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ABOUT THE COMPANY

NAZANIN SHEIKHI DESIGN is a Malaysia–based company,

specialized in authentic traditional design and Islamic design,

the main focus being on Architectural applications and Interior

Design.

KEY PERSONNEL

Nazanin Sheikhi from Iran

Nicholas Stone from United Kingdom

DESIGN SERVICES

DESIGN AND SUPERVISION

NAZANIN SHEIKHI DESIGN offers design services, including

concept design, detailed design and supervision of production

and installation.

DESIGN AND BUILD

Due to the specialized nature of the designs - which often

involve a craft element – choosing qualified contractors to

perform the works and supervising the implementation is

essential in order to ensure that designs are well executed.

For this reason NAZANIN SHEIKHI DESIGN also works on a

Design-and-Build basis as a Turnkey Contractor with

responsibility for:

• Producing the designs in precise detail,

• Engaging appropriate manufacturers, contractors and

craftsmen

• Supervising and coordinating the works through to their final

completion on site.

APPROACH TO DESIGN

NAZANIN SHEIKHI DESIGN looks on its work as a matter of

respecting the cultural heritage that has come down to us from

different traditions, preserving these treasures that have been

received from the past and passing them on to the future. This

process involves rediscovering the principles which underlie

the forms - not just a superficial imitation of appearances.

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To do this faithfully each project requires research, which

includes:

NAZANIN SHEIKHI DESIGN has a large archive of material

on traditional architecture, including a specialized collection of

books and many thousands of photographic images, collected

from extensive travels over the last thirty years, which are

frequently a starting point in the process of research.

PROJECTS

Masjid Wilayah Persekutuan, Kuala Lumpur, Malaysia

Dome Design

In 1996 Nazanin Sheikhi was commissioned by SL GmbH,

Germany, to develop designs for the exterior of the domes of

the Federal Territory Mosque in Kuala Lumpur. Although the

overall form of the 30 metre wide domes is derived from

Turkish Ottoman architecture, their surface is covered by

coloured mosaic tiles with a design in the style of the Safavid

domes of Isfahan, on an underlying geometric basis of a

curvilinear grid and spiral forms. The design process involved

visiting Isfahan and making a detailed photographic

documentation of the Safavid domes.

• Careful study of the finest examples from the past,

• Discernment in selecting the most appropriate examples in

relation to the needs of each project,

• Studying their underlying structure,

• Analysing the forms in detail,

• Identifying related examples, both in terms of the underlying

structure and the details,

• Faithfully applying the same principles.

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Al-Bukhary Mosque, Alor Setar, Malaysia

Dome Design

Designs were developed in 2000 for the domes of Masjid Al-

Bukhary, Alor Setar, consisting of a main dome, half domes,

medium-sized and small domes.

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The designs for the exterior of the domes were in the Safavid

style and were executed in mosaic tile. The neck of the main

dome received a band of calligraphy, 42 metres long and 1.50

metres high, executed in hand-made ceramic tile, made by

craftsmen in Iran, with our design and supervision. The design

of the drum at the base of the main dome contained a row of

window arches with geometric style surrounds and perforated

window grilles.

The design for the main dome interior used a geometric

pattern, surrounding hand-painted Kufic style calligraphy.

Extensive research on historic monuments in Iran and Egypt

enabled us, in collaboration with a talented calligrapher in Iran,

to revive this 700 year-old style of calligraphy. The geometric

pattern to the main dome was designed to provide 100 star-

shaped spaces to receive calligraphic inscriptions of the 99

names, the “Asma al-Husna”, which were hand-painted by a

team of Turkish dome painters.

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Designs were also made for medium and small-sized domes.

Like the main dome the interiors received geometric patterns,

designed with reference to examples from Central Asia and

Iran. As with the half domes, the medium and small-sized

domes received friezes of Kufic calligraphy around their base.

Mihrab

In 2000 the design for the Mihrab of Masjid Al-Bukhary, was

developed, reviving a historical style of architecture found in

Iran, after visiting and documenting monuments there.

Subsequently with the help of the Iranian Cultural Heritage we

found specialized craftsmen, then coordinated and supervised

the fabrication in Iran and the installation on site in Alor Setar.

The design uses many different geometric patterns and two

calligraphic styles, all following examples from one single

historical period.

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The 5.80 metre wide and 8.55 metre high Mihrab employs

complex craft techniques seldom seen in later periods, with

hand-cut ceramic tile set at different levels and hand-made

bricks with patterns cast in relief.

Calligraphic medallions

For the side walls of the main prayer hall two types of

calligraphic medallions, with a diameter of 1.20 metres, were

designed to accompany the Mihrab. These were also

executed in hand-cut ceramic tile in the same architectural

style and using the same craft techniques as the Mihrab.

