JEDDAH: “The power of words turns music into songs. I’ve always been attracted to the power of conveying a message in a beautiful way, be it in a song, in calligraphy, in poetry… that’s how I chased my career in calligraphy.” The renowned Iraqi master calligrapher and architect Taha Al-Hiti is explaining to Arab News his passion for the visual art that has dominated so much of his life. As one of the oldest Islamic art forms, and one of the most widely revered, calligraphy has a special place in the culture of the Arab world. Al-Hiti studied under the patronage of Iraqi master calligrapher Abbas Al-Baghdadi and has showcased his command of thultuh script in multiple international exhibitions over the years. For many, becoming a master calligrapher would be enough of an accomplishment for one lifetime. But Al-Hiti is also an accomplished and innovative architect. His company, Squadra Architects, specializes in modern designs infused with traditional elements: arabesque ornamentation, and — of course — calligraphy. “I had feared I would become a trade calligrapher,” Al-Hiti says. “Competing over who writes the best letter. But these are technicalities of the art — they reflect practice and technique, recycling what you’ve learned rather than bringing in something new. So I chose architectural engineering, because of its relation to design and creativity.” Combining his two great passions was a way for Al-Hiti to begin to answer a question that had long interested him: What qualifies a particular structure as ‘Islamic’ architecture? He mentions the Alhambra Palace in Granada, Andalusia — a building that, because of its Qur’anic calligraphy and the fact it was built by Muslims, is often regarded as Islamic, but, as Al-Hiti points out, is so much a product of its environment that it would look out of place in the vast majority of Islamic countries. While it’s true that architectural designs have often, historically, been linked to civilizations, it’s also true that similar designs are found in disparate regions, and, Al-Hiti explains, the very notion that architecture can be deemed to belong to a particular culture is increasingly being questioned. It’s a thorny, much-debated topic, and one that, he suggests, is open to countless interpretations, depending on researchers’ individual opinions. “Islamic architects belong to different schools,” he says. “They follow varied architectural elements. But the common denominator in all Islamic structures is calligraphy. It’s right in front of our eyes. It’s hard to call a dome or pillar ‘Islamic’ — it’s only called that because of a verse, or a mention of Allah’s name on a wall.”