Hidden Meanings:

Revealing the Beauty of the Hidden and its Cultural Significance in Furniture

A Thesis Submitted to the Faculty of the Furniture Department

in Partial Fulfillment of the Requirement for the
Degree of Master of Fine Arts in Furniture Design
Savannah College of Art and Design

Amal Omer Al-Amoudi

Savannah, Georgia
© May 2015

George Perez, Committee Chair

Sheila Edwards, Committee Member
John Pierson, Committee Member
 Dedication

To Ammar, my best friend and partner in this journey, thank you for all the love and support.

To my parents who lovingly shaped the person I have become today.

To a lost history that once reigned and always inspired.

 Acknowledgement

I would like to express my sincere gratitude to George Perez the committee chair for guiding me

through this amazing journey. I would like to thank the rest of the committee members Sheila

Edwards for her insightful comments that molded me to be a better designer. I would also like to

thank John Pierson for his immense knowledge on woodworking techniques that helped guide

me through the execution of my pieces.

Sincere thanks goes to my parents Omer Alamoudi and Fatma Bafagih for their extreme

encouragement and support who make the hardest days easier. I would also like to thank my

sisters Khalida Alamoudi, Samar Alamoudi and my brothers Ahmed Alamoudi, Saeed Alamoudi

for always being there. I would also like to thank Eghnar Khayat for being a great friend, always

willing to help with any way possible.

Finally I would like to thank my husband Ammar Aldabbagh, for his love, support and patience.

He was always by my side through the good and bad times. This thesis wouldn’t have been done

without him.

Thank you
 Table of Content

List of Figures | 1

Abstract | 3

Introduction | 4

Cultural Identity | 6

The Effect of Modernization | 8

A. Fashion | 9

B. Language | 10

C. Architecture | 11

Hidden Meanings in Islamic Architecture | 13

A. Definition of Islamic Architecture |13

B. Architecture of The Veil | 15

C. Islamic Arts, Arabesque | 18

1. Geometric Interlacing Patterns | 21

2. Vegetal, Floral Patterns | 23

3. Calligraphy | 24

D. The Power of Light and Lightness | 25

Hidden Meanings in Furniture | 27

Design | 30

A. Geora Stools | 32

B. Bambusa Coffee Table Set | 35

C. Arabesqa Screen | 38

Conclusion | 40

Work Cited | 45
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List of Figures

Fig. 1. Mecca During Prayer | 7

Fig. 2. Medinah at Sunset | 7

Fig. 3. Acia AKF. "The Hybrids." | 10

Fig. 4. "The Premier Online Destination for Luxury Conservative and Modest Fashion, Inspired

by Arabia." | 10

Fig. 5. Algerian postcard, women with veils | 16

Fig.6. Exterior view of Mashrabiya | 17

Fig. 7. Interior view of Mashrabiya | 17

Fig. 8 Geometric Arabesque | 19

Fig. 9 Vegetal Patterns | 19

Fig. 10. The manifestation of shape | 21

Fig. 11. Construction of Triangle | 22

Fig. 12. Construction of Square | 22

Fig. 13. Construction of Hexagon | 22

Fig. 14. Combination of geometric and floral patterns, Critchlow. 1999 | 23

Fig. 15. The profession of Faith, Calligraphy in Islamic art | 24

Fig. 16. Screen, Play of Light and Shadow | 26

Fig. 17. Minbar, King’s Throne, Prince chair, Qur’an Holder, Coffers | 28

Fig. 18. Ritual Prayers, Prostration | 29

Fig. 19. Geora Low Stools Renderings | 33

Fg. 20. Geora Low Stool physical work 1 | 33

Fig, 21. Detail of Physical work 2 | 34

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Fig. 22. Detail of Physical work 3 | 34

Fig, 23. Detail of Physical work 4 | 34

Fig. 24. Bambusa Coffee Table Set Renderings | 36

Fig. 25. Coffee Table Set Physical Work 1 | 36

Fig. 26. Coffee Table Set Physical Work 2 | 37

Fig. 27. Coffee Table Set Physical Work 3 | 37

Fig. 28. Card Board Mock Up | 38

Fig. 29.Rubber Connectors | 38

Fig. 30. Arabesqa Physical Work 1 | 39

Fig. 31. Arabesqa Detail Physical Work 2 | 39

Fig. 32. Five To One Show 1 | 41

Fig. 33. Five To One Show 2 | 42

Fig. 34. Five To One Show 3 | 43

Fig. 35. Pieces in Use | 43

Fig. 36. Pieces Description Card | 43

Fig. 37. Giveaways at the show, Bookmarks 1 | 44

Fig. 38. Giveaways at the show, Bookmarks 2 | 44

 Al-Amoudi 3

Abstract

Hidden meanings: Revealing the Beauty of the Hidden and its Cultural Significance in Furniture

Amal Omer Al-Amoudi

May 2015

This thesis identifies hidden meanings that once existed in Islamic architecture and

furniture. Many were hidden behind the construction, geometry, aesthetics and cultural behavior

of the Islamic culture. All these meanings were drawn from Islamic religious beliefs and were

implemented in every aspect of the Islamic life. This thesis explores these veiled meanings and

translates them into new contemporary furniture that tells a story and documents the beauty of a

fading culture. Furniture may be a tool that bridges the past and the future between the east and

the west.

Keywords: Furniture, Islamic Architecture, Hidden Meanings, Arabesque, Geometry, Floral

Patterns
 Al-Amoudi 4

Introduction:

“ Saudi society is in Flux. Trying to understand its dynamics is like painting a picture of a

moving train” – David Long, Culture and Customs of Saudi Arabia

Saudi Arabia is a newly developed nation with an ancient history that was established

officially on September 23, 1932. The Saudi culture was developed due to the interaction

between two different communities: the settled, who lived and worked in small cities and the

nomadic tribes that lived in the harsh desert environment where they travelled regularly. This

relationship was originally formed 6,000 years ago and played a role in defining the Saudi

culture (Long 1). In the 7th century A.D. the immersion of Islamic beliefs and values ruled the

country, a distinctive character that defined Saudi Arabia until today. Saudi Arabia is considered

the cradle of Islam where basic Islamic values of the Saudi culture and other Islamic cultures

were born, set and retained until this day and until the end of time. Despite its ancient history, in

the last 70-80 years Saudi Arabia has been exposed to vast social changes, more than has ever

been recorded in the Saudi history (Long 3). Saudi Arabia went into a rapid modernization in the

last few years due to the discovery of oil in 1932. Due to that event, the Saudi cultural identity

has been changing rapidly. The fast development affected many characteristics of the culture

