AlMusalla Prize’s Rooted Transience at the Venice Biennale

Beyond Saudi Arabia‘s standout presence with two remarkable contributions in both Venice and Milan- Umm Slaim School at Venice Architecture Biennale, and Maghras at Triennale Milano-  the Kingdom unveils Rooted Transience, an exhibition showcasing the winning design for the inaugural AlMusalla Prize 2025, as a Collateral Event of the 2025 Venice Architecture Biennale. Curated by Faysal Tabbarah and presented by The Diriyah Biennale Foundation at the Abbazia Di San Gregorio, Rooted Transience includes full-scale fragments of the AlMusalla Prize’s winning design by EAST Architecture Studio in collaboration with artist Rayyane Tabet and engineering firm AKT II and, alongside works from shortlisted firms AAU Anastas, Asif Khan, Dabbagh Architects, and Office of Sahel AlHiyari for Architecture. The Kurator sat down with Prince Nawaf bin Ayyaf, jury chair of the AlMusalla Prize, to discuss how Rooted Transience not only reinforces Saudi Arabia’s growing role on the global creative landscape, but also highlights how traditional architectural practices, rooted in sustainability, impermanence, and flexibility, can inspire fresh ideas and solutions for tomorrow, reflecting on the Kingdom’s broader commitment to shaping the future of architecture in an era of climate uncertainty.

Rooted Transience carries forward the core ideals of On Weaving through its celebration of adaptability, sustainability, and cultural dialogue. What started in Jeddah as a prize-winning design that honored Saudi traditions, by utilizing palm tree waste as primary building material and incorporating traditional weaving techniques, now finds a new home in Venice. By bringing these full-scale fragments of AlMusalla to the Abbazia Di San Gregorio, the Diriyah Biennale Foundation is essentially continuing the narrative of cultural exchange that has been central to Islamic architectural traditions throughout history.

Venice, much like Jeddah, represents a historical crossroads of civilizations. It’s a setting that allows us to expand the conversation about how architectural practices rooted in transience and adaptability can reshape our understanding of built environments. The exhibition does not merely transplant the physical elements from the Islamic Arts Biennale 2024 grounds at the Western Hajj Terminal  in Jeddah, but enriches the dialogue by placing the contemporary works in conversation with archival images and documents related to the architectural history of prayer spaces. What we are attempting here is to demonstrate how traditional architectural practices that rely on sustainability, impermanence, and flexibility can generate fresh ideas and solutions for tomorrow's challenges, carrying forward not just the physical manifestation of On Weaving but its philosophical underpinnings as well.

When we consider AlMusalla typology, we see a profound embodiment of the  Biennale's theme "Intelligens. Natural. Artificial. Collective. The "Natural" aspect is evident in AlMusalla’s use of sustainable materials, transforming what would normally be discarded into the primary building material. This approach demonstrates an intelligence that has been inherent in vernacular architectural practices for centuries, where local materials are employed with remarkable ingenuity. Then the "Artificial" dimension comes through in how these traditional techniques are adapted and enhanced through contemporary design methodologies and engineering solutions. This is achieved through a collaboration between EAST Architecture Studio, artist Rayyane Tabet, and the engineering firm AKT II, in what represents a fusion of creative disciplines that brings new perspectives to ancient practices.

By examining this architectural typology that has existed within Islamic cultures for centuries, we are showcasing a form of collective intelligence that has evolved through adaptation and cultural exchange, and I think this is what the Biennale theme invites us to explore.

Rooted Transience and the Saudi National Pavilion, represented by the “Um Slaim School: An Architecture of Connection”,  represent complementary explorations of architectural heritage and innovation. The two exhibitions intersect in their approach to tradition as a living resource rather than a static artifact. Both look to historical building practices not with nostalgia, but as sources of wisdom for addressing contemporary challenges.

I believe, together, these exhibitions demonstrate Saudi Arabia's commitment to advancing architectural discourse that honors our cultural heritage while responding to urgent social and environmental concerns. They present architecture as a vehicle for cultural preservation and a bridge fostering both regional and global connections.

The exhibition serves as a showcase of architectural approaches that are inherently sustainable, adaptable, and responsive to local conditions. AlMusalla’s  typology with its emphasis on temporality, adaptability, and efficient use of resources, offers profound lessons for how we might design buildings in an era of climate uncertainty. From the very beginning, sustainability was an important factor in our decision-making process for the inaugural AlMusalla Prize. We set out on a mission to create a sustainable project that would function and thrive beyond the Islamic Arts Biennale 2025. This focus on adaptability and assembly/disassembly of the submitted proposals was central to our evaluation, as was the consideration of construction materials and how the pavilion could serve as a prototype for new ideas fostering sustainability in regional architecture.

The way we see it, Rooted Transience assigns a multifaceted role to architecture, in the sense that it must be environmentally conscious, socially responsive, and culturally resonant. By learning from vernacular traditions that have evolved over centuries to address local climatic conditions, architecture can become more adaptive and resilient.

AlMusalla typology fundamentally challenges conventional notions of permanence in architecture by showing that sacred space need not be defined by monumental or fixed structures. AlMusalla can materialize wherever it is needed. It is not defined by its physical permanence but by the intention and needs of those who use it. This understanding opens possibilities for more responsive, adaptable designs. In other words, it challenges the notion that architectural significance correlates with scale and suggests that architecture can be impactful through its responsiveness to human needs and environmental conditions.

The way we see it,, Islamic architecture is a fluid term that should represent a wide range of people, cultures, civilizations, and eras. It should transcend and exceed the limiting motifs and aesthetic features that are usually ascribed to it. Through the AlMusalla Prize and this exhibition, we are hoping to demonstrate how this untapped architectural typology can contribute to contemporary discourse around sustainable and adaptable architecture while honoring the rich spiritual and cultural traditions from which it emerges.