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Minbar

The Minbar for Masjid Al-Bukhary, Alor Setar was designed &

built in 2000. 2.80 metres long and 6.10 metres high, it was

designed with reference to examples from Egypt and was

fabricated from Burma teak by craftsmen in Malaysia.

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The design of the dome, arches & frame structure has floral

arabesque carving and the infill panels have geometric

ornament with carved floral infill. There is an area of Muqarnas

beneath the dome and the panel above the door has a

calligraphic inscription.

Muqarnas

In 2003 a design-and–build contract for Muqarnas in the

interior of Al-Bukhary Mosque, Alor Setar was awarded to

Nazanin Sheikhi Design . These works consist of an elaborate

“stalactite” transition between the main dome and its 15 metre

wide square base beneath, designed with reference to

examples from Central Asia and Iran with star-shaped forms

so as to harmonize with the design of the main dome interior

and Mihrab.

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Column Capitals

Muqarnas column capitals, 2.40 metres wide at the top and

1.55 metres high, were designed and built for the four main

columns in the prayer hall of Al-Bukhary Mosque, Alor Setar.

These Muqarnas column capitals were designed with

reference to unique examples from Central Asia.

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The Muqarnas were produced in Malaysia from durable,

water-resistant materials, suitable for the country’s humid

climate.

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Palace of Justice, Putrajaya, Malaysia

Dome Design

Designs for the exterior and interior of the domes of the

Palace of Justice in Putrajaya, Malaysia’s new administrative

capital, were developed in 2002. The designs for the exterior

of the 32.00 metre wide main dome and the four 12.70 metre

wide smaller domes included geometric style motifs, with 8-

pointed stars and floral style infill elements, set in the mosaic

tile finish on the drum at the base of each dome.

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The design of the interior of the 24 metre wide main dome

includes sixteen distinct but interrelated large medallions and

four smaller medallions, all set within a bold geometric pattern

with motifs running along its ribs. In the central area, at the

apex, calligraphy is used to create a geometric design. Broad

friezes surround the apex and base of the dome.

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Interior Design of Main Atrium

In 2002 Nazanin Sheikhi Design was engaged as Interior

Design consultant to design the 54m high, 27m wide Main

Atrium in the Palace of Justice in Putrajaya. This included

concept design, detailed design and supervision of production

and installation of :

• Arches and friezes at three main levels in the Atrium

• Perforated window grilles with coloured glass

• Muqarnas column capitals

• Stone columns with ornate carving

• An ornate marble floor

Upper Arches with Window Grilles

At the base of the dome, beneath a cornice with an

ornamental frieze, is a row of 32 arches, with floral style

decorative surrounds. These contain window grilles. Set within

an ornate border, the perforated part of these grilles is in a

geometric style with 10-pointed stars and floral style infill

elements. The ornament to the friezes, arch surrounds and

grilles – as for all the other arches in the Atrium - is raised in

relief and painted in a colour scheme to match the dome

interior. The glass to the window grilles is in white & light tan

colours.

Lower Arches

At an intermediate level is a row of sixteen larger arches.

These arches are surrounded by panels containing geometric

style ornament with 12-pointed stars and floral style infill

elements, set within ornate borders. The soffit and inner panel

of the arches have intricate floral style ornament. The arches

rest on marble columns with Muqarnas column capitals.

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Main Arches

At the bottom level is a row of eight arches, each with a span

of 8.70 metres, up to a level 22.50 metres above the floor

surface. All the arches have decorated soffits & borders. But to

emphasize the main entrance axis, two of the arches also

receive a floral style decorative treatment to the surrounding

spandrel panels, carved in situ. The main arches and those at

the intermediate level were executed by craftsmen from

Uzbekistan.

Muqarnas Column Capitals

The main arches rest on marble columns with Muqarnas

column capitals and marble bases. The design for the

Muqarnas capital, 1.90 metres wide at the top and 1.30 metres

high, was based on historical examples, but adapted to

provide a special detail whereby the capitals are joined

together in pairs.

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Stone Columns with Ornate Carving

Two pairs of stone columns, beneath the two arches on the

main entrance axis, receive decorative carving to their 12

metre long, 1.20 metre diameter shafts. The multi level

decorative carving (carved to a maximum depth of 30mm) was

executed by craftsmen in China on a total of 360 stone panels.