dramatically. The vast oil revenues that were generated played a major role in the Saudi

economy and social development. As a result, major growths in the technology of transportations

and communications occurred. These advances exposed a conservative country to the outside

world as never before. Rapid cultural changes were a result of rapid modernization, which led to

major fluctuation in the Saudi society. Lack of stability somehow complicated the understanding

of the Saudi culture dynamism. However, this development created a complex culture that
 Al-Amoudi 5

consisted of three elements: an ancient desert society, infused with Islamic beliefs, on the

collision route of modernization. The integration of these three themes seems incompatible yet in

fact appears to be fairly stable (Buchele 57). The result of this rapid development can be shown

in different aspects of the culture such as architecture, furniture, fashion, music, food and even

the spoken language, Arabic. With this modernization, the influence of the West increased as

many Americans and Europeans went to work in Saudi Arabia. Since it was a closed community

with no exposure to the outside world, it was exposed to a plethora of foreign influences. They

became more affected by the Western lifestyle and the progression they had in which the culture

began losing its authenticity. Due to the unexpected sudden wealth in such a short period of time,

Saudi Arabia went from a very poor nation to one of the richest nations in the world where most

people had difficulties processing the vast change. This accelerated development and influx of

cultural influences has its own advantages and disadvantages. No nation wants to be known or

portrayed as underdeveloped or be left in the cold while neighboring nations develop at a great

rate. Moreover, in a country whose culture is imprinted into every single national, it is that

culture that defines who they are as a society. “You cannot tell where you are going unless you

know where you have been”- Binzagr. Any culture has certain fundamental principles, pillars,

guidelines and rules that were once established and created when that place or society was born.

Especially in a place where customs, traditions, culture and, mainly, religion are the only

elements that define that place as whole and how people lived in it; it is essential to project these

principles through the newly created habitation. In order to create a sense of connectivity in this

society, where upcoming generations are veering from tradition, it is necessary to embrace the

past as a guide to the future. This is the key to a healthy, sane society. A society that wants to

succeed, nourish and prosper.

 Al-Amoudi 6

Due to the vast development, the meanings of many characteristics in the culture and its

heritage were lost, which resulted in a generation that has no links to the past. Due to these major

influences and the impact of the oil wealth the cultural identity started to suffer. For instance, in

Islamic architecture there are countless concealed meanings that existed behind the complexity

of the construction, geometry and beauty of the aesthetics. From arabesque to the pointed arches,

minarets and domes, each element was used for a specific purpose, which would reflect a

beautiful cultural concept or had a particular message and meaning behind it. These meanings

were drawn from three significant elements: Islam, which is the predominant religion, the

Qura’an, which is the holy book, and traditions and customs that define Saudi society. However,

the invasion of Western architecture and culture resulted in minimizing the use of Islamic

architecture. Over time, this led to a lack of understanding and absorption of these meanings and

the importance of keeping them alive. The beauty of Islamic architecture and urbanity must be

preserved and documented so it’s never lost.

This thesis looks into hidden meanings that existed in many aspects of the Islamic culture

and reinterpret the findings in a line of contemporary furniture. The designed collection is a

cohesive work intended to represent, document and reflect various distinctive meanings that

existed in the Saudi Islamic culture.

Cultural Identity:

The Kingdom of Saudi Arabia is considered to be the birthplace of Islam and the Arab

people. Islam is “the religion of the Muslims, a monotheistic faith regarded as revealed through

Muhammad as the Prophet of Allah” (Emerick 15). Saudi Arabia occupies the majority of the

Arabian Peninsula. However, the cultural identity is mainly defined by religion and ethnicity,
 Al-Amoudi 7

which builds a connection to all the Muslims and Arabs beyond the nation’s borders. Saudi

Arabia contains 20 cities; 4 of them are considered to be the most important. Riyadh, which is

the capital of Saudi Arabia; Jeddah, which is the main port; and Mecca and Medinah, the two

holy cities. They attract settlers from many other Islamic countries due to their spiritual

significance as the holy cities and the core of Islam for all Muslims (Fig. 1 & 2). The birth of

Islam started in Mecca and spread when Muslims conquered the lands around it years ago, 623-

1050 CE. The Saudi cultural identity is defined as a religious identity. “Life in Saudi Arabia is

heavily based on their Islamic faith as this religion dictates many rules and laws, truly dictating

how most of the people live” (Yamani 3). Saudi Arabia is the nest of Islam and all Muslims.

Since the country is governed by religious guidelines, the society itself is very conservative. The

lives of many people revolve around religious obligations such as praying five times daily,

Friday prayers, and fasting during the holy month (Champion 21). Islam is reflected in the arts,

architecture, cultural products, social behavior and relationships, customs, traditional clothing,

etc. The Islamic religion is considered the most important thing in their lives. It is the guidance

that molds their behaviors, relations, and lifestyle.

Left, Figure 1. Mecca during prayer, Nomachi, Kazuyoshi, and Seyyed Hossein, 1977.
Right, Figure 2. Medinah at sunset, Nomachi, Kazuyoshi, and Seyyed Hossein, 1977.
 Al-Amoudi 8

The Effect of Modernization

Before 1932, the country was divided into different parts and each part was ruled and

controlled by tribal rulers. It was so poor that their main income was through agriculture or a

pilgrimage to Mecca known as Hajj. Hajj is a religious duty for Muslims from around the world.

This activity takes place in the last month of the Arabic year. All Muslims are expected to do it at

least once in a lifetime. During this time, people were mainly divided into two main categories:

urban that settled in the city and nomads who travelled from place to place to survive (Buchele

34). The second category, nomads, dominated the countryside.

Binzagr a Saudi artist and writer on Saudi Culture asserts in her book Saudi Arabia: An

Artist’s View of The Past that in pre-Saudi times, history was kept alive for tribesmen by poets

and their ballads. She also says that modern Saudi Arabia needs to be in touch with its social and

cultural past through social scientists, poets, artists and writers, so that from diverse experiences

it may create a Saudi whole. Only then can it survive the blitz of the non-Saudis keeping the

books, building the roads, running the machines, directing the organizations and establishments,

caring for the sick, teaching the young, and providing the entertainment (19). In order to assure a

sound environment for the will to survive and to be master over the desert, wealth and destiny,

Saudi Arabia must be integrated socially and culturally. The historic isolation of Saudi Arabia is

now at an end. Positive change to find a better, brighter future is the new norm. However,

traditions, religion, and customs must remain, just as the influence of new materials, values and

ideas do.

