Luis and Julian Molina were born in the Andalusian-conquered territories of South America, in the city originally named Córdoba de la Nueva Andalucía — today, the second largest city in Argentina. The colony founder, a native of Seville, named the new settlement in the honor of his wife, who was born in the Spanish Córdoba, once the capital of the Caliphate in Al-Andalus.
It is, perhaps, these Andalusian roots that eventually blossomed in the brothers' minds and souls when, during early trips to Southern Spain and North Africa, they fell in love with the vast cultural heritage embedded in art forms such as Islamic geometric design and floral arabesques. The complexity and intricacy of the designs were mesmerizing, but it was the realization that the art forms were only mastered by a few Maalems — passing on their secrets through generations — that triggered the brother's curiosity.
They roamed the crowded labyrinths of ancient medinas and spent countless nights and days contemplating the magnificence of palaces, mosques and madrassas.
They were absorbed by the persistent serenity of artisans teaching youngsters the numerous crafts and variations mastered in each region. They learnt that not one person actually grasped all the secrets behind Islamic geometric design, as even the most accomplished Maalems worked with a limited catalog of patterns stored solely in their memory.
Local erudite academics contended that the secrets behind the art form may have been lost in past wars, sieges, and various cultural crimes of the past, when books were burnt or rivers turned black from the priceless ink.
However, some of the rules holding the secrets behind Islamic patterns became apparent with time, as a natural consequence of continual observation. The elder within the vaults of the medina contributed precious pearls of wisdom too, under candle light and heavy hookah smoke clouds. Other mysteries were solved by crisscrossing existing literature, both ancient and contemporary, from both eastern and western authors. In undocumented amounts of time, the brothers had finally grasped sensible portions of the mystery.
Today, their vision is to elevate the age-old art forms of Islamic patterns and floral arabesques, producing an inflection point in the history of an artistic expression that has remained dormant for centuries, by way of continual investment in research and development of computational design tools and modern manufacturing processes and technology that allow new forms of implementation in all sorts of applications.