
Saudi Pavilion Shines at London Design Biennale with 'Good Water'
The Saudi National Pavilion, themed 'Good Water,' captivates visitors at the London Design Biennale, which opens today. This innovative pavilion reimagines humans' relationship with water, addressing critical issues such as accessibility, equity, and scarcity. The Architecture and Design Commission commissioned this project, with support from the Ministry of Culture. Under the leadership of CEO Sumayah Al-Solaiman, this marks the Kingdom's fourth participation in this prestigious event. A Vision of Inquiry and Collaboration
'In a Biennale that explores the intersection of inner experiences and external influences, 'Good Water' reflects the spirit of inquiry we hope to share with the world,' Al-Solaiman stated. She emphasized the pavilion's role in supporting the next generation of Saudi practitioners, providing platforms that amplify their voices on the international stage.
Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif, and Aziz Jamal collaborated as co-curators, merging their diverse backgrounds in the arts sector. 'In our team, we don't have specific roles,' Jamal explained. 'We all collaborated on everything. We shot the video together and wrote it together. Our democratic process fosters creativity without strict guidelines.'
At the heart of the Saudi contribution in London lies the sabeel, a traditional water fountain typically found in shaded communal spaces. This fountain serves the community, offering free access to water. The sabeel symbolizes hospitality and generosity, deeply rooted in the Arabian Peninsula and prevalent throughout the Middle East.
'Growing up in Dhahran, you would see sabeels everywhere,' Jamal recalled. 'Our house didn't have one, but a mosque nearby did.' The London installation transforms the sabeel from a nostalgic relic into a contemporary, functional object. Visitors can fill their cups, both literally and figuratively, as they reflect on the unseen systems, labor, and energy that make flowing water possible. Engaging Visitors with Interactive Experiences
Stacks of paper cups, emblazoned with the message 'Good Water: 500 ml = one AI prompt,' will be available in vibrant colors. Refillable water bottles will encourage spectators to enjoy a 'water-cooler moment' to chat, sip, and ponder. The pavilion also features four videos filmed at an old water factory in Riyadh, showcasing the painstaking journey of water from droplet to distribution. Each film lasts under ten minutes, tracing the production process across various bottle sizes.
Jamal's perspective on water changed significantly while working on this project. 'Visiting the water factory in Riyadh made me appreciate the enormous effort required to fill one tiny water bottle,' he said. 'Now, I make it a point to finish my water bottle because I understand the extensive process behind it.' A Commitment to Sustainability and Accessibility
Jamal hopes visitors will engage with the pavilion and recognize the importance of generosity. 'We want people to drink the water and interact with the piece,' he stated. The sabeel will dispense locally sourced water, ensuring sustainability and reducing transportation impacts. Additionally, a printed catalogue will provide further context through essays, research material, and images of water infrastructure and sabeels from the Middle East and North Africa.
Saudi Arabia faces significant water scarcity challenges, with only 2.5 percent of the world's water being freshwater. The Kingdom leads globally in desalinated water production, supplying over 60 percent of its potable water. 'The sabeel perfectly illustrates the principle that water is a human right, not a luxury,' Jamal explained. 'It's free drinking water from a private source, embodying the spirit of paying it forward.'
Through 'Good Water,' the Saudi National Pavilion highlights the labor behind everyday hydration and the importance of water access. 'Our research focused on water and access,' Jamal added. 'We examined the hidden costs of free water in Saudi Arabia, particularly through the lens of the sabeel.'
Despite the rise of plastic bottles, Jamal emphasized the enduring relevance of the sabeel, especially in a country with scorching summers and large outdoor workforces. 'People need convenience, but sabeels remain vital for those working outdoors,' he noted. 'Cold drinking water is essential in Saudi Arabia.'
After nearly a year of hard work, the team plans to celebrate by raising a glass of water. The pavilion will remain open until 29 June at Somerset House, inviting visitors to explore the significance of water in our lives.
Short link :
Post Views: 34
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Leaders
a day ago
- Leaders
Saudi Pavilion Shines at London Design Biennale with 'Good Water'
The Saudi National Pavilion, themed 'Good Water,' captivates visitors at the London Design Biennale, which opens today. This innovative pavilion reimagines humans' relationship with water, addressing critical issues such as accessibility, equity, and scarcity. The Architecture and Design Commission commissioned this project, with support from the Ministry of Culture. Under the leadership of CEO Sumayah Al-Solaiman, