"A STUDY TO EXPLORE THE SYNERGY OF

CALLIGRAPHY AND DIGITAL ARCHITECTURE: A

MULTIDISCIPLINARY APPROACH TO DESIGN
AND EXPRESSION IN PAKISTAN"

Sameen (2020-Arch-12)
Nawal Ali (2020-Arch-19)
Minahil Babar (2020-Arch-41)
TABLE OF
CONTENTS

1
ABSTRACT 3
INTRODUCTION 4
LITERATURE REVIEW 4-6
METHODOLOGIES 7

2
CALLIGRAPHY 9
TYPES 9
CALLITECTURE
9-10
ARABIC CALLIGRAPHY 10
SCRIPTS 10
THULUTH SCRIPT 11
CALLIGRAPHY IN PAKISTAN 12

3
CASE STUDY (FOURTH YEAR STUDIO PROJECT) 13

MODULE DEVELOPMENT 13-14

MODULE FORM DERIVATION 15
MODULE PICTOGRAPHY 16
MODULE POPULATION 16-17

4
REFRENCES 18
 "A Study to Explore the Synergy of Calligraphy and Digital
Architecture: A Multidisciplinary Approach to Design and
Expression In Pakistan"

Abstract:
The fusion of calligraphy and digital architecture represents a groundbreaking and multidisciplinary
approach to architectural design and expression. In this research endeavor, we embark on a journey to
explore the profound synergy between the ancient art of calligraphy and the contemporary realm of digital
architecture. Our primary objective is to shed light on how this fusion can enrich architectural designs, foster
cultural sensitivity, and elevate aesthetic significance in the built environment.
At the core of our investigation lies the recognition of a pressing problem in contemporary architectural
practice: the increasing homogenization of designs in the digital age. The proliferation of digital tools has
brought efficiency and precision to architectural workflows but has also risked eroding the cultural identities
and unique expressions that once defined architectural marvels. Thus, our research sets out to address this
challenge by offering an innovative solution grounded in both tradition and technology.
Motivated by a passion for both calligraphy and architecture, we were driven to undertake this research,
seeking to bridge the gap between traditional craftsmanship and cutting-edge design. The integration of
calligraphy into digital architecture is not only an aesthetic pursuit but also a means to preserve and celebrate
cultural identities, stimulate creativity, and foster a profound connection between architecture and its users.
The effects of our research extend beyond the field of architecture into the wider world. It opens doors for
architects to create culturally rich and contextually relevant designs, fostering a deeper connection between
architecture and communities. By preserving and celebrating cultural identities in the built environment, it
contributes to the broader discourse on cultural preservation and encourages interdisciplinary collaboration
between artists and architects.
Looking ahead, further studies can delve into specific cultural contexts, user experiences, sustainability
implications, and ethical considerations related to this approach. Comparative analyses, historical
examinations, and surveys of building users can provide additional insights into the multifaceted impact of
calligraphy-integrated architecture. As technology advances, it is crucial to explore emerging tools and the
benefits and challenges of cross-disciplinary collaboration.
In conclusion, our research presents a compelling case for the integration of calligraphy and digital
architecture as a transformative approach to architectural design and expression. By embracing this fusion,
architects have the opportunity to redefine their practice, enrich cultural narratives, and create designs that
inspire and endure. It is our hope that this research serves as a catalyst for further exploration, innovation, and
collaboration at the intersection of art, tradition, and technology in architecture.

Key Words:
Callitecture , Digital architecture, Parametric modeling, Computational calligraphy, Tradition and
innovation, Cross-disciplinary Collaboration, Community Engagement, Cultural Identity, Digital
Tools

