Emirates Journal for Engineering Research, 20 (1), 17-26 (2015)

(Regular Paper)

17

Emerging Trends in Sustainable Furniture Design:

An Experimental Study on Arabic Calligraphy

Dr. Laila Al-Qahtani and Dr. Salwa A. Megahed

College of Art & Design at Princess Nora Bint Abdulrahman University

Saudi Arabia

(Received February and Accepted April 2015)

العالقة بين الخط العربي وتصميم األثاث، من حيث أساليب وطرق استخدام الحرف العربى فى صناعة تستكشف هذه الدراسة

مع خصائص األثاث المرن وخصائص الخط صفاتبين األثاث. ومن خالل النمذجة التجريبية يتم التحقق من مدى إمكانية التكيف

بشكل أساسى هذا البحث هذا يهتمل. العربية فى اطار من االستدامةيعبر عن هويتنا خاص وكذلك امكانية تطوير نمط والمستدام

لتحديد وتصنيف الطرق المختلفة األدبيات. وتستعرض هذه الدراسة للوصول لهذا النمطجديدة وخطوط ارشادية صياغة مبادئب

النمذجة ثالثية وتم استخدام. لولهاوحتصميم األثاث المتعلقة بستدامة الستخدام الخط العربي في تصميم األثاث، وكذلك قضايا اال

تحديد األكثر مرونة في تشكيل األثاث. وكان تحليل شكل ونسب أنواع الحرف المختلفة، بغرض األبعاد لتحليل أشكال الخط العربي

مستدام.و مرنأثاث األندلسي ....... الخ( لمحاكاة إمكانية تكييف الخط العربي لتصميم -الكوفىالمختلفة )مثل

This study investigates the relation between Arabic script and furniture design, as well as their common

characteristics. Through experimental modeling, it also verifies the possibility of adapting those uniquely

similar qualities to create a special style of flexible, sustainable furniture. This research is mainly interested in

the formulation of new guidelines for a special style of flexible, sustainable furniture. This study reviews the

literature to identify and classify various methods of using Arabic calligraphy in furniture design, as well as

sustainable issues and solutions in furniture design and manufacturing. Experimental three-dimensional

modeling software is used to analyze the various forms of Arabic calligraphy, as well as to select the most

flexible in the formation of furniture. It was the analysis of the shape and proportions of the different character

types (such as Kufic- Andalusian ....... etc.) to simulate the possibility of adapting Arabic calligraphy to the

design of flexible, sustainable furniture.

Keywords: Sustainable furniture, flexible furniture, Arabic calligraphy

1. Introduction

Arabic calligraphy is the artistic practice of

handwriting based on the Arabic language and

alphabet in countries sharing a common Islamic

cultural heritage. It is known in Arabic as khatt (خط),

which derives from the word line, design, or

construction[1]. Arabic calligraphy is highly venerated

and most works follow examples set by well-

established calligraphers, with the exception of secular

or contemporary works. While most foreigners cannot

interpret the Arabic letters, they can appreciate the

formal beauty of the Islamic calligraphy [2].

Arabic calligraphy is one of three main features of

Muslim art. In addition to calligraphy, Muslim art

routinely includes intricate geometric patterns and a

variety of vegetal motifs (arabesque) [3]. Arabic

Calligraphy is applied to a wide range of decorative

media other than paper, such as tiles, containers,

carpets, murals, and coins. Arabic calligraphy is

therefore an infinite source of creativity and

inspiration [4]. This study attempts to use the Arabic

script as a form of furniture, instead of just for

decoration, and to introduce Arabic calligraphy into

contemporary furniture design. The resulting furniture

must also support human activities and be sustainable.

This research is mainly interested in new guidelines

for a special style of flexible, sustainable furniture.

1.1. Research objectives

This study investigates the relation between Arabic

script and furniture design, as well as their common

characteristics, and the possibility of adapting those

uniquely similar qualities to the furniture design

requirements.

1.2. Methodology

A literature review identifies and classifies the various

methods of using Arabic calligraphy in furniture

design and sustainable Issues and solutions in furniture

design and manufacturing. Experimental 3D modeling

software is used to simulate the possibility of adapting

Arabic calligraphy to flexible, sustainable furniture.

