Among these, the Japanese design approach has become an increasingly prominent framework. Characterised by clarity of intent, formal simplicity and sophisticated restraint, the philosophy values coherence, efficiency and contextual sensitivity over expressive excess. These principles are evident in some of Saudi Arabia’s most ambitious projects, where clear vision, rigorous execution and resilience to environmental and urban conditions are shaping more sustainable and enduring models of vertical urbanity and iconic development.

Importantly, the intent and simplicity emphasised by the Japanese approach is finding favour with key developers active in Saudi Arabia, who apply it to ensure that every detail has a purpose and every element belongs to its context. This philosophy embeds traditional aesthetics such as minimalism and harmony with nature – and in a region undergoing rapid urban growth, this disciplined methodology delivers architecture that performs technically and respects the country’s cultural identity.

Projects such as Tadawul Tower in Riyadh, designed by Nikken Sekkei and developed and managed by Tadawul Real Estate Company, showcase Japanese principles translated into practice. Responding to the stringent urban design guidelines of the King Abdullah Financial District (KAFD), Tadawul Tower establishes a distinct architectural identity through its faceted, crystalline geometry, which not only complies with prescribed parameters but also operates as an environmental mediator. The crystal-shaped form carefully calibrates solar exposure in response to local climatic conditions, demonstrating how formal articulation can be directly linked to performance.

These guidelines, known as the ‘facetted form’, abstract Riyadh’s natural wadis and fuse them with Islamic geometric principles. The design team behind Tadawul Tower reinterpreted this concept through the lens of Japanese culture as ‘origami’, creating a crystalline exterior form that appears as if a single sheet of glass were folded, with interior spaces organised as a corresponding polyhedral composition. Complementing this approach, horizontal louvres and high-performance glazing mitigate heat gain, while a strategically positioned internal void introduces natural daylight and fosters a sense of spatial calm. These elements are integral to the building’s environmental strategy, enhancing energy efficiency and occupant comfort rather than functioning as applied ornamentation. In contrast to many surrounding developments, the project embodies sophisticated restraint, relying on precisely angled surfaces to achieve an understated yet highly integrated presence within its urban context.

It should be noted that Middle Eastern applications of the Japanese principles of clarity, simplicity and harmony with nature are not new. Another Nikken Sekkei project, the Islamic Development Bank Headquarters Building was completed in 1993 and reflected a thorough understanding of the local climate, culture and religion, as well as spatial concepts and customs unique to Islamic architecture. 

Looking to the future, it is certain that one fundamental will remain: regardless of the overarching architectural approach, the region’s successful buildings will be contextually responsive – only then can they balance environmental performance, human experience and enduring urban value.

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From the Gulf region Saudi Arabia and the United Arab Emirates have confirmed exhibitions at their pavilions. For the former, Saudi Palestinian artist Dana Awartani, known for her multidisciplinary works that reimagine Middle Eastern historical forms and traditions, will represent the Kingdom in a show curated by Antonia Carver, director of Art Jameel, alongside Saudi Iraqi curator Hafsa Alkhudairi. Awartani will present a monumental site-specific exhibition at the Kingdom’s permanent pavilion at the Arsenal exploring how conflict risks cultural erasure and identity. “My practice is rooted in foregrounding Middle Eastern cultural histories through the revival of craft practices and the preservation of the region’s globally important material heritage,” Awartani explained in the pavilion’s announcement. Her recent work, like the installation Come, let me heal your wounds. Let me mend your broken bones, staged during the last biennale in 2024, reflects on the loss of historical buildings and centuries of heritage due to conflict in the Middle East. Awartani believes that when edifices are destructed not only is the structure abolished, but also a means inhabitants have of identifying themselves with their homeland and their identity. This is cultural erasure and it is often, she believes, overlooked globally. 

The National Pavilion of the UAE has appointed Bana Kattan, Associate Head of Exhibitions at the Guggenheim Abu Dhabi, as the curator of the pavilion. While the exhibiting artist or artists for the UAE pavilion have yet to be announced, the pavilion, commissioned by the Salama bint Hamdan Al Nahyan Foundation, will highlight the cultural and historical evolution of the UAE’s contemporary art scene. “Having worked extensively in the region and alongside a wide range of multigenerational and transdisciplinary artists from the Arab world, I look forward to contributing my experience to a project that reflects the UAE’s vibrant artistic landscape while engaging with broader histories, complexities, and conversations,” said Kattan in the pavilion’s opening statement. Kattan, who was born in Abu Dhabi and raised in the United Arab Emirates, is strongly connected to the UAE’s cultural landscape and has used her work to engage the sociopolitical and historical themes of the region while jointly fostering the voices of emerging and established artists from the Gulf and wider Middle East across generations. 

