I haven’t written two consecutive diary entries about Egypt since 2024, but with March 2026 opening in the heart of Ramadan, this month’s guest felt especially timely.
The holy month evokes a spectrum of thoughts, depending on where you are in the world and what you know of it. Anyone familiar with the Arab world knows that few cities match Cairo’s festive pulse during Ramadan. Spiritual for many, the month is also a celebration: daily invitations, social gatherings, lavish meals, and street distributions of goods and food for those in need that can only be experienced in situ. Even the most skeptical observer cannot ignore the city’s infectious cheer, a rhythm unlike anything I have encountered elsewhere. Conventional notions of productivity give way to a nocturnal life: an entire nation fasts by day and awakens vibrantly at night. This month, my guest holds a Doctorate in Mamluk history from Aix-Marseille University (2015), a Masters in conservation from the Raymond Lemaire Centre at KU Leuven in Belgium (2004), and a Bachelor in Architecture from the Faculty of Fine Arts at Helwan University (2000). Omniya is dividing her time between Egypt and the UK. In London, she is a Research Fellow at the Victoria and Albert Museum (V&A) (currently funded by the Commercial Internation Bank in Egypt), In Cairo, Omniya is part of the Egyptian Heritage Rescue Foundation,(EHRF, est. 2013) developing projects dedicated to rescuing historic Cairo’s architectural heritage and preserving traditional craftsmanship. Simply put, we are in the presence of an erudite mind. Dr Omniya Abdel Barr is also an architect specializing in Islamic art and architecture, with experience in urban conservation, monument restoration, and cultural heritage documentation. I met Omniya a few years ago in Cairo, I visited her in Historic Cairo, where she continues to oversee a singularly beautiful Mamluk/Ottoman house with a remarkable history: Bayt al Razzaz. As it happens, she knew my work, but she also knew my family, and is friends with my cousin, the legendary architect Abdel Wahed El Wakil, one of the foremost authorities on contemporary Islamic architecture. She recognized that my work stems from an artistic, instinctive, yet research-driven approach, one that resonates with the broader mission of preserving heritage and craft. I invited Omniya to share insights on Islamic architecture and the Mamluk legacy, which is only now beginning to receive the attention it deserves. I asked her to share her insights on Ramadan as a historian, and to explore why Egypt offers such a singular experience of the holy month. I hope our conversation will enlighten history lovers across the globe and bring a virtual voyage that adds lightness to the weighty gravitas of all things related to religion.
Habebti Omniya (colloquial Egyptian for ‘Darling Omniya’-I insist on spelling Habebti with an e not an i as it phonetically seems more faithful to the beauty of the Egyptian dialect, one could also argue Omneyya insead of Omniya, or Beit instead of Bayt but that’s for another one of phonetical transcripts), or rather Dr Abdel Barr, I’m glad to talk to you in London where you lead your work at the Victoria Albert Museum, before we get into the nitty gritty of our talk, can you tell us what exactly is your work here?
I moved to London with my husband in 2015, just as I was submitting my Doctorate. It was a new city to me and I needed to explore my options. I one day overheard someone saying they had discovered an amazing collection of photographs at the V&A on Egypt. I became curious as I had just delivered a project on photography named ‘Sanduq al-Dunia’ with the Danish Egyptian Dialogue Initiative, so I booked a ticket to attend an event on Damascus Rooms at the V&A and I introduced myself to the Middle East curator. I explained that I was new in town, but that I was curious to know more about this collection of photographs they had found.
The V&A is a champion when it comes to digitization, and in 2006 they launched (in what was then called ‘Word and Image Department’ today the Art, Architecture, Photography and Design’) a big project to digitize paintings, drawings, prints, photographs, designs…to upload to their online ‘explore the collection’. Back then this was revolutionary, to be able to access museum collections from anywhere in the world. While going through their drawers, I discovered that they had around 3,700 photographs from renowned scholar of Islamic architecture Sir Keppel Archibald Cameron Creswell (1879-1974). When I heard his name, I got even more excited, as Creswell’s publications and photographs are always the source we look into whenever we start a new project in Historic Cairo. He is the most important visual reference and his photographs represents a unique archive on Cairo’s monuments. As I knew well the city and it’s monuments, I offered to catalogue the collection. After securing funding from the Barakat Trust, I joined the Museum in September 2016. The project kept on expanding and I succeeded to bring other collections at the Ashmolean Museum and Harvard University, along with the V&A, so that we can bring all photographs in one place. I am currently finalising this project and I am sure many will find the website we have created useful for their research on, not just Cairo, but Damascus, Aleppo, Jerusalem, Baghdad, and many other cities in our region.