Once a poor desert hinterland, over night is has become a desert superpower

exhibiting most twentieth-century pretensions: army, navy, newspapers, Japanese

 Al-Amoudi 9

transistors, fashion boutiques, Pepsi Cola, popcorn and aerosol cans. With the oil

industry came the exposure to outside influences, such as European housing

styles, Danish furnishings, French cosmetics and American hotdogs (Binzagr 18).

Nevertheless, it is beneficial to Saudis to take advantage of western technology and

consumer goods, as it can effectively broaden horizons if the knowledge is utilized within the

framework of the values and beliefs of the people. Western technology is not only incorporated

in the social culture, it has a profound effect on the intellectual culture as well. Educational

activity is no longer managed by a school curriculum that is heavily loaded with religious classes

and studies. Instead, it is influenced by a controlled range of western programs such as “Star

Trek,” “Barretta” and “Disney World” (Binzagr 19). Since pre-Islamic times poetry, formal

prose and speech were the most important art forms that defined not only Saudi culture but also

the Arab region as a whole. However, with modern growth, generations have lost the

appreciation of this kind of art, which was another lost aspect of the culture.

A. Fashion

The customs and religion of Saudi Arabia require a conservative dress form for women

and men, as is true for the Middle East in general. Publicly, women wear the Abaya, which is a

black cloak that covers their body and head. Different regions have different traditional dress.

However, due to the rapid change, this was affected as well. Over the last ten years, traditional

clothing changed rapidly from very traditional to very Western. People were fascinated with how

Western and European people dressed (Binzagr 18). The influence first started spreading out into

more liberal Arab countries like Egypt and Lebanon, and then slowly merging into Saudi Arabia.

This fast change

 Al-Amoudi 10

Left, Figure 3. Acia AKF. "The Hybrids." The Hybrids RSS2. N.p., n.d. Web. 05 Apr. 2015.
Right, Figure 4. "Luxury Conservative & Modest Fashion, Inspired by Arabia."

caused quick withdrawal from any traditional dress code, which was kept mainly for

festive occasions. Around 2000, Western dress was practically the norm, especially in the

Eastern Province. This fast change caused quite a disconnection traditionally and socially, which

lead to the birth of hybrids. Hybrids are typically western dress with an Arab, Middle Eastern

twist or vice versa. (Fig. 3 & 4).

This new mix of East and West got significant attention and became a big phenomenon.

Most people accepted and related to this new trend because through it culture was embraced in a

new way and people were brought closer to the culture to which they once were connected.

B. Language

Arabic is the language of all citizens in Saudi Arabia and about half the immigrants.

Since the culture revolves around the Islamic religion, the importance of the Arabic language

goes back to the fact that the two sacred books in Islam, the Qur’an and the Sunnah, were

revealed and written in Arabic. Both of these sources are Arabic in their meanings, idioms and

wording. As a result, in order to completely understand these sacred texts and their meanings,
 Al-Amoudi 11

understanding the Arabic language is key. Classical Arabic (Fusha) is the language the Qur’an

was revealed in. This type of Arabic is high literature, and it is used for prayers and religious

rituals. Modern standard forms were used in lectures, poetry and other formal purposes. In

conversations and daily life people tend to use colloquial Arabic (Amiya). There are many

internal variants and sub-dialects. However, English is the main second language. Due to the

influence of English, a new language started to appear called Arabish or Arabizi, a hybrid form

of text messaging that merges Arabic and English. Latin characters are used to replace the Arabic

pronunciation. This phenomenon resulted in slowly losing the Arabic language, especially in

younger generations who were heavily affected by social media. Drifting away from a language

that not only defines the culture but also the religion will have a serious consequence in the near

future. This will only result in broadening the gap between generations and their cultural identity.

Arabic as a language has to be preserved in order to save the cultural identity.

C. Architecture

Architecture was one of the obvious urban forms that were affected dramatically by

modernization. People moved from the desert to new houses in the city, and people in the city

moved to bigger houses that they didn’t feel comfortable in. These buildings were designed by

foreign architects who had limited experience and minimal interaction with conservative

cultures. Traditions and religion are complexly interwoven in a conservative culture, which

makes it extremely difficult for designers outside the region to grasp every single need. This

unfamiliarity, led to architectural instability around the country. Every single neighborhood had a

mixture of styles that were adopted from the outside, which increased the confusion

tremendously. With modernization, people in the towns went to the West for education and

found themselves frustrated and rootless. They were exposed to ideas and values that were
 Al-Amoudi 12

conflicting with the traditional Islamic morals and ethics, which made the gradual process of

development challenging. It is difficult to blend the old with the new. In many cases it takes time

to absorb and to eventually adjust to the new framework. Saudis as individuals and groups are

caught up in crosscurrents socially, politically and economically (Binzagr 19). Saudi Arabia was

fascinated with the idea of development yet did not anticipate the cultural damage that occurred.

Due to progress and development over the last century and a half, the Saudi population

increased significantly. The government of Saudi Arabia had to cater to the people’s need in

providing more buildings. In a country that wasn’t equipped with the right technology to provide

the basic needs to the people, the only solution was to get assistance from the West. At some

point the Islamic region had to come to terms with Western influences and the experience was

traumatic. The traditional urban fabric of the culture was completely destroyed in the Islamic

world.

The impact of the Western influences was destructive not only politically but also

culturally. It affected every single form of the culture from urban structures and architecture to

paintings and pottery. Various architectural styles such as, Baroque, Rococo, British and

American architecture blended together. Many elements of style were adopted from different

places in the world. Each of these elements was perfectly suited to the environment they were

originally designed for but not necessarily in the new environment. In Saudi Arabia that was the

case. These elements didn’t do anything for the culture except to increase the confusion and

irritation. Binzagr asserts in her book Saudi Arabia an Artist’s View of The Past “Mosques

spawn baroque detailing, city plans echo Haussman’s Paris, the Delhi of Raj is reshaped along

Neo Roman lines by Lutynes” (19). This mixture of elements increased the confusion to an

extent where locals no longer have any relation to the environment they live in (Hillenbrand 7).
 Al-Amoudi 13

To save the remnant of this fading culture the pace of the change has to decelerate tremendously.

Awareness is key since younger generations are oblivious to this significant loss. In order for up-

coming generations to reconnect with the Saudi culture, it is important to retain the values that

define that culture. Cultural values should not be omitted or borrowed; they should be embraced

and incorporated within new design ideas to reflect the cultural identity of that place. Only then,

Saudis will begin to feel that connection to their cultural identity. As many generations are

desensitized to the cultural value they are losing, they need to evaluate the harm caused and find

a solution that satisfies all needs. Beauty lies in the story telling, in the memory that once existed,

in the meaning of a culture within an environment. Islamic architecture is one of the urban forms

that define the Islamic region.

