The art of “Likhai”, or delineation, provides the ground, the organizing schema, for practically all of the traditional visual/tangible arts –from Naqqashi (Fresco Painting), to Thoba (Stuuco Tracery), Aina Kari (Mirrorwok), Qaleen Bafi (Carpet Weaving), Kashi Kari (Glazed-tile Work), Munabat Kari (Wood Carving) and of course Architecture.

In my own journey as an architect, from modernity to tradition, I have been able to explore the possibilities of experiencing structure, form, light and space, using familiar materials, patterns and surface decoration, as the grounds for contemplation, and to become aware of a reality beyond the material, and beyond time and space. I have learned to work within the framework of a discipline of symmetries, and rhythms that reflect both the cosmic order and perfect balance underlying the apparent chaos of the universe. I have been able to evoke the delights of discovering the hidden paradise with internal patios and fountains. I have learned much, and continue to learn much, from the wisdom and skill of our master craftsmen.

The last Likhai (drafting) master was Haji Abdul Aziz who taught us much of what we have learnt of the language and grammar of geometry and design and who formally adopted my son, Taimoor, as his shagird (student). With the passing away of the older generations of hereditary craftsmen, many skills and knowledge have been lost. Some of these we have had to struggle to re-discover, through documentation and analysis of surviving monuments, but most of all learning by doing.
Through these drawings I have attempted to convey some of that experience of the built forms to a wider audience through a more portable medium, and also to elucidate some of the traditional methods and principles of design based on the proportions and harmonies manifested in these forms.