Al-Qatt Al-Asiri: Inside the Homes of Saudi Arabia’s ‘Hanging Villages’
CategoriesArchitecture

Al-Qatt Al-Asiri: Inside the Homes of Saudi Arabia’s ‘Hanging Villages’

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If you walk in the heart of ‘Asir province in southwestern Saudi Arabia, you’ll soon notice how unique this remote region is. Once part of the ancient South Arabian civilization, the Asir province played a key role in historical incense trade routes due to its fertile lands and rich terrain. Its strategic location made it a vital commerce and cultural exchange hub between Yemen, the Arabian Peninsula and beyond.

Until the late 20th century, ‘Asir was home to autonomous tribes residing in “hanging villages” that dotted the cliffsides of the rugged highlands. Some settlements were only accessible by precarious rope ladders. For years, the challenging terrain, geographic isolation and scarce resources fostered a distinctive, self-reliant culture among these communities that was largely unknown to the outside world.
In recent years, with a huge push from the Saudi Arabian government to increase tourism, interest in the area’s culture and heritage has grown, most notably in the astonishing architecture of the ‘Asir region.

Panorama of beautiful historical houses in Rijal Almaa heritage village in Saudi Arabia. Photograph by Juan Alberto Ruiz

Tulul are traditional mud-brick homes that stand out for their practicality and ingenious integration into the mountainous landscape. Constructed using locally sourced materials, these homes feature thick earthen walls of clay, straw and water, offering natural insulation against the region’s extreme temperature fluctuations. Typically, tulul homes have flat roofs and are spread across multiple floors to maximize vertical space.

The exterior of tulul buildings are usually a natural color from the earth that allows them to blend into the surrounding cliffside. However, in some regions, they are painted with white lime wash, creating a beautiful contrast against the green, mountainous backdrop. Rendering the facades in this way acts as a practical solution to reduce heat gain in an area with fluctuating temperature extremes. Windows in a tulul are small and strategically placed to minimize heat intake and simultaneously maximize ventilation.

Heritage village of Rijal Almaa in Southern Saudi Arabia. Photograph by hari.ksa

While the façades of these buildings are undoubtedly impressive it is the inside of the tulul that has become a source of fascination for the outside world. As the men built the clusters of skyscraper-like homes that dot the cliffs, the ingenuity of women enlivened the interior. On the stairways and entrances, or the majlis (a welcoming space), tulul are painted with colorful, geometric designs known as Al-Qatt Al-Asiri.

Al-Qatt (from the Arabic word for “to write” and pronounced “gath”) Al-Asiri is a creative process characterized by bold, rich, statement murals that are designed as abstract, freehand geometric symbols and patterns. The technique is passed down from one generation of women to the next and involves creating intricate shapes like triangles, squares, diamonds and dots using black crosslines set against pure white gypsum walls. It is a process that is spontaneous and unplanned. The shapes — reminiscent of designs that can be found across Indian, North African and Latin American cultures — are then colored in. The women of Asir turned natural materials — carbon from candles for black, iron-rich Al Meshgah stones for red and limestone for white — into a palette of pigments that were bound with adhesives from local trees to create rich, vibrant hues.

Abha, Saudi Arabia – 07 Mar 2020: The museum in Abha, Saudi Arabia. Photograph by Sergey.

The shapes and patterns of the Al-Qatt Al-Asiri murals are not random. At its core, Al-Qatt Al-Asiri is a visual language that the women of ‘Asir use to document their values, beliefs and connection to nature. Each of the symbols is a message about community, spirituality and the natural world. Often, they symbolize people, religion and elements of the environment, such as trees, feathers, corn and mountains. Each part, or layer, represents something specific. For instance, the repeated use of triangles in Al-Qatt Al-Asiri artwork symbolizes the family unit, and concentric squares symbolize the completion of the Quran.

