01
Ivory in Motion
Ivory amaranthus falls from winding branches, while orchids and copper-toned anthuriums gather below. The open right-hand space gives the cascading lines room to breathe.
THE PORTFOLIO
Original work, read closely.
Sculptural commissions, hospitality installations, living tables and Eastern studies—each presented with its own design reading.
HOMENEW IN THE COLLECTION
In Line & Colour
Ten compositions, moving from flowing ivory and soft pastels to vivid colour and deep burgundy.
02
White Reverie
A cascade of white orchids softens a dense gathering of ivory blooms. Upright green stems lift the composition above its dark, textured vessel.
03
Blue & Apricot
Sky-blue flower spires rise through cream roses and apricot anthuriums. Trailing eucalyptus loosens the generous silhouette and connects the flowers to the white vessel below.
04
Rose Cloud
A rounded crown of pink and lilac flowers rests on a sculpted black vase. Soft petals and small spherical blooms create a changing surface of light, shadow and texture.
05
Violet Garden
Violet and blush blooms spread in an airy, branching rhythm. The weathered stone bowl grounds their movement, balancing the delicate tips with a generous floral centre.
06
Tropical Counterpoint
Bird-of-paradise flowers draw vivid orange lines above violet spires and peach clusters. Visible stems in clear glass reveal the structure that holds this lively composition together.
07
Coral Architecture
Burgundy orchids rise beside sculptural branches, with protea and veined anthuriums anchoring the base. Deep red, coral and fresh green bring weight and lift into balance.
08
Golden Branches
Fine yellow branches reach above lavender orchids and a soft purple cluster. Their irregular lines contrast with the crisp planes of the faceted metallic vase.
09
Gilded Garden
Pink orchids, yellow branches and suspended tulips unfold around a rounded golden vessel. Long outward gestures give the piece a light, expansive presence.
10
Burgundy & Lilac
A lilac sphere forms the centre of a composition framed by burgundy branches and pale orchids. The dark folded vase continues the upward movement, while cream roses soften the contrast.
NEW COLLECTION · 34 ORIGINAL WORKS
Arrangements in Every Scale
Thirty-four distinct compositions, presented without repeating the works already featured in the main portfolio.
VIEW THE COLLECTION
SELECTED WORKS · DESIGN READINGS
How the work is composed.
A closer look at each arrangement: the main form, the direction of its lines, the spaces between materials and the relationships between colours.
01
Raised masses · descending lines
DESIGN READING
Hydrangea heads sit at different heights rather than forming a solid dome. Hanging amaranthus carries the composition down alongside the vessel.
COMPOSITION SKETCH
Drawing study: Raised masses · descending linesA visual reading of the visible viewpoint, not a measured plan. 1: Stepped height. 2: Downward rhythm. 3: Tonal grouping
COLOUR PALETTE
CobaltMidnight VioletOxbloodWarm Ivory
Three composition notes ↓
Stepped height
Separated upper heads keep the outline open and reveal the stems.
Downward rhythm
Long hanging strands counter the upward direction of the flower stems.
Tonal grouping
Pale, blue and violet clusters remain legible as separate volumes.
DESIGN APPLICATIONFor elevated displays with room below the flowers for the hanging line.
VISIBLE FLOWERS & MATERIALS
Hydrangea · Amaranthus · Hyacinth · Zellige
02
Diagonal line · asymmetric balance
DESIGN READING
The visible outline rises from the lower left to the upper right. A dense centre connects the long extensions without making the two sides identical.
COMPOSITION SKETCH
Drawing study: Diagonal line · asymmetric balanceA visual reading of the visible viewpoint, not a measured plan. 1: Main direction. 2: Visual anchor. 3: Counter-direction
COLOUR PALETTE
Burnt OrangeMidnight VioletCobaltOxblood
Three composition notes ↓
Main direction
The tall orange stems establish the upward diagonal.
Visual anchor
Grouped roses hold attention around the mouth of the vessel.
Counter-direction
The lower extension lengthens the gesture across the centre.
DESIGN APPLICATIONFor a front-facing feature with clear space around both extensions.
VISIBLE FLOWERS & MATERIALS
Rose · Delphinium · Physalis · Berry stems
03
Repeated stems · open upper edge
DESIGN READING
Repeated green orchid stems build the main body. Slender branches extend beyond them, adding height without extending the same floral density upward.
