Architectural (Bannāʾī) Kufic 

Architectural (Bannāʾī) Kufic — Conceptual Research

This page presents a limited selection of conceptual studies based on Architectural (Bannāʾī) Kufic, developed as part of an ongoing research into structure, geometry, and form.

My engagement with Bannāʾī Kufic does not approach it as ornament or calligraphy in the conventional sense. Instead, it is treated as a constructive system: a geometric language capable of generating spatial order, structural continuity, and architectural form.

The works shown here explore how the logic of Bannāʾī Kufic can be extended beyond surface patterning and translated into three-dimensional structures. The focus is on proportion, continuity of lines, balance between solid and void, and the potential of the script to function as an organizing framework rather than a decorative layer.

These studies are conceptual in nature. They are not tied to a specific site, scale, or construction method, and are intended as explorations rather than finalized architectural designs. 

Only a small number of images are presented here, and only for a limited time. Further material, process documentation, and advanced studies are available upon request and are not publicly displayed.

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One of the philosophical foundations of my work with Bannāʾī Kufic—especially in its three-dimensional and architectural applications—is the principle of Ambient Assimilation. I introduced this principle in my book Si Pare On Setar Learning and the Metamusics of Iranian Music . Although it was originally formulated for understanding and creating music, it can also be applied to other fields, particularly architecture.

Using this principle, I design structures in which beauty is of secondary importance. The primary concern is the clarity, intensity, and quality of impact, as well as expressive power. I often aim to articulate—or evoke in the viewer—states and concepts that have deep cultural and historical roots.

Another core principle in my design approach is the belief that the mind apprehends the underlying geometry and mathematical ratios unconsciously, even when the eye is not aware of them. Accordingly, proportional relationships within the geometry of my structures are carefully calculated and extensively developed.

What matters most to me is the power of impact, not merely the production of a structure with specific geometric features. From this perspective, geometry exists as a means of influence. One of my guiding principles in understanding and creating Art should be approached and known through its impact, not through its structure.