Kamil Khan Mumtaz Architects

From the Archives: KKM Project in 'The Economist'

2012-01-31T07:53:00.000-08:00

Building Baba Hassan Din’s shrine
by Alixandra Fassina
from the Economist article

'Echoing down a winding stairwell, a scraping of masonry and clink of chisel on marble signal a remarkable monument rising. It is in the scruffy Lahori suburb of Baghbanpura, where Iqbal lived for six decades. From a narrow alley running alongside the shrine, it is mostly hidden: its high outer walls, of recessed brickwork speckled with multicoloured tiles, rising out of sight to a pair of domes and skinny minarets. A few steep steps lead into a small cloistered forecourt, where masons are at work.

Either side of the forecourt, about ten metres apart, are two false burial chambers. These are beautifully decorated, with white marble lattice and marble mosaics studded with green jade, lapis lazuli and agate. One is for Iqbal and the other for his mentor, a mystic called Baba Hassan Din, who lived in a brick cell on this site and died in 1968. The men’s true graves lie underneath, in brick-walled chambers, faintly murmuring with the sounds of the street outside.'

The Economist
- Of Saints and Sinners,

Dec 18th 2008

Delhi, Lahore and Sehwan Sharif

Link to Article (Click)

Marble work at Baba Hassan Din’s shrine
by Alixandra Fassina

Safavid Surfaces and Parametricism

2012-01-21T09:58:00.000-08:00

Derek Kaplan

in Archinect.com
December 2, 2011

Click here to go to Article

'... the first question is not: are we today capable of producing patterns of this sophistication? With our tools, we had better be, this and beyond. The more important question is: are we today capable of a process of aesthetic design refinement carried this far -- in which the specificity of intent drives the tools, as opposed to the tools filling an absence of specific intent? '

Breakdown of sub-pattern module distortions
(drawing by Derek Kaplan from article)

Photo by Derek Kaplan from article

Muqarnas 3-D Visualisation

2011-07-20T00:30:00.000-07:00

Rendered 3-D Model by M. Umair (Architectural Assistant)

Plan View 3-D Model by M. Umair (Architectural Assistant)

Ribbed Dome & Muqarnas

2011-07-12T10:11:00.000-07:00

Site Visit (11.7.2011) to an underconstruction holiday retreat in Wah Village.

Qalib-kari Mosquito-netting

2011-06-24T04:28:00.000-07:00

Inspiration: Covered Iranina bazar structures

Inspiration: Trational Qalib-Kari Webbing designs

Initial idea for a metal structure for mosquito-netting.

Article in Dawn

2011-03-07T02:06:00.000-08:00

Article about Sally Town Mosque & Baba Hasan-din Shrine Projects

Modern Monuments Built On Ancient Principles

By Majid Sheikh

(in Dawn, Lahore, Metropolitan Page, Sunday March 6, 2011)

As Lahore, especially its Walled City and its magnificent monuments, decay thanks to `blind official` patronage, the people just refuse to give up hope. This is the spirit that makes sure that this city stays alive, rejuvenates and creates new monuments that make us proud.
To discuss this spirit of hope, last week I dropped in unannounced at the office of
Kamil Khan Mumtaz....

(click title above or image below to read article)

Site-visit Baba Hasan-Din Mazar Lahore

2011-02-24T04:47:00.000-08:00

Under construction Muqarnas at entrance of Baba Hasan Din/Hafiz M. Iqbal Shrine Complex. (Site visit 24.2.2011).

Muqarnas Detail

Muqarnas

KKM & Ustad Jafar

Fresco Work at Sally Town Mosque

2011-02-12T11:25:00.000-08:00

Site visit 11.2.2011.
Fresco work & calligraphy is now complete in the central dome.