3
Introduction:
The synergy between calligraphy and digital architecture presents a captivating realm of possibilities for
design and expression. In an era where technological advancements are rapidly transforming the creative
landscape, this confluence of ancient art and contemporary tools offers a unique opportunity to explore
new avenues of artistic expression and architectural innovation.
Calligraphy, with its rich history and cultural significance, has long been revered for its aesthetic beauty,
expressive power, and spiritual depth. The intricate strokes and fluid movements of the calligrapher's hand
imbue each character with a sense of dynamism and vitality. In the digital realm, these calligraphic
elements can be manipulated and transformed in myriad ways, giving rise to novel forms and
compositions. Digital tools and techniques such as computer-aided design (CAD), parametric modeling,
and generative algorithms can be employed to facilitate the incorporation of calligraphic elements into
architectural design. These tools enable designers to explore the expressive potential of calligraphy in a
variety of ways, such as through the creation of intricate patterns, the manipulation of spatial relationships,
and the generation of dynamic forms.
The integration of calligraphy into digital architecture has the potential to revitalize this ancient art form
and ensure its relevance in the modern era. By bridging the gap between tradition and innovation, this
multidisciplinary approach to design and expression can lead to the creation of works that are both
aesthetically pleasing and culturally significant.

Literature Review:
Calligraphy and digital architecture represent two distinct yet interconnected fields of art and design. The
fusion of these disciplines has garnered increasing attention in recent years, as designers and artists seek
innovative ways to blend traditional and contemporary aesthetics. This literature review aims to explore
the existing body of research on the synergy of calligraphy and digital architecture, identify gaps in the
literature, highlight seminal works, examine methodologies, and elucidate major ideas, conclusions, and
theories. By synthesizing this information, we intend to provide a comprehensive overview of the state of
research in this multidisciplinary realm and offer insights into the potential directions for future inquiry.
The approach of developing this literature review is to study the previous writings on the intermingling
of the two disciplines: calligraphy and architecture and then linking the two via precedents.
Several researchers have delved into the convergences of calligraphy and digital architecture, providing
valuable insights into this burgeoning field. Notable studies include those by Alice Kueng (1999), he said
“Calligraphy and architecture are all about spaces, not only 2 dimensional, but 3 dimensional
(letter sculpture). By analyzing the strokes, space, moods of calligraphy and then
generate/transform to new spaces for the building. The building can capture the essence of
calligraphy and itself is a three-dimensional calligraphy”. In similar vein, Siddiqui Rubina R (2007)
explores the integration of Zen calligraphy in architecture, “The experience of the elevation of the
spirit and the soul are found throughout all forms of art including the art of calligraphy. Islamic
and Chinese culture are so distinct from one and another and so unrelated, yet their artforms of
calligraphy share the same elevated understanding and appreciation, the same inherent spiritual
values, and most importantly, they share the common desire to animate, heighten and enlighten
the spirit.”
There is a growing body of research on the intersection of calligraphy and digital architecture. Some of
the key themes explored in this research include:
The use of calligraphy as a design inspiration: Calligraphy can be used as a source of inspiration for
architectural forms, spaces, and materials. For example, the work of Zaha Hadid is often cited as an
example of how calligraphy can be used to create fluid and dynamic architectural forms.

4
The use of calligraphy as a design tool: Calligraphy can be used as a design tool to generate and evaluate
architectural ideas. For example, Bassam Al-Sheikh has developed a parametric calligraphic machine that
can be used to generate and explore a wide range of architectural forms.
The use of calligraphy in digital fabrication: Calligraphy can be used to generate digital fabrication files
that can be used to produce architectural components. This allows for the creation of complex and
intricate architectural forms that would be difficult or impossible to produce using traditional methods.
There are some articles that discuss the relationship between calligraphy and architecture, which could be
useful for further research.
Hoda Moustapha's paper "ARABIC CALLIGRAPHY: A COMPUTATIONAL EXPLORATION"
presents a computational approach to exploring and creating Arabic calligraphy. She argues that Arabic
calligraphy is a unique art form that is particularly well-suited to computational exploration due to its
reliance on geometry and its inherent versatility.
"Arabic Calligraphy and Parametric Architecture from Traditional Art to Digital Production" by
Shiekh explores how Arabic calligraphy can be integrated into parametric architecture using digital tools.
Case studies on calligraphy and digital architecture
The Museum of the Future in Dubai is a remarkable architectural marvel that embodies the fusion of
tradition and innovation through its clever use of digital tools and calligraphy.
Inkstone House OCT Linpan Cultural Center in Sichuan, China, blends traditional and modern
architectural elements. It integrates with the natural landscape and traditional Western Sichuan design.
The building's outline resembles a Chinese calligraphy inkstone, with a stable base and a flexible upper
floor, combining old and new architectural concepts.

