Seven wonders of Arab world to be named in bid to improve global recognition

Special The Qasr Al-Farid tomb (The Lonely Castle) is carved into rose-coloured sandstone in Madain Saleh, a UNESCO World Heritage site, near Saudi Arabia's northwestern town of Al-Ula. (File/AFP)
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The Qasr Al-Farid tomb (The Lonely Castle) is carved into rose-coloured sandstone in Madain Saleh, a UNESCO World Heritage site, near Saudi Arabia's northwestern town of Al-Ula. (File/AFP)
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Updated 29 September 2024
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Seven wonders of Arab world to be named in bid to improve global recognition

The Qasr Al-Farid tomb (The Lonely Castle) is carved into rose-coloured sandstone in Madain Saleh, a UNESCO World Heritage site.
  • Seven Arabian Wonders of the World project aims to recognize the accomplishments of Arab civilizations past and present

RIYADH: Seven ancient and modern wonders of the Arab world are expected to get a surge in global recognition as a major campaign prepares to get underway.

Organized by the foundation that led the campaign to name the Colosseum, Taj Mahal, Petra and others as the new seven wonders of the world in 2007, the Seven Arabian Wonders of the World project aims to recognize the accomplishments of Arab civilizations past and present.

The Zurich-based New7Wonders Foundation has now invited Arab states to bid for the exclusive rights to host the campaign, which is expected to take place by the summer of 2025.

Some of the architectural and engineering marvels poised to qualify include the Burj Khalifa in Dubai, the World Trade Centre in Bahrain, Riyadh’s futuristic King Abdullah Petroleum Studies and Research Center designed by Zaha Hadid, and I.M. Pei’s Museum of Islamic Art in Qatar.

New7Wonders founder Bernard Weber believes these “modern monuments” deserve to be honored alongside equally remarkable achievements of ancient Arab civilizations: AlUla (Saudi Arabia), the Old City of Sanaa (Yemen), the Samarra Tower (Iraq), and reaching as far as the Alhambra Palace (Spain).

“The Arab world is in the midst of a remarkable renaissance that has witnessed the construction of a series of extraordinary landmarks. These kinds of modern world wonders are the product of an evolving Arab civilization that is confidently projecting itself to the world in a bold and dynamic way,” he told Arab News.  

Weber is confident that this latest chapter of his “wonders” movement will generate a significant wave of international enthusiasm and recognition.

“Our 7 Wonders of the Arabian World campaign will draw attention to not only the pathbreaking architectural and engineering wonders of a modern Arab world, but will also connect them symbolically to those of an ancient Arab civilization that should stand proudly alongside that of the Greeks and Romans,” Weber told Arab News.

“Arabian culture and its impact on humanity has not been properly recognized and celebrated in comparison with Greek, Roman, Chinese and other great cultures of the past.”

According to Weber, the event has the potential of generating more than $1 billion in tourism, branding and ancillary revenue to the host nation.

Weber’s original campaign to choose seven new world wonders

The Arab Wonders campaign is expected to build on the success of Weber’s landmark 2007 N7W competition that invited the public to choose from 400 historic structures from all over the world that led to more than 100 million ballots being cast between 2005 and 2007.

The final tally resulted in the proclamation of a new set of seven world wonders: Chichen Itza, The Great Wall of China, Machu Picchu, Petra, the Roman Colosseum, the Statue of Christ Redeemer, and the Taj Mahal.

The campaign fulfilled Weber’s dream of a democratic, worldwide vote that served as a long overdue revival of Herodotus’ ancient Greek concept of the Seven Wonders of the Ancient World — declared in the fifth century B.C. — of which only the Pyramids of Giza are still standing.

Apart from reviving the ancient Greek “world wonders” classification, Weber also had the underlying goal of driving renewed efforts to preserve and protect those leading examples of human civilization. 

His faith was rewarded in the wake of the original 2007 world wonders declaration, after which many countries responded by undertaking badly-needed restoration work on their national treasures while promoting popular awareness and pride in their nations’ collective heritage.

