After decades of being closed to travellers, the Kingdom of Saudi Arabia is keen to finally welcome tourists. This push to attract visitors is part of the country’s Vision 2030 scheme, which aims to diversify the region’s economic, cultural, and social diversity.

ABOVE LEFT: When Desert X, the public art biannual launched in AlUla with their first programme outside the US, they got KWY.studio to create the visitor centre. ABOVE RIGHT, TOP TO BOTTOM: Maraya, an extraordinary venue for concerts, events, and conferences. An annual hot air balloon event. Ducasse is just one of many high-end restaurants to open recently. Old Town AlUla.

And while e-visas have been available internationally since 2020, for many global travellers however, Saudi Arabia is still an unknown holiday destination. Cities such as Riyadh and Jeddah have been investing heavily in the tourism sector in an attempt to encourage visitors from all over the globe but there’s another town with even loftier ambitions – AlUla. Measuring roughly twice the size of Qatar and dating back millennia, this oasis town was historically the capital of the North Arabian Lihyanites and then the Nabataeans. It boasts over 200,000 years of human history and was a key meeting place along the silk routes that connected India with Egypt and Arabia. These days it’s one of the country’s most intriguing destinations, as it blends extensive history with serious modernity.

HOW IS ALULA INVESTING IN TOURISM?
In 2018 AlUla signed a decade-long intergovernmental agreement with France to develop the region. Initiatives include transport infrastructure, hotels, and cultural centres as well as the preservation of existing cultural and natural treasures.

Part of this entails protecting the natural environment. In February 2019, a fund was established to safeguard the Arabian Leopard, a critically endangered species according to the IUCN. Fewer than 50 adult Arabian Leopards are believed to remain in the country due to hunting, so the government is trying to repopulate the landscape with this unique animal.

To accommodate what Saudi hopes will be an influx of tourists, AlUla’s airport is undergoing extensive expansions. After opening to international flights in 2021, the building is now due to receive a second terminal, which will increase the airport capacity from 400,000 to 6 million annually. Melanie P. De Souza, executive director at Destination Marketing for AlUla, says, “We’ve clearly outgrown the current airport, and this one will have a hotel, spa and retail facilities – all designed to blend in with the environment and in empathy to the surroundings.”

The Royal Commission for AlUla (RCU) expects to host two million visitors annually by 2035, creating 38,000 new jobs.

ABOVE: Design Space AlUla shares its location with Athr Gallery. And, right across the road you will find the new Public Library as well as Madrasat Addeera – once Saudi’s first girls’ school – now an arts and traditional crafts hub.

WHAT IS THERE TO SEE IN ALULA?
As home to one of the world’s most ancient civilisations, AlUla houses some fascinating artefacts. The Hegra Archaeological Site was the country’s first UNESCO World Heritage Site and celebrated its 15th year of inscription in 2023. Home to the largest conserved site of the civilisation of the Nabataeans south of Petra in Jordan, it sports 111 monumental tombs from as far back as the 1st century BC.

History buffs should also spend time in AlUla’s Old Town, a labyrinth of over 900 mudbrick houses that oozes history despite its recent habitation (it was lived in until 1983). The desert’s natural creations are equally enchanting. Jabal Alfil – more commonly known as Elephant Rock – is one of the most popular sites, its unique formation mimicking that of an elephant and providing stunning sunset photography opportunities.

When it comes to art and culture, AlUla is keen to establish itself as a leading destination. AlJadidah is the recently opened “new” town, a pedestrian-only arts, culture, and dining destination near the Old Town where you’ll find Madrasat Addeera, a beacon for the local community and a place where people are rediscovering the region’s traditional and sometimes forgotten crafts. Elsewhere there’s a new public library and a stunning new Design Space, but more on that later. FYI, the AlUla Artist residency invites global visitors to explore the region’s landscape and heritage, and an annual Arts Festival showcases a variety of artistic formats from around the world.

Of course, AlUla’s most famous asset remains Maraya, the largest mirrored building in the world. Its 10,000-square-metre mirrored construction seats 50,000 people and reflects the beauty of the surrounding Ashar Valley. On top sits chef Jason Atherton’s Maraya Social, a restaurant offering European-inspired sharing dishes with a panoramic desert backdrop.

