With the privilege of an unfettered flow of electricity now being enjoyed by a substantial section of the urban populace, it is only plausible for the waking hours to shift in a manner such that it aggregates to 24 hours each day for the cumulative citizenry of a modern city. This, in turn, necessitates the establishment of both pragmatic facilities and leisure activities after the sun goes down. Moreover, the development of a night economy not only appends economic growth but also helps render the urban environment safe for people to navigate at any given hour.
In line with this development, an interest in night tourism, too, has surged in recent years. This is especially pertinent for warmer regions where day temperatures often make it difficult for tourists to navigate outdoor spaces comfortably. Hence, over the past couple of years, various measures have propped up—particularly in culturally and historically rich destinations—to make night tourism plausible. Due to its novelty, the premise of encountering historical locations after hours also becomes a much-desired attraction for both locals and tourists alike. This makes the initiative to curate spaces for nightly visits worthy of investment, too.
Such an initiative, to append night tourism, was recently undertaken in the At-Turaif district in ad-Dir’iyah within the Kingdom of Saudi Arabia. The first capital of the Saudi Dynasty, At-Turaif is located on a raised site at the edge of the ad-Dir’iyah oasis, in the heart of the Arabian Peninsula and towards the northwest of Riyadh. It bears the remnants of Najdi architecture—a vernacular practice in the region that is also climate-responsive—in the form of palaces and smaller residences within a fortified urban ensemble. More recently, in 2010, this site was listed as a UNESCO World Heritage site. Dating back to the 18th century, these structures are typically made out of clay, mudbrick and straw, with stones and palm leaves enhancing their appearance. Designed to keep the indoor environment cool in the desert city, several of these structures—crafted using natural materials—have stood the test of time.
It is this scaled-out terrain within the ancient district of At-Turaif that has recently been enhanced for night visits by Speirs Major Light Architecture (SMLA), headquartered across the UK and Japan. Conceding to a previous argument about the importance of evening experiences in warmer regions, the studio shares, “We know that evening experiences are very popular in Saudi Arabia due to the climate. When the air temperature is cooler, the locals, Saudi nationals and tourists alike can meander slowly through outdoor spaces, immersing themselves fully in the experience of a different time and place, steeped in history and cultural significance.”
Speirs Major Light Architecture configured the terrain of the At-Turaif district such that it appears as a layered tapestry of golden light during nighttime. “Light articulates the stories hidden in the layers of buildings, courtyards and archaeological remnants, capturing and reflecting the site’s extraordinary spirit and creating a remarkable experience of a living national monument,” reads an excerpt from the press release. Enunciating further upon the idea of using light as a narrative tool, the studio shares, “We often use light as a suggestive metaphor that can reveal hidden layers within a project. For example, the use of light from a low level within courtyards was intentionally suggestive of a golden glow reminiscent of a city lit by lantern light. In this way, we use light to reconnect the place to its authentic self.”
While a glimpse of this fortified town during daytime is a sight to behold in and by itself, the earth-hued structures—which appear to have emerged from the ground instead of being constructed—when washed in a warm glow during nighttime, render a disparate experience for the visitors. For one, the lit-up town, visible against the dark sky and its shadowy surroundings, becomes conspicuously visible. Sans visual distractions in the vicinity, visitors are more likely to focus on the historical site and, hence, experience the destination more intensely. “Our design amplifies this sense of another time and place, animating the subtle tonal variations in the natural materials to feel as if they are lit by flickering torchlight,” the studio shares. The lighting designers especially tested many different tones to find a complementary shade of golden light that would allow the mud-brick walls to glow naturally and attractively.
On the other hand, the impact of the dark, as we all have experienced at some point, stimulates one’s imagination in myriad ways. How often have most of us delved into horror tales with our friends or imagined both monsters and kindred spirits swerving around us during nights? The lack of visibility and the quietude that sets out during nocturnal hours summons both inert thoughts and outlandish illusions. It is almost implausible, then, to not imagine unseen happenings within a historic site that has thrived as a trading location at some time in the past and been held under siege in the following years. It is these latent reactions that can enhance the experience of visitors within a site as monotypic and traditional as well as expansive and undulating as At-Turaif.
To better highlight different portions within At-Turaif, the light designers at SMLA conducted their research. They investigated widely to engage with both the site and its context and delved into the architecture, archaeology and history of the site. The designers also studied the area to understand more about the prominent buildings within the town and how it must have operated as a civic structure in the past. “We learnt how the city developed and matured into a thriving trading location, which was then attacked and held under siege. This understanding helped us to develop our thinking on which elements should be prioritised in our design. What we found most striking, though, was speaking to Saudi nationals about what the project meant to them. They described At-Turaif as a profoundly spiritual place where it was easy to feel connected and energised by the past. We got a strong sense of the project as a living, inspirational monument and a place where we could use light design to communicate and amplify the image and emotion of the site,” the studio shares.
Drawing upon their previous experiences in city light master planning, the designers approached the site in phases, observing and analysing different zones from different viewing angles. When asked about the reasoning behind this zonal segregation, the designers share, “The city’s configuration ranges from palaces to streets, to public spaces and private courtyards. Our approach to each space was slightly different. At close range and within the elements, we responded to scale, sense of intimacy and materiality. In parallel, we remained mindful of the complex balance of different components and how they would appear within the lit composition from a distance. In practical terms, it was not possible to work on all areas simultaneously. Therefore, we proposed several phases for the project to be delivered. The entire design took approximately eight months to complete, although there are still wider areas of work that are ongoing.”
Since the site is located on elevated land, it serves as a focal point in the landscape when viewed from the developing Diriyah Project across Wadi Hanifah. “Balancing the external identity and the views and experience within the monument was crucial to the design,” the studio shares. They utilised a palette of differing light intensities to curate a dynamic lit-up tapestry that also manages to showcase how the site works while also highlighting its beauty and presence from near and afar.
The placement of the lighting units is such that they are often not visible to the visitors. Instead, one only witnesses the warm glow of these lamps. In addition to positioning the lighting pieces strategically, SMLA also stylised several shields so that their tones matched the building fabric, hence camouflaging the lights further. In the few portions of the site where the light sources are visible, the designers have resorted to lantern-style lamps that allude to Najdi architecture. Further, the architectural lighting includes a special activation that marks the night of the new moon with a shade of light blue dominating the golden hue. This feature serves as an ode to the lunar calendar commonly observed by Muslims.
Hence, the project manages to do several things at once—engage people with a historically relevant site, enhance tourism in the region, activate an entire region after sunset and exemplify the art of subtle lighting design within an already prominent site.