27 August 2026 7:25 pm
Jeddah Tower Crossed Major Landmark Race Reaches Heights

Jeddah Tower Crossed Major Landmark Race Reaches Heights

Aug 15, 2026

The rendering of Jeddah Tower: Jeddah Tower (Kingdom Tower) Facts and Information

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How Jeddah Tower crossed major landmark in race to overtake Burj Khalifa as world’s tallest building

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By Mark Forker,  ARABIAN BUSINESS

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Burj Khalifa is still the world’s tallest skyscraper, but once completed Jeddah Tower will take the crown.

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Jeddah Tower is continuing to close in on the Burj Khalifa in its bid to become the tallest skyscraper in the world.

The ambitious project is undoubtedly one of the flagship symbols in Saudi Arabia’s new vision for the future.

Saudi Arabia’s Vision 2030 program is a framework for huge transformation across the Kingdom.

Tourism sits at the very heart of it, as it accelerates efforts to diversify its economy and reduce its dependency on oil.

Kingdom Holding confirmed that Jeddah has hit a number of key milestones as it published its Q2 results for 2026.

Jeddah Tower has now reached 430 metres and 106 levels as it drives towards the completed target of 1,000 metres.

Below is a timeline on the journey thus far for Jeddah Tower.

How has it reached this height?

It’s been a long journey, and there’s still a bit to do.

At this point, more than 300,000 cubic metres of concrete have been poured.

There is also huge manpower on the job, with around 6,400 workers deployed onsite in Jeddah.

The verticals works are continuing, and Prince Alwaleed bin Talal, Chairman of Kingdom Holding, revealed that inspections have shown they are on course to deliver the world’s tallest tower in the world.

Jeddah Tower’s 430 metre elevation is just over half the height of Dubai’s Burj Khalifa.

100 floor milestone

Jeddah Tower has also hit the century mark in terms of floors.

It has now passed 100 floors and Kingdom Holding has said everything remains on course.

The current image has no alternative text. The file name is: BURJ-KHALIFA-GALLERY2-1.jpg

Inevitably, the landmark project requires a lot of concrete, with Jeddah Tower confirming it has used 67 per cent of what is required to complete the tower.

Site activity also covers façade installation and mechanical, electrical and plumbing packages.

The facade process has started, with more than 3,000 panels fitted at this juncture.

As aforementioned above, there is 6,400 workers on the job, and that has grown as the tower has got taller, the workforce is expecting to grow over the coming months.

Kingdom Holding has said there has been no fatalities on the job thus far, and that they have recorded over 16 million working hours without a lost time incident.

What will Jeddah Tower be used for?

Jeddah Tower will be a blend of residential, hospitality and office space when completed.

It will consist of about 530,000 square metres and will have several impressive observation facilities built into the structure.

Time to observe

It goes without saying that one of the key attractions of Jeddah Tower is going to be getting to the top of the world’s tallest skyscraper.

Observatory elevators are designed to travel at 10 metres per second in both directions.

That system will handle passenger movement across a building planned to exceed one kilometre.

Design specifications include 59 elevators, comprising 54 single-deck units and five double-deck elevators.

Another 12 escalators will serve circulation requirements across the building.

Adrian Smith and Gordon Gill Architecture were designed with the responsibility of designing Jeddah Tower.

The US company delivered the project Jeddah Tower is trying to knock off its perch, which is of course the Burj Khalifa in Dubai.

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Jeddah and Xiongan Stories Inspire Future City Designs

Jeddah and Xiongan Stories Inspire Future City Designs

Aug 12, 2026

Bright and colorful palm-lined road along Jeddah’s coastline on a sunny day. by Deepak Kashyap via Pexels

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Stories of Jeddah and Xiong’an show ‘future cities’ with vision and roots

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By Xia Wenxin in Global Times.  Published: Aug 11, 2026 OPINION / VIEWPOINT

 

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This aerial drone photo taken on March 18, 2026 shows the Xiong'an Railway Station in Xiong'an New Area, north China's Hebei Province. Photo: Xinhua

This aerial drone photo taken on March 18, 2026 shows the Xiong’an Railway Station in Xiong’an New Area, north China’s Hebei Province. Photo: Xinhua

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What will tomorrow’s cities look like? ​Glowing waterways, sleek transit pods gliding on neon tracks, and a digital utopia of glossy, frictionless perfection – just ask any AI to paint the future, and this is probably how you get sold the dream.

