JOURNAL OF ISLAMIC ARCHITECTURE
P-ISSN: 2086-2636 E-ISSN: 2356-4644
Journal Home Page: http://ejournal.
uin-malang.
id/index.
php/JIA INTEGRATING
VERNACULAR
ARCHITECTURAL
ELEMENTS
INTO
CONTEMPORARY OMANI RESIDENTIAL DESIGN: A COMPARATIVE ANALYSIS OF
TRADITIONAL AND MODERN FAyNADES Afsaneh Shahbazzadeha*.
Reza Sameha.
Naima Benkarib aFaculty of Architecture & Urbanism.
Imam Khomeini International University.
Qazvin.
Iran bCivil and Architectural Engineering Department.
Sultan Qaboos University.
Muscat.
Oman *Corresponding Author: afsanehshahbazzade@gmail.
ARTICLE INFO
ABSTRACT
Volume: 8 Issue: 3 Page: 752-771 Received: March 8th, 2024 Accepted: October 5th, 2024 Available Online: June 30th, 2025 DOI: 10.
18860/jia.
This research explores the ways of integrating traditional Omani vernacular architectural elements into contemporary fayade designs.
It examines how these patterns are reinterpreted to create a consistent architectural language that imbibes local heritage patterns while meeting modern needs.
The study investigates the structural, cultural, and formal characteristics of Omani fayades through a qualitative analysis of the fayadesAo components in residential To identify common patterns and design rules in contemporary Omani architecture, a comparative approach was employed to analyze 24 residential buildings in Mirbat and Mutrah.
The results show that vernacular elements are continuously reinterpreted in modern design, revealing that these patterns not only maintain cultural identity but also enhance the practicality of contemporary architecture.
Finally, the investigation proposes a guideline for incorporating heritage elements within current design agendas, catalyzing further dialogue on architectural identity in the Islamic world Keywords:
Architectural Identity.
Contemporary Islamic Architecture.
Fayade Design.
Pattern language.
Vernacular Architecture INTRODUCTION Architecture reflects the cultural identity of a society, its historical evolution, and social development.
While traditional architectural forms embody native and inherited culture, contemporary designs are affected by exterior influences and new ideas, and they must also address new needs and aspirations.
Such interactions govern the formation and transformation of buildings' architectural forms and city fabrics .
Islamic societies like Oman, with their ancestral architectural traditions, are facing two major challenges in this matter: losing parts of their local culture and identity and the emergence of new styles and requirements, which cannot be satisfied through inherited know-how alone.
These societies need to bridge the gap between their architectural and urban heritage and their contemporary aspirations.
Hence, the importance of heritage reflects a means of confirming the communityAos identity and achieving the continuity of its civilization .
Similarly, contemporary architecture must express the cultural diversity of each region and reinforce its identity through new, culturally credible aesthetics, which facilitate access to modernity, progress, and the new aspirations sought by society.
Hence, to reach an architectural production that meets the contemporary needs of the community and preserves its identity, new designs must be developed to integrate progressive elements imbibed with cultural authenticity .
The present research aims to explore the integration of Omani vernacular architectural elements and patterns into the emerging contemporary architecture of the country.
The objective is to carry out an analysis of the structural, cultural, and formal characteristics of vernacular buildings in order to propose a framework for designing contemporary structures.
The question is: to what extent is it possible, in modern times, to formulate an architectural language for a region based on its vernacular architecture? 752 |A 2025 The Author.
This is an open-access article under the CC-BY-SA creativecommons.
org/licenses/by-sa/4.
Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari VERNACULAR ARCHITECTURE IN OMAN Oman's vernacular architecture is marked by unique characteristics that have evolved over millennia to reach their actual forms.
The local construction materials, such as mud bricks, stones, and wood, are used to adapt this architecture to its environmental and cultural contexts.
The construction materials and techniques used in the Omani vernacular architecture not only provide comfortable interiors to live in but also make the dwellings blend seamlessly with the surrounding landscapes, providing a visual continuation of the natural Research about the properties and characteristics of the vernacular architecture in Oman is still in progress.
However, the state of knowledge about this topic allows us to argue that the fayade design is among the defining characteristics of this architecture because it is both functional and aesthetic.
