2499-Article Text-4875-1-10-20201212

THE CONSIDERATIONS OF DESIGNING MODERN METAL FURNITURE SUPPLEMENTS FOR HOTEL RESTAURANTS, PJAEE, 17 (6) (2020)
BENEFITTING FROM ISLAMIC ART (WITH THE APPLICATION AT THE RADISSON BLUE HOTEL, JIZAN CITY)
THE CONSIDERATIONS OF DESIGNING MODERN METAL FURNITURE

SUPPLEMENTS FOR HOTEL RESTAURANTS, BENEFITTING FROM
ISLAMIC ART (WITH THE APPLICATION AT THE RADISSON BLUE
HOTEL, JIZAN CITY)
Designer / Sadaa Hussein Abdullah Khobrani
Bachelor of Applied Arts Department - College of Design and Architecture - Jazan
University - Kingdom of Saudi Arabia.
Prof. Ass. Dr. Abdelrahman Abouzaid Mohamed Abouzaid*

Associate Professor, Department of Applied Arts, College of Design and
Architecture, Jazan University, Kingdom of Saudi Arabia.
Assistant Professor, Department of Metal Products and Ornaments - Faculty of
Applied Arts - Helwan University - Arab Republic of Egypt.
*Correspondent Author: aabouzaid@jazanu.edu.sa ; abdelrahman169@hotmail.com
Sadaa Hussein Abdullah Khobrani, Prof. Ass. Dr. Abdelrahman Abouzaid Mohamed
Abouzaid*: The Considerations of Designing Modern Metal Furniture Supplements for
Hotel Restaurants, Benefitting from Islamic Art (With the Application at the Radisson
Blue Hotel, Jizan City) -- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(6).
ISSN 1567-214x
Keywords: Islamic art, Metal furniture supplements, Jazan city.
ABSTRACT
The study is concerned with investigating elements and decorations of Islamic art products as
a source and reference for inspiration and benefitting from its shape and decoration. The study
aims at developing considerations for the design of metal supplements for hotel restaurants and
the application at Radisson Blue Restaurant and Hotel at Jazan city. The study has used the
historical, the descriptive, the analytical and the applied methods for the inference and
development of these considerations. Some of the most important of these considerations are
to benefit from the features of Islamic art such as avoiding space, to work on the occupying
adornments, its intensity and communication to cover all or part of the requested space. Some
other considerations are treating Islamic arts as decorative arts, away from protrusions and
propositions; avoiding splashing into covering the spaces with flat decorations; compensating
the shortage in coloring and gilding, being away from accuracy in nature representation,
adoption of repetition in decorative topics, considering illustrations; and making use of
polygons. The study recommends that designers should benefit from and take advantage of
elements, decorations and features of the Islamic art.
1. Introduction:
The term Islamic art applies to the artistic production that emerged from the
migration of Prophet Muhammad (peace and blessings of Allah be upon him)
in 622 to the 19th century in an area extending from Spain west to India east,
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where groups and millions of people with Islamic culture live. The art of
Islam has provided a stylistic unit that requires the transfer of artists,
merchants, and businessmen. The use of a common style in writing in all
Islamic civilizations and the interest in the art of Naskh script strengthened
this unity in style, so other areas emerged calling for interest in decoration,
engineering and wall decorations. However, this great variety of shapes and
decorations according to the country and the ages so it was better to say
"Islamic arts" instead of saying "Islamic art". Grabar Oleg defined Islamic
art as a series of attitudes toward the same process of artistic creativity.
[https://ar.wikipedia.org/wiki] Themed buildings such as mosques and
schools are constructed in a variety of shapes, but often with the same basic
style. The arts of metallurgy, sculpture, ceramics and ivory were often of a
high standard of technology.
The art of Islam is not based solely on religion. Islamic art is more a cultural
art than a religious art. Contrary to the common idea that there are human
and animal drawings and even about the Prophet Muhammad, peace and
prayers be upon him, these drawings were totally banned from places such
as mosques, religious schools, and religious books such as museums,
although there are some exceptions.
The art that preceded Islam was known as a lot of geometric drawings. But
these drawings did not have a big or important thing in these arts, and were
often used as frames for other decorations. As for Islam, engineering
drawings became a main element of decoration. We do not want to pay
particular attention here to simple geometric drawings such as triangles,
squares, diamonds, and quintuple and sixth shapes. We also do not mean the
geometric techniques that were of little significance in the Byzantine Sasanist
ornaments such as circles, the assa’eb and the double poles, the breaking
lines, and the intertwined lines, but we mean the geometric drawings of the
Islamic arts, especially in the Mamulek era in Egypt. These are the geometric
structures of polygamous star shapes, which were repetted in Egypt and used
in the trappings of copper (Figure 4), wood (Figure 8), golden front pages in
the museums and books, in the decorations of the ceilings, and so on.
Muslims have mastered this type and have turned to innovation and
complexity [Hassan, Zaki Mohammed. 2013m p. 32.31]. Figures 1-4
illustrate models of human and animal images as figures 5-7 show geometric
drawings and figures from 8-9 plant decorations and figures from 10-12
linear ornaments [https://www.hindawi.org/books/61725371/4/].
Figure 4.) Copper Figure 3) a picture Figure 2) A glass of Figure 1) a pitcher