However, turning such imagination into the reality of an actual “city of the future” is far more complex. The grander the skyward vision, the more it depends on solid engineering, sustained investment, and robust governance to bring those ambitions to life. This is the universal challenge facing every bold urban experiment, whether it rises from the coast or fertile plains. Today, the Jeddah Central Project on the shores of Saudi Arabia’s Red Sea and the Xiong’an New Area on the North China Plain, while born from different national contexts, offer two distinct answers to the very same question.

Look toward Jeddah’s historic western coast, where centuries of maritime tradition meet modern ambition. Backed by the country’s Vision 2030, this multi-billion-dollar urban reboot aims to turn a core city district into a global magnet for tourism, culture, and investment, fundamentally reshaping how the city grows. Pouring massive capital into reinventing an existing urban core into a world-class hub is a bold statement on how to approach modern urban renewal.

At the heart of this ambition are four landmark cultural additions – an opera house, a museum, a sports stadium, and an oceanarium – backed by a 9.5-kilometer waterfront, a shiny new marina, and residential spaces that mix smart tech with traditional Hijazi design. Together, they aim to weave the Kingdom’s deep-rooted maritime heritage into the fabric of a buzzing modern destination, creating a vibrant space where past and future seamlessly meet.

Bringing an audacious vision of this scale into the physical world naturally involves a process of dynamic refinement. Rather than chasing a vague blueprint, the Jeddah Central Project is structured around a three-phase rollout, with the first phase locked in for completion soon, according to media reports. Backed by billions of Saudi riyals in initial construction contracts signed with major international and local contractors, the work on the ground is methodically moving forward: heavy infrastructure, smart utility networks, and marine engineering are steadily taking shape, breathing practical life into the city’s core.

Thousands of miles away on the North China Plain, Xiong’an New Area is also pursuing an inspiring trajectory. Rather than chasing immediate skylines, Xiong’an has spent years perfecting what lies unseen: an integrated network of underground utility tunnels and a digital twin model of the entire city.

This long-term focus extends to its environment. Long before the heavy density of urban life arrived, China prioritized the restoration of the Baiyangdian Lake, anchoring the new city in green space and ecological resilience rather than concrete alone. It reflects the belief that resilient cities are built from the ground up – both physically and institutionally.

Today, that methodical groundwork, rooted in “a plan designed for the millennium,” is yielding concrete results. The area has gradually become home to more than 1.4 million residents, while more than 400 subsidiaries of state-owned enterprises and 4,000 Beijing-based firms have moved their operations there, transforming a national policy into an emerging economic hub. These milestones are the result of years of unglamorous, day-to-day cultivation – laying deep roots before ever reaching skyward.

Side by side, the two megaprojects reveal two different philosophies for building “the cities of the future.” The Jeddah Central Project chose the path of brownfield renewal – breathing new life into an existing urban core with an ambitious vision backed by a step-by-step rollout. Xiong’an, meanwhile, breaks the usual mold of massive greenfield development that focuses on chasing quick-win skylines and rapid commercial returns, emphasizing foundational infrastructure and long-term urban planning from the outset.

Neither path offers an easy shortcut, for both demand extraordinary capital, engineering precision, and sustained political willpower. Nor is either complete: Jeddah’s ambitious urban reboot still has to navigate the intricate realities of heritage preservation and long-term capital sustainability, while Xiong’an’s industrial clusters and population are still scaling up.

