Work

Royal Mosque, King Khalid International Airport

KKIA, Riyadh, Saudi Arabia (جامع مطار الملك خالد الدولي)

1983

In 1980, at the age of 27, Brian was commissioned by the Government of Saudi Arabia to design stained glass for the Royal Mosque (مسجد مطار الملك خالد) at King Khalid International Airport (KKIA). After making a study of Islamic ornament at the Quran schools in Fez, he designed and oversaw the fabrication of the 2,000 square metres of stained glass for the Koranic library and the office, and the clerestory, skylights and corner windows of the main devotional space, responding to what he calls “the sharp static immensity of the light” in the Middle East. Completed in 1982, and comprised of hundreds of windows, at the time of its execution the project was considered to be the largest and most technically advanced stained glass project of the modern period, requiring the full staff of four European stained glass studios working for a year to fabricate. The skylight and clerestory windows surround the dome, 33 metres in diameter and internally clad in polished brass, above the main space of the mosque, by architectural firm Hellmuth, Obata, Kassabaum, which accommodates 5000 worshippers. The ground-level windows transilluminate cool light into the mosque’s interior, and their gold finish – metal oxide fired into the molten glass – casts pools of warm reflected light out into the plaza around the mosque, where the virtuoso leading of the Islamic ornament creates a sculptural relief. The corner windows throughout the mosque, in blue and green, have central panels of carved, translucent Lebanese onyx, a technique and aesthetic solution that had never been used before.

“The windows at the Royal Mosque stand as a technological as well as artistic breakthrough in this art form. Set as they are in a series of panels around the perimeter of the large mosque’s dome and around its walls, they cast pools of cool blues and greens, pinpointed with ruby reds which bathe the vast interior in almost watery-liquid light.” – Mario Amaya in the essay “Clarke’s New Constructivism”, published in Studio International, 1982.