Workshop

2011-01-25T05:52:00.000-08:00

At NED University

Karachi

04. (Photos 01-05 Courtesy Sabbika Siddiq)

17^th – 23^rd January, 2011

Introduction to Islamic Architecture

Principles & Vocabulary

(Arch, Dome, Geometric Patterns, Muqarnas)

Conducted by

Taimoor Khan Mumtaz

Given the fact that Pakistan is heir to one of the richest traditions of architecture anywhere in the world it is amazing and mind boggling that in our architectural education there is a complete absence of any practical knowledge of this tradition. The objective of the present workshop, which is the second in this series ( Workshop One was held at NED in Feb. 2010), was to address this lack.

There were 24 participants who took part in the Workshop, including twenty 3rd to 5th year NED students of Architecture, two faculty members from NED, one visiting faculty from UET Lahore and one from Indus Valley School of Art & Architecture, Karachi.

The workshop focused on hands-on learning of elements of Islamic Architecture from craftsmen's drawings from Anjuman Mimaran's collection of drawings, making card models of the same as well as constructing full-scale models in polystyrene (Thermopore) to get a sense of scale of these elements.

These practical exercises were supported by theoretical presentations, talks and a visit to two contemporary projects by Kamil Khan Mumtaz Architects illustrating the use of traditional elements in contemporary design.

Site Visit to Chale Sharif Tomb & Mosque Project - Gujrat

2010-10-27T09:36:00.000-07:00

Photography by:
Architect Najam Shameem - a recent graduate from BNU's Architecture Program.

Selections from an Exhibition on Islamic Architecture - I

2010-08-14T01:34:00.003-07:00

‘Mithaal-e-Mulk-e-Abad’-

The Time-less Message of Islamic Architecture –

An Exhibition exploring its Philosophy, Principles, Symbolism & Methods

This exhibition was designed and produced at Kamil Khan Mumtaz Architects for an International Conference of Islamic Art & Architecture held at National College of Arts, Lahore in November 2008. In the next few posts we would like to share some of these panels.

Panel 00-Introduction

Panel 01-Background

Please click on posters below for a larger view

Panel 02 -Background

Panel 03 -Principles of Islamic Art

Please click on posters below for a larger view

Selections from an Exhibition on Islamic Architecture - II

2010-08-11T06:30:00.001-07:00

‘Mithaal-e-Mulk-e-Abad’-

The Time-less Message of Islamic Architecture –

An Exhibition exploring its Philosophy, Principles, Symbolism & Methods

Panel 05-Architecture- Symbolism

Panel 09-Architecture- Methods

Please click on posters for a larger view

Panel 13 -Case Studies (A medieval Family of Architects)
Panel 14 -Case Studies (Master Mason Haji Abdul Aziz)

Please click on posters for a larger view

More Muqarnas Studies

2010-08-07T02:22:00.000-07:00

Left: Study Model for a Minar Muqarnas based on a Minar at Timur's Tomb in Samarqand (1398-1404).
Model by: Zeeshan & Sibtain, 5th year students at BNU's Architecture Dept. interning at KKM architects for the summer.

Minar at Timur's Tomb Samarqand

Recently finished Frescos at Baba Hassan Din Shrine

2010-07-21T05:29:00.000-07:00

Top: Qalib-Kari conrnice based on 17th century Tomb of Dai Anga (inside Gulabi Bagh located next to UET on the G.T. Road). Plaster work by Ustad Jafar; Fresco by Ustad Rafaqat and Calligraphy by Ustad Shaukat Minhas.

Bottom: General view of entrance passage to Baba Hassan Din's tomb (2010).

Click here for video of KKM on Symbolism of Sufi Tombs

‘Geometrical’ and ‘Gaz-grid’ Analyses of the Sheesh Mahal (Lahore Fort)

2010-07-16T05:48:00.000-07:00

Extract from:

In Search of the Time-less in Architecture

Figs. 15 & 16 show the ‘Geometrical’ and ‘Gaz-grid’ analyses respectively, of the Sheesh Mahal built by Shah Jahan in the Lahore Fort in 1630-31 AD. The Geometrical Analysis (fig 15) shows that all the main divisions of the plan are derived from a series of rotating and inscribed squares.