There are several potential benefits to using calligraphy in digital architecture. These include:
Increased creativity and innovation: Calligraphy can be used to generate new and innovative architectural
ideas that would not be possible using traditional design methods.
Enhanced aesthetic appeal: Calligraphy can be used to create beautiful and aesthetically pleasing
architectural forms.
Cultural significance: Calligraphy can be used to incorporate cultural and religious symbols into
architecture.
Improved sustainability: Calligraphy can be used to design more sustainable and environmentally friendly
architectural forms.
Overall, the use of calligraphy in digital architecture is a promising area of research with the potential to
lead to more creative, innovative, and sustainable architectural designs
There is a growing interest in exploring the intersection of these two fields, as digital technologies offer
new possibilities for the creation and application of calligraphy in architecture.

Despite this growing interest, there are still a number of literature gaps in this area. Some of these gaps
include:
A lack of theoretical frameworks for understanding the relationship between calligraphy and digital
architecture. While there is a body of literature on both calligraphy and digital architecture, there is
relatively little that explores the relationship between these two fields in a systematic way. This is likely
due to the fact that this is a relatively new area of research.
A need for more case studies and examples of how calligraphy is being used in digital architecture. While
there are a few examples of projects that have combined calligraphy and digital architecture, there is still a
need for more research to document and analyze these projects. This would help to identify best practices
and lessons learned, and to inspire future innovation in this area.

5
A need for research on the development of new digital tools and technologies for calligraphy in
architecture. Digital technologies are constantly evolving, and there is a need for research to develop new
tools and technologies that can be used to create and apply calligraphy in architectural design and
construction. This research could also focus on exploring the ways in which existing digital tools and
technologies can be adapted for use with calligraphy.
A need for research on the impact of calligraphy on the user experience of digital architecture.
Calligraphy is a visual art form that has the potential to evoke a wide range of emotions and associations.
However, there is still relatively little research on the impact of calligraphy on the user experience of
digital architecture. This research could help to identify ways in which calligraphy can be used to create
more engaging and meaningful experiences for users of digital spaces.
Historically, the integration of calligraphy and architecture has been evident in Islamic architecture, East
Asian traditions, and other cultural contexts. Calligraphy served not only as decoration but also as a means
to convey cultural and religious messages. With the advent of digital architecture and design software,
artists and architects can now explore new dimensions of calligraphy, manipulating form, scale, and
interaction. These technological advancements have expanded the possibilities of artistic expression
within architectural spaces. The synthesis of existing literature highlights the potential for calligraphy to
enhance design aesthetics and spatial experiences in digital architecture. Key themes include the
importance of cultural context, ethical considerations, and the value of interdisciplinary collaboration.
The literature suggests that the integration of calligraphy into architecture is driven by diverse artistic
intentions. Some seek to preserve tradition, while others aim to innovate and push creative boundaries.
This diversity of intent adds depth to the field. Debates within the field revolve around issues of
authenticity, preservation, and cultural appropriation. These controversies underline the complexities of
merging two distinct art forms within a single medium.

One of the main ideas that emerges from the literature on the intersection of calligraphy and digital
architecture is that the two disciplines can be used to create new and innovative forms of design and
expression. Calligraphy can be used to inform the design of buildings and other structures, to develop
new fabrication and manufacturing. The review identifies the need for a multidisciplinary approach that
takes advantage of both historical insights and contemporary digital tools. It also acknowledges the
challenges and controversies inherent in this fusion of art forms. The subsequent research will build upon
these foundations to explore this intriguing intersection and contribute to the evolving discourse on
calligraphy and digital architecture.