Ultimately, they highlight distinct dimensions of national capability. Saudi Arabia demonstrates how capital and ambition can open new frontiers, while China illustrates how long-term planning and industrial capacity can gradually transform visions into reality. Far from competing paradigms, their respective approaches – one boldly reaching skyward with visionary ambition, the other patiently laying deep roots through foundational execution – present fertile ground for mutual learning.

As emerging technologies redefine society, building the cities of tomorrow remains an exercise in patience. No amount of glowing digital art can dispense with the unglamorous groundwork of institutional coordination, just as no amount of infrastructure can substitute for the bold, pioneering spirit that revitalizes urban life and redefines historic centers. That is perhaps the deepest lesson shared by both the Jeddah Central Project and Xiong’an: The future belongs only to those who possess both the vision to reach skyward and the patience to lay deep roots.

The author is a reporter with the Global Times. xiawenxin@globaltimes.com.cn

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The Earth Does Not Need Us, We Need It

The Earth Does Not Need Us, We Need It

Aug 11, 2026

Image for illustration purposes of a soldier standing in front of a historical building in Beirut, Lebanon, highlighting urban architecture.  By Nemika F via Pexels

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Jeanette Kunsmann in Detail is in conversation with Lina Ghotmeh on “The Earth does not need us, we need it.” 
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„The Earth Does Not Need Us”

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Stone Garden in Beirut (2020). The residential complex is located near the industrial port on the outskirts of the city center, which was destroyed by the civil war. © Iwan Baan

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Lina Ghotmeh was already a quiet superstar on the international architectural scene, long before winning the 2025 commission for the partial renovation of the British Museum in London. Despite her success, the Paris-based architect, who grew up in Beirut, maintains a clear, critical view of the world and of architecture today.

If you close your eyes – which space comes to mind first? Which place has shaped your architectural philosophy?

Closing my eyes means looking deep within myself – almost becoming a child again. I see myself in the mountains of Lebanon, where as a child I watched people building walls, working in the villages, cutting and chiselling stone, and saw how something far greater than human beings emerged from raw materials and bare hands. There is something magical about this process, in which natural raw materials are cut, shaped, and joined, and suddenly a structure rises up. These observations kindled my love of architecture, but also my love of craftsmanship. For me, the two are inseparable.

You grew up in Beirut – a city where building and destruction are closely intertwined. What is architecture under such conditions?

In Beirut, you are constantly confronted with destroyed buildings, with the question of reconstruction, resilience, and survival amid rupture. These moments have fundamentally shaped my perception of the built environment – and sharpened my goals in architecture. You learn early there that building is not merely an aesthetic question, but a profoundly ethical one.

Stone Garden in Beirut (2020). The facade is punctuated by openings of varying sizes that open onto green balconies. © Iwan Baan
© Iwan Baan

You chaired the jury for the Middle East and Africa at the Holcim Foundation Awards – two very different regions.

Africa is a vast continent with highly diverse climatic zones, cultural contexts, and available resources. Regions such as the Palestinian territories in the Middle East and the Congo or Nigeria can hardly be compared with one another – and neither, therefore, can the architectural approaches that emerge and must emerge there. How resources are used looks completely different in each of these regions. It is precisely this that brought such diverse figures as the architect Tosin Oshinowo from Nigeria and Christian Benimana from MASS Design Group in Rwanda onto the jury, which greatly enriched the discussions.

Were there any projects or approaches that particularly surprised or moved the jury?

In both regions, great efforts are being made to build in a more sustainable, context-sensitive, and resource-conscious manner. This will continue to drive the work – pushing architecture ahead on every level: in the way it responds to the climate, but also in its social and cultural contributions. Building in unstable environments is always a question of social values. I was particularly impressed by the Zanda Central Market in Kinshasa by Think Tank Architecture: a powerful example of how to build new structures without destroying what already exists. Architecture was brought to an informal marketplace without formalising or institutionalising it. The fluid, organic character of the place was preserved; the architecture is a tribute to the hands of the people who bring this place to life every day.