WHAT’S COMING TO ALULA?
Perhaps one of their biggest focusses is Wadi AlFann, due for completion in 2026. Meaning ‘Valley of the Arts’, this 65 million-square-metre (the size of San Marino) outdoor exhibition space will see installations positioned throughout the valley connecting the region’s two historic capitals, Qurh and Hegra. The first five international artists to show works here will be James Turrell, Manal Dowayan, Agnes Denes, Michael Heizer and Ahmed Mater. Additionally, two major new museums are under construction: the Contemporary Art Museum and the Incense Road Museum. Lebanese-Parisian architect Lina Ghotmeh will design the former, which will feature three collections focused on Three Seas, Continents and land-based artworks. While De Souza confirmed that London’s Asif Khan will design the Incense Road Museum. She hopes it will “tell a much deeper, richer narrative about the role that AlUla played on the trading routes, where incense was one of the key commodities.”

ABOVE: With its beautiful intricate lattice façade, the space is inclusive to all design disciplines from architecture and urban planning to product and graphic design. “Our ambition is to fuel the design economy, provide resources to designers to explore and experiment, and be a place for visitors to research, explore and connect with the processes behind AlUla’s design journey,” reveals Sara Ghani, the director and curator.

These are just two of 16 cultural assets, museums, and galleries in the pipeline in AlUla. All developments plan to be inspired by and constructed in sympathy with their surroundings. Indeed, maximising the striking, rocky landscapes is a priority. Meanwhile, e-bike trails, abseiling, ziplining, hiking and even a giant swing suspended 85 metres above the ground are open to adventurers.

WHAT EXACTLY IS DESIGN SPACE ALULA?
The space, under the direction of Sara Ghani (also the curator of the gallery’s inaugural exhibition) provides exhibition, workshop, and archive space, and is designed to foster collaboration among design professionals, students, and design lovers. It was (like Maraya) designed by Giò Forma so we caught up with Florian Boje, one of the Italian architecture firm’s three co-founders, in order to ask him what inspired them to create this striking new building:

WHAT WAS THE MISSION BRIEF FOR THIS PROJECT?
[Florian Boje] The brief was collaboratively developed with RCU to generate the outlined inputs of a cultural destination. As such, we explored numerous approaches to establish a creative hub – a space where this transformational process could manifest visibly and be accessible to the creative community.

THE PLOT WAS PREVIOUSLY EARMARKED FOR AN ART GALLERY, WASN’T IT?
An architectural gallery I believe but it was never developed. So, when RCU’s design team suggested this location in the AlJadidah Arts District, we set about deliberating on how best to optimise its highly central location. Our objective was clear – to foster a dynamic dialogue within the AlJadidah context rather than a juxtaposition to it. Given that AlJadidah is almost entirely car-free and features a beautiful series of vibrant plazas and courtyards, we felt it was imperative that Design Space AlUla be part of this vital system.

HOW DID YOU COME UP WITH THE IDEA OF LATTICE WORK TO DEFINE THE PROJECT? WAS IT TO EVOKE A SENSE OF HISTORY OR FOR SHADING?
This building is the culmination of our prior explorations with breeze blocks, a journey that began with projects such as the Ashar Electrification Plant and the Architectural Gallery. For us, this endeavour represents an ongoing experimentation field. Collaborating closely with RCU’s design team, we surveyed the existing breeze block patterns in the area. Subsequently, we ingeniously recombined them using a purpose-built algorithm and the result is a mesmerising interplay of form and function. The screened glass curtain and cantilevered roof serve a dual purpose: providing effective sun protection while maintaining an aura of transparency. Our intention was for the building to harmonise with its surroundings authentically, avoiding any semblance of artifice. In our view, history serves not as a mere toolkit of recycled elements and shapes, but rather as a boundless reservoir of ideas waiting to be reimagined and reinterpreted.