Decorative geometric repeating pattern inspired by Al-Qatt Al-Asiri traditional paintings. Image by Richard Laschon

The motifs have names inspired by the landscape and life of ‘Asir: Balsana is a mesh-like design with dots in the center that signifies wheat bran, a staple crop in the region, while Al Mahareeb (plural of Mehrab) is the half-circle used to denote the direction of Mecca. Alkaf are horizontal lines painted at the bottom of a wall, and women use their fingers to measure the width of the design. Al Batra — with its wide vertical stripes and white spaces — are meant to break the repetitive designs and draw the viewers’ attention to a specific section of the mural. The patterns are intricate, beautiful and enchanting.

Most of all, Al-Qatt Al-Asiri has a crucial role in fostering a sense of community and collective identity among the women of ‘Asir. The practice of this art form is inherently communal, often involving groups of women coming together to paint, share stories and pass on techniques to younger generations. This helps to strengthen social bonds and reinforces a secure cultural identity while providing space for women to express themselves creatively and contribute to the preservation of their cultural heritage.

Rijal Almaa world heritage site in Asir region, Saudi Arabia. Photograph by hyserb.

In a region historically isolated and challenged by its rugged terrain, Al-Qatt Al-Asiri flourished under female creativity. Today, it is becoming more widely adopted by artists from the region who want to protect its existence. Through their art form, women have been able to carve out a space for themselves as artists and guardians of their culture, gaining respect and recognition within their communities and now internationally.

In 2017, Al-Qatt Al-Asiri garnered global attention when the art form was added to UNESCO’s Intangible Cultural Heritage list. This milestone underscores its profound cultural significance and honors its custodians, the women of ‘Asir.

Al-Qatt Al-Asiri designs can be seen all over the ‘Asir region in architecture, pottery, fireplaces, carvings and fabrics. However, Rijal Almaa, a Museum and Al Khalaf Archaeological Village, shows the greatest examples of this beautiful art form. Featuring over sixty tulul buildings, the well-preserved site gives an unparalleled glimpse into the local heritage with its extensive display of Al-Qatt Al-Asiri.

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This week photos revealed The Line megacity progressing in Saudi Arabia
CategoriesArchitecture

This week photos revealed The Line megacity progressing in Saudi Arabia

Aerial view of Neom construction

This week on Dezeen, aerial images showed construction progressing on projects involved in the Saudi mega-development Neom, including The Line megacity, Oxagon port and Sindalah island resort.

In a bid to prove the controversial project was moving forward, The Line’s chief operating officer Giles Pendleton shared the images in a LinkedIn post titled “Neom is real”.

Xaynor members' club on the Gulf of Aqaba at Neom by Sordo Madaleno Arquitectos.Xaynor members' club on the Gulf of Aqaba at Neom by Sordo Madaleno Arquitectos.
Sordo Madaleno Arquitectos revealed designs for Neom’s Xaynor members’ club

The aerial shots revealed excavations for The Line, which will comprise two 170-kilometre-long skyscrapers set 200 metres apart, as well as preparation works on the Oxagon development and hotels being constructed at Sindalah.

In other Neom news, the development also revealed the designs for its beach-side members’ club Xaynor, courtesy of Mexican studio Sordo Madaleno Arquitectos.

The Museum of Masonite by Folkform at Stockholm Furniture FairThe Museum of Masonite by Folkform at Stockholm Furniture Fair
Folkform exhibited Masonite furniture at this year’s Stockholm Design Week

We reported live from Sweden this week to share exclusive previews of products, installations and events taking place at Stockholm Design Week.

The first day of our Dezeen Live blog from the event included new lighting and furniture collections from Färg & Blanche, day two saw a spotting of actor Will Ferrell and our day three coverage included an installation of Masonite hardboard furniture by design studio Folkform.

Medals for Paris 2024 Olympic and Paralympic Games by ChaumetMedals for Paris 2024 Olympic and Paralympic Games by Chaumet
The Paris 2024 Olympic and Paralympic medals were unveiled this week

Also this week, French jeweller Chaumet unveiled the Paris 2024 Olympic and Paralympic medals, which feature rear faces embedded with a piece of the Eiffel Tower.

