Rethinking the Heritage through a Modern and Contemporary Reinterpretation of Traditional Najd Architecture, Cultural Continuity in Riyadh

Abstract

The expressiveness of architectural language in terms of the formal and aesthetic approach is a feature that should not be secondary in contemporary buildings. The surface, texture, form, representation, and expression should prevail over aesthetic purposes in architecture. This research aims to highlight how the plastic and expressive value of the traditional buildings in the Najd region of Saudi Arabia, rich in cultural heritage and building form, can be translated into contemporary ones, creating the continuity of the local cultural identity in a rapidly growing context. This research used a qualitative methodology based on selecting seven modern and contemporary case studies in Riyadh. The selected case studies were analyzed using four criteria: composition aspects, plastic figuration, expressive value, and context connection. The comparison of the case studies underlined the plasticity and malleability of the wall surfaces, the formal character, and the aesthetic approach, showing continuity with the cultural heritage of the Najd architecture. These examples demonstrate how architecture that is attentive to place and history, incorporating local materials and its cultural heritage, can represent an opportunity to rethink the constructive and aesthetic approach to provide guiding criteria for contemporary architects designing in the rapidly expanding city.

Full text

Citation: Moscatelli, M. Rethinking
the Heritage through a Modern and
Contemporary Reinterpretation of
Traditional Najd Architecture,
Cultural Continuity in Riyadh.
Buildings 2023,13, 1471. https://
doi.org/10.3390/buildings13061471
Academic Editor: Davide
Settembre-Blundo
Received: 9 May 2023
Revised: 2 June 2023
Accepted: 4 June 2023
Published: 6 June 2023
Copyright: © 2023 by the author.
Licensee MDPI, Basel, Switzerland.
This article is an open access article
distributed under the terms and
conditions of the Creative Commons
Attribution (CC BY) license (https://
creativecommons.org/licenses/by/
4.0/).
buildings
Article
Rethinking the Heritage through a Modern and Contemporary
Reinterpretation of Traditional Najd Architecture, Cultural
Continuity in Riyadh
Monica Moscatelli
Architecture Department, College of Architecture and Design, Prince Sultan University,
Riyadh 11586, Saudi Arabia; mmoscatelli@psu.edu.sa
Abstract:
The expressiveness of architectural language in terms of the formal and aesthetic approach
is a feature that should not be secondary in contemporary buildings. The surface, texture, form,
representation, and expression should prevail over aesthetic purposes in architecture. This research
aims to highlight how the plastic and expressive value of the traditional buildings in the Najd region
of Saudi Arabia, rich in cultural heritage and building form, can be translated into contemporary
ones, creating the continuity of the local cultural identity in a rapidly growing context. This research
used a qualitative methodology based on selecting seven modern and contemporary case studies
in Riyadh. The selected case studies were analyzed using four criteria: composition aspects, plastic
figuration, expressive value, and context connection. The comparison of the case studies underlined
the plasticity and malleability of the wall surfaces, the formal character, and the aesthetic approach,
showing continuity with the cultural heritage of the Najd architecture. These examples demonstrate
how architecture that is attentive to place and history, incorporating local materials and its cultural
heritage, can represent an opportunity to rethink the constructive and aesthetic approach to provide
guiding criteria for contemporary architects designing in the rapidly expanding city.
Keywords:
cultural heritage; aesthetic approach; cultural identity; expressiveness; formal aspect;
plastic volume; rough surface
1. Introduction
In recent years, Riyadh, one of the fastest-growing cities in the Middle East, has been
facing many changes in urban planning and the construction sector. Several mega projects
are currently underway that will revolutionize the city, leading to the renewal of different
areas, from historical ones rich in cultural heritage to the transformation of vacant lands,
i.e., sites available for future residential and commercial developments within the city [
1
].
These new projects will profoundly affect the way spaces are experienced and local culture
is perceived through architecture. The adoption of Western models, foreign to the Saudi
cultural reality, has led the construction process of buildings lose its traditional values. The
architectural styles of buildings reflect how people adapt to their local environment and
culture, contributing to the transmission of social norms and order [
2
]. Therefore, there
is a need to preserve and pass on traditional architecture to new architecture to stay in
line with the strategic framework of Saudi Vision 2030. This strategy aims to strengthen
the cultural aspects of the Kingdom through architectural design. The paper aims to
support the vibrant culture of Saudi Arabia by trusting its past and looking to the future by
unleashing new and stimulating expressions of form for new contemporary buildings [
3
].
Unfortunately, while some new policies, guidelines, and research are underway to address
the challenge of conserving cultural heritage, little attention has been paid to its cultural
and economic significance to date. Additionally, this stems from the fact that people
have mainly focused on environmental issues rather than cultural ones, following the
substantial concerns about climate change influencing the built heritage [
4
]. Contemporary
Buildings 2023,13, 1471. https://doi.org/10.3390/buildings13061471 https://www.mdpi.com/journal/buildings

Buildings 2023,13, 1471 2 of 23
architecture has therefore accelerated the traditional loss of identity. One must consider
the elements that characterize the local culture to aim at constructing technologically
sustainable buildings. UNESCO (United Nations Educational, Scientific and Cultural
Organization) is committed to unleashing the power of culture to achieve its 2030 Agenda.
Indeed, it affirms that no development can be considered sustainable without including
the “culture” and the “full integration of culture into sustainable development policies.”
Building design should respect the environment and create an architecture that integrates
local identity with the design process [
5
]. Therefore, the design of new buildings will have
to guarantee the identity and collective memory of the place by communicating with the
surrounding fabric [6].
This paper focuses on the importance of the continuity of traditional values through
the architecture’s formal and plastic character, and the building’s skin is the critical point
in this research. As Bacon said: “
. . .
Architectural form is the point of contact between
mass and space (...) Architectural forms, textures, materials, modulation of light and
shade, color, all combine to inject a quality or spirit that articulates space. The quality
of the architecture will be determined by the skill of the designer in using and relat-
ing these elements, both in the interior spaces and in the spaces around buildings” [
7
]
(pp. 16–18). This research highlights the communication abilities of architecture, focusing
on the architectural form, the composition of masses and volumes, and the “skin” of the
buildings, such as the external surface that covers them and their plastic and expressive
form. The highly expressive surfaces and plastic volumes act as the interface and vehicle
of thought for the interlocutor. The facade is usually conceived as a dividing object that
separates the interior from the exterior space but should be a tool to evoke emotions. The
surfaces steeped in history, local materials, textures, and geometries are architectural works
linked to the past that are well integrated with the surrounding environment, creating
cultural identity. The expressive value of the buildings achieved by the composition and
aggregation of pure and simple volumes gives monumentality to the architectural artifact.
The building is shaped to respond to formal expressiveness and suits the function of the
urban context. A wall does not need excessive decorations, but the ornament becomes
the search for a language to enhance the emotional aspect of the architectural experience
through the construction material. Architecture, therefore, communicates through its forms,
its colors, its materials, and its representativeness, referring to a universe of values related
to its history and its relationships with the context [8].
The paper focuses on the materiality and malleability of the architecture in the Najd
region. Najd is the great central plateau of Saudi Arabia, of which Riyadh is the most
important city and the capital. Native architecture is its expression, built with irregular
materials that mark the facade—wall surfaces made with raw materials and impregnated
with memories from the past and the tradition of the place. The union between the
characteristics of the place and the space is expressed through the sensitivity towards
natural materials with their chromaticity and textures in the raw earth walls. The buildings
seem to emerge from the rocky desert as an integral part of the natural environment. The
shift from visual to tactile allows moving from the wall surface to the deeper layer imbued
with culture, beliefs, and traditions [
9
]. The research aims to focus on architectural design as
an expression of culture, beliefs, religions, and human perspectives that influence the way
of building by relating the project to the surrounding fabric. The expressiveness and plastic
figuration of the architectural space is a precondition to be integrated in the methodological
approach of a project to prevail over the purely aesthetic aspect of architecture. This study
attempts to highlight the importance of incorporating local materials and cultural heritage
elements in contemporary architecture projects to identify strategies and guiding criteria
through a constructive and aesthetic approach for contemporary architectures.
However, as previously mentioned, the rapid expansion of the city of Riyadh has
adopted models from the West unrelated to the Najd architectural style. All this has led the
building construction process to lose traditional values. In response, this study does not
intend to highlight those buildings far from the local cultural tradition but instead attempts

Buildings 2023,13, 1471 3 of 23
to propose a selection of emblematic case studies highlighting the plastic and expressive
form of their architecture, the movement of the masses, and how the chiaroscuro contrasts
lead to a dynamic perception of space.
The following section describes the historical background of Najd architecture. Then,
the paper presents its methodology involving seven case selections with their comparative
analysis through four criteria: composition aspects, plastic figuration, expressive value, and
context connection. The critical selection of the seven architectures focuses on the project
configuration methodology, retracing the configuration process of the design idea, and
was possible by studying the subject’s architectural drawings, images, and publications.
Through textures, technologies, and formal solutions in the building masses and envelope,
the research has deepened the communicativeness of modern and contemporary architec-
ture, focusing attention on some significant works by Frei Otto, Ian Fraser, Rasem Badran,
Gerber Architekten, Schiattarella Associati, and Omrania.
The research analyzes the methodological process that led to incorporating Najd
architectural elements and traditional materials in a reinvented perspective in the selected
modern and contemporary buildings, avoiding a simple imitation. Finally, the paper
concludes with a comparative analysis which leads to defining future directions to bring
architects to rethink the constructive and aesthetic approach in designing and constructing
new architectures without forgetting the culture and historical context of reference.
2. Historical Background
The choice to focus on this context is due to the richness of the cultural heritage, an
expression of the local cultural identity of the Najd plateau in the center of Saudi Arabia. The
Kingdom is 95% covered by a hot and dry desert [
10
], where there is a lot of sand. Desert,
be it dunes or rock, is the most prominent feature of the Arabian Peninsula. An arid and
challenging environment becomes a resource when architecture fits into the landscape with
sensitivity and attention. Native buildings reveal how materials can withstand the harsh
climatic conditions of arid climates and extreme temperatures. The spirit of adaptation
has led the designers to create impressive architectures, starting with on-site materials and
local construction techniques.
2.1. Historical Typology and Compositional Aspects
From the analysis of the buildings of traditional Najd architecture, architectural typolo-
gies emerged that are firmly rooted in the territory. The composition and arrangement of
the masses and the materials used derive from the way of life of the local population, their
culture, their lifestyle, and the arid climate. The main compositional and morphological
aspects of traditional architecture in the Najd region are listed below.
Firstly, the research focused on the urban fabric, identifying an urban fragmentation
with irregular housing typologies separated by narrow streets. This irregularity of the
urban and building fabric is typical of Najd architecture and certainly comes from the
warm climate to create more shading between the buildings. Emblematic is the UNESCO
World Heritage Site of At-Turaif District in ad-Di’riyah, often known as “Historic Diriyah”,
located northwest of Riyadh in Wadi Hanifa Valley. The city of At-Turaif (Figure 1) was the
first capital of the Saudi dynasty founded at the beginning of the eighteenth century. “The
citadel of at-Turaif is representative of a diversified and fortified urban ensemble within an
oasis. It comprises many palaces and is an outstanding example of the Najdi architectural
and decorative style characteristic of the center of the Arabian Peninsula. It bears witness
to a building method that is well adapted to its environment, to the use of adobe in major
palatial complexes, along with a remarkable sense of geometrical decoration” [
11
]. At-Turaif
District features a sizable urban fabric that illustrates Najd architecture’s distinctiveness
and uniqueness of urban design [12].

