AlUla, a desert town in Saudi Arabia, has rapidly evolved into a significant cultural center since the launch of the Vision 2030 development project in 2017. This ancient oasis, marked by stunning wind-sculpted limestone cliffs and lush date palm groves, boasts a rich history, once serving as a crucial stop for Muslim pilgrims and incense traders. Its well-preserved adobe settlement dates back 900 years, and the iconic Hegra tombs, built by the same civilizations as Petra, are over two millennia old. The Royal Commission for AlUla (RCU), operating under the brand Arts AlUla for various projects, focuses on three core pillars: safeguarding cultural heritage, rejuvenating the environment, and fostering new artistic expressions. This comprehensive approach positions AlUla not just as a regional marvel but as a potential blueprint for similar civic initiatives worldwide, emphasizing knowledge transfer and the showcasing of its unique achievements.
A cornerstone of AlUla’s artistic strategy is the integration of global talents, as articulated by Hamad Alhomiedan, RCU’s arts and creative industries director. He underscores the importance of accessibility and collaboration, aiming to regenerate the area through diverse cultural platforms, independent artists, and even scientists, thereby developing a fresh operational framework. One impressive example is the AlUla Artist Residency program, which in 2025, convened five emerging to mid-career designers from various countries including Saudi Arabia, Côte d’Ivoire, Tunisia, Belgium, and the Netherlands. These studios, deeply rooted in craft and speculative design, undertook extensive ethnographic and material research, drawing inspiration from local daily life, burgeoning industrial advancements, and the region's abundant natural resources. Curator Dominique Petite-Frère of Limbo Accra ensured these conceptual designs materialized into tangible furnishings, some of which are poised for immediate local integration with further development.
Notable creations from the residency include Riyadh-based Aseel Alamoudi’s 3D-printed sand benches, inspired by AlUla’s limestone formations and children's interactions with public spaces, with an overarching vision for a large-scale desert playscape. Brussels-based Ori Orisun Merhav transformed traditional harvest palm leaves into naturalistic lamps, carpets, and stools using shellac, creating a new design language. Paul Moustapha Ledron from Abidjan crafted a collection featuring an architectonic daybed, incense altar, and a palm tree-inspired floor lamp, imbued with ceremonial and spiritual qualities that encourage immersion in the environment. These collections, unveiled at the AlUla Arts Festival, complemented new designs from the Villa Hegra residency program, managed by AFALULA. Additionally, the fourth biennial Desert X AlUla showcased larger outdoor installations, which, like the residency projects, intimately responded to their context. For instance, Mohammed AlSaleem’s metal totems reimagined the crescent shape from sacred spaces into the natural desert landscape, while Maria Magdalena Campos-Pon’s Imole Red installation, featuring large cast foam Desert Hyacinths, served as a communal forum, inviting contemplation of its mystical surroundings. These diverse showcases collectively highlight a global dialogue where artists weave their cultural insights into AlUla’s profound heritage.
Ultimately, the AlUla Arts Festival and its associated programs are cultivating a vibrant ecosystem where ancient history meets contemporary creativity. By inviting international artists and designers to engage with its unique environment and heritage, AlUla is not only revitalizing its cultural landscape but also fostering cross-cultural understanding and innovation. This ambitious project, blending preservation, regeneration, and artistic endeavor, sets a positive example for how historical sites can become dynamic centers of modern expression, inspiring a future where tradition and progress coexist harmoniously.