Alexandria Engineering Journal (2022) 61, 11715–11736

H O S T E D BY
Alexandria University

Alexandria Engineering Journal

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Understanding the role of architectural identity in

forming contemporary architecture in Saudi Arabia
Abdulaziz Alzahrani

Department of Architecture, Faculty of Engineering, Al-Baha University, Saudi Arabia

Received 25 January 2022; revised 3 May 2022; accepted 25 May 2022

Available online 2 June 2022

KEYWORDS Abstract The tendency to identify and achieve identity in architecture is a significant trend in con-
Contemporary architecture; temporary architecture. The trend of contemporary architectural projects occurred during the 1980s
Design concept; by the architects in Saudi Arabia. During that period, the Saudi institutes drove the transition from
Shape and form; traditional to contemporary architecture to express their conservative view and the importance of
Construction technology; the local cultural identities in architecture. This study aims to examine this experiment led by the
The materials used; Saudi government to understand how the architects could express their concept of regional identity
And relationship with the in their work was expressed. The research examines five components shaping the architectural iden-
surrounding tity in two aspects. First is the concept of identity in the architects’ work and how it was expressed.
The second is how the public sees and understands the design product of the architects. According
to the theoretical research framework, contemporary architectural works can be understood
through five main areas: design concept, shape and form, construction technology, the materials
used, and relationship with the surrounding.
The case study approach was chosen as a viable tool for gathering the qualitative and quantita-
tive data necessary for this study. Furthermore, the researcher chooses stadiums as a type of build-
ing because they challenge the designer to deliver cultural identities in architectural works.
Therefore, King Fahd International Stadium (KFIS) in Riyadh and King Abdullah Sports City Sta-
dium (KASCS) in Jeddah were chosen as case studies for this research. These two projects are sim-
ilar and separated by more than two decades and will be analyzed according to the main
parameters. In addition, the degree of correlation between the two groups’ opinions (the designer’s
opinion and the experts’ perception of the design) will be elaborated. KFIS is found to be better in
architectural identity based on these five different aspects. Various architects are successful in cre-
ating structures while integrating modern and local architecture. The traditional materials make it
easy to adapt to the region’s climatic conditions. In addition, the study recommends that empha-
sizing harmony with context and environment will increase their success in achieving identity-
oriented and context-oriented work.
Ó 2022 THE AUTHORS. Published by Elsevier BV on behalf of Faculty of Engineering, Alexandria
University. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/
licenses/by-nc-nd/4.0/).