Buildings 2023,13, 1471 4 of 23
Buildings 2023, 13, x FOR PEER REVIEW 4 of 24
to the use of adobe in major palatial complexes, along with a remarkable sense of
geometrical decoration” [11]. At-Turaif District features a sizable urban fabric that
illustrates Najd architecture’s distinctiveness and uniqueness of urban design [12].
Figure 1. Urban fabric of the historic center of At-Turaif District, Riyadh (Source: Google Earth).
The Historic Diriyah exemplifies how people can adapt to living in a hot and dry
environment within introverted housing typologies. The typical Najd house has a
courtyard typology, with the living spaces built around a central space, be it an atrium, a
patio, or a courtyard [13]. The central area takes on various geometric configurations,
usually in the shape of a square or rectangle. The courtyard has a dual function: it is the
fulcrum of family life in the house and acts as a light well and airshaft to reduce the
temperature during the hot hours of the day and cool the rooms to make spaces more
livable and comfortable. The courtyard, therefore, represents an important typology for
bringing nature into the Najd houses (Figure 2) [14,15].
Within the city’s urban fabric, many houses are aggregated together. Each home has
one or more courtyards to guarantee more privacy and open spaces and takes advantage
of the air flows to offer optimal microclimatic functionality. The house’s walls are, in fact,
of a certain thickness to better isolate the interior spaces. The aggregation of the houses
creates a cluster of buildings divided by narrow spaces for connection and the movement
of people [16].
Figure 1. Urban fabric of the historic center of At-Turaif District, Riyadh (Source: Google Earth).
The Historic Diriyah exemplifies how people can adapt to living in a hot and dry
environment within introverted housing typologies. The typical Najd house has a courtyard
typology, with the living spaces built around a central space, be it an atrium, a patio, or a
courtyard [
13
]. The central area takes on various geometric configurations, usually in the
shape of a square or rectangle. The courtyard has a dual function: it is the fulcrum of family
life in the house and acts as a light well and airshaft to reduce the temperature during the
hot hours of the day and cool the rooms to make spaces more livable and comfortable. The
courtyard, therefore, represents an important typology for bringing nature into the Najd
houses (Figure 2) [14,15].
Buildings 2023, 13, x FOR PEER REVIEW 5 of 24
Figure 2. A typical Najd house: courtyard typology (Source: author).
Subsequently, this research focused on the historic center of Ad Dirah, whose origins
can be traced back to 1737. The neighborhood is today a popular tourist attraction as it
hosts several historical and traditional landmarks of Najd Architecture, such as the
valuable historical typologies of Al Masmak Fortress and the oldest part of the main
traditional market, the Souq Al Zel (Figure 3).
Figure 2. A typical Najd house: courtyard typology (Source: author).
Within the city’s urban fabric, many houses are aggregated together. Each home has
one or more courtyards to guarantee more privacy and open spaces and takes advantage
of the air flows to offer optimal microclimatic functionality. The house’s walls are, in fact,
of a certain thickness to better isolate the interior spaces. The aggregation of the houses
creates a cluster of buildings divided by narrow spaces for connection and the movement
of people [16].

Buildings 2023,13, 1471 5 of 23
Subsequently, this research focused on the historic center of Ad Dirah, whose origins
can be traced back to 1737. The neighborhood is today a popular tourist attraction as it
hosts several historical and traditional landmarks of Najd Architecture, such as the valuable
historical typologies of Al Masmak Fortress and the oldest part of the main traditional
market, the Souq Al Zel (Figure 3).
Buildings 2023, 13, x FOR PEER REVIEW 5 of 24
Figure 2. A typical Najd house: courtyard typology (Source: author).
Subsequently, this research focused on the historic center of Ad Dirah, whose origins
can be traced back to 1737. The neighborhood is today a popular tourist attraction as it
hosts several historical and traditional landmarks of Najd Architecture, such as the
valuable historical typologies of Al Masmak Fortress and the oldest part of the main
traditional market, the Souq Al Zel (Figure 3).
Figure 3.
Historic center of Ad Dirah, Riyadh: Al Masmak Fortress and Souq Al Zel (Source: Google
Earth with Author elaboration).
The Al Masmak Fortress, located in the historic commercial center of Ad Dirah, is
an important symbol of Saudi unification (Figure 4). The palace, now transformed into a
museum, still preserves today the characteristics of Najd architecture, from its architectural
form to the Najd elements that characterize its facades [
17
]. Al Masmak is a significant
example of a defensive structure with a rectangular plan. The spaces are distributed along
the perimeter and around the courtyards (Figure 4a). A porch acts as a transition space
between the rooms and the various open courtyards of different shapes and sizes, which
take up the architectural typology of the courtyard house, an introverted typology due to
its original defensive function (Figure 4b). Here, too, the courtyards help to facilitate the
lighting and ventilation of the spaces along the perimeter. The four defensive towers at the
four corners characterize the facades and thick mud walls, a characteristic material of the
native architecture [18,19].

Buildings 2023,13, 1471 6 of 23
Buildings 2023, 13, x FOR PEER REVIEW 6 of 24
Figure 3. Historic center of Ad Dirah, Riyadh: Al Masmak Fortress and Souq Al Zel (Source: Google
Earth with Author elaboration).
The Al Masmak Fortress, located in the historic commercial center of Ad Dirah, is an
important symbol of Saudi unification (Figure 4). The palace, now transformed into a
museum, still preserves today the characteristics of Najd architecture, from its
architectural form to the Najd elements that characterize its facades [17]. Al Masmak is a
significant example of a defensive structure with a rectangular plan. The spaces are
distributed along the perimeter and around the courtyards (Figure 4a). A porch acts as a
transition space between the rooms and the various open courtyards of different shapes
and sizes, which take up the architectural typology of the courtyard house, an introverted
typology due to its original defensive function (Figure 4b). Here, too, the courtyards help
to facilitate the lighting and ventilation of the spaces along the perimeter. The four
defensive towers at the four corners characterize the facades and thick mud walls, a
characteristic material of the native architecture [18,19].
(a) (b)
Figure 4. Al Masmak Fortress (Source: Drawings of the students of Architectural Design II, A.Y.
2022-2023, supervised by the author): (a) Top view showing the different courtyards inside the
defensive walls; (b) ground floor showing the several spaces around the open courtyards.
Another architectural typology that characterizes the historic center of Ad Dirah is
the traditional Arab market. Souq Al Zel, Riyadh’s old market in the heart of the city,
covers an area of 38,000 square meters. It is one of Riyadh’s oldest traditional markets,
carrying 100 years of history in its narrow streets (Figure 5). Therefore, Souq’s
morphology is an urban element where small space partitions create an economic network
in the city. The labyrinthine streets are usually thin and congested with antique displays,
rare coins, old tools, and interesting objects that seem to come from a museum of ancient
folklore. Souq Al Zel presents a compact fabric comprising a network of primary and
secondary pathways intersecting at right angles. The shops are grouped back-to-back
along a common wall. The ratio between full and empty emphasizes the typology of the
Souq (Figure 5a). Tents as shading devices are a vernacular feature on the roof of the
pedestrian corridors and act as a successful local reference to other adjacent buildings in
the surrounding historic area (Figure 5b) [20]. Three main plazas are covered with shading
devices or open to the sky. The public plazas lead to the primary pedestrian roots, which
branch into the pathways.
Figure 4.
Al Masmak Fortress (Source: Drawings of the students of Architectural Design II, A.Y.
2022-2023, supervised by the author): (
a
) Top view showing the different courtyards inside the
defensive walls; (b) ground floor showing the several spaces around the open courtyards.
Another architectural typology that characterizes the historic center of Ad Dirah is the
traditional Arab market. Souq Al Zel, Riyadh’s old market in the heart of the city, covers
an area of 38,000 square meters. It is one of Riyadh’s oldest traditional markets, carrying
100 years of history in its narrow streets (Figure 5). Therefore, Souq’s morphology is an
urban element where small space partitions create an economic network in the city. The
labyrinthine streets are usually thin and congested with antique displays, rare coins, old
tools, and interesting objects that seem to come from a museum of ancient folklore. Souq Al
Zel presents a compact fabric comprising a network of primary and secondary pathways
intersecting at right angles. The shops are grouped back-to-back along a common wall. The
ratio between full and empty emphasizes the typology of the Souq (Figure 5a). Tents as
shading devices are a vernacular feature on the roof of the pedestrian corridors and act
as a successful local reference to other adjacent buildings in the surrounding historic area
(Figure 5b) [
20
]. Three main plazas are covered with shading devices or open to the sky.
The public plazas lead to the primary pedestrian roots, which branch into the pathways.
Buildings 2023, 13, x FOR PEER REVIEW 7 of 24
(a) (b)
Figure 5. Souq Al Zel (Source: author): (a) Spatial hierarchy distribution of Souq Al Zel; (b) the use
of tents on the roof of the pedestrian corridors.
2.2. The Architectural Elements of the Surfaces in Najd Native Architecture
This literature review analysis highlights some essential architectural elements that
characterize the Najd native architecture. The research identifies those architectural
elements that characterize traditional buildings’ facades and give them expressive value
and plastic representation. The analysis reveals that the native Najd architecture reflects
the climatic conditions, the local availability of raw materials that generate the form and
layout of the building, and sociocultural factors such as religion, customs, and values.
Therefore, the interaction between religious and sociocultural aspects, local know-how,
and the natural environment combine to generate the traditional built environment
[21,22].
Various elements characterize the expressive and plastic value of the surfaces: the
porous texture of the walls obtained from natural materials; the wall effervescence of the
architectural element with an observation function (Tarma); the battlements at the top of
the wall (Shurfat); the small openings in the walls (Furjat), and the engraved doors (Al-Bab).
• The porous texture of the walls obtained from organic materials. Given the scarce
availability of stones and different varieties of trees suitable for construction, the
buildings were built with mud or sun-dried bricks and finished with the application
of mud plaster. The walls were very thick to isolate the interior spaces from extreme
heat and to achieve greater structural integrity [23]. The mud bricks, composed of a
mixture of water, straw, and other fibers, highlight the relationship between
architectural artifice and naturalness. Straw and natural elements do not have an
ornamental function, but they creep into the walls, creating efflorescence and
contributing to the breakdown of the facade. The surface becomes tactile, rough, and
imbued with Saudi culture and traditions. The walls become plastic, composed of the
soil and the silt collected after the rainy seasons of “Wadi Hanifa,” the valley in the
Najd region. Furthermore, chromaticity plays a vital role in architectural
constructions; the color of the earth, of the clayey soil, is the dominant color of the
native architecture in Saudi Arabia. It almost seems that buildings shaped by the
force of nature arise naturally from the ground as an integral part of the environment
(Figure 6a).
• The wall effervescence of the architectural detail with an observation function (Tarma).
A pronounced architectural element called Tarma characterizes the facade of the
buildings, accentuating the porosity of the surfaces. It is usually arranged on the
Figure 5.
Souq Al Zel (Source: author): (
a
) Spatial hierarchy distribution of Souq Al Zel; (
b
) the use
of tents on the roof of the pedestrian corridors.

