Page 34 - Studio International - November 1971

Aspects of

Islamic pattern

Keith Albarn

1 2
In A.D. 632 Mohammed, mystic, politician,
lawmaker and general, died in Medina in the
arid Arabian peninsula. In ten years he had
united the many peoples of Arabia; 100 years
later the Islamic Empire stretched from West
Africa to Afghanistan, its influence extending
through trade and travel from Europe to China.
Islam gained its strength from ideological unity
rather than language, race or country. Its law
gained its strength from the simplicity of its
logic: one God, one law and a free brotherhood
of men.
Generally speaking, the European has failed
to acknowledge the debt he owes the Arab in
the fields of law, science and art. This was most
evident in our own early researches on Islamic
pattern.' We found the small number of sources
available were concerned with recording the 4
3
dimensions rather than attempting to discover
the motivations. Unflattering comparisons with
Western Europe — 'excessive decoration'
`concern with surface' etc. —revealed
considerable prejudice and lack of
understanding. This was particularly evident in
the analysis of the patterns, which are the
clearest expression of the Arab aesthetic for the
European. They were frequently poor copies or
were translated into modern geometry with
bizarre results.
Similarly our initial efforts to analyse the
patterns suffered from too much objectivity and
too little empathy. We found the arbitrary
application of our own geometry unsatisfactory.
Concept and process were obviously inseparable.
So instead of playing with degree, one joined
4
points which, although disturbing in the
resulting mass of lines, laid the foundation for simultaneous layers of pattern each with its own The predicament of modern man is that
the recognition of the pattern within this character and function yet related to one another increased specialization means increased
primary layer. We therefore became involved in and to the whole. Each system had its own rate division of knowledge. There is therefore an
recreating the original work. Within the mass of of motion and implied weight. Through increasing requirement for skills that can
line various interweaving layers revealed the juxtaposition, the primary and subsequent recombine diverse elements and read complex
many possibilities and the sensitive organic layers increased the vocabulary of the designer patterns of information. q
growth of the pattern. Thus the grid did not to parallel his concept of man's relation to the KEITH ALBARN, Exhibition Designer
pre-determine the end product but was an universal order. Through these patterns, with JENNY MIALL SMITH STANFORD STEELE &
infinite system, revealing to the operator of the their potential for endless extension, one senses DINAH WALKER, co-designers
system an increasingly profound vision of the the enormity of the changing universe.
universe. Thus, without sophisticated technology, the
The systematic multiplication of small Arabs were capable of handling and expressing
components on a single plane is a natural way complex ideas. Their mathematics 2 were devised
to depict vitality and abundance and is taken by by people who had a profound understanding of
Renaissance designers in a two-dimensional numbers for practical usage by those who had
scheme. very little. Provided they kept to the simple
The Arab had a more effective scheme. For to rules, the methods worked and gave the right
portray his ideal of profusion and abundance he answer to the sums quickly and easily. Similarly
formulated patterns in depth, different levels of a modern calculating machine can give the
multiple design systems. answer quickly and easily; but it can hardly be
Intersecting lines, spirals or arcs form points claimed to be a key to illuminate greater For the Festival of Islamic Art, at the ICA,
of departure for a new yet interrelated layer. knowledge. We are in danger of our process, our London 12 Nov.-12 Dec. 1971.
The designer was therefore able to work technology being divorced from our concepts. 2 From 'Vedic Mathematic Research' by Jo Howse.

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