E-mail address: azahran@bu.edu.sa

Peer review under responsibility of Faculty of Engineering, Alexandria University.
https://doi.org/10.1016/j.aej.2022.05.041
1110-0168 Ó 2022 THE AUTHORS. Published by Elsevier BV on behalf of Faculty of Engineering, Alexandria University.
This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).
11716
1. Historical background
This paper attempts to identify and analyze the relationship
between the concept of original identity with the contemporary
architecture of projects adopted by the government and sports
explicit projects. This research studies the current and modern
trends that can be identified in the contemporary architecture
of the projects adopted by the Saudi government, especially in
sports. The role of these trends in the concept of identity is
explained. In addition, an attempt to understand the relation-
ship between (opinion) what goes on in the minds of architects
about their design to achieve the identity (and the architectural
product), which is what the public sees and understands in the
design product. According to the theoretical framework of
research, contemporary architectural works can be understood
through their physical appearance in five main factors: design
concept, the construction technology, shape and form, the
materials used, and relationship with the surrounding [1].
In Saudi Arabia, architecture has passed through a dra-
matic transformation since the late 1960s and early 70s, result-
ing from economic and regional changes [2]. It began with the
discovery of oil during the 70s when the Saudi government had
a powerful centralized administration system whereby all
financial resources were obtained mainly from oil [3]. From
the 70s till today, the Saudi government has influenced archi-
tectural identity through its institutes by building new projects.
All these projects influenced the evolution of architecture,
which created contemporary identity. Saudi Arabia pursued
Japanese architects, whose admired tradition and promise to
represent Saudi identity through architecture made them pleas-
ing associates in the construction of seeking a contemporary
identity that served traditional socio-political agendas. In
1960, the Saudi government assigned Minoru Yamasaki to
design the Dhahran Airport. Kenzo Tange designed several
buildings, including the Royal State Palace in Jeddah, com-
pleted in 1983, and King Faisal Foundation in Riyadh, com-
pleted in 1984 [4]. King Fahad International Stadium was
designed by English architects Ian Fraser, John Roberts &
Partners in 1980. The stadium’s design represents an oasis with
its white Arabian tent and being surrounded by 800 palm trees
[5]. Also, the Riyadh Television Tower by French architects
Maurice Novarina and Patrici Novarina-Adete located in the
vicinity of the Ministry of Information has an eight-story office
block containing three open courtyards on the west side. This
project was completed in 1983 [6]. Foreign architects reinter-
preted visual symbols and historical ideas and introduced them
in otherwise ultra-sleek designs, such as the massive Hajj Ter-
minal in Jeddah by SOM, which came from the Bedouin tent
concept [7]. Other architects emphasized Islamic arches, nar-
row openings, patterned surfaces, courtyards, tent inspired
structures to represent the regional authenticity with enlight-
ened statehood. These are examples of foreign architects com-
missioned to design projects in Saudi Arabia due to the
absence of Saudi architects. However, the Saudi architects
have made different attempts to reflect the essence of Saudi
identity, making it a different phenomenon. It is essential to
emphasize the designer’s quality of inspiration, which leads
to a better product, instead of modifying and adding new com-
ponents that affect the source’s identity [8].
This study focuses on stadiums because they are architec-
tural achievements of design that can raise the senses, represent
A. Alzahrani
the essence of community, and becomes a city iconic sculpture
for a long time. Stadiums have been considered as architectural
masterworks and focal points in their surrounding cities. Sta-
diums provide a site for individuals with similar interests to
get together and share an experience based on these mutual
interests. In addition, stadiums offer economic and social
advantages to the surrounding community. They are a demon-
stration of innovations in technology and engineering that
have occurred over time. Arab countries started building foot-
ball stadiums during the twentieth century because they needed
spaces to show their identity and implement their agenda. In
addition, stadiums were ideal places for governments to incor-
porate their policies because football was rising among the
population, and it was an opportunity to incorporate their
control. [9].
The Ministry of Sports implemented five-year plans by pri-
oritizing the construction projects for sports club headquar-
ters. The King Fahd International Stadium in Riyadh was
part of the third five-year plan from 1980 to 1985. The project
was started on December 7, 1982, and the construction took
around four years. King Abdullah Sports City in Jeddah was
planned according to a similar ideology for integrating modern
and cultural architecture designs. The construction began in
2013 and was completed at the end of April 2014. After the
construction of King Abdullah Sports City Stadium, King
Abdullah moved forward to construct 11 more sports stadiums
with international standards. The plan was later revised due to
economic reasons (see Figs. 1–7).
2. Architectural identity
The architectural identity based on structural content is con-
sidered to achieve the study’s objectives. The concept of iden-
tity has various meanings and definitions in diverse disciplines.
The concept of identity is defined as biological, material, and
cultural signs that distinguish persons, groups, populations,
or cultures from others. [14] defines identity as a process that
may be linked to the path left by civilization as time passes.
The path is the culture or the identity of that civilization.
The author emphasized that identity could be fabricated due
to various factors involved. Therefore, the development of
identity emerges by talking about and analyzing different
problems in society. It was stated that ‘identity is not a self-
conscious thing’ [14]. The concept of architectural identity
can be seen as a particular architectural movement that is,
for example, reflected in a particular way during the construc-
tion of buildings, structures, and the social life related [15].
Fig. 1 Dhahran Airport designed by Minoru Yamasaki [10].
Understanding the role of architectural identity
Fig. 2 Royal State Palace in Jeddah by Kenzo Tange [11].
Fig. 3 King Faisal Foundation in Riyadh by Kenzo Tange [11].
Fig. 4 King Fahad International Stadium was designed by Ian
Fraser, John Roberts & Partners. (By the author).
Architecture is a part of identity and holds the massage,
characteristics, and notions attributed to society. It is depen-
dent on various aspects such as geography, traditions, man-
ners, history, and knowledge of society. Therefore,
architecture through the building’s façade, structures, and inte-
rior spaces are among the noticeable manifestations of culture
in each nation. Amos Rappaport stated that the identity of the
property did not change in different situations or properties
that had distinguishing and unique design elements [16]. Ideas
that represent cultural features are introduced in architecture
products, and these products define the architectural identity.
Factors such as design, knowledge, and beauty are produced
by a dynamic thought that generates a meaningful identity
for architecture [17]. It can be argued that motion, stability,
and change are different aspects of identity. Identity is a type
11717
Fig. 5 Riyadh Television Tower designed by Maurice Novarina
and Patrici Novarina-Adete [12].
Fig. 6 King Abdulaziz International-Airport-Hajj Terminal,
designed by SOM [13].
of evaluation that is concluded through experience over a long
period of time [18].
The modern architectural identity in the Arab countries
reflects an explicit influence of Western architecture. Various
big projects were awarded to these architecture firms. These
firms applied the architecture ideas in such countries with the
input from decision-makers regardless of local participation.
Therefore, the architectural identity here has been influenced
by the applied decision-making system that has enabled only
the elite to decide the architectural identity of the entire coun-
try [19].
The physical features such as form, size, shape, decoration,
construction system, or specific activities or practices in the
environment or its function are not changed much worldwide
[20]. However, visual attributes that can express a building are
the components of architectural identity to give distinctive fea-
tures. These features can be read and explored through various
11718
Fig. 7 The case studies location within Saudi Arabia.
approaches, including architectural elements, the structural
system, function, building materials, aesthetics, and the mold-
ing and decorative elements used. Architectural identity is a
quality that shows the reality of the essence in architectural
structures [21].
A study by Torabi and Brahman [17] showed that seven
factors could shape the identity of architecture. These factors
are the shape and form of building, design principles, materi-
als, relationship with the context, temporal organization,
semantic organization, and spatial organization. In addition,
some factors directly impact the formation of architectural
identity. These factors include the advancement and technol-
ogy used in materials, functional factors include spatial fea-
tures and behavioral patterns, and cultural factors include
sustainable patterns, innovation, and creativity [22]. Finally,
a study by Mahdavinejad and Saadatjoo [23] presented some
of the efforts to achieve the identity structure in contemporary
architecture in Saudi Arabia. The study identified and ana-
lyzed the relationship between the Islamic identity and contem-
porary architecture in Saudi Arabia through essential
architectural characteristics and physical concepts. These attri-
butes are structural design ideas, building technology and
materials, and relationship with the surrounding.
2.1. The role of the design concept in forming contemporary
identity:
Understanding the identity created and reflected through
buildings is required to understand how people can derive this
identity. It must be known how the designer thinks and how
the design process is planned to send the message for the
essence of identity. Thus, the creation and imagination of
design ideas in the mind of architecture are the essential
cornerstones to understanding identity. The designer’s mind
can imagine and pinpoint the identity of historic buildings in
the past [24]. The designer’s ability to realize the common iden-
tity elements in a specific area allows him to materialize his
A. Alzahrani
ideas and present them in a contemporary form through the
digital design process [25].
Ideas are presented using new and improved materials and
a modern structural style capable of presenting the building
with a contemporary identity. The concept is a structural
design through which the lines and surfaces that define the
building’s overall form, space, and atmosphere can be under-
stood. The concept enables the abstract language of the con-
cept to achieve the tangible medium of architecture [26]. The
basic idea or concept of design is a reflection formed in the
designer’s mind to face design problems and provide alterna-
tives [27]. Different design needs define a particular idea, and
therefore the theme directly influences the formation of the
design.
Therefore, the designers are trying to enhance the interac-
tion of the buildings with the surrounding environment to have
physical architectural integration for expressing the contempo-
rary identity effectively. The following physical criteria will be
