Multiverse of Mashrabiyah

mesura, resources: Multiverse of Mashrabiyah (Fig. 3) — (Fig. 3)
Anila Quayyum Agha, Flowers (Orange and Light Blue), Mixed Media on Paper and Mylar (Cut paper, Encaustic, Embroidery and beads), 23”x 22.25”, 2023

mesura, resources: Multiverse of Mashrabiyah (Fig. 4) — (Fig. 4)
The Craft of Mashrabiya Making Using Lathing Tools

mesura, resources: Multiverse of Mashrabiyah (Fig. 5) — (Fig. 5)
Cityscape, Susan Hefuna, 2015, Work on paper, Ink on handmade paper, 64x95cm

mesura, resources: Multiverse of Mashrabiyah (Fig. 6) — (Fig. 6)
Site visit by MESURA

mesura, resources: Multiverse of Mashrabiyah (Fig. 7) — (Fig. 7)
Alaa Tarabzouni, UNNAMED 53,Unnamed 53 is an attempt to observe the constant tension with modernity in the region; that ebbs and flows between fetishization and disinterest I

mesura, resources: Multiverse of Mashrabiyah (Fig. 8) — (Fig. 8)
The Mashrabiya Project is a community-focused, shared experience that links the heritage of the mashrabiya, a screening element with ancient origins, to responses in art and design that reflect considerations of space and seeing in contemporary life. The Project—the first in the U.S. to examine the mashrabiya as both an architectural object and a locus of metaphor—presents an opportunity for dialogue and connection across cultural and geographic borders

mesura, resources: Multiverse of Mashrabiyah (Fig. 9) — (Fig. 9)
Alaa Tarabzouni, UNNAMED 53,Unnamed 53 is an attempt to observe the constant tension with modernity in the region; that ebbs and flows between fetishization and disinterest II

mesura, resources: Multiverse of Mashrabiyah (Fig. 10) — (Fig. 10)
Susan Hefuna, Building, 2009. Ink on tracing paper, nine parts, 8 7/16 x 24 5/8 inches (21.5 x 62.5 cm) each, Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund and partial gift of the artist and Pi Artworks, 2015

mesura, resources: Multiverse of Mashrabiyah (Fig. 11) — (Fig. 11)
Anwar Jalal Shemza, Untitled, 1980

mesura, resources: Multiverse of Mashrabiyah (Fig. 12) — (Fig. 12)
Anwar Jalal Shemza, Composition in Green and Black, 1965. Oil on canvas 77.3x52.2cm

mesura, resources: Multiverse of Mashrabiyah (Fig. 13) — (Fig. 13)
Susan Hefuna at the Studio. Courtesy of the Artist and The Third Line

mesura, resources: Multiverse of Mashrabiyah (Fig. 14) — (Fig. 14)
Cy Twombly, Untitled, 1970, Crayon, graphite pencil, ink, tape, and cut and torn paper on colored paper. The Menil Collection, Houston; Gift of the artist. Photography by Paul Hester

mesura, resources: Multiverse of Mashrabiyah (Fig. 15) — (Fig. 15)
Cy Twombly, Untitled, 1970, Crayon, graphite pencil, ink, oil stick, colored pencil, tape, and cut and torn paper on paper. The Menil Collection, Houston; Gift of the artist. Photography by Paul Hester

(Fig. 1)

Drawing, Ahmed Angawi.Angawi is currently the Associate Director of Al Makmad Foundation, a cultural institution that aims to conserve and revive the Hejazi heritage. He is also the Founder of Zawiya 97, a hub of activity serving the local community

(Fig. 2)

Mashrabiya with glass vase; House of Hamed Said

(Fig. 3)

Anila Quayyum Agha, Flowers (Orange and Light Blue), Mixed Media on Paper and Mylar (Cut paper, Encaustic, Embroidery and beads), 23”x 22.25”, 2023

(Fig. 4)

The Craft of Mashrabiya Making Using Lathing Tools

(Fig. 5)

Cityscape, Susan Hefuna, 2015, Work on paper, Ink on handmade paper, 64x95cm

(Fig. 6)

Site visit by MESURA

(Fig. 7)

Alaa Tarabzouni, UNNAMED 53,Unnamed 53 is an attempt to observe the constant tension with modernity in the region; that ebbs and flows between fetishization and disinterest I

(Fig. 8)

The Mashrabiya Project is a community-focused, shared experience that links the heritage of the mashrabiya, a screening element with ancient origins, to responses in art and design that reflect considerations of space and seeing in contemporary life. The Project—the first in the U.S. to examine the mashrabiya as both an architectural object and a locus of metaphor—presents an opportunity for dialogue and connection across cultural and geographic borders

(Fig. 9)

Alaa Tarabzouni, UNNAMED 53,Unnamed 53 is an attempt to observe the constant tension with modernity in the region; that ebbs and flows between fetishization and disinterest II

(Fig. 10)

Susan Hefuna, Building, 2009. Ink on tracing paper, nine parts, 8 7/16 x 24 5/8 inches (21.5 x 62.5 cm) each, Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund and partial gift of the artist and Pi Artworks, 2015

(Fig. 11)

Anwar Jalal Shemza, Untitled, 1980

(Fig. 12)

Anwar Jalal Shemza, Composition in Green and Black, 1965. Oil on canvas 77.3x52.2cm

(Fig. 13)

Susan Hefuna at the Studio. Courtesy of the Artist and The Third Line

(Fig. 14)

Cy Twombly, Untitled, 1970, Crayon, graphite pencil, ink, tape, and cut and torn paper on colored paper. The Menil Collection, Houston; Gift of the artist. Photography by Paul Hester

(Fig. 15)

Cy Twombly, Untitled, 1970, Crayon, graphite pencil, ink, oil stick, colored pencil, tape, and cut and torn paper on paper. The Menil Collection, Houston; Gift of the artist. Photography by Paul Hester

(Fig. 16)

Detail, Site visit by MESURA

(Fig. 17)

“The woodwork that I do is mainly balancing contemporary demands and needs with the traditional technique, the Mangoor woodwork, which is an element that exists in the Roshan (the singular term for Rawasheen),” Angawi, 40, told Arab News

Beyond functionality, Mashrabiya embodies cultural identity, reflecting Islamic geometric patterns and craftsmanship. Its enduring presence highlights the fusion of aesthetics, culture, and architectural ingenuity in the region. In Al Balad, the local community actively preserves and promotes this unique architectural identity, creating a living testament to the harmony between artistic expression and cultural heritage in the heart of Jeddah. This research is part of the development of the Al Bukhariyah Lane and Banajah Lane projects.