AlUla’s Dar Tantora The House Hotel: Architect Shahira Fahmy discusses revamp of Saudi heritage site

AlUla’s Dar Tantora The House Hotel: Architect Shahira Fahmy discusses revamp of Saudi heritage site
Egyptian architect Shahira Fahmy reconstructed an existing archaeological site — Dar Tantora The House Hotel in AlUla Old Town historical village. (Supplied)
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Updated 16 February 2024
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AlUla’s Dar Tantora The House Hotel: Architect Shahira Fahmy discusses revamp of Saudi heritage site

AlUla’s Dar Tantora The House Hotel: Architect Shahira Fahmy discusses revamp of Saudi heritage site

DUBAI: Building a hotel from scratch is tough, but Egyptian architect Shahira Fahmy faced an even bigger challenge: reconstructing an existing archaeological site — Dar Tantora The House Hotel in AlUla Old Town historical village.  

Fahmy, who has worked on projects in Europe and the Middle East, is a three-time recipient of Harvard fellowships for her ground-breaking and award-winning architectural work: an LOEB fellowship at the Graduate School of Design GSD; a Hutchins fellowship at W. E. B. Du Bois Research Institute at the Graduate School of Arts and Sciences FAS; and a Berkman Klein fellowship at Harvard’s Law School. 




Shahira Fahmy was selected by The Royal Commission for AlUla to turn multiple old mud-brick buildings into the boutique hotel. (Supplied)

She has been hailed as an “Architect Building the Arab Future,” and featured in the book “100 Women: Architects in Practice” by Monika Parrinder, Naomi House, Tom Ravenscroft and Harriet Harriss, published by the Royal Institute of British Architects.  

Fahmy was selected by The Royal Commission for AlUla to turn multiple old mud-brick buildings into the boutique hotel.  




Fahmy was selected by The Royal Commission for AlUla to turn multiple old mud-brick buildings into the boutique hotel.  (Supplied)

“I was dealing with heritage. It’s an (ancient) Islamic city, so, it’s an archaeological ruin. I was not working on empty land without context in the desert or near the mountains,” Fahmy told Arab News. “You have context, where buildings are built between stones, mud bricks and farms. You are restoring something that already exists.”

It was no easy task, then, but Fahmy and her team embraced it, dedicating themselves to the project and completing it in just six months. The hotel opened its doors to guests on Jan. 21. 




Fahmy and her team restored 30 buildings in total. (Supplied)

“We molded on the bricks on site. All the mud bricks were made from local materials, looking at what was existing, and how we could (replicate) it today,” Fahmy said. “There were stones. The ground was generally stone. That was the structure of the building and the buildings were two floors. It was a city of two stories.”  

Fahmy and her team restored 30 buildings in total. The architect said the early inhabitants in the city used the ground floor as a workplace and to meet with family and friends, while the first floor was for bedrooms and bathrooms.  




‘Once you enter this 12th-century room, you are transported into another place completely,’ the architect said. (Supplied)

“That’s how we laid out the 30 rooms of Dar Tantora,” she said. “Once you enter this 12th-century room, you are transported into another place completely. The whole hotel is candlelit. We have minimal electricity.  

“(The inhabitants) used to use cross-ventilation for optimal airflow, with one window higher than the other and one larger, so we have replicated that too,” she added. “They kept cool on terraces, so our rooms are terraced.”  

People who lived in the city 800 years ago whitewashed the interior walls and adorned them with red and blue murals, Fahmy said. Her team managed to preserve the existing designs in collaboration with the archaeological team. 




Fahmy and her team worked with local artisans and researchers, alongside a team from Egypt. (Supplied)

“They also had no electricity, but here we had to compromise for the sake of our guests,” Fahmy explained. “The rooms have Wi-Fi, one outlet for charging your phone, one socket in the bathroom for shaving or for a hairdryer, but that’s it. The food for guests is cooked on wood fires.”  

Fahmy and her team worked with local artisans and researchers, alongside a team from Egypt who came from Siwa to help on this project, as they had experience of working with mud bricks and palm materials. 

Some of the hotel’s many paintings were created by a group of young local artists.  




For Fahmy, visiting the site after its completion gave her “a beautiful feeling.” (Supplied)

“We wanted people who knew how to paint on wood, because all the doors — not only the walls — used to have drawings and paintings on them too,” she said. “We also sourced a few items from Al-Dirah Art School. They did a lot of research, which helped us a lot. They created a palette of what the colors of AlUla are. They did a lot of work on the pigmentations and the colors that the people in Old Town used to paint with.” 

