AHMED ANGAWI’S DIALOGUE BETWEEN PAST AND PRESENT

Hidden within the cobble stoned alleys of AlBalad, Jeddah’s historic district, Zawiya 97 is more than a creative space—it’s a portal where heritage and modernity converge. Conceived by artist and cultural advocate Ahmed Angawi, this visionary hub is headquartered in the storied Bait AlShargi, a building that whispers the city’s history through its coral-stone walls. But Zawiya 97 is no museum of relics; it is a living, breathing incubator for artisans and creatives, a place where traditional craftsmanship is not just preserved but reimagined that can be

Named after the 97-degree angle from Jeddah to Makkah, Zawiya 97 embodies a philosophy of fluidity—its significance shifts depending on perspective, much like the ever-evolving intersection of past and present. Here, master artisans collaborate with contemporary designers, reviving time-honored techniques while pushing the boundaries of artistic expression. For Angawi, whose work is deeply rooted in the architectural traditions of the Hijaz, the space is a testament to the idea that heritage is not stationary but a dialogue—one that adapts, innovates, and thrives in the hands of those who dare to reinterpret it.

We had the privilege of sitting down with Angawi to discuss his vision for Zawiya 97, the role of craftsmanship in his creative process, and how he envisions the evolution of Hijazi architecture and craftsmanship in the coming years.

When asked about his journey as an artist and how he balances preserving the region’s architectural traditions with contemporary practices, Angawi reflects: “It’s a question that often comes up, and for me, tradition is not a static thing. It has always been evolving. The craftsmen of the past communicated with their community, creating solutions to the needs of their time. Tradition, for me, has always been contemporary—it’s not a contradiction. In fact, living tradition must breathe, inhaling the needs of today and exhaling the solutions. If you look at how artisans developed beautiful objects in the past, they used the best materials, the best designs, to solve the most essential issues of daily life. Tradition is a dialogue that adapts, that innovates—it doesn’t stop.”

Angawi, renowned for his woodworking, has exhibited his pieces in galleries around the world. Having participated in residencies that have introduced his unique art form to global audiences, he reflects on the essence of his work: “I love making things with my hands,” he says. “It’s about the experience—the connection of mind, body, and soul in the creation of an object. The process is as important to me as the final result. When I work, I elevate my physicality and align it with my intellect to solve problems and create something that speaks to my beliefs.”

Wood, in particular, is a material to which Angawi feels a deep connection. “It’s a living material,” he explains. “You can cut it, shape it, but it always has its limitations. Working with it teaches you patience, and it always tells you what it can and cannot do.”

When asked about the role of craftsmanship in Jeddah’s future, he envisions a city where tradition remains alive through its craftspeople, artists, and makers. “Jeddah is a city of tradition, but it’s also a city in transition,” he says. “For me, the city needs to stay vibrant, and one of the key ways to do this is by nurturing the craftspeople, the makers, the artists. Just like other traditional cities around the world—Fes, Cairo, Damascus, Istanbul—Jeddah can thrive by producing and exporting beautiful objects created by its artisans. It’s not just about tourism; it’s about creating a sustainable economy driven by the work of its people.”

One of Angawi’s primary goals for Zawiya 97 is to create a platform for collaboration, where artists from all disciplines come together to create, share ideas, and inspire one another. “Zawiya 97 is not just a creative space—it’s a place that encourages this synergy. By providing artists with resources, a shared space, and a network for collaboration, we’re fostering an environment where craftsmanship can thrive, evolve, and eventually become a core part of Jeddah’s identity on the global stage.”

AlBalad’s rich history and distinctive architecture serve as a powerful backdrop to Zawiya 97’s identity. The district’s meandering alleyways, traditional courtyards, and ancient buildings offer a visual and cultural language for Angawi’s creative endeavors. “The architecture of AlBalad adds depth and richness to everything we do,” he explains. “When you look around, you see patterns, proportions, and geometry that have been handed down through generations. These elements become second nature to you, shaping how you see the world and how you design.”

For Angawi, the symbiotic relationship between place and art is essential to the creative process. The materials and architectural elements of AlBalad are not just influences; they are the foundation of Zawiya 97. “The history of this place is not just in the buildings but in the way the people lived, worked, and created,” he reflects.

As Zawiya 97 continues to grow, Angawi envisions it evolving into an even more dynamic platform for artistic and cultural exchange. By bridging the gap between heritage and contemporary practice, he hopes to establish the hub as a catalyst for new ideas, artistic collaborations, and sustainable craft practices. “I see Zawiya 97 as a space where heritage and innovation coexist,” he says. “We’re not just preserving the past—we’re shaping the future. The future of Hijazi architecture, the future of craftsmanship, and the future of art in Saudi Arabia. It’s about creating a dialogue that connects generations and cultures.”

In this way, Zawiya 97 is not just a physical space; it is a living, breathing entity, embodying the spirit of both Jeddah and the broader Arab world. It is a place where tradition is not merely preserved but actively reimagined and reinvigorated, providing a platform for the creative forces that will shape the future of Saudi Arabia’s artistic landscape.