Weaving Art Into Every Frame
Abdulla Al Awadi
Abdulla Al Awadi by Yehia El Alaily
Kuwaiti architect Abdulla Abdulrahman Al Awadi studied Architecture and Photography at Kuwait University, later pursuing a master's degree in urban design, theatrical design, lighting and decor. Fascinated by the Arabic word in both meaning and form, his work reflects a deep influence of Arab culture. Focused on the science of iconography and symbolism, he designs a wide range of products, including jewelry, carpets, fabrics and theatrical costumes. This unique approach inspired DIVAZ to engage in a compelling conversation with Al Awadi, uncovering many insights.
How did your journey into the world of architecture begin?
My parents are doctors, and they expected me to follow in their footsteps. Convincing my father about architecture was a significant challenge, but over time, he saw my work and felt I was on the right path.
How have your cultural experiences shaped your identity?
My work isn’t primarily commercial; it’s about presenting an idea of Arab culture and pushing it as far as it can go. First, how we as Arabs can connect with it, and then how we can share it with foreigners who see us from a different perspective, often unaware of our intellectuals, poets and scientists.
Which of your works is closest to your heart?
A prayer rug I designed after a conversation with my nephew. We were discussing the philosophy of prayer, and at the same time, I was reading a poem by Abul-Qasim Al-Shabbi titled Prayers in the Temple of Love. I felt inspired and realized that this captured the meaning I was searching for. The design centered around the word “love” mirrored to form a mihrab where one could pray. The feedback was overwhelmingly positive, regardless of the viewer’s faith. Everyone felt a sense of love, which was exactly what I intended.
Tell us about your work at Bayt Al-Razzaz.
I met Omniya Abdel-Barr by chance at a business dinner. She invited me to be one of the designers involved in creating carpets for the project. Being part of a place like Bayt Al-Razzaz and contributing my skills to preserve its heritage was a dream come true. Afterward, I had meetings with Kahhal Looms to present my ideas and vision. I call it “Bayt Al-Kahhal” (House of Kahhal) because the family feels like one unified team, and I became part of that family. The meetings went smoothly, and I began working on restoring Bayt Al-Razzaz.
What moment made you most proud of your work?
When Mohamed El Kahhal asked me to design a carpet to be kept inside Bayt Al-Razzaz. This meant that my work would live on as I had always hoped. The design was unique and distinctive. The name “Al-Razzaz” was given to the place because it was used to store rice. In Kuwait, rice is called “aish,” while in Egypt, “aish” refers to bread. The reason is that Kuwaitis rely on rice as a staple food, while Egyptians depend on bread. The word “aish” comes from the concept of livelihood. For the design, I used the Arabic word “riz” (rice), which is composed of two similar letters, one with a dot above it. The design was innovative and admired by everyone.
Who is your Diva?
The Arabic language, because it can take on so many different forms. A single word can profoundly change your emotions, and a single dot on a letter can completely transform the meaning.
