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Royal Commission for AlUla Begins Construction on Sharaan Resort, Int’l Summit Center

Royal Commission for AlUla Begins Construction on Sharaan Resort, Int’l Summit Center
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Royal Commission for AlUla Begins Construction on Sharaan Resort, Int’l Summit Center

Royal Commission for AlUla Begins Construction on Sharaan Resort, Int’l Summit Center

The Royal Commission for AlUla (RCU) has begun construction of its Sharaan Resort and International Summit Center designed by French architect Jean Nouvel, it said in a press release.

The project will be built directly into the mountains of Saudi Arabia’s Sharaan Nature Reserve and aims to meet ambitious sustainability goals for the construction phase and resort operations, RCU said Wednesday.

In a ceremony at Sharaan Nature Reserve, RCU signed an agreement with Bouygues Construction, a French engineering group, which will manage construction of the resort through a joint venture with Almabani, a leading Saudi engineering firm. Bouygues Construction brings a unique combination of experience in tunneling and construction of ultra-luxury hotels, both required for this complex development.

RCU's Development and Construction sector is spearheading this project with consultation from Canadian firm WSP and with program management support from Jasara, a Saudi firm. Together they will deliver the masterful vision which will immerse guests in the natural and cultural heritage of Sharaan Nature Reserve.

Just as the Nabataean civilisation carved structures into nearby sandstone more than 2,000 years ago, Sharaan resort will carve a new chapter in stone for AlUla's living museum while preserving the natural scenery and native flora and fauna at the heart of RCU's vision for Sharaan. RCU consulted with the world's top experts in mining and excavation to engineer solutions in line with the architectural vision.

Built into a mountain dating back 500 million years, the Sharaan resort will offer a memorable and timeless experience with 38 suites, a spa and wellness center, kids club, sport center, all-day dining restaurant and business center. In addition, a signature fine-dining restaurant will sit atop the mountain with panoramic views of Sharaan. A unique glass elevator will connect the resort with a geologic and artistic experience, offering views of ancient sedimentary layers and niches filled with art and engravings.

Inside an adjacent mountain, the Sharaan International Summit Center will host events and leaders from around the world. With a completely secure and private environment, its design will enable chance encounters and private interaction for guests with shared leisure activities in an informal setting. Facilities will include an auditorium, meeting rooms, majlis (sitting room), library, and a sport and leisure area.

The Summit Center will also have 13 total hospitality pavilions and two private villas will be constructed nearby, completing the project with 53 total hospitality keys.

Aligned with Saudi Arabia's Vision 2030 and the Sustainability Charter for AlUla, the Sharaan Resort and International Summit Center is designed in harmony with its natural environment. Discreet studies of the site have informed the design of passive strategies and natural geological heat transfer to efficiently cool the property in summer and provide warmth in the winter. The project also aims for zero wastewater by using potable water only when needed and by recycling all treatable wastewater for irrigation and other purposes.

Mohammed Altheeb, RCU Chief Development and Construction Officer, said: "The resort was designed with complete reverence for the human and natural history of AlUla, and we are committed to sustainable building practices in line with this same philosophy."

Deputy CEO of Bouygues Construction Pierre-Eric Saint-André, said: "We are grateful to be part of the ambitious cultural and tourism project of AlUla.”

“The bold vision of Jean Nouvel's architectural firm ... is a great source of inspiration for us, since the technical prowess it requires are absolutely unique and incredibly stimulating. We are confident that we will be able to bring our passion for challenges and our state-of-the-art expertise acquired over 70 years on all continents to ensure that this great project becomes an iconic reference in terms of exclusive tourist experience, respect for the environment and harmonious integration within grandiose landscapes."