p,ot Egypt's Mamluk of a porter on a piece ceramics, decorated of pottery with
era make, a of pottery dish with in different colors carved ornaments,
decoration in the a metallic luster of from the Rai city, made in the 11th
bottom of the pot of the Fatimid era of Iran of the 13th century Iran, is now
6 curled thin in a the 11th century, century, is preserved preserved at the
beautiful geometric preserved by his by the Louver Metropolitan
Excellency Arakil Museum in Paris.
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position around a Nobar Pasa Museum in New

small circle. collection. York.
Figure. 8) A filling Figure 7) an Islamic Figure 6) an Islamic Figure 5) a copper

of carved wood with geometric decoration decoration of dinner chair, a
vegetal motifs, made Leonardua da Vinci published-shaped
in Egypt in the 10th miner and a
or 11th century, hexagonal shape , is
preserved at the filled with silver and
Arab Antiquities with geometric
House in Cairo. motifs on the sides
of the 14th centu,ry
Egyptian industry,
and preserved at the
Arab Antiquities
House in Cairo.
Figure. 12) Figure. 11) Figure 10) illustrates Figure. 9) A panel of

Calligraphy Newspaper photos the development of faience engraved in
decorations on a of the Qur’an in the Kufic script and many colors, made
piece of Iranian Kufic script, made in the decorative in Asia Minor, 16th
tapestry in the 12th Egypt or Iraq in the elements in it on century, kept at the
century (in the tomb, 12th century, some buildings in Museum of
my feeling lonely, preserved at the Africa, quoting from Decorative Arts in
and in the grave, my Arab Antiquities (Marcier) Paris
fear) on the (Viet), House in Cairo.
and a wooden
ceiling carved from
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Sicily in the 11th

century in the Al-
Ramou National
Museum.
Figures 1-4 illustrate human and animal models. Figures 5-7 illustrate geometric drawings.
Figures 8-9 illustrate floral motifs, and figures 10-12 illustrate calligraphy motifs.
This leads to acquiring and adding some characteristics and use them in the
design of a restaurant supplement, as most people want to dine in the
restaurants while enjoying the restaurant's signature furniture to make their
meeting a pleasant and enjoyable one. So, the restaurant owners care for
asking doecor engineers to add some important details such as the design of
tables, chairs, lighting, decorations. These items can make the place a target
for customers, and restaurant visitors. The furniture of the restaurants,
especially the tables and chairs are associated with the food, is of great
importance in terms of esthetics, functions, materials, surfaces, dimensions,
user-gunnoumism, and so on.
Ahmad, Mahmoud Abd-Rab al-Nabi Muhammad [2003] prepared a study
entitled Islamic Heritage in Building a New Environmental Design
Philosophy for Lightening Techniques in Touristic Places. This study aimed
at studying the intellectual aspects of Islamic Art, and the philosophy of this
Art, that came as an art before being a form. This art has special distinctive
features, the most important of which is its commitment to the principles of
faith to prove the existence of God behind this art. He also discussed the
design and lighting structures of the Islamic heritage and the technical
features of these products, which led to their development through the
historical ages and the emergence of features specific to each historical or
regional stage.
The study also examined the environmental compatibility and the nature of
the use of industrial lighting within tourist hotels, the environmental
relationship with the designer and the design of lighting. The researcher also
tried to reach the special rules for designing Islamic lighting means that are
suitable for use inside tourist hotels with Islamic style in keeping with the
requirements of the modern age and in accordance with the environmental
requirements and nature of use. The researcher then presented contemporary
philosophy in designing lighting inside tourist hotels.
The researcher offered a contemporary design vision of lighting, as it
attempted to crystallize the above rules and considerations and apply them
by designing and implementing some lighting tools to ensure that the thought
and approach unit of Islamic art, using the most basic geometric relationships
in building the basic components of products. This is done through forming
the esthetic relationships between light and the metal body, linking the
product to the visibility functions in the space in addition to the usage
standards and the harmonization of contemporary requirements for use
within tourist hotels.
[Youssef, Dalia Abdullah Mohamed Mansour 2010] also studied the
decorative patterns of the mosques doors in the Kingdom of Saudi Arabia as
an entrance to the enrichment of the metal preoccupied in artistic education.
The study aims at revealing the geometric systems and technical foundations
of the ornamental styles of mosques in the western region of Saudi Arabia
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and investing those systems and foundations in enriching the metalic