6
Research Methodologies:
Within the realm of this research, methodologies are employed that center on qualitative analyses, to
comprehend relationship between architectural designs and the art of calligraphy. The primary objective
is to unravel the symbiotic dynamic that exists between these two creative domains.
To delve into the role of digital tools in the promotion of calligraphy within the studio environment, our
research places a specific focus on a fourth-year studio project. This approach allows us to dissect the
methods, techniques, and tools that facilitate the seamless incorporation of calligraphic elements into the
realm of architectural design.
Moreover, to comprehensively assess how this integration contributes to the preservation and
advancement of the calligraphy art form in the modern era, our research methodology incorporates
interviews and questionnaires. By engaging with architectural professionals, designers, calligraphy
enthusiasts, and artists, we aim to garner diverse and insightful perspectives. Through structured
interviews and well-designed questionnaires, we gather both quantitative and qualitative data.

Research Methodologies

7
What is Calligraphy:
Calligraphy is an art form that intertwines the written word with visual aesthetics, creating a fusion of
language and design. It goes beyond mere penmanship and transforms the act of writing into an artistic
expression. Calligraphy conveys a profound statement about a specific society, encapsulating the entirety
of its cultural and historical legacy. It transcends mere beautiful writing, arising from the interplay of
several crucial elements: the society's approach to writing, the significance and purpose of the text, precise
and often mathematically grounded principles governing the correct alignment of lines and spaces, and
their interrelation, as well as mastery and comprehension of the script, the writing materials, and tools
employed.
Unlike ordinary writing, the practice of calligraphy cannot be obtained through mere rote learning; it
necessitates a deeper insight and an infusion of individuality, albeit within well-defined parameters.
Calligraphy largely serves as an expression of harmony, as perceived by a particular civilization.

Types:
This practice has been embraced across the globe, yielding distinct forms in various cultures. Many
specialists agree that calligraphy can be classified into four broad categories: Western Calligraphy, Eastern
Asian Calligraphy, Southern Asian Calligraphy and Islamic Calligraphy.(V., A. (2016).
Though visually vastly different in each civilization, the purpose of calligraphy in each case is
basically the same: to act as a 'corporate logo' for the whole extended group. The differences are
based on three elements: the different in script, the motivation, which prompted the
development of calligraphic traditions in the first place, and the ultimate objective of those
traditions within a given cultural, religious and political ( KEUNG Chau Yu Alice April 1999)

Types of Calligraphy

Callitecture:
Callitecture is a protmanteau of the words "calligraphy" and "architecture" .It is a term used to describe
the intersection of these two arts, and the use of calligraphy in architecture. Calligraphy and architecture
are all about spaces, not only 2 dimensional, but 3 dimensional (letter sculpture) ( KEUNG Chau Yu Alice
April 1999)

8
 The qualities in calligraphy which can transform to architecture.
Equilibrium/balance
Solid & void
Structure of composition
Philosophy
Emptiness
Subtleness
Degree of overlapping
Rhythm
Decoration
Energy
Fluidity of strokes
Layers
Mass
Speed/velocity
Continuity of space
Proportion
Sequences of Strokes
Texture
Motion
Emotion
Word Cloud of Qualities in Calligraphy
Gesture
which can transform to Architecture

Arabic calligraphy:
In this research we will further focus on Arabic calligraphy as Arabic calligraphy holds a special place in
the heart of Pakistani culture. Its historical significance and artistic charm are deeply ingrained in the
architectural landscape of Pakistan. From mosques to public buildings and even private homes, Arabic
calligraphy is omnipresent, adorning facades and interiors alike. It is more than an ornamental feature; it
serves as a reminder of Pakistan's rich Islamic heritage.