I am also preparing a book on the architectural sketchbooks of British architect James William Wild (1814-1892), who lived in Cairo in the 1840’s and studied its traditional architecture meticulously. These sketchbooks were gifted to the Museum in 1938 by the architect’s daughter, and I am truly grateful that she decided to grant this valuable archive to a public institution. The work of James W. Wild resonates a lot with my current work in Cairo. He sketched a city in ruin and decaying, a city emerging from centuries of neglect, and he managed to appreciate the graceful architecture it was maintaining. This is a lot how I feel about our medieval city today, struggling with development and modernism, and looking to be celebrated and appreciated.
So, my work at the V&A complement my field work in Cairo’s monuments and historic buildings, and I am very privileged to be able to study these collections in London, created by professionals who must have also loved Cairo.
Provided you agree with my depiction of Ramadan in Cairo, what do you think makes it different than Ramadan experiences in other countries?
France has the largest Muslim population in Western Europe, estimated at around 5–6 million, mainly from North African backgrounds. Ramadan is highly visible in cities with significant Muslim communities. France’s strict secularism (laïcité) often leads to debates about public accommodations, such as whether schools, workplaces, and other institutions should allow flexible schedules for fasting employees or students. I personally love religious rituals to stay as private as possible especially with respect to local cultures. In the UK, where there is a large South Asian Muslim population, Ramadan is generally respected, and many workplaces and schools accommodate fasting. Public iftars and charity events, like food drives during Ramadan, are also common. Having lived and worked in both countries, what differences have you noticed in how the holy month is perceived socially and in workplaces?
One can never be homesick in London, even in Ramadan, as the city celebrates with us, and you can even book to attend an open iftar with total strangers thanks to the Ramadan Tent Project. My colleagues have always been supportive, and understanding, and some can even join me as I break my fast. I was never in France during Ramadan, so I cannot make the comparison. However, nothing beats Cairo! A few years ago, when I was working on the Islamic Arts Biennale, I got to experience Ramadan in Saudi Arabia, and see the difference and similarities. I discovered how they truly shift their day and night, even more than us in Egypt. One night I had to bring a panel discussion to an end as it was 2:30 am. I think, we love Ramadan in Egypt, as it is part of our childhood memories, the sounds, the smells, the rituals, the gatherings and even the music recall all these happy memories we have saved with our parents, families and friends. It’s a month loved by all Egyptians, Muslims and Christians and it is a yearly reminder to take care of ourselves and our loved ones. The rhythm slows in Ramadan, and I like to think of it as a month to help us recalibrate our lives.
What makes the Mamluk heritage important to Egyptian history and what are some notable contributions?
I am a big fan of the Mamluks, and I learned to respect and appreciate them when I started working on my PhD. My research evolved around how they developed Cairo, and how they launched and arranged their multiple construction sites to build their legacies. I think what I love most about the Mamluks is their boldness in design. The beauty in their architecture lies in the rhythm and the harmony it creates. The volumes conceived are grand but one can never feel oppressed. It is a very balanced architecture, even when borrowing from other cultures. Everything is just in its right place, from the grandest dome, to the tiniest marble detail in the flooring. I think some of their notable contributions is in geometry, which evolved and became more sophisticated and complex towards the end of their sultanate. It’s impressive, and I spend hours trying to crack their code, and I always wonder how they did it. This is what makes us love and appreciate their work more and more, as they gave it time, and they also respected the craftsmanship.
How do you think Islamic heritage and architecture have influenced contemporary design compared to traditions like ancient Egyptian, Greco-Roman, or Byzantine styles?