selected for the buildings to analyze contemporary architecture
and the extent of the architect’s success in presenting a contem-
porary architectural identity through the understanding and
awareness of these buildings [28]. For example, SOM design
solution in their project of the Hajj Terminal in King Abdu-
laziz International Airport introduced a tensile structure to
deliver an Islamic spiritual concept of white tents similar to
those pilgrims stayed in during Hajj time [29]. The designer’s
idea seems to replicate the pilgrim’s Ihram clothing which
becomes deservingly admired as a design that bridges modern
technology with Islamic and local culture through architecture.
In the case of Saudi Arabia, where the government supports
institute projects, early projects in terms of their idea and con-
cept were influenced by the culture, and architects were led
based on the manifestation of Islamic identity and originality.
The degree of realization of contemporary Islamic identity and
content in the works of architects depends on three issues: the
quality of the architect’s perception of the truth of the universe
and the levels of existence and human population, adopting
appropriate methods and styles to create inspiring work and
finally his talent, experience, and creativity in providing an
appropriate concept to community’s understanding and per-
ception [23]. Depending on the quality of these three, the ratio
and the degree of realization of Islamic identity in the architec-
tural works will be variable. The simple formal impression of
traditional patterns without regard to Islamic concepts and
theoretical foundations is not valuable and will lead to anony-
mous works. Thus, the lack of theoretical foundations arises.
It can be said that having a common culture, beliefs, and con-
victions paves the way for forming standard theoretical
foundations.
2.2. The shape and form
The work of art is considered a collective mixture of content
and form [17]. The work of art is composed of shapes, colors
or space, and figures [30]. In aesthetics, shape or form is the
sensory and explicit representation of an object, and it is this
expression that is exposed to judgment. Architecture can be
imagined in various forms and ways [31]. Therefore, shape
and form are the way to cite the designer’s concept and idea
[27]. The visible appearance is the most important and imme-
diate way to construct an impression of the built environment
Understanding the role of architectural identity
[27]. The ideal form has size, measure, proportions, and har-
mony found in nature [32]. The form is an intellectual concept
that needs elements such as lines which can create forms
regardless of the shape or form [17]. In modern architecture,
clear and simple shapes have been the norm, whereas signifi-
cant forms have taken center stage in post-modern architec-
ture. [33]. Therefore, it is essential to choose a consistent
form with the culture. The language of form has been pro-
duced over a long period of development. Having a valid for-
mal language of form and shape ensures the success and
sustainability of a culture. Formal language is a collection of
ideas generated from visual indicators of a specific culture.
Rapid changes in the form of language led to poor culture
[34]. The building form symbolizes the community’s cultural
concepts within that community [35]. Forcing the foreign ele-
ments into a different community and being rejected in cultural
adaptation creates a product with no identity. Consequently,
the architect or designer cannot design the building form and
make logical connections with the audience [36].
The case studies are divided and defined based on the types
of structural systems used in the stadiums: tent structures and
cable and shell structures. Variety and differences in the shape
and form of architectural space are formed due to differences
in the history and culture of society, the spirit of the artist and
designer, production tools and economic infrastructure, con-
struction, and technology system, and land and climate [23].
Exposing forms based on profound theoretical and perceptual
foundations of Islamic or cultural concepts can help manifest
and preserve works’ identity. Although the mere formal imita-
tion of patterns helps create spatial and formal readability. In
harmony with the principles of the community culture, the
revival of identity will be achieved only through the simultane-
ous use of patterns and concepts and mastery of theoretical
foundations.
2.3. The construction technology
Building technology and construction methods were devel-
oped after the oil boom of the mid-1970s in Saudi Arabia
[37]. Architecture depends on local materials when construct-
ing a building using local materials and workers and the nec-
essary needs for families. However, after the booming oil
period in Saudi Arabia and neighboring countries, architec-
ture shifted to new high-quality construction technology
methods and materials made by foreign architectural firms
[38]. During the 1980s, Saudi Arabia was at the peak of
the construction boom by foreign architects, where public
buildings and spaces and residential and commercial build-
ings were constructed with a lack of identity in the local area
[1]. However, a project such as Imam Turki Bin Abdullah
Grand Mosque in the heart of Riyadh attempted to adapt
the traditional morphological pattern and architectural char-
acter of its local environment through its urban planning,
design, and construction technology used to establish a new
identity of its local environment. In his study, Saleh [39]
asserted that the resulting architecture and planning are
strong evidence of the successful collaboration between public
sectors as decision-makers and professionals. The massing of
the buildings and the articulation of spaces and courtyards
suggest a traditional character, even though the construction
technology, materials, and the design of the buildings are
11719
entirely modern [39]. Construction technology goes hand in
hand with architecture in creating and organizing space and
provides the necessities for this purpose. Construction tech-
nology in developing countries can show the possibility of
using their achievements in all areas, including architecture
[40]. Buildings of the last two decades with advanced struc-
tural and technological systems manifest these possibilities.
In the case of stadiums, government leaders pushed through
massive programs of the new and high-quality construction
technology to have these stadiums as a new, modern national
identity at ease with the economic and cultural forces of glob-
alization [41]. The technology generates new forms and new
materials and constructions and introduces a modern archi-
tectural style based on these new forms [42].
2.4. The building materials as a path to contemporary
architecture
The physical role of building materials involves three utili-
ties: structural, finishing, or complementary. Building mate-
rials can undertake more than one role across all the
design levels, whether interior design, architectural design,
landscape, and urban design. Building materials are consid-
ered a critical factor in understanding the built environment.
Many features are associated with it, such as softness, hard-
ness, durability, and flexibility, witnessed through touching
or seeing materials [43]. Each material has its unique prop-
erties, making it hard to imagine the Eiffel tower in bricks.
The essential role of building materials in architecture
requires no justification to emphasize its importance. The
materials used in the architecture of different historical peri-
ods show a part of these times’ values and culture [44]. For
instance, wood and bricks show the belief in world human-
ity in the community.
On the other hand, resilient materials such as stones used in
fortresses are considered the symbolic value of stability and
strength. Building materials are used to provide shelter from
the surrounding environment or the creation of spaces and
to deliver concepts through symbolic values and meaning
[45]. Using traditional materials [17] or new and sophisticated
materials in a present building purity gives property to archi-
tectural space, which helps users understand the identity of
architecture [46].
The materials used in the body of buildings reflect the gov-
ernment’s modernity while keeping the traditional image.
Thus, while architects are tools in the physical embodiment
of mental ideas, building materials can well represent the
achievements and technologies of their time [47]. The study
of [26] indicates that the identity and the role of the designer
interpretation according to the architecture process. Commu-
nication is a vital part of the designer’s duty, and he or she
is responsible for creating the architecture’s identity on two
different levels as a material, and as a shape and idea. How-
ever, the choice of materials relies on several parameters and
factors. For example, improving building materials and struc-
tural materials leads to more accessible and cheaper construc-
tion of stadium roofs and becomes an integral part of the
stadiums[48]. The most important of which are compatible
with design and style, economic conditions of the project, per-
sonal views and choices of the architect and client, and climatic
conditions.
11720
2.5. Relationship with the surrounding
How the building as a physical component relates to the sur-
rounding environment is another feature that can be concen-
trated on to reach significant differences between buildings.
Therefore, the urban environment is essential to understanding
the architectural space. Attention should be made to the archi-
tectural design’s context and exposure to the surroundings.
According to the study by [17], buildings interact with their
surrounding environment in three ways: integration with nat-
ure, conflict in a relationship with the environment, and oppo-
sition to the surrounding. Being integrated with the
environment occurs when the changes are slightly occurred
in the context of the urban environment to situate the architec-
tural buildings, which is a congenial relationship. When a
building’s shape and form can be distinguished from its con-
text, this relationship is called the conflicted relationship.
Lastly, the opposition relationship occurs when the building
is located in opposition to the surrounding environment.
Another study by [23] indicates the relationship between build-
ings and the environment in three ways: homogeneous, con-
trasting, and unconcerned. Homogeneity between building
and environment means that what is built in terms of form,
technique, and material must be responsive to the language
of the urban environment. On the other hand, the ambiguity
between the building and the urban environment means that
what is made intentionally separates the building from the
urban environment and shows itself as something else. Many
modern buildings show a kind of unconcerned or conflict
between the design of the building and the surrounding mor-
phology and geometry of the building is a critical factor that
generates this ambiguity.
3. Purpose of study and research methodology
The case study approach was chosen as a viable tool for gath-
ering the qualitative and quantitative data necessary for this
study [49]. This study aims to understand contemporary archi-
tecture in Saudi Arabia by analyzing different aspects. The
main points of this study are to understand the relationship
between landscape and architecture as it enhances the interac-
tion of viewers and the surrounding environment, to under-
stand the incorporation of traditional design and materials in
modern architecture and environment, the use of historical
design features to enhance the architectural appearances of
modern designs. The case studies were selected following an
in-depth review of many international stadiums in Saudi Ara-
bia. The methodology is designed to answer the relationship
between urban context and architecture. Factors that are con-
sidered for the methodology and analysis are historical aspects,