Hidden Meanings in Islamic Architecture

A. Definition of Islamic Architecture

Islamic architecture is mainly considered a religious architecture. It is the architecture of

the Islamic religion, which is the foundation of Islamic beliefs and morals. This type of

architecture started in the 7th and 8th century, when Muslims started to conquer land, starting with

the Mediterranean world and continuing all the way to India and China. Bosch a professor in

Florida State University defines Islamic architecture as “The architecture of the peoples of

Islamic faith” (548). Hinchman, the author of History of Furniture a Global View states that

Islamic architecture and arts are focused on religion. There is no Islamic architecture without

Islam and there is no Islam without Mohammed (93-99). As Islam spread, local traditions of

each region merged with Islamic architecture. The use of local materials of each region was an

important concept in Islamic architecture believing in the idea that all things come from and
 Al-Amoudi 14

return to earth. Over time, design and decorative motifs travel and transmute. The process of

transformation also differs from culture to culture. Usually these motifs migrate from urban

forms to buildings in architecture and then to furniture. Some of these motifs might lose part of

their functionality during the process but the essence of the originality remains. Bosch states that

there are four main building types that define Islamic architecture, mosques, madrasahs

(schools), palaces, and tombs (548). Since religion is the core characteristic of Islamic

architecture, it finds its expression mainly in religious buildings such as Mosques, where

Muslims worship their one and only god. Where as Madrasahs are the schools where they learn

the pillars of their Islamic religion. “The mosque lies at the very heart of Islamic architecture. It

is an apt symbol of the faith which it serves” (Bosch 548). The mosque is considered one of the

most important buildings in Islamic architecture due to its timeless quality, which means that the

purpose of its existence never changes under any circumstances. In contrast to other buildings,

like palaces for instance, they change according to certain circumstances such as, the change of

fashion or traditions or the death of a king or a ruler. These buildings changed according to

traditions, which control the characteristics of each environment.

Nasr, a professor of Islamic studies at George Washington University and Islamic

philosopher states in his book Islamic Art and Spirituality, that Islam consists of a divine law

called Shari’ah. It is a spiritual way of life, guiding Muslims towards the righteous path that

directs the law and leads the way. Islamic art and architecture is based on the Islamic divine law

that defines the relation between god, man and society (30-38). This law plays an important role

in creating a background or an atmosphere for Islamic art and architecture. Divine law sets

guidelines for certain arts and supports others. Islam guides people and teaches them how to

conduct themselves and how to make things within a certain framework. Besides providing a
 Al-Amoudi 15

social background for artists, it helps mold the artist’s soul in perfecting a piece of art that is

infused with Islamic values. These values were derived from the Qur’an and the prophetic

Hadith. Islamic spirituality had a significant role in creating Islamic arts. The term spirituality

implies inwardness and interiority of one’s spirit, which is reflected in many forms of Islamic art

and architecture (Nasr 35). The origin of Islamic art and architecture lies within the inner

dimension of Islamic traditions and values that were preserved and sustained over the ages.

Islamic architecture revolves around the interior dimension and the inner beauty within a space.

B. The Architecture of the Veil

Islamic architecture has many hidden meanings, religious values and cultural ideals

beneath the visible construction. It is known as architecture of the hidden, architecture of the

hidden beauty or architecture of the veil. These various terms stem from the meanings, ideas, and

values of Islam, which are translated into physical elements that are showcased throughout the

architecture. The beauty of the architecture lies behind not only the construction itself but behind

the meaning and symbology that it contains. The idea of the veil has three aspects, religiously,

socially, and traditionally, that are completely intertwined. To veil something is to hide, conceal,

cover, or to preserve it. The idea behind the veil is to preserve and conceal the beauty of

something. Kenzari, Bechir, and Yasser Elsheshtawy note that traditional Arab Muslim societies

revolve around preserving privacy and the idea of concealment. Generally, Arab Muslim cities

lack the lively piazzas and plazas that commonly existed in the medieval European cities.

Veiling in the Qur’an means separation, an act that is usually associated with women, a religious

duty that is mentioned in Islamic scared books (17). It is a piece of transparent or opaque fabric

that is worn over the head and sometimes over the face for concealment. It is used to protect

them from foreign elements and to preserve the appearance of something or someone (Fig. 5).
 Al-Amoudi 16

Wearing of the veil defines the transition from childhood to puberty and then to marriage.

Women in Islamic culture veil themselves to preserve their beauty to one man, mainly the

husband.

Being veiled creates a separation

between women and other men. It symbolizes

the idea of being sacred and preserved from

others. The intention of being concealed is

not to be veiled and never be discovered. To

the contrary, it calls for the opposite act, the

act of unveiling and discovering, which

makes it intriguing (Kenzari, Bechir, and

Yasser Elsheshtawy 18). Women in Islam

are considered sanctified, discovering that

preserved beauty is mesmerizing. Besides the

symbolic meaning of the veil and being

Figure 5. “Algerian postcard. Women with veiled, there is a functional aspect to it as

Veils”, Hinchman, 2009.
well. Since the Islamic culture is a private

conservative culture, privacy is a key feature that defines it. The veil works as a device that

allows women to partake and participate in public life. It encourages participation in social life

beyond their palaces and homes while maintaining their privacy (Kenzari, Bechir, and Yasser

Elsheshtawy 19).
 Al-Amoudi 17

These hidden meanings are reflected in various elements in Islamic architecture. Islamic

architecture is fixated on the idea of preserving the beauty of interiors, which is inspired by the

idea of the veil. By analyzing Islamic buildings, one can see that Islamic architecture focuses on

the inner beauty of a space, which is more private, rather than focusing on the exterior spaces

that are more public. This resulted in very simple exteriors in contrast to very elaborate interiors

not for the public to see or experience (Bosch 156). The elaboration within the interior spaces

creates a mystery that affects the way people experience the space. The transition from simplicity

to elaborations from exteriors to interiors reflects the same transition of veiling and unveiling.

Another architectural element that was inspired by the veil was called the Mashrabiya, a

wooden lattice window or perforated screen (Fig. 6). It is an architectural device that allows

women to see from the inside and not be seen from the outside (Kenzari, Bechir, and Yasser

Elsheshtawy 19).

Left, Figure 6. Exterior view of Mashrabiya, Kenzari, Bechir, and Yasser Elsheshtawy. Right,
Figure 7. Interior view of Mashrabiya, Kenzari, Bechir, and Yasser Elsheshtawy.
 Al-Amoudi 18

It interpreted the idea of separation and segregation of women from men where they can

see and never be seen. The motion of the veil was another hidden meaning that inspired the

design of the Mashrabiya. Kenzari, Bechir, and Yasser Elsheshtawy argue that the veil is not a

permanent shutter that remains fixed. Under political, social and mystical circumstances it can be

lifted and moved (20-22). The construction of the lattice window traces back to the idea of

uplifting the veil. The technique of using holes and perforations in the window is to break the

solidness and rigidity of it and to create a closer step to reach beyond the physical screen (Fig. 7).