Qatar and Kuwait, which have participated in previous editions, have not yet confirmed their attendance. During a challenging time for the region, these artistic presentations aim to offer an understanding of the Gulf’s unique histories, cultures and identities within the context of the greater Middle East region.

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SAY Studio states that four forces guided the design – organic, directed, experiential and centred – resulting in spaces shaped not only to function, but to be felt, with an emphasis on wellbeing. The building feels alive and responsive to people, making use of greenery in unexpected places, tactile and calming materials, light to energise shared tables and quiet corners, and glass walls to offer transparency without sacrificing focus.

Focused workstations sit alongside collaborative hubs, enabling a variety of working arrangements, while quiet zones support deep concentration and common spaces invite collective ideation. Conference rooms, anchored around organic focal points, encourage discussion and connection. The informal work settings of the fourth floor, known as ‘Your Work, Your Way’, encourage spontaneous dialogue. The eighth floor – the ‘Greenhouse’ – is a catalyst equipped with advanced technology, designed to adapt effortlessly from hands-on workshops to large-scale gatherings.

Laila Al-Yousuf, Design Director at SAY Studio, says, “This building is a manifestation of Deloitte’s values, reflecting sustainability, forward-thinking design and a deep understanding that work environments should inspire, nurture and endure.” This space acknowledges time while creating an environment where people can pause, connect and build lasting work.

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Desert X AlUla, which runs until February 28, 2026, is a cornerstone of the annual AlUla Arts Festival, this year marking its fifth edition and which transforms the ancient oasis city of AlUla into an immersive platform for art and culture. 

Curated this year by Wejdan Reda, Zoé Whitley, with artistic direction by Neville Wakefield and Raneem Farsi, Desert X AlUla presents commissioned monumental works by participating artists Sara Abdu, Mohammad Alfaraj, Mohammed AlSaleem, Tarek Atoui, Bahraini Danish, Maria Magdalena Campos-Pons, Agnes Denes, Ibrahim El-Salahi, Basmah Felemban, Vibha Galhotra, and Héctor Zamora.

Ibrahim El-Salahi, Haraza Tree, Desert X AlUla, 2026

“Desert X AlUla is such an expansive context for artists’ ideas to be realised, true to poet Khalil Gibran’s observation that dreams are ‘time limitless’ and provide ‘space without measure’,” said Whitley. “A stone’s throw from a UNESCO World Heritage site, vast history meets the contemporary moment. It’s been a remarkable collaborative process to see how the artworks were each conceived, inspired by and in harmony with the surrounding landscape.”

From monumental kinetic sculpture to sound-based creations located above and below the desert landscape, each commission is rooted in a mission to dialogue visually and thematically with AlUla’s distinctive natural environment. Highlights include Saudi artist Mohammad Alfaraj’s What was the Question Again? highlighting a palm tree made of numerous grafted trunks reflecting ideas of renewal, harmony with nature and the intricate relationships between people and their environment. There’s also the evocative installation Imole Red by Cuban-born, US-based multidisciplinary artist Maria Magdalena Campos-Pons which channels the land, spiritual heritage and light. Inspired by AlUla’s sunsets and West African Yoruba traditions, the work incorporates coluor and energy, transforming such elements into a flowing, alchemical garden that cherishes the valley’s past and its connection to water. Leading Sudanese modernist artist Ibrahim El-Salahi presents the installation Haraza Tree, inspired by the resilient acacias that grow throughout AlUla’s canyons. The work features a forest of sculptural meditation trees that reflect ideas of unity derived from multiplicity. Meanwhile, Saudi artist Basmah Felemban’s Murmur of Pebbles brings into focus and magnifies the smallest geological elements of the surrounding landscape and transforms them into monumental limestone sculptures, reflecting the ancient rivers that once shaped AlUla’s desert. The pebbles, now in their grandeur, highlight ideas of memory and resilience encapsulated within each stone. 