You yourself work intensively with materials and details. What does a typical design process look like in your studio?

My studio’s design process is highly iterative. In the past, architecture may have been dominated by the single sketch – the idea that a building could be designed linearly from concept to completion. In reality, it is about navigating a network of questions and complexities, weaving them together to create spaces that tell the story of society, the economy, and the challenges of our time. A building is an attempt to respond to the everyday by bringing people together in a different way, fostering relationships and making new connections visible. Architecture must lead us to the extraordinary. My design process is therefore deeply research-oriented.

Hermès Workshops (2023): Striking brick arches embody movement and evoke the gallop of a horse. © Iwan Baan

How does a project begin?

We ask questions. Fundamental, sometimes provocative questions. What is a school? What is the history of school building? What if we learnt outdoors in nature? What if the pupils didn’t sit in rows, but in a circle? Such questions play a central role in every project. We first think about what we are actually building – and only then ask how.

And when does this materialise into a building? When does the material come into play?

Very early on. At the Hermès workshop in Normandy, the question of what we would build with was central from the very start. It was to be France’s first CO2-optimised energy-positive building. Bricks and earth were available on site – the most obvious, most honest materials we could use. The bricks then helped to shape the building: its arches, its dynamism, its tectonics. We varied the arches to create movement. For me, that is the true moment of design: when material and space are mutually dependent. We architects must be able to embrace complexity – and translate it, through the tools of architecture, into something comprehensible, liveable, and experiential. Not to hide complexity, but to make it legible.

Hermès Workshops (2023): Partition walls with large arched openings also define the interior. A flat wooden ceiling rests on the walls. © Iwan Baan

How does this principle manifest itself in the Bahrain Pavilion for Expo Osaka?

My first question here, too, was: how can the material do justice to the situation? It is a temporary structure. I wanted to reuse all the material, and generate no waste. We worked with untreated timber: four-metre-long pieces, unlaminated, so that they could subsequently re-enter the material cycle. But this timber was not just our building material – it also stood for all the craftspeople in Japan who are passionately dedicated to timber construction. While many contractors at the Expo hesitated because they felt overwhelmed, we found a company that was absolutely fired up about it. The pride of the craft firms came through in the making. We celebrated the opening together with everyone who had created the building with their own hands. And after the Expo, the timber returned to the material cycle. In this way, a connection is forged between two cultures – Bahrain and Japan – through the material itself.

What is your vision for climate-friendly building in the future?

Architects are critical thinkers rather than mere doers. We can bring people together through our work. Architecture is increasingly based on collaboration across disciplines. It is not just about form – but also about how that form interacts with its surroundings. Beyond collaboration, there is an even more fundamental shift I consider crucial: viewing the built environment as a material bank. Every building consists of materials that I can dismantle piece by piece and reuse – if I plan it that way from the outset. Perhaps in the future, every material will have its own identity, its own biography. We know: this building contains X cubic metres of this timber, Y tons of this steel – and when it is no longer needed, everything flows on. This is how architects can initiate new manufacturing processes and transform the way we perceive, defend, and reinvent our built environment.

Sustainability – a global value of a new generation or Western self-reassurance: are we destroying the world and pretending to repair it?

We are repairing it, we are continuing to destroy it – and all the while we talk about repairing it. That is the honest description of the current state of affairs. But sustainability is not a trend. It is the core. I have been designing as sustainably as possible for 20 years because I am convinced that architecture must be created in harmony with its surroundings. Perhaps it is because I grew up in Beirut, learning early how vulnerable a city is, and how vulnerable nature is. We need nature to survive. The Earth does not need us.

Bahrain Pavilion, Expo Osaka (2025): Nach der Expo kehrte das Material in den Materialkreislauf zurück. © Ishaq Madan

How will technological progress and artificial intelligence change architecture? Will there still be architects in ten years’ time?