In the Gaz-Grid Analysis shown in fig 16 the grid is of 2.5 gaz. The over-all length 62gaz; the width of the court 40gaz; the central Veranda of the Sheesh Mahal 20gaz; the side double storey verandas 10 gaz; the inter-columnar distances for the two verandas 6gaz and 3gaz respectively; Length of the Naulakha Pavilion in the West 10gaz, the round portion of the central pool 13gaz.

Thus once sees that the design of the building utilises two processes simultaneously, namely ‘geometric’ and ‘analytical’.[1]

The design was first drawn more or less theoretically, according to geometric proportions. Then, the analytical process was applied, and one dimension within the design was selected as a module. This module would be equal to, or commensurate with the gaz.[2]

[1] This mirrors the process outlined for Timurid Architecture by Golombek and Wilber, The Timurid Architecture of Iran and Turan, basing themselves on the definitive Russian work of Bulatov, M.S, Geometricheskaiia Garmonizatsia v Arkhitekture Ssrednei Azii IX-XV, Moscow, 1978.

[2]Golombek and Wilber, The Timurid Architecture of Iran and Turan, Op.cit. p 139

Qalib-Kari (Stucco Plaster-work) & Naqqashi (Fresco Painting on wet lime-plaster)

2010-07-15T06:20:00.000-07:00

Qalib-Kari drawing in chalk by Usatd Jafar in an Iwan.

Shafaat and Majid at work on Frescos in a dome assisting their father Master Fresco Painter Rafaqat.

Click for Image of Mosque & Qalib-Qari design on Dome

Glazed-Tiles' Designs

2010-07-15T06:11:00.000-07:00

Initial samples for the mosaics
made by
M. Siddique Kashigar of Nasrpur,
Hydrabad Distt. Sindh.

Options for a Glazed-tile &
Terracotta Mosaic Panel.

Latest Issue: Journal of Research in Architecture & Planning, NED University, Karachi

2010-07-08T07:46:00.000-07:00

In Search of the ‘Time-less’ in Architecture

by Taimoor Khan Mumtaz

Abstract

While the use of geometry as surface decoration in Islamic architecture is evident and well documented, an aspect about which not enough is known and understood is the use of geometry in the design of the buildings themselves. This paper will, therefore, endeavour to focus on the use of geometry in the ordering and design of the architecture – plan, elevation, and section. In addition it does so from the point of view of a practising architect attempting to develop ways of employing these methods in contemporary practice, based not only on a knowledge of their traditional use but also their artistic function – which is to create an architecture which reflects something of the ‘time-less’ quality of all great art.

This paper consists of an Introduction briefly outlining the relevance of the study of traditional architecture and what we can learn from it. Part I gives the theoretical and philosophical background to the design principles[1] of Islamic architecture[2]. Part II offers a theoretical model for looking at traditional architecture in terms of a language with a grammar and a vocabulary in the context of which the principles of design and practical methods of geometry are employed. Part III gives a Historical Overview of the connection between Architecture and Geometry. Part IV consists of a presentation of geometric methods used in Islamic Architecture taking Timurid architecture of Iran and Central Asia as a case-study. In Part V a Mughal building and a Master-mason’s plan drawing of a mosque are analysed in the light of the methods discussed in the preceding section. In Part VI a contemporary project of a community mosque in Lahore is presented, where some of the methods studied are applied. The Conclusion discusses the extent and challenges of using the theoretical model of traditional architecture – language, grammar, vocabulary, principles and methods – in our own practice.

[1] These design principles find their clearest expression in sacred architecture i.e. of the mosque and the tomb. From sacred architecture these principles are reflected in Imperial as well as Urban Vernacular architectures.

[2] The term ‘Islamic Architecture’ stands for an architecture rooted in and expressing the traditional Islamic world view through a vocabulary of forms and principles of design particular to Islamic Architecture as it developed and maintained itself over the centuries till the colonisation of Islamic lands and the resulting influx of Post- Enlightenment philosophies and forms. Cf. Burckhardt , Titus, The Art of Islam- Language and Meaning , London, 1976.