Buildings 2023,13, 1471 7 of 23
2.2. The Architectural Elements of the Surfaces in Najd Native Architecture
This literature review analysis highlights some essential architectural elements that
characterize the Najd native architecture. The research identifies those architectural el-
ements that characterize traditional buildings’ facades and give them expressive value
and plastic representation. The analysis reveals that the native Najd architecture reflects
the climatic conditions, the local availability of raw materials that generate the form and
layout of the building, and sociocultural factors such as religion, customs, and values.
Therefore, the interaction between religious and sociocultural aspects, local know-how, and
the natural environment combine to generate the traditional built environment [21,22].
Various elements characterize the expressive and plastic value of the surfaces: the
porous texture of the walls obtained from natural materials; the wall effervescence of the
architectural element with an observation function (Tarma); the battlements at the top of the
wall (Shurfat); the small openings in the walls (Furjat), and the engraved doors (Al-Bab).
•
The porous texture of the walls obtained from organic materials. Given the scarce
availability of stones and different varieties of trees suitable for construction, the
buildings were built with mud or sun-dried bricks and finished with the application of
mud plaster. The walls were very thick to isolate the interior spaces from extreme heat
and to achieve greater structural integrity [
23
]. The mud bricks, composed of a mixture
of water, straw, and other fibers, highlight the relationship between architectural
artifice and naturalness. Straw and natural elements do not have an ornamental
function, but they creep into the walls, creating efflorescence and contributing to
the breakdown of the facade. The surface becomes tactile, rough, and imbued with
Saudi culture and traditions. The walls become plastic, composed of the soil and the
silt collected after the rainy seasons of “Wadi Hanifa,” the valley in the Najd region.
Furthermore, chromaticity plays a vital role in architectural constructions; the color of
the earth, of the clayey soil, is the dominant color of the native architecture in Saudi
Arabia. It almost seems that buildings shaped by the force of nature arise naturally
from the ground as an integral part of the environment (Figure 6a).
•
The wall effervescence of the architectural detail with an observation function (Tarma).
A pronounced architectural element called Tarma characterizes the facade of the
buildings, accentuating the porosity of the surfaces. It is usually arranged on the
second floor and above the door. It works as a “peephole” to observe people outside
the door of the building without being seen inside [
24
]. The Tarma of different shapes
and sizes also has symbolic value, as it helps users of the urban space to identify the
building and its entrance through the various forms of the element. It is interesting
to note how the size of the interior spaces and the width of the street the building
faces affect the size and shape of the Tarma. The relationship between symbol and
ornament is inseparable from the local culture (Figure 6b).
•
The battlements at the top of the wall (Shurfat). The hand-molded and layered walls
are tapered upwards and finished in a crenelated shape. These decorative elements in
the form of triangles or arrows, sometimes alternating between full and empty, create a
proportional rhythm by acting as a parapet for the rooftop and, in turn, protecting the
facades from rainwater. It is customary to find a horizontal strip engraved in the wall
under these elements, with triangles underneath, always upside-down, as protection
from rainwater (Figure 6c).
•
The small openings in the walls (Furjat). The walls are often pierced with small rect-
angular or triangular openings, a feature of the Najd architectural style, to promote
adequate air movement, lighting to the interior spaces, and the view from inside to out-
side. These small openings do not have a purely decorative function but are arranged
vertically, horizontally, or in stacks, creating a pattern on the facade with different
dispositions and densities [
25
]. The different arrangements of the openings meet the
different socio-cultural needs of the population while preserving the technical and
environmental characteristics [
26
]. The alternation of irregular openings of different
shapes and sizes infuses the building with rhythm, lightening its visual weight by

Buildings 2023,13, 1471 8 of 23
breaking up the facade’s composition and bringing out its expressive value. The result
is a building that expresses an apparent simplicity and lives of a suggestive rhythmic
cadence, capturing the observer’s eye (Figure 6d).
•
The doors (Al-Bab). The traditional Najd doors function as an access element to the
building and are very particular in design. They are usually square in size, single-sided
made of wood or palm trees. Some entrance doors are colored, engraved, and painted
with geometric motifs, embellished with repetitive designs of a symbolic nature, and
very pleasant in style and composition. The door and its visual features, use of color,
and ornamentation support non-verbal communication by guiding the visitor to the
building [
27
]. This element is an essential visual element to guide the local population
and identify their position (Figure 6e).
Buildings 2023, 13, x FOR PEER REVIEW 8 of 24
second floor and above the door. It works as a “peephole” to observe people outside
the door of the building without being seen inside [24]. The Tarma of different shapes
and sizes also has symbolic value, as it helps users of the urban space to identify the
building and its entrance through the various forms of the element. It is interesting
to note how the size of the interior spaces and the width of the street the building
faces affect the size and shape of the Tarma. The relationship between symbol and
ornament is inseparable from the local culture (Figure 6b).
• The battlements at the top of the wall (Shurfat). The hand-molded and layered walls
are tapered upwards and finished in a crenelated shape. These decorative elements
in the form of triangles or arrows, sometimes alternating between full and empty,
create a proportional rhythm by acting as a parapet for the rooftop and, in turn,
protecting the facades from rainwater. It is customary to find a horizontal strip
engraved in the wall under these elements, with triangles underneath, always
upside-down, as protection from rainwater (Figure 6c).
• The small openings in the walls (Furjat). The walls are often pierced with small
rectangular or triangular openings, a feature of the Najd architectural style, to
promote adequate air movement, lighting to the interior spaces, and the view from
inside to outside. These small openings do not have a purely decorative function but
are arranged vertically, horizontally, or in stacks, creating a pattern on the facade
with different dispositions and densities [25]. The different arrangements of the
openings meet the different socio-cultural needs of the population while preserving
the technical and environmental characteristics [26]. The alternation of irregular
openings of different shapes and sizes infuses the building with rhythm, lightening
its visual weight by breaking up the facade’s composition and bringing out its
expressive value. The result is a building that expresses an apparent simplicity and
lives of a suggestive rhythmic cadence, capturing the observer’s eye (Figure 6d).
• The doors (Al-Bab). The traditional Najd doors function as an access element to the
building and are very particular in design. They are usually square in size, single-
sided made of wood or palm trees. Some entrance doors are colored, engraved, and
painted with geometric motifs, embellished with repetitive designs of a symbolic
nature, and very pleasant in style and composition. The door and its visual features,
use of color, and ornamentation support non-verbal communication by guiding the
visitor to the building [27]. This element is an essential visual element to guide the
local population and identify their position (Figure 6e).
In summary, Figure 6 provides an overview of the five main features that
characterize the surfaces of the building’s “skin” in Najd architecture.
(a) (b)
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(c) (d) (e)
Figure 6. Architectural features of Najd architecture (Source: author): (a) The porous texture of a
wall in Rughabah village, north-west of Riyadh; (b) the element of “Tarma” on the facade of Al
Masmak Fortress; (c) the “Shurfat” element in the Murabba Historical Palace, Riyadh; (d) the
“Furjat” openings, At-Turaif District in ad-Di’riyah, Riyadh; (e) the “Al-Bab” traditional Najd door
in Ushaiger village, north-west of Riyadh.
Figure 6.
Architectural features of Najd architecture (Source: author): (
a
) The porous texture of a
wall in Rughabah village, north-west of Riyadh; (
b
) the element of “Tarma” on the facade of Al
Masmak Fortress; (
c
) the “Shurfat” element in the Murabba Historical Palace, Riyadh; (
d
) the “Furjat”
openings, At-Turaif District in ad-Di’riyah, Riyadh; (
e
) the “Al-Bab” traditional Najd door in Ushaiger
village, north-west of Riyadh.
In summary, Figure 6provides an overview of the five main features that characterize
the surfaces of the building’s “skin” in Najd architecture.