Scripts:
Arabic calligraphy is a beautiful and ancient art for that has been practised formore than
2000 years .It has been used for artistic expression, cultural identity and political communication.
Baghdad-born Ibn Muqla (885–940) revealed the six characters that would subsequently serve as the basis
for calligraphy practise. .The primary principles of calligraphy propositions are the circle, the rhombic dot
Alif, and the similarity system.He limited the progression of Arabic calligraphy scripts to six primary
types( Elmansy 2014)

Kufic
Diwani
Thuluth
Naskh
Nastaliq
Ruqaa

6 Arabic calligraphy scripts( Bismillah written in 6 scripts)

9
 Prominent Scripts In Pakistan:
In Pakistan, Naskh and Thuluth are two prominent calligraphic styles. Naskh is renowned for its clear
and balanced lines and finds extensive use in copying the Quran, official documents, and architectural
inscriptions. It's highly valued for its precision and can be admired in the intricate designs adorning
historic buildings.
On the other hand, Thuluth features tall and elongated letterforms, often employed for decorative
purposes like monuments, plaques, and ornamental motifs. Its graceful, flowing lines contribute to a
harmonious and aesthetically pleasing quality, making it a popular choice for artistic expression in
Pakistan. ( Maria 2023)

Thulth Script :
In this study, the Thuluth script will be the main focus.
The Thuluth script, originally developed during the Abbasid Dynasty in the 11th century, underwent
refinements by the renowned calligrapher Seyh Hamdullah in the Ottoman Dynasty (Elmansy, 2014). The
name "Thuluth" itself is derived from the proportion of curved to straight lines within the script, which
is roughly one-third curved. Its distinctive features include gracefully curved, intersecting, and pointed
letterheads, which contributed to its popularity as an ornate script for headings and titles (Alshahrani,
2008). Notable characteristics of Thuluth script encompass the addition of vowel notations and
ornamental embellishments to enhance its aesthetics, as well as delicate, hair-thin out-strokes that form
small loops. The letters in Thuluth are typically large yet compact, with high ascenders that exhibit a
slight tilt towards the left, and round shapes predominate in its overall texture (Afshar, 2016). The
Thuluth script is known for its clear structure and readability, making it versatile for various applications,
even in contemporary times. It has been historically used in the Holy Qur'an and as architectural
decoration in diverse regions of the Islamic Empire.

Step 1: Draw seven nuqtas in a straight line, keeping as a guide

Step 2: Draw a line but slightly move the qalam towars the right hand
side,gradually bring the qalam towards left hand side, make a tail at the end
Step 3:Now draw the head of Alif ( first draw a nuqta but make it a bite longer
and thinner make the nuqta pointy from the end)

Step 1:Draw (dots )nuqtas as a a guide

Step 2: From vertical two nuqtas point , move the qalam to the lest side
making a curve. From here move up to the right till you reach the distance of
one nuqta,go down to the right by slowly twisting the qalam
Step 3: From this point go down to the left
Step 4: Now slowly moving the qalam upwards making a cu.
Step 5: Add the nuqta of faa

Step 1: draw dots ( nuqtas) as a guid.

Step 2: Draw a stroke slightly going to the right side.
Step 3:From this point go down to the left side till you reach the distance
of two nuqtas
Step 4: From here go straight to the left then slowly move upwards
making a curve
Step 5: Lift the pen and dot the top of the noon with a small stroke and
add the nuqta of noon in the middle.

Process of writing the letters(alif, faa, noon ) in Thuluth Script

10
 Calligrapy in Pakistan :
Islam and, through it, calligraphy came to the sub-continent through the conquest of Sindh by
Mohammad Bin Qasim in 712 AD, and reached its peak during the reign of the Mughal emperors. The
Taj Mahal, an Indian icon built by Mughal king Shah Jehan, is one testament to the beauty of Islamic art.
It is adorned with many passages of the Quran that relate to Paradise, thereby making the entire complex
a metaphor for the heavens. In the area which now comprises Pakistan, Lahore undoubtedly has held the
title of being the center of calligraphy in Pakistan(Mohsin 2011)