COMPOSITION SKETCH
Drawing study: Repeated stems · open upper edgeA visual reading of the visible viewpoint, not a measured plan. 1: Repetition. 2: Open line. 3: Material contrast
COLOUR PALETTE
Moss OliveTerracottaBordeauxEspresso
Three composition notes ↓
Repetition
Similar flower faces recur along separate stems at varied heights.
Open line
Bare branches make the upper outline lighter than the centre.
Material contrast
The woven vessel contrasts with the smooth, bright orchid petals.
DESIGN APPLICATIONFor an upright arrangement where vessel texture is part of the design.
VISIBLE FLOWERS & MATERIALS
Cymbidium · Branch · Woven leather · Walnut
04
Rounded grouping · varied texture
DESIGN READING
Blue hydrangeas give the piece its rounded body. White flowers divide the blue areas, while fine stems soften the outer edge.
COMPOSITION SKETCH
Drawing study: Rounded grouping · varied textureA visual reading of the visible viewpoint, not a measured plan. 1: Large units. 2: Light accents. 3: Soft boundary
COLOUR PALETTE
CobaltWarm IvorySageMushroom
Three composition notes ↓
Large units
Each hydrangea head reads as a rounded unit within the larger group.
Light accents
White petals remain visible between the larger blue heads.
Soft boundary
Small blooms and fine stems extend beyond the dense centre.
DESIGN APPLICATIONFor a rounded arrangement with detail that rewards a closer view.
VISIBLE FLOWERS & MATERIALS
Hydrangea · Chrysanthemum · Meadow stems
05
Vertical lines · low focal mass
DESIGN READING
Large protea heads concentrate attention near the base. Straight reeds and curving branches give the upper section two different kinds of line.
COMPOSITION SKETCH
Drawing study: Vertical lines · low focal massA visual reading of the visible viewpoint, not a measured plan. 1: Focal grouping. 2: Parallel lines. 3: Open side
COLOUR PALETTE
BlushCoral RoseMoss OliveCobalt
Three composition notes ↓
Focal grouping
Large pointed flower heads create a distinct lower centre.
Parallel lines
Upright reeds set a narrow vertical direction above the low bowl.
Open side
Curved branches leave gaps beside the orchid and anthurium.
DESIGN APPLICATIONFor a narrow display where height and a clear lower focal area are useful.
VISIBLE FLOWERS & MATERIALS
Protea · Cymbidium · Anthurium · Horsetail reed
06
Stepped structure · contrasting lines
DESIGN READING
Bamboo segments form a stepped vertical surface. Orange sprays cross it diagonally, while the orchid group and metal vessel hold the right side.
COMPOSITION SKETCH
Drawing study: Stepped structure · contrasting linesA visual reading of the visible viewpoint, not a measured plan. 1: Repeated structure. 2: Crossing rhythm. 3: Visual counterweight
COLOUR PALETTE
Moss OliveBurnt OrangeAubergineWarm Ivory
Three composition notes ↓
Repeated structure
Different bamboo lengths create a stepped edge instead of a flat wall.
Crossing rhythm
Repeated orange sprays interrupt the upright bamboo direction.
Visual counterweight
The orchid and broad vessel oppose the taller, narrower left side.
DESIGN APPLICATIONFor a display that presents the construction materials as part of the composition.
VISIBLE FLOWERS & MATERIALS
Bamboo · Cymbidium · Begonia leaf · Textured metal
ONE ARRANGEMENT · THREE VIEWS
What each view reveals.
Three images of the same arrangement, each drawing attention to a different relationship: unequal extensions, open space and overlapping textures.
07
View 01 · two unequal extensions
DESIGN READING
The peach flower line reaches left while the dark lotus group rises on the right. Their different shapes give the arrangement an open, asymmetric outline.
COMPOSITION SKETCH
Drawing study: View 01 · two unequal extensionsA visual reading of the visible viewpoint, not a measured plan. 1: Lateral extension. 2: Contrasting mass. 3: Lower grouping
COLOUR PALETTE
PeachPetrol TealBordeauxAged Bronze
Three composition notes ↓
Lateral extension
Peach flowers extend away from the central vessel.
