Proposal

PROJECT OVERVIEW This project investigates Al Sadu weaving as cultural heritage shaped by nomadic life and environmental necessity. It documents the foundations of the craft before translating its structural logic into a contemporary design system through print and motion. CONTEXT Al Sadu is a traditional Bedouin weaving practice developed across the Arabian Peninsula and practiced primarily by women. It functioned as shelter, storage, and social expression within nomadic communities. The woven textile was embedded in daily survival and movement, shaped by climate, mobility, and social structure. MATERIALS Al Sadu textiles are woven using sheep wool, goat hair, and camel hair. These materials are selected for their availability and environmental performance. Goat hair, used in the traditional black tent known as Bayt Al-Shaar, expands when wet and contracts when dry, allowing airflow while resisting rain. Natural dyes derived from plants and minerals produce the characteristic red, black, and neutral tones associated with the craft. CONSTRUCTION Sadu is woven on a horizontal ground loom designed for portability. The weaving process is warp-dominant, producing strong horizontal bands and repeating geometric forms. Structure and ornament are inseparable, as pattern emerges directly from construction. The horizontal format reflects the logic of the loom and the mobility of Bedouin life. STRUCTURAL SYSTEM Sadu patterns are constructed from modular geometric units. Zigzags, diamonds, serrated edges, and interlocking forms are repeated and mirrored within horizontal bands. Complexity develops through repetition, symmetry, and sequencing rather than isolated decorative gestures. The progression from simple units to complex compositions reveals an internal structural logic embedded in the woven system. PRINTED PUBLICATION The printed publication guides the reader from cultural understanding to structural analysis and finally to contemporary translation. The first section clarifies historical and material foundations. The second section isolates and examines structural motifs through extraction and modular breakdown. The final section reinterprets these principles through contemporary graphic language. Material experimentation forms part of the publications structure. Stitched wool thread is integrated physically into selected spreads, referencing the weaving process and acting as a structural divider rather than decoration. Transparent overlays are used to separate woven complexity from extracted geometric construction, allowing the reader to distinguish between surface ornament and underlying system. The book is section-sewn to ensure it opens flat and supports full-spread compositions. MOTION GRAPHIC The motion graphic extends the structural analysis into time. It animates the construction of motifs from simple geometric units to complex woven forms. Beginning with a modular grid derived from warp and weft intersections, the animation progressively builds pattern through repetition, mirroring, and accumulation. Rather than presenting motifs as static symbols, the motion reveals how woven complexity emerges from structural sequencing. BILINGUAL STRUCTURE The publication is fully bilingual, integrating English and Arabic throughout. Both languages are positioned in parallel, maintaining equal visual weight within a shared layout system. Alignment and hierarchy are carefully controlled to ensure clarity while reflecting structural balance. The bilingual format reinforces the conceptual framework of the project: just as weaving relies on interdependent threads, the two languages coexist within one structured system. AUDIENCE The project is intended for museum visitors and general audiences unfamiliar with Al Sadu. It prioritizes clarity without oversimplification, guiding readers from foundational knowledge to structural insight. By combining documentation with contemporary translation, the work makes traditional weaving logic accessible to those encountering it for the first time. CONTRIBUTION Rather than presenting Sadu as a static heritage object, the project reframes it as a structured system capable of contemporary interpretation. By documenting its cultural foundations and translating its construction principles into print and motion, the work positions weaving as design knowledge embedded in cultural practice. rewrite it as a human I want to be clear simple straight to the point