The holes in the screen reflect that motion of uplifting the veil and reaching for the inner beauty

that exists behind that screen or veil.

C. Islamic Art, Arabesque

Islamic art is a fundamental element that defines the Islamic culture. It is based on many

principles that combine logic, order and unity. Islamic art varies from other forms of art in terms

of design, form, and material, as well as in symbolism and meaning. It can be defined as being

more feminine and colorful compared to western art. It is an art that provoke the intellectualism,

which intrigues the human mind to think and discover the hidden meanings behind it (Philipps).

Arabesque is a form of decorative art that is used to decorate windows, screens, walls and

buildings (Fig. 8 & 9). It is an intricate application of repeating rhythmic linear patterns, either

geometric or floral. It echoes plant forms and shapes that are usually carved out of stone or made

out of wood. The art of Arabesque is used in Islamic architecture for different reasons and

functions. These different patterns and shapes were chosen and formatted based on the message

it contained. Arabesque basically means “in the Arab Fashion” which is a way of decorating

surfaces with embellishments and repetitive arts (Al Alfi 43). The law of Islamic religion is one
 Al-Amoudi 19

of the factors that controlled Islamic arts and the way arabesque is created. It prohibits the use of

animal or human figures to prevent any idolism towards anything else but God. The depiction of

any human or animal imagery was rare in Islamic decorative arts. Any metaphysical concepts

such as the Holy Spirit, Christ, Trinity Saints, and many more were nonsexist in Islam (Prisse

34).

Figure 8. Geometric Arabesque Figure 9. Floral Patterns

Consequently, the need for figural images and forms didn’t exist, especially in public places.

Historic resources reveal the existence of some animal and human representation in several

residences of the wealthy, which was rare and far away from any Islamic values.

However, the concepts of Islamic arts came from the idea that humans are God’s great

creation and the creation of living forms belongs to only him. No form of art would match the

beauty and complexity of his creation because it is incomparable (Allan 17-37). Therefore,

according to Ling an English writer and scholar, Islamic artists developed geometric arts to a

level of perfection and sophistication that have never been seen before. The generation of these

patterns conveys main features of Islamic art such as continuity, symmetry and repetition. The

integration of geometry was made to create a perfect balance between negative and positive

areas, which ties back to that cultural concept of unity. It is a source of ornamentation that
 Al-Amoudi 20

expresses movement and rhythm over a rigid space. It consists of a complete manipulation of

rhythmic transcription and crystalline nature. It exhibits the merging of two principles of

artworks, rhythm and geometry, into one piece of art (19). Arabesque, like any other aspect of

the Islamic culture, originates from Islam. The choice of geometric forms and the placement of

these patterns depend upon the Islamic view of the world. The meaning behind these delicate

patterns extends beyond their physical construction. These repetitive patterns symbolize infinity

and the infinite power of God, and the complexity of the patterns represent God’s creations.

Islamic designs create a spiritual aura while respecting the delicate concept of

aniconism. Aniconism is a practice or a belief that teaches one to cherish the sanctity of

religious figures and to avoid depicting any gods or prophets or and in other manifestations, any

human beings or living creature (lbric 22). However, repetition and symmetry developed a sense

of order that was created intentionally to evoke and simulate the brain. Surprisingly, the creators

of these arts remain anonymous. The reason for this ties back to the concept of submitting

oneself and one’s creative individuality to the divinity of God and to receive a higher notion of

beauty (Burckhardt 34). Muslim artists mastered arabesque and the art of geometry. Arabesque

mainly consists of three forms: geometric patterns, floral patterns and calligraphy. These three

forms had many elements in common, some of which are symmetry, repetition, coverage,

adaptability and movement. Moreover, there are two methods to the art of Arabesque. The first

method embraces the rules that direct the world’s natural order. These rules contain the basic

principles that make objects structurally possible. The second method revolves around the

flowing organic nature of floral forms and plants. This method expresses the idea of femininity

and the nature of giving life. After analyzing many of the Islamic buildings and arabesque arts,

the third style could be the art of Arabic calligraphy.

 Al-Amoudi 21

1.Geometric Interlacing Patterns

Arabesque differs slightly from one Islamic culture to another yet the construction and

the hidden meanings behind the complex geometry remains the same. The principles are clearly

unified around the various buildings as in mosques and many other Islamic buildings around the

world. To perceive the complex geometry and detailed patterns, one’s mind must wander behind

this intricate construction. One ponders the principles that made this possible for arabesque

artists to create such intricate forms. One of the reasons that helped the development of this kind

of art was the development of geometry, math and science in the Islamic world. Briggs, the

author of. Muhammadan Architecture in Egypt and Palestine, states that this art of geometric

patterns requires a substantial knowledge of science and geometry and these arabesque artists

mastered them. Geometric arabesque patterns are comprised of various shapes and forms that

originate from a circle. Then, from a circle, three major shapes are composed: a triangle, a square

and a hexagon (12) (Fig. 10).

Figure 10. The manifestation of

shape, Critchlow. 1999.
 Al-Amoudi 22

These three shapes are the basic foundation of all

geometric patterns that occur in Islamic arabesque.

Critchlow, an English author and lecturer, asserts that

Islamic geometric patterns differ according to their

complexity and designs, from simple primitive designs

and shapes to intricate stars and polygons. However,

these shapes are composed with basic forms such as

Figure 11. Construction of a Triangle
circles, squares, and triangles. Then these shapes are

repeated into an infinite pattern to create one rhythmic

finished piece. These infinite patterns symbolize the

beauty of nature created by God (25). Repetition is used

to enrich the arabesque, which resembles Muslims

united faith. Contextually, repetition in Islamic arts is

not monotonous or boring. To the contrary, it creates a

sense of spirituality. After the observation of geometric

Figure 12. Construction of a Square
forms in Islamic buildings and architecture, we can find

that the three most fundamental forms originate from a

circle. The first basic shape is triangle and it is

constructed from the expansion of one circle into three

circles. Triangles in Islamic art represent human

consciousness (Fig. 11). The second basic shape that is

derived from the circle expansion is a square, which

symbolizes the materiality of earth (Fig. 12). The third

Figure 13. Construction of a Hexagon
 Al-Amoudi 23

and the last shape is a hexagon, which represents heaven (Fig. 13) (Critchow 29-33).