Muqarnas Light

2010-06-29T05:53:00.000-07:00

Model & 3-D by : Syed M. Mehdi (internee, 4th Yr Arch, NCA)

Ribbed Dome & Muqarnas

2010-06-24T05:43:00.000-07:00

Top: 3-D Visualisations by M. Umair Draftsman for Rib construction and Muqarnas being developed by Kamil Sahib for various projects.

Bottom: At site in Defence - Form-work for actual Rib construction, M. Ilyas mastermason from Multan at work on brick ribs.

THE DOMINATING PRINCIPLE OF ISLAMIC ART COMES FROM THE QURAN

2010-06-19T13:51:00.000-07:00

Seyyed Hossein Nasr

The principle ... which dominates over Islamic art and the philosophy of beauty which governs it, comes directly from the Qur’an and hadith. It is, however, much too subtle to be seen externally. One of the reasons is that you don’t have a book in Islam on the philosophy of beauty or how they did architecture? No body knows how the Badshahi Mosque or the Taj Mahal or Isphahan mosque was built. This tradition was handed over orally from generation to generation through the artistic guilds, those of chivalry, the brotherhood organisations that were ultimately connected to the Tariqa or the esoteric path. What are these principles that have dominated over all forms of Islamic art from its beginning?
For more: http://goshaenur.blogspot.com/2010/06/dominating-principle-of-islamic-art.html

Extracts from a Poem by Martin Lings

2010-06-10T06:35:00.000-07:00

Martin Lings – Collected Poems (1981)

THE ELEMENTS

‘through a glass darkly’

The world and we are a watch through the night.

Half open eyes and ears, vigil

Between sleep and wake, not sleep nor wake,

Not pure repose of peace, nor live

Warmth of consciousness that wells like a spring.

Human happinesses are the half-heard strains

Of remote music; of remote splendours

A glimpse and they are gone into the grey darkness,

Forms that loom up in fog, to vanish.

….

Shadows of shadows of the shadow of His Face;

Echoes of echoes of the echoe of His Word.

The shadows pass, the Substance remains.

Multitudes of tomorrows melt into yesterday

Save One that will dawn as Today without end,

Has already dawned and risen is its Sun

For him who is awake, whose heart is a full moon.

Holy witness of the wealth it reflects.

It beams forth what it sees, bright in our darkness,

For us moonlight, but for the moon daylight

From a Fountain in flood ever-flowing. In that Day

The singer of the Psalms no shadow has for Love;

Jacob rejoices in Joseph forever.

Truth, All-Knowing, Eternal, Lord

Of the Absolute Day beyond day and night,

Infinite Beatitude, answer us, guide us

Over the surge of this sea of shadows, this vast

Ocean of echoes, that on the ultimate shore

We may behold, and hear, and have, and be.

Image: Hishida Shunsō (1874 - 1911)

Source:tipart.blogspot.com

Modernity & Tradition - An Artist's Perspective

2010-06-08T10:21:00.000-07:00

MURAD KHAN MUMTAZ

ART TALK - ARTonAIR Interviews

First broadcast June 4, 2010

"… I think it is also a matter of continuing a Tradition … in a contemporary sense when you speak of Tradition we think of something which is already dead and buried, … literally closed up in a museum. But for me Tradition is something which is alive, and to keep it alive you have to practice it everyday. And art-making is one of [its] aspects … but … you also have to look at your environment, and your situation and your context …."

Isn’t it illegal to paint on top of dollar bills? Murad Khan Mumtaz seems undaunted. Host Peter Brock speaks with the Pakistani-born artist about his exploration of the tension between tradition and modernity through the alteration of iconic images (e.g. dollar bills). Through the techniques of traditional Persian miniature painting, Mumtaz creates haunting and ominous images with far-reaching implications.