Timeline:
- 1947 :Pakistan is created as an independent state after the partition of India. Calligraphy is used as a
symbol of national identity and Islamic culture. Many public buildings, monuments, and mosques are
decorated with calligraphic murals and inscriptions.
-1948: Establishment of the Pakistan National Council of the Arts (PNCA), which promotes calligraphy
and other arts.
- 1950s-1960s: Calligraphy flourishes as an art form in Pakistan, with many artists experimenting with
different styles, materials, and techniques. Some of the prominent calligraphers of this period are Hanif
Ramay, Shakir Ali, Sadequain, Bashir Moojid, and Ismail Guljee.Establishment of the National College of
Arts (NCA), which offers a degree in calligraphy.
- 1970s: Calligraphy reaches its peak of popularity in Pakistan, with almost every artist working in this art
form. Sadequain is regarded as the most influential and prolific calligrapher of this era, who revived the
Islamic calligraphy with modernism and expressionism. He painted large-scale murals of Quranic verses
and calligraphy in Kufic script in various public places, such as the Lahore Museum, the Frere Hall, the
State Bank of Pakistan, and the Islamabad Airport.
-1980s: Emergence of calligraphy as a popular art form, with exhibitions and workshops held all over
Pakistan.
- 1990s: Calligraphy begins to decline in popularity in Pakistan, due to several factors, such as political
instability, religious extremism, lack of patronage, commercialization, and competition from other forms
of art. Many calligraphers face censorship, threats, or violence from radical groups who oppose their
artistic expression or interpretation of Islamic texts¹.
- 2000,s: Calligraphy continues to struggle for recognition and appreciation in Pakistan, as it is
overshadowed by other genres of art, such as painting, sculpture, photography, and digital media.
However, some calligraphers still persist in their passion and practice of this art form, while others try to
innovate and adapt to the changing times and tastes. Some examples of contemporary calligraphers are
Jamil Naqsh, Ahmad Khan, Bin Qulander, Ayesha Durrani, and Rashid Rana¹.

Timeline of Calligraphy in Pakistan

11
 Contemporary digital tools and techniques that facilitate the
incorporation of calligraphic elements into architectural design
and studio.
Our research endeavors are centered around a fourth-year studio project, which serves as an enlightening
exploration into the pivotal role of digital technologies in advancing the practice of calligraphy within the
studio environment. This project, selected as a comprehensive case study, offers us a unique opportunity
to delve deep into the intricate confluence of the time-honored legacy of calligraphy and the cutting-
edge domain of parametric architecture.
Within this compelling context, we aim to conduct a thorough analysis that spans various dimensions.
We intend to meticulously dissect the strategies, and resources employed in seamlessly integrating
calligraphic elements into the realm of architectural design. This research endeavor is not just a mere
examination but a comprehensive journey, allowing us to unravel the symbiotic relationship between
traditional art forms and contemporary architectural techniques.

Module Development:

“Mahmoud Darwish's poignant quote, "‫( "الفن ليس ترفًا بل ضرورة‬al-fannu laysa tarfan bal ḍarūrah)
emphasizes that art is not a mere luxury but a fundamental necessity, a principle particularly relevant in
times of adversity and struggle. This philosophy underscores the enduring significance of calligraphy as a
form of artistic expression that transcends time and culture. By incorporating calligraphy into parametric
architecture through innovative digital tools like Rhino, the intrinsic value of art in architectural creation,
infusing structures with rich cultural depth and emotional resonance has been acknowledged. In this
convergence of tradition and technology, we not only honor our artistic heritage but also open up
boundless avenues for creative expression and architectural innovation, forging a path where the past
meets the future to redefine the aesthetics and purpose of architectural design.
From the quote ‫( "الفن ليس ترفًا بل ضرورة‬al-fannu laysa tarfan bal ḍarūrah) the word fann has been chosen
which means “Art” then it is written in different styles using thuluth script.

Word FANN Written in different style in thuluth script

12
 Using Various Tools With The Same Stroke(THULUTH)
To Produce Different Profilies:

By leveraging the capabilities of Rhino , along with Thuluth stroke component and parametric controls,
a wide range of profiles has been produced while preserving the integrity of the Thuluth stroke style. This
approach offers a creative and efficient way to explore design possibilities, experiment with different
variations, and integrate traditional art forms like Thuluth into contemporary architectural and design
contexts.