LATTICE WORK FAÇADES TRACE THEIR ROOTS BACK TO THE MASHARABIYAS OF THE ABBASID PERIOD IN 12TH CENTURY BAGHDAD. THEY DID NOT ARRIVE IN SAUDI UNTIL THE 18TH CENTURY WITH THE RAWASHEEN BAY WINDOWS OF TRADITIONAL HIJAZI ARCHITECTURE. THEN, IN 1920S AND 30S IRAQ, THEIR DESIGNS EVOLVED TO TAKE INFLUENCE FROM THE ART NOUVEAU AND ART DECO MOVEMENT, WITH PATTERNS THAT FOUND THEIR WAY TO EUROPE AND THE US, PREDOMINANTLY IN MID-CENTURY BREEZE BLOCKS. WOULD YOU NOT SAY THAT THE FOUR CUT PATTERNS YOU USE IN THE DESIGN SPACE ARE CLOSER TO MODERN MID-CENTURY BREEZE BLOCKS THAN TRADITIONAL HEJAZI PATTERNS, AND IF SO, WHY IS THAT?
This discussion is interesting and necessary. Referring to Louis Sullivan’s iconic quote “form follows function,” we approach the concept of masharabiyas not merely as ornamental elements – as is too often the case nowadays – but as functional features which serve the purpose of privacy, shade, and ventilation. For this project we embraced the essence of masharabiyas, focusing primarily on their shading and filtering functions while incorporating a modern twist with the use of breeze brick patterns, which are a very common feature, from traditional Saudi architecture to Italian farms. On the other hand, AlJadidah has organically integrated these design elements as a ‘fil rouge’ for evolving and diversifying the architectural landscape. Embracing the notion of dematerialising the traditional wall, we envisioned the space as a dynamic and open-minded creative hub. Of course, echoes of various surrounding architectural typologies inspired us to evolve the idea further so by enveloping the entire building in a membrane-like skin, reminiscent of nature’s filtering processes, we facilitated a symbiotic relationship between the existing urban fabric and the Design Space. This urban osmosis serves as the functional core and catalyst for content and creative interaction, enriching the space with vitality and purpose.

AND DID YOU OPT FOR CORTEN STEEL TO CAPTURE THE COLOUR OF THE SURROUNDING ALFATH MOUNTAINS?
The decision to use Corten Steel was strongly suggested by RCU’s design team, and we concurred with the suggestion. In AlUla, where vibrant colours and rich textures are deeply ingrained in the fabric of its historical narrative, we saw an opportunity to evoke the essence of the region’s “journey through time.” The allure of Corten Steel lies in its ability to evolve and age gracefully over time, mirroring the passage of history itself. Rather than treating it as mere decoration, we embraced it as a means to sculpt the volume of our design.

WOULD YOU AGREE THAT THIS IS A VERY DIFFERENT PROJECT TO MARAYA BECAUSE ONE REFLECTS THE BEAUTY OF THE SURROUNDING NATURE VIA A MIRRORED CLADDING, THE OTHER AIMS TO ADD SOME HISTORIC CONTEXT TO THE AREA THROUGH ITS REFERENCES TO HIJAZI ARCHITECTURE?
Indeed, while the two buildings may serve distinct contexts and purposes, they share a common thread of reflection and interaction with their surroundings, albeit in metaphorical rather than literal terms – both structures contribute to their environments, not merely as physical stages in theatrical terms, but rather as storytellers which foster creativity, and cultivate connections within communities – ultimately becoming destinations.

WHAT WERE THE BIGGEST CHALLENGES YOU NEEDED TO OVERCOME WITH DESIGN SPACE ALULA?
I would say time constraints and material availability, but these are common challenges in any project – they’re always a drama! So, the more pertinent challenge for us was to always “do the right thing” – how to respect the past and its traditions while building something “new” in a harmonious way. In places like AlUla, preservation and authenticity are paramount. Authenticity, in its essence, denotes acting with one’s own authority – becoming the author of one’s narrative. For us, this didn’t mean emulating the local architectural heritage, but rather to embody its spirit to craft a contemporary response that’s credible and respectful. In other words, our aim was not to replicate the past but to contribute to the ongoing narrative. Time will tell whether we did the right thing.

WHAT ASPECT OF THIS PROJECT ELICITS THE MOST PRIDE FOR YOU?
For me personally there’s one corner that holds a very special place in my heart – the one where the cantilevered roof dramatically converges towards AlJadidah. This gesture symbolises a sort of self-aware interaction, as though the building is shaking hands with its surroundings.

BEAUTIFULLY PUT. ONE FINAL QUESTION: YOU SEEM TO HAVE A GROWING NUMBER OF SAUDI PROJECTS. CLEARLY, IT’S A GREAT MARKET WITH BOTH AMBITION AND RESOURCES, BUT SPECIFICALLY WHAT IS IT ABOUT THE KINGDOM THAT PIQUES YOUR INTEREST?
Yes, indeed, we have multiple projects underway. In AlUla specifically, we’re proud to be working on two upcoming hotels: the Chedi in Hegra and the Marriott Autograph, alongside numerous projects in other locations. Saudi Arabia’s initiatives are captivating on many levels, and we are thrilled to play a role in realising them. Our expertise lies in the realm of destination design, where we seamlessly integrate art and architecture across various sectors, including hotels, museums, public spaces, events and much more. Our office is populated by young and talented designers, artists, and architects, so we feel we connect with Saudi and we’re ready to enjoy the adventure and challenge.

PHOTOGRAPHY: SHOAYB KHATTAB