Link to Interview (Part-I)
Link to Interview (Part- II)

Notes: Islamic Art & Architecture - 4

2010-06-03T06:28:00.000-07:00

In the Futuhat, the Shaykh [Ibn al-Arabi] makes an explicit connection between poets and the World of Imagination during a visionary description of the soul's ascent (mi'raj) to the divine presence. Following the hadiths concerning the Prophet's [S.A.W] mi'raj, the Shaykh places a specific prophet in each of the celestial spheres, then discusses the sciences that pertain to each prophet and are acquired by the traveler who reaches the appropriate sphere. The third sphere that of Venus, is inhabited by Joseph, the great dream interpreter. Hence at this level the spiritual traveler acquires knowledge of the World of Imagination and of how to interpret images, and it is from this sphere that poets gain their inspiration.

When the traveler reaches the third heaven, Joseph casts to him the sciences that God had singled out for him, that is, those connected to the forms of imaginalization and imagination ....

.... This is the celestial sphere of complete form-giving and harmonious arrangement (nizam). From this sphere is derived assistance for poets. From it also arrive arrangement, proper fashioning, and geometrical forms within corporeal bodies…. From this sphere is known the meaning of proper fashioning, correct making, the beauty whose existence comprises wisdom, and the beauty that is desired by and is agreeable to a specific human constitution. (Ibn al-Arabi, Futuhatal Makiyyah. II 275.13).

William C. Chittick, Imaginal Worlds
– Ibn al-Arabi and the Problem of Religious Diversity, 2001

Section: Worlds of Imagination.

Chapter: Revelation and Poetic Imagery, pp. 80-81.

Image(Top Left): Miniature depicting man in the bound cosmos, surrounded by the heavens, each corresponding to one of the prophets; the zodiacal signs; the lunar mansions which symbolize the letters of the sacred alphabet; and finally the angelic realm which is above all space and therefore beyond the visible cosmos and itself the gate to the Divine Presence.
S.H.Nasr,

Islamic Science : An Illustrated Study, 1976

Notes: Islamic Art & Architecture - 3

2010-06-03T06:21:00.000-07:00

Inspiration in Traditional Art.

(6071) Abu Huraira [R.A] reported that ‘Umar [R.A] happened to pass by Hassan [Bin Thabit (R.A.)]as he was reciting verses in the mosque. He (Hadrat Umar) looked towards him (meaningfully), where upon he (Hassan) said: I used to recite (verses) when one better than you (the Holy Prophet) had been present (here). He than looked towards Abu Huraira and said to him: I adjure you by Allah (to tell) if you had not heard Allah’s Messenger (may peace be upon him) as saying: (Hassan), give a reply on my behalf; Allah! Help him with Ruh-ul-Qudus. ²⁷⁸⁷ He (Abu Huraira) said: By Allah, it is so (i.e. the Holy Prophet actually said these words).

²⁷⁸⁷Angel Gabriel.

Sahih Muslim, Vol. IV. Kitab Fadail al – Sahabah.

Rendered into English by Abdul Hamid Siddiqi (1981)

Chapter: MXXVI: The Merits of Hassan B. Thabit ²⁷⁸⁶ (Allah be please with him)

P. 1329

Notes: Islamic Art & Architecture - 2

2010-06-03T06:17:00.000-07:00

The Concept of Beauty within which traditional architecture works is based on a sacred understanding of the world and of the human being. This world-view sees both the created macrocosm and the human microcosm in relation to their common Divine Origin.[1] This metaphysical conception and its relationship with art is extremely well developed in the Islamic philosophy of art and aesthetics. An example from a classical source illustrating how the concept of proportion and harmony was understood within this worldview is Imam Ghazali speaking of the relationship...

... that exists between the essence of man’s heart and the transcendent world, which is called the world of spirits (arwah). The transcendent world is the world of loveliness and beauty, and the source of loveliness and beauty is harmony (tanasub). All that is harmonious manifests the beauty of that world, for all loveliness, beauty and harmony that is observable in this world is the result of the loveliness and beauty of that world…. ’ [2]

Another example are the words of a contemporary master mason Ustad Haji Abdul Aziz (1917-2002) discussing the proportioning of different types of domes:

“Everything should be proportionate. The way God has proportioned man, that if a person is tall his limbs and head are proportionate to his height and so on. If they are not we immediately know.... Thus if you decrease the height of the main dome by bringing down its center, you will accordingly have to reduce the proportions of the finial and so on.”[3]

[1] Examples from Islam’s foundational texts expressive of the idea that the cosmos is a reflection God’s Qualities are the Hadith Qudsi: “I was a hidden treasure and I loved to be known, so I created the world so as to become known;” and the Quran: “Wheresoever you turn there is the Face of God”. There is also the famous Hadith from Bukhari: “God created Adam in His image”.