cultural continuity, urban identity, the local image of the place,
geographic site, material used in construction, the relationship
of design with the surrounding, and design characteristics for
physical appearances. The two cases adopted for this study
met the following criteria:
(1) They are both international stadiums, which allowed the
researcher to examine the impact of the stadium within its con-
text; (2) the size of each stadium is large enough to have a prac-
tical impact on the identity of the surrounding urban
environment; (3) both stadiums were built during different
time; (4) both cases reflect the importance of government-
A. Alzahrani
driven forces and designed by the well-known international
firm; (5) the cases take different approaches to develop the ico-
nic architecture; and (6) both cases represent trends that can be
identified in the contemporary architecture in Saudi Arabia.
The approach and methodology are adopted based on exten-
sive surveys related to architectural landscape and forms.
Both cases must be similar in terms of their design aspects
and must be developed around cultural representation in terms
of their appearance. Also, both cases should have focused on
improving the surrounding areas’ physical conditions. The
case study selection was carried out in two stages. First, the
researcher identified four potential stadiums, which were nar-
rowed down to two to ensure a range of stadiums were consid-
ered. (Table 1). As previously stated, they were chosen because
they are the international stadium, represent local architecture,
and were built at different times by well-known designers
(Fig. 8 and Fig. 9). Moreover, they are in well-known cities
of Saudi Arabia (Riyadh and Jeddah) for their richness of ico-
nic buildings. King Fahd International Stadium (KFIS) and
King Abdullah Sports City Stadium (KASCS) both reflect
the iconic architecture of Saudi Arabia.
Research methods included surveys. Over two months, 397
surveys were collected for the two case studies combined. The
primary participants were users, academic staff, and architects
from both government and private sectors. All participants
were asked to answer an online survey of five to eight minutes
in length, and 10 participants were invited to spend 30 min
engaging in face-to-face structured interviews.
The survey consisted of five main areas: design concept, the
construction technology, the shape and form, the materials
used, and the relationship with the surrounding. In addition,
12 in-depth structured interviews with experts followed this
to enlighten what the public sees and understands about the
architectural product. The structured interviews were con-
structed to understand the relationship between what goes in
the minds of architects about their design to achieve the iden-
tity and the architectural product. In addition, the structured
interview assisted in examining the role of the government
forces that led architects to produce such a design and the
way of the shape and form of the urban environment.
Table 1 Selected case studies for stage two and their
characteristics.
King Fahd International King Abdullah Sports
Stadium City Stadium
Location Riyadh, Saudi Arabia Jeddah, Saudi Arabia
Usage Grass Football Field, Stadium Facilities,
Players Building, Indoor Sports Hall and
Athletics Track, Terraces, Athletics Track, Outdoor
and audiences’ seats that Sports Facilities & Grand
include: Plaza and Masjid.
a. Seats for people with
disabilities
b. Tickets counters
Designer Ian Fraser, John Roberts Arup Associates
& Partners International
Area/Size 500,000 m2/70,400 2.8 klm2/60,241
spectators spectators
Completed 1988 2014
Understanding the role of architectural identity
Fig. 8 An aerial view of KFIS shows the tensile structure used in
the project.
The quantitative and qualitative data collected were ana-
lyzed separately. In this respect, the quantitative data were
analyzed to support the outcomes of the collected data from
the architects’ point of view and the message they want to deli-
ver via their design. Analysis of both case studies includes five
physical appearance factors mentioned earlier. Besides, ten
people were interviewed in the qualitative part. Therefore,
qualitative and quantitative data are categorized into five
themes in comparison methods to compare the trends in archi-
tecture design during multiple periods of history. Therefore,
the result should lead the study to the concept of contempo-
rary architecture identity and its reflection in the local context.
4. Integration of traditional and modern architecture: case
studies
Saudi Arabia’s dominant sporting stadiums are an embodi-
ment of engineering expertise and innovation. They push the
Fig. 9 An aerial view of KASCS adapted from [50].
11721
limits of capacity and integration of traditional concepts with-
out compromising the aesthetic aspect. The arguments and
declarations by the contract stakeholders that delivered on
the construction aspects shed light. Bergermann [51] states that
KFIS in Riyadh protects ‘‘the 64,000 spectators from the sun
and heat and create a pleasant and cozy atmosphere in the
giant athletics and soccer stadium” [51]. The organization per-
ceived the venue as massive and aesthetically pleasing. The
KASCS in Jeddah combines traditional Islamic architecture
and contemporary innovation. According to ARUP [52], the
stadium has 60,000 seats, is the largest in the country, and ‘‘en-
ables the country to host events such as the AFC Asian Cup”
[52]. Besides the stadium, the structure includes other facilities.
ARUP [52]notes that ‘‘there is a 10,000-seat indoor multipur-
pose sports hall, a 1,000-seat outdoor athletics stadium, and
track, as well as three football pitches, four five-a-side football
pitches, six tennis courts, and warm-up facilities for athletics”
[52]. Saudi stadiums play a role in the identity of contemporary
architecture in Saudi Arabia by referring to shared design con-
cepts, construction technologies, shapes and forms, materials,
and relationships with the surroundings.
5. Analysis and discussion
The data analysis demonstrates the architect’s opinion and
what they tried to achieve through their design. Then the data
conducted from the survey will be analyzed to see how the
public understands the architect’s work. Finally, in-depth
interviews with experts will be analyzed to get more insight
into their views and evaluate both case studies through the five
themes described earlier.
As an approach via the online network, Snowballs used to
obtain more in-depth information related to the public point
of view and their understanding of the architect’s design pro-
duct [53]. The survey reached 438 participants who completed
11722
and submitted the survey. As shown in Table 2, the participant
demographics showed that 397 (90.68%) out of 438 respon-
dents were males and 41 (9.32%) females. The median age of
respondents was between 25 and 34 years. Most of the partic-
ipants were Saudi nationals (395, 90.32%), with only 43
(9.68%) reported as non-Saudis. More than half of the partic-
ipants were undergraduates (248, 56.3%). There are (84.23%)
of the participants are practitioners in architecture and urban-
ism. The location distribution showed (19%) participants from
Riyadh, (31.18%) from Jeddah, and (49.82%) from other cities
than Riyadh and Jeddah.
5.1. The design concepts
KFIS was an architectural model of its time. It adopted an
aggressive construction design with adverse reliance on geom-
etry. According to Bergermann [51], KFIS consists of white
tents placed side-by-side to form a circular-shaped flower
design. The tents define the roof structure of the stadium.
The KASCS adopts a complementary approach to geometry.
ARUP [52]argues that the ‘‘architects have used geometric pat-
terns that form a rich part of that Islamic culture to help define
the form of the stadium itself” [52]. The design marries tradi-
tional and modern concepts to produce a relevant structure
to historical and contemporary Saudi Arabia. ARUP [52]
explains that ‘‘they also drew on the traditions of the Mashra-
biya screen, those openwork screens that provide privacy and
keep out the sun, while still permitting ventilation, for the sides
of the stadium” [52]. The design provided cultural and techni-
cal solutions for protecting the heritage and ventilating the
venue. The plan was crucial in an environment where the cli-
mate is hot; the screens provide shade and ventilation. Accord-
ing to ARUP [52], the architect considered orthogonal and
rounded layouts from the lower upwards. The design approach
improves the sightlines and allows for exceptional ventilation
through the divergent seasons of the region. The design solu-
tion creates intimate sightlines at the bottom of the bowl with-
out compromising the top level’s experience or functionality.
Most participants preferred the design concept of KASCS.
The data of the case of KASCS shows that 68.86% of partic-
ipants who were asked to rate the design of the stadium agree
with the excellent design concept, whereas 43% of participants
Table 2 Respondent demographics.
Age % Gender % Location of participants
18–24 12.86% Male 90.68%
25–34 33.21%
35–44 30.00%
45–54 08.57%
55–64 09.64% Female 09.32%
+65 5.71%
Education level % Related to the field
Below High School 01.07% Yes
High school 06.07%
Diploma 02.14%
Undergraduate 56.79%
Postgraduate 33.93% No
A. Alzahrani
believe that KFIS has an excellent design concept. Experts
believe that the design of KFIS is modern and, at the same
time, achieves authenticity through the local identity repre-
sented in the symbolism of the tents. According to EXP 2,
‘‘the designer was able to appropriately integrate the features
of the original Arab tents with the modern structural and
architectural systems.” EXP4 thinks that KFIS design ‘‘made
it one of the contemporary architectural icons in Saudi Arabia.
There is strength and grace in his explicit use of the symbolism
of the tent and the employment of this using modern building
materials and systems (tensile structure) tensile systems that
suit the nature of such constructions that require providing
shade and cover in an external atmosphere commensurate with
the local environment”. On the other hands, some experts as
EXP12 believe that KASCS design concept is ‘‘a trendy con-
temporary design that can be seen in any country in the world.
However, there is nothing special about it to be a formation
related to the current geographical area”. Moreover, experts
think the design lacks originality, which the designer did not
seek to achieve strongly. Perhaps the role played by govern-
ment officials in such projects varies in terms of enhancing this
aspect.
From both data conducted here, it can be evident that the
participants admired KASCS concept design more than KFIS
when asked in a general way. On the other hand, experts elab-
orate their opinions about the design concept’s role in deliver-
ing identity through the design. For example, it might be that
the government representative’s role as a client plays an effec-
tive role in the case of KFIS. In contrast, the role in the case of
KASCS was shifted toward high-tech projects rather than
maintaining the architectural identity. That can be seen at
the beginning of the state’s projects. There was a strong inter-
est in all the government’s projects to have a symbolic and
architectural identity to represent the architecture of Saudi
Arabia. However, the focus on such matters has decreased
with the spread of the massive number of government projects
and building materials and construction methods. As a result,
this topic has become mere jurisprudence from the designer.
The survey extended its questions about the design in a
more profound way to seek a better understanding from the
public. However, the result shows that the public agrees that
the KFIS design concept is derived from local architecture
%
Riyadh 24.50%
Jeddah 42.70%
Other 32.80%
% Nationality %
84.23% Saudi 90.32%
15.77% Non-Saudi 09.68%
Understanding the role of architectural identity 11723