Sara Abdu, A Kingdom Where No One Dies:
Contours of Resonance, Desert X AlUla, 2026

The works presented communicate with AlUla’s landscape and explore Gibran’s meditations on the realm of possibility and the enduring strength of the human spirit.

Feature Image: Mohammed AlFaraj, What Was the Question Again?, Desert X AlUla, 2026

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From arrival, the experience is guided by architecture. Conceived by Foster + Partners, the resort is defined by curving facades, sunlit volumes and structures that trace the natural rhythm of the island’s coastline. Buildings appear to rise organically from the terrain, their scale softened through repetition, curvature and a deliberate relationship to the sea.

A palette of natural materials – stone, timber and woven texture – grounds the architecture, creating spaces that feel contemporary yet deeply rooted in place. Interiors by Kristina Zanic Consultants extend this sensibility indoors, where muted tones, soft lighting and curated artworks by Saudi creatives establish a calm, reflective atmosphere across guest rooms and public spaces alike. Together, architecture and interiors form a narrative that encourages exploration through stillness rather than spectacle. Sustainability informed the project at every level, from orientation and massing to material selection. Buildings are positioned to maximise natural daylight, reduce energy demand and respond sensitively to the island’s climate and topography. This integrated approach culminated in LEED BD+C Platinum certification, reinforcing the resort’s commitment to environmental responsibility as a design principle rather than a visible statement.

Accommodation is conceived as an extension of the surrounding landscape. Guest rooms and suites are defined by generous proportions, floor-to-ceiling windows and gently curved walls that frame uninterrupted views of the Red Sea. Layered textures and tactile finishes add warmth and depth, while a restrained interior language maintains continuity throughout the resort. Club InterContinental offers a quieter, more private expression of this design approach, with spaces that emphasise discretion, comfort and spatial calm.

Beyond the rooms, the architectural narrative continues through a series of experiences shaped by movement and flow. SPA InterContinental is conceived as a retreat within the retreat, where spatial sequencing, filtered light and material restraint foster a sense of sensory balance. Across the island, cycling paths, gardens and waterfront routes are choreographed to encourage slow discovery, allowing guests to engage with both the built environment and the preserved natural landscape.

Design extends seamlessly into family-oriented spaces. Planet Trekkers introduces younger guests to marine-inspired interiors that balance colour, light and playful form, while outdoor environments are carefully calibrated to feel both engaging and secure. These areas are integrated into the wider masterplan, ensuring that family experiences sit harmoniously alongside the resort’s overall sense of calm.

Dining venues further reflect the resort’s design philosophy. Each space is defined by a distinct material and spatial identity, from Moroccan and Levantine influences to interiors inspired by mangrove ecosystems and Mediterranean coastal ease. Rather than standing apart, the restaurants form part of the architectural rhythm of the resort, reinforcing the idea that every experience is shaped by design.

Through its architecture, interiors and sensitive integration with nature, InterContinental The Red Sea Resort presents Shura Island as more than a destination. It is a carefully layered environment where light, landscape and built form converge, offering a composed and immersive encounter with the Red Sea – one defined by restraint, clarity and a deep respect for place.

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Bordered by Saudi Arabia and the United Arab Emirates, Oman stands resolute in its commitment to preserving its national history. Whether it is the strict building codes that ensure traditional aesthetics are maintained, or the more than 500 forts and watchtowers that are diligently protected, the country offers a trip back in time, complete with contemporary comforts. Blending timeless elegance with raw natural beauty, Oman Odyssey captures the essence of a nation where living traditions meet modern grace, sharing a rare glimpse into one of the most extraordinary corners of the world. www.assouline.com

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When Technogym opened its new space in Riyadh, the event went beyond the inauguration of a location and became a statement on how wellness spaces could be designed, experienced, and lived. Situated in the Saudi capital and housing both the Technogym Saudi Arabia headquarters and the Technogym Boutique, the new venue was conceived as a carefully curated environment where architecture, interior design, and performance-oriented technology were seamlessly integrated. Rather than functioning as a conventional showroom, the space invited visitors to move through a sequence of settings that expressed Technogym’s approach to wellness through materials, proportions, and spatial flow.