[2] S.H.Nasr, Islamic Art & Spirituality, Golgonooza, Suffolk, 1987, pp 168-169; Chapter: The influence of Sufism on Traditional Persian Music, quoted from Alchemy of Happiness (Kimiya-yi-sa’adat) where Imam Ghazzali is explaining why traditional music can have the effect of transporting the listener to the spiritual world.

[3] Anjuman Mimaran, Newsletter 1, 2002. As part of Anjuman Mimaran’s program to document, learn and publish traditional building methods and techniques used by hereditary Master Craftsman, a series of sixteen colloquiums were conducted by 83 years old master mason Ustad Haji Abdul Aziz from February to June 2000.

Notes: Islamic Art & Architecture - 1

2010-06-03T06:06:00.000-07:00

Central Governing Idea or Spirit of Islam: Every traditional civilisation[1] revolves around a central governing idea – which is determined by the manner in which the Divine has revealed itself to that civilization. In Islam this governing principle is the Oneness of God. This is the Doctrine of Unity called Tauheed. This principle of Tauheed is found at the base of all aspects of the Islamic civilization. In art also the first principle is that of Unity i.e. art tries to reflect unity just as traditional Islamic science tries to find the underlying unity in nature. [Image:" He God is One ...." (Quran 112). Wazir Khan Mosque, Lahore, 17th C. Photo: G.R.Mughal]

[1] The word Tradition signifies such cultures whose foundations are based on Principles and Truths of Divine Origin, which are then applied over time to various domains from metaphysics and cosmology to art and science. Cf. Nasr, S.H., Foreword to, Bakhtiar, L and Ardalan, N,- The Sense of Unity The Sufi Tradition in Persian Architecture , Chicago 1973, p. xi.

Muqarnas & Ribbed Dome

2010-05-17T05:08:00.000-07:00

These two images are of an on-going residential project on Bedian Road in Lahore. The dome in the lower half of the first picture shows a first attempt at a 'ribbed' dome and a type of Muqarnas being developed by Kamil Sahib these days [covered in an earlier post ]. The dome in the upper half, finished recently, shows a much improved result. The second image at the bottom is of this more recent dome.

Photos by Raazia (final year student at NCA interning at the office these days) from a site visit of 13.5.2010.

Today's Site Visit to Sally Town Mosque

2010-05-12T09:44:00.000-07:00

We are very fortunate to have as calligraphers for the mosque two young calligraphers of international standing - Mohammad Ali Zahid of Pakistan and Nuria Garcia of Spain. The Calligraphy in these photos is by Calligrapher Nuria Garcia. She won a Mention award in Sülüs script, at the Al Burda Competition, Abu Dhabi, U.A.E. earlier this year. Interestingly Mohammad Ali Zahid also won a Mention Award in the same competition.

The Gold-leafing is being done by Irfan Qureshi of Gujranwala, a calligrapher and designer himself. While the Qalib-Qari plaster relief was executed by the venerable and accomplished master-mason Ustad Jafar. The Fresco Naqqashi and Pucca Qali (white lime plaster) is being executed by Ustad Rafaqat, the last of the Fresco painters of Pakistan. He is assisted by his sons and pupils.

What is Tradition?

2010-05-11T00:00:00.000-07:00

In view of the fact that KKM Architects are guided in their approach to design by the Traditional Philosophy of Art we would like to include on this blog, posts on this Philosophy and the larger World-view which informs it. As an introduction we would like to address the question of what one means by the word "Tradition". Hence the following post of Seyyed Hossein Nasr's talk clarifying the term and its related ideas.