For Fahmy, visiting the site after its completion gave her “a beautiful feeling.” 

“It’s even more beautiful when people start using the spaces and you start hearing feedback,” she said. “We all work towards this point when you see it filled with people and you see how they’ve activated it.”  


Ukrainian sci-fi film explores love and loneliness at RSIFF

Ukrainian sci-fi film explores love and loneliness at RSIFF
Updated 10 December 2024
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Ukrainian sci-fi film explores love and loneliness at RSIFF

Ukrainian sci-fi film explores love and loneliness at RSIFF

JEDDAH: Conceived more than a decade ago but written and shot during Russia’s ongoing invasion of Ukraine, Pavlo Ostrikov’s debut film, “U Are the Universe,” is a poignant look at love and loneliness seen through a sci-fi lens.

Screening as part of the Red Sea International Film Festival’s “Favorites” section, “U Are The Universe” is a dramedy that tells the story of space trucker Andriy. When his home planet explodes while he’s dumping radioactive waste on one of Jupiter’s moons, he becomes the last human alive.

With only a wise-cracking robot for company, Andriy believes he’s doomed to a life alone — until the voice of a Frenchwoman reaches him from a distant space station.

“It’s not like it was my goal, but somehow all my films turn out to be about loneliness and love,” said Ukrainian filmmaker Ostrikov in an interview with Arab News.

“Maybe love is an answer for loneliness. If you feel alone, you need to find somebody in this universe. So, it wasn’t my intentional approach. But, of course, it’s an important topic for me, and when I watched my films after finishing, I saw this really clearly, that it’s a really important theme and topic. I don’t know why, because I have family, I have friends, but this feeling, it’s so deep. And I saw many, many people suffer with loneliness, and it’s a real problem in our life.”

“U Are the Universe” came into being while Ostrikov was studying law at university. He decided to write and perform a play to raise his fellow students’ spirits, with the first iteration being 15 minutes of slapstick comedy.

Years later, when he decided to make his own feature film, the story came back to him. Armed with a bunch of astrophysics books and a love of sci-fi cinema, Ostrikov decided to tell a deeper story about the human condition.

“I guess you couldn’t make a sci-fi movie without mention of ‘2001: A Space Odyssey’ by Stanley Kubrick. It is (a) game-changing film, and it was made so good,” he said. “Even now, if you watch this film, you feel like it’s a journey to space. So that’s why we made some homage to Stanley Kubrick. Also, I like ‘Interstellar’ by Christopher Nolan, because I like his scientific approach, and also it’s not like a goofy sci-fi.”

The film was made with a mix of computer-generated imagery and practical effects.

“If (I) do another sci-fi movie, I will do more practical effects, because it’s more reliable. I guess with practical effects it’s not easy, but you see the film on the set, not in the studio after shooting.”


Review: RSIFF competition title ‘To Kill A Mongolian Horse’ is a moving, gripping tale

Review: RSIFF competition title ‘To Kill A Mongolian Horse’ is a moving, gripping tale
Updated 10 December 2024
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Review: RSIFF competition title ‘To Kill A Mongolian Horse’ is a moving, gripping tale

Review: RSIFF competition title ‘To Kill A Mongolian Horse’ is a moving, gripping tale

JEDDAH: Progress and modernism sometimes spell the end of an era and the traditional way of life. This is essayed brilliantly in director Xiaoxuan Jiang’s“To Kill A Mongolian Horse,” which had its MENA region premiere at the Red Sea International Film Festival in Jeddah and is up for consideration for an award at the closing ceremony on Thursday.

Running in the “Red Sea: Competition” section against titles from across the world, the Mandarin and Mongolian language work unfolds against the barren landscape of Mongolia.

The moving 98-minute film tells the story of real-life Saina, a herdsman whose deep bond with his horse is captivating. Scouting for locations for her short movie, “Graveyard of Horses,” the director met Saina in Mongolia and he inspired her to create a fictionalised version of his life.

Apart from tending cattle, Saina also appears in a show about Mongolia's past. A daredevil life-threatening display of horsemanship and athletics endear him to the crowds, and he says in a poignant scene they are necessary for financially supporting his gambling father, son and ex-wife. 