Adequately sized and located windows are designed to minimize heat gain and glare while maximizing ventilation, which is crucial for comfort in Oman's arid climate .
The fayades are distinguished with decorative features, such as carved wooden doors and elaborate plasterwork making them lavish and representing the socio-cultural identity of the inhabitants.
These fayades, with their simple volumes and intricate patterns, continue to imbibe contemporary Omani architecture, integrating traditional elements into modern designs.
Limited studies have examined the unique architectural features of traditional Omani buildings, such as the use of crenellations, latticed screens, and specific window and door designs (.
, .
, .
These elements have been identified as key components of the local vernacular architecture that contribute to the region's cultural identity.
However, there is limited research on how these traditional patterns are being adapted and reinterpreted in contemporary Omani architecture .
Understanding this process of integration is crucial for maintaining a sense of cultural continuity while also addressing modern design requirements.
Having established the significance of preserving Omani cultural identity in architecture, the following section outlines the methodological approach used in this study to analyze the integration of vernacular patterns into contemporary design.
METHODS
Since the research is background-oriented, it adopted a qualitative approach, using observation and field surveys on selected case studies.
The research also relied on a comparative approach between the fayade features in each case study.
Twenty-four buildings were selected for analysis.
They were chosen in the coastal cities of Mirbat, in the Southern province of Dhofar, and Mutrah, in Al Batinah region.
The sample included both two-story and three-story residential structures, as these were identified as the most common building typologies in both The selection criteria also ensured that the case studies encompassed a variety of fayade elements, such as windows, doors, parapets, and balconies, to provide a comprehensive understanding of the integration of vernacular patterns in contemporary architecture.
The research investigated three important qualifiers of the fayade and are studied in a 3-D matrix: the structure, performance, and semantic elements of residential architecture in Oman (Figure .
These qualifiers were analyzed in the three-layered system of any architectural object: setting, formation, and details.
Context is the central theme of the present research.
By investigating the typology in the context, set systems and patterns will be extracted and categorized to obtain the dominating layout of the patterns that make designing with the context in mind possible (Figure .
Figure 1.
The Structural Model of the Research Journal of Islamic Architecture 8.
June 2025 | 753 Integrating Vernacular Architectural Elements into Contemporary Omani Residential Design: A Comparative Analysis of Traditional and Modern Fayades RELATIONSHIP BETWEEN PATTERNS AND SYSTEMS The relationship between patterns and systems can be understood as follows: the setting system of the patterns is based on their placement within the fayade, regardless of form and detail.
The formation system examines the general shape of the patterns, while the detail system focuses on the specific ornamental By analyzing these three interrelated systems, an overarching design framework can be established (Figure .
To explain the system, prioritization is given from the whole to the part.
This makes the investigation more coherent and coordinated.
In the present research, the statistical sample consisted of 24 houses in which all the architectural elements were analyzed.
Figure 2.
Patterns & the Evolution of Research Systems For selecting the samples studied in this research, the height and elements of the buildings should be For instance, a wide range of samples should be analyzed and categorized according to the number of floors.
In addition, the selections should encompass the traditional and modern buildings.
Because fayades are the most important elements for defining the city's appearance, the main focus of the analysis is the fayades of the houses.
Most of the case study samples have been chosen from two and three-story buildings because most of them have balconies, important elements for shaping the fayade.
Selecting a wide range of data .
will be more beneficial for this method as it gives more freedom to choose the best pattern for the designer.
All the pictures in this research, taken in Mutrah city, have been gathered by authors, and the ones about Mirbat city are obtained from the Archiam website .
SOLUTION FOR DESIGN: USING PATTERNS OF FAyNADE ELEMENTS Each pattern describes a problem that occurs over and over again in our environment and the core of the solution to that problem in such a way that you can use this solution a million times over without ever doing it the same way twice .
In this paper, we intend to find a new way for the combination of the patterns and sort them together.
the patterns are taken from the fayades.
Using pattern language in designing helps to overcome the complexity of things and achieve a desirable form.
Pattern languages are disciplined abstracts of human experiences.
The validity of patterns is determined through an experience evolving through time.
CASE STUDIES
The studied samples in this research were a selection of houses in a district of Mirbat city (South of Oma.
and another selection of houses in Mutrah city .
n the capital regio.