(43.50%). Both cases were manifested clearly, and the case of

the KFIS design concept displays a high level of innovation in
employing local architecture characteristics (41%). Partici-
pants agree that KFIS delivers functional solutions and man-
ifests the local identity at the exact times (42%). Even
though KFIS was built in 1988, participants agree that KFIS
design concepts use environmentally responsive catachrestic
(46.50) more than KASCS completed in 2014. Experts agree
that KFIS was a successful attempt by the government insti-
tute concerned with the project to confirm the local identity
not to be preserved. EXP1 believes that this project ‘‘was not
an attempt to preserve the local architecture but to introduce Fig. 11 KFIS consists of white tents placed side-by-side to form
a new method of keeping the local identity with the contempo- a circular-shaped flower design.
rary design. Conservation is carried out through regulation
and legislation to preserve existing buildings from extinction
and encourage the implementation of projects that draw inspi-
ration from the features and components of the local tradi-
tional trend in a contemporary way, such as what is
happening now in the Diriyah project”. According to EXP 4,
the KASCS concept might preserve the identity of local archi-
tecture through the design, but at a lower level than KFIS, as
its economic and pioneering identity is present in this project
as to architectural philosophy. Therefore, rooting the local
identity in KASCS is not a definitive mentality but rather a
controversial topic among the general public and philosophical
specialists (see Figs. 10–13). Fig. 12 The design of KASCS provided cultural and technical
From the data analyzed, all participants show their interest solutions for protecting the heritage and ventilating the venue.
in both cases equally to some point. They agree that the gov-
ernment institute attempts to preserve local architecture’s iden-
tity through both designs. In the KFIS, the design shows how The Mashrabiya may be in some detail as small elements that
the architect maximizes the simple tent’s mass and shape and make up the overall shape of the stadium. It might make the
transforms it into a vibrant mass with its giant shape and its visitor or passer-by associate it with the local architecture.
architectural, structural, and visual harnesses. The design has
memorized the message that the Arab tents are authentic 5.2. The shape and form
architecture and a piece of heritage and contemporary art that
has been achieved and renewed. While the design is still mod- The stadiums are circular and integrate other geometrical
ern in the case of KASCS, the architect attempts to embody forms to accomplish aesthetics and functional success. Berger-
the originality in the facades derived from the Mashrabiya. mann [51] description of the KFIS is that; ‘‘the roof is divided

Fig. 10 The design concept rate.

11724 A. Alzahrani

Fig. 13 Design concept assessment.