18 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

2. Arabic script in furniture design

This section reviews the different methods of using

characters in the design of furniture and décor. The

different styles of Arabic writing mostly derive from

early versions of the Qur'an. There are geometric

styles, such as Kufic, and cursive (flowing) styles,

such as Naskh, Thuluth, and Muhaqqaq. Numerous

types of calligraphy and arts account for a large part of

our architectural heritage. Different styles of Arabic

calligraphy are used in various methods, categorized

as follows.

2.1. As ornaments and decoration for pieces of

furniture

Figure 1 shows the use of different kinds of Arabic

script to create an especial style of furniture in

different eras. The Kufic style of calligraphy, with its

ratios and proportions to write quotes from the Quran,

is used to create pieces of furniture, such as bookcase

stand or CD racks, reflecting culture and technology[5].

Antique wooden carved

cupboard in Arabian style

with mother of pearl inlays,

Arabic calligraphy pattern

and arabesque window

decorations. ca. 1910.

Casket, brass

with inlaid

gold, Arabic

calligraphy

pattern and

silver, 1300-

1350

A walnut carved and mother-of-pearl inlaid

side table. late 19th Century

Hardwood teak chest, carved on top and three

sides with Arabic writing and the word

"Allah". , mid to late 19th Century

Detail from wooden panel with Arabic

inscription,, 1150-1250

The use of Arabic script to decorate different pieces of

furniture – modern art.

Figure 1: The use of different kinds of Arabic script to create an especial

style of furniture in different eras.

(https://www.behance.net/gallery/8379901/Optimistic-Bookshelf).

19 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

2.2. As a decoration for upholstery, curtains,

and pillows

Arabic calligraphy is used as decorative print and

embroidery on fabrics, decorative pillows, whether

large as a basic motif or mixed with other geometric

patterns, such as on a couch. A specially

commissioned chair. God’s name with different floral

patterns is stitched on the chair’s canvas upholstery[6]

(see Figure 2).

Figure 2: Use of Arabic calligraphy as decorative print.

http://hebamagazine.com/design/calligraphic-furniture-by-raika/

2.3. As 3D innovative forms of contemporary

modern furniture

Even in the digital era, modern designers and

calligraphers are still using Arabic calligraphy as an

essential element of their designs. While many

contemporary calligraphers and designers use the

standard script styles mentioned above, others prefer a

freestyle script unrestricted by the rules of any of the

known standard scripts. This free style relies on the

beauty of Arabic glyphs and how they can be curved,

twisted, and reshaped to form harmonious and eye-

catching artwork. Arabic calligraphy can be formed as

various geometric shapes while maintaining the Arab

character, even if recognized only from an elevated or

side view of the object.

Numerous types of calligraphy and arts account for a

large part of Islamic heritage. The art of Arabic

calligraphy should be respected and treated with great

sensitivity. Individuals who work with Arabic

calligraphy, whether in furniture design or in prints,

should be highly devout and skilled. “Kashida's"

designs are such as example: “Kashida” is the bridge

between Arabic typography and modern lifestyle. It is

the pioneer in fusing letterforms with functional

products and furniture, executed with premium

craftsmanship.” [7] "Kashida" creates art accessories

and furniture. It excels in its designs and creativity and

has an offbeat view of Middle Eastern culture (see

Figure 3).

20 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

Figure 3: 3D Arabic calligraphy is transformed into functional product design to form furniture

(http://whatrhymeswithellen.com/2014/04/05/talk20-beirut-8th-edition/).

3. Flexible sustainable furniture

The main objective of this research is to explore the

possibility of adapting Arabic calligraphy to the design

of flexible, sustainable furniture. So that tis part review

the modern aspects of sustainable and flexible

furniture.

Furniture is the major element in interior design. It uses

a wide range of materials and colors. In the context of

sustainability, the major criteria are the materials used

in the production process and the furniture’s long-term

use.

The main factors of sustainable furniture design are the

consumer, furniture production, and design, especially

among consumer communities that use traditional

methods of implementation. The furniture’s

manufacture and design ideas interfere as main factors [8], as shown in Figure 4.

Therefore, this experimental research is motivated by

the consumer’s need for high-quality furniture design

that satisfies the consumer’s desires and achieves a

sustainable identity through Arabic calligraphy by

interacting with it and experiencing it. In this study, the

consumer plays the role of the manufacturer and is

involved in the process of making his or her furniture.

Figure 4: The main factors of

sustainable furniture design.