Video:

S. H. Nasr:

"The Recovery of the Sacred:

Tradition and Perennialism in the Contemporary World"

The above talk was given at the Sacred Web Conference on "Tradition in the Modern World" held in Edmonton at The University of Alberta, September 2006. In the talk, he explains central Traditionalist terms, concepts, and contributions, including "the sense of the sacred," Tradition, scientism, Beauty, metaphysics, and the important role of Tradition in current times.

Link to Video

Breakfast at Dawn: Kamil Khan Mumtaz

2010-05-10T11:23:00.001-07:00

">

http://www.youtube.com/watch?v=QPgGHrYfbhM

Anjuman Mimaran

2010-05-08T05:29:00.000-07:00

The Following Article focuses on the Anjuman Mimaran's work between 2000 and 2005.

Anjuman Mimaran, Pakistan
By Taimoor Khan
The Anjuman Mimaran is a non-profit society dedicated to raising the standards of architectural design and building construction in Pakistan. By restoring the historical link between architect and craftsman and by developing a profound understanding of our heritage and traditions the Anjuman Mimaran seeks to establish a sound basis for evolving an Architecture which is both rooted in our culture and is meaningful and relevant to the realities of our time.

Door Designed by Anjuman Mimaran, Lahore, 2000 >

The Anjuman Mimaran (Architects' Guild) was formed in 1988 in Lahore by a group of dedicated architects, engineers and building craftsmen. A Board of Governors manages the affairs of the society, while a full-time coordinator and assistant-coordinator manage the Anjuman's activities.
In pursuance of its stated objectives the Anjuman's activities over the past seventeen years have included, field trips, seminars, exhibitions, publications, conservation, restoration, design and construction work.
An initial aim of the Anjuman was the establishment of

a school of building arts, but it was immediately recognized that the first priority would have to be given to research. A regular monthly colloquium for persons actively engaged in research into the architectural heritage of the region was organized.

The rest of the article and related links can be seen at: http://www.lestariheritage.net/pakistan/index.html

NED Workshop: 23rd - 28th Feb. 2010: Geometrical Proportioning in the Traditional Architecture of Pakistan

2010-05-06T13:11:00.000-07:00

Workshop & Recently Completed Project in Karachi

2010-04-28T07:01:00.000-07:00

In Search of the ‘Time-less’ in Architecture

A Workshop on:

Geometrical Proportioning

in the Traditional Architecture of Pakistan

Held at NED Karachi
23^rd – 28^th February, 2010

Conducted by Taimoor Khan Mumtaz

‘It can be argued that for our cultural context the message and philosophy of traditional art is still culturally relevant and appropriate as a valid artistic expression. At the level of technology, for us in the sub-continent it makes great sense to learn from this tradition. Especially when we see that the technological solutions of traditional architecture are economically viable and environmentally sustainable for many types of buildings. But it is above all the message of traditional art, whose harmony and beauty aims at reflecting something of the “Time-less”, which … is relevant and meaningful not only in our cultural context but at all times and in all places.’

Taimoor K. Mumtaz, In Search of the ‘Time-less’ in Architecture,

Journal of Research in Architecture & Planning, NED

Issue on: “Architectural Practice”(forthcoming)

In connection with the above Workshop we took the students to a recently completed project - The Mazar of Hazrat Ahmed Sahib, in Sakhi Hasan Graveyard, Karachi. These 5 pictures are from that visit. They were taken by Hasan Abbasi a 4th Yr. Architecture student at NED who also interned at KKM Architects this winter.

The 3 images below are our proposals for the Glazed Tile scheme for this project.