Understanding the role of architectural identity
into a total of 24 identical elements, each with a 58 m high
mast, equally distributed over a circle 246 m in diameter and
secured with an inner 134 m ring cable at the height of approx-
imately 33 m above the playing field” [51]. The shapes and
forms are produced on a monumental scale.
Similarly, The KASCS utilizes geometrical shapes and
forms. Circular and triangular elements are visible. According
to ARUP [52], the structure constitutes indoor and outdoor
facilities; the indoor facility has a capacity of 10,000, while
the shaded outdoor stand seats 21,000 people. The indoors
can be reconfigured to support various activities, including
training and international competition. The shaded section is
ideal for watching outdoor athletics and doubles as an exten-
sion of the tented form. ARUP [52] reports that ‘‘the roof is
formed from cantilevered trusses, creating a series of isosceles
triangles references to the tessellation of traditional Islamic
designs” [52]. The design provides functional value. ARUP
[52] explains that the form includes wrapped facades and a
roof structure, providing a deliberate evocation of traditional
tents synonymous with Arabic culture. The shapes emphasize
Islamic design and Arabic cultural elements.
Most participants agree that KASCS is excellent regarding
the stadium’s shape and form (57.49%), while only 48.22%
agree that KFIS has a good shape and form. However, the
exterior design plays an essential role in conveying the local
architecture in the case of KFIS (42.13%). Most participants
agree that the architectural elements used in the exterior design
of KFIS express the local identity (44.95%). Moreover,
KASCS exterior design bears a great sense of proportion
(46.11%). Overall, the exterior design of KFIS is simple
(47.72%). Experts emphasize the symbolism of the tent used
to form KFIS, which is two successful attempts to express
the authentic local character in a sophisticated and contempo-
rary way of construction (see Figs. 14–16). The technique of
assembling the unit or one cell (the tent) to form the block is
a model for simplicity informing or containing the circular
projection. EXP 5 states that creativity in maximizing the mass
and shape of the simple tent and transforming it into a vibrant
mass with its giant form and architectural, structural, and
Fig. 14 The shape and form rate.
11725
visual utilizes is considered a success for the architect to
achieve the identity of the vernacular architecture. The experts
were unsure about the use of Mashrabiya in the case of
KASCS. Some express the architect’s role in delivering this ele-
ment, and others do not see what the architect is trying to
achieve by implying the aspect. EXP 7 represents the symbol-
ism of Mashrabiya, where it has been used to ‘‘define the shape
of the stadium, and it forms a rich part of the local culture. The
Mashrabiya is also considered, with open screens that provide
privacy and protection from the harsh climatic factors of Jed-
dah _hot climate most of the year_ providing shade from the
sun while allowing ventilation. It is an essential and distinctive
cultural and technical solution in this project”. EXP 10 says,
‘‘the Roshan or Mashrabiya was used in the outer casing to
link with the local architecture to reduce the sun’s rays. Still,
this solution was not practical, mainly as it limited the wind
movement flow to the inside. The outer casing was reduced
to achieve thermal comfort”. EXP 3 expresses that the symbol-
ism of the Mashrabiya was weak because the other elements in
KASCS did not support the idea that the designer tried to con-
vey to the recipients. ‘‘The use of jewel in its symbolism may
have been reinforced, especially in the evening, through the
lighting that was added to the project from the outside. It
was installed in a very appropriate way to support the idea
of the radiant jewel.”
From the data analyzed, participants show their apprecia-
tion toward KFIS due to using the cultural element and
designing it in a harmonic shape and form. The symbolism
of the tent in the design of KFIS is creative. The designer
has agreed because the tent is linked to Arab heritage and cul-
ture. The local community’s relationship with the tent and its
uses is still unchanged despite contemporary life. The simplic-
ity of the idea came to reflect compatible proportions and
dimensions as if it came in balance with its ratio.
5.3. The construction technology
As Saudi Arabian architectural tradition and future elements,
stadium construction technologies emphasize diversity and
11726
Fig. 15 The shapes and forms of KFIS are produced on a monumental scale.
innovation. The KFIS’s construction technology explores
radial cables, masts, and looped cables. Bergermann [51]
reports that ‘‘deviative forces are transferred outwards via
upper and lower radial cables that are not connected. Instead
of being linked via a compression ring, they are anchored via
vertical and slanting masts and cables, which naturally require
elaborate foundations” [51]. The emerging structure uniquely
integrates one sealed ring cable. The inner ring cable is entirely
sealed, while the outer sections are anchored using vertical
wires.
In contrast, The KASCS integrates the Mashrabiya screen
construction technology. According to ARUP [52], cladding
provides ventilation. The screen supports circulation by
enhancing the inflow of cold air from the bottom and warm
air outflow. The movement improves the atmosphere for indi-
viduals using the stadium. According to ARUP [52], planning
ensures that an increased number of matches occur at night
when the decorative aspects of light can be enjoyed. The con-
struction technology anticipates the limitations of the Saudi
environment. The construction projects appreciate technologi-
cal advancement without compromising on diversity and sus-
tainable traditions.
Most participants rate KASCS as an excellent stadium
structure and building technology. 53.29% of participants
agree that KASCS is more excellent than KFIS, and that
can be understood because of the time frame between the con-
struction being completed between the two stadiums. There are
26 years between the two stadiums. However, participants
agree that KFIS facilitates local architectural characteristics
in the design structure and building technology used in the sta-
dium (938.58%). Also, participants think that the structure
and building technology used in KFIS are straightforward
and uncomplicated (46.46%) (see Figs. 17–19). According to
EXP 12, it is not necessarily the construction process that must
touch the local architecture. ‘‘But in the case of KFIS, there is
a link between the methods of constructing the traditional tent
and the stadium through the iron cable and the columns visible
to the viewer.” EXP 11 states that ‘‘the designer could translate
A. Alzahrani
the construction method in a contemporary way using innova-
tive architectural elements, but he expresses the local architec-
ture simply and clearly through the effective employment of
the construction elements.”
On the other hand, the KASCS construction methodology
is not related to the local architecture but the government’s
attempt to be more open to innovation and creativity in the
stadium, as EXP 6 emphasizes. The architect does not reflect
the local materials and building construction even in a sym-
bolic way. The only attempt was to imitate the Mashrabiya,
but the silver color prevented the idea from reaching a solid
point. EXP 4 states that stadiums are not related to the Arab
culture from the beginning. He says that ‘‘I do not think for
sure that we have in our architectural heritage a legacy that
is based on planning or urban planning in such projects. How-
ever, such projects are considered alien to our society, unlike
other cultures with theatres and squares, which were part of
their urban cultural components, such as Roman and Greek
theatres and arenas. However, there is an attempt by the
designer in some architectural elements to trace their roots to
the Mashrabiya and put it in a somewhat innovative way”.
From the data analyzed, the architect of KFIS uses con-
struction technology to emphasize the local architectural iden-
tity. Nevertheless, the structural method may sometimes
express local architecture and sometimes not because construc-
tivist thinking is not necessarily the only way to achieve local
architectural identity. However, many building construction
methods help achieve local identity in modern and advanced
practices.
5.4. The materials used in the stadiums
The stadiums used similar construction materials. Bergermann
[51] explains that the KFIS roof surface, which exceeds 30,000
sqm, mimics a pure membrane but consists of poles and cables.
The secondary structures are made from a PTFE-coated fiber-
glass layer. The fiberglass membrane is reinforced with edge
cables [51]. The later stadium explored synthetic materials.
Understanding the role of architectural identity 11727

Fig. 16 The shape and form assessment.