3.1. The goal of a sustainable furniture manufacture

The goal is to create a system that can be supported

indefinitely to protect the environment and be socially

responsible for it. Sustainability is a solid trend today,

growing to encompass and support sustainable design.

Products are thus made in consideration of their

environmental and social impacts during their full life

cycle.

In addition to production process considerations, old

furniture cannot be recycled. Such waste plays a large

role in increasing the amount of global waste.

Recycling is therefore one of the important aspects of

sustainable furniture. Some furniture companies have

recently started producing furniture entirely from waste

products [9].

Consumer

Design

Idea

furniture

Factory

21 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

In recent years, there have been many innovative

examples of furniture production. For example, at

Cambridge University, the Design and Engineering

departments developed a joint project to generate

electricity from vegetation. Their system involved a

light fixture on the table and plants inside the table (see

Figure 5) [10], with the lighting fixture obtaining its

energy from the plants. A good example of innovative

sustainable design, this project also encompasses the

essence of interdisciplinary study in achieving

sustainable environments.

Figure 5: Table and

lighting unit with

renewable energy. (Nur

Ayalp, 2014)

3.2. Sustainability system

The system of sustainability proposed involves three

basic principles: the consumer, a furniture construction

system, and a design idea (see Figure 6) [11]. The

factory makes a designed furniture product that the

consumer then buys and tries to develop. The idea

developed by the consumer may inspire the factory to

proceed with a chain of further developments that

involves the creative efforts of consumers.

Figure 6: The three basic principles of the sustainability

proposed. (United Nations, 2008)

The theory of industrial ecology can be applied to the

design and manufacture of furniture. When analyzing

production and the use of furniture with the standard

ecological life cycle model (Figure 7), sustainable

furniture seldom has any severe ecological

disadvantages: Raw materials, especially wood, are

replenish able, there is a lively recycling market, and

the disposal of materials is relatively simple because it

is usually easy to disassemble furniture and the waste

materials are not toxic. The existence of a trustworthy

theory of ecology does not mean that it is always used.

Designers and furniture manufacturers could often do

better in minimizing the use of materials and energy

and facilitating the recovery of materials [12].

Figure 7: Ecological life cycle model. (Deniz Deniz,

2002)

3.3. Basic principles of environmental design

The following are some basic principles the

environmentally aware designer should strive for:

• Increasing efficiency in the use of materials,

energy, and other resources,

• Minimizing damage or pollution from the chosen

materials,

• Reducing to a minimum any long-term harm to the

environmental caused by the use of the product,

• Ensuring that the planned life of the product is the

most appropriate in environmental terms and, if

necessary, that the product functions efficiently for

its full life,

• Taking full account of the effects of the product’s

end disposal,

• Ensuring that the product’s packaging, instructions,

and overall appearance are environmentally

friendly,

• Encouraging the product’s efficient and

environmentally friendly use,

• Minimizing nuisances such as noise and smell, and

• Analyzing and minimizing potential safety hazards.

3.4. Solutions for flexible, sustainable furnishings

Different needs can be adapted by using a single

geometric unit as a versatile block that can be stacked

to suit a wide range of functions, from shelves to

partitions (see Figure 8), freestanding or wall mounted.

The individual blocks can also double as boxes or

stools. The units are made from materials that are non-

toxic, free of volatile organic compounds, non-

allergenic, and 100% recyclable [13].

Consumer

Furniture Factory

Design Idea

22 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

Figure 8: Modular Build blocks can be stacked to create flexible shelving (http://inhabitat.com/modular-build-blocks-can-

be-stacked-up-to-create-flexible-shelving/build-modular-eco-shelving-system-7/).

Flexible furniture can be used throughout all stages of

life, from childhood to adulthood. The furniture

design is based on the simple principles of the classic

game Jenga1.. Build’s furniture can be constructed or

its composition and height adjusted by adding or

removing a modular furniture unit. A myriad of used

sheets of paper that are recuperated, recycled, and

reused in a completely new way for an extendible

chair that can also be compact and multiform to host

anywhere from one to 16 people! A group of good

friends, a soccer team, or a school class (see Figure

9). The concept of expandable furniture is basically to

reduce space when not in use [14].

Cork furniture is flexible and ergonomic and made

from recycled cork. It is as environmentally friendly

as it is people friendly (see Figure 10). Cork is an

engaging and environmentally responsible material

that is completely sustainable, recyclable, and

plentiful. In addition, because cork is 100%

waterproof and impervious to rot and mold, these

pieces functions outdoors as well as indoors [15].

