INTERVIEW: World’s fastest-growing hotel chain comes to Saudi Arabia

Illustration by Luis Grañena
Updated 03 November 2019
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INTERVIEW: World’s fastest-growing hotel chain comes to Saudi Arabia

  • Oyo founder Ritesh Agarwal tells of his plans for the Kingdom — and how to ‘fix Fawlty’
  • The 25-year-old's story is one to inspire any youthful would-be entrepreneur

It is a long way from the lodging houses of northeast India to the opulence of the Ritz-Carlton in Riyadh, but Ritesh Agarwal has traveled that journey with panache.

The 25-year-old founder and CEO of Oyo Rooms, the fastest-growing hotels chain in the world, was in the splendor of the extravagant Riyadh hotel last week for the Future Investment Initiative (FII), and took time out from panels, presentations and bilaterals to talk to Arab News about his $10 billion business — and how it sees Saudi Arabia as a crucial part of his future growth strategy.

Agarwal’s story is one to inspire any youthful would-be entrepreneur. From selling SIM cards on the streets of Titlagarh in the Indian state of Odisha, he went to the capital New Delhi for college, “like any high school kid,” he said.

But he struggled with his studies and dropped out, which was the best thing he could have done. Being out of higher education made him eligible for a fellowship from the Peter Thiel Foundation, a charitable fund set up by the US investor to encourage young disrupters to focus on startups and innovative ideas.

Being a Thiel fellow brought with it a $100,000 grant over two years, and Agarwal’s teenage life was transformed. “I had gone from a small town in the eastern corner of India to San Francisco, and I was very lucky to get that,” he said.

Traveling around India, he saw that there was a distinct lack of quality accommodation in the market, and that most of it was small in size and scale of ambition. He extrapolated to the rest of the world.

“In London, think of Paddington and Bayswater (two popular areas in the west of the city). There are lots of small, unbranded buildings. They are good buildings, but if you go inside they are not good at all. They are out there, but nobody is working to fix them.

“So Oyo came in and said that we want the small neighborhood hotel to survive. In fact, we want it to be the hero of the neighborhood, and make it into the chic hotel of the neighborhood. We want to fix Fawlty Towers,” he said, in a jokey reference to the classic British comedy about a dysfunctional UK hotel.

But Oyo does more than just apply a lick of paint. “We are the first company anywhere in the hospitality sector to introduce technology-based solutions to the suppliers side to help them manage operations.

“We use innovative technology to facilitate standardization of services, amenities and in-room experience, thereby helping maintain service standards,” said Agarwal, reeling off a list of “tech solutions,” including artificial intelligence and “natural language processing” that determine everything from the booking process down to the air-conditioning controls.

But he is keen to emphasize that Oyo is not a hotel aggregator, an online travel agency or a certification company. “Oyo is not a market place. Oyo is a fully fledged hotel chain that leases and franchises assets,” he explained.

“We go in, invest the capital to make the hotel beautiful, put in dynamic pricing via new-age revenue management systems and better service, and can expect a threefold jump in occupancy. We have this worldwide,” he said.

Oyo manages more than 1 million rooms in 80 countries around the world. The Chinese market is the biggest, followed closely by India, with 20 percent each in Western markets in Europe and the US, and the same in Southeast Asia and the Middle East. “Every day, we have half-a-million heads on our pillows,” Agarwal said.

He is at pains to point out that Oyo does not own any of the 43,000 hotels it manages around the world, and has a direct interest only in three properties via parthership funds. “Our business is 100 percent management franchising,” he said. There is no financial exposure via real estate ownership, though there is a significant capital investment program in the properties it takes under its brand.

“The returns are so good you can plan well in terms of how much capital you need to invest and how you finance that through third-party banks or any of those kind of resources. The banks have seen the return they can get over the past few years and now they are interested in getting exposure to that kind of asset,” he added.

Saudi Arabia is a relatively recent market, but will become increasingly important market.

BIO

BORN - Bissam Cuttack, Odisha, India, 1993

EDUCATION - St. John’s Senior Secondary School

CAREER - Founder and CEO, Oyo Rooms

“We came to Saudi Arabia only about 10 months back, but it is a very special market for us. At the moment, we have 9,000 rooms in 14 cities, with Riyadh the biggest. We have gone to 600,000 customers in the first 10 months, and are aiming to get to 2 million next year,” he said, pointing to what he sees as a lack of good-value accommodation in the capital in particular.

Agarwal believes that the Kingdom is on the cusp of a hotel boom for three reasons. The first is that domestic tourism is set to take off with the liberalization of the entertainment and leisure sectors under the Vision 2030 strategy. “Saudi people are going to want to spend money on experiences in their home country,” he said.