Contrasting mass
Grouped lotus heads create a darker, more compact upper area.
Lower grouping
The burgundy flowers continue the composition down the right side.
DESIGN APPLICATIONThe frontal view explains how different materials can balance one another visually.
VISIBLE FLOWERS & MATERIALS
Carnation · Snapdragon · Echinops · Lotus pod
08
View 02 · open space and a central axis
DESIGN READING
This view draws attention to the opening between the peach extension and the lotus heads. The simple cylindrical vessel provides a clear reference beneath the irregular outline.
COMPOSITION SKETCH
Drawing study: View 02 · open space and a central axisA visual reading of the visible viewpoint, not a measured plan. 1: Open interval. 2: Repeated accents. 3: Vessel axis
COLOUR PALETTE
MushroomPeachPetrol TealAged Bronze
Three composition notes ↓
Open interval
The visible gap separates two contrasting upper groups.
Repeated accents
Small blue-green heads recur through the peach flowers.
Vessel axis
The upright cylinder contrasts with the spreading floral outline.
DESIGN APPLICATIONUseful for explaining how deliberate gaps keep a dense composition readable.
VISIBLE FLOWERS & MATERIALS
Carnation · Snapdragon · Echinops · Lotus pod
09
View 03 · overlapping surfaces
DESIGN READING
The lotus openings, folded peach petals and small rounded blue-green heads offer three different surface patterns. Their overlap makes the material contrast especially clear in this view.
COMPOSITION SKETCH
Drawing study: View 03 · overlapping surfacesA visual reading of the visible viewpoint, not a measured plan. 1: Perforated texture. 2: Layered petals. 3: Descending line
COLOUR PALETTE
Warm IvoryPeachAubergineAged Bronze
Three composition notes ↓
Perforated texture
The visible lotus cavities contrast with the filled flower heads.
Layered petals
The peach grouping provides a lighter, finely folded surface.
Descending line
The burgundy extension carries the eye from the centre toward the vessel.
DESIGN APPLICATIONUseful for discussing texture and the visual depth created by overlapping materials.
VISIBLE FLOWERS & MATERIALS
Carnation · Snapdragon · Echinops · Lotus pod
FURTHER DESIGN READINGS
Mass, line and texture.
10
Asymmetric mass · upright and trailing lines
DESIGN READING
A compact coral rose group sits to the left of the upright flowers. Pale trailing flowers extend to the right, creating balance through different forms rather than matching sides.
COMPOSITION SKETCH
Drawing study: Asymmetric mass · upright and trailing linesA visual reading of the visible viewpoint, not a measured plan. 1: Compact mass. 2: Vertical line. 3: Trailing line
COLOUR PALETTE
Coral RoseAubergineBlushMoss Olive
Three composition notes ↓
Compact mass
The closely packed roses provide the densest colour area.
Vertical line
The tall flower spike gives direction above the rounded roses.
Trailing line
Pale flowers draw the eye down the other side of the vessel.
DESIGN APPLICATIONFor a focal piece whose different sides are read clearly from the front.
VISIBLE FLOWERS & MATERIALS
Garden rose · Orchid · Delphinium · Eryngium
11
Vertical rhythm · grouped base
DESIGN READING
Repeated delphinium spikes carry the eye upward. Hydrangeas and pale roses widen the lower section and create a clear transition to the vessel.
COMPOSITION SKETCH
Drawing study: Vertical rhythm · grouped baseA visual reading of the visible viewpoint, not a measured plan. 1: Repeated verticals. 2: Lower grouping. 3: Light contrast
COLOUR PALETTE
Midnight VioletCobaltMoss OliveWarm Ivory
Three composition notes ↓
Repeated verticals
Several upright stems reinforce one main direction.
Lower grouping
Rounded flower heads contrast with the long spikes above.
Light contrast
Pale roses mark the lower centre within the violet palette.
DESIGN APPLICATIONFor a display needing a strong vertical presence above its base.
VISIBLE FLOWERS & MATERIALS
Delphinium · Hydrangea · Rose · Botanical branch
12
Tiered flowers · vessel continuity
DESIGN READING
Large white flowers sit above smaller rounded blooms. Keeping the flowers pale allows the vessel’s coloured floral relief to remain visible as part of the composition.
