THE DISCUSSION
DESIGNER, AUTHOR AND EDUCATOR ERIC BROUG TALKS ABOUT GIVING A SECOND LEASE ON LIFE TO THE INTRICATE GEOMETRIC DESIGNS THAT HAVE DOMINATED ISLAMIC ART AND ARCHITECTURE FOR CENTURIES.
OF LINES AND
BY AYSWARYA MURTHY
INTERSECTIONS
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VERSATILE These patterns look just as relevant in a modern home as a centuries old monument.
Much of what Eric Broug has taught and written about Islamic geometric designs is self-taught. He didn’t have much of a choice. Curious about these complex patterns created using just simple geometric shapes, the Dutchman realised that, though there was plenty of material that spoke about the prolific use of these architecture, the present-day versions designs, there was much less knowledge don’t do justice to the “best practices of available in the way of how these can be many centuries ago” or what “constituted created. To comply with religious rules excellence in the height of its popularity”. about representations of the human “Throughout the history of Islamic art form, especially in places of worship, thousands of these beautiful patterns have early Islamic architects had to come been created, but today only a handful of up with ingenious ways to adorn their these are used in design and architecture. environment. Along with Arabesque It’s because of our cut-and-paste culture. designs, geometric patterns became People just use what they can find on ubiquitous in stately homes, mosques, the Internet.” This is foremost on his books and everyday objects. While this is common To comply with religious rules about knowledge, the technique itself is in danger of fading representations of the human form, away into the annals of especially in places of worship, early history. “There is hardly Islamic architects had to come up with any documentation about ingenious ways to adorn their how these patterns are environment. drawn or historically how the craftsmen, with no formal training in mind when he is designing motifs for his mathematics, were able to create these clients. Through his UK-based studio, complex geometric compositions with the Broug Ateliers, Broug crafts these designs simple tools they had. That’s my approach for customers from around the world. to teaching these designs. If they were able Whether you are the owner of a Turkish to make these patterns so many centuries restaurant in the USA looking for a tasteful ago, so should we,” he says. It’s only a metal divider or a home owner in Sharjah matter of understanding the new shapes wanting a unique pattern on your wooden created when circles and polygons are floor, Broug is the man to track down. superimposed. Broug says, after so many “I talk to my clients to understand their years that he is still stumbling upon new, needs, the context, try to figure out if they complex designs. And it’s important to have a favourite time period in Islamic keep this spirit of experimentation and history, or maybe a personal connection discovery alive. to a certain region in the Arab world. Then Because, according to him, though these I try to give them a variety of bespoke designs continue to be part of modern options that are identifiable but not
typical,” he says. You’d think geography and time couldn’t possibly play a significant role in an art form that is essentially lines and intersections, but Broug sets the record straight. “Yes, there are certain basic patterns that occur in all eras and regions because they inevitably reveal themselves when you play around with a pair of compasses and a ruler. But there are some patterns that are specific to an era, like a Mamluk design from 15th Century Cairo. This is because the designs are more than just lines. While there are certain periods in history that exemplify the spirit of innovation and this can be obvious in the GLAM INTERIORS + DESIGN
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THE DISCUSSION
A MILLION PERMUTATIONS A few basic geometric shapes can yield a countless number of patterns.
products of that era, the embellishments and other features, often overlooked, can be unique to a certain region. “This might have to do with the kind of materials available in that part of the world. For example, mosaics from Morocco would have been made using minerals available there, and this is reflected in the distinctive colours and glazes seen in their ceramics,” he says. With the renaissance of Islamic architecture, thanks to the infrastructure boom “Throughout the history of Islamic art in the GCC states (and some thousands of these beautiful patterns SouthEast Asian countries), have been created, but today only a Broug feels there is plenty of potential for these designs to handful of these are used in design and be used in modern buildings architecture.” and structures, and not merely cosmetically but in a more “profound” way. The appeal of these designs, according to him, is how contemporary they can feel. That’s why it’s exciting to empower a new generation to understand it and be creative with it. Today the will is there to use Islamic geometric designs, but the ability, sadly, isn’t,” he says, implying how there is no practical way for design and architecture students to learn how to apply these to their work. Broug himself studied crafts for a year at the Prince’s Foundation and did his Masters in Islamic Art and Architecture at the School of Oriental and Arab Studies, but was left wanting for more. “While the historical context of Islamic arts does interest me, I was 36
GLAM INTERIORS + DESIGN
keen on learning the practical aspects as well,” he says. That there is a thirst for this practical knowledge is evident from the success of his books (his first book – Islamic Geometric Patterns – has been published in several languages like French, Farsi, Turkish, etc.), online tutorials, and live workshops. Eric Broug will be down in Dubai from March 3-7 to participate in the Emirates Airline Festival of Literature where he will be part of a panel that discusses how the best of traditional Gulf and Islamic design can be combined with contemporary global style in architecture. Apart from that he’ll also be hosting a two-hour session where he will teach the basics of Islamic geometric design. He has taught several workshops in Canada, UK and USA but surprisingly this is the first one in the Middle East. “The first of many I hope,” he says.