11728
Fig. 17 The construction technology rate.
ARUP [52] describes the materials of the KASCS to include
PTFE insertions. ARUP [52] enhances aesthetics and function;
the insertions make the stadium unique. The structure’s
faceted geometry and formalist setting interact with the harsh
environment to create the impression of a jewel. PTFE
emerged as the widely used material in Saudi Arabia’s stadium
construction.
Participants agree that KFIS has excellent use of materials
(41.33%) while KASCS has 40.12 %. They agree that the con-
struction materials used in the KFIS are reliable (42.13%).
Also, they agree that the construction materials used in this
stadium are highly flexible (41.33). The same stadium got
45.18% when participants were asked about the ability of
the stadium to serve both functions and being an environmen-
tally responsive design (45.18%) (see Figs. 20 and 21). The
data shows that KFIS (45.41%) is way better than KASCS
(25.75%) in terms of the construction materials used in the sta-
dium that help understand the local architecture. Experts have
almost the same view. EXP 1 states, ‘‘the materials used are
modern, especially the material used to shape tent symbolism,
similar to fabric. In addition, as I mentioned earlier, the iron
cords that the architect used to tighten and shape the fabric
are modern materials. In addition, steel pillars and pillars were
instrumental in the architecture of the mass.” EXP 4 expresses
the same view when he states, ‘‘Regarding building materials, I
return to the dominant and dominant system here, which is
tension systems. This project has provided an opportunity to
consolidate the diverse local identity. I mean here (the Bedouin
tent) and presented it through its capabilities in this project
and later in several projects, as I mentioned previously. It
was launched to small and varied applications so that you
hardly find a public garden, house, or courtyard unless he
was given options to use tension systems that develop creativ-
ity.” In the case of KASCS, experts expressed the modern
approach that the architect wants to achieve. EXP 9 says that
‘‘the building materials used are good and are compatible with
modern construction techniques. So, yes, a good model was
presented for the contemporary local identity by trying to
A. Alzahrani
simulate the Hijazi Mashrabiya. Although the exact details
do not suggest a form, the concept was served and expressed.”
From the data analyzed, KFIS has the essential element:
the outdoor cover of the stadium and canvas, and it is an envi-
ronmentally friendly solution that keeps in mind the introduc-
tion of contemporary architecture in its local environment. In
the case of KASCS, the building materials used in the stadium
are contemporary and commonly used in international sta-
dium design. Therefore, there is no local link in its context.
5.5. Relationship with the surrounding
The stadiums emphasize the superiority of nature and a desire
to integrate through deliberate design decisions. Bergermann
[51] notes that KFIS ‘‘tells the vastness of the desert, the
power, and beauty of physical laws, and are reminiscent of
Bedouin tents” [51]. The KFIS emphasizes the role of Bedouin
tradition, the physical laws of nature, and the influence of the
desert as determinate forces informing architectural actions.
Similarly, The KASCS responds to the region’s geology and
climate. According to ARUP [52], the architectural work rec-
ognizes the region’s religious heritage. The centrality of Saudi
as a cradle for Islam is appreciated in the design concept.
ARUP [52] states that ‘‘the designers wanted to provide as
much shade as possible to spectators, but not to shade the
grass, so they used ‘‘Bermuda” type – the best grass to survive
in the hot, arid conditions” [52]. The structure’s interaction
with the surroundings exceeds the functional possibilities of
refined ventilation. The stakeholders preferred indigenous
scrub over the initial design integration of lush vegetation
requiring irrigation. The desert landscape mimics the natural
environment with minimal maintenance for the arid adapta-
tion. ARUP [52] reports that the original selection of lush
plants is retained ‘‘along the royal route and around the pri-
mary parking spaces” [52]. The most visible sections are deco-
rated with more demanding vegetation. The stadiums
emphasize harmony with nature.
Understanding the role of architectural identity
Fig. 18 The construction technology assessment.
Both stadiums have a good relationship with their sur-
rounding environment. KFIS has 34.50%, and KASCS has
32.93% integrating into the local site. Participants agree that
KASCS (34.13%) responds to its surrounding environment
almost similar to KFIS (33.16%). However, KFIS is much bet-
ter at responding to the urban environment and creating local
identity (38.27%). Whereas KASCS has a conflict when repre-
senting the form of the local urban environment (25.75%).
Experts point out the lack of planning in terms of land division
(see Figs. 22–25). EXP 2 expresses how ‘‘the grid fabric of
Saudi cities, the shortcomings in the division and land use sys-
tems, the absence of environmental design systems, and the
absence of integrated urban design practices in Saudi munici-
pal development force the designer of KFIS to neglect the sur-
rounding context.” Another point of view by EXP 10 was
introduced here to express how KFIS is harmonious with its
surrounding area due to the presence of the stadium in small,
11729
populated areas and the presence of vacant lands around the
stadium.
Furthermore, he thinks that ‘‘palm trees scattered around
the stadium gave the impression that the stadium was a tent
inhabited by the local people.” Experts stress that KACSCS
has a weak relationship with its site in similar cases. For exam-
ple, EXP 3 states that ‘‘the stadium’s presence in this area
north of the city is not harmonious with its surroundings
and is considered a landmark capable of attracting develop-
ment around it. However, there is a negative impact on several
nearby neighborhoods. In contrast, the stadium hosts match,
which usually causes traffic congestion that may delay the
development of some surrounding areas due to these problems
that the neighborhoods near the stadium suffer from.” Also,
EXP 10 notices that ‘‘the relationship in KASCS is mainly
unconcerned. I see that this difference with the surrounding
is noticeable. A large asphalt area surrounds the project for
11730
Fig. 19 The KASCS integrates the Mashrabiya screen construction technology.
Fig. 20 The materials used in the stadiums’ rate.
parking and an extensive network of roads to manage the
crowds, which prevented the integration of the stadium and
the mass in its composition with the surroundings. However,
through the lights, the stadium in the evening was thought to
act as a landmark to watch from the outside while driving
the vehicles.”
From the data analyzed, there is a connection between the
built and natural environments in the case of KFIS by seeing
the tents in the desert, which stand alone and distinct. The
architect wants to reflect the scene of the tent in the desert
and surrounded by palm trees, which he seceded there. KFIS
was designed to be in this illustration and deliver the message
of Arabs living in the desert as a part of their culture. In the
case of KASCS, the relationship to its contexts is ambiguous.
It is a temporary situational relationship in the evening
through events that glow. It becomes different from those
sights in the morning. The stadium has a changing relationship
A. Alzahrani
between stagnation and movement between morning and eve-
ning, between events and events, etc. Therefore, it achieves the
designer’s goal of presenting the stadium dynamic to its
surroundings.
6. Final analysis and score
A final analysis is carried out based on all these five different
aspects. The highest score of 5 is assigned to each factor,
and the data from survey is used for this scoring system. For
the survey results, the percentages of respondents’ answers
are used to calculate the final score for each stadium. Table 3
and Fig. 26 below show the results of the final scoring. Accord-
ing to the results of this scoring system, KFIS performed better
than KASCS when it comes to addressing architectural iden-
tity through these five aspects.
Understanding the role of architectural identity 11731

Fig. 21 The materials used in the stadiums’ assessment.

