A Doha-based advanced fabrication studio has produced museum-grade replicas of six historically significant Islamic artefacts for the Museum of Islamic Art (MIA), using a hybrid manufacturing process combining 3D printing, digital modelling, and traditional casting techniques.
According to Khalid al-Saegh, the co-founder and chairman of Vectorize, the project was driven by MIA's need to expand public access to fragile historical pieces without compromising the originals.
“The museum was looking for a way to expand access to fragile historical artefacts without compromising the originals...traditional replication methods are often limited when it comes to intricate Islamic geometries, delicate inscriptions, and multi-material compositions,” al-Saegh told Gulf Times in an exclusive interview.
He said the six replicated artefacts span science, faith, art, and craftsmanship across Islamic history: the Ka'aba Key from the Mamluk period, the Planispheric Astrolabe from the Abbasid 10th century, the Mihrab Tile from Ilkhanid Iran, the Umayyad Dinar Gold Coin, the Tray inspired by Al-Andalus, and the Mamluk Incense Burner.
Al-Saegh said each artefact was chosen both for its historical significance and the fabrication challenges it presented. He explained, “They were selected because they represent intellectual, spiritual, and artistic excellence within Islamic civilisation. Each artefact also presented unique fabrication challenges.”
He noted, “Authenticity was non-negotiable. The process began with high-resolution digital reconstruction to preserve inscriptions, proportions, and historical details.” Engineering adaptations were made internally rather than visibly, al-Saegh pointed out, to ensure structural integrity across resin, brass, and ceramic formats.
“This required a constant dialogue between historical preservation and fabrication science,” he added.
According to Vectorize co-founder and CEO Farid Mahfouz, the project was developed in close collaboration with specialists from MIA.
Susan Parker-Leavy defined museum-level technical standards, Marc Pelletreau provided high-definition references and reviewed models before execution, Soumeya Menber ensured technical alignment throughout, and Sawsan Mohdamin Sallam facilitated the procurement framework, Mahfouz pointed out.
He emphasised that the replication process also yielded historical insights: “Digitally reconstructing objects like the astrolabe or Ka’aba Key offers a deeper understanding of their mathematical precision and craftsmanship.”
“You begin to appreciate the engineering sophistication achieved centuries ago. The process becomes both fabrication and discovery,” Mahfouz further stated. The replicas are being used to support educational workshops, public engagement programmes, institutional exhibitions, and hands-on learning environments, he said.
The most significant technical challenge was material translation, with each artefact required to perform across resin, brass, and ceramic workflows, Mahfouz explained.
“Intricate detailing, thin geometries, and multi-layer surfaces required both digital precision and casting expertise,” he said, noting that Vectorize implemented dual casting approaches using castable resin and wax to ensure precision and quality control.
Mahfouz said the project sets a benchmark for museums across Qatar, Saudi Arabia, and the broader Middle East. “This project demonstrates how hybrid advanced fabrication can enhance heritage preservation, expand accessibility, and maintain institutional integrity,” he added.
