The Egyptian Riwaq

A matt finish was selected, muting the colours and the contrast. This was intended so as to convey the character and ambience of Egyptian wall paint finishes as closely as possible.

Quite distinctive Egyptian motifs and symbols were incorporated using references to these ancient times.

Taif and Mecca Designs

Saudi bedu weaving from Taif and Mecca regions was the basis for the design of these niches, though their familiar earthy tones were replaced with glazes of high gloss.

The reds and the oranges in particular were required to be strong and show good contrast with the black and other softer colours. Here the pairing of designs (niches) is evident - the same pattern is used but with an alternative emphasis of colour.

Contemporary Designs

Traditional elements of Islamic floral and geometric pattern were fundamental to these niches although during construction of the designs, we were asked to have a contemporary approach.

The use of blues, soft coral and sand colours across all niches was to bring continuity to the eight niches of the riwaq.

The Omani Riwaq

Much platinum lustre was used in these designs because the central part of each niche carries a close association to traditional Omani jewellery design.

The surrounds are based upon the patterns and colours of locally found fabrics and materials.

Central Asian Designs

The dominant colours here are the traditional dark blues and turquoises commonly used in fourteenth century Islamic design. Here these colours are glassy and translucent and in many parts sit right next to areas of unglazed clay.

This contrast of finish is glorious and it's relevant to this period of ceramic history in the region. Much of the line work here has derived from architectural and masonry detailing of that era although this was adapted to suit the specific parameters of these niches.