Videos by Tamadher Al Fahal
Conference: Education, Design and Practice – Understanding skills in a Complex World
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Conference Presentations by Tamadher Al Fahal
—Faith and art practice in traditional Islam had a profound rapport that is lost today. From prac... more —Faith and art practice in traditional Islam had a profound rapport that is lost today. From practicing the principles of faith throughout everyday life, art was found as an expressive tool for Islamic revelation, worship, and the contemplative remembrance of God. Today, this rapport between Islamic art and spirituality has diminished; and the cosmological and metaphysical ideas that were the core of creative practices lost their imminence in people's lives. Hence, the cultural and religious practice of Islamic societies became separate from the creative production. In an attempt to revisit this rapport, it is sought to investigate the possibility of creating a set of principles for contemporary Islamic art and design through collaborative practice-led research. The research will aim to regenerate the potentials of Islamic philosophy for creative expressions, particularly in design studies. The outcomes will be manifested through different mediums such as: reflexive mind maps and visuals by the researcher, and various methods of participatory art practice aim to validate the philosophical concepts as design principles as a way to disseminate knowledge. This paper will focus on showcasing the key findings and the research approach for generating philosophical concepts as design principles. Using secondary evidence from literature, it will show examples of transforming textual findings into visuals that will be extensively explored through multidisciplinary collaborative sessions (these are scheduled to be conducted between February and April 2017).
Faith and creative practice in traditional Islam had a profound rapport that is lost today. Art, ... more Faith and creative practice in traditional Islam had a profound rapport that is lost today. Art, in its various forms, was born as an instrumental need
for Muslims to express religious worship and spiritual contemplation. Hence, what is seen in the traditional Islamic creative practice is not merely
aesthetics, but profound dimensions of mathematics and metaphysics layered within decorative arts, designed objects, and spatial forms. Today,
the Islamic creative directions are torn between two ends of a spectrum, including traditionalists who are too attached to historical means and
modernists who are keen to embrace modern approach apart from spiritual dimensions. This research promotes a new way of approaching
designed objects through an abstract knowledge of divine principles that underpin traditional aesthetics. Moreover, it summarizes a set of
principles and examines their validity to generate an alternative creative expression of the Islamic religion. These principles are unity,
remembrance, modesty, absence, balance, rhythm, and intimacy. In an attempt to adapt similar approaches to design foundations, yet maintain the
religious reference as philosophical basis, the principles were introduced to twenty-eight interior design students of an Islamic cultural
background. The interpretations were then reflected on micro and macro scales. The first is the application in the design of a jewelry piece, and
the other through the design of an interior space. The outcomes showcased the possibility of a new image of Islamic designs that challenges the
cliché impression of the traditional form, without divorcing it from the profound principles of faith
Books by Tamadher Al Fahal
Doctorate Thesis, 2019
Faith and art practice in traditional Islam once had a profound cultural rapport within Islamic s... more Faith and art practice in traditional Islam once had a profound cultural rapport within Islamic society that is lost today; art was used as an expressive tool for Islamic religious revelation, worship, and the contemplative remembrance of God. While some scholars acknowledge philosophical, cosmological and metaphysical dimensions forming the legacy of Islamic art, others argue that such “mystical” ideas do not have historical evidence. This polarity resulted in a wide spectrum of thoughts in contemporary Islamic pedagogies and practices, reflecting a continuous discourse between tradition and modernity. This practice-led research investigates an alternative reading for traditional Islamic aesthetics that can respond to contemporary thoughts and practices, by reviewing literature that focuses on two main points:- a) the traditional Islamic philosophy that underpinned the creative decisions, and b) the contemporary practice and pedagogy of Islamic art. This was achieved by revisiting the concept of creativity in Islamic context; emphasising the ‘why’ instead of the ‘how’ and addressing how current artistic practice reflects religious and spiritual thoughts. The literature finding proposes an alternative approach in Islamic art pedagogy by adopting ‘design culture’ as a field that can help in broadening the understanding of Islamic aesthetics. The methodological approach emphasises the notion of art-making as “thinking made visible”, by adopting multi-faceted artistic practice and processes including aspects such as “studio thinking”, “visual thinking”, and “tacit knowledge”. This was achieved through two case studies; one was in Tetouan, Morocco where the cultural context was more focused on skill-based knowledge. The other was in Bahrain; where the context was more oriented towards theoretical knowledge. With these various modes of knowing/thinking, the methodological approach adopts curatorial practice as a mode of assemblage and an enactment of research thinking/creating. It demonstrates a new understanding of curatorial practice as a disruptive form of knowledge that challenge and inform the practice and pedagogy of Islamic artistic expression. The research structure also aims at contributing to academic knowledge by using visuals and design language to expand the general understanding of how knowledge can be understood and communicated. The research outcomes were demonstrated through different mediums such as reflective mind maps and visual explorations. This will be documented in the written thesis and an accompanying exhibition that will showcase the researcher’s creative process as a way to disseminate research knowledge.
