ISLAMIC CERAMIC ORNAMENTATION AND PROCESS: PROPOSALS FOR A NEW AESTHETIC VOCABULARY IN CONTEMPORARY ARCHITECTURAL EMBELLISHMENT WITHIN KUWAIT. Submitted By: FAHAD ALKANDARI Submitted in part fulfilment for the award of Doctor of Philosophy Silicate Research Unit School of Art, Design & Performance University of Central Lancashire August 2011. Supervisory team: Director of the studies: David Binns 2nd Supervisors: Professor Tunde Zack-Williams and Dr. Mahmood Chandia Student Declaration Concurrent registration for two or more academic awards Either * I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution. Or * I declare that while registered for the research degree, I was with the University‘s specific permission, a* registered candidate/* enrolled student for the following award: _______________________________________________________ ________________________________ Material submitted for another award Either * I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work. Or * I declare that the following material contained in the thesis formed part of a submission for the award of _______________________________________________________ ________________________________ (state award and awarding body and list the material below): Collaboration Where a candidate‘s research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate‘s individual contribution and the extent of the collaboration. Please state below Signature of Candidate ___________________________________________ Type of Award: Doctor of Philosophy School: School of Art, Design & Performance I ABSTRACT. Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary II specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern III architectural environment of Kuwait and re-establish the creative status of ceramics. IV Table of Contents: I. Acknowledgements. ................................................................................... XII II. List of artworks and 3-Dimensional objects submitted in partial fulfilment of the degree of Doctor of Philosophy. ................................................................ XIV III. List of tables. ............................................................................................. XIV IV. List of Figures ............................................................................................ XV V. Glossary of Terms. ................................................................................. XXIII VI. List of abbreviations. ............................................................................. XXXII CHAPTER 1: BACKGROUND OF THE RESEARCH ........................................ 1 1.1 Introduction ................................................................................................... 2 1.2 Aims of the research ..................................................................................... 4 1.3 Research questions ...................................................................................... 4 1.4 Significance and Scope of the research ........................................................ 5 CHAPTER 2: LITERATURE REVIEW ................................................................ 7 2.1 Introduction ................................................................................................... 8 2.2 Contemporary Islamic Art: A General Overview ............................................ 8 2.3 An Overview of Islamic Ceramics ................................................................ 10 2.4 The Decline in Islamic Decoration ............................................................... 12 2.5 Architectural and Globalization Trends in Kuwait ........................................ 14 2.6 How Globalization Impacts on Islamic Arts and Civilization ........................ 18 2.7 Relevance of Globalization to contemporary Islamic Arts and Civilization .. 20 2.8 Comparative study of relevant contemporary Ceramic Art .......................... 21 2.8.1 ‗Learning from the past, providing for the future‘ – an exploration of traditional Paiwanese Craft as inspiration for Contemporary Ceramics (Wang, 2006) ...............................................................................................................21 2.8.2 Out of the Mould: Contemporary Sculptural Ceramics in Vietnam (Proctor, 2006)................................................................................................ 22 V 2.9 Conclusion .................................................................................................. 23 CHAPTER 3: RESEARCH METHODOLOGY .................................................. 25 3.1 Introduction ................................................................................................. 26 3.2 Ethnography Research ............................................................................... 27 3.3 Theoretical Research .................................................................................. 27 3.3.1 Ceramic Markets and Distribution Networks Survey.............................. 28 3.3.2 Architects‘ Survey................................................................................... 28 3.3.3 General Public Survey...........................................................................