Issam El-Said an English artist and scholar, states in his book Geometric Concepts in

Islamic Art that the theory behind the complexity of the geometric patterns is based on the unit

repetition of a hexagon and a square. Moreover, it is based on the mathematical system of

proportion of Root Two and Three. Basically, a circle can be split into four or divided into

multiples of four identical parts. These divisions result in creating geometric shapes that

compose different geometric patterns and configurations. This method is known as the Root Two

System of Proportion. However, the second method is the Root Three System of proportion,

which is based on splitting the circle into six or multiples of six identical parts to create

geometric patterns (55-57).

2.Vegetal, Floral Patterns

Since Islamic art lacked any kind of figurative

representations, Muslim artists mastered the art of arabesque in

all its forms. The second type of arabesque art is vegetal and

floral patterns. It’s a complex ornament of repetitive

symmetrical foliate patterns. This type of art was nourished

during the reign of the Ottoman Empire. Originally, the floral

decorations were derived from Chinese artistic styles such as

those used on Chinese porcelain (Dobree 156). Islamic floral

Figure 14. Combination of
geometric and floral patterns imitate the natural organic form of plants and other
patterns, Critchlow. 1999
vegetation. Many times these patterns are used alongside

geometric patterns not only to create elaborate designs but also as coverage due to its organic

filling quality (Fig. 14).

 Al-Amoudi 24

The floral patterns are definitely inspired by nature. However, they are not exact replicas of the

environment; moreover, they are highly stylized version of it and its beauty (Al-Ulfi 115). These

patterns are composed of plants and vine leaf configurations. As they keep growing and swirling

they cover the surface, tending to resemble the idea of infinity. These patterns are a reflection of

nature, exhibiting God’s creation. Their main purpose is to serve as a reminder to appreciate the

beauty of His creation.

3.Calligraphy

Calligraphy is the third mode of decorative arts in the Islamic culture. It consists of

artistic inscriptions and letterings that were combined with geometric and floral patterns. It can

be seen in many art forms across the Islamic culture from architecture to pottery, in interiors and

exteriors. It is considered one of the highest art forms in the Islamic culture, and is a visible

expression of the art of the spoken word (Christie 286-288). This principle is applied to the art of

calligraphy as well. Scripts from the Arabic language have inspired the development of a variety

of styles of Islamic ornaments

(Fig. 15). Basically it is the

process of transferring a written

text into a decorative form of art.

In the Islamic world calligraphy

has been used in innovative

Figure 15. The profession of Faith, Calligraphy in Islamic
art
ways, where it has taken the

“written word beyond the pen and paper” into various forms of art and materials (Briggs 179).

Because of this, calligraphy is considered an original distinctive form of Islamic art. The art of

the written word has a specific aesthetic that embodies a talismanic element consisting of
 Al-Amoudi 25

religious powers. In general, calligraphic inscriptions include Qur’anic writings and quotations,

religious descriptions, praise for God, poems, and aphorisms. The significance of calligraphy in

Islam traces back to the importance of the Arabic language. The holy Qur’an was revealed to

prophet Mohammed in Arabic. Therefore, Arabic calligraphy always contains religious content

that exhibits the word of God and the Qur’an (Christie 179).

Qur’anic Arabic text is sacred for all Muslims around the world. There is no doubt that

calligraphic art is not only brilliant in terms of adaptability and innovation, but also in creating

balance between conveying the written word and translating its meaning through a unified

aesthetic style.

D. The Power of light and lightness

The perception of space is directly perceived according to the way light integrates into

that space. Everything we experience and everything we see is affected by the way light is

interpreted around us. Lighting, either natural or artificial, plays a major role in constructing

experiences and emotions in interior spaces. Throughout the history of religion over the past

centuries, light has always been related to the sacred. The sun is the main source of lighting and

it is viewed as the natural, supreme form of sacred nature in many cultures. In Ancient Egypt,

light and sun were permanently linked with the gods. They viewed the sun as the eye of the god

Ra, the creator of the universe. They believed that Ra’s eyes were the source of existence and all

creation. However, light had various hidden meanings in different cultures and was given great

significance in Judaism, Christianity and Islam (Donohue & Esposito 27). In Islam, light is never

considered as being holy. It is used metaphorically to represent the holy and deliver certain

religious messages. The meaning varies depending on the way light is conceived within that

space. Light in Islamic architecture played a major role in the way some buildings were
 Al-Amoudi 26

constructed and designed. The way light integrates within a space affected the experience of the

viewer especially in religious buildings. It is considered one of the essential tools that are used in

Islamic architecture to achieve a dramatic effect in interior spaces. Far from the literal or

functional aspect of light, which is to light up the environment, the contrasting effect of light and

shadow could be categorized as aesthetically pleasing, conceptually powering and symbolically

compelling. It was utilized to evoke spiritual and mystical emotions. The Qur’an states that “God

is the light of the heavens and the earth” which means that light in the Islamic culture resembles

one’s faith in God. It symbolizes unity and the power of bringing people together and connects

them through religion to the sacred (Finlayson 69).

In Islamic architecture, one way of integrating the exteriors with the interiors is through

screens. Burckhardt, Titus, and Michaud state in their book Art of Islam: Language and Meaning

that the screen works as a mediator that transfers

the light and air within a space and provide a

certain amount of privacy from the outside world.

It was originally developed out of necessity to

filter the harsh climate conditions and to diffuse

the sunlight. It could serve as a device for privacy

Figure 16. Screen, play of Light and to create separation or partition within an interior

space, which is a key element in Islamic architecture and interiors (45). The screen could be

classified as another type of Mashrabiya was composed of intricate geometric patterns similar to

the patterns of the arabesques made of wood or stone (Fig. 16). The complex carved screens in

Islamic architecture are used to create an interesting play of light and shadow by casting complex

shadow patterns into the interior space.

 Al-Amoudi 27

Light in interior spaces, especially in religious buildings, symbolizes God and His

creation within the interior space. It also symbolizes the path of guidance to the soul, the right

path in life, which all must follow throughout their existence. As other elements in Islamic

architecture, light was used for various purposes based on the meaning it embodied and message

it delivers. In other words, the penetration of light within buildings symbolizes the presence of

God and is valued as a divine element that connects humans to God on a daily basis.

Hidden Meanings in Furniture

History is not clear on the type of furniture and interior decorations that have been used

before and during the Islamic period. Resources are very limited in explaining any analysis of

Islamic furniture. However, with no doubt some houses did have amenities that provided some

level of comfort that were available at that time. In the traditional Islamic societies, wooden

furniture in the sense of tables and chairs were extremely rare until relatively recent times.