Foldable furniture is a highly desirable range of

furniture that brings unique contemporary design to a

practical, space-conscious world. As shown in Figure

11, the chair has two simple folds that allow it to

evolve from a flat envelope to a chair. Foldable chairs

have historically been an ugly space-saving device

with no real aesthetic quality [16].

1 The word jenga in Swahili means to build

Figure 9: A flexible chair (http://www.flexiblelove.com/).

Figure 10: Cork furniture

(http://www.inspirationgreen.com/cork-chairs.html).

23 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

Figure 11: Foldable furniture.

4. A vision for a special style of flexible

sustainable furniture

4.1. Analysis of the selected script geometry

For this work, the researcher began with one character

Ṭâ’ (ط ) that intrigued her and that, from her point of

view, has a dynamic form، a combination of straight

and curved lines, and an intriguing structure. The

researcher was careful to maintain the simple beauty

and graceful quality of the script. The characters were

first broken down into parts, lines, profiles, and forms

that could be rearranged to translate two-dimensional

drawings into 3D forms.

As shown in Figure 12, Ṭâ’ is a box with an alif, or

long tooth, attached, and is the one character other than

lâm to be as tall. It originally had no tail at all and only

acquired a short token one, much like mîm’s. Its twin,

Ẓâ’(ظ(, is recognized by the one dot, which is always

before the long tooth, over the body.

Figure 12: The anatomy of

the selected character Ṭâ’ (ط

). (Comparison between

aesthetics and proportions of

letter ط with the golden

ratio).

The long tooth does not have to be vertical, and is

often slanted back at the same angle as the hook in

dâl and kâf. This makes this character sometimes look

exactly like a kâf, although close examination reveals

it to be, instead, a closed box. There are even

examples of the letter with a long tooth standing on

the back of the box, rather than coinciding with its

left side [17]. It turns out that the letter "ط" has the

aesthetics and proportions correspond with the golden

ratio

4.2. Using a single geometric unit in designing

furniture

24 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

Furniture not only is a functional form but also serves

as a medium that can link people to spaces and which

can create an aesthetic experience for enriching

human beings’ daily lives. The researcher attempted

to use Arabic script to create future furniture design،

to ultimately enrich people’s experience and bring

beauty to their lives. As shown in Figure 13, the

researcher attempted to create images using the

character Ṭâ’ (ط ).

Modular Build blocks can

be stacked to create

flexible shelving.

Flexible chair.

All kinds of furniture can “speak Arabic.”

Figure 13: Décor created by using the

character Ṭâ’ (ط ).

25 Emirates Journal for Engineering Research, Vol. 20, No.1, 2015

4.3. Guidelines for a special style of flexible,

sustainable furniture

There are several very important guidelines that must

be adhered to when designing for a special style of

flexible, sustainable furniture:

1. International, national, and third-party

certification standards must be met.

2. Standards for resource reduction must be

adopted, to

Design for reduced material content in products,

Establish minimum recycled content for raw

materials,

Use manmade veneers, such as Tech wood, to

reduce the percentage of wood waste,

Recycle all scrap metals, fabric, cardboard, and

paper.

3. The furniture must be flexible and adaptable:

Flexible and adaptable furniture that can change

throughout the client’s day and over the longer

term is required to accommodate the client-

centered paradigm and advances in technology,

as well as local identity.

4. Globalization versus local identity must be

considered. The design should be global

community centered while encompassing both

local and global communities; that is, the furniture

should enhance interaction capabilities within a

diverse yet increasingly connected world, while

incorporating local cultures.

5. Conclusion

Calligraphy is an important source of inspiration for

interior designers attempting to integrate the art of

calligraphy in the design of furniture and decorative

accessories. The use of calligraphy continues to fit

both classical tastes and the most daring

contemporary modern designs.

This study combines both the beauty of the Arabic

script and the researcher’s vision for furniture design.

The furniture’s shape, either emphasized or simplified

by necessity, is not just unique furniture but also 3D

letters. Furthermore, the concepts introduced are

solidly embedded into the functionality of the

furniture. This allows ideas to be introduced to

people, both physically and intellectually, to

ultimately enrich their experience and bring beauty

into their lives.

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