COMPOSITION SKETCH
Drawing study: Tiered flowers · vessel continuityA visual reading of the visible viewpoint, not a measured plan. 1: Upper grouping. 2: Size transition. 3: Related pattern
COLOUR PALETTE
Warm IvoryBlushSageEspresso
Three composition notes ↓
Upper grouping
Large flower faces sit on visible stems at varied heights.
Size transition
Smaller rounded blooms bridge the upper flowers and the vessel rim.
Related pattern
The vessel repeats the flower motif in relief and softer colour.
DESIGN APPLICATIONFor a commission in which a decorative vessel should remain part of the visual story.
VISIBLE FLOWERS & MATERIALS
Peony · Ranunculus · Seed stem · Glazed ceramic
13
Domed mass · tonal variation
DESIGN READING
Many small flower faces combine into one broad dome. Changes from pale pink to deep rose give surface variation while the outer form stays continuous.
COMPOSITION SKETCH
Drawing study: Domed mass · tonal variationA visual reading of the visible viewpoint, not a measured plan. 1: Continuous outline. 2: Tonal depth. 3: Relative proportion
COLOUR PALETTE
BlushCoral RoseBordeauxMushroom
Three composition notes ↓
Continuous outline
The upper curve is read before the individual blooms.
Tonal depth
Darker roses sit beside pale blooms, making the surface less uniform.
Relative proportion
The narrower vessel leaves the broad floral dome visually dominant.
DESIGN APPLICATIONFor a large focal display with a simple silhouette and detailed surface.
VISIBLE FLOWERS & MATERIALS
Rose · Hydrangea · Chrysanthemum · Fine filler
14
Parallel structure · compact flowers
DESIGN READING
Unequal bamboo lengths form a vertical pattern around a low white-and-green flower mass. The clear vessel reveals a second layer of broad leaves below.
COMPOSITION SKETCH
Drawing study: Parallel structure · compact flowersA visual reading of the visible viewpoint, not a measured plan. 1: Compact top. 2: Stepped repetition. 3: Layered materials
COLOUR PALETTE
Warm IvoryMoss OliveAged BronzeEspresso
Three composition notes ↓
Compact top
Small flower groups stay close to the rim rather than forming long extensions.
Stepped repetition
Parallel bamboo lengths vary, producing a broken upper and lower edge.
Layered materials
Flowers, bamboo and leaves remain distinguishable as three surface layers.
DESIGN APPLICATIONFor a contained arrangement that demonstrates repetition and material layering.
VISIBLE FLOWERS & MATERIALS
Freesia · Bamboo · Leaves · Clear glass
15
Curving lines · separated vessels
DESIGN READING
Orchid sprays arc at different levels across two visible vessels. Branches and small yellow flowers leave the upper area lighter than the fuller lower group.
COMPOSITION SKETCH
Drawing study: Curving lines · separated vesselsA visual reading of the visible viewpoint, not a measured plan. 1: Upper arc. 2: Lower arc. 3: Open structure
COLOUR PALETTE
AubergineMidnight VioletBordeauxAged Bronze
Three composition notes ↓
Upper arc
Repeated orchid faces make the direction of the curved spray readable.
Lower arc
A second spray brings the same flower shape down toward the vessels.
Open structure
Fine branching remains visible between the broader flower groups.
DESIGN APPLICATIONFor a grouped display where separate vessels share one visual flow.
VISIBLE FLOWERS & MATERIALS
Phalaenopsis · Anthurium · Textural foliage
16
Diagonal grouping · trailing extension
DESIGN READING
Peony heads step from the upper left toward the lower right. Fine dark branches occupy the spaces behind them without competing in flower size.
COMPOSITION SKETCH
Drawing study: Diagonal grouping · trailing extensionA visual reading of the visible viewpoint, not a measured plan. 1: Upper starting point. 2: Texture contrast. 3: Extended ending
COLOUR PALETTE
OxbloodBordeauxCharcoalWarm Ivory
Three composition notes ↓
Upper starting point
The raised blooms establish one end of the diagonal.
Texture contrast
Fine branching separates the broad, layered flower faces.
Extended ending
The low hanging bloom continues the line beyond the main group.