The second boom factor is the planned growth in religious tourism, with a target of 30 million pilgrims to Makkah and Madinah by 2030. He has big plans to expand Oyo into the two holy cities. “It is a great opportunity to serve them by giving them better-quality products, and we will work with the Saudi Hajj and tourism ministries on this,” he added.

The third growth area is the expected increase in international visitors to attractions such as the Red Sea development NEOM and Al-Qiddiya. Agarwal sees the new online visitor visa as a game-changer in the Saudi tourism sector. “The Kingdom is a very exciting, magical opportunity,” he said.

Saudi Arabia is gearing up to stage the G20 gathering of state leaders in just over a year and Oyo is also looking to that as a way of boosting business. “We’ll help make sure that people coming to G20 face no problems,” he said.

Oyo’s focus is on the middle to upper end of the tourism market, but it does offer some top-end luxury facilities — beach villas and lifestyle vacation properties — in India and some other parts of the world, which could fit in with the Kingdom’s luxury visitor offering in certain segments of the market. “We want to serve the people and give them good value, but the people are upwardly mobile, too,” he said. 

Agarwal sees further opportunities in food and beverage services from his hotels, and some in China and India already offer delivery services via platforms like Talabat from their kitchens. Alcohol plays only a small part in his business worldwide. “We are committed to respecting the local culture,” he said.

The other reason he was at the FII, and why he is closely interested in Saudi Arabia, is that the Kingdom is a big investor — around 40 percent — in Oyo, both via the Public Investment Fund (PIF), the growing Saudi sovereign wealth fund, and the Vision Fund in which PIF is a major investor. Both got into Oyo at an earlier funding round when it was much smaller, Agarwal said.

According to publicly available sources, Oyo is valued at $10 billion via various investment rounds over recent years, and has big names as is backers: US venture capital firms Sequoia and Lightspeed; the accommodation rentals business Airbnb; and Chinese ride-hailing firm Didi, which is also backed by the Vision Fund and the Japanese entrepreneur Masayoshi Son.

“We have almost $2 billion on the balance sheet and no need of additional capital as we speak,” Agarwal said, ruling out any immediate plans for an initial public offering.

“Our focus is to put our head down and execute. Nearly $2 billion is absolutely enough to build the business. There is no big transaction on the horizon,” he said.

Agarwal was especially proud that at the FII the Indian Prime Minister Narendra Modi was one of the highest-profile attendees, and he added: “Every year the FII benchmark is lifted a few notches and, in general, we believe it has had a great impact in terms of how Saudi investment is being seen across the world.”


Saudi youth turn to AI for art and culture

Updated 13 February 2026
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Saudi youth turn to AI for art and culture

  • Creativity, heritage and technology converge in a new generation of artists

RIYADH: As Saudi Arabia’s Vision 2030 places creativity, culture and technological innovation at the core of national development, the impact of these priorities is becoming increasingly visible across a wide range of disciplines and practices.

Through the use of artificial intelligence, young Saudis are integrating technology into their creative work both as a practical tool and as a medium in its own right. In doing so, they are expanding their capabilities, exploring personal and collective identity, and finding new ways to preserve and reinterpret cultural heritage.

“AI gives young Saudis a new way to interact with their own cultural inheritance,” said Dmitry Zaytsev, founder of Dandelion Civilization, a platform designed to help individuals shape unique professional paths.

Dmitry Zaytsev, founder of Dandelion Civilization. (Supplied)

“Traditional design elements such as calligraphy or geometric motifs were once difficult to modify. Experimentation required resources and formal approval. AI removes that barrier and makes exploration immediate. A creator can test many versions of a pattern and see which ones still feel authentic to them,” he told Arab News.

According to Zaytsev, this emerging form of expression does not signal a rejection of tradition, but rather a deeper engagement with it. “The young creator discovers what can change and what must remain constant. AI becomes a sketchbook that allows culture to evolve through curiosity rather than fear. When creators correct a model or push it toward local rhythm, they strengthen rather than dilute cultural identity,” he explained.

Sarah AlBaiz, an art adviser, researcher and artist, uses code to blend visual art with concepts drawn from culture and philosophy. While her early practice focused primarily on painting, her trajectory shifted during the 2020 AI Artathon, a pioneering international event highlighting collaboration between humans and machines in artmaking, where she discovered how to merge her engineering background with her creative work.

DID YOU KNOW?

• Saudi youth are using AI as a creative tool to reinterpret heritage, from calligraphy to folklore.

• AI is helping artists experiment faster without the traditional barriers of resources or formal approval.

• The Kingdom is backing creative AI nationally, with programs like SAMAI aiming to empower 1 million Saudis for an AI-driven future.

Operating within the field of computational creativity, where technology actively participates in the artistic process, AlBaiz explores themes of finance and faith. “Because they’re two sides of who I am,” she said. “When you talk about values, for example, that is both a term used in finance and trade from an objective perspective, but also moral and spiritual value.”