We are witnessing a growing interest in Islamic heritage among architects and designers in the past years. Although, it is still not enough, and this is largely due to the fact that we don’t study Islamic architecture enough in our universities. I remember how disappointed I was when I discovered we only get 3 months in our five years curriculum in Fine Arts, this is why I mainly acquired my experience and understanding through my own readings and projects. I am seeing new designers launching collections inspired from Islamic heritage, but I always spot the mistakes. They are getting better with trials and errors, but at least they have started. Architecture needs to follow, as from my own generation, and the younger ones, I don’t think anyone has succeeded to grasp the rhythm yet.
How does your work preserving craft and heritage translate in today’s Egypt? What are the challenges and what do you make of the current state of crafts and heritage in Egypt? I often reflect on the influence of the UAE on Egypt’s evolving architectural landscape. While the UAE has achieved remarkable work, Egypt had a rich architectural heritage to build upon, which may have influenced its trajectory differently. In your opinion, why do you think some countries draw more heavily from foreign cues, while others develop more from their own historical context?
I am impressed with the investments made into local heritage in other Arab countries. Respecting one’s past is key to developing your current narrative. I admire how they try to bring their heritage in their day-to-day lives whether it’s cuisine or an outfit. We are starting in Egypt, with very slow steps, as we have been cut from our own heritage for decades, for what reason? I can’t really tell, maybe as it was falling out of fashion, or as we have had foreigners in Egypt living and working since the reign of Mohamed Ali Pasha in the early 1800’s. But it is clear that we are currently, as Egyptians, in search of who we really are. Ancient Egypt, is grand and imposing, and we forget that its heritage has slipped into our day-to-day. You could say, we are cursed as we have it all. Indeed, we do, just name it and you will find Egypt somehow in the mix. Then again, we, contemporary Egyptians, where are we standing vis-à-vis our own heritage? I don’t think we have the answers yet, but we are testing and trying, and we are surely learning more about who we are, and appreciating this grand lineage we come from. I personally enjoy discovering traditional makers, and brands built on local craftsmanship. As someone working in cultural heritage, I always try to dress in something locally made, whether the design or the fabric, and I like to explain it to others. I am lucky as my friends are my tailors! But we need more and more of them. I also believe that the state needs to change their approach when it comes to craftsmanship. These are not development projects, these are high-end designer projects. These craftspeople are not in need; they are our national treasures worth to be encouraged, supported and secured.
Rescuing the Mamluk minbars projectwas implemented in 2018 by the Egyptian Heritage Rescue Foundationin partnership with the Egyptian Ministry of Tourism and Antiquities and with funding from the British Council’s Cultural Protection Fundin partnership with the UK’s Department of Culture, Media and Sports. What was your role in that project? Was it carried through as you wished?
I consider this project a turning point in my career. From 2011, I was documenting the looting and vandalism occurring in Historic Cairo. By 2015, I was in deep depression as the situation was not getting better. One day, when I looked at my notes, I realized that the minbars are constantly hit. So, I decided, instead of trying to save Cairo, as I was miserably failing, how about I only save the minbars? And this is how the idea of the project was conceived. My team at EHRF and my colleagues at the Ministry of Tourism and Antiquities supported the idea, so I went to look for funding, and we landed on a grant by the UK’s cultural protection fund. Throughout the project, we exceeded our targets, and we managed ‘not to leave a minbar behind’. We documented all 44, and we intervened on 27. Currently, we are finalizing the restoration of one minbar (Amir Ganim al-Bahlawan, made in 1478) which was totally destroyed when it was looted in 2008.
I learnt so much with this project, I worked on budgets, on reporting, on recruiting, on design, research, restoration, publication and evaluation. Today, international auction houses check with us first before they put their wooden pieces on sale, as we have also built a thorough database which help us identify the pieces, and confirm whether it is an old or a recent theft. I have given numerous talks and lectures on this project, and every time it gives me back the best motivation, as out of despair, hope was created.
Can you tell us about Bayt al-Razzaz? Why should tourists or locals visit it? Is there anything special happening there during Ramadan?