Throughout the Islamic and Arabic communities from the dry lands of North Africa to the warm

lands of the Middle East, Central Asia and India, it was found that kneeling and sitting on the

floor or the ground was very comfortable, as well as practical. Hinchman explains that the

majority of houses were furnished with carpets made of papyrus and wicker palm. Soft carpets

were used as protection from dirt while sitting. Pillows and cushions were used to increase the

level of comfort. Moreover, carpets and pillows were the common type of furniture in residential

spaces of the upper as well as the lower social classes. To sit on the ground on rugs, carpets and

cushions crossed-legged is considered a common social practice that even rulers embraced.

Another common practice in Islamic interiors was sitting on slightly raised platforms. These

platforms could be freestanding or part of the building structure. It was a raised platform with

four columns that held the roof filled with carpets and cushions. It functioned as an audience
 Al-Amoudi 28

chamber or place where business deals were made (99-100). Pillows were offered to guests as a

sign of honor and generosity. Owning some furniture like beds or chairs was a sign of wealth and

prosperity. Additionally, when chairs entered this part of the world, it was due to Western

influences and international exchange. It was not a matter of necessity but a matter of status,

wealth and power. On the other hand, there were some key furniture types that were well known

in the Islamic world. These pieces primarily revolved around luxury and wealth such as the

minbar, the prince chair, the king’s throne and the Qur’an holder (Fig. 17).

Figure 17. Minbar, King’s Throne, Prince chair, Qur’an Holder, Coffers

These significant pieces of furniture had one thing in common: they only served holy

objects or key personnel in the society. Another main reason for the lack of furniture in the

Islamic region was due to the absence and the high cost of wood. The use of it was reserved for

fundamental needs in the culture, such as boat building for travelling, roof supporting and door

making (Hinchman 102). Therefore, throughout the Islamic region, craftsmen and artists treated

wood as a valuable resource. They learned to use minimal pieces of it to achieve innovative

artistic forms. These techniques can be seen in the construction of Arabesque and Mashrabiya
 Al-Amoudi 29

patterns. Daily activities such as sleeping, sitting and dining customarily happened on the

ground, which affected the scale and amount of furniture created. In the Islamic culture, people

tend to have a strong connection with the ground (Hossein 27). This connection formulates

originally during their daily prayers, where they connect to God five times a day. From puberty

on, during the third position of the ritual prayers, Muslims

prostrate themselves to God on a daily basis, touching

their foreheads to the ground in the supreme act of

submission and surrender (Fig. 18). The significance of

this act ties back to the belief that a believer becomes the

nearest to his god during prostration. This concept

inspired the construction and proportion of Islamic

furniture. Another factor was the nomadic lifestyle in

Figure 18. Ritual Prayers, early Arabic history. It was a necessity to travel from one
Prostration
place to another without heavy furniture and this determined the type of artifacts these nomadic

houses contained, such as easy to carry lights, basic foldable furniture and numerous coffers and

chests (Hinchman 100). These houses contained a minimal amount of furniture due to that

lifestyle. Ornaments and embellishments on the surfaces were similar to the ones found in

architecture. They were mainly created with geometric configurations, floral patterns and Arabic

calligraphy. Due to the, cultural change brought on by oil revenue, the necessity of having

different types of artifacts increased. The absence of furniture in the Islamic world led to an

appreciation of Western furniture, like Danish furniture even though these foreign artifacts did

not necessarily fit the cultural need. However, unfamiliarity with the construction of these types

of furniture increased the demand for Western importation.

 Al-Amoudi 30

Design

“ Without memory, there is no culture. Without memory, there would be no civilization, no

society, no future ” - Elie Wiesel

Throughout the Islamic Arab region, the influence of the West is still on the rise as the

Arab cultural identity is in severe deterioration. Due to that, the appreciation of local goods is

non-existent whereas the Western goods are considered superior in quality. Saudi Arabia is

considered one of the most conservative cultures in the Arab region that has managed to retain

certain aspects of their culture. Saudis as a people have managed to preserve their cultural value

on a personal level. However, they build and live their personal lives in Western designed

houses, they shop in malls built by Western architects, and they only purchase and appreciate

Western goods. The clash of two cultures created two distinct circumstances. First, it increased

the cultural gap between generations. First, it increased the cultural gap between a generation

that has a significant connection to the past and still appreciates cultural traditional values, and

another in which these connections are fading. Second, it created a generation that has no

association with the past nor its culture or its values.

Every culture is defined through its built environment, architecture, art, music and

literature. Any change or influence on these parameters affects the flowing dynamic of the

culture, which is the case in the Arab region. One way to bridge this gap is to retain the essence

of the elements that defines the Arab culture and introduce it in a modern way that copes with

development today. The idea for this thesis began to form and stem from a desire to explore

ways to merge the essence of the Middle East into contemporary forms, using Arab traditions

and culture as a springboard into modernity. This could be a way to connect the dots and bridge
 Al-Amoudi 31

the gaps between generations and the East and West. Buildings, furniture and clothing are direct

extensions to our bodies, a reflection to our identity. Centuries ago, the distinctive Islamic arts

defined the whole Islamic region. Throughout time these arts were neglected and left to fade. As

a designer from that region it is a responsibility towards my culture and traditions to awaken a

sense of memory and shed light on a past beauty. After dense research and observation it was

identified through this thesis that the beauty of Islamic art and architecture lays beyond the

beauty of the physical construction but in the hidden symbolic meanings it contains. These

meanings were derived from religion, traditions and cultural norms that were reflected through

architecture, furniture, and the decorative arts. The symbolic meanings discovered through

research were the inspiration for all the designed pieces. During the design process these hidden

meanings were used as a guideline to determine the typology. It affected the design of each piece

in terms of forms, shapes, construction and proportion. The collection celebrates the hidden

meaning that exists in the Islamic region and translates these meanings into a cohesive line of

furniture. The designs were formed to create an essence of the Middle East through combining it

with universal taste connecting two contrasting cultures through design. The pieces transform

some of my Arab Islamic heritage into contemporary forms that take it beyond physical

construction and design into a deeper level of consciousness. I am a believer that the Arab

culture has its own charm, featuring decorations and captivating ornaments that can be

internationally appreciated. The collection consists of 3 designs: Geora Low Stools, Bambusa

Coffee Table Set and Arabesqa Screen.

