Design
Upright form. A restrained palette. Room for a generous welcome.
Three rules
Straight where it can be
Square arches, a flat bonnet, an upright glasshouse. The proportions of a vehicle that turns in a courtyard and parks in a colonnade.
A considered palette
Sand-gold, white and deep green. Selected roof and body panels can introduce a quiet second tone, with each finish considered as a whole.
A clean front
A plain grille, free of logos and emblems. At the rear, the Arabic qaf sits on the left in satin brass. On the right, the Saudi palm and crossed swords sit in relief on a dark, finely framed plaque. Circular lamps and plain wheel hubs keep the exterior discreet.
Belonging to the place
The buildings of the new quarter step and slope toward the Haram in pale stone. Sand-gold, white and dark green answer that setting. A contrasting roof or sill follows the body’s lines; satin metal adds a small point of warmth. The aim is a vehicle that feels at home from the moment it arrives.
Inside
The reference points are a good hotel lobby rather than a sports car: matte surfaces, a single warm material per model, and nothing that glares in strong sun.
Comfort begins with the person sitting here. Materials, ventilation, lighting and storage are considered from that position. On the guest models, the rear seat is where the design begins — the vents, the console, the controls, the glass all serve whoever is sitting there.
The mark
The emblem is the isolated Arabic letter ق drawn as one sweep, its two dots cut as facets above it, in gold. The wordmark sets the three Latin letters in a classical serif, the tail of the Q running under the A. The vehicle studies reserve the brass emblem for the tailgate and smaller details. The front grille stays clean and unbranded; the wordmark belongs on the sill plate, and the model name on a small plate on the B-pillar.