These two cities have been selected as case studies because of their rich architecture and the well-developed patterns of their fayades.
In total, 24 buildings have been selected: 15 of them .
belong to Mutrah City as a representative of contemporary architecture, and 9 of them .
, .
belong to Mirbat City as a representative of the vernacular architecture.
754 | Journal of Islamic Architecture 8.
June 2025 Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari As seen in Figure 3, the houses of Mirbat have the characteristics of the local native architecture, and the houses in Mutrah have the characteristics of traditional Omani architecture.
The amalgamation of the two styles can be beneficial for presenting design solutions.
Five elements have been identified in the fayade:
Number 1: window, door .
f entrance and balconie.
, parapet, opening, and balcony.
People have shaped buildings for themselves for centuries by using what was defined by Christofer Alexander as pattern languages.
Pattern language provides the tools to create an infinite variety of new and unique designs, just as ordinary spoken language gives the power to create an infinite variety of sentences.
A building that has a AufreeAy form, a shape without roots in the forces or materials it is made of, is like a man whose gesture has no roots in his Its shape is unauthentic, artificial, forced, and contrived made to copy outside images, not generated by the forces inside .
Figure 3.
Selected Buildings, number 1-3 & 7-12 .
), number 4-6 & 13-24 [Source: Author.
Journal of Islamic Architecture 8.
June 2025 | 755
Integrating Vernacular Architectural Elements into Contemporary Omani Residential Design: A Comparative Analysis of Traditional and Modern Fayades RESULT AND DISCUSSION
RESULT
PATTERNS OF RESIDENTIAL ARCHITECTURE IN OMAN
Structural Patterns (A).
At first glance, the appearance of the buildings in traditional communities showing their identity and paying attention to their structure is crucial for designers.
Structural patterns encompass the designs used in windows, doors, parapets, openings, interior decorations, and eaves.
In the investigations, the structure of the details, their repetition, and their layout in the whole composition have been analyzed to achieve a structure that can be used in designing buildings in Oman.
Our focus in this analysis is the outline of the patterns and their general shape.
Some elements are used in most of the building's fayades that we categorized into five sections.
In this research, we ignore the trivial elements and our aim is the general bodies of the fayades.
Structure in this part refers to the general shape of the details .
e do not analyze the structural aspect of the building.
The structural patterns used in this research include the windows (A.
, doors (A.
, parapets (A.
, vents (A.
, and balconies (A.
Figure 4.
Windows in the selected Omani Houses 756 | Journal of Islamic Architecture 8.
June 2025 Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari The Structural Patterns of Windows (A.
Discussing the general form and size of windows in Omani houses .
ernacular and contemporar.
, overall, the surfaces are flat and small, with openings to the outside to reduce the penetration of sunlight into the building and meet other social requirements such as privacy for the female inhabitants .
Type 1 Most of these openingsAo forms are projecting arched or semi-circular windows.
The elements used in Omani buildings are exclusive to this country.
The more attention is paid to detail, the more these are given value in Type 2 Creating an arch with a rectangular border and vice versa is a popular tradition in window framing in Oman .
(Figure 5, the windows of buildings number 2, 3, 8,9,10, and .
Type 3 Simple windows without any ornament.
(Figure 4, the windows of buildings number 13 and .
Type 4 These are patterned metal windows seen in urban buildings .
ontemporary architectur.
(Figure 5, the windows of buildings number 18, 23, and .
Figure 5.
Patterns of Windows in Omani Houses Journal of Islamic Architecture 8.
June 2025 | 757 Integrating Vernacular Architectural Elements into Contemporary Omani Residential Design: A Comparative Analysis of Traditional and Modern Fayades The Structural Patterns of Doors (A.
These types of doors are mostly wooden, topped with a decorative semi-circular arch.
Type 1 This type is represented by doors with a semi-circular curved shape.
They are mostly wooden, topped with a decorative semi-circular arch.
(Figure 6, the doors of buildings number 1, 16, and .
Type 2 These are double doors that are very similar to those found in Iran.
Having double doors in Iran has religious and social reasons .
o specify separate entrances for men and wome.
Perhaps the same reason also applies in Oman.
All double doors have a semi-circular element on the top, which has also been added to the frame.