The fragments were removed from the iconic monument during various renovation works during the 20th century and preserved. For the medals, the hexagonal pieces have been stamped with the emblem of the Paris 2024 games.

Allegiant stadiumAllegiant stadium
The Las Vegas Raiders’ Allegiant Stadium will host this year’s NFL Super Bowl

In other sporting news, the NFL Super Bowl will take place this weekend at the 62,000-seat Las Vegas Raiders’ Allegiant Stadium in Nevada, which opened in 2020.

Designed by Manica Architecture, the stadium’s cylindrical shape and black metal exterior were informed by the sleekness and power of sports cars.

Polestar 4 car from abovePolestar 4 car from above
Polestar 4 is the first mass-market car to have no rear window

After launching in China last year, the five-door electric SUV coupé Polestar 4 has now gone on sale in Europe and Australia, making it the world’s first mass-market car without a rear window.

Created by Swedish automaker Polestar, the car has a roof-mounted rear camera that gives a more reliable picture than rear-view mirrors in standard coupés.

The top of Legends TowerThe top of Legends Tower
Ryan Scavnicky believes making the Oklahoma City skyscraper the tallest in the US sends the wrong message

Following the news that Californian architecture studio AO and developer Matteson Capital plan to build the US’s tallest building in Oklahoma City, architecture critic Ryan Scavnicky argued that the project sends the wrong message.

“Legends Tower is a very 20th-century way to say that you are squarely entering the 21st century of cultural and economic change,” he wrote in an opinion piece for Dezeen.

Stradella Ridge by SAOTAStradella Ridge by SAOTA
An angular home in Los Angeles was among the most-read stories this week

Popular projects this week included a Los Angeles house clad in white aluminium screens, a home in Japan with a blackened wood and corten steel exterior and a minimalist Tokyo apartment with interiors lined in local wood.

Our latest lookbooks featured brightly coloured home renovations and playful houses with indoor slides.

This week on Dezeen

This week on Dezeen is our regular roundup of the week’s top news stories. Subscribe to our newsletters to be sure you don’t miss anything.

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saudi arabia pavilion at the 2023 venice architecture biennale
CategoriesArchitecture

saudi arabia pavilion at the 2023 venice architecture biennale

a walk through ‘IRTH إرث’  at the 2023 saudi arabia pavilion 

 

2023 Venice Architecture Biennale: For its third participation at the international fairthe National Pavilion of Saudi Arabia presents ‘IRTH إرث’ (meaning ‘legacy’ in Arabic), a spellbinding and multi-layered sensory exhibition under the curation of Basma and Noura Bouzo. Designed by architect AlBara Saimaldahar, the show examines the symbiotic relationship between material and immaterial properties and links past to future using one of the most historically significant and primary materials used in Saudi architecture: earth. 

dramatic wood and clay sculptures engulf the saudi pavilion at venice architecture biennale
all images © Venice Documentation Project, courtesy Ministry of Culture (unless stated otherwise)

 

 

exploring material vs. immaterial, and linking past to future 

 

Materials used to shape built environments can be thought of as quiet storytellers. Their unique properties, both tangible and intangible, tell us plenty about the inhabitants of a country or region. They are, in other words, embedded with narratives and hold valuable lessons that bridge traditional knowledge with new practices, creating a constantly evolving line of continuity. At this year’s Venice Biennale, ‘IRTH إرث’ physically explores this line linking past and future by celebrating Saudi Arabia’s most characteristic building material. Used as both a structural and cladding element, earth is spotlighted here through its textures and colors — spanning the entire spectrum of the country’s natural tones, from its desert dunes to the red sea coast.

dramatic wood and clay sculptures engulf the saudi pavilion at venice architecture biennale
six arches clad internally with wood panels and externally with 3D-printed clay tiles

 

 

a multi-layered, sensorial journey into Saudi Architecture 

 

Illustrating this concept, the 2023 Saudi Arabia Pavilion design takes on a multi-layered approach, allowing visitors to experience the exhibition from different perspectives. The first layer is the structure itself, divided into several sections and reflecting on the method and use of vernacular components jointly with innovative technologies. The second layer, defined as the exhibition content, provides an overview of earth’s present and future in Saudi architecture.