preoccupied in artistic education. The study used the experimental analytical
descriptive approach, and it was possible to find out that Islamic art derived
its characteristics, teachings, thought, principles and philosophy from the
Islamic creed and the geometric retina used the doors of mosques as an
entrance to form a metallic decorative ornamental paintings.
In a study entitled “Architectural Gems of Islamic Ages and Using them in
the Design of Metal Jewelry”, the study aimed at reaching new design
solutions for the jewelry by taking advantage of the esthetic and structural
values of the architectural gilded in Islamic times through the use of the
analytical and applied approaches as a starting point for the design of the
mineral jewelry [Ibrahim, Sarah Nabil Ali. 2011].
[Muslim, Donia Abdou, 2013] proved that the beauty of Islamic art has
influenced the creation of suplements that have added esthetic values to the
contemporary color designs of women clothes. The study aims to investigate
the Islamic motifs as a source of inspiration and how they can be used to
create dress and suplements for women. The study showed the relationship
between the dress and the suplements to show the value of the suplements as
a key part of the dress. The study used the descriptive, analytical, and
experimental approaches. One of the most important results of the study is
that the jury members’ agreement reached 91%, which confirmed the study's
true test.
The syudy of [Al-Masri, Marwa Mohammed, 2013] was concerned with the
role of sculpture in contemporary furniture design. It aimed at finding
suggested steps to combine the fluency of sculpture imagination with
functional considerations in furniture design. The study used descriptive and
semi-experimental analytical approaches. The most important results were
that sculpture in ancient times, especially in the ancient Egyptian era, and its
connection with furniture, have a great effect on the concept of modern
furniture. The study also showed the emergence of new materials in the field
of furniture such as plastics and metals, as well as the amazing technological
development in the development of the design idea of furniture in search for
the properties of these materials and the possibility of using them in the
creation of new forms.
[Abd al-Aziz, Basma Mahmoud. 2014 AD] also studied the advanced design
and technological requirements in interior design and furniture for restaurants
in underwater installations. The aim was to reach the internal and external
design integration of the underwater resistant structure through cooperation
between the interior designer, architect and structural engineer specialized in
these modern projects, and to benefit from the charming nature of the sea and
its biological diversity and the optimal use without harming it. The study used
the descriptive, the analytical, and the inductive approach. Among the most
important findings of the study is that the sources of inspiration for furniture
and interior designers from the nature of the Red Sea are based on the method
of abstraction, or imagination to create innovative modern designs with a
variety of materials.
In a study entitled "New Formulation of Ornaments from the Umayyad Era
and Using them in the Production of Woodwork for Contemporary Furniture
Units", the study aimed to link the past and present to Islamic art to try to
find a contemporary Islamic style in the design of furniture complements and
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to reveal the artistic values of Islamic decorations in general[ Abdel Hamid,