(Figure 6, the doors of buildings number 8, 9, 11 and .
Type 3 These are much simpler doors, most of which are used in rural areas.
(Figure 6, the doors of buildings number 2, 3, and .
Type 4 These are patterned metal doors seen in urban buildings .
ontemporary architectur.
in Mutrah.
They are entirely painted and have a myriad of ornaments.
Those ornaments are remarkable and have nothing in common with the ornaments on rural or wooden doors.
The ornaments, like those of the windows, are Islamic As seen in the figures .
uilding number .
, they also have other ornaments, such as the moon and Unlike the rural double doors, these are simple single metal doors as there is no need for double doors.
(Figure 6, the door of building number .
Figure 6.
Door patterns in the selected buildings 758 | Journal of Islamic Architecture 8.
June 2025 Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari The Structural Patterns of Parapets (A.
Type 1 The pictures in Figure 7 show the parapets in the city of Mutrah.
Most of the buildings have U-shaped With latticed screens embedded in them.
(Figure 7, the parapets of buildings number 5, 6, 14, 15, 16, 20, 21, 22, 23, and .
Type 2 Crenellations are widely used patterns in Omani architecture, but they have become purely ornamental nowadays .
The architectural style of their forts and palaces became a sort of model that the Omanis imitated in their residential architecture .
Motifs taken from fort architecture are omnipresent in modern Oman's urban landscape.
This "emulation" or "transfer" of the Al-Ya'ariba architectural language to the civilian buildings could have been enabled by three main factors: first, the Ya'rubi style emanated from the "local" typologies and their architectural vocabulary, even if some important transformations were made after the contact with the Portuguese and the change in the artillery style.
Second, the same local materials and construction techniques that the Omanis used for their residential buildings were used in these forts and palaces.
Finally, as the Ibadi religious rules required, there was no excess in the size or ornamentation of the forts and palaces built by Al-YaAoariba .
Until now, the contemporary architecture of Oman, including the civilian part, holds in its forms and architectonics related to some of the prominent references to the forts and citadels of the Ya'rubi era.
AlBusaidi sultans, successors of Al-Ya'ariba, perpetuate their predecessors' style in their mansions and other official buildings for the same reasons .
Even today.
Oman's official buildings are characterized by this military architectural vocabulary, where crenellations crown all types of buildings, and towers punctuate their corners .
The Omanis are attached to this symbol, which took full shape when their country was the most powerful one.
It is their shared heritage, a source of pride .
, and, to a certain extent, it seems to be a symbol of the identity they want to claim .
It is an identity that links their present to their glorious past.
This awareness has been continuously encouraged by the late Sultan Qaboos B.
Said, who was at the top of the governmental decisions in this matter .
(Figure 7, the parapets of buildings number 11, 17, and .
Figure 7.
Parapets of the selected buildings Journal of Islamic Architecture 8.
June 2025 | 759 Integrating Vernacular Architectural Elements into Contemporary Omani Residential Design: A Comparative Analysis of Traditional and Modern Fayades It is for this reason that the crenelated rooftops are profusely used in contemporary architecture.
Some of the resulting architectural features are drawn from the "dominant" architectural languages and techniques.
they have been reinterpreted and reinvented with the local language.
Omanis adapt their buildings to their local context, particular defense needs, and socio-political conditions.
This process has allowed for a unique version of the fort fortification, which corresponds to the Omani empire in the 16 th - 17th centuries .
(Figure 7, the parapets of buildings number 11, 17, and .
Structural Patterns of Openings (A.
The openings are elements on the building fayades that are latticed like the parapets.
they are mainly used for ventilation.
These elements are different from windows because they do not operate like windows.
They are just lattice screens and do not belong to the AuwindowsAy category.
Most of the openingsAo structures are compatible with the windows or parapet details, which strengthens the sense of unity in Omanis building's fayades.
Based on their construction materials, two types of openings could be identified.
Type 1 Openings made of cement or plaster.
In this type, the openings are latticed exactly like the parapets.
(Figure 8, the openings of buildings number .
Type 2 Openings are made of metal.
In this case, these are painted the exact color of the windows.
The malleability of the metal makes it easier to execute Islamic patterns.
As a result, these patterns are seen in most metal (Figure 9, the openings of buildings number 15 and .