Article from U.K. based Architect Iqbal Alam's Blog

2010-04-27T07:17:00.000-07:00

Influence of indigenous structures, forms and culture on

architects.(PartII)

September 2, 2009

The second architect I would like to draw your attention to is Kamil Khan Mumtaz. A Pakistani, British trained architect, who has been working in Lahore, Pakistan since late 60s. He has been involved with Aga Khan Award of Architecture, has also led several architectural juries. He has made tremendous contributions to architectural education in Pakistan in his own modest manner.
While studying at Architectural Association in London in early 60s, Kamil was no doubt, fully exposed to the modernist thinking of that era. In tropical department at AA, Dr. Konigsburger and Rory Fonseca were there to impart the best knowledge about designing for comfort in tropical climates. Kamil also worked with Keith Critchlow and Buckminister Fuller in Ghana for a while.... (For Full Article Click Article Title)

Muqarnas Experiments

2010-04-26T05:11:00.000-07:00

Taimoor Khan Mumtaz

The first Muqarnas executed on a KKM project was at the entrance Iwan of Hafiz Mohammad Iqbal & Baba Hasan Din Mazars project in 2005 ( Image on left) . The plans were made from an Iranian handbook by Architect Shabir Hussain (now working in Quetta) while the 3-D studies were done by Hans-Christian Karlberg from Belgium, who was interning at the office at the time. (For more images of this project visit: http://kamilkhanmumtaz.com/index.php?option=com_content&view=article&id=59&Itemid=63).

Also see: Hans-Christian Karlberg's page for some glimpses of his time at the KKM office at: http://www.hck.be/hck.swf under projets > architecture > Mumtaz [internship].

Recently Kamil Sahib has been studying and analysing this form and has developed some original prototypes. Below left: drawings by Kamil Sahib and a model by Hisham, 3rd yr architecture student at Punjab University. Below Right: A constructed version at an on-going residential project off Bedian Road.

In parallel the more traditional Iranian type Muqarnas has also been employed at the Sally Town Mosque and at a Holiday Retreat named 'Bagh-e-Arifin' at Wah Village. Below left: 3-D model by Architect Fatima and Below Right:a box-board model by an internee Fatima from UET's Structural Architecture Department last summer.

For a constructed example of the above Muqarnas see: http://kamilkhanmumtaz.blogspot.com/2010/04/muqarnas-at-sally-town-mosque.html

For a wonderful web data-base on Muqarnas see: http://www.tamabi.ac.jp/idd/shiro/muqarnas/default.htm

KKM Architects Published in Italy, January 2010

2010-04-23T06:15:00.000-07:00

January 25

Architect Kamil Khan Mumtaz in the spotlight. A frank chat
Filed Under architecture, ideas
(Text by Aresha Gul in co-operation with Kamil Khan Mumtaz Architects, all projects and images © Kamil Khan Mumtaz Architects)
Lahore, my city, is blessed with beautiful and unique architecture. To find the true soul of Lahore you must visit the Old Walled City which dates back hundreds of years. The Walled City includes lovely buildings, homes and a network of small, narrow streets which take you back in time to relive history.... [ to read more click on the Article title].

Work in Progress: Sally Town Mosque

2010-04-20T01:10:00.000-07:00

Central dome design for Sally Town Mosque, Lahore.

Drawing for Calligrapher showing:

Qalib-kari pattern with calligraphy scheme for stars.

Corner Muqarnas plans are also visible.

The Qalib- kari pattern is based on the Akbar Period Begum Shahi Mosque (also known as Marium Zamani Mosque) inside the Walled City's 'Masti' Gate. The Qalib-kari was executed on-site by Ustad Jafar.

Font Elevation

based on the now demolished 17th C Chinnianwali Mosque in the Lahore Walled City

For more photos and comments see:

http://www.flickr.com/photos/iqbalaalam/3879726386/in/set-72157602369824370/

Muqarnas at Sally Town Mosque

2010-04-20T01:01:00.000-07:00

Executed by Sultan a brilliant young hereditary craftsmen from Multan. He had never before made something like this and was excited by the challenge. Initially he struggled but once we made him a card-board model of the main elements he proceeded without difficulty.

kamilkhanmumtaz.com website

2009-03-28T00:19:00.000-07:00

Visit our new website and give us your comments and suggestions. www.kamilkhanmumtaz.com