Thanks to the minbar project, I returned to Bayt al-Razzaz, as I was part of its restoration team in 2004-2006. When we launched the project, we asked the ministry to provide us with a working space, and in return we could cover all costs of maintenance and utilities. When they agreed to the idea, I requested to house our teams in my old medieval palace. It was lovely to be back, as since we left the monument was shut and isolated, and nothing substantial was happening.
Unfortunately, after the heavy storm of 2020, a section of the monument collapsed, and I had to fundraise again to restore it. Today, we are in full restoration mode, as we have succeeded to fundraise from the Egyptian private sector and received funding from the UK and Romania. Yet, there is still a lot of work, as this is a double courtyard palace, and I have not yet touched the western side, with the largest reception room in Cairo, a monumental loggia or maq’ad and 1000m2 open courtyard. This Ramadan, nothing special is happening, as the scaffoldings are up in the courtyard, so we opted to postpone all our activities until the work in completed. However, in the eight years we have been present in this 15th century palace, we have held exhibitions, public talks, art residencies, and many workshops, especially for the children’s community. Perhaps our most successful event was when we displayed four carpets produced by Kahhal Looms by four top designers in the Arab world (Azza Fahmy, Nada Debs, Louis Barthelemy and Abdalla Alawadi) with inspiration from the palace, to support the restoration of the 18th century ceiling in the main reception hall in the eastern side. Bayt al-Razzaz is a rare surviving example of Cairo’s traditional domestic architecture. This is a 500 year old palace, which has witnessed many historic events in Egypt. Every year, the procession of al-Mahmal carrying the sacred covers of Makkah and Medina paraded in front of its mashrabiyyas. We call it the blessed place, as we are always enchanted by its energies. We believe the house is protecting us, more than we are protecting it.
I believe that cross-cultural conversations are key to growth and education, as opposed to entre-soi conversations, which I often find limiting. How do you see such cross-cultural dynamics happening effectively, without compromising local expertise and knowledge?
I love collaborations, and I love to learn from others. Last year, I discovered Pakistan, and I fell in love instantly with the country, the people, the food and the amazing craftsmanship. So, we developed a collaboration with a Karachi based practice, and we brought the Egyptians and the Pakistanis together in a residence both in Cairo and Karachi focusing on our cities, and the making of traditional textile and embroidery. There was no compromise, we were all learning from one another, and I am sure this experience will resonate with us all. We work a lot with the UK, as EHRF is part of INTO an international organization bringing professionals in cultural heritage to work together, and we have just completed a project on climate change affecting heritage with partners from Syria, Zanzibar, Ethiopia, Uganda and Jordan. Our cross-cultural exchange has been very fruitful and educational. Friendships have been created, and it was lovely to feel that we are not alone in our fight to protect our heritage.
You travel extensively, giving lectures at universities, cultural institutions art fairs and museums. Beyond the international art experts and collectors, do you see genuine interest from local communities in engaging with their own cultural heritage?
Yes! The change has started, and it is growing. Today, we are in a better place than when I was a student in the 90’s. The younger generation are sensitive and appreciative, and the local communities have seen the impact of our projects on their lives. I know we are making a change, I just hope to always find the energy to continue.
What should we wish you right now?
My name in Arabic means a wish, and I would like to request two:
First wish: I want to save as many historic houses as possible in Historic Cairo as we are losing them at a very high speed. I wish our efforts can create a lasting change to their neighborhoods and communities, and to welcome others to visit and enjoy our medieval city.
My second wish is to create a Museum for Cairo, in which we can tell its story, preserve its artistic memory, and bring creatives to explore and learn from it. In a way, I want to bring the V&A model to Egypt, to champion design and creativity, and I have my eyes already on a first location, in a ruined 19th century palace. (As I blurted out ‘but there are many museums in Cairo’, I understood that Omniya was spot on calling out a museum that goes beyond strictly historic museums, like the V&A in London or Pompidou in Paris and many, many others).
RAPID ROUND:
Name a city
Name a monument
Name a book
Al Khitat, by Maqrizi (Mamluk historian)
Name a song
Name a dish
Name a film
Name an artist
Name a museum
The Agriculture Museum in Giza
Name an architect
Name a historical figure
We appreciate You Omniya!
RAMADAN KARIM!
Thank You!