Buildings 2023,13, 1471 9 of 23
3. Methodology
The research methodology (Figure 7) includes a qualitative analysis of the selected
case studies: from their selection to on-site inspections, up to their analysis through four
criteria: composition aspects, plastic figuration, expressive value, and context connection.
The current research has applied a multicriteria method to ensure the validity of the results.
Buildings 2023, 13, x FOR PEER REVIEW 10 of 24
3. Methodology
The research methodology (Figure 7) includes a qualitative analysis of the selected
case studies: from their selection to on-site inspections, up to their analysis through four
criteria: composition aspects, plastic figuration, expressive value, and context connection.
The current research has applied a multicriteria method to ensure the validity of the results.
Figure 7. Methodological flowchart.
The characteristics of Najd architecture regarding the typology, masses, and skin of
the buildings can be understood based on a literature review. The methodology tests the
integration of the expressive value and plastic beauty of Najd architecture on modern and
contemporary facilities to prove the architectural continuity of the local cultural heritage.
In particular, the approach is structured according to four phases: (i) a definition of the
four criteria, (ii) a selection of seven case studies, (iii) a critical analysis of the case studies,
and (iv) the findings and discussion in context. The following sub-sections elaborate more
on the selections and analysis of the case studies to define future strategic guidelines.
3.1. Identified Criteria
As a first step, the literature review identified those criteria that best describe the
formal and aesthetic approach of an architectural building: compositive aspects, plastic
figuration, expressive value, and context connection. Each criterion was, in turn, divided
into sub-criteria to better define its characteristics in detail. The four criteria outlined in
Table 1 explain the results and generate a verifiable hypothesis relating to the
expressiveness and plasticity of the case studies identified in the following paragraph.
Figure 7. Methodological flowchart.
The characteristics of Najd architecture regarding the typology, masses, and skin of
the buildings can be understood based on a literature review. The methodology tests the
integration of the expressive value and plastic beauty of Najd architecture on modern and
contemporary facilities to prove the architectural continuity of the local cultural heritage.
In particular, the approach is structured according to four phases: (i) a definition of the four
criteria, (ii) a selection of seven case studies, (iii) a critical analysis of the case studies, and
(iv) the findings and discussion in context. The following sub-sections elaborate more on
the selections and analysis of the case studies to define future strategic guidelines.
3.1. Identified Criteria
As a first step, the literature review identified those criteria that best describe the
formal and aesthetic approach of an architectural building: compositive aspects, plastic
figuration, expressive value, and context connection. Each criterion was, in turn, divided
into sub-criteria to better define its characteristics in detail. The four criteria outlined in
Table 1explain the results and generate a verifiable hypothesis relating to the expressiveness
and plasticity of the case studies identified in the following paragraph.

Buildings 2023,13, 1471 10 of 23
Table 1. Overview of the identified criteria.
Criteria Definition Criteria Sub-Criteria
Compositive aspects
Analysis of logical and artistic approaches for formal choices
and the composition of spaces through historical and
cultural integration.
(1)
Historical typology
(2)
Space distribution
(3)
Space hierarchy
Plastic figuration Quality of a building to develop freely in space, leaving its
volume and richness of articulated forms perfectly visible.
(1)
Mass aggregations
(2)
Plastic volumes
(3)
Surfaces malleability
Expressive value Expressive character of the walls through the materiality of
rough and tactile surfaces.
(1)
Materiality
(2)
Surface roughness
(3)
Texture and geometry
Context connection Integration of the project with the environment, paying
attention to local resources and climatic aspects.
(1)
Local resources
(2)
Environment characteristics
(3)
Climatic conditions
3.2. Case Studies Selection
The research was carried out on-site in the city of Riyadh. The choice to focus on this
context was due to the richness of the cultural heritage, an expression of the local cultural
continuity of Najd architecture through a selection of emblematic architecture. Five key
points were used to select the seven cases:
(i)
Formal aspects,
(ii)
Plastic and aesthetic figuration,
(iii)
Relationship between architectural artifice and naturalness,
(iv)
The location in different districts of Riyadh to differentiate the selection range,
(v)
Award winners and/or for their prominent architectural features.
This study involved the direct observation on-site of the case studies depicted in
Table 2(three modern projects, one modern with a contemporary addition, and three
contemporary projects) evaluated with a critical lens.
Table 2. The seven selected case studies.
Building Name Year Status Architects Award/Relevance Location
1Tuwaiq Palace 1985 Built Frei Otto, Omrania and
Büro Happold Aga Khan Award for Architecture, 1998 Al Safarat
2King Fahd International
Stadium 1986 Built Ian Fraser and John
Roberts and Partners
One of the largest stadium roofs in the world
Al Maizilah
3Imam Turki Bin Abdullah
Grand Mosque 1992 Built Rasem Badran and Dar
Al Omran Aga Khan Award for Architecture, 1995 Ad Dirah
4King Fahad National
Library
1983 and
2013 Built Gerber Architekten Best architectural work in 2015 by global
A+Award program Al Olaya
5Addiriyah Art Center 2015
Ongoing
Schiattarella Associati
- 2022 Rethinking the Future Awards:
Concept (winner)
- 2016 Iconic Award: Concept (winner)
- 2016 American Architecture Prize:
Cultural buildings
(honorable mention)
Ad Diriyah
6Al-Aredh Qasr
Ceremony Hall 2018 Project Schiattarella Associati
The complexity of the design that derives
from the attention to the details, the working
methods and the materials
Al Safarat
7National Heritage
Museum 2015 Project Omrania Innovative project without reproducing
historical forms or relying on foreign models
Ad Diriyah
Through the selected criteria, this critical analysis aims to demonstrate how it is
possible to construct new buildings by translating traditional architectural elements into
a contemporary mode. An architecture attentive to place and history can represent an
opportunity to rethink the constructive and aesthetic approach to provide guiding criteria

Buildings 2023,13, 1471 11 of 23
for contemporary architects who design in the rapidly expanding city. This research applied
these criteria to interpret the results obtained.
The selected projects are located in strategic areas of the city, such as Al Safarat
neighborhood of Riyadh, known as the Diplomatic Quarter (DQ), At-Turaif District in
ad-Di’ riyah, Al-Olaya in the center of Riyadh, the old town Ad Dirah, and the peripheral
area of the stadium. The mapping of the seven case studies illustrates their location and
distribution in Riyadh, differentiating between those built, those under construction, and
the project concepts (see Figure 8).
Buildings 2023, 13, x FOR PEER REVIEW 12 of 24
Through the selected criteria, this critical analysis aims to demonstrate how it is
possible to construct new buildings by translating traditional architectural elements into
a contemporary mode. An architecture attentive to place and history can represent an
opportunity to rethink the constructive and aesthetic approach to provide guiding criteria
for contemporary architects who design in the rapidly expanding city. This research
applied these criteria to interpret the results obtained.
The selected projects are located in strategic areas of the city, such as Al Safarat
neighborhood of Riyadh, known as the Diplomatic Quarter (DQ), At-Turaif District in ad-
Di’ riyah, Al-Olaya in the center of Riyadh, the old town Ad Dirah, and the peripheral
area of the stadium. The mapping of the seven case studies illustrates their location and
distribution in Riyadh, differentiating between those built, those under construction, and
the project concepts (see Figure 8).
Figure 8. Case studies localization in Riyadh neighborhoods (Source: author).
3.3. Critical Analysis of Case Studies
The critical review of the case studies constitutes fundamental support for
developing the guidelines by providing valid criteria to obtain an architecture attentive to
the architectural space’s formal, expressive, and figurative aspects.
Assuming that architecture is studied through other architecture, the analysis of the
case studies will allow us to understand the relationship between traditional and
modern/contemporary architecture. The acquisition of elements belonging to the past
leads to their mastery and the ability to integrate them with the project.
3.3.1. Case Study 1: Tuwaiq Palace (1985), Frei Otto
Tuwaiq Palace was completed in 1985 in a joint venture between Frei Otto,
BuroHappold, and Omrania & Associates; it represents an exemplary synthesis of Arab
culture and heritage using innovative formal and contemporary techniques (see Figure 9).
Figure 8. Case studies localization in Riyadh neighborhoods (Source: author).
3.3. Critical Analysis of Case Studies
The critical review of the case studies constitutes fundamental support for develop-
ing the guidelines by providing valid criteria to obtain an architecture attentive to the
architectural space’s formal, expressive, and figurative aspects.
Assuming that architecture is studied through other architecture, the analysis of
the case studies will allow us to understand the relationship between traditional and
modern/contemporary architecture. The acquisition of elements belonging to the past
leads to their mastery and the ability to integrate them with the project.
3.3.1. Case Study 1: Tuwaiq Palace (1985), Frei Otto
Tuwaiq Palace was completed in 1985 in a joint venture between Frei Otto, BuroHap-
pold, and Omrania & Associates; it represents an exemplary synthesis of Arab culture and
heritage using innovative formal and contemporary techniques (see Figure 9). Therefore,
the Tuwaiq Palace does not replicate the past but translates it into a contemporary mode
firmly rooted in the present. The winner of the 1998 Aga Khan Award, it was initially
conceived as a kind of diplomatic club with recreational facilities [28].