Ahmed Ibrahim . 2015 AD].
Also [Abdullah, Muhammad Talal. 2016 AD] presented a contemporary
vision of Islamic decorative maintenance and its importance in architectural
buildings. It aimed to investigate the types of Islamic decorations with their
aesthetics, functions, and importance in architectural installations and their
relevance to the most important architectural elements. One of the most
important results of the study is that the written decorative unit is considered
one of the most important decorative elements.
Also [Abdul-Metwali, Mahmoud Muhammad Al-Shahat, 2017] introduced a
study entitled "Philosophy of Islamic Architectural Thought to Devise
Contemporary Furniture Design". The study aimed to trace and analyze the
philosophy of intellectual transformation in Islamic architecture and its
reflection on furniture design and its trends moving from the objects of the
twentieth century to the twenty-first century and beyond, and to understand
aspects of the issue of the intellectual link between Islamic heritage and
contemporary issues, and to benefit from the Islamic architectural items in
designing contemporary furniture. The study used the inductive and
analytical approach. One of the most important findings of the study is that
it was possible to link modern trends of design with preserving identity by
making use of the philosophy of Islamic thought and that the form in artistic
work is an expression of the state of stability within the artwork and the
content, represented in movement and change.
The Islamic geometric motifs could be used to construct contemporary metal
lighting units for educational buildings in Kuwait. This study aimed at
increasing knowledge of artistic capabilities, activating technical capabilities
in the field of art education and linking to one of its fields, which is
metalwork, and the necessity of continuing research in heritage artistic
sources, enriching the visual stock of learners through Islamic decorations
and contributing to linking them to their heritage and confirming their
identity. The study relied on the descriptive and analytical approach, which
is related to the Islamic decoration in the theoretical framework, and the
applied experimental approach for each innovative treatment. Among the
most important results of the study is the contribution to the development of
innovation inspired by the geometric Islamic motifs by building a
contemporary lighting unit[Al-Anizi, Suad Awaid, 2018].
Also, [Al-Sayyid, Nadia Hazem Abdel-Hamid, 2019] conducted a study
entitled "Craftsmanship between Arab Identity and Contemporary Trends in
Furniture design". The study aimed to investigate the extent of the influence
of some contemporary craftsman experiences in enriching the field of
furniture design, and their impact as one of the most important arts that work
to confirm the Arab and Islamic identity in light of the modernity that invaded
the Arab world and followed by most designers recently, as well as the
suitability and feasibility of raw materials, which strongly assisted in the
success of these experiments, through a retrospective and analytical research
approach, in addition to addressing the innovative aspect of some
contemporary designs through an experimental approach.
2.The Research problem:
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Were design considerations made to complement contemporary metal

furniture for hotel restaurants, making use of the features of Islamic art?
3 -Research Objective:
• Setting complementary design considerations for contemporary metal
furniture, bearing the characteristics of Islamic art, and being aesthetically
pleasing, functional, safer and more comfortable for hotel restaurants.
• Inspiring decorative treatments of metal furniture supplements from
elements of Islamic art.
4 -Importance of the Research:

• Getting away from the ordinary and traditional in designing metal
furniture.
• Linking Islamic art to modern restaurant furniture products and using
inspired decorative treatments.
5- Research limits:
• Spatial boundaries: Saudi Arabia, Jizan, the restaurant of the Radisson
Blue Hotel, Jizan.
• Temporal boundaries: 1439/1442 AH corresponding to 2018/2020
AD.
6- Raw materials suggested for use in applications:

Ferrous metallic materials such as stainless steel (stainless steel), and non-
ferrous metals such as red and yellow copper, and it is possible to combine
more than one material or be satisfied with one material.
7- Research Methodology:
The study uses the historical, descriptive, analytical and applied methods.
8- Historical study:
The hatred of the void in the Islamic arts is clearly manifested in the tendency
of the Muslim artist to cover spaces and escape from leaving them without
decoration. One of the most striking things about Islamic buildings and
artifacts is the crowding, proliferation and connection of decoration to cover
all or part of the space. Islamic arts were first and foremost a decorative art,
and moreover, they were the richest arts in decoration. Westerners have
expressed this phenomenon in Islamic arts with the Latin term horor vacui,
meaning dread of emptiness. Concerning the flat ornamentation, protrusion
is rare in Islamic drawings, as the artists turned away from
anthropomorphism to covering the spaces with surface drawings, but the
coloring and gilding alleviated this deficiency.
In the distance from nature: Muslim artists did not work on the sincerity of
representing nature as much as they painted things as their imaginations
depicted them, so their art was overshadowed by innovative conventions and
situations. And, perhaps this distance from nature resulted from the fact that
Islam inherited the Byzantine artistic traditions. After it was Byzantium itself
- under the influence of Christianity - it went in the direction that Islam
completed after it, which is the distance from the accuracy in representing
nature, and get rid of the traditions of Greek art in this regard. It is known
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that Byzantine art lost a large part of what was in Greek art in representing
things as they are without exaggeration or embellishment. When Islamic art
came, it followed the same path, and the Muslims ’aversion to imitating the
Creator was more encouraging not to return to the ancient Greek artistic
styles.
And on repetition: What is seen is that the decorative themes are repeated on
Islamic buildings and artifacts repeatedly and this attracts attention. We see
this in the subjects that the Persian photographer draws in manuscripts, in the
geometric motifs that dominated the wooden artifacts of the Mamluk era, in
the decorations of Persian, Turkish and Fatimid ceramics, and in the
decorations that prevail in the Spanish-Moroccan buildings and in all Islamic
masterpieces at all. It is enough to mention here some of the drawings that
we are used to seeing in Islamic arts: arabesques - geometric drawings -
facing or overlapping animals. And between them there may be the Persian
mole tree (Huma) - birds, especially peacocks and rabbits, and there may be
in the bird's beak a plant branch that ends with a rosette or a vegetable leaf -
a vessel from which a stem emerges that branches on the right and the left -
the eagle. It may have two heads such as an eagle that became a blazon or a
badge for the Seljuk sultans in the twelfth century, then it was taken after
them by the tsars of the Holy Roman State in the fourteenth century - the
Sultan on his throne and on his side some of his followers as seen in the
Persian picture and on the multi-colored ceramics made in Medina Irrigation
in Iran - Bahram Gaur at his horse throws a zebra with one arrow and fixes
its foot in one of his ears, the prince is seated with a cup in his hand ... etc.
On the illustrations and small pictures: Muslims, especially Persians, Indians,
and Turks, were concerned with illustrating some literary books, and
decorating poetry collections with small pictures. The oldest of these images
arrived at us at the end of the twelfth century. Most of it is an explanation of
the tales of Kalila and Dimna or the tricks of Abu Zayd al-Sarji in the shrines
of Hariri. Then the photographic industry advanced among the Persians, and
the Persian Tatar school flourished in the thirteenth and fourteenth centuries,
then the Timurid school in the fourteenth and fifteenth centuries. At the end
of it, Behzad, the master of Persian photographers, appeared. As for the
Safavid school in the sixteenth and seventeenth centuries, Sultan Muhammad
mastered from the photographers, and to him, he attributed an image of
humor, movement, and lightness of spirit. It is an image in a manuscript from
Hafez’s divan and represents a scene of drink in which cups are administered.
Some of the attendees drink in it, and others dance, and some roll on the
ground and stagger from their intoxicants, while everyone cheers musicians,
among whom there are three faces that resemble the faces of monkeys. And
at the edge of the picture is a garden overlooking a balcony, in which a man
stood in his hand with a long rope hanging to the waterer and a jug of wine
tied to it (Figure 13). Then the era of Shah Abbas and his successors came in
the late sixteenth century, and Persian artists began to paint independent
pictures. As the emergence of European influence in their products was
accompanied by their departure from the field of manuscripts, photographing
and refining them to decorating walls, and engraving large pictures[ Hassan,
Zaki Muhammad. 2013 AD. Pp. 45-47]. “Adapted”
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Figure (13) Tarab Sitting and

Syrup by the 16th century
Persian photographer Sultan
Muhammad (Cartier Group)
There is no room here to explore the merits of each of the schools of Persian
photography. But we had to draw attention to that image and to mention that
it is the only one in its door and that in many of them the power of thinking,
good creativity, and the beauty of colors is what intercedes in its positivist
traditions and its broad imagination. But if we want to taste its beauty, we
must not compare it with what was produced by Western photographers and
those who weaved according to their example, because each of these two
models has its advantages and disadvantages.
The Muslim artist is also interested in designing dinner trays and chairs, and
then we present here a simple study that includes historical information for
some pieces and products of Islamic art related to providing food such as the
name of the piece, its location, the city, its history, its maker and its owner,
as it is one of the most important historical products that we are exposed to
in terms of its relevance to the subject of study:-
Owner Manufacturer Piece Date The piece photo The gallery Site/city Name NO.
that of the
contains piece
the piece
Haj Ibrahim - 1156 H. National Algeria A big 8/1
Zaytouna 1743 G. Museum of plate
Islamic (A
Archeology Tray)
and Art
Figure (14) shows A big plate (A

Tray)
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It may be the - 1742H/1341G. Fictoria London, A tray 8/2

Mamelukl or and Albert United
Sultan Abu 1762H/1361G. Gallery Kingdom
Bakr who
ruled in
742H/1341M
or the
Mameluk
Sultan
Muhammad
who ruled in
762H/1361M Figure (15) shows a tray
Sultan Mohammed 1728 H Museum of Cairo, Dinner 8/3

Muhammad bin Singerk 1327 G. Islamic Art Egypt Chair
Nassebin Al-Baghdadi (Hex
Qallowon Al-Sankari. Dining
Table)
Figure (16) shows a dining table

John 800/ 1400 The British London, A 8/4
Hiderson Gallery The Tray
United
Kingdom
Figure (17) shows a tray
9- The Descriptive Study:

The meta-study here includes information on the description of the piece, the
Khamat, techniques, and dimensions as an accurate description of some of
the Muslim art products associated with catering as trays and dinner chairs.
Dimensions Techniques Material Piece Description Piece NO.

