 29 2 Genesis and development of contemporary Islamic art---------------- 29 2-1 The impact of social and political events in the Islamic world on the status of arts and crafts--------------------------- 29 2-2 Attempts towards revitalization of Islamic heritage-------------------36 2-2-1 Traditional artisan crafts------------------ ----37 2-2-2 Islamic art in modern architecture--------------- 41 3 Early inspirations from Islamic art (1940s to 1960s) ---------------------45 4 The principle of movement in contemporary Islamic art · 58 4-1The principle of movement in classical calligraphy------- 59 4-2 The principle of movement in abstract approaches------------------ 68 4-3 Moroccan design in contemporary art--------------------------- 73 5 Lack of practical knowledge about the ornamental culture--· ---- 79 Chapter 3 - An overview of Moroccan design 1 Introduction--------------------------------·-------------- · · --85 2 Islamic art--- ---- ----------------------------85 3 Islamic religion's influence on the genesis and development of design elements-------------------------------------------- 88 4 Historical development of Moroccan design-------------------94 4-1 The Umayyad caliphate of Spain (756-1031) ----------------95 4-2 The Almoravids dynasty ( 1073-114 7) ------------------------99 4-3 The Almohads dynasty ( 1130-1269) -----------------------------101 4-4 The Marinid dynasty (1215-1420) --------------102 6 4-5 The Nasrid Kingdom of Granada (1237-1492) ------------------------104 4-6 Moroccan design from the 1500s to date--------------------------------109 Chapter 4 - The role of PMMD in creating geometric decoration 1 lntroduction----------------------·------------------------114 2 Arrangement of line and shape in geometric pattern construction----------------------·-- --- - 114 3 Main characteristics of the principle of movement in geometric patterns-------------------------------·----------- 122 3-1 Continuity of lines------------------------------------ 122 3-2 Interlacing lines----------------------- ----- 125 3-3 Repetition and variation,-----------------------------------------128 Chapter 5 - The role of PMMD in creating vegetal ornamentation 1 Introduction--- -------"--------------------131 2 The formation of basic elements-----------------------------132 3 Historic leaf styles---- --------------------------------- 134 4 Methods of constructing a vegetal pattern--------------- 136 4-1 One-level vegetal patterns-------------- ----------------- 137 4-2 Multi-level vegetal patterns--- ----------------------140 4-3 Vegetal repeated units------------------------------------------143 5 Variety and variation in vegetal ornamental structures-----------146 Chapter 6 - Movement in calligraphic decorations 1 Introduction----------------------------·---------- 150 2 The development of calligraphic styles---------------------------- 151 3 Movement as a decisive factor in good calligraphic practice 157 4 Moroccan calligraphic styles------------------------·---------- 162 4-1 Mag hribi style--------·---------------------------------------------- 162 4-2 Moroccan Thuluth----------------------------- ---- 165 4-3 Kufic styles-------------------------·---------------- 170 4-3-1 Floral Kufic------------------------·--------------- 170 4-3-2 Square Kufic-------------·-------------------- 174 4-3-3 Knotted Kufic-------------·----------------------------- 175 5 Kufic decorations ------------------------------179 Chapter 7 - The role of PMMD in composing design elements 1 Introduction---------------------------------------·-----------------182 2 Continuity of lines,--------------·------------------183 3 Line interlacing------------------------- --- -----------------184 4 Methods of connecting a series of different design elements-------- 185 4-1 Connecting lines of multi-unit patterns-------------------------------- 185 7 4-2 Connecting the interior lines of single units---------------------------
Load more

Recommended publications
  • The Application of Visualisation
    THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES Tamarah Alqalami Ph.D. Thesis 2017 THE APPLICATION OF VISUALISATION TOOLS TO ENABLE ARCHITECTS TO EXPLORE THE DYNAMIC CHARACTERISTICS OF SMART MATERIALS IN A CONTEMPORARY SHANASHIL BUILDING DESIGN ELEMENT FOR HOT ARID CLIMATES School of the Built Environment University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, August 2017 Table of Contents TABLE OF CONTENTS ......................................................................................................................... I LIST OF FIGURES ................................................................................................................................ V LIST OF TABLES ................................................................................................................................. IX ACKNOWLEDGEMENT ....................................................................................................................... X DEDICATION ...................................................................................................................................... XI ABBREVIATIONS ............................................................................................................................. XII ABSTRACT ......................................................................................................................................