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Therefore, the Tuwaiq Palace does not replicate the past but translates it into a
contemporary mode firmly rooted in the present. The winner of the 1998 Aga Khan
Award, it was initially conceived as a kind of diplomatic club with recreational facilities
[28].
1. Compositive aspects. The project refers to different elements of the traditional
architecture of the central Najd region of Saudi Arabia. The plan has a courtyard
typology that recalls the typology of fortresses of native architecture to preserve the
privacy inside; the thick wall typical of vernacular architecture is translated here as
a “living wall” made up of thick and rusticated stone walls. In addition, the small
openings in the walls, typical of traditional architecture, are arranged along the
facades to minimize solar gain. The use of the tent in the circular spaces along the
livable wall is integrated here with the fortress typology, giving a modern twist to
the traditional use.
2. Plastic figuration. The building has an organic and curved form; the wall is the
absolute protagonist that defines its plastic and formal aspect. The 800 m long wall
winds around itself, wrapping an oasis inside (Figure 9a). The strong formal aspect
is contrasted by a series of constantly evolving interior spaces. Inside the wall, the
users are encouraged to discover a variety of spatial and environmental experiences
[29]. The spine along the building evokes the fortress with its mass, the local stone
cladding, and the thinly scattered openings.
3. Expressive value. With its dynamic surfaces, the wall recalls the sand dunes created
by the wind. The concrete walls covered with local Riyadh stone look like an
extension of the surrounding desert and give the building architectural
expressiveness provided by the porous surface typical of Najd architecture. The
contrast between the heavy walls and the lightness of the Teflon fiber fabric curtains
gives an expressive balance to the entire building.
4. Context connection. The unique design of the Tuwaiq palace integrates the two local
archetypes, the fortress, and the tent, with the natural phenomenon of the oasis to
create physical protection for the environment, with the idea of offering the only
panoramic view from the building with the path practicable on the roof [30,31]. The
idea of the landscape is to provide a contrast between the lush garden inside the wall
and the arid nature of the rocky plateau outside that overlooks the Wadi Hanifa
below and the city of Riyadh beyond. Even the sky is a strong element that
characterizes the project inside the oasis. The palace seems to grow and rise from the
rocky desert, becoming an integral part (Figure 9b).
(a) (b)
Figure 9. Tuwaiq Palace, Frei Otto (Source: Author): (a) ground floor plan of Tuwaiq Palace; (b)
connection of the building with the surrounding environment.
Figure 9.
Tuwaiq Palace, Frei Otto (Source: Author): (
a
) ground floor plan of Tuwaiq Palace;
(b) connection of the building with the surrounding environment.
1.
Compositive aspects. The project refers to different elements of the traditional architec-
ture of the central Najd region of Saudi Arabia. The plan has a courtyard typology that
recalls the typology of fortresses of native architecture to preserve the privacy inside;
the thick wall typical of vernacular architecture is translated here as a “living wall”
made up of thick and rusticated stone walls. In addition, the small openings in the
walls, typical of traditional architecture, are arranged along the facades to minimize
solar gain. The use of the tent in the circular spaces along the livable wall is integrated
here with the fortress typology, giving a modern twist to the traditional use.
2.
Plastic figuration. The building has an organic and curved form; the wall is the
absolute protagonist that defines its plastic and formal aspect. The 800 m long wall
winds around itself, wrapping an oasis inside (Figure 9a). The strong formal aspect is
contrasted by a series of constantly evolving interior spaces. Inside the wall, the users
are encouraged to discover a variety of spatial and environmental experiences [
29
].
The spine along the building evokes the fortress with its mass, the local stone cladding,
and the thinly scattered openings.
3.
Expressive value. With its dynamic surfaces, the wall recalls the sand dunes created by
the wind. The concrete walls covered with local Riyadh stone look like an extension
of the surrounding desert and give the building architectural expressiveness provided
by the porous surface typical of Najd architecture. The contrast between the heavy
walls and the lightness of the Teflon fiber fabric curtains gives an expressive balance
to the entire building.
4.
Context connection. The unique design of the Tuwaiq palace integrates the two local
archetypes, the fortress, and the tent, with the natural phenomenon of the oasis to
create physical protection for the environment, with the idea of offering the only
panoramic view from the building with the path practicable on the roof [
30
,
31
]. The
idea of the landscape is to provide a contrast between the lush garden inside the wall
and the arid nature of the rocky plateau outside that overlooks the Wadi Hanifa below
and the city of Riyadh beyond. Even the sky is a strong element that characterizes
the project inside the oasis. The palace seems to grow and rise from the rocky desert,
becoming an integral part (Figure 9b).
3.3.2. Case Study 2: King Fahd International Stadium (1986), Ian Fraser
The multi-use stadium was completed in 1986 by architects Ian Fraser, John Roberts &
Partners as a FIFA international football ground capable of seating around 70,000 spectators.
The stadium is easily recognizable thanks to the large white sails supported by flagpoles,
which form the covering tensile structure (see Figure 10).

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3.3.2. Case Study 2: King Fahd International Stadium (1986), Ian Fraser
The multi-use stadium was completed in 1986 by architects Ian Fraser, John Roberts
& Partners as a FIFA international football ground capable of seating around 70,000
spectators. The stadium is easily recognizable thanks to the large white sails supported by
flagpoles, which form the covering tensile structure (see Figure 10).
1. Compositive aspects. The stadium features a circular shape with a radius of 247 m
(Figure 10a). This multi-use architectural typology lends itself mainly to sporting and
cultural activities, configuring itself as an infrastructure for a dynamic, involved, and
emotional crowd. The protagonist element of this architecture is the roof, considered
the most extensive roof in the world despite its sizeable central opening. The roof
reinterprets the traditional Bedouin tent with a technologically advanced roof
construction consisting of a series of Teflon-coated fiberglass units in the shape of a
tent supported by cables [32].
2. Plastic figuration. King Fahd Stadium is a work of art. The rich sculpture of the roof
umbrella generates a plastic appearance caused by its sinusoidal shapes (Figure 10b).
This structural system creates an efficient and pleasant space, as the curtains absorb
warm air and sound [33].
3. Expressive value. The roof’s steep folds, which comprise 24 tent units, give the
exterior a powerfully expressive image to create a new visual narrative.
4. Context connection. The stadium is located in an arid and flat area northeast of
Riyadh. The curtains that cover the stadium have a high iconographic value and are
a point of reference for the urban landscape of Riyadh. Under the roof are single-
tiered stands shaped like a bowl, mainly supported on artificial land slopes. The huge
umbrella keeps the sun off the seats while providing shade and comfort in the hot
desert climate. In this project, the sky plays a fundamental role, as the roof is open
towards the top, creating a strong connection between the building, the sky, and the
desert (Figure 10c).
(a) (b) (c)
Figure 10. King Fahd International Stadium, Ian Fraser (Source: Author): (a) the central plan of the
stadium; (b) the plastic figuration obtained by the umbrella roof; (c) connection between the stadium
and the sky.
3.3.3. Case Study 3: Imam Turki Bin Abdullah Grand Mosque (1992), Rasem Badran
The mosque has played a key role in meetings between scholars and students, which
is why it is also called the Great Mosque of Riyadh (Figure 11). Designed by architect
Rasam Badran as part of a revitalization plan for the historical center, the mosque houses
around 17,000 worshippers. The mosque won the Agha Khan Award for Architecture in
1995 precisely for its innovative design and for the integration of the Najd architectural
elements into the project, such as dimensions, sunlight and shadows, ventilation, and the
different spaces. The mosque follows a methodological approach that can undoubtedly
contribute to the design and the improvement in contemporary projects [34,35].
Figure 10.
King Fahd International Stadium, Ian Fraser (Source: Author): (
a
) the central plan of the
stadium; (
b
) the plastic figuration obtained by the umbrella roof; (
c
) connection between the stadium
and the sky.
1.
Compositive aspects. The stadium features a circular shape with a radius of 247 m
(Figure 10a). This multi-use architectural typology lends itself mainly to sporting and
cultural activities, configuring itself as an infrastructure for a dynamic, involved, and
emotional crowd. The protagonist element of this architecture is the roof, considered
the most extensive roof in the world despite its sizeable central opening. The roof
reinterprets the traditional Bedouin tent with a technologically advanced roof con-
struction consisting of a series of Teflon-coated fiberglass units in the shape of a tent
supported by cables [32].
2.
Plastic figuration. King Fahd Stadium is a work of art. The rich sculpture of the roof
umbrella generates a plastic appearance caused by its sinusoidal shapes (Figure 10b).
This structural system creates an efficient and pleasant space, as the curtains absorb
warm air and sound [33].
3.
Expressive value. The roof’s steep folds, which comprise 24 tent units, give the
exterior a powerfully expressive image to create a new visual narrative.
4.
Context connection. The stadium is located in an arid and flat area northeast of Riyadh.
The curtains that cover the stadium have a high iconographic value and are a point of
reference for the urban landscape of Riyadh. Under the roof are single-tiered stands
shaped like a bowl, mainly supported on artificial land slopes. The huge umbrella
keeps the sun off the seats while providing shade and comfort in the hot desert climate.
In this project, the sky plays a fundamental role, as the roof is open towards the top,
creating a strong connection between the building, the sky, and the desert (Figure 10c).
3.3.3. Case Study 3: Imam Turki Bin Abdullah Grand Mosque (1992), Rasem Badran
The mosque has played a key role in meetings between scholars and students, which
is why it is also called the Great Mosque of Riyadh (Figure 11). Designed by architect
Rasam Badran as part of a revitalization plan for the historical center, the mosque houses
around 17,000 worshippers. The mosque won the Agha Khan Award for Architecture in
1995 precisely for its innovative design and for the integration of the Najd architectural
elements into the project, such as dimensions, sunlight and shadows, ventilation, and the
different spaces. The mosque follows a methodological approach that can undoubtedly
contribute to the design and the improvement in contemporary projects [34,35].