Stone Floor with Decorative Pattern

The Atrium has an ornate floor pattern from four different

colours of marble. The central square area, 23.50 metre wide,

is filled with geometric ornament, with 8-pointed stars and

floral style infill elements, harmonizing with the design used on

the exterior of the main dome. Floral style borders run around

both the central square and the octagonal perimeter. Nazanin

Sheikhi Design was responsible for design and supervision.

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Perforated Brass Lamp

In 2004/5 research on traditional mosque lamps was

undertaken and a design was made for perforated brass

lamps with areas of calligraphy and ornament inlaid in pewter

– a material for which Malaysia is renowned.

The lamp, 0.70 metres wide and 1.60 metres high, was

fabricated in Malaysia, using a combination of different

techniques, partly by hand and partly with contemporary

manufacturing methods.

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In 2006 the master plan for setting up a Ferris wheel and

related tourist attractions in Kuala Lumpur’s Titiwangsa Lake

Park, was developed in conjunction with the VISIT MALAYSIA

2007 programme, celebrating 50 years of the country’s

nationhood. The “Eye on Malaysia” Ferris wheel, was located

at the end of a peninsula projecting into the lake, rising to a

height of 60 metres above the water.

Eye-on-Malaysia Ferris Wheel, Kuala Lumpur, Malaysia

The master planning included the design of the road layout,

drop-off point for buses, pedestrian circulation, entrance

buildings, food stalls, covered walkway, jetty, shade

structures, toilets, lighting and control room for water shows on

the lake.

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Besides architectural planning, the master plan also involved

coordinating an infrastructure of power and control cables

around the park for the operation of powerful 40-metre wide

water screens on the lake, onto which moving images and

laser light shows could be projected.

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A design was also developed for the paving of the plaza,

harmonizing with the theme of the wheel, employing a motif

found in the indigenous craft heritage of the region.

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They then pass through small sized domes (14m x 12m) are

led through ever grander spaces into the main terminal

building with its larger domes (28m x 24m) and finally into a

central atrium with its main dome (62m x 62m).

In 2011 concept design, plans, sections, elevations and 3d

renderings were completed. An appreciation of the underlying

principles of the architecture of Makkah and Madinah was

considered an important part of the design process. The

design involved borrowing elements from the traditional

architecture of the region, in order to create a grand airport

with a character truly appropriate to Madinah. The extensive

use of domes and arches was central to the design concept,

enhancing the external as well as the internal architecture

through rhythmic repetition, and employing a modular system

that can easily allow future expansion by further repetition.

The design is based on a progression of domes of different

sizes from small to large, taking into account human scale.

Passengers disembarking from the aircraft first enter the

vaulted airside pier, lined with arches.

Design for International Airport , Madinah, Saudi Arabia

Nazanin Sheikhi Design was engaged by the Government of

Malaysia’s Khazanah Nasional, to develop an alternative

design emphasizing an Islamic character, for the international

airport in Madinah, for which Malaysia Airports was competing.

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Beneath the 8-sided skylight is an octagonal reflecting pool

surrounded by café areas, where passengers can sit beside

date palms. On three levels, this central atrium space is

surrounded by high quality modern shops, arranged in the

form of a suq, catering to the needs of the international

passengers. Balconies overlook the atrium space and the

reflecting pool from all sides. There is a separate hajj

passenger area - an extension of the hajj terminal building –

that has a design concept reminiscent of an old-style bazaar,

with long passages covered by domes and many shops and

f&b outlets to serve the pilgrims. Although the terminal building

is air-conditioned, the design of the hajj passenger area is

based on natural ventilation. The entrance to a mosque at the

end of the main axis is visible through the arches of the bazaar

arcades. The landscaped area in front of the terminal is paved

in stone, with circular openings at regular spacings for

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date palms, for which Madinah is famous, to provide shade for

the pedestrians in the vicinity of the mosque, the bazaar and

the hajj passenger area; the fruits can be harvested for sale.

The main dome in central atrium area is treated as a ribbed

vault with curved ribs springing from the base of the eight

arches that surround it. Like the other domes it has a skylight

at the apex, admitting a shaft of natural light into the building.

The atrium area is emphasized from the exterior by raising the

domes in this area on octagonal drums with windows.

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In 2006 a design for a house in Iran was developed, following

concepts, forms and materials used in the past in this region.

The design of the facades exploits the local craft tradition of

decorative brickwork, using facing brick in conjunction with

strips of turquoise coloured glazed brick. tile.

Design of Private Residence, Isfahan, Iran

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Arches are used extensively on the external facades, in the

house’s inner courtyard, on the garden walls and also on the

walls flanking a long narrow pathway, which leads to the main

entrance in the side wall and then to an indoor swimming pool

at the rear, thus unifying the architectural elements. The tall

entrance space is covered by a rib-vaulted half dome,

executed in brick and glazed brick tile.