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Los Angeles Artists, Collectors Reel from Wildfires

An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake
An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake
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Los Angeles Artists, Collectors Reel from Wildfires

An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake
An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake

As the Los Angeles area begins the formidable task of rebuilding after the most destructive wildfires in its history, the city's artists and art collectors are mourning what could amount to billions of dollars in irreplaceable art that went up in flames.
The wildfires have altogether destroyed more than 13,000 structures, with many among those located in the affluent Palisades neighborhood -- home to many priceless art collections -- and the town of Altadena, which was home to a flourishing artist community.
Some of those art collectors likely lost many of their acquisitions as the fires burned out of control for weeks, while local artists have watched as their studios and homes burned, destroying their work and jeopardizing their livelihoods.
"There's part of me that's numb or in shock," said Brad Eberhard, an artist who ran Altadena's Alto Beta gallery, which also housed his own studio. Both burned down in the Eaton Fire. "Every half hour I remember another thing gone."
Alto Beta, a 550-square-foot (51-sq-meter) space in an Altadena shopping center, hosted exhibits focused on artists who had not had a showing in Los Angeles in the past three years.
Eberhard lost between 50 and 70 of his own sculptures as well as about two dozen pieces of art from his friends and colleagues.
When he returned to visit the gallery, "all I recognized was an aluminum door frame," he said.
Just days before the gallery burned down, Alto Beta had opened a show called "Quiver" exhibiting paintings from Mary Anna Pomonis, a Los Angeles-based artist. Pomonis described the work in the show as female-centered paintings rooted in devotional imagery.
"It felt like it was an appropriately dramatic response to work that I felt dealt on that scale of an epic narrative," Reuters quoted her as saying.
Many in the Los Angeles area have heard the fates of their homes but have been unable to return to see what's left, as tens of thousands of Angelenos remain under evacuation orders.
Kim McCarty, a watercolor painter and owner of the Michael's Santa Monica restaurant with her husband, lost her home to the Palisades fire. Like many, she has not been able to return to assess the damage in person.
Through their restaurant, which opened in 1979, the McCartys became acquainted with local artists and housed many pieces in their Malibu home from friends such as Roger Herman, a German-born artist who teaches at the University of California, Los Angeles, and Pippa Garner, an American artist who died in Los Angeles in December.
"(I'm) sad to lose that all because it's such a loving thing," said McCarty, who added she was not able to salvage any of her own artwork before she was forced to evacuate.
Experts have estimated that the LA wildfires could be the most expensive disaster in US history. AccuWeather has estimated at least $250 billion in losses due to the fires, although that figure could still change.
It is too early to estimate much of the losses that are art-related, but there were perhaps "billions" of dollars worth of fine art in properties in affected areas, said Christopher Wise, vice president at Risk Strategies, an insurance broker and risk management consultancy.
"If you take a look at the size of the areas that are under threat or have burned, the scale of it really is staggering," he said.
Still, Wise cautioned that the amount of losses remains unclear, as many collectors have yet to return to their homes.
Despite the uncertainty created by the wildfires, the organizers of Frieze Los Angeles made the decision last week to go ahead with the international art fair, scheduled for late February.
Frieze, which also holds annual fairs in London, New York and Seoul, has presented the Los Angeles edition since 2019, elevating the city's status as an art capital. The fair attracts galleries and collectors from around the world, especially those from the US West Coast.
"Since the fair's founding six years ago, Frieze has been proud to support and be part of this vibrant community," said a Frieze spokesperson. "The challenges the city is currently facing only strengthen our commitment to work alongside the community to rebuild and recover together."
Frieze Los Angeles, in conjunction with several smaller art fairs, aims to send a message to the local art community by going forward despite the fires, said Marc Selwyn, the owner of Marc Selwyn Fine Art in Los Angeles.
"I think it's important that people know that LA is open for business and art is something that can be a boost for people in these kinds of times," the gallery owner said. The world-famous Getty Museum, which survived the fires, led several major art organizations in standing up a $12 million LA Arts Community Fire Relief Fund, which is set to provide emergency relief to artists and others who work in the arts.
If there is a silver lining to be found in the disaster it may lie in how the Los Angeles artistic community has pulled together to help one another, said Eberhard. He has already been able to find homes in other galleries for most of the shows that Alto Beta was set to exhibit this year.
"I didn't know that the artist community was this caring. I really didn't, because artists are notoriously, and accurately, independent, self-reliant, like little islands," he said.