China and the other countries where the new seven wonders are situated have all experienced a huge boost in tourism since joining New7Wonders movement. A case study by Pearson UK estimated that the net worldwide economic effect of New7Wonders exceeds $5 billion owing to the “Wonder Effect” on tourism as well as on national marketing and brand value generation.

The follow-up 2011 campaign enjoyed a similar level of spectacular success — with 600 million online votes cast. This is why Weber believes that the Seven Arab Wonders vote could well exceed the billion mark.

Today, the enormous impact of global social media interactive platforms such as TikTok and Instagram as well as YouTube will further energize the voting and campaigning for the Seven Arab Wonders “in a way that Herodotus could never have imagined,” Weber said.

An official declaration ceremony was held in 2007 in front of 60,000 spectators at the Benfica Stadium of Light in Lisbon, Portugal on July 7, 2007, or “7/7/7” day, a date chosen by Weber for its numerical affinity to the New7Wonders concept.

The star-studded event was headlined by Portuguese football legend Cristiano Ronaldo and Apollo astronaut Neil Armstrong, and featured performances by pop star Jennifer Lopez and operatic tenor Jose Carreras.

The ceremony was simulcast on TV networks on all continents and streamed online (a pioneering moment in broadcasting) to a global audience of more than one billion spectators.

‘Wonder Markers’ first unveiled at Expo 2020 Dubai

In 2022, the New7Wonders Foundation demonstrated its commitment to the Arab region when it took part in the Expo 2020 Dubai as an official participant. This historic event served as an ideal moment for Weber and his long-time N7W director Jean-Paul de la Fuente to unveil a series of symbolic “Wonder Markers” that were prepared specifically for the Expo.

The first of these almost three-meter signposts was installed and unveiled by De la Fuente in 2023 at the Huangyaguan Great Wall in China, featuring six panels pointing out the precise distance and geographical direction of the other world wonders.

“China was the first nation to install our permanent Wonder Marker. This served as unique recognition of the New7Wonders as a global brand promoting their most precious icon, the Great Wall, that would now be connected to six other ‘wonders’ across our planet,” De la Fuente explained.

Weber — an abiding passion for art and architecture

While living in Montreal, Canada in the late 1990s, Weber began formulating the elements of his New7Wonders project. He originally became fascinated by architecture while growing up in Switzerland where he was raised by his single mother Heidi, an ambitious entrepreneur.  

She became famous in the late fifties for persuading the legendary Swiss architect Le Corbusier to allow her to revive, reconfigure and relaunch the series of four modernist furniture designs — including the fabled chaise longue — that he first conceived in 1927.

On the day of this interview, the 61-year-old Weber — a champion freestyle skier as a teenager who later scaled the Matterhorn — was relaxing on one of the original Le Corbusier chaise longues that rolled off his mother’s assembly line in the late fifties. 

Weber has long cultivated a passion for art, aviation and film.

After serving as Donald Sutherland’s double in Federico Fellini’s “Casanova,” (“I was the only one who Fellini could find that was as tall as Sutherland,” Weber recalled) he decided to get behind the camera, making his directorial debut with the award-winning feature film “Hotel Locarno” in 1978.


Saudi Arabia welcomes US-brokered peace agreement between Rwanda and DR Congo

Saudi Arabia welcomes US-brokered peace agreement between Rwanda and DR Congo
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Saudi Arabia welcomes US-brokered peace agreement between Rwanda and DR Congo

Saudi Arabia welcomes US-brokered peace agreement between Rwanda and DR Congo
  • Saudi Ministry of Foreign Affairs: Kingdom hopes accord would meet “the hopes and aspirations of two peoples for development and prosperity”

RIYADH: Saudi Arabia has welcomed the signing of a peace agreement between Rwanda and the Democratic Republic of the Congo, in a deal facilitated by the United States with support from Qatar, the Saudi Press Agency reported.

In a statement issued on Saturday, the Saudi Ministry of Foreign Affairs said the Kingdom hoped the accord would meet “the hopes and aspirations of the two peoples for development and prosperity,” and contribute to “regional and international security and peace.”