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This house, completed in 2009, was designed for a steep

sloping site by the forest. The entrance, car porch, living hall,

study rooms, kitchen and a terrace looking into the trees, are

at the top level, bedrooms are on a middle level and there is a

small swimming pool at the lowest, double-height mezzanine

level above the garden.

The house has a timber roof structure with overhanging eaves

to keep out the rain; thick external stone walls keep out the

heat. The walls were built by local craftsmen using granite

boulders, with fair-face finish to both outside and inside. Door

and window openings with wooden louvered shutters and

perforated screens encourage ventilation. High ceilings at the

upper level allow hot air to escape from the open gables.

House in Tropical Style, Kuala Lumpur, Malaysia

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House in Tropical Style, Tanarimba, Janda Baik, Malaysia

This house was conceived as a weekend retreat in the hills in

Janda Baik, less than an hour's drive from Kuala Lumpur. The

climate in this hill resort is cool and the design concept is

based on using natural ventilation. Therefore the house has

tall ceilings and many large window openings puncturing the

facades, which look out onto the remarkable surrounding

landscape. A large main hall located on the ground floor is

surrounded by a verandah and two other halls located on the

upper floors each have a balcony. A kitchen and dining room

are located on the ground floor while bedrooms are on the

upper two floors. The three-tiered roof structure with large

overhangs at the eaves is a dominant element in the design,

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not just for aesthetic reasons but mainly because it is the

element which protects the house from the heat and rain – the

two major factors in tropical design.

The design concept involves the use of just natural materials.

The external facades are all clad in facing brick in a beige

colour. The windows, shutters and railings to the balconies

and verandahs are all in hardwood in a natural finish.

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All the roof structure, constructed from tropical hardwood, is

left exposed, with timber strip ceilings between the rafters. The

exterior of the roof is clad in Japanese matt glazed roof tiles.

Generally for the flooring and bathrooms natural stone is used.

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A row of twelve palm trees extends along a planter running

parallel to the perimeter wall, next to the ponds. The pathway

beside the ponds opens into a rectangular space, enclosed

by the building on three sides. A chahar bagh (meaning ‘four

gardens’ in Persian language) is located within this space,

which has at its centre a small pond with a fountain.

This garden was designed with an Islamic concept, as an

enclosed space with wooden porch gates at each end opening

onto a long paved area surrounding ponds. The ponds, faced

in turquoise coloured tiles, have a row of fountains with solid

granite shafts along their central axis.

Islamic Garden, Country Heights Resort, Kajang, Malaysia

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All paved areas have a geometric pattern using two

contrasting colours of granite. The four planters in the chahar

bagh garden contain palm trees and rose bushes. For this

project tropical trees, like Manila palm and Frangipani, as well

as bushes like fragrant jasmine, were introduced into the

Islamic garden concept.

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Perforated wooden teak doors with Islamic geometric patterns

face onto the chahar bagh garden. They are designed to open

in pairs so as not to obstruct the space or obscure the view of

the garden from inside the house. When closed, they still let

light and air pass through, while giving privacy to the house.

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A room facing one side of the chahar bagh also has perforated

teak doors, as do both porch gates. All doors are designed in

the same style, but in each case the geometric patterns are

different. For the protection of these doors, projecting brass

roofs were designed, with Chengal wood structure and

ceilings. Perforated brass lamps with arabesque motifs were

also designed and fabricated for the enclosed garden.

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These perforated wooden teak doors with Islamic geometric

patterns are fabricated using the gereh chini joinery technique,

which was used in the past in the Islamic architecture of the

Middle-East.. This technique involves assembling small pieces

of wood at different angles and connecting them with mortise-

and-tenon joints, to create complex geometric designs.

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All the perforated doors designed for this Islamic garden, using

the gereh chini technique with geometric patterns, were

fabricated locally by craftsmen in Malayisa.

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Inside the house there is a perforated gereh chini teak wood

screen, located above an ablutions area, which has custom

designed mosaic tiles with an Islamic geometric pattern.

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The brass roofs and perforated lights were fabricated in

Malaysia especially for this project. Brass is one of the

materials traditionally chosen for light fixtures and lamps.

NAZANIN SHEIKHI DESIGN SDN. BHD. (580500-H)

36 JALAN SALAM, COUNTRY HTS. DAMANSARA, 60000 KUALA LUMPUR

TEL (+ 6 0 3) 6 2 8 0 3 2 7 5 FAX (+ 6 0 3) 6 2 8 0 4 2 7 5

WEB www.nsdesign.com.my E-MAIL mail@nsdesign.com.my