Pressing concerns like climate change and drought compensate for average performances. But the storytelling is gripping and underlines the aching heart of Saina, who sees tradition and culture slipping away and a new world emerging. He is nervous but his horse offers solace and the kind of permanence that he craves.

The scenes between the two are movingly etched out through impressive framing captured by Tao Kio Qiu’s lens. Although the landscape is desolate, the bright colours and unique hues of the costumes worn by the actors are a joy to watch against the drab palette of their surroundings.  

There is a good chance this title will catch the eye of jury head Spike Lee as the final deliberations are made.


Andrew Garfield, Benedict Cumberbatch take to the RSIFF red carpet ahead of emotional ‘We Live in Time’ screening

Andrew Garfield, Benedict Cumberbatch take to the RSIFF red carpet ahead of emotional ‘We Live in Time’ screening
Updated 10 December 2024
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Andrew Garfield, Benedict Cumberbatch take to the RSIFF red carpet ahead of emotional ‘We Live in Time’ screening

Andrew Garfield, Benedict Cumberbatch take to the RSIFF red carpet ahead of emotional ‘We Live in Time’ screening

JEDDAH: English American actor Andrew Garfield graced the Red Sea International Film Festival red carpet in Jeddah on Monday night as his latest film, “We Live in Time,” held its MENA premiere as part of a gala screening.

Although not joined by his co-star Pugh, Garfield attended the screening alongside producers of the film, Adam Ackland and Benedict Cumberbatch.

 

 

At the screening, the producers and star Garfield briefly addressed the audience to introduce the romantic drama.

On Pugh and Garfield’s performances in the film, British star Cumberbatch said, “They’re already at the top of the game. They are our generation’s best,” before adding, “I’m jealous I’m not in the film.”

Andrew Garfield addressed the audience at the screening in Arabic. (Getty Images)

Garfield opened by greeting the audience in Arabic, saying “Assalamu alaikum (peace be upon you).”

He then thanked the festival for bringing the film to Saudi Arabia. “So grateful to be welcomed here like it is my second home,” added Garfield, who also attended the festival last year.

“We Live in Time” is a London-set romantic drama that follows an up-and-coming chef (Pugh) and a recent divorcée (Garfield) across a decade as they find their lives forever changed by a chance encounter.  


Photographers pay tribute to Saudi Arabia’s capital at Misk exhibition

Photographers pay tribute to Saudi Arabia’s capital at Misk exhibition
Updated 09 December 2024
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Photographers pay tribute to Saudi Arabia’s capital at Misk exhibition

Photographers pay tribute to Saudi Arabia’s capital at Misk exhibition
  • Event puts the spotlight on Riyadh

RIYADH: Misk Art Week is underway in the Kingdom’s capital with workshops, markets, and showcases curated around the theme of art and technology.

As the country accelerates to new horizons, 20 local and international participants have revealed their perspectives of Riyadh and its ever-changing nature at the “Seeing Riyadh” exhibition.

Saudi photographer Meshari Al-Dosari’s work preserves the beauty of the city and its architectural heritage. Among the photographs are scenes of old neighborhood houses with distinctive motifs and vintage cars parked at the forefront, hinting to the viewer that life still exists in these worn-out homes.

Faisal Bin Zarah platforms the iconic Al-Faisaliah and Al-Mamlakah towers in his “Moonlight Symphony” and “Aligned.” (AN photo)

Al-Dosari said: “Houses nowadays look like closed-up boxes. They don’t have the same soul. That was an era that wasn’t really documented and it’s disappearing now.

“A lot of houses are being destroyed because they’re dilapidated or need renovation, so their owners build new houses and that era disappears.”

Italian artist Armando Perna was part of Misk Art Institute’s Masaha residency last year, in which he mapped Riyadh’s evolving character and its liminality. In “Seeing Riyadh,” his work focuses on the outskirts of the city. His photographs show simple prayer buildings that are often found on travel routes.

Dalal Almutairi dissects the nostalgic essences of childhood memories left behind in revisited spaces in “The Red Slide." (AN photo)

As an international artist he is fascinated by life in the desert that alludes to the old way of Saudi living that is different from the culture in cities.

He told Arab News: “In this kind of emptiness, you find these markers, which also give an identity to these places. They work in relation to the landscape.”

Part of his work also features caravans he photographed in a town north of Riyadh, which were used at the time for nomads. He added: “On the left side, there’s the modern structures with the modern caravans and on the right, these are the very old (mosques).”