The ministry also praised “the diplomatic efforts and constructive role played by the United States of America and the State of Qatar in this regard.”

The agreement, finalized on Friday, aims to de-escalate long-running tensions between Rwanda and the DRC, which have intensified in recent years over accusations of mutual support for armed rebel groups operating along their shared border.

The most prominent of these is the M23 militia, which Kinshasa has accused Rwanda of backing — a charge Kigali denies.

Efforts to mediate between the two neighbours have gained urgency amid a worsening humanitarian crisis in eastern DRC, where conflict has displaced more than seven million people.

The US and Qatar have played key roles in recent months in bringing the two sides to the table for talks, culminating in the formal agreement to ease hostilities and commit to renewed dialogue.


Jeddah exhibition gives internet cafes an artistic reboot

Seventeen artists and collectives have had their work on display at ‘Internet Cafe,’ an exhibition inspired by the digital age.
Seventeen artists and collectives have had their work on display at ‘Internet Cafe,’ an exhibition inspired by the digital age.
Updated 28 June 2025
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Jeddah exhibition gives internet cafes an artistic reboot

Seventeen artists and collectives have had their work on display at ‘Internet Cafe,’ an exhibition inspired by the digital age.
  • Local artists revive communal, quirky, deeply human qualities of early web era

JEDDAH: Internet cafes in Jeddah were once popular spots with pay-by-the-hour internet access; they have now provided the inspiration for the city’s latest exhibition.

In a collaboration between Kham Space and Estiraha, 17 artists and collectives have had their work on display at “Internet Cafe,” an eight-day exhibition which explored the concept of connection and intimacy in the digital age.

Asaad Badawi’s installation paid tribute to early programmer culture. (Supplied)

Abeer Sultan, who curated the exhibition alongside Mbarak Madhi and Fai Ahmed, spoke to Arab News about the early process in contemplating the theme.

The idea for the exhibition, which concluded on Friday, stemmed from an exasperation over incessant scrolling, and the deluge of information that has usurped our daily lives.

HIGHLIGHTS

• The idea for the Jeddah exhibition stemmed from an exasperation over incessant scrolling, and the deluge of information that has usurped our daily lives.

• Some of the works were meant to act as ‘hyperlinks’ to connect ideas, as well as creating a communal space and mimicking the social space of a cafe.

She said: “We wanted to do something that is about us now, and maybe the future as well; not only going back to things for nostalgia or the good old days, as they say.

‘Closed eyes under a sunny sky I’ by Zahiyah Alraddadi. (Supplied)

“Maybe it has something that we can use today, especially now that there’s a movement of people trying to slow down, using dumbified devices throughout the internet.”

Instead of creating a literal internet cafe, the curators focused more on the nuances a cybercafe used to have.

"F.A.R." by Dalal Madhi's work. (Supplied)

Their approach to the space was categorized into three themes: “Disconnected Understanding, Linked Source,” “In the Shadow of a Doubt, Light My Screen,” and “Whirling Algorithms of a Distant Dream.”

Artist Zahiyah Alraddadi, who usually paints works focusing on the significance of the mundane, took oil to canvas to paint “Closed Eyes Under a Sunny Sky I” and “Familiar Features.”

The a piece by Ahaad Alamoudi, “Land of Dreams” takes a humorous approach. (Supplied)

Her work feels meditative and was intended to slow visitors down as they walked through the space — much like the feel of a buffering screen page.

Some of the works were meant to act as “hyperlinks” to connect ideas, as well as creating a communal space and mimicking the social space of a cafe.   

Studio bin Hattan, which is led by artist Elham Dawsari, displays “Cultural Override” derived from her father’s archives from the 80s, who was interested in computer graphics. (Supplied)

Anhar Salem’s work “After Now” was a curtain imprinted with thumbnails of YouTube videos. The artist conducted a survey asking people between the ages of 18 and 40 to share their YouTube video recommendations, making up a curtain of information overload.