 

The distinctive layout envisioned by AlBara Saimaldahar (see more here) combines nostalgia, legacy, and ongoing adaptation. It looks to the future through the lens of the past; it enhances the intrinsic essence of Saudi craftsmanship through elaborate artifacts, takes traditional patterns and motifs from Al-Balad, the Historical Jeddah, and transforms them into fluid forms. The evolution of the very concept of legacy is challenged in a crescendo that reaches its climax at the end. At the heart of the project is an experiential component: a simple, immersive room that stimulates the visitors’ senses, triggering individual reactions in an independent and uninfluenced manner.

dramatic wood and clay sculptures engulf the saudi pavilion at venice architecture biennale
celebrating the primary material in Saudi architecture: earth

 

 

The destination itself is not the end but rather a call for reflection and eventual examination of how one’s senses not only take but generates imprints within space and time. It is here that architecture brings to the surface the value of the unseen, allowing its occupants to build their own cognitive reconnaissance and placemaking,’ comments Saimaldhar.

 

The journey through the Pavilion’s three main structures begins by passing beneath six arches as authentic gateways. With their imposing eight-sided metal structures clad internally with wooden panels and externally with 3D-printed clay tiles – featuring an undulating pattern reminiscent of desert dunes – the portals convey both grandeur and lightness. On the one hand, they evoke monumental works of architecture carved in stone and in caves — mighty, seemingly indestructible, and enduring across time — and, on the other hand, the transience of materials, unstable like the sand of the Rub’ al-Khali desert or the Empty Quarter, as the outer covering gradually fades until it disappears.

dramatic wood and clay sculptures engulf the saudi pavilion at venice architecture biennale
the exhibition provides an overview of the material’s present and future

 

 

Meanwhile, an olfactory experimentation emerges in the middle of the Pavilion. A large and empty rectangular room is imbued with a fragrance created especially for the exhibition: notes of lavender, frankincense, and myrrh rise in the air, resonating with Arab culture in its most homely form. An immersive sensory hub, this dematerialized environment offers a glimpse of the future through the lens of tradition — an existential experience allowing visitors to experience something exceptional, sensing a ‘moment’ in time and triggering a memory of the Pavilion that will be different for each person.

 

The only material element inside the hall is a 3D-printed clay column illuminated by interior lights that project mystical patterns onto the Pavilion’s floor, walls, and ceiling. When the Biennale concludes, the sculpture will be transported to the bottom of the Red Sea, acting as an artificial stone to stimulate the growth of a marine ecosystem.

 

Underwater structures play a key role in the formation of habitats. Gradually, as more columns are printed, this ‘first stone’ will be joined by new elements: a gradual and continuous pattern of growth that will transform a single object artificially placed in a natural setting into an expanse of vertical lines, a labyrinth from which corals and other life forms will come forth. The contrast between the pure geometric form of the columns and the irregular expansion of life within them will visualize the relationship between nature and artifice: a human artifact is reclaimed and incorporated by nature in a dynamic balance that is both fragile and enduring,’ writes the curatorial team.

dramatic wood and clay sculptures engulf the saudi pavilion at venice architecture biennale
rows of clay tiles | image © designboom

 

 

The layout concludes by passing through two more portals: here, the visitor is invited to get involved in their transformation, adding new tiles (from the legacy of earth/clay tiles) to an octahedral structure through an interplay of progressive change, day after day.

 

According to Basma and Noura Bouzo, the experiments and explorations on display at the Saudi Arabia Pavilion combine the interdisciplinary perspectives of architects and designers, inviting the public to take part in a journey that will help define a legacy for future generations. ‘The pavilion brings to the forefront the notion of collaborative practice as a foundation of the laboratory of the future. It invites visitors to breach their role as spectators and actively engage in the process. The experience itself mirrors the future of architecture and materiality as a work in progress, determined not only by the practitioners but by its occupants.’

 



Reference