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1. Compositive aspects. The mosque consists of a main prayer hall preceded by a 4,800
square meter courtyard, which incorporates the courtyard’s typology of traditional
Najd architecture (Figure 11a). Columns, courtyards, and narrow passageways recall
the traditional uses of space. Traditional spatial features are perfectly included, not
copying the past but interpreting it [36].
2. Plastic figuration. The distinctive elements of the mosque are the two 50 m high
minarets that rise on the north and south sides of the mosque. The minarets break
the horizontality of the main volumes of the mosque, generating verticality to the
entire composition of the masses (Figure 11b) [37].
3. Expressive value. The external walls are covered in local limestone, punctured by the
small triangular openings typical of the Najd tradition. The openings create a further
dialogue between past and present by creating a rhythm in the facade and bringing
out the expressive character of the building of apparent simplicity. The relationship
between the mosque and Al Masmak fortress is clear, where Rasem Badran takes up
the idea of the wall as a transition space between the outside and the inside.
4. Context connection. The Great Mosque is located at the center of a group of public
buildings in Riyadh’s historic center. The center of worship is in complete harmony
with the surrounding urban fabric rather than emerging as an autonomous element
[38]. The idea of the wall as a separation between internal and external space, which
derives from the nearby fortress of Al Masmak, is used as a metaphor and a principle
for urban and visual composition. The alternation of solids (the prayer hall) and
voids (the courtyard) integrate perfectly with the traditional Najd urban area (Figure
11c). The yard creates a suitable microclimate inside, reducing the temperature in the
prayer room. Furthermore, the buildings clad by the local limestone walls make good
thermal comfort.
(a) (b) (c)
Figure 11. Great Mosque of Riyadh, Rasem Badran (Source: Author): (a) ground floor plan with the
prayer room preceded by a courtyard; (b) compositions of masses with the two minarets; (c)
connection with the urban fabric.
3.3.4. Case Study 4: King Fahad National Library (1983)—(Addition in 2013), Gerber
Architekten
The King Fahad National Library is located within a growing financial district north
of the historic center of Riyadh, where the city’s main contemporary skyscrapers are
located. The building stands out from the heterogeneous urban building and is considered
one of Riyadh’s most important urban and cultural development projects. The peculiarity
of this building is the integration between modernity and contemporaneity through the
reinterpretation of the elements of the local Arab culture (Figure 12).
1. Compositive aspects. The original cruciform library building built in 1983 was
enclosed within a square building plan. The result is a “box” within a “box”; i.e., the
contemporary cuboid-shaped structure aims to protect the original library by
Figure 11.
Great Mosque of Riyadh, Rasem Badran (Source: Author): (
a
) ground floor plan with
the prayer room preceded by a courtyard; (
b
) compositions of masses with the two minarets;
(c) connection with the urban fabric.
1.
Compositive aspects. The mosque consists of a main prayer hall preceded by a
4800 square
meter courtyard, which incorporates the courtyard’s typology of tradi-
tional Najd architecture (Figure 11a). Columns, courtyards, and narrow passageways
recall the traditional uses of space. Traditional spatial features are perfectly included,
not copying the past but interpreting it [36].
2.
Plastic figuration. The distinctive elements of the mosque are the two 50 m high
minarets that rise on the north and south sides of the mosque. The minarets break the
horizontality of the main volumes of the mosque, generating verticality to the entire
composition of the masses (Figure 11b) [37].
3.
Expressive value. The external walls are covered in local limestone, punctured by the
small triangular openings typical of the Najd tradition. The openings create a further
dialogue between past and present by creating a rhythm in the facade and bringing
out the expressive character of the building of apparent simplicity. The relationship
between the mosque and Al Masmak fortress is clear, where Rasem Badran takes up
the idea of the wall as a transition space between the outside and the inside.
4.
Context connection. The Great Mosque is located at the center of a group of public
buildings in Riyadh’s historic center. The center of worship is in complete har-
mony with the surrounding urban fabric rather than emerging as an autonomous
element [
38
]. The idea of the wall as a separation between internal and external space,
which derives from the nearby fortress of Al Masmak, is used as a metaphor and a
principle for urban and visual composition. The alternation of solids (the prayer hall)
and voids (the courtyard) integrate perfectly with the traditional Najd urban area
(Figure 11c). The yard creates a suitable microclimate inside, reducing the temperature
in the prayer room. Furthermore, the buildings clad by the local limestone walls make
good thermal comfort.
3.3.4. Case Study 4: King Fahad National Library (1983)—(Addition in 2013),
Gerber Architekten
The King Fahad National Library is located within a growing financial district north of
the historic center of Riyadh, where the city’s main contemporary skyscrapers are located.
The building stands out from the heterogeneous urban building and is considered one
of Riyadh’s most important urban and cultural development projects. The peculiarity
of this building is the integration between modernity and contemporaneity through the
reinterpretation of the elements of the local Arab culture (Figure 12).

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integrating it inside (Figure 12a). The existing cruciform building, topped with a
dome, which was reconstructed in steel and glass, is the cultural symbol of the library
[39].
2. Plastic figuration. Despite an almost rigid and symmetrical plan, the library took on
a plastic figuration by adding a new “skin” in 2013. The facade’s cladding is made
up of diamond-shaped curtains, creating a play on the facade between solids and
voids. The tents act as umbrellas, reinterpreting the tradition of the Bedouin tent
innovatively and technologically (Figure 12b).
3. Expressive value. The white membranes that cover the four sides of the new library
intervention create a unique style that characterizes the facades. The ‘”skin” of the
building achieves strong expressive value thanks to the three-dimensional aspect of
the surface. At night, the building becomes the cultural beacon of the city through its
changing colors (Figure 12c).
4. Context connection. The library site connects the capital’s main traffic arteries, King
Fahad Road and Olaya Street. The building is located within an urban park also
designed by Gerber Architekten, including the green areas. The library represents
the iconographic center of a prestigious urban district undergoing expansion. The
new urban plaza offers direct access to the library, creating a filter between the busy
Olaya Street and the library. Furthermore, the filigree steel cable structure of the
facades has a solar penetration level of only 7% and, at the same time, maintains a
relationship with the outside, with the possibility of looking both in and out. The
membrane facade has been optimized with the local solar path through a complex
three-dimensional light refraction, combining sun protection with light penetration
and transparency [40].
(a) (b) (c)
Figure 12. King Fahad National Library, Gerber Architekten (Source: author): (a) the cruciform plan
enclosed in a “cube” building; (b) the plastic figuration of the diamond-shaped curtains on the
facade; (c) the expressive value of the envelope composed by white membranes.
3.3.5. Case Study 5: Addiriyah Art Center (2015), Schiattarella Associati
The contemporary project of the Addiriyah Contemporary Art Center by the
Schiattarella Associati studio has won two prestigious international awards: the Iconic
Award 2016 (concept winner) and the American Architecture Prize (honorable mention).
The project, entrusted in 2014 following an international competition, is now under
construction (Figure 13). The architectural intervention integrates with the historical,
cultural, and landscape context [41].
1. Compositive aspects. The project is an urban fragment connected to the rest of the
city. The narrow streets between the volumes of the project recall those of the historic
city of ad-Dir’iyah. As Schiattarella states, “…With an act of profound respect, we
have chosen to start afresh from local cultural roots, working on the value of
differences and thus studying materials, spatial organization, volumetric
Figure 12.
King Fahad National Library, Gerber Architekten (Source: author): (
a)
the cruciform plan
enclosed in a “cube” building; (
b
) the plastic figuration of the diamond-shaped curtains on the facade;
(c) the expressive value of the envelope composed by white membranes.
1.
Compositive aspects. The original cruciform library building built in 1983 was en-
closed within a square building plan. The result is a “box” within a “box”; i.e., the
contemporary cuboid-shaped structure aims to protect the original library by inte-
grating it inside (Figure 12a). The existing cruciform building, topped with a dome,
which was reconstructed in steel and glass, is the cultural symbol of the library [39].
2.
Plastic figuration. Despite an almost rigid and symmetrical plan, the library took on
a plastic figuration by adding a new “skin” in 2013. The facade’s cladding is made
up of diamond-shaped curtains, creating a play on the facade between solids and
voids. The tents act as umbrellas, reinterpreting the tradition of the Bedouin tent
innovatively and technologically (Figure 12b).
3.
Expressive value. The white membranes that cover the four sides of the new library
intervention create a unique style that characterizes the facades. The ‘”skin” of the
building achieves strong expressive value thanks to the three-dimensional aspect of
the surface. At night, the building becomes the cultural beacon of the city through its
changing colors (Figure 12c).
4.
Context connection. The library site connects the capital’s main traffic arteries, King
Fahad Road and Olaya Street. The building is located within an urban park also
designed by Gerber Architekten, including the green areas. The library represents
the iconographic center of a prestigious urban district undergoing expansion. The
new urban plaza offers direct access to the library, creating a filter between the busy
Olaya Street and the library. Furthermore, the filigree steel cable structure of the
facades has a solar penetration level of only 7% and, at the same time, maintains a
relationship with the outside, with the possibility of looking both in and out. The
membrane facade has been optimized with the local solar path through a complex
three-dimensional light refraction, combining sun protection with light penetration
and transparency [40].
3.3.5. Case Study 5: Addiriyah Art Center (2015), Schiattarella Associati
The contemporary project of the Addiriyah Contemporary Art Center by the Schi-
attarella Associati studio has won two prestigious international awards: the Iconic Award
2016 (concept winner) and the American Architecture Prize (honorable mention). The
project, entrusted in 2014 following an international competition, is now under construc-
tion (Figure 13). The architectural intervention integrates with the historical, cultural, and
landscape context [41].