Next to that, Tara O‛Conal’s video installation was a film sequence — but the catch is, nothing really happened. The film continued to load, glitch, and reload, perhaps suggesting commentary on our constant yearning for contact.

Hayfa Al-Gwaiz’s “Long Distance” is a painted form of FaceTime video calls. The work explores digital intimacy by centering not the callers’ faces, but the ceilings above them. (Supplied)

“Compared to Anhar’s work, (Tara’s) feels like a pawn, in a way, to look at,” Sultan said.

Some works were inspired by computer graphics. Asaad Badawi paid tribute to early programmer culture via telephone-book-inspired art, and his father, who is a programmer.

Madhawi Al-Gwaiz's works are painted in a graphic style that is reminiscent of early 00s and '10s graphics styles. (Supplied)

Studio bin Hattan, which is led by artist Elham Dawsari, displayed “Cultural Override,” derived from her father’s archives from the 1980s. Madhawi Al-Gwaiz paints in a style that echoes digital graphics from the early 2000s.

Others took a more distanced approach. ThirdSpace’s “Untitled Table” was a physical object, but the research behind it was about keyboards that then shifted to Hijazi architecture, drawing on the iconography and architectural languages across the history of the region.  

Tara O‛conal’s video installation is a film sequence in nature—but the catch is, nothing really happens. The film continues to glitch and reload, perhaps suggesting commentary on our constant yearning for contact. (Supplied)

Hayfa Al-Gwaiz’s “Long Distance” was a painted form of facetime video calls. The work explored digital intimacy by showcasing not the callers’ faces, but the ceilings above them — a scene that’s familiar to anyone who has taken up a long-winded video call with a loved one and set down the phone to cater to life’s more immediate demands.

While the exhibition tackled the digital boom personified through cybercafes, it notably avoided artificial intelligence.

Sultan explained: “It is the idea of being fast and efficient, which is what we are resisting with AI …  It’s dominating the internet in a weird way, and we wanted a space where people customized things manually, going back to montadayat (domains) where people had to do things by themselves. There’s no template.”

The last piece was by Ahaad Alamoudi, and “Land of Dreams” took a humorous approach to directing audiences to their dreams. As you walked toward the work, in an outdoor area outside the confines of the exhibition space, visitors were met with foam boards of the iconic Emirati singer Ahlam.

Sultan said: “The work accentuates the fact that the dream land is a subjective experience or idea, and everyone would have their own imagination of what that is, whether it's Ahlam or something else.”

The “Internet Cafe” was a love letter to a new digital age — one that is sustainable, communal, and deliberately slow.  

“This is our way of keeping in touch with other people. An exhibition space is also a space where people meet, even if it’s for a moment, to have these conversations together, which is really important,” Sultan said.

 


Rooted in earth: Rafha’s mud structures tell a story of sustainability

Rooted in earth: Rafha’s mud structures tell a story of sustainability
Updated 28 June 2025
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Rooted in earth: Rafha’s mud structures tell a story of sustainability

Rooted in earth: Rafha’s mud structures tell a story of sustainability
  • The buildings were constructed using indigenous methods and natural materials including mud, stone, wood, and palm fronds

RIYADH: In the heart of northern Saudi Arabia, the mud buildings of Rafha stand as “a vibrant narrative of traditional architecture, reflecting authenticity, creativity, and cultural identity,” the Saudi Press Agency said in an article on Saturday.

These structures tell the story of an ancient past, “embodying traditional architectural ingenuity that connects people to the land.”

Rafha’s historic mud structures are an appealing destination for anyone interested in history, heritage, and traditional craftsmanship. (SPA)

Located along one of the Kingdom’s most significant tourist routes, the buildings “integrate cultural heritage with the natural environment,” the SPA wrote, and “serve as living records of generational memory, preserved through architectural details.”

This makes them an appealing destination for anyone interested in history, heritage, and traditional craftsmanship.

FASTFACTS

• The buildings in Rafha were constructed using indigenous methods and natural materials including mud, stone, wood, and palm fronds.

