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Arab News
23-05-2025
- General
- Arab News
‘An architecture of connection' — inside the Saudi pavilion at Venice
VENICE: 'The embroidery that you see is what remains of the vernacular fabric in central Riyadh,' says Sara Alissa, one half of Syn Architects, a small, research-focused practice founded by Alissa and Nojoud Alsudairi in 2019. 'What's interesting is, when people enter and they understand what is embroidered, they are either taken aback by how much remains, or how little.' For the latest updates, follow us on Instagram @ Alissa is sitting on a long sculptural table occupying the central axis of the National Pavilion of Saudi Arabia. It's the second day of previews at the Venice Architecture Biennale, and all eyes are on 'The Um Slaim School: An Architecture of Connection.' Running until Nov. 23 and commissioned by the Ministry of Culture's Architecture and Design Commission, the exhibition is a moment of truth for Alissa and Alsudairi, who have dedicated their careers to ecologically sensitive architectural design. Conceived as a living archive and a hub for communal gathering, the pavilion showcases the work of the Um Slaim Collective — a research, exhibition, and workshop space founded by Syn Architects in 2021. Dedicated to studying the displacement of Najdi architecture in central Riyadh, the collective — or lab — is a physical manifestation of the practice's research, drawing on local architectural theories, creative practices, and environmental histories to examine the impact of rapid urban expansion on central Riyadh. It is, says Alsudairi, who could not make it to Venice, a grassroots attempt to collect history, data, and research in order to rethink both urban spaces and neighborhood communities. In essence, the pavilion is an evolution of the duo's work and acts as a launchpad for The Um Slaim School — a propositional pedagogical platform that builds on the work of both Syn Architects and the Um Slaim Collective. As such, it is a re-evaluation of the role of architects within a city like Riyadh and introduces a new model for architectural education in Saudi Arabia, one that merges historical insight with contemporary practice to create shared spaces for learning, making, and cultural exchange. 'It's a more refined lab than we have in Riyadh,' says Alissa of the pavilion, which has been curated by Beatrice Leanza with assistance from the Saudi interdisciplinary artist and curator Sara Almutlaq. 'We don't know what's going to happen, but we wanted to put forth something in Venice that we could benefit from after and not something that gets discarded right after the exhibition closes. We also wanted to create an experience and a feeling that people can leave with.' Alissa is sitting in a 'building within a building.' Located in the Arsenale — one of the biennale's two main venues — the pavilion's exhibition features four rows of scaffolding wrapped in layered textiles. These textiles, embroidered with maps featuring the nine districts of central Riyadh and various drawings, are interspersed with film, writing, and photography, all of which explore the stories and relationships woven into the architectural fabric of Riyadh. The exhibition includes an immersive sound installation created by Mohammed Alhamdan, which layers urban recordings of Riyadh, the city's construction, and traditional builders' chants. Alhamdan's installation is one of three new commissions integrated into the exhibition. Set into one of the scaffolding walls is Saudi artist Maha Malluh's 'Tamwenat Addirah,' which explores the identity of the Um Slaim neighborhood through collected market items. Elsewhere, the photography of Laurian Ghinițoiu documents the ritualized rhythms of daily life. Alongside these, the photography of Mansour Alsofi captures modernist and postmodernist buildings in the city, while historical photographs and archival books chart its urban and architectural development. All of the artists and photographers have previously collaborated with Syn Architects. Ephemeral in nature, the space highlights some of the projects and interventions carried out by Syn Architects over the past five years, including the Shamalat Cultural Centre, an old mud building on the edge of Diriyah, which was converted into a cultural hub by Malluh and renovated by the architects in 2022. For their reimagining of the traditional mud house through restoration and addition, Alissa and Alsudairi were recently awarded the Moira Gemmill Prize for Emerging Architecture. 'When Nojoud and I started our practice, we felt a responsibility,' says Alissa. 