DESIGN APPLICATIONFor a front-facing composition with space below its lowest bloom.
VISIBLE FLOWERS & MATERIALS
Peony · Fine branches · Ceramic
17
Open lines · rounded lower groups
DESIGN READING
Fine upright stems and curling lines rise from a low flower base. Open intervals let the individual stem directions remain visible.
COMPOSITION SKETCH
Drawing study: Open lines · rounded lower groupsA visual reading of the visible viewpoint, not a measured plan. 1: Fine verticals. 2: Curving line. 3: Lower mass
COLOUR PALETTE
MushroomWarm IvoryBordeauxMoss Olive
Three composition notes ↓
Fine verticals
Small rounded heads mark several heights without filling the whole space.
Curving line
Looping stems contrast with the straighter stems behind them.
Lower mass
White rounded blooms and hydrangeas collect the visual weight near the bowl.
DESIGN APPLICATIONFor a display where individual stems and the space between them are the subject.
VISIBLE FLOWERS & MATERIALS
Rounded flowers · Hydrangea · Curved stems · Branches
18
Close view · flower and texture contrast
DESIGN READING
This close view isolates the same coral composition. Rounded rose faces, open orchid petals and spiky blue details can be compared without treating the crop as a separate complete arrangement.
COMPOSITION SKETCH
Drawing study: Close view · flower and texture contrastA visual reading of the visible viewpoint, not a measured plan. 1: Dense surface. 2: Open flower shape. 3: Fine texture
COLOUR PALETTE
Coral RoseAubergineOxbloodMoss Olive
Three composition notes ↓
Dense surface
Closely spaced rose faces create a continuous coral field.
Open flower shape
Dark orchid petals have a more open outline than the roses.
Fine texture
Spiky blue heads introduce small-scale detail beside broad petals.
DESIGN APPLICATIONUseful for showing material choices and petal detail in a portfolio.
VISIBLE FLOWERS & MATERIALS
Garden rose · Orchid · Eryngium
BOTANICAL HOSPITALITY · A DISTINCT CHAPTER
The Living Table
Produce, composed.
A buffet reimagined as a botanical landscape — potatoes, cabbage, citrus, fruit and flowers composed through colour, volume and abundance.
HOSPITALITY INSTALLATION · RIYADH
01
Buffet view · repetition in depth
DESIGN READING
Separate botanical groups repeat along the display surface. This oblique view shows how near and distant groups read as a sequence rather than a single flower mass.
COMPOSITION SKETCH
Drawing study: Buffet view · repetition in depthA visual reading of the visible viewpoint, not a measured plan. 1: Repeated groups. 2: Foreground detail. 3: Depth direction
COLOUR PALETTE
Leaf greenDusty pinkViolet greyAged Bronze
Three composition notes ↓
Repeated groups
Similar supports link different materials along the display.
Foreground detail
The near group makes the contrast between produce and fine stems visible.
Depth direction
The table edge supplies a clear diagonal through successive groups.
DESIGN APPLICATIONFor planning a repeated display; guest access and serving clearances are checked on site.
VISIBLE FLOWERS & MATERIALS
Potato · Cabbage · Flowers · Metal supports
02
Raised bowl · a light upper layer
DESIGN READING
Solid produce forms collect near the bowl. Pale flowers rise above them, while a fine green cascade connects the grouping to the lower level.
COMPOSITION SKETCH
Drawing study: Raised bowl · a light upper layerA visual reading of the visible viewpoint, not a measured plan. 1: Solid grouping. 2: Airier top. 3: Connecting line
COLOUR PALETTE
Dusty pinkLeaf greenCabbage violetAged Bronze
Three composition notes ↓
Solid grouping
Rounded produce gives the centre a heavier visual texture than the flowers.
Airier top
Small pale flowers leave visible intervals between stems.
Connecting line
The green hanging material leads from the bowl toward the cabbage below.
DESIGN APPLICATIONFor demonstrating how contrasting material densities can share one pedestal arrangement.
VISIBLE FLOWERS & MATERIALS
Rose · Produce · Green clusters · Metal bowl
03
Tapered outline · material contrast
DESIGN READING
Rounded potatoes cluster near the bowl while fine magenta stems taper upward. Pale pink flowers make a smaller, lighter group on one side.