Papers by Tamadher Al Fahal
2023 International Conference on Sustaining Heritage: Innovative and Digital Approaches (ICSH), 2023
Many recent studies shown that museums have
encountered growing challenges caused by the economic... more Many recent studies shown that museums have
encountered growing challenges caused by the economic crisis,
globalisation, and cultural changes. As a result, museums had to
rethink their traditional models and embrace new modalities of
access. Such modalities were enabled through the emerging
technologies that are currently challenging the virtual/real
relationship. Using photogrammetry as a method for creating
photorealistic 3d models is an example of emerging technologies
that are being explored in the heritage preservation practice,
however within the context of the museum there is still an
ongoing debate whether such technologies would replace the
traditional experience of artifacts or complement it.
The paper is based on an interdisciplinary framework that
draws on ideas of practice-based research and how can artistic
practice contribute to transmission of knowledge. The aim is to
create a connection between the museum practices and the
artistic reflective practices to propose opportunities for more
sustainable approach in cultural heritage. This is explored by
investigating the use of the 3D scanning technology of
photogrammetry both as a documentation tool by Bahrain
National Museum, and as an artistic tool to create digital objects
that have authentic value of their own.
The paper concludes with recommendations that can be
applied in the local context towards more hybrid interactive
museum experience where virtual experiences and digital
information coexist- as well as complement -the tangible
artifacts. Through the creative use of digital technologies, the
paper encourages creating an engaging and active dialogue
between the museum and its visitors.
World Academy of Science, Engineering and Technology, International Journal of Humanities and Social Sciences, 2017
—Faith and art practice in traditional Islam had a profound rapport that is lost today. From prac... more —Faith and art practice in traditional Islam had a profound rapport that is lost today. From practicing the principles of faith throughout everyday life, art was found as an expressive tool for Islamic revelation, worship, and the contemplative remembrance of God. Today, this rapport between Islamic art and spirituality has diminished; and the cosmological and metaphysical ideas that were the core of creative practices lost their imminence in people's lives. Hence, the cultural and religious practice of Islamic societies became separate from the creative production. In an attempt to revisit this rapport, it is sought to investigate the possibility of creating a set of principles for contemporary Islamic art and design through collaborative practice-led research. The research will aim to regenerate the potentials of Islamic philosophy for creative expressions, particularly in design studies. The outcomes will be manifested through different mediums such as: reflexive mind maps and visuals by the researcher, and various methods of participatory art practice aim to validate the philosophical concepts as design principles as a way to disseminate knowledge. This paper will focus on showcasing the key findings and the research approach for generating philosophical concepts as design principles. Using secondary evidence from literature, it will show examples of transforming textual findings into visuals that will be extensively explored through multidisciplinary collaborative sessions (these are scheduled to be conducted between February and April 2017).
Faith and art practice in traditional Islam once had a profound cultural rapport within Islamic s... more Faith and art practice in traditional Islam once had a profound cultural rapport within Islamic society that is lost today; art was used as an expressive tool for Islamic religious revelation, worship, and the contemplative remembrance of God. While some scholars acknowledge philosophical, cosmological and metaphysical dimensions forming the legacy of Islamic art, others argue that such “mystical” ideas do not have historical evidence. This polarity resulted in a wide spectrum of thoughts in contemporary Islamic pedagogies and practices, reflecting a continuous discourse between tradition and modernity. This practice-led research investigates an alternative reading for traditional Islamic aesthetics that can respond to contemporary thoughts and practices, by reviewing literature that focuses on two main points:- a) the traditional Islamic philosophy that underpinned the creative decisions, and b) the contemporary practice and pedagogy of Islamic art. This was achieved by revisiting the concept of creativity in Islamic context; emphasising the ‘why’ instead of the ‘how’ and addressing how current artistic practice reflects religious and spiritual thoughts. The literature finding proposes an alternative approach in Islamic art pedagogy by adopting ‘design culture’ as a field that can help in broadening the understanding of Islamic aesthetics. The methodological approach emphasises the notion of art-making as “thinking made visible”, by adopting multi-faceted artistic practice and processes including aspects such as “studio thinking”, “visual thinking”, and “tacit knowledge”. This was achieved through two case studies; one was in Tetouan, Morocco where the cultural context was more focused on skill-based knowledge. The other was in Bahrain; where the context was more oriented towards theoretical knowledge. With these various modes of knowing/thinking, the methodological approach adopts curatorial practice as a mode of assemblage and an enactment of research thinking/creating. It demonstrates a new understanding of curatorial practice as a disruptive form of knowledge that challenge and inform the practice and pedagogy of Islamic artistic expression. The research structure also aims at contributing to academic knowledge by using visuals and design language to expand the general understanding of how knowledge can be understood and communicated. The research outcomes were demonstrated through different mediums such as reflective mind maps and visual explorations. This will be documented in the written thesis and an accompanying exhibition that will showcase the researcher’s creative process as a way to disseminate research knowledge.
