Islamic art emphasizes the use of different types of ornamentation, which are applied on almost every surface, be it walls, floors, or even textiles. Islamic ornamentation rarely uses the human figures in its motifs, but rather accentuates three basic groups of forms: (1) stylized Arabic script, (2) vegetal and organic forms, and (3) geometric forms. Islamic artists developed geometric patterns to a degree of complexity and sophistication previously unknown. These patterns exemplify the Islamic interest in repetition, symmetry and continuous generation of pattern.  As stated by Critchlow in the mid 70s; in order to understand the mathematical basis of Islamic pattern one must consider most carefully those primary moves of geometry which are all too frequently passed over lightly, or simply taken for granted. 
Several previous studies and applications tackled the generation of star patterns based upon Hankin’s method. However; very few considered the magic squares, which were frequently used by the Arabs in more than cosmic and astronomy matters.
In the generation of designs, the use of typologies is a widely spread model. Coyne et al argue that instead of using pure grammatical rules, one might define a design space in terms of a class description. This is to be done by listing all the properties and methods of the class, including the ranges of properties that a design instance may take, as well as the interrelationships between properties. In defining a class for a geometrical motif, this would include all kinds of basic magic squares the motif can be based upon, stating all possible segmentation possibilities to divide the basic circle, listing all possible modes for connections between the basic segments, as well as enumerating all possible modes of form reproduction.
For human designers, there always exists a bottleneck, referred to as design fixation. No human designer can come up with hundreds of distinct motifs. However, with the use of a computer assistant system, rather than an expert system, one can bypass this problem. An immense number of possible motifs can be generated within few minutes, giving the designer a wide selection to evaluate, select and refine. The computer generated motif is not the end of the design process, but rather the beginning.
This paper presents an ongoing research aiming at designing a computer application that aids designers by generating Islamic geometrical motifs based on the magic squares.