Name
Diameter: Knocking Red The ornaments of this round A Big plate 9/1
94.2 cm, and Copper dish are organized into co- (A Tray)
Thickness: inscriptions focused strips, centered See Figure
2.7mm around a multi-petal flower. (14)
The first tape is decorated
with simplified papers,
followed by a alternately
carved display with botanical
motifs and Arabeque
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signatures.it is marked with a

copy character in the name of
the owner, "accompanied by
Hajj Ibrahim (Zetonah)", and
the date of the execution of
the part in Indian numbers.
The last letter of the word
"his companion", which
surrounds all the written
marshes, ends with a ceramic
flower and imitates in its
form this glue (the signature
of the Ottoman sultans). The
third strip is a concerted diets
with flowers, and the last
strip is decorated with an
oversized arcs.
Dimensions Inlaiding Brass A large yellow copper tray Tray See 9/2
of the piece: inlaid with a heavy silver infusion Figure (15)
Diameter: with has lost most of it. The design
78.7 cm silver is made up of circles: The
and central model is a geometric
gold. design made up of a set of
intersecting circles, linked to
three circles that divide the
surrounding pattern into equal
parts, within which more
circles appear within the
circles. The entire structure
serves as a frame for at least
seven writings, the parts of
their letter arranged in the
shape of the arrows within the
wheels, giving a striking and
visual contrast effect. The
larger inscription includes the
following phrase: "The King
of our Sultan is the great and
just agent of the invading
world," and the same idea is
reflected in all the writings,
even the small circular
ornaments, which include the
"Pride of our Sultan", a clear
use of inscriptions where the
text of gloriation becomes the
main part of the decoration, a
characteristic of royal art.
Although the character of the
owner is unclear (see below),
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a wonderful tray like this

must have been one of the
precious pieces of ornament
in the tiles.
Height: 81cm, The copper The piece is a hexagonal Dinner 9/3
Diameter: decoration and prism, on top of which is also Chair
40.5 cm is by the silver a hexagonal surface. And in (Hexagonal
style of the middle of the surface of Dinner
filigree and the piece is a circular Table)
punching inscription radiating in See Figure
braided kufic script. The (16)
bright shape of the writing
doubles its decorative
importance, as it appears as
the sun's rays radiating from
its central disk that the artist
filled with the name of the
Sultan (Muhammad) written
within a circle. Each of the six
side surfaces of the piece
contains four decorative
boards arranged vertically on
top of each other. In the
middle of one of these roofs is
a small door with two arched
doors that opens onto an inner
shelf. The fillings are adorned
with hollow arabesque motifs
consisting of intertwining
leaves and branches of plants,
and lotus flowers. And
inscriptions in thuluth script
on a ground of hollow
decoration
Diameter is Copper A circular tray of brass inlaid Tray see 9/4
55 cm and with silver, in the center of shape (17)
silver which is a raised part in the
form of an eight-lobed
decorative frame that includes
floral motifs, and a shield
with three bull heads. This
decorative frame is
surrounded by four roundels
containing hunting scenes
between motifs of lotus
flowers and opposing
phoenixes. The part
containing the figurative
decoration is surrounded by a
geometric frieze. Below the
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rim are pairs of ducks within

lobed decorative frames. The
frieze covering the rim is
composed of a group of
animals running and birds in a
flight position.
10-Analytical Study:
The analytical study here aimed at using the analytical method in analyzing
the shape of some elements and products of the Islamic heritage to derive
ideas and develop appropriate design solutions:
Figure (19) shows the analysis of the figure Figure (18) shows the shape analysis of the
in the dinner tray -1. dinner chair.
The analysis shows the use of the circular The analysis here shows the basic element
shape in the design of the tray, and the in the design and the basic unit of
middle of the tray is a medium-sized circle, construction, which is the hexagonal
around which are smaller circles, and polygon used to pinch the table, and the
between these circles are decorations that polygonal sides that extend from the pinch
form a ring on the middle circle. to the legs of the table and contain a group
of rectangles and squares containing Arabic
calligraphy decorations.
Figure (21) shows the analysis of another Figure (20) shows the analysis of the figure
figure in the dinner tray-3. in the dinner tray -2.
The use of the circular shape in tray design, The use of a circular shape in the design of a
in the middle of the tray, divine decoration large plate, and in the middle of the tray is a
and some animal motifs.
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medium-sized circle, around which is

decorated in a ray style.
11- Suitable Ideas and Solutions:

This stage includes examples of the ideas of the proposed furniture pieces for
the restaurant, from a chair and a dining table, which were devised by
studying the shape, material, technique, dimensions and surfaces in Islamic
art products that are presented to the research in the historical, descriptive
and analytical study. The study took into account that all the models should
be characterized by the characteristics of Islamic art and that they were
produced by computer design programs:
Figure (22) Sample -1

suggested dining table
Figure (24) a suggested model -1 for the chair and dining

table in the environment of the hotel restaurant from
stainless steel and red copper materials.
The shape of the table pinch consists of the octagonal as
well as the construction of the legs alternating between
the space and the arcuate space divided into rectangles. Figure (23) suggested model -1
The backrest and back legs of the hexagon ribbed dining for the dining table chair.
chair adorns as a simple decorative unit.
Figure (25) suggested model -2

for the dining table.
9562
Figure (27) a proposed model -2 for the chair and dining

table in the environment of the hotel restaurant, the
structure of metallic materials of stainless steel, the
decorations of brass, the pinch material of glass, and the
cladding of the chair's sitting of sponge covered with
artificial leather.
The shape of the pinch is made of a hexagonal polygon
with a number of six legs forming six rectangles and the
upper half of the rectangle is decorated with the same
unit construction of the pinch. Figure (26) suggested model -2
The backrest and legs decorate the hexagonal polygon for the dining table chair.
and the triangles as decorative units.
Figure (28) suggested model-3

Figure (30) suggested model-3 for the chair, dining table,

frame and decorations made of stainless steel, red copper,
Korean material "artificial marble", and the chair's sitting
cladding made of sponge covered with artificial leather.
The shape of the pinch consists of an octagonal polygon,
and the upper half of the table body forms 16 triangles
facing down and the lower half facing up, all of which Figure (29) suggested model-3
are hollow. for the dining table chair.
The back consists of a polygonal and a square seat, and
the leg shape is made up of 8 triangles
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for the dining table chair.
Figure (33) suggested model -4 for the chair and the
dining table, the structure and decorations of iron covered
with paint or inlaid with brass, the material of the pinch
of glass, and the cladding of the chair session of sponge
covered with artificial leather.
The shape of the pinch is made of the hexagon and the
triangle forms the body of the table facing inward with
sides facing outward.
The backrest consists of arches, a square seat, and 4 legs,
which are regular in a square shape and decorated with
arches.

Figure (36) Proposed Model -5 of the Chair and the

Dining Table The frame and decorations of iron covered
with paint or inlaid with brass, the pinch material of
glass, and the cladding of the chair sitting from sponge
covered with artificial leather.
The shape of the pinch consists of a hexagonal polygon,
and the hexagon forms the body of the table within a
rectangular frame supported on two horizontal sectors.
The backrest of the chair consists of a polygon with 6 Figure (35) proposed Model-5
irregular sides, a square session, and 4 legs with a square for the dining table chair and
section and regular in a square shape. decorated with irregular
9564
hexagonal triangles and

polygons.
Figure (37) suggested model-6

Figure (39) suggested model -56 for the chair and the
dining table, the frame and the decorations of iron
covered with paint or the restaurant, the material of the
pinch is of brass inlaid with stainless steel and red
copper, and the seat cladding of the chair is made of
sponge covered with artificial leather.
The pinch shape is made of octagonal polygon and forms
the repetitive hexagon drawn up the body of the table.
The backrest consists of a rectangle divided into 4 equal Figure (38) suggested model -5
rectangular areas, an irregular hexagonal seat and legs for the dining table chair.
with a regular square section in a square shape.
12- Applications:
Figure (40) shows a detailed study of the executive drawing of the two
implementations, the three projections and the sector for the chair and the
dining table, showing the dimensions and a table of industrial details.
9565
Figure (40) shows the executive drawing of the implemented applications, the three
projections and the sector for the chair and the dining table, showing the dimensions and
table of industrial details on them.
The two figures (41 and 42) also illustrate two applications, one for a chair
and the other for a dining table, where the study carried out one of the
previous designs, considering that it is one of the appropriate and studied
solutions among the ideas proposed by the study in designing the chair and
dining room table of the Radisson Blue Hotel Jazan as complementary
contemporary metal furniture and finished products. They can be used, and
then the idea can be circulated within the hotel's dining halls. The designs
and decorations were inspired by the hexagonal shape in Islamic art:
9566
Figure (42) displays an Figure (41) displays an