Al-Bahrain Al-Thaqafia, 2021
Drafts by Tamadher Al Fahal
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Videos by Tamadher Al Fahal
Conference Presentations by Tamadher Al Fahal
for Muslims to express religious worship and spiritual contemplation. Hence, what is seen in the traditional Islamic creative practice is not merely
aesthetics, but profound dimensions of mathematics and metaphysics layered within decorative arts, designed objects, and spatial forms. Today,
the Islamic creative directions are torn between two ends of a spectrum, including traditionalists who are too attached to historical means and
modernists who are keen to embrace modern approach apart from spiritual dimensions. This research promotes a new way of approaching
designed objects through an abstract knowledge of divine principles that underpin traditional aesthetics. Moreover, it summarizes a set of
principles and examines their validity to generate an alternative creative expression of the Islamic religion. These principles are unity,
remembrance, modesty, absence, balance, rhythm, and intimacy. In an attempt to adapt similar approaches to design foundations, yet maintain the
religious reference as philosophical basis, the principles were introduced to twenty-eight interior design students of an Islamic cultural
background. The interpretations were then reflected on micro and macro scales. The first is the application in the design of a jewelry piece, and
the other through the design of an interior space. The outcomes showcased the possibility of a new image of Islamic designs that challenges the
cliché impression of the traditional form, without divorcing it from the profound principles of faith
Books by Tamadher Al Fahal
Papers by Tamadher Al Fahal
encountered growing challenges caused by the economic crisis,
globalisation, and cultural changes. As a result, museums had to
rethink their traditional models and embrace new modalities of
access. Such modalities were enabled through the emerging
technologies that are currently challenging the virtual/real
relationship. Using photogrammetry as a method for creating
photorealistic 3d models is an example of emerging technologies
that are being explored in the heritage preservation practice,
however within the context of the museum there is still an
ongoing debate whether such technologies would replace the
traditional experience of artifacts or complement it.
The paper is based on an interdisciplinary framework that
draws on ideas of practice-based research and how can artistic
practice contribute to transmission of knowledge. The aim is to
create a connection between the museum practices and the
artistic reflective practices to propose opportunities for more
sustainable approach in cultural heritage. This is explored by
investigating the use of the 3D scanning technology of
photogrammetry both as a documentation tool by Bahrain
National Museum, and as an artistic tool to create digital objects
that have authentic value of their own.
The paper concludes with recommendations that can be
applied in the local context towards more hybrid interactive
museum experience where virtual experiences and digital
information coexist- as well as complement -the tangible
artifacts. Through the creative use of digital technologies, the
paper encourages creating an engaging and active dialogue
between the museum and its visitors.
Drafts by Tamadher Al Fahal
for Muslims to express religious worship and spiritual contemplation. Hence, what is seen in the traditional Islamic creative practice is not merely
aesthetics, but profound dimensions of mathematics and metaphysics layered within decorative arts, designed objects, and spatial forms. Today,
the Islamic creative directions are torn between two ends of a spectrum, including traditionalists who are too attached to historical means and
modernists who are keen to embrace modern approach apart from spiritual dimensions. This research promotes a new way of approaching
designed objects through an abstract knowledge of divine principles that underpin traditional aesthetics. Moreover, it summarizes a set of
principles and examines their validity to generate an alternative creative expression of the Islamic religion. These principles are unity,
remembrance, modesty, absence, balance, rhythm, and intimacy. In an attempt to adapt similar approaches to design foundations, yet maintain the
religious reference as philosophical basis, the principles were introduced to twenty-eight interior design students of an Islamic cultural
background. The interpretations were then reflected on micro and macro scales. The first is the application in the design of a jewelry piece, and
the other through the design of an interior space. The outcomes showcased the possibility of a new image of Islamic designs that challenges the
cliché impression of the traditional form, without divorcing it from the profound principles of faith
encountered growing challenges caused by the economic crisis,
globalisation, and cultural changes. As a result, museums had to
rethink their traditional models and embrace new modalities of
access. Such modalities were enabled through the emerging
technologies that are currently challenging the virtual/real
relationship. Using photogrammetry as a method for creating
photorealistic 3d models is an example of emerging technologies
that are being explored in the heritage preservation practice,
however within the context of the museum there is still an
ongoing debate whether such technologies would replace the
traditional experience of artifacts or complement it.
The paper is based on an interdisciplinary framework that
draws on ideas of practice-based research and how can artistic
practice contribute to transmission of knowledge. The aim is to
create a connection between the museum practices and the
artistic reflective practices to propose opportunities for more
sustainable approach in cultural heritage. This is explored by
investigating the use of the 3D scanning technology of
photogrammetry both as a documentation tool by Bahrain
National Museum, and as an artistic tool to create digital objects
that have authentic value of their own.
The paper concludes with recommendations that can be
applied in the local context towards more hybrid interactive
museum experience where virtual experiences and digital
information coexist- as well as complement -the tangible
artifacts. Through the creative use of digital technologies, the
paper encourages creating an engaging and active dialogue
between the museum and its visitors.