    [Show full text]
  • Marrakech Architecture Guide 2020
    WHAT Architect WHERE Notes Completed in 2008, the terminal extension of the Marrakech Menara Airport in Morocco—designed by Swiss Architects E2A Architecture— uses a gorgeous facade that has become a hallmark of the airport. Light filters into the space by arabesques made up of 24 rhombuses and three triangles. Clad in white aluminum panels and featuring Marrakesh Menara stylized Islamic ornamental designs, the structure gives the terminal Airport ***** Menara Airport E2A Architecture a brightness that changes according to the time of day. It’s also an ال دول ي ال م نارة excellent example of how a contemporary building can incorporate مراك ش مطار traditional cultural motifs. It features an exterior made of 24 concrete rhombuses with glass printed ancient Islamic ornamental motives. The roof is constructed by a steel structure that continues outward, forming a 24 m canopy providing shade. Inside, the rhombuses are covered in white aluminum. ***** Zone 1: Medina Open both to hotel guests and visitors, the Delano is the perfect place to get away from the hustle and bustle of the Medina, and escape to your very own oasis. With a rooftop restaurant serving ،Av. Echouhada et from lunch into the evening, it is the ideal spot to take in the ** The Pearl Marrakech Rue du Temple magnificent sights over the Red City and the Medina, as well as the شارع دو معبد imperial ramparts and Atlas mountains further afield. By night, the daybeds and circular pool provide the perfect setting to take in the multicolour hues of twilight, as dusk sets in. Facing the Atlas Mountains, this 5 star hotel is probably one of the top spots in the city that you shouldn’t miss.
    [Show full text]
  • Essential Tableware Fashion
    ESSENTIAL TABLEWARE FASHION SILSAL.COM ABOUT US Silsal Design House produces a variety of creative tableware and accessories for the home, including dinnerware, serveware, drink-ware and gift items. It’s a place where art and function collide, and where quality and accessibility go hand in hand. The Silsal ethos is rooted in the belief that art should be everywhere; decorating tabletops and homes. It’s the idea that beauty can infuse everyday life and everyday objects. Silsal inspires and excites with collections that draw upon the Middle East’s rich artistic heritage, bringing the charm of a bygone era into the modern home. Simple functionality, extraordinary quality, and artistic expression are the foundations of their philosophy. What sets Silsal apart from its contemporaries is the firm belief that beautiful design shouldn’t be aspirational, but attainable. Silsal works tirelessly to ensure prices are affordable, while remaining rigorously faithful to quality and craftsmanship. Silsal collections reflect a love of the Middle East, drawing inspiration from the DUBAI DESIGN DISTRICT people, places and cultures of the region. Contrast is fundamental throughout BUILDING 6, OFFICE A 207 the collections, both in terms of materials and colours. Historical calligraphy is P.O.BOX 125961, DUBAI, UAE TEL: +971 4 364 3822 offset against modern acrylics, while vibrant pops of colour offset traditional MOB: +971 56 828 5283 white porcelain. What remains consistent is Silsal’s signature aesthetic: shapes EMAIL: [email protected] SILSAL.COM are effortless, forms are free, and each piece is unmistakably unique. 1 ^ GHIDA SHOP NOW The novelty of Ghida lies in the power of Arabic calligraphy as an artistic and communicative tool.
    [Show full text]
  • Greening the Agriculture System: Morocco's Political Failure In
    Greening the Agriculture System: Morocco’s Political Failure in Building a Sustainable Model for Development By Jihane Benamar Mentored by Dr. Harry Verhoeven A Thesis Submitted in Partial Fulfilment of the Requirements for the Award of Honors in International Politics, Edmund A. Walsh School of Foreign Service, Georgetown University, Spring 2018. CHAPTER 1: INTRODUCTION ............................................................................................................ 2 • THE MOROCCAN PUZZLE .................................................................................................... 5 • WHY IS AGRICULTURAL DEVELOPMENT IMPORTANT FOR MOROCCO? .............................. 7 • WHY THE PLAN MAROC VERT? .......................................................................................... 8 METHODOLOGY ................................................................................................................... 11 CHAPTER 2: LITERATURE REVIEW ................................................................................................ 13 • A CONCEPTUAL FRAMEWORK FOR “DEVELOPMENT”....................................................... 14 • ROSTOW, STRUCTURAL ADJUSTMENT PROGRAMS (SAPS) & THE OLD DEVELOPMENT DISCOURSE ......................................................................................................................... 19 • THE ROLE OF AGRICULTURE IN DEVELOPMENT .............................................................. 24 • SUSTAINABILITY AND THE DISCOURSE ON DEVELOPMENT & AGRICULTURE ................
