cH AP TEAR 3 Geometry and Memory in the Design of the Madrasat al-Firdows in Aleppo ceo “The existence of principles and theories common 10 ll Islamic architecture cannot be assumed or taken for granted, since Islan, unlike ‘most religions, pliced very limited demands on is architectural production. In fect {even the existence of such commonalities for specific periods in Islamic architecture is impossible to sustain without @ careful examination of the major ‘oouments, types, and forms ofthe given period and the various factors that may have led 10 their shaping. Some of these factors—materials and indigenous ‘tation, For example—are regional and contebute to the creation of a local syle ‘others—such as sciemitie knowledge, theologieal discourse, and architectural ‘evivals—often cross local barriers and lead to the formulation ofa period style. Ik follows then that our seatch for principles and theories in Islamic architecture should proceed cautiously from the specific 10 the general, while taking into account those factors which seem to unify the architectural production of the petiod under consideration.! “This paper explores two possible ways—geometry and memory—through ‘which medieval Islamic architecture may have ereted and perpetuated its forms and types, thereby achieving a measure of similiude and coherence. Dealing with two seemingly uneelated aid somewhat opposed concepis—the one seiemifically precise and the other poetically ambiguous—demands some justification. [did not fd it simply to be provocative hut because I believe that both of these factors played an important role in medieval Islamic architecture. In dhe fst ple, It has been Frequently suggested that Islamic architecture and decoration from the cleventh century onwards were characterized by a strong reliance on geometric principles, ranging fom simple grid t harmonic proportions. As such, geometry ‘ay have contributed wo the coiietion and dissemination of architectural ideas in ‘a medieval world that was otherwise noted for its disunity. Inthe second place, there is an emerging notion thatthe many petty al gra dynasties that reigned in ‘his middle period often atempred to model their government and institutions after the grat Isic or pre-Tslamic dynasties which preceded them.> ‘By memory I mean two related things. [use the term to rele to the images and recollections of ancient buildings which find their way imo the collective ‘consciousness of a culture, either 88 « mythical building oF as an ideal type, and ‘emerge reinterpreted at different times in the evolution ofthat culture, In this case memory ameliorates historical dislocation T also use memory reer to & more immediate process, namely the imagery used by medieval poets and other men of the word to describe significant contemporary buildings, often stressing their most ‘unusual forms. Standard and repetitious 38 much ofthis poetry is, iis nevertheless !an untapped source that may’ have contibuted to formulating an impressionistic image of ideal building types and disseminating such images over a wide area In this case memory ameliorates geographical dislocation. Oftentimes, these 104 Architect teres and Pimple of Design ate Past realms of memory are related in that the First provides the original timeless type and the second dresses tin contemporary garb. In ather words, the fist becomes the archetype (for example, te Dome of Heaven) and the secoad its Christian oF Islamic transformations (the mostie dome or the mugamas dome) have restricted my field of investigation in this paper to the Madeasat al- Firdows, an important theological college in Aleppo, and a few other related monuments of twelth- and thieteenth-century Syria. After dealing with the _geomettic properties ofits plan and elevation, I consider next the evocative and associative qualities of one part of it in connection with extant of archetypical ‘monuments ofthe distant or nea past. [hope thal this discussion ofthe largest and ‘mos mmportant monument of medieval Syria wil lead toa beter understanding of ‘medieval Syrian architecture and its ole in medieval Islami architecture Geometry The Madrasatal-Fiedows, builtin 1235 by the queen regent Dayfa Khatun, is situated in a southern subusb of Aleppo, location which allowed its builder to develop his plan freely without any physical resuitions, Seen from a nearby minaret, it Hooks like a massive block of evn stone whose severity is only partly relieved by the undulating profile ofits eleven hemispherical domes (Fig. 1) Whether standing inthe middle ofits courtyard or viewing it from above, one immediately senses a regularity and proportion that is often missing fom medieval Syrian architecture (ig. 2) This feeling is further reinforced when we Took a the ‘courtyard in plan; seemingly a square with a rectangular perisyle within in it. Ta is petaps the exten of what the eye ean readily perceive; but here is miich more. ‘The precision of the courtyard design led me to search for the unit of ‘measurement (the cubit) that may have been employed in its planning, «It tuned ‘ut to be approximately 43.5 em, which is considerably smaller than the fifteenth century Persian gaz 460-70em), but i seems to work in this building and others in the region. The inner squate, which measures 21 73 m per side, becomes veryGee yand Mena he Design ofthe Matas Fs Aleppo ea approximately SO cubits pe side, The open courtyard (13.10.m x 16.45 m) gives 30'x 40 cubits, ora ratio of 3: 4, making ita perfect 3-1-5 rectangle, ora rectangle ‘made of two Pythagorian triangles, The span between the columns is approximately 10 cubits, although there is «slight diminution from south fo north ‘The internal ian, measuring 8.72 x 9.60 m, yields 20 x 22 cubits (fig. 3, our App, Madan a Prous. Courtyard am above.