Artificial intelligence can be a great tool – if you use it as a tool. Imagine if AI could help us analyse a site in such a way that we make optimal use of the sun, wind, and vegetation. We are already simulating how much energy a building consumes – AI will soon help us respond even more precisely to the context, and reduce energy consumption from the outset. We already attempted something like this at the Hermès workshops in the Normandy region, which consequently require less artificial ventilation and air conditioning. AI can help us manage complexity in design and establish coherence across systems. Today, however, we are not yet there: AI programs primarily generate repetitive forms without any substantive justification. This shows that artificial intelligence is far from being able to replace humans. Architecture is not a mechanical process. When we design, we research and sketch; we laugh, discuss, and argue. That is what makes our work profoundly human. My team means a great deal to me. Technology as a tool: yes, absolutely. As a substitute for human thought and feeling: no.

What was your first thought when you found out in 2025 that your studio had won the competition for the Western Range at the British Museum, beating rivals such as OMA and David Chipperfield?

I see it as a great honour and a great responsibility. It was a long competition, and my practice was in direct competition with the world’s largest architectural firms. The fact that we won shows me that our way of working – the way we ask questions, research, and think through materials – is increasingly being recognised. For me personally, it is an extraordinary project because it deals with the history of the world: the Middle East, ancient Egypt, and the Mediterranean. The collection tells a magnificent story of these regions – and my own history is inextricably linked to it. The project offers a new opportunity to ask: what might a 21st-century museum look like? What does an encyclopaedic museum mean today – in a world that is becoming increasingly aware of its colonial legacy of knowledge?

Bahrain Pavilion, Expo Osaka (2025): Im Herstellungsprozess drückte sich der Stolz der japanischen Handwerksbetriebe aus. © Isahaq Madan

What do you consider to be the defining characteristics of good details and construction?

My work is very detail-oriented. When we build, we pay close attention to execution – because it is about craftsmanship, about the design of details that you can sense, even if you cannot put them into words. A good detail means truly understanding the materials used: how they age, how they are joined, how they react to pressure, heat, and the changing seasons. Sometimes you have to put the drawing aside and go to the workshop – to the craftspeople who know what materials can and cannot do. Learning from this knowledge to find the best solution: for me, that is an essential part of the design process.

How do you deal with building regulations that restrict you when designing?

Building regulations are part of the reality of construction. But they need not mean restriction alone. In the Stone Garden project in Beirut, the building regulations helped determine the form of the building. They were made visible through the architecture and, in a sense, were able to make their voice heard. I find it interesting when laws and standards themselves become a creative force rather than the enemy of a design.

What is the most important insight you’ve gained since you began your career almost 20 years ago?

We should continue to dream. It is crucial to maintain openness and optimism. Without these, you only see the obstacles – and architecture is full of them. Architecture is not primarily a question of building. It remains, first and foremost, a question of people.

Read more in Detail 6.2026 and in our Detail Inspiration database.

Lina Ghotmeh, © David Levene

Lina Ghotmeh

Born in Beirut in 1980, Lina Ghotmeh lives and works in Paris. She set up her studio there in 2016 following her time at Ateliers Jean Nouvel. Lina Ghotmeh has been honoured with the Schelling Architecture Prize (2021) and named “Architect of the Year” at the Iconic Awards 2025, among other accolades. She also serves on international judging panels – most recently as jury chair for the Middle East and Africa region at the Holcim Foundation Awards 2025.

Read more on clay masonry living balcony

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MENA Power Sector Enters a Decisive Phase of Investment

MENA Power Sector Enters a Decisive Phase of Investment

Aug 5, 2026

Silhouettes of power pylons stand tall against a vibrant sunset in the countryside. by Devesh Kumar via Pexels

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MENA power sector enters a decisive phase

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04 August 2026 By MEED Editorial

Population growth, urbanisation, gigaprojects and industrial demand are driving record investment in generation, transmission and smart grids. MEED

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The Middle East and North Africa (Mena) power sector stands at a historic crossroads in 2026. Navigating a landscape of complex regional geopolitical tensions and shifting global dynamics, the region’s energy ecosystem is demonstrating remarkable resilience.