COMPOSITION SKETCH
Drawing study: Tapered outline · material contrastA visual reading of the visible viewpoint, not a measured plan. 1: Tapered upper line. 2: Texture contrast. 3: Repeated cascade
COLOUR PALETTE
Cabbage violetLeaf greenViolet greyAged Bronze
Three composition notes ↓
Tapered upper line
Fine stems narrow toward the top above the broader produce group.
Texture contrast
Matte potato skins sit beside softer flower petals.
Repeated cascade
Several green strands connect the rim to the lower vessel.
DESIGN APPLICATIONFor a food-inspired display that uses differences in texture to distinguish each material.
VISIBLE FLOWERS & MATERIALS
Potato · Pink flowers · Green clusters · Metal bowl
04
Close view · solid forms and curved stems
DESIGN READING
Whole and cut potatoes establish the solid surface. Long curved stems pass across it, making movement visible without relying on additional large flowers.
COMPOSITION SKETCH
Drawing study: Close view · solid forms and curved stemsA visual reading of the visible viewpoint, not a measured plan. 1: Revealed surface. 2: Curving route. 3: Fine contrast
COLOUR PALETTE
Violet greyLeaf greenDusty pinkPeach
Three composition notes ↓
Revealed surface
Cut faces show a different colour and texture from the dark outer skin.
Curving route
A long stem crosses the clustered shapes and leads the eye around them.
Fine contrast
Small green clusters break up the larger solid units.
DESIGN APPLICATIONUseful for showing how a simple curve changes the reading of a dense surface.
VISIBLE FLOWERS & MATERIALS
Whole and cut potato · Curved stems · Green clusters
05
Low grouping · repeated accents
DESIGN READING
Purple cabbage creates a low group along the display edge. Small orange berries repeat through the gaps, while leaves extend beyond the firmer shapes.
COMPOSITION SKETCH
Drawing study: Low grouping · repeated accentsA visual reading of the visible viewpoint, not a measured plan. 1: Broad surfaces. 2: Small repeats. 3: Softened edge
COLOUR PALETTE
Cabbage violetOrange berryLeaf greenEspresso
Three composition notes ↓
Broad surfaces
Folded cabbage leaves form the largest visible colour units.
Small repeats
Orange dots recur across the purple and green areas.
Softened edge
Leaf stems continue beyond the solid display surface.
DESIGN APPLICATIONFor composing a low edge detail as part of a longer display.
VISIBLE FLOWERS & MATERIALS
Purple cabbage · Orange berries · Leaf stems
06
Triangular grouping · light and dark
DESIGN READING
The higher rose and the broader lower cabbage group suggest a triangular outline in this view. Pale petals remain distinct against the dark berries and purple leaves.
COMPOSITION SKETCH
Drawing study: Triangular grouping · light and darkA visual reading of the visible viewpoint, not a measured plan. 1: Upper point. 2: Light-dark contrast. 3: Broad base
COLOUR PALETTE
Dusty pinkCabbage violetDeep violetLeaf green
Three composition notes ↓
Upper point
One raised rose establishes the top of the visible grouping.
Light-dark contrast
Pale roses are separated visually by much darker berry groups.
Broad base
Cabbage forms give the group a wider lower outline.
DESIGN APPLICATIONUseful for showing a triangular visual outline without claiming exact angles or dimensions.
VISIBLE FLOWERS & MATERIALS
Rose · Purple cabbage · Dark berries
07
Repeated cylinders · contrasting circles
DESIGN READING
Glass cylinders and upright spice bundles repeat along the table. Circular citrus faces interrupt those verticals, while slim flower stems add smaller height changes.
COMPOSITION SKETCH
Drawing study: Repeated cylinders · contrasting circlesA visual reading of the visible viewpoint, not a measured plan. 1: Repeated verticals. 2: Circular contrast. 3: Small-scale rhythm
COLOUR PALETTE
Citrus pinkTerracottaAged BronzeLeaf green
Three composition notes ↓
Repeated verticals
Upright containers and bundles create a shared direction.
Circular contrast
The large citrus cross-section contrasts with the narrow vertical forms.
Small-scale rhythm
Rounded flower heads repeat above the denser material below.
DESIGN APPLICATIONFor a repeated still-life display; serving food and decorative materials remain separate decisions.