The unique exhibition space, which used to be an auditorium, is lined with works that capture both the historic and contemporary marks and nuances of the changing city. (AN photo)

The exhibition space, which used to be an auditorium, is lined with works that capture both the historic and contemporary marks and nuances of the changing city.

Dalal Al-Mutairi dissects the nostalgic essences of childhood memories left behind in revisited spaces in “The Red Slide,” while Faisal Bin Zarah platforms the iconic Al-Faisaliah and Al-Mamlakah towers in his “Moonlight Symphony” and “Aligned.”

Saudi photographer Sarah Al-Ansary focuses on documenting Riyadh through its people, architecture, and culture.

As an international artist, Armando Perna was fascinated by the life in the desert that alludes to the old way of Saudi living that’s different from the culture in cities. (AN photo)

The emerging artist often visits old neighborhoods in the city, and told Arab News: “It feels amazing to capture buildings and elements that have been there for decades.”

On display are two sets of photos. One features photographs of handwritten shop signs, located in two different neighborhoods. Each sign highlights an amenity in that neighborhood, like the “neighborhood tailor” and “technical plumbing.”

She said: “What really drew me to the signs was how they were written by hand rather than being printed, which is the more common method used today. Both signs left me wondering how long they had been there.”

Saudi photographer Meshari Aldosari’s work preserves the beauty of the city. Old neighborhood houses with unique architectural motifs are framed with vintage cars parked at the forefront, letting us know that life still exists in these worn-out homes. (AN photo)

The second set of photos are of Shola Shopping Center, which opened in the 1980s but has since shut down. The artist was drawn to the bright colors and design of the building.

Al-Ansary said: “Being a part of Misk Art Week 2024 has been a wonderful opportunity to meet like-minded photographers and artists. I also loved seeing people resonate with the photos and having memories of the areas that I photographed.

“I’m very grateful to Misk Art Institute for valuing photography as an art form and giving me the opportunity to exhibit my work.”

Other participants include Hajar Ali, Latifa Al-Bokhari, Mohammed Al-Jubran, Sara Saad, and Tamara Hamad.

“Seeing Riyadh” is on view at Misk Art Week until Dec. 10.

 


‘Seeking Haven for Mr. Rambo’ director aims to offer ‘unique and genuine cinema’

‘Seeking Haven for Mr. Rambo’ director aims to offer ‘unique and genuine cinema’
Updated 09 December 2024
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‘Seeking Haven for Mr. Rambo’ director aims to offer ‘unique and genuine cinema’

‘Seeking Haven for Mr. Rambo’ director aims to offer ‘unique and genuine cinema’

JEDDAH: The opportunity to showcase his debut feature film “Seeking Haven for Mr. Rambo” at the Venice Film Festival and now at the Red Sea International Film Festival in Jeddah is a milestone for Egyptian director Khalid Mansour.

Arab News caught up with Mansour, who previously directed three short films and a mini-series titled “Rawaa Reads” (2023), after the first screening of the film in Jeddah.

“Being part of one of the world’s most significant cinematic events is an incredible opportunity to reach a wider audience and introduce myself as a filmmaker, especially since this film is my debut,” he said.

The first Egyptian film to screen at September’s Venice Film Festival in 12 years, “Seeking Haven for Mr. Rambo” tells the story of protagonist Hassan as he searches for a safe haven for his best friend, his beloved dog Rambo, after the canine is threatened by their landlord.

“The story of ‘Seeking Haven for Mr. Rambo’ focuses on my generation and, through Hassan’s journey, we went deep into our thoughts, beliefs, fears, and sense of belonging. This project took about eight years to make because I intended to present unique and genuine cinema,” said Mansour.

He continued: “It is my first feature-length narrative film, and this film is not (just) about a dog and his friend, but it is about the complexities of our generation, highlighting (the) struggle … that we go through in our society.”

The film was inspired by a real incident that resulted in an Egyptian court jailing four men in 2015 over the brutal killing of a dog, which was filmed and sparked outrage when the video went viral.

“This is a film about the strong relationship between a man and his dog and it is a real incident which occurred on Al-Ahram Street (in Cairo), where a group of men killed a dog in front of all the neighbors out of revenge,” Mansour explained.

The film stars Essam Omar, Rakeen Saad, Ahmed Bahaa, Samaa Ibrahim, and the canine Rambo Brothers.

Produced by Rasha Hosny and Egyptian producer giant Mohamed Hefzy, the film will hit cinemas in the Arab world in January.