Three historic girih patterns — Umayyad mosque, simple hexagram, Esreffoglu mosque — drawn in gold on coloured grounds, over a recursive tree of light.
For fashion houses, textile studios and surface designers. Each composition is generated from a numeric seed and can be licensed, adapted or commissioned to your brief.
A girih pattern, repeated without end, becomes a surface with its own light.
I am an Iranian-born artist working at the intersection of classical Islamic geometric ornament and generative systems. My work begins with a simple observation: the girih tile — repetitive, mathematically structured, infinitely variable — has always been a form of computation, long before computers.
Girih 2 renders three historic girih patterns — the Umayyad mosque star, the simple hexagram, and the Esreffoglu mosque interlace — each drawn as a tessellating lattice of stroked motifs. A recursive tree rises behind the pattern, its branches multiplying by random subdivision, drawn in a light ground colour against a saturated ground.
Behind the tree: a coloured field drawn from a curated palette of historic CSS colour names — IndianRed, Crimson, Sienna, DarkSlateBlue — paired with a pale companion colour from a second list. The foreground pattern colour is drawn from a small set of purples and blues. The result sits between manuscript page and textile repeat. Each piece is defined by a numeric seed and can be regenerated, documented, and adapted for print, textile, and surface applications.
The same seed, presented as an archival print — and applied across fabric, scarf, textile and wall surfaces without loss of structure.
Every surface below is drawn from the same numeric seed — its repeat, orientation and scale adapted to the material, while the underlying structural logic remains identical.
A numeric seed picks one of three historic girih patterns: the Umayyad mosque star (a 12-point star tessellation), the simple hexagram (a compact six-fold interlace), or the Esreffoglu mosque pattern (a six-petal rosette lattice). Each pattern sets its own tile spacing, motif geometry, and coverage logic.
Behind the pattern, a recursive tree is drawn with p5.js: a trunk splits into 1–4 sub-branches at each level, up to twelve levels deep. Each branch shortens by 60–100% of its parent and rotates by up to a full circle. The tree is drawn in a light ground colour, contrasting the saturated ground behind it.
Ground colours are drawn from a curated list of 37 historic CSS colour names — IndianRed, Crimson, Sienna, DarkSlateBlue, and others — paired with a pale companion from a second list of 28 colours. The foreground pattern colour is drawn from a small set of purples and blues. Each combination is validated for contrast at generation time.
Girih 2 is a generative design system rather than a single artwork. Its geometric-ornament language can be adapted for fashion, textile development and other surface-oriented contexts — while maintaining a computational origin.
Each surface is drawn from the same numeric seed — reproducible, licensable, adaptable to your brief.