Master of Architecture / This thesis explores the transformative potential of designing spaces that prioritize healing, connection, and mindfulness, especially for those with post-traumatic stress disorder (PTSD). It uses intentional design choices like natural light, wood, water, and granite to create a relaxing and grounding environment. Geometric Islamic patterns are incorporated to enhance visual appeal and provide a sense of order. By prioritizing healing, connection, and mindfulness, we can create spaces that alleviate PTSD symptoms and empower individuals on their journey towards healing and well-being.

For the purpose of cultural heritage preservation, the task of recording and reconstructing visually complicated architectural geometrical patterns is facing many practical challenges. Existing traditional technologies rely heavily on the subjective nature of our perceptual power in understanding its complexity and depicting its color differences. This study explores one possible solution, through utilizing digital techniques for reconstructing detailed historical Islamic geometric patterns. Its main hypothesis is that digital techniques offer many advantages over the human eye in terms of recognizing subtle differences in light and color. The objective of the study is to design, test and evaluate an automatic visual tool for identifying deteriorated or incomplete archaeological Islamic geometrical patterns captured in digital images, and then restoring them digitally, for the purpose of producing accurate 2D reconstructed metric models. An experimental approach is used to develop, test and evaluate the specialized software. The goal of the experiment is to analyze the output reconstructed patterns for the purpose of evaluating the digital tool in respect to reliability and structural accuracy, from the point of view of the researcher in the context of historic preservation. The research encapsulates two approaches within its methodology; Qualitative approach is evident in the process of program design, algorithm selection, and evaluation. Quantitative approach is manifested through using mathematical knowledge of pattern generation to interpret available data and to simulate the rest based on it. The reconstruction process involves induction, deduction and analogy. The proposed method was proven to be successful in capturing the accurate structural geometry of the deteriorated straight-lines patterns generated based on the octagon-square basic grid. This research also concluded that it is possible to apply the same conceptual method to reconstruct all two-dimensional Islamic geometric patterns. Moreover, the same methodology can be applied to reconstruct many other pattern systems. The conceptual framework proposed by this study can serve as a platform for developing professional softwares related to historic documentation. Future research should be directed more towards developing artificial intelligence and pattern recognition techniques that have the ability to suplement human power in accomplishing difficult tasks.

Building on Fredric Jameson's critical theory, this dissertation examines how the aesthetics of cognitive mapping were used to uncover overlooked political, economic, social and cultural dimensions behind my artistic engagement with Islamic patterns. Using a critically informed variant of arts-based research (ABR), I explored the complexity of the interconnected economic, social, political and aesthetic realities informing my positionality as a Muslim Saudi female artist/research completing her dissertation in a Western country. Particularly, my work revealed how certain global forces (including capitalist relations between Saudi Arabia and the USA, as well as global postmodern cultural influences) shape the processes of appropriation and re-signification of patterning appropriated from Islamic aesthetics. This research culminated in a body of artwork for a solo exhibition at Paul Voertman's Gallery at the College of Visual Arts and Design at the University of North Texas located in Denton, Texas. I conclude the study with recommendations for a regional ABR to be developed by educators for the Middle East and North Africa (MENA) region. The study also suggests that this model of cognitive mapping as a critical art making methodology would be a great pedagogical tool for museums and art education curriculum to implement in Saudi Arabia.