“When you understand prompting in AI, you can get it to produce almost anything. But it’s also informed by the training data it has,” she said.

Sarah Albaiz's "Diriyah II (2020)" melds a traditional Saudi landmark with the avant-garde. This generative artwork rejuvenates the historic Alsalwa Palace in Diriyah. By infusing Munira AlTheeb's artistry through GAN style transfer, the piece stands as a testament to the evolving narrative of Saudi heritage. (Supplied)

Rather than relying on a single platform, AlBaiz experiments with multiple AI models to test their limitations and audience reception. “I work a lot with language as well, so large language models are right up my street when it comes to computational creativity.”ee

Her work has gained international recognition. At the 2022 Islamic Arts Biennale in Jeddah, she co-created an artwork under the banner of Super Artistic AI that generated Al-Qatt Al-Asiri motifs from southern Saudi Arabia. The piece received an Audience Award.

Beyond her artistic practice, AlBaiz is developing an intelligent art advisory system aimed at helping users navigate the Saudi art landscape. Designed as an initial point of contact, the system would guide users through potential pathways before they engage with a human adviser.

Inverting established gender norms, Sarah Albaiz's digital collage reimagines masculinity. Set against a generative backdrop, its core message "real men cry" challenges familial WhatsApp discourses. (Supplied)

“It’s about understanding what role AI plays in the pursuit of what you want,” she said. “When I decided to focus on Qantara and building the advisory, I recognized that many of the systems required would need to be intelligent systems that offload a lot of work from me and the team.”

“When AI is an enabler rather than the end result, it becomes less intimidating because it feels risk-free for the end user,” she added.

Zaytsev echoed this idea, describing AI as a kind of rehearsal space. “Young people practice conversations, explore sensitive topics and organize their thoughts without social risk. This builds emotional clarity and confidence,” he said.

While generative tools such as large language models attract much of the attention, AI’s creative applications extend far beyond text and image generation.

Fairooz Alawami, trained as both an architect and engineer, uses AI to create self-expressive visual works inspired by dance.

Fairooz AlAwami's work. (Supplied)

“My practice is focused on contextualizing movement,” she said. “Because of my architectural training, I work with 3D modeling software called Rhino, which includes a visual coding language. Within that environment, you can also write code in Python, JavaScript or C#.”

Alawami employs OpenPose to analyze videos of her dancing by mapping points across her body. She then applies another computer vision model, MIDAS, which converts images or videos into depth frames. “If OpenPose gives me a skeleton, MIDAS gives me depth,” she explained. The resulting data is fed into 3D modeling software, where it is refined and manipulated into finished artworks.

She began dancing at a young age. “I didn’t find it, it found me,” she said. Movement later became the foundation of her artistic practice, leading to her first major project around three years ago while completing her master’s degree using the Grasshopper plugin. At the time, the workflow was slow and fragmented, but the arrival of ChatGPT helped streamline the process by making it easier to write and learn code.

Fairooz AlAwami's work. (Supplied)

“I think my love for dance and my love for art and design came together in a way that felt uniquely me,” she said. “Once I found that space, I just ran with it. It is my singular voice.”

Her work also draws heavily on cultural and musical heritage. One recent project was inspired by folklore referenced in the iconic song “Al Leila wa Leila” by Umm Kulthum. Alawami extracted musical stems from the track and mapped them to characters within the narrative. “The vocals were Shahrazad, the storyteller, and each stem represented a different narrative element,” she said. Earlier works were influenced by Islamic architecture and the geometric patterns found throughout Saudi Arabia and the wider Arab world.

“There are some incredible artists using generative AI to do very impressive things, and I don’t think I fall into that camp,” she said. “For me, AI is more like a skills-gap tool that helps me reach where I want to go.

“As humans, whether we realize it or not, the act of creating feeds us in some way. Lowering the barrier to entry makes creativity less intimidating.”

Opinion

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Today, Saudi Arabia’s creative sector is supported by expanding national infrastructure. Initiatives such as the Cultural Scholarship Program place Saudi students in more than 60 universities worldwide, spanning disciplines from archaeology and literature to design, filmmaking and culinary arts. In parallel, the Kingdom launched the SAMAI initiative last year, aiming to equip 1 million Saudis with the skills needed to engage confidently in an AI-driven world.

Within Vision 2030, culture, tourism, digitalization and AI are treated as strategic sectors rather than peripheral concerns. As Saudi Arabia develops its creative economy as a form of soft power, its youth are becoming increasingly digitally fluent. AI tools are now embedded within creative workflows, enabling a new generation to explore heritage, remix traditional aesthetics and develop narratives that resonate on a global stage.