'We're young Saudi architects working in the city and we wanted to create, or help create, this contemporary architectural language within the country. We felt the need to really explore our historical built fabric, but also the values embedded within it. We are advocating for restoration in a physical sense, but also in an intangible sense, where we restore the successful values associated with Najdi architecture.' The duo's work inhabits the metaphorical space between the building and the scaffold, says Alsudairi, and seeks to challenge both neglect and over-romanticization — reviving vernacular structures not as relics or ruins, but as functional, living elements within the urban fabric. It also examines the ways in which cultural preservation and contemporary design can coexist. In doing so, their goal is to restore knowledge, to preserve, and ultimately to share what they have learned. 'We didn't want to depart from the core work we've been doing with the Um Slaim Collective, so we chose to build on that,' explains Alsudairi. 'We saw it as a valuable opportunity to expand the collective's knowledge-sharing focus and move toward something more permanent. Right now, the school is a propositional project, but imagine the value of creating a school that is truly site-specific, in the sense that it doesn't import knowledge, but grows from its own context.' It has been an overwhelming few months for the young studio, which has been catapulted into the spotlight since the announcement of the Saudi pavilion in early February. 'Before we came to Venice, I was telling my daughter I'd be away for the biennale,' says Alissa. 'She's seven, she's aware, and she kind of understands what we're doing. And she was saying, 'Oh, I hope you win in Venice.' I'm like, 'It's not about winning.' And then she sends me a message, saying, 'I don't care if you win. I'm just happy that you're doing what you're doing.' It was so sweet. 'Sometimes we feel very overwhelmed and unsure if we even want to continue because of how difficult things are. But then we have these moments — whether from our children, from people around us, or from each other. I think it's something we rarely say out loud, but having a partner to go through it all with is really key.' Running alongside the exhibition is a complementary program of laboratorial and public sessions led by Leanza and supported by the Bahraini architect, researcher, and photographer Maryam AlNoaimi. It includes lectures, workshops, performances, screenings, readings, and walks that seek to foster dialogue on how architecture influences education and community-based practice. 'I would be lying if I said we have an exact plan of where we're going, because we didn't have this in our plan,' says Alissa. 'We definitely had an aspiration to do the Biennale, but never for this kind of duration. As long as we keep learning along the way, I think the objective is to plant the seed with this propositional school and see where it takes us.'
Zawya
13-05-2025
- Business
- Zawya
Oman: Wheat production expected to exceed 7,700t
Muscat – Farmers across Oman have started harvesting this season's wheat crop, with officials projecting total production from four key governorates to exceed 7,700 tonnes. In Dhofar's Najd region, the 2024-2025 harvest began in early April under the supervision of Directorate General of Agriculture, Fisheries and Water Resources, in cooperation with Agricultural and Fisheries Development Fund. Around 6,400 acres have been cultivated across 52 farms, with production expected to reach up to 6,000 tonnes. Fael Mohammed al Jahfali, Director General of Agriculture, Fisheries and Water Resources in Dhofar, said the cultivation area has dropped from 7,600 acres last season, attributing the decline to farmers diversifying into other crops in response to changing environmental and economic conditions. 'Many farmers are opting for crops like onions, tomatoes, fodder, garlic and other vegetables that need less water and generate quicker returns,' he added. Jahfali also informed that 13 harvesters are currently supporting the wheat harvesting process in Dhofar. Ministry of Agriculture, Fisheries and Water Resources, in cooperation with the Agricultural and Fisheries Development Fund, supplied 30 tonnes of wheat seeds at 50% subsidy for the 2024-2025 season. Harvesting machinery has also been provided free of charge, while Oman Flour Mills Company is managing the collection process from farmers. Jahfali described wheat as one of Oman's most strategic crops, noting that the Najd area offers strong potential for expansion due to its large cultivable land and accessible groundwater. According to Salem bin Musabah al Kalbani, Director of Agricultural Development Department in Dhahirah, 1,350 acres have been allocated for wheat cultivation under food security projects through usufruct contracts, of which 250 acres have been cultivated this year, with production expected to reach 1,000 tonnes. 