application for the dining table. application for the dining
chair.
13- Results:
Through previous, historical, descriptive, analytical and applied studies that
were dealt with in the current study, it was possible to summarize some of
the considerations of designing metal furniture supplements for hotel
restaurants that have the characteristics of Islamic arts and help designers in
designing and preparing their products in a contemporary and innovative way
as follows: -
•Taking into account avoiding space, and working on congestion, and the
continuation of decoration so that it covers all or part of the treated area.
•Considering the Islamic arts as a decorative art, and it is the richest art in
decoration. It was called the Latin term horor vacui, meaning the fear of
emptiness.
•Taking into account the distance from the protrusions and moving away
from the embodiment to covering the spaces with flat decorations in addition
to compensate for this deficiency by coloring and gilding.
•Taking into account the distance from the accuracy in representing nature,
and the repetition of decorative themes, as is the case in Islamic buildings
and artifacts.
•Considering illustrations and small photos.
•Making use of the shape of polygons in Islamic art, as was evident in the
minarets and the geometric decorations such as the star dishes.
•Using products, shapes and decorations from the Islamic heritage as a
primary source for inspiring contemporary ideas and innovative decorative
treatments for metal furniture for hotel restaurants.
•Applying modern and innovative products that have the characteristics of
Islamic heritage.
14- Recommendations:
The study recommends designers to use the characteristics of Islamic art in
designing and creating products.
The use of elements of Islamic art as a reference and a rich source in the field
of designing contemporary products and preserving the heritage and Islamic
motifs in developing decorative treatments for products in terms of diversity
and distinction of ideas.
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15. Acknowledgements:
The authors thank the Deanship of Scientific Research at Jazan University in
the Kingdom of Saudi Arabia for providing material support for research
within the Future Researcher Program
7. Project number FS10-103 at the tenth scientific forum for students of Jazan
University.
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the Islamic Ages and Benefiting from them in Designing Metal
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Qalyubia, Egypt.
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Lighting Facilities for Tourist Places, "Unpublished" PhD.

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THE CONSIDERATIONS OF DESIGNING MODERN METAL FURNITURE SUPPLEMENTS FOR HOTEL RESTAURANTS, PJAEE, 17 (6) (2020)

THE CONSIDERATIONS OF DESIGNING MODERN METAL FURNITURE

Prof. Ass. Dr. Abdelrahman Abouzaid Mohamed Abouzaid*

Figure 4.) Copper Figure 3) a picture Figure 2) A glass of Figure 1) a pitcher

position around a Nobar Pasa Museum in New

Figure. 8) A filling Figure 7) an Islamic Figure 6) an Islamic Figure 5) a copper

Figure. 12) Figure. 11) Figure 10) illustrates Figure. 9) A panel of

Sicily in the 11th

and investing those systems and foundations in enriching the metalic

to reveal the artistic values of Islamic decorations in general[ Abdel Hamid,

2.The Research problem:

Were design considerations made to complement contemporary metal

4 -Importance of the Research:

6- Raw materials suggested for use in applications:

Figure (13) Tarab Sitting and

Figure (14) shows A big plate (A

It may be the - 1742H/1341G. Fictoria London, A tray 8/2

Sultan Mohammed 1728 H Museum of Cairo, Dinner 8/3

Figure (16) shows a dining table

Figure (17) shows a tray

9- The Descriptive Study:

Dimensions Techniques Material Piece Description Piece NO.

signatures.it is marked with a

a wonderful tray like this

rim are pairs of ducks within

medium-sized circle, around which is

11- Suitable Ideas and Solutions:

Figure (22) Sample -1

Figure (24) a suggested model -1 for the chair and dining

Figure (25) suggested model -2

Figure (27) a proposed model -2 for the chair and dining

Figure (28) suggested model-3

Figure (30) suggested model-3 for the chair, dining table,

Figure (31) suggested model -4

Figure (32) suggested model -4

Figure (34) suggested model -5

Figure (36) Proposed Model -5 of the Chair and the

hexagonal triangles and

Figure (37) suggested model-6

Figure (42) displays an Figure (41) displays an

Lighting Facilities for Tourist Places, "Unpublished" PhD.

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