Far from slowing down, Mena nations are accelerating their energy transitions, proving that secure, sustainable infrastructure is the ultimate foundation for long-term economic stability.

Driven by visionary national strategies, the region is successfully transforming these macroeconomic headwinds into unprecedented commercial opportunities. Mena continues to break global records in low-cost utility-scale solar and wind deployment, while pioneering cross-border grid interconnections that fortify regional energy security.

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Contract awards

Power project contracts worth $315.7bn have been awarded in the Mena region (across 14 countries) between 2016 and April 2026, with an annual average of $28.7bn.

Saudi Arabia holds the largest share in awarded value with just more than $135.2bn, followed by the UAE with $49.7bn.

Total contract values increased from approximately $12.8bn in 2016 to a peak of over $80bn in 2024, before moderating to around $66.9bn in 2025 and a projected $10.4bn in 2026. After an initial rise in 2017, awards declined in 2018-19, followed by a steady recovery from 2020 onwards, accelerating significantly in 2023 and reaching a historic high in 2024.

Sector-wise, generation projects consistently accounted for the majority share of investments ($215.2bn), while transmission projects with $100.5bn contributed a smaller but stable portion, with noticeable growth during peak investment years.

Power infrastructure now sits at the centre of economic transformation across the region

Installed capacity in the region continued to grow in 2026, driven by increasing power demand from the population and industrial growth. In absolute terms, Saudi Arabia was the leader in the Mena region, with an installed capacity of nearly 121.4GW in 2024, followed by Egypt, with nearly 63.5GW, and the UAE, with 45.5GW.

Although Saudi Arabia led in terms of total installed capacity, Morocco witnessed the largest increase in installed capacity between 2023 and 2024. With a 7.4% growth in electricity installed capacity, Morocco is driven by the National Energy Strategy that mandates 52% of total installed power capacity come from clean energy by 2030.

Download sample pages from MEED’s Mena Power Projects Market 2026 report here

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Saudi Arabia Rediscovers Clay for Sustainable Building

Saudi Arabia Rediscovers Clay for Sustainable Building

Aug 1, 2026

Low-angle view of a modern hotel in Makkah under a clear blue sky. by Maddy via Pexels

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Saudi Arabia rediscovers clay as ancient building material finds new role in Vision 2030 projects

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Rahaf Jambi

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ARAB NEWS PAKISTAN Short Url : https://arab.news/nm5gy
Updated 31 July 2026

RIYADH: Clay has shaped Saudi Arabia’s architecture for centuries. Now, as the Kingdom’s construction boom accelerates, the ancient material is making a comeback in luxury hotels, cultural landmarks and modern homes as developers seek healthier, lower-carbon building finishes.

The renewed interest reflects a broader shift in Saudi Arabia’s construction sector, where sustainability has become as important as speed and scale. Alongside giga-projects, architects are increasingly turning to natural materials that reduce environmental impact while preserving the Kingdom’s architectural identity.

Long before concrete became the global standard, Saudi builders relied on locally sourced clay to construct homes naturally suited to the desert climate. Thick earthen walls helped to regulate indoor temperatures, while clay’s ability to absorb and release moisture created comfortable interiors without mechanical cooling.

Today, those same principles are returning with modern engineering.

From the restoration of historic mud-brick districts to contemporary developments inspired by traditional architecture, clay is increasingly viewed as both a cultural and environmental asset. Projects such as Diriyah, Red Sea Global developments and the Tuwaiq Heritage Tower demonstrate how traditional earth-based construction methods can be adapted for modern buildings while maintaining the character of Saudi architecture.

The environmental benefits extend beyond heritage preservation.