Using Various Tools With The Same Stroke(THULUTH) To Produce Different

Profilies:

Mind Map:
The mind map shows the following principles of
the Thuluth script of Arabic calligraphy:

Interconnection: The letters in a Thuluth

composition should be interconnected, creating
a sense of unity and flow.
Unity: The Thuluth script should create a sense
of unity and harmony, with all of the elements
working together to create a cohesive whole.
Flow: The Thuluth script should have a sense
of flow and movement, with the letters leading
the eye from one element to the next.
Proportion: The proportions of the letters in
the Thuluth script are carefully calculated,
creating a sense of balance and harmony.
Symmetry: The Thuluth script is balanced,
with both positive and negative space, and a
Thuluth script Mind Map
pleasing arrangement of the elements..

13
 Module Form Derivation:
Module 1:
Step 1: Start with an abstract shape, inspired by the
word Fann which is a good starting point for creating
a calligraphy-inspired design. Thuluth is often
characterized by its use of abstract shapes and forms.
Step 2: Modify the abstract shape, adding and Balance
subtracting elements to create a more balanced and
symmetrical composition. Balance and symmetry are
important properties of thuluth script, as they help to
create a sense of harmony and unity.
Step 3: Begin to link the different elements of the
Flow
design together, creating a sense of flow. Linkage is
another important property of Thuluth, as it helps to
guide the viewer's eye through the design.
Step 4: Start to overlap the different elements of the
design, creating a sense of depth and complexity. Overlap
Overlapping is a common technique used in thuluth
calligraphy to create interest and visual impact.
Step 5: Refine the design, adjusting the proportions
and ratios of the different elements to create a more
Linkage
harmonious and unified composition. Proportion and
ratio are essential for creating a successful Thuluth
calligraphy design.
Module development in Rhino
Module 2:

Step 1: Taking the curved part of the abstract shape

inspired by word Fann
Step 2:Enhance the form by introducing additional
elements to foster a greater sense of equilibrium and
symmetry. Balance and symmetry play pivotal roles in
the realm of Thuluth calligraphy, serving as Symmetry
fundamental attributes that contribute to the
establishment of harmony and unity within the
composition.
Step 3: Commence the process of layering the
components thus engendering a perception of depth
and intricacy. Overlapping, a prevalent and effective
technique in calligraphy, is harnessed to evoke intrigue Overlapping
and achieve a visually striking impact.
Step 4: The different elements of the design are now
even more unified, creating a sense of harmony and
balance.Unity means that the shape has parts that are
arranged or combined in a way that makes it look as a
whole or a single unit. Unity

Module development in Rhino 14

 Module Pictography:
These are the different views of the module that help us understand the geometry of module more
clearly
Module 1:

Module 2:

Module Population:
The module is populated ,the primary objective is to assess how this collective assemblage will appear
and function once the population process is executed within the realm of Grasshopper, the visual
scripting platform for Rhino

Module 1:

Plain surface
Grasshopper Circuit

Grid view

Module
Population

15
Side Views:

Module 2:

Plain surface
Grasshopper Circuit

Grid view

Module
Population

Side Views:

16
Refrences:
Alshahrani, A. A. (2008). Arabic Script and the rise of Arabic calligraphy.
http://files.eric.ed.gov/fulltext/ED503400.pdf
Elmansy, R. (2014). Arabic Calligraphy – Taking A Closer Look.
https://www.smashingmagazine.com/2014/03/taking-a-closer-look-at-arabic-
calligraphy/
Haider, H. (2020). Calligraphic Architecture : Stroke to Form, Space & Surface.
Keung, A. (1999). Calligraphy architecture callitecture (Issue April).
Khan, M. S. (2023). An Exploration of Pakistani Calligraphy.
https://pakistanzest.com/culture-zest/an-exploration-of-pakistani-calligraphy/
Mohsin, U. (2011). Beauty In The Lines: Pakistani Calligraphy.
Moustapha, H., & Krishnamurti, R. (2001). Arabic Calligraphy : A Computational
Exploration. July.
Shiekh, B. A. L. (n.d.). Arabic calligraphy and parametric architecture.
Siddiqui, R. R. (2007). TRACE : Tennessee Research and Creative Exchange Architecture
and and Zen Calligraphy : Shaping Spiritual Space.
V., A. (2016). What is Calligraphy? Discover Different Types of Writings Art History.

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