    [Show full text]
  • Architecture and Urbanism in the Middle East
    Viewpoints Special Edition Architecture and Urbanism in the Middle East The Middle East Institute Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints is another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US relations with the region. To learn more about the Middle East Institute, visit our website at http://www.mideasti.org Cover photos, clockwise from the top left hand corner: Abu Dhabi, United Arab Emirates (Imre Solt; © GFDL); Tripoli, Libya (Patrick André Perron © GFDL); Burj al Arab Hotel in Dubai, United Arab Emirates; Al Faisaliyah Tower in Riyadh, Saudi Arabia; Doha, Qatar skyline (Abdulrahman photo); Selimiye Mosque, Edirne, Turkey (Murdjo photo); Registan, Samarkand, Uzbekistan (Steve Evans photo).
    [Show full text]
  • Moroccan Highlights Explorica.Com/Myers‐2405 March 11 ‐ March 19, 2023
    Moroccan Highlights explorica.com/Myers‐2405 March 11 ‐ March 19, 2023 Day 1 Start tour Day 9 End tour Fly home from Casablanca Day 2 Salam Casablanca Meet your tour director and check into hotel Casablanca guided sightseeing tour Day 3 Casablanca‐‐Fes Travel to Fes via Rabat Mohammed V Mausoleum visit Hassan Tower Free time to explore Fes Day 4 Fes landmarks Fes guided sightseeing tour: Fes‐Jdid Mellah, Royal Palace, Fes el Bali Medina, Karaouine Mosque, University of Al‐Karaouine , Medersa Bou Inania Local tanneries & pottery makers visits Camel burger dinner in the Medina Day 5 Fes‐‐Marrakesh Volubilis Roman Ruins visit Travel to Marrakesh via Meknès, Azrou & Beni Mellal Day 6 Marrakesh Marrakesh city walk Berber herborist visit Dinner and belly dancing show Day 7 Marrakesh landmarks Marrakesh guided sightseeing tour: Koutoubia Mosque , Bahia Palace, Saadian Tombs, Menara gardens , Djemaa el‐Fnaa Square Day 8 Marrakesh‐‐Casablanca Travel to Casablanca Casablanca city walk Reserve your Spot! Tour Center ID: Myers‐2405 Enroll online, Registration deadline: March 25, 2021 by phone, or by mail What's included We provide everything you need for a remarkable trip: Round‐trip airfare 7 overnight stays in hotel with private bathrooms Breakfast daily Dinner daily Full‐time services of a professional tour director Guided sightseeing tours and city walks as per itinerary explorica.com/Myers‐2405 Visits to select attractions as per itinerary Tour Diary™ Local Guide and Local Bus Driver tips; see note regarding other important tips Note: On arrival day only dinner is provided; on departure day, only breakfast is provided Note: Tour cost does not include airline‐imposed baggage fees, or fees for any required passport or visa.
    [Show full text]
  • Thesis Final Copy V11
    “VIENS A LA MAISON" MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters in Partial Fulfillment of the Requirements for the Degree of Master of Art in Teaching Art Florida Atlantic University Boca Raton, Florida May 2011 "VIENS A LA MAlSO " MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz This thesis was prepared under the direction of the candidate's thesis advisor, Angela Dieosola, Department of Visual Arts and Art History, and has been approved by the members of her supervisory committee. It was submitted to the faculty ofthc Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster ofArts in Teaching Art. SUPERVISORY COMMIITEE: • ~~ Angela Dicosola, M.F.A. Thesis Advisor 13nw..Le~ Bonnie Seeman, M.F.A. !lu.oa.twJ4..,;" ffi.wrv Susannah Louise Brown, Ph.D. Linda Johnson, M.F.A. Chair, Department of Visual Arts and Art History .-dJh; -ZLQ_~ Manjunath Pendakur, Ph.D. Dean, Dorothy F. Schmidt College ofArts & Letters 4"jz.v" 'ZP// Date Dean. Graduate Collcj;Ze ii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Professor John McCoy, Dr. Susannah Louise Brown, Professor Bonnie Seeman, and a special thanks to my committee chair, Professor Angela Dicosola. Your tireless support and wise counsel was invaluable in the realization of this thesis documentation. Thank you for your guidance, inspiration, motivation, support, and friendship throughout this process. To Karen Feller, Dr. Stephen E. Thompson, Helena Levine and my colleagues at Donna Klein Jewish Academy High School for providing support, encouragement and for always inspiring me to be the best art teacher I could be.