Figure 8.
Other types of openings in the selected buildings Structural Patterns of Balconies (A.
Different types of materials are used in building the balconies.
In houses where these are made of cement or bricks, the roof of that floor is slightly projected to cast shade on the balcony.
In balconies, which are made of wood or metal, a slanting roof is added above the balcony.
Hence, we witness two types of balconies in Omani houses.
Type 1 Type 1 is constructed with cement, bricks, and latticed screens in the same style as the parapets.
The ornaments include either latticed or stucco designs in the exact style of the window ornaments and other elements of the fayade.
In this Type 1 of balconies, harmony between the fayade elements is much more They are also continuous along the fayade.
(Figure 9, the balconies of buildings number 13, 16, and The Type 2 Balconies of type 2 are constructed with metal and wood, and they have a painted slanting roof.
These are mostly seen on Corniche Road in Mutrah.
Unlike Type 1, these Type 2 balconies are executed as both continuous and discontinuous.
The railings are hollow, and the roofs are colorful.
(Figure 9, the balconies of buildings number 15, 20, 21, and .
760 | Journal of Islamic Architecture 8.
June 2025 Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari Figure 9.
Balconies of the selected Houses Functional Patterns (B) The relationship between patterns and function can be understood from their performance at the For instance, people use the roof at night for sleeping because of the airflow between the lattice Patterns used in buildings have functions such as Ventilation.
Shading, and Privacy (Figure .
Ventilation: The solutions include creating openings in the upper part of the fayade, such as parapets and Mashrabiya.
Such openings are also essential to allow the evacuation of the hot air accumulated below the ceiling due to convection to escape.
Shading: Controlling the light is the key in Islamic architecture.
It aims to cool and reduce the glare caused by sunlight.
It also adds to the aesthetics of the structure and its ornamental elements.
This is achieved by using projecting patterns and diverse textures on the surfaces, which provide shade and increases or decreases light over time .
As Dalu Jones writes, regulating or displaying sunlight with dynamic products and constantly changing patterns introduce modern life .
In traditional Omani architecture, the windows are recessed from the main fayade wall.
This creates a shade and a place to sit or nap .
The projected components, consoles, and cantilevers provide shade on the fayades and, consequently, reduce the amount of direct sunlight on the external walls.
The openings and windows with indented frames, which are slightly wider than the width of the window by about 0.
25 meters, prevent sunlight from shining into the architectural spaces .
Privacy Indirect entrance doors are an important part of providing access to the indoor sections of the house while protecting the privacy and security of these spaces .
Islam reveres the family space and daily life inside the Many of the Islamic texts related to buildings require Muslims to respect home privacy.
Some of the provisions of the AuBuilding Regulations for MuscatAy respond to this ancient, an important social tradition of the current Omani society.
Journal of Islamic Architecture 8.
June 2025 | 761 Integrating Vernacular Architectural Elements into Contemporary Omani Residential Design: A Comparative Analysis of Traditional and Modern Fayades Figure 10.
Functional patterns in the selected houses The Functional Structure of Windows (B.
In vernacular architecture, the windows are small and placed at a high level from the ground to allow for light and ventilation.
The position of the window at the top relative to the floor level creates visual privacy from passers-by.
However, this has been greatly overlooked in contemporary architecture, and the windows are placed at the passers-by level in plain view .
(Figure .
Figure 11.
Visual privacy in buildings The Functional Patterns of Doors (B.
In vernacular architecture, the doors are heavily ornamented and made of thick hardwood.
They separate spaces while also providing access and security .
(Figure .
The Functional Patterns of Parapets (B.
The height of most parapets is approximately one meter to provide privacy for the inhabitants.
In hot climates, the shelters on and around the roofs are often made in the form of a grid so that the residents would be kept safe from the outsidersAo look, and at the same time, residents use the current of air on the roof to refresh the interiors during the hot season .
The roof is commonly used for sleeping during summer nights, and these slit openings may increase the airflow, which improves thermal comfort .
(Figure .
762 | Journal of Islamic Architecture 8.
June 2025 Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari The Functional Patterns of Openings (B.
Every element in Omanis buildings has a reason, and openings are not an exception.
Due to the hot climate of this country, all of the elements are utilized for improving the thermal comfort conditions.