'The ministry is actively supporting wheat farmers with technical guidance and field supervision,' Kalbani said. Last season, more than ten tonnes of subsidised seeds were distributed, besides modern irrigation systems and harvesting equipment. In Dakhliyah, farmers in the wilayat of Adam have also begun harvesting. Saeed bin Hamad al Raqmi, Head of the Agricultural Development and Water Resources Section, said wheat is a popular crop due to relatively low water requirements, nutritional value and affordability. This year, 106 acres have been planted in Adam, with production expected to reach 120 tonnes, up from 72 tonnes last season. In Buraimi, too, harvesting commenced last month. Nasser bin Ali al Marshoudi, Director General of Agriculture and Water Resources, said more than 200 acres have been planted, with production forecast to exceed 250 tonnes. 'Over seven tonnes of high-quality seeds were distributed among farmers for the 2024-2025 season,' he said. © Apex Press and Publishing Provided by SyndiGate Media Inc. (
Observer
10-02-2025
- Sport
- Observer
‘Ameera' clinches cup, ‘Najd' wins gun at Al Bashayer camel festival
ADAM, FEB 10 'Ameera', owned by Mohammed al Habsi, claimed the Al Bashayer cup and a car, while 'Najd', owned by Sulaiman bin Ali al Wahibi, snatched the gun and the car during the opening day of the eighth edition of the Al Bashayer Annual Festival for Arabian Camel Racing in the Wilayat of Adam from February 10 to 15. 'Baynoonah', owned by Ateeq bin Matar al Qubaisi, 'Fal', owned by Rashid bin Salim al Zarai, 'Mulfat', owned by Mohammed bin Shteib al Habsi, and 'Al Azoum', owned by Ghasi al Mashaykhi, won cars in the afternoon competitions. 'Al Shababiyah', owned by the Royal Camel Corps, won the first and main round in the morning competitions under coach Jasim bin Mohammed al Amri. The first day, February 10, was for the 'Hagayeg' category, two years old, for 4 km. The 24 rounds of races were held in the morning instead of 19 rounds, increased due to the large number of participants, where all 24 rounds offered cash prizes for the top ten. In the afternoon, there were eight main races with cars, a cup, and a gun as prizes for the winners, along with cash prizes for the top 10. The second day, February 11, will be for the 'Lagaya' category, three years old, for 5 km, divided into 15 races in the morning with cash prizes for the top 10. Seven main races will start in the afternoon, with five cars, two cups, and a gun for the winners, plus cash prizes up to the 10th place. The morning rounds results: Read as: Round, Winning Camel, Owner, Timing 1. Al Shababiyah / Royal Camel Corps / 5:54:88 2. Ashaaq / Mohammed bin Hamad al Jahafi / 5:59:63 3. Shawahin / Ahmed bin Said al Harsoosi / 6:04:17 4. Maazzah / Salem bin Al Abed al Wahibi / 5:58:99 5. Rahee / Saud bin Ali al Habsi / 6:06:63 6. Aram / Badr bin Obaid al Junaibi / 6:07:51 7. Tam / Hayab bin Salim al Junaibi / 6:06:75 8. Majd / Hamad bin Mohammed al Maliki / 6:08:21 9. Amjad / Abdullah bin Ali Amer / 6:11:89 10. Rahee / Al Hamdi bin Salim al Daree / 6:06:97 11. Seyoof / Al Hamdi bin Salim al Daree / 6:11:61 12. Shaheen / Ali bin Salim al Maliki / 6:11:45 13. Azayeem / Mohammed bin Ali al Wahibi / 6:12:69 14. Raddad / Abdullah bin Ghudair al Wahibi / 6:11:05 15. Hajamah / Hamad bin Mohammed al Wahibi / 6:13:82 16. Qamari / Mahna bin Mabkhut Masn / 6:08:85 17. Af'aal / Hamad bin Salim al Daree / 6:05:13 18. Mukram / Ali bin Mohammed al Wahibi / 6:14:35 19. Funoon / Obaid bin Al Abed al Ghafili / 6:14:39 20. Mulhim / Mohammed bin Mubarak al Saidi / 6:10:89 21. Al Obour / Mohammed bin Said al Mashaykhi / 6:07:11 22. Yathrib / Saud bin Youssef Ahli / 6:10:61 23. Al Thabi / Youssef bin Ali al Mugheiri / 6:13:27 24. Shawahin / Zaid bin Suleiman al Qunubi / 6:10:99 Afternoon rounds results: Read as: Round, Winning Camel, Owner, Timing, Prize 1. Ameera / Mohammed al Habsi / 6:00.92 / cup and a car 2. Najd / Sulaiman bin Ali al Wahibi / 6:03.11 / gun and car 3. Baynoonah / Ateeq bin Matar al Qubaisi / 6:03.59 / car 4. Fal / Rashid bin Salim al Zarai / 6:00.25 / car 5. Mulfat / Mohammed bin Shteib al Habsi / 6:03.09 / car 6. Al Azoum / Ghasi bin Salim al Mashaykhi / 6:06.45 / car 7. Fazah / Saud bin Ali al Habsi / 6:14.77 / cash 8. Muwafaq / Hamad bin Salim al Farsi / 6:11.77 / cash