VISIBLE FLOWERS & MATERIALS
Citrus · Cinnamon · Dried fruit · Orchid · Glass
EASTERN STUDIES · A DISTINCT CHAPTER
The Andalusian Garden
Flowers, Geometry & Memory
A contemporary Eastern language shaped by courtyard light, water, carved shadow and hand-cut geometry. Here, floral abundance meets the discipline of Andalusian space.
AL-ANDALUS · REIMAGINED IN RIYADHGrouped display · levels and repetition
A large curved element gives the display its main outline. Smaller vessels and lanterns repeat across the tabletop and below it, linking the upper and lower levels.
COMPOSITION SKETCH
Drawing study: Grouped display · levels and repetitionA visual reading of the visible viewpoint, not a measured plan. 1: Main curve. 2: Upward extension. 3: Repeated levels
COLOUR PALETTE
TerracottaAged BronzeMoss OliveEspresso
Three composition notes ↓
Main curve
The open curve frames part of the planting rather than enclosing it completely.
Upward extension
Palm and branch lines carry the outline above the main floral group.
Repeated levels
Lanterns recur above, on and below the table to connect separate zones.
DESIGN APPLICATIONFor a layered event display; actual fixing and lighting safety need a separate site plan.
VISIBLE FLOWERS & MATERIALS
Orchid · Palm · Lantern · Aged brass · Terracotta
02
Rounded mass · colour grouping
DESIGN READING
The rose dome reads as one dominant mass. A lower band of blue hydrangea separates it from the vessel, while scattered warm flowers interrupt the dense surface.
COMPOSITION SKETCH
Drawing study: Rounded mass · colour groupingA visual reading of the visible viewpoint, not a measured plan. 1: Dominant mass. 2: Colour separation. 3: Repeated accents
COLOUR PALETTE
Crimson RoseHydrangea BlueGolden YellowCeramic Blue
Three composition notes ↓
Dominant mass
Closely grouped roses establish a continuous rounded outline.
Colour separation
Blue and violet form a distinct lower band beneath the crimson.
Repeated accents
Yellow and orange recur around the mass, carrying the eye between separated areas.
DESIGN APPLICATIONFor a focal arrangement where a clear silhouette matters from a distance.
Original floral work; the Andalusian background was digitally edited.
VISIBLE FLOWERS & MATERIALS
Rose · Hydrangea · Tulip · Calla · Ceramic
03
Detail view · contrasting directions
DESIGN READING
This detail of the larger display shows three directions: upright palm, hanging orchid and outward fine sprays. Their different widths keep the layers distinguishable.
COMPOSITION SKETCH
Drawing study: Detail view · contrasting directionsA visual reading of the visible viewpoint, not a measured plan. 1: Upright plane. 2: Curved descent. 3: Smaller scale
COLOUR PALETTE
TerracottaMoss OliveOxbloodAged Bronze
Three composition notes ↓
Upright plane
The broad palm establishes a strong background direction.
Curved descent
The green orchid line brings a brighter accent down the front.
Smaller scale
Small vessels repeat the rounded forms below the larger planting.
DESIGN APPLICATIONUseful for presenting the relationship between a large installation and its smaller details.
VISIBLE FLOWERS & MATERIALS
Cymbidium · Palm · Eucalyptus · Clay · Brass
04
Close view · hanging masses and a gap
DESIGN READING
Two orange flower masses descend on either side of a dark opening. Compact green rosettes sit between them, contrasting in both outline and surface.
COMPOSITION SKETCH
Drawing study: Close view · hanging masses and a gapA visual reading of the visible viewpoint, not a measured plan. 1: Longer descent. 2: Compact contrast. 3: Visible opening
COLOUR PALETTE
Burnt OrangeCobaltMoss OliveAged Bronze
Three composition notes ↓
Longer descent
The left flower group continues lower in this crop.
Compact contrast
Geometric succulent rosettes interrupt the looser tulip petals.
Visible opening
A dark gap separates the two hanging groups and reveals the vessel edge.
DESIGN APPLICATIONUseful for showing cascade, material contrast and the role of an open interval.
VISIBLE FLOWERS & MATERIALS
Parrot tulip · Cymbidium · Succulent · Iridescent metal