    [Show full text]
  • Review Article
    z Available online at http://www.journalcra.com INTERNATIONAL JOURNAL OF CURRENT RESEARCH International Journal of Current Research Vol. 7, Issue, 03, pp.13547-13558, March, 2015 ISSN: 0975-833X REVIEW ARTICLE CONTEMPORARY ARCHITECTURAL TRENDS AND THEIR IMPACT ON THE SYMBOLIC AND SPIRITUAL FUNCTION OF THE MOSQUE *Aida Hoteit Department of Architecture, Institute of Fine Arts Lebanese University – Beirut, Lebanon ARTICLE INFO ABSTRACT Article History: Since the dawn of history, mosque architecture has witnessed changes and developments to meet the Received 13th December, 2014 cultures and civilizations passing through; accordingly, modern contemporary architectural trends Received in revised form have presented bold innovative solutions that affect the stereotypes that have been attributed to 29th January, 2015 mosques over time. At this point, a discussion was initiated on the feasibility of maintaining certain Accepted 28th February, 2015 mosque elements that are considered to be essential for some in the process of going to the mosque, Published online 17th March, 2015 such as the minaret and the dome. However, some trends posed ideas that exceeded the spiritual function of a mosque, as well as the cause and essence of its existence; accordingly, the present Key words: research study was conducted to elucidate those various trends and to discuss and evaluate their conformity with the standards and principles in mosque architecture. The study begins with the Mosque, definition of a mosque and its fundamental elements, determines the most significant mosque styles in Contemporary mosque, the world while highlighting the relationship each has with the culture or civilization it produced, and Islam, subsequently addresses the function of the mosque and the requirements to be considered in Islamic architecture, compliance with the provisions of Sharia.
    [Show full text]
  • A New Manuscript of Abü Bakr Al-I;Ia~~Iir'skitab Al-Bayan
    A New Manuscript of Abü Bakr al-I;Ia~~iir'sKitab al-bayan Paul Kunitzsch The library oC the University oC Pennsylvania, Philadelphia, PA, has puhlished in internet a provisional catalogue of about 400 manuscripts oC scientific ¡nterest in Latin, Arabic and other languages from the private collection of Lawrence J. Schoenberg, Longboat Key, Florida. In 2001 1 had the opportunity to inspect a number oC astronomical 1 and mathematical manuscripts of the collection in Philadelphia - where a selected nurober oC Ibero had beeo transferred for aD exhibition - and in Mr. Schoenberg's residence. Here 1give a short description ofMS LJS 293 which caught my special attention, because in the internet catalogue its author, Abii Baler, was declared to be the so far unidentified Alabuchri, autbor oC a geometrical 2 treatise known only in a Latin translation by Gerard of Cremona • The contents oC the Arabic manuscript, however, proves to be purely arithmetical and is, therefore, different from the Latin treatise (see beIOW)3. 1 MS US 268 is 3n Arabic manuscript of Ihe Almagest, copied in 1381 AO in Saragossa. See the descriplion by P. Kunilzsch, "A Hilher10 Unknown Arabic Manuscripl of the Almagesl ", in Zeitschrift fiir GescMcllte der Arabisch·lslamischen Wissenschaften, 14 (2001),31-37. 2 Liber mellsuratiollum Ababucllri. Cf. F. Sezgin, Geschichte des arabischen SchrifitlUlIS V, Leiden 1974, 389·391; R. Lem3Y, ar1icle "Gerard of 6cmona", in DictiOllary oiScienlific Biography XV [Suppl. 1], New York 1978, 173fT., esp. p. 188 (no. 82). The Ireatise has been edite<! by H.L.L. Busard, "Le 'Liber mensurationum' d'Abl1 Bekr", in Journal des Savants, 1968, 65-124.