• Local authorities are making efforts to restore and maintain these mud structures, preserving their historical and cultural value.

The buildings were constructed using indigenous methods and natural materials including mud, stone, wood, and palm fronds. Their design responds to the local environment, maintaining balanced indoor temperatures during scorching summers and cooler winters. Most feature an inner courtyard, surrounded by rooms arranged in a circular layout, reflecting a strong sense of community.

Rafha’s historic mud structures are an appealing destination for anyone interested in history, heritage, and traditional craftsmanship. (SPA)

These mud buildings illustrate “a deep harmony between humans and their environment,” the SPA wrote, adding that they also “reflect sustainable building principles that long predate modern green architecture.”

Local authorities are making efforts to restore and maintain these mud structures, preserving their historical and cultural value while promoting them as distinct parts of the Saudi tourism landscape.

 


Malaysia grants Saudi Hajj minister Al-Rabiah 'Hijra Personality of the Year' award

Malaysia grants Saudi Hajj minister Al-Rabiah 'Hijra Personality of the Year' award
Updated 28 June 2025
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Malaysia grants Saudi Hajj minister Al-Rabiah 'Hijra Personality of the Year' award

Malaysia grants Saudi Hajj minister Al-Rabiah 'Hijra Personality of the Year' award
  • Tawfiq Al-Rabiah Al-Rabiah was presented with his award by Malaysian King Sultan Ibrahim

KUALA LUMPUR: Saudi Arabia’s Minister of Hajj and Umrah Tawfiq Al-Rabiah received the International Tokoh Ma’al Hijrah 2025 award in Malaysia on Friday, the Saudi Press Agency reported.

Malaysia grants the award — the name of which translates to Person of the Year for Hijrah — annually to an influential Muslim personality to recognize their contributions to Islamic causes.

Al-Rabiah won the award for his efforts in developing systems designed to make Hajj and Umrah run safely and smoothly for pilgrims.

Al-Rabiah was presented with his award by Malaysian King Sultan Ibrahim. Malaysian Prime Minister Anwar Ibrahim and Minister of Religious Affairs Mohammed Naeem bin Mukhtar were present at the ceremony.

The event was held in Kuala Lumpur on the occasion of Hijri New Year.

 


Muslim World League condemns Israeli attacks on civilians in Gaza, West Bank

Muslim World League condemns Israeli attacks on civilians in Gaza, West Bank
Updated 28 June 2025
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Muslim World League condemns Israeli attacks on civilians in Gaza, West Bank

Muslim World League condemns Israeli attacks on civilians in Gaza, West Bank
  • Organization describes actions as part of wider pattern of settler aggression

RIYADH: The Muslim World League on Saturday strongly condemned recent Israeli attacks on civilian shelters and ongoing violence against Palestinians in the Gaza Strip and the West Bank, the Saudi Press Agency reported.

The MWL has described the actions as part of a wider pattern of settler aggression carried out with impunity under the protection of the Israeli occupation forces, the SPA added.

The MWL’s Secretary-General Dr. Mohammed bin Abdulkarim Al-Issa, who also chairs the Organization of Muslim Scholars, denounced in a statement issued by the MWL’s General Secretariat what he called “heinous crimes” committed against unarmed civilians, including recent attacks by settlers on the village of Kafr Malik, east of Ramallah.

He added that the “brutal assaults” were a “blatant violation of all human values as well as international laws and norms.”

He urged the international community to uphold its legal and moral responsibilities and take decisive action against what he described as the occupation government’s ongoing disregard for the rights and dignity of the Palestinian people.

Al-Issa also called for the immediate activation of international mechanisms to halt the violence and ensure accountability for those responsible for what he termed “horrific massacres.”

His comments came after Saudi Arabia’s Foreign Ministry issued a statement on Friday condemning the violence, denouncing “the continued violence perpetrated by Israeli settlers, under the protection of the occupation forces, against Palestinian civilians, including the attacks in the village of Kafr Malik.”