Buildings 2023,13, 1471 16 of 23
Buildings 2023, 13, x FOR PEER REVIEW 17 of 24
articulation, geometric complexity typical of the countries where we work. This
method does not seek historicized linguistic solutions, but an entirely contemporary
architectural dimension but an alternative to globalization’s expression” [42].
2. Plastic figuration. The volumes of different shapes and heights are mainly articulated
along a linear path. This linearity is broken by the irregularity and orientation of the
masses, which create a harmonious composition, a balance between the project and
the context (Figure 13a). Nature is the real protagonist of the project. The volumes
are articulated according to the surrounding landscape; nature guides the building’s
form.
3. Expressive value. In this project, materiality is expressed by a difficult material to
shape: the void. The empty space between the volumes of the building dialogues
with matter and light. As Schiattarella says, “…the intervention of natural light is an
explosive tool because naturally the light that penetrates the void marks and
underlines the space making it constantly change, and therefore enriches the sense
of architecture with infinite possibilities; it enters the depths in some way, it slides
on the smooth walls, it stops on the walls, or it vibrates along the folds of the knurled
walls” [42]. The mainly closed volumes have irregular openings of different
arrangements and densities according to the internal function to modulate light
entry. The side facing the landscape is underlined by horizontality through the
horizontal and parallel incisions on the surface of the walls propped up by small
irregularly shaped openings that capture the observer’s attention.
4. Context connection. The relationship with the context is the dominant element of the
project. The building is located on top of a natural escarpment on the border between
the modern city and a lush natural area of green areas and palm groves, separated
by the linear layout of the Wadi Hanifa. The building, therefore, acquires considerable
importance as it is positioned on a natural “podium” and becomes a point of
reference for the surrounding environment. The volumes, seen from the landscape
side, emerge from the same rock they are located, creating a strong link with nature
(Figure 13b) [43]. The Art Center, designed to be built with local materials, is well
integrated with the surrounding environment, creating permeable alleys, staggered
volumes of different heights, and good shading between the buildings.
(a) (b)
Figure 13. Addiriyah Art Center, Schiattarella Associati (Source: author): (a) composition of the
volumes along a linear path; (b) a natural “podium” as a point of reference for the surrounding
environment.
3.3.6. Case Study 6: Al-Aredh Qasr Ceremony Hall (2018), Schiattarella Associati
Another significant recent project by Schiattarella Associati is the recent Al-Aredh
Qasr Ceremony Hall project. The project focuses on the characteristics of the surrounding
environment that have strongly contributed to the design idea, starting from the elements
Figure 13.
Addiriyah Art Center, Schiattarella Associati (Source: author): (
a
) composition of the volumes
along a linear path; (b) a natural “podium” as a point of reference for the surrounding environment.
1.
Compositive aspects. The project is an urban fragment connected to the rest of the
city. The narrow streets between the volumes of the project recall those of the historic
city of ad-Dir’iyah. As Schiattarella states, “
. . .
With an act of profound respect,
we have chosen to start afresh from local cultural roots, working on the value of
differences and thus studying materials, spatial organization, volumetric articulation,
geometric complexity typical of the countries where we work. This method does
not seek historicized linguistic solutions, but an entirely contemporary architectural
dimension but an alternative to globalization’s expression” [42].
2.
Plastic figuration. The volumes of different shapes and heights are mainly articulated
along a linear path. This linearity is broken by the irregularity and orientation of the
masses, which create a harmonious composition, a balance between the project and the
context (Figure 13a). Nature is the real protagonist of the project. The volumes are ar-
ticulated according to the surrounding landscape; nature
guides the building’s form.
3.
Expressive value. In this project, materiality is expressed by a difficult material to
shape: the void. The empty space between the volumes of the building dialogues
with matter and light. As Schiattarella says, “
. . .
the intervention of natural light
is an explosive tool because naturally the light that penetrates the void marks and
underlines the space making it constantly change, and therefore enriches the sense of
architecture with infinite possibilities; it enters the depths in some way, it slides on
the smooth walls, it stops on the walls, or it vibrates along the folds of the knurled
walls” [
42
]. The mainly closed volumes have irregular openings of different arrange-
ments and densities according to the internal function to modulate light entry. The
side facing the landscape is underlined by horizontality through the horizontal and
parallel incisions on the surface of the walls propped up by small irregularly shaped
openings that capture the observer’s attention.
4.
Context connection. The relationship with the context is the dominant element of the
project. The building is located on top of a natural escarpment on the border between
the modern city and a lush natural area of green areas and palm groves, separated by
the linear layout of the Wadi Hanifa. The building, therefore, acquires considerable
importance as it is positioned on a natural “podium” and becomes a point of reference
for the surrounding environment. The volumes, seen from the landscape side, emerge
from the same rock they are located, creating a strong link with nature (Figure 13b) [
43
].
The Art Center, designed to be built with local materials, is well integrated with the
surrounding environment, creating permeable alleys, staggered volumes of different
heights, and good shading between the buildings.

Buildings 2023,13, 1471 17 of 23
3.3.6. Case Study 6: Al-Aredh Qasr Ceremony Hall (2018), Schiattarella Associati
Another significant recent project by Schiattarella Associati is the recent Al-Aredh
Qasr Ceremony Hall project. The project focuses on the characteristics of the surrounding
environment that have strongly contributed to the design idea, starting from the elements
that distinguish Najd architecture, reinterpreted here in a contemporary key, creating
continuity with Saudi culture.
1.
Compositive aspects. The project is articulated in a composition of volumes of differ-
ent shapes, sizes, and heights, organized along a central spine, which recalls the typol-
ogy of the Arab Souq with the various masses flanking the central path
(Figure 14a)
.
Although the function here differs from that of the market, the central path is well
suited to organizing the spaces appropriately, creating harmony in the project.
Buildings 2023, 13, x FOR PEER REVIEW 18 of 24
that distinguish Najd architecture, reinterpreted here in a contemporary key, creating
continuity with Saudi culture.
1. Compositive aspects. The project is articulated in a composition of volumes of
different shapes, sizes, and heights, organized along a central spine, which recalls the
typology of the Arab Souq with the various masses flanking the central path (Figure
14a). Although the function here differs from that of the market, the central path is
well suited to organizing the spaces appropriately, creating harmony in the project.
2. Plastic figuration. The plasticity and malleability of the volumes create curious plays
on the facades. The entrance is the real protagonist of the main facade. Here, the
traditional Najd “Al-Bab” door is an essential visual element to guide the local
population and identify its position, emphasized by sloping surfaces. The engravings
of the traditional local door are here reinterpreted through a contemporary gold
texture in relief (Figure 14b). Additionally, in this project, the past-to-present
translation is not an imitation but a successful translation of the historical elements.
3. Expressive value. This project’s relationship between full and empty spaces plays a
fundamental role. Each volume features such openings that recall those of traditional
Najd architecture. The project exploits the natural light penetrating its masses to
illuminate the interior spaces, creating a chiaroscuro effect. The material used
respects the reference territory through Riyadh stones, creating volumes with unique
colors and textures of surfaces.
4. Context connection. As previously mentioned, the project integrates the “symbols”
of Saudi cultural identity and the meaning of the formal elements that reflect that
identity (Figure 14c). The “horizontal” arrangement of the irregular masses respects
the flat level of the surrounding land surrounded by palm trees [44,45]. The interplay
between solids and voids on the facade of different shapes and sizes offers
extraordinary climatic capacities by modulating the light inside the buildings entirely
made with the local stone of Riyadh.
(a) (b) (c)
Figure 14. Al-Aredh Qasr Ceremony Hall, Schiattarella Associati (Source: author): (a) articulation
of volumes along the central spine; (b) the door as the real protagonist of the main facade; (c)
composition of masses well integrated into the territory.
3.3.7. Case Study 7: National Heritage Museum (2015), Omrania
Omrania’s proposal for the National Architecture Heritage Museum is resolutely
contemporary yet influenced by Najd architectural traditions (Figure 15). The design of
this complex is inspired by the ruins of the old city of At-Turaif District in ad-Dir’iyah, a
UNESCO heritage site, and its defensive walls.
1. Compositive aspects. The plan of the building presents a “comb” arrangement,
composed of clearly divided served and serving spaces, creating a proportionate
rhythm between the alternation of the transparent exhibition spaces with the
“habitable” walls containing stairs and services. Thick walls link tradition and
Figure 14.
Al-Aredh Qasr Ceremony Hall, Schiattarella Associati (Source: author): (
a
) articula-
tion of volumes along the central spine; (
b
) the door as the real protagonist of the main facade;
(c) composition of masses well integrated into the territory.
2.
Plastic figuration. The plasticity and malleability of the volumes create curious plays
on the facades. The entrance is the real protagonist of the main facade. Here, the
traditional Najd “Al-Bab” door is an essential visual element to guide the local popu-
lation and identify its position, emphasized by sloping surfaces. The engravings of
the traditional local door are here reinterpreted through a contemporary gold texture
in relief (Figure 14b). Additionally, in this project, the past-to-present translation is
not an imitation but a successful translation of the historical elements.
3.
Expressive value. This project’s relationship between full and empty spaces plays a
fundamental role. Each volume features such openings that recall those of traditional
Najd architecture. The project exploits the natural light penetrating its masses to
illuminate the interior spaces, creating a chiaroscuro effect. The material used respects
the reference territory through Riyadh stones, creating volumes with unique colors
and textures of surfaces.
4.
Context connection. As previously mentioned, the project integrates the “symbols” of
Saudi cultural identity and the meaning of the formal elements that reflect that identity
(Figure 14c). The “horizontal” arrangement of the irregular masses respects the flat
level of the surrounding land surrounded by palm trees [
44
,
45
]. The interplay between
solids and voids on the facade of different shapes and sizes offers extraordinary
climatic capacities by modulating the light inside the buildings entirely made with
the local stone of Riyadh.
3.3.7. Case Study 7: National Heritage Museum (2015), Omrania
Omrania’s proposal for the National Architecture Heritage Museum is resolutely
contemporary yet influenced by Najd architectural traditions (Figure 15). The design of
this complex is inspired by the ruins of the old city of At-Turaif District in ad-Dir’iyah, a
UNESCO heritage site, and its defensive walls.

Buildings 2023,13, 1471 18 of 23
Buildings 2023, 13, x FOR PEER REVIEW 19 of 24
modern construction by translating the traditional walls of the city of At-Turaif into
a contemporary key through “habitable” walls (Figure 15a).
2. Plastic figuration. The interaction between tradition and contemporaneity is played
out in the relationship between the alternation of habitable walls closed with
transparent and light “boxes.” The height of the walls, more significant than the
exhibition spaces, brings out their importance as a reference to the past.
3. Expressive value. The rough surfaces of the walls integrate with the surrounding
environment. The walls give the project an architectural expressiveness provided by
the porous surface typical of Najd architecture. The contrast between the heavy walls
and the lightness of “boxes” gives an expressive balance to the entire museum
(Figure 15b).
4. Context connection. The design is inspired by the nearby ruins of Di’riyah, whose
mud walls appear to have grown straight out of the ground, creating a series of heavy
rammed earth walls. The arrangement of volumes and walls through a comb
typology allows the building to merge with the surrounding landscape, providing
views over the Wadi Hanifa [46,47]. The imposing partition walls were designed
without openings to preserve the interior spaces from the arid climate, in turn
shading the exhibition spaces by reducing their temperature.
(a) (b)
Figure 15. National Heritage Museum, Omrania (Source: author): (a) a “comb” plan typology with
thick walls as a link between tradition and modernity; (b) the rhythm between walls and light
“boxes.”
4. Results and Discussion
The last phase of this research was to develop a comprehensive analysis of the seven
previously described case studies through a comparative table (Table 3), which
summarizes the fundamental elements of traditional Najd architecture reinterpreted in a
modern and contemporary mode in the case studies analyzed through the four identified
criteria: composition aspects, plastic figuration, expressive value, and context connection.
As seen from the table, the projects analyzed capture the architectural typologies of
the past through a “translation” rather than “transfer” approach to define the formal
choices of the building and the composition of the spaces through the integration of
history and culture [48]. For example, the reference to the central courtyard of the housing
typologies and the fortresses is highlighted as the fragmentation of the buildings typical
of the historic fabric, the thick earthen walls of the Najd architecture, and the Bedouin tent
used as a shading element. This operation shows how the past can and must be adopted
in the present without being identical to the traditional architectural model.
Figure 15.
National Heritage Museum, Omrania (Source: author): (
a
) a “comb” plan typology with
thick walls as a link between tradition and modernity; (
b
) the rhythm between walls and light “boxes.”
1.
Compositive aspects. The plan of the building presents a “comb” arrangement, com-
posed of clearly divided served and serving spaces, creating a proportionate rhythm
between the alternation of the transparent exhibition spaces with the “habitable” walls
containing stairs and services. Thick walls link tradition and modern construction
by translating the traditional walls of the city of At-Turaif into a contemporary key
through “habitable” walls (Figure 15a).
2.
Plastic figuration. The interaction between tradition and contemporaneity is played
out in the relationship between the alternation of habitable walls closed with trans-
parent and light “boxes.” The height of the walls, more significant than the exhibition
spaces, brings out their importance as a reference to the past.
3.
Expressive value. The rough surfaces of the walls integrate with the surrounding
environment. The walls give the project an architectural expressiveness provided
by the porous surface typical of Najd architecture. The contrast between the heavy
walls and the lightness of “boxes” gives an expressive balance to the entire museum
(Figure 15b).
4.
Context connection. The design is inspired by the nearby ruins of Di’riyah, whose
mud walls appear to have grown straight out of the ground, creating a series of
heavy rammed earth walls. The arrangement of volumes and walls through a comb
typology allows the building to merge with the surrounding landscape, providing
views over the Wadi Hanifa [
46
,
47
]. The imposing partition walls were designed
without openings to preserve the interior spaces from the arid climate, in turn shading
the exhibition spaces by reducing their temperature.
4. Results and Discussion
The last phase of this research was to develop a comprehensive analysis of the seven
previously described case studies through a comparative table (Table 3), which summarizes
the fundamental elements of traditional Najd architecture reinterpreted in a modern and
contemporary mode in the case studies analyzed through the four identified criteria:
composition aspects, plastic figuration, expressive value, and context connection.