    [Show full text]
  • The Fractal Shapes in Islamic Design & Its Effects on the Occupiers of The
    مجلة العمارة والفنون والعلوم اﻻنسانية – عدد خاص اكتوبر 2020 The Fractal shapes in Islamic design & its effects on the occupiers of the interior environment (case study: El Sultan Hassan mosque in Cairo) Assist. Prof. Dr. Doaa Ismail Ismail Attia Assistant Professor of Interior Design and Furniture, Faculty of Applied Art, Benha University, Benha, Egypt. [email protected] Abstract: The Islamic civilization are distinct for using the art of geometry in their creative designs. In the early Islamic period, designs used simple forms like square shape, gradually more geometrical transformations are applied such as; shapes subtraction, addition, subdivisions, branching and rotation. The aim of this study is to show that the fractal geometrical shape, with the feature “self-similarity, infinite number of iterations for shapes with reducing scale, in finite region ”is one of the most influential elements in the Islamic design and consequently has its beneficial effects on the occupiers of Islamic interior environment. This study analyzed the existence of fractal shapes in the Islamic design with finite number of iterations since the old centuries through analyzing El Sultan Hassan mosque in Cairo, Egypt (1356-1362) as a case study. The fractal shapes are used in the Islamic design of the walls, ceiling, doors, domes and floors. The study also suggested a new contemporary Islamic golden and non-golden fractal shapes with large number of iterations to be generated by using the computer technology that can be used in the interior design. The Islamic fractal design acts as a strong stimulus to the brain generating strong emotions in very short time.
    [Show full text]
  • The Muslim 500 2011
    The Muslim 500 � 2011 The Muslim The 500 The Muslim 500 � 2011 The Muslim The 500 The Muslim 500The The Muslim � 2011 500———————�——————— THE 500 MOST INFLUENTIAL MUSLIMS ———————�——————— � 2 011 � � THE 500 MOST � INFLUENTIAL MUSLIMS · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · All rights reserved. No part of this book may be repro- The Muslim 500: The 500 Most Influential Muslims duced or utilised in any form or by any means, electronic 2011 (First Edition) or mechanic, inclding photocopying or recording or by any ISBN: 978-9975-428-37-2 information storage and retrieval system, without the prior · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · written permission of the publisher. Views expressed in The Muslim 500 do not necessarily re- Chief Editor: Prof. S. Abdallah Schleifer flect those of RISSC or its advisory board. Researchers: Aftab Ahmed, Samir Ahmed, Zeinab Asfour, Photo of Abdul Hakim Murad provided courtesy of Aiysha Besim Bruncaj, Sulmaan Hanif, Lamya Al-Khraisha, and Malik. Mai Al-Khraisha Image Copyrights: #29 Bazuki Muhammad / Reuters (Page Designed & typeset by: Besim Bruncaj 75); #47 Wang zhou bj / AP (Page 84) Technical consultant: Simon Hart Calligraphy and ornaments throughout the book used courtesy of Irada (http://www.IradaArts.com). Special thanks to: Dr Joseph Lumbard, Amer Hamid, Sun- dus Kelani, Mohammad Husni Naghawai, and Basim Salim. English set in Garamond Premiere
    [Show full text]
  • Creating an Islamic Sense of Place: Building Conversion and the American Mosque
    Creating an islamic sense of place: Building conversion and the american mosque Garrett N. Fugate University of Kansas, Lawrence, Kansas ABSTRACT: As an anomaly within the religious and ethnic landscapes of the United States, the American mosque serves as an intriguing focus from which to understand the construction of sacred spaces and religious identities. In this study, buildings converted into mosques were hypothesized to have a “vernacular intuitiveness” of the essential place attributes of the faith of Islam. These converted places of worship are common in Muslim communities in the United States, yet understudied. This study investigated eight of these mosques in Kansas and Missouri, relying on primary data gathered through site observations and interviews. Comparing and contrasting data from each mosque lead to an understanding towards intuitive and necessary elements to the creation of an Islamic sense of place. This was in large part defined by the accommodation of Islamic ritual and the fundamentals of faith. Differences between the mosques revealed diverse communities arriving at varying answers to these fundamentals as well as to conceptions of gender and the role of ethnic identity. Designing mosques in the American context must include an understanding of Muslim-Americans’ collective soul-searching and the intuitive ways identities are asserted through architecture. KEYWORDS: sacred space; building conversion; Muslim-American identity; Islam in America INTRODUCTION This study sought to uncover the ways Muslims adapt existing buildings into religious spaces in the American context. The focus of this study was important for several reasons. Firstly, converted spaces are pervasive within Muslim-American communities. A study on American mosques found that only 26% of mosques were originally built as mosques (Bagby, et al.
    [Show full text]