11732 A. Alzahrani

Fig. 22 Relationship with the surrounding rate.

Fig. 23 KFIS is harmonious with its surrounding area due to the presence of the stadium in small, populated areas and the presence of
vacant lands around the stadium.

7. Conclusion tial in obtaining original works; moreover, the lack of depth in

The design concepts of KFIS and The KASCS define contem-
porary architecture in Saudi Arabia. They illustrate a cultural
reliance on geometry and traditional ideology. The older sta-
dium exploits tent arrangements while the new considers
mashrabiya tradition. They are similar in applying geometry
and reinforcing the religious relevance of architectural pro-
jects. The structure of tents demonstrates geometric excellence,
which is elemental to Islamic culture. At the same time, the
mashrabiya adaptations in KASCS design relate to culture
and technical strategy. The source of inspiration is also essen-
understanding the heritage leads to superficial results and lacks
the original values found in the heritage. Furthermore, copying
heritage and adding new elements could reduce its value and
affect its identity over time. At the same time, balanced inspi-
ration can contribute to its sustainability and preserve its
dignity.
The ideas of both architects have generally shifted towards
post-modern and form-oriented architecture. Although foreign
architects have designed contemporary works with very differ-
ent cultures and backgrounds, the study shows that they need
contemporary Arab architects associated with government
Understanding the role of architectural identity
Fig. 24 KASCS has a conflict when representing the form of the local urban environment.
institutes to connect them with the past and use traditional
styles and cultural values. From the early years of their pres-
ence in Saudi Arabia, foreign architects emphasized the princi-
ples of Islamic architecture. Their orientalist methods make
them familiar with local and Islamic architecture features in
different regions. Also, they use a set of regulations, standards,
and, to a more uncomplicated degree, symbolic forms to create
a spatial and formal scene that is in harmony with the princi-
ples of the life of the public.
The stadiums employ contrasting strategies to address
common problems. The KFIS explores cables and masts,
while KASCS emphasizes screens and ventilation technolo-
gies. The masts and cables and the mashrabiya screens
approach allow circulation and mitigate the hot weather.
They create shade and ensure the in-flow of cold air at the
bottom and outflow of warm air at the top sections. They
support architectural diversity by emphasizing contrasting
perspectives. The construction technologies demonstrate
familiarity with regional concerns and provide viable solu-
tions. They set the stage and adapted innovative technologies
in the construction industry. The study shows that the use of
construction techniques in developed countries to show archi-
tecture following the culture and environment of the region
shows a rational approach to regionalism in this country.
In other words, construction technology is architects’ tool
in the region’s physical expression.
The stadiums explore shapes and forms relevant to Saudi
Arabian fancy and the space of Arabic culture alongside pop-
ular religion. KFIS adopts massive scale shapes and forms sim-
ilar to the KASCS construction. They achieve function and
aesthetics by emphasizing geometrical forms. The KASCS
facility integrates isosceles triangles relevant to the tradition
of Islamic design alongside wrapped facades. The construc-
tions advocate the adoption of culturally relatable shapes
and forms at an impressive scale. The study demonstrates
the success of contemporary architects in designing a building
model and establishing a logical relationship with the public.
The study shows that architects were more successful in creat-
ing forms and demonstrating local identity in modern architec-
ture, and communicating with the public rather than
conveying mental ideas. It proves the need for architects to
reflect on the cultural and theoretical roots of names and avoid
11733
merely the formal imitation of traditional styles to show local
identity in contemporary works.
The two stadiums used Teflon/PTFE material. KFIS roof
constituted masts and cables, while the KASCS emphasized
the Teflon insertions. Structures encourage the application of
fiberglass membranes and edge cables to save the Bedouin tra-
ditional construction. In addition, the materials are celebrated
for their ease in accomplishing geometric patterns and weather
the harsh environment. The use of modern materials with a
significant difference is more common than traditional ones.
However, the analysis shows a substantial relationship
between opinion and practice in materials, the appropriate
combination and use of traditional materials, new and techno-
logical achievements when possible, and maintaining the con-
struction quality to show local architecture’s identity and
authenticity. The use of traditional materials is highly recom-
mended in such projects due to its adaptation to the region’s
climatic conditions and its ability to distinguish traditional
forms better.
The stadiums emphasize that architecture should demon-
strate harmony with nature. The designs and construction sug-
gest that engineering is inferior to nature in power and
aesthetics. Experts enjoy the opportunity to harness the power
of nature through deliberate choices. The stadiums emphasize
the role of Saudi Arabian religious heritage in the development
of contemporary architecture. Ideal designs are defined to inte-
grate spiritual aspects and consider minor maintenance-
intensive concepts. For instance, indigenous vegetation is pre-
ferred for landscaping. Also, tradition is appreciated among
the elements of the environment. Architects put a lot of
emphasis on architecture in harmony with the context, but
designers’ focus on communicating with context is less evident
in their designs. The study shows the insignificance of correla-
tion, demonstrating no correlation between designers’ opinions
and practice in terms of relationship with the surrounding
environment. Based on the research results, designers can be
advised to use their maximum effort in creating harmony
and connection between the work and the surrounding envi-
ronment so that the visual conditions of the environment are
not disturbed. Emphasizing harmony with context and envi-
ronment will increase their success in achieving identity-
oriented and context-oriented work.
11734 A. Alzahrani

Fig. 25 Relationship with the surrounding assessment.

Understanding the role of architectural identity 11735

Table 3 The final scoring of KFIS and KASCS.

Stadiums Design concept Shape & form Construction technology Material used Relationship with surroundings Total
(Max score 5)
KFIS 4.01 4.11 4.18 3.82 3.20 3.86
KASCS 3.30 3.55 3.47 3.53 3.32 3.43

Fig. 26 KFIS is found to be better in architectural identity based on these five different aspects.

Declaration of Competing Interest [8] A. Alawad, A. Alsobahi, Authenticity and Contemporariness in

The authors declare that they have no known competing
financial interests or personal relationships that could have
appeared to influence the work reported in this paper.
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