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The festival will open with the fourth edition of Desert X AlUla, presenting ten newly commissioned, site-specific installations embedded across the desert. Inspired by the poetry of Khalil Gibran and guided by Artistic Directors Neville Wakefield and Raneem Farsi, the artworks will unfold like points on an imagined map, inviting visitors into utopian visions, immersive soundscapes and altered perceptions of space. Each installation will respond directly to AlUla’s terrain, merging contemporary expression with the natural environment and redefining the possibilities of land art.

A central highlight of the programme will be Arduna, a landmark exhibition presented as part of the pre-opening programme for AlUla’s forthcoming contemporary art museum. Co-curated with Centre Pompidou and AFALULA, the exhibition will bring together more than eighty works by Saudi, regional and international artists, including iconic pieces by Kandinsky and Picasso. Focusing on the evolving relationship between humans and the land, Arduna will offer an early glimpse into the museum’s vision, connecting contemporary creativity with AlUla’s cultural and ecological heritage.

Across AlJadidah Arts District, the festival’s energy will extend into public spaces along Incense Road and around Gathering Square, where newly commissioned artworks will turn the district into an open-air gallery. ATHR Gallery will present works by Saudi contemporary artist Sara Abdu, while Madrasat Addeera will host immersive programmes that reimagine traditional crafts through contemporary design practices. Cinema AlJadidah will complement the visual arts with curated screenings of art-focused documentaries, short films and features.

Design will take centre stage at Design Space AlUla, where the AlUla Design Exhibition will showcase innovative works emerging from the Artists Residency Programme and the AlUla Design Award 2025. These projects will reflect a dialogue between heritage, craftsmanship and modern design, highlighting AlUla’s growing role as a hub for creative experimentation. The AlUla Design Stores will further present the outcomes of these initiatives, including collaborations between designers and local artisans.

Elsewhere, Villa Hegra – the first Saudi–French cultural foundation in the region – will host ‘Not Deserted: AlUla’s Archives in Movement’, bringing together early 20th-century photographs and cinematic interpretations of desert landscapes. The British Council will present ‘Reflections’, an immersive experience that will transform archival oral histories and music into visual and sound installations, bridging past and present through contemporary interpretation.

Together, these programmes will create a layered journey through contemporary art, design and cultural expression. From visionary land art and world-first exhibitions to experimental design and archival narratives, AlUla Arts Festival 2026 will transform the oasis into a living gallery; one shaped by landscape, imagination and dialogue, reaffirming AlUla’s position as a global destination for contemporary art.

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Humanscale, a global leader in ergonomic and sustainable workplace solutions, is deepening its footprint in Saudi Arabia through a strategic partnership with Al Juraid, a renowned local provider of high-quality workplace solutions. This collaboration is more than a business expansion, it represents a commitment to the Kingdom’s Vision 2030, aligning innovation, human-centred design, and local industry development.

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The palace, known for its thick stone walls, intimate courtyards and traditional southern Arabian craftsmanship, is being transformed into a ‘heritage stay with a soul’, a retreat that immerses guests in the spirit of Saudi history while offering refined contemporary comfort.Designed by Elie Metni Architects, the restoration preserves Qasr Bin Kadsa’s defining architectural elements: a central courtyard, timber structures, ornamented pillars and stone staircases.

“Designing the Qasr Bin Kadsa project was an act of listening – to the stones, the landscape and the spirit of Al-Baha,” said Maarouf Dawalibi, Co-Founder and Partner at BYOOT, the heritage hospitality subsidiary of Panther Holdings that is behind the venture. “We wanted to preserve not only the architecture, but the emotion of the place. By breathing new life into its courtyards, the project bridges the past and the present, allowing visitors to experience the soul of Saudi heritage in a truly immersive way.”

The project emphasises the courtyard as the central gathering space while introducing 12 guest rooms, a hammam and spa, farm-to-table dining, and workshop spaces for local crafts. By preserving these elements, Qasr Bin Kadsa will serve as both a living museum of regional identity and an immersive cultural destination.

Located in Baljurashi province, a region renowned for its forests, waterfalls and ancient mountain villages, Qasr Bin Kadsa reflects the deep connection between people and landscape. The restoration is focused on sustainability through local materials, passive cooling and restored gardens with native vegetation. Qasr Bin Kadsa will serve not only as a destination for cultural tourism but as a living exhibition of Al-Baha’s traditions, from architectural forms to local crafts and social customs. The project embodies the Kingdom’s broader vision for heritage development: showcasing the diversity of Saudi identity while fostering economic and cultural vitality in regional communities.

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