Unlike cement- or acrylic-based finishes, natural clay plasters require significantly less energy to produce because they are dried rather than fired or chemically manufactured. They contain little or no volatile organic compounds, helping to improve indoor air quality, while their hygroscopic properties allow them to naturally regulate humidity inside buildings.

Perhaps most importantly for Saudi Arabia’s ambitious construction pipeline, clay contributes to lowering embodied carbon — the greenhouse gas emissions generated through extracting, manufacturing, transporting and installing building materials.

Majed Al-Qatari, a Saudi sustainability expert, said that the Kingdom’s unprecedented construction presented an opportunity to rethink not only how buildings were designed but also the materials used to build them.

“Saudi Arabia’s boom in construction paves the way for a much-needed consideration of not just construction volume, but also construction materials,” he told Arab News.

 

James Bryce, Clayworks’ representative for Saudi Arabia and the wider GCC, said the company’s expansion into the Kingdom was driven by increasing demand rather than a planned market entry. (SUPPLIED)

 

“Natural materials such as clay can help minimize embodied carbon, which refers to greenhouse gas emissions associated with material extraction, manufacturing, transport and installation. Clay requires less industrial processing than many conventional finishing materials, contains no petrochemical binders and can often be sourced locally, reducing transportation emissions while supporting circular economy principles.”

Al-Qatari said that clay also offered operational advantages beyond reducing emissions.

“Clay finishes naturally regulate indoor humidity, improve thermal comfort and are free from volatile organic compounds, creating healthier indoor environments,” he said. “While clay is not intended to replace structural materials such as concrete or steel, it has significant potential as a scalable finishing material that combines traditional building knowledge with modern engineering.”

He added that studies consistently showed that natural clay finishes had substantially lower embodied carbon than acrylic- or cement-based coatings while also requiring less maintenance throughout a building’s life cycle.

“The ecological advantage does not stop at carbon emissions,” he said. “Clay finishes are breathable, repairable and recyclable, making them one of the lowest-impact finishing materials available as Saudi Arabia accelerates sustainable construction and green building certification.”

The growing interest was on display on July 27 when Conmarble Atelier hosted British natural plaster manufacturer Clayworks for an interactive workshop in Riyadh, inviting architects, designers and industry professionals to experience traditional clay plastering techniques firsthand.

Participants applied the company’s natural clay finishes themselves, reflecting growing demand for materials that combine sustainability with contemporary design.

For Clayworks, the workshop represented more than a product launch. It reflected what the company sees as a rapidly expanding Saudi market driven by Vision 2030 developments.

“We started getting lots of specifications from architects and designers in Saudi Arabia about five years ago,” James Bryce, Clayworks’ representative for Saudi Arabia and the wider GCC, told Arab News.

“The volume kept increasing to the point that we couldn’t ignore it anymore, which is why we needed to be present here and tailor our designs to Saudi Arabia.”

The company now supplies projects including developments by Red Sea Global and Diriyah, where designers are incorporating natural clay finishes into hotels, cultural venues and luxury residential spaces.

Bryce believes Saudi Arabia’s long relationship with earthen architecture gives the Kingdom a distinct advantage compared with many international markets.

“Saudi Arabia has a very strong tradition and relationship with earth and natural materials,” he said. “Where we can show designs that are sensitive to that tradition while also making them contemporary for the future, we’ve found the right balance.”

Unlike conventional paints, Clayworks’ products are made entirely from natural clay. Different textures and finishes are achieved by varying application techniques rather than changing the material itself, allowing designers to create smooth bedroom walls, textured feature spaces or water-resistant bathroom finishes using the same natural base.

“The material is the same. It’s earth. It’s clay,” Bryce said. “What changes is the design around how the client, architect or homeowner wants the space to feel.”

As Saudi Arabia continues investing in tourism, hospitality, residential communities and cultural destinations, demand for environmentally responsible building materials is expected to grow alongside construction activity. In many ways, the Kingdom is returning to one of its oldest building materials not as a relic of the past, but as a practical solution for creating healthier, more sustainable buildings for the future.

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