 Al-Amoudi 32

A. Geora Stools

Design & Concept

Circles, triangles, squares and hexagons were the foundation for all geometric patterns in

Islamic architecture. Since geometry was a major characteristic that defined the Islamic arts, the

shape of the seats was based on the projection of a square into a smaller square to achieve certain

angles. This series consists of two low upholstered stools where the seat sits on four wooden

legs. The legs were turned to a taper, to reflect the same angles of the seat, creating a sense of

unity. Geometric and floral patterns were laser cut on a piece of leather strapped on the bottom

quarter of the seat. The leather continues to cover part of the legs to create a sense of continuity.

The idea of hiding part of the seat and the legs to emphasize them reflects the Islamic concept of

the veil: the idea of veiling and unveiling something to expose its beauty. The cut patterns create

interesting visual contrast between the dark and light fabric. The patterns created were inspired

from the actual geometric and floral patterns, which exist in Islamic architecture and decorative

arts. In this design the patterns were used to break down the solidity of the shape attracting the

viewer’s attention to the delicate patterns that reflect the essence of the Middle East. The stools

are almost identical except of the pattern used. One reflects the geometric patterns and the other

one reflects the floral patterns. The name for these stools originated from both words geometry

flora, combining them both resulted in the name of Geora. This is another concept derived from

Islamic architecture and art.

 Al-Amoudi 33

Figure 19. Geora Low Stools Renderings

Figure 20. Geora Low Stool physical work 1

 Al-Amoudi 34

Figure 21. Detail of Physical work 2 Figure 22. Detail of Physical work 3

Figure 23. Detail of Physical work 4

 Al-Amoudi 35

B. Bambusa Coffee Table set

Design and Concept

This set consists of a low coffee table and two cushioned seats. The concept behind this piece

was to embrace the connection to the ground that exists in the Islamic culture. This is translated

in the proportions and scale of the pieces. The height of the tabletop was designed to be used

comfortably sitting on the ground or using the cushion provided. Either way, it encourages the

spiritual relationship with Mother Earth. The set was designed to encourage communication.

They work together as a central piece that people can gather around, sit, drink coffee and chat.

The cushion underneath sits on a wooden platform with small feet, easily accessible to move

around. The size of the ottomans fit up to two people. The pattern on the top and sides were

designed to convey the idea of geometry that exists in Islamic architecture and decorative arts.

The pattern was used to break the rigidity of the top, to give the set a sense of movement and an

organic feel. It creates a visual contrast between the hard wood and the soft fabric. The

perforation of the top and the position of the table over the cushion were inspired by the idea of

the veil and hidden beauty. The table veils parts of the cushion where it creates the illusion of a

singular piece. As people interact with it, they reveal its hidden beauty. The beauty of the pierced

pattern that was concealed by the solid cushions is exposed. These patterns create an interesting

play of light and shadow that reflects its elegance. The choice of material was mainly for two

reasons: first, to create a contemporary twist that could appeal to wide variety of people, and

secondly, this type of wood was suitable to use with the CNC to achieve the desired design.
 Al-Amoudi 36

Figure 24. Bambusa Coffee Table Set Renderings

Figure 25. Coffee Table Set Physical Work 1

 Al-Amoudi 37

Figure 26. Coffee Table Set Physical Work 2

Figure 27. Coffee Table Set Physical Work 3

 Al-Amoudi 38

C. Arabesqa Screen

Design and Concept

The screen is considered a common artifact in the Islamic culture that was used for privacy,

separation and protection. This idea of this screen was inspired by the transparency and delicacy

of the veil. The veil is a delicate fabric that women use to conceal themselves with in the Islamic

society. This concept was reflected in the choice of material. It was designed out of 1/8-inch

acrylic combining traditional Islamic motifs with contemporary materials. The geometric

patterns were created following the mathematical system that Islamic artists used in earlier times.

The Arabesqa screen is easily assembled. It consists of 4 acrylic pieces and 24 cast rubber

connectors. It functions as a space divider that reflects the beauty of Islamic geometry.

Figure 28. Card Board Mock Up Figure 29. Rubber Connectors

 Al-Amoudi 39

Figure 30. Arabesqa Physical Work 1

Figure 31. Arabesqa Detail Physical Work 2

 Al-Amoudi 40

In Conclusion

Architecture, furniture and fashion are direct reflection of one’s identity. It is an extension

to our soul, body and culture. Throughout history, Islamic artists have created distinctive features

that defined the characteristics of the culture through different art forms such as architecture and

the decorative arts. Due to the vast development in the urban Islamic fabric and culture, and lack

of preservation, these arts have been left to fade. The deterioration of these arts has led to a major

loss in the cultural identity. In the present day, the Islamic Arab region has failed to forge their

identity through design. Development is a fundamental element for a bright future, yet the key to

maintaining that future is by projecting the cultural identity through that progression. This thesis

has taken a look into the different elements that defined the Islamic culture. It has identified the

hidden meanings that once existed behind various art forms in terms of construction, geometry

and aesthetics. These meanings were driven by religion, social traditions, and cultural behavior.

The collection was designed to explore these hidden meanings and translate them into

contemporary furniture that tells a story and documents the beauty of a lost culture. The designed

work becomes the vehicle that connects the past to the future and East to the West. The desire to

merge Middle Eastern and Western techniques determined the material choices such as leather,

canvas, bamboo, acrylic and cast rubber. Each piece was designed to convey a hidden meaning

that was discovered through intensive research. The Geora stools were designed to convey the

idea of veiling and unveiling, which is a hidden concept that inspired the Islamic architecture.

The design of the Bambusa coffee table was inspired by the idea of the hidden beauty, which was

another concept reflected in the architecture and different artifact. The Arabesqa screen was

designed to convey the concept of transparency and delicacy of the veil, which is a concept that

inspired many windows in Islamic interiors and exteriors.

 Al-Amoudi 41

The result of this thesis is a coherent line of furniture that showcases the hidden beauty of

the Islamic culture through a contemporary lens that bridges two contrasting cultures. The

designed furniture was displayed in the Five To One exhibition. In this exhibition five designers

from different cultures and backgrounds came together for one show.

To take this thesis further, I would like to keep experimenting with the idea of embracing

the essence of the Middle East through contemporary lines, forms and shapes. It is my hope that

through these designs the lack of confidence in their local products will change. To create a new

formula that takes local products to a higher level, where culture can once again be appreciated.

This will be accomplished by creating multicultural designs and techniques that elevate the

quality of local goods nationally and internationally.

Figure 32. Five To One Show 1

 Al-Amoudi 42

Figure 33. Five To One Show 2

 Al-Amoudi 43

Figure 34. Five To One Show 3 Figure 35. Pieces in Use

Figure 36. Pieces Description Card

 Al-Amoudi 44

Figure 37. Giveaways at the show, Bookmarks 1

Figure 38. Giveaways at the show, Bookmarks 2

 Al-Amoudi 45

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