Buildings 2023,13, 1471 19 of 23
Table 3. Comparison of the case studies through the four parameters.
Case Studies Criteria
Compositive Aspects Plastic Figuration Expressive Value Context Connection
1.
Tuwaiq Palace (1985), Frei
Otto, Omrania and
Büro Happold
Open courtyard surrounded by
thick walls reminiscent of a fortress
that encloses an oasis in the desert
with tensile structure “tents”.
Organic and curved composition of
the wall that winds around itself.
A smooth-flowing surface that
resembles wind-crafted dunes.
Expressive balance between mud
walls and Teflon-coated fiberglass.
Garden oasis as a physical protection of
the of the desert around it, and physical
connection with the sky.
2. King Fahd International
Stadium (1986), Ian Fraser
Central plan covered along the
perimeter with a tensile structure
roof reminiscent of a Bedouin tent.
The rich sculpture of the roof
umbrella generates a plastic
appearance generated by its
sinusoidal shapes.
The roof’s steep folds give the
exterior a powerfully expressive
image to create a new
visual narrative.
The roof creates a strong connection
between the building, the sky, and the
desert, providing shade and comfort in
the hot desert climate.
3.
Imam Turki Bin Abdullah
Grand Mosque (1992), Rasem
Badran—Dar Al Omran
Open courtyard preceding the
main prayer hall.
The minarets break the
horizontality of the main volumes
of the mosque, generating
verticality to the entire composition
of the masses.
Small triangular openings create a
rhythm in the facade and bring out
the expressive character of the
building of apparent simplicity.
The alternation of solids and voids
perfectly integrates the Mosque with the
traditional Najd urban fabric. The yard
creates a suitable microclimate inside.
4.
King Fahad National Library
(1983)—Addition building in
2013, Gerber Architekten
Cruciform plan enclosed within a
square-plan building. The result is
a “box” within a “box”.
The tents on the envelope act as
umbrellas reinterpreting the
tradition of the Bedouin tent in a
modern, technological way.
The “skin” of the building achieves
a strong expressive value thanks to
the three-dimensional aspect of
the surface.
The membrane facade maintains a
relationship with the outside, with the
possibility of looking both in and out. It
combines sun protection with light
penetration and transparency.
5. Addiriyah Art Center (2015),
Schiattarella Associati
Urban fragment connected to the
rest of the city.
The harmonious composition of
the irregular masses creates a
balance between the project and
the context.
The materiality is expressed by a
difficult material to shape: the void:
the space between the volumes.
The building is well integrated with the
surrounding environment, creating
permeable alleys, staggered volumes of
different heights, and good shading
between the buildings.
6.
Al-Aredh Qasr Ceremony
Hall (2018), Schiattarella
Associati
The volumes are organized along a
central spine which recalls the
typology of the Arab Souq.
The plasticity and malleability of
the volumes create curious plays
on the facades.
The Riyadh stones creating
volumes with unique colors and
textures of surfaces.
Integration of the surrounding context
starting from the “symbols” of Saudi
cultural identity.
7. National Heritage Museum
(2015), Omrania
A “comb” arrangement plan with
thick “habitable” walls deriving
from the ancient walls of the
At-Turaif district.
Alternation of the heavy walls with
light “boxes”.
Rough wall surfaces alternate with
a rhythmic series of glass
light boxes.
The walls preserve the interior spaces
from the arid climate shading the
exhibition spaces by reducing
their temperature.

Buildings 2023,13, 1471 20 of 23
As seen from the table, the projects analyzed capture the architectural typologies of the
past through a “translation” rather than “transfer” approach to define the formal choices
of the building and the composition of the spaces through the integration of history and
culture [
48
]. For example, the reference to the central courtyard of the housing typologies
and the fortresses is highlighted as the fragmentation of the buildings typical of the historic
fabric, the thick earthen walls of the Najd architecture, and the Bedouin tent used as a
shading element. This operation shows how the past can and must be adopted in the
present without being identical to the traditional architectural model.
Each of these projects shows a well-defined aggregation of volumes. The perfectly
marked and well-articulated shapes make the project harmonious and monumental. The
plasticity of the volumes and the malleability of the surfaces are evident. The play of
solids and voids of the masses creates a balanced composition between the project and
the surrounding environment. The volumes show an expressive character through the
materiality and their porous surfaces typical of Najd architecture. The contrast between
the use of local materials, such as raw earth, and contemporary ones gives an expressive
balance in the composition of the masses. The buildings are well-grounded and rooted in
their site.
The analysis of the projects shows that their methodological design process is strongly
influenced by the superior design of the landscape, almost as if to protect it, in the case of
the Tuwaiq Palace, where the landscape is enclosed within the walls to represent an oasis
in the desert, or, in the project of the National Architecture Heritage Museum, where the
walls of the building represent “arms” that extend towards the landscape. All case studies
show innovative and contextual architecture responding to the local culture and climate.
The study was limited to a critical analysis of some symbolic projects, but the research
could be extended to other significative architectures in which this cultural continuity
between past and present emerges to obtain broader comparative results.
The goal is to devote oneself to creating an innovative and contextual architecture,
even if few projects better reflect this aspiration identified by the case studies analyzed. This
topic is crucial when new architecture is built in Saudi Arabia because the national heritage
is deeply rooted in the country’s history [
49
]. An effort should be made to design in a
contemporary vernacular that carries forward the architectural traditions of the Kingdom
without reproducing historical forms or relying on foreign models.
5. Conclusions
This concise and schematic overview of the architectures selected in this article may
contribute to rethinking a contemporary project’s methodological process right from the
planning stage. The goal is to create continuity between past and present through the
search for identity without “falsifying” history or being “identical” to tradition. Designers
should be aware that a project begins by acquiring historical notions and local culture
and studying the reference context’s climatic situations. The architect becomes a mediator
between the physical transformation of the territory and the collective interest. Once the
knowledge of the past is acquired, it will be possible to define solutions to a contemporary
problem. This knowledge will provide an essential basis for integrating the principles of
vernacular architecture into modern design, leading to more resilient buildings adapted to
the needs of the inhabitants and local conditions [50].
This contribution reflects on the possibility of building contemporary architecture,
highlighting their expressiveness and figuration in the architectural language, finding a
strong connection with the surrounding landscape, and using local resources. Creating an
architecture that is both innovative and contextual is the key to this study.
In recent years, in the rapid expansion of cities in the Middle East, specifically Riyadh,
Western models have been adopted that do not relate to the traditional historical style.
These new ways slowly eliminate any diversity of styles and cultures, losing the place’s
roots. The study of this paper aims to contribute to Saudi Vision 2030 and strengthen the
cultural aspects of the Kingdom through architectural design. The national identity should

Buildings 2023,13, 1471 21 of 23
be promoted not through imitating the past but rather through the translation the elements
of the past into a contemporary key. Saudi Arabia will become one of the main destinations
for international visitors; therefore, it is necessary to strengthen the cultural identity in the
design of new architectures that also respond to aspects of sustainability through the use of
local resources: a combination of cultural continuity and technological progress towards
a sustainable culture to achieve cultural sustainability, and an architecture that expresses
beliefs, morals, and methods together [6].
The aspects of composition, plastic figuration, expressive value, and context connection
are the four principles that every designer should remember during the design phase to
achieve an architecture that integrates into the reference context. This methodological
approach does not seek historicized linguistic solutions but an architectural dimension that
is entirely contemporary but an alternative to that expressed by globalization [42].
The architectural experiences identified in Riyadh allow us to outline some gener-
alizable attitudes to define new construction procedures according to an aesthetic and
constructive approach. The way the architects intertwined traditions with modern tech-
nologies in their design was fundamental to obtaining functional, sustainable buildings
while showcasing cultural continuity. These guidelines represent an opportunity to rethink
the project’s methodological approach for Saudi Arabia or the Middle East and any new
architectural project located in a context-rich local history and culture. Standardization
does not always lead to optimal results. Still, it must be integrated with local building
systems and resources to enhance tradition and context through a plastic figuration of the
architectural space.
This article invites other scholars to investigate how the past and present coexist
in contemporary architecture. As the analysis further suggests in this research, what is
still missing is not only recognizing the past but defining a methodological guide linked
to the valuable conceptual process to architects to be able to apply it in the practice of
contemporary architecture in a context of reference to the past.
Funding: This research received no external funding.
Data Availability Statement: Not applicable.
Acknowledgments:
The contribution is part of the Sustainable Architecture Lab (SA Lab). The author
would like to acknowledge the support of Prince Sultan University for paying the Article Processing
Charges (APC) of this publication.
Conflicts of Interest: The author declares no conflict of interest.
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