The openings are used mainly in building fayades.
Positioned high enough, they allow the hot air to escape and allow the cool air to get in through wider windows positioned in the right fayades at the right height .
The openings in the rooms are located at two different levels.
The lower windows and small slit vents are close to the floor .
-50 cm above the floo.
They are the source of airflow in the room and control the thermal sensation as the local people usually sit close to the floor .
This is the case of the openings in Mutrah and Mirbat (Figure .
The Functional Patterns of Balconies (B.
One of the fayade design features that can affect the natural ventilation performance of buildings is the balcony .
The ability of balconies to provide solar shading to the apartment below is referred to as one of the most successful solutions to achieve comfort in summer with low energy consumption .
Some researchers also indicate that the overhang effect of balconies can block the undesirable penetration of sunlight, protecting the indoor space from ultraviolet radiation .
(Figure .
Figure 12.
Patterns of parapets in the selected houses CONCEPTUAL PATTERNS (C) The concept of the patterns can be seen in the geometry and color of patterns.
Geometry of Patterns: Pointed and Circular Arches These arches are common in the architecture of houses in Southeast Yemen and Oman .
The use of different arches is linked to social values .
Pointed and circular arches have been used in all the modern architectural spaces of religious, commercial, and residential buildings .
They can link columns and serve as openings, and entrances, as well as decorative elements.
In Oman, arches appear in several forms, including semi-circular, pointed, or horseshoe shapes .
(Figure .
Circle Circle is the symbol of perfection and simplicity, and most complete geometrical shape that is symmetrical is relative to the center from each direction.
The circle even has value from all sides, and this means that the circle does not know any direction.
Therefore, its stimulating combination is the simplest type .
, .
(Figure 13, building number.
Eight-Fold pattern & Four-Fold pattern The two simplest geometric constructions, which form the basis for many of the patterns to be found in Islamic decorations, are the constructions of four and eight-pointed geometries, respectively.
These relatively simple geometrical constructions are easy to develop by connecting various intersections, forming the basis for a variety of pattern-making .
Journal of Islamic Architecture 8.
June 2025 | 763 Integrating Vernacular Architectural Elements into Contemporary Omani Residential Design: A Comparative Analysis of Traditional and Modern Fayades Eight-Pointed Star The square represents the earth or the physical elements such as earth, air, fire, and water.
If a square overlaps another, with the second square pointing upwards, an eight-pointed star is formed.
The eight-pointed star is related to the symbolism of the eight bearers of the throne from the Quran and certain cosmological interpretations .
Arabesque shape The arabesque, or biomorphic, symbolizes pristine nature.
The Muslim artist is inspired by the multiplicity of forms, patterns, and rhythms he sees around him in nature and abstracts them to the fundamental essence (Figure .
Floral pattern The study of geometric proportions has its roots in the study of nature and matter .
Islamic floral patterns are an ancient form of Islamic art that is on the verge of extinction.
These floral ornaments consist of flowers, leaves, and curved lines that can be obtained using standard geometric or irregular methods .
Figure 13.
Conceptual Pattern Interlacing of the conceptual patterns Most of the conceptual patterns create bigger patterns by endlessly connecting each other.
Repetition is the most useful and fundamental feature of Islamic patterns.
There are few basic shapes in Islamic art, but the interlocking design of these basic shapes generates different and complex patterns.
The repetition of triangle, squares, and pentagons usually produces Islamic patterns.
Another important feature of Islamic patterns is Symmetry, or the series of ways in which a single motif can be repeated an exact number of times within a circle, is the most fundamental manifest aspect of Islamic geometric art .
(Figure .
764 | Journal of Islamic Architecture 8.
June 2025 Afsaneh Shahbazzadeh.
Reza Sameh.
Naima Benkari Figure 14.
Interlacing of the patterns in the parapets and openings The analysis of patterns In the opposite table (Table .
, we can see the simple relation between the fayade elements and their detailed role.
The whole part of the pattern has its role in the building (Figure .
With this method, it is possible to understand the patternsAo evolution (Figure .
through a three-level analysis.
The first level provides a general overview, the second level focuses on the overall shape of the pattern, while the third level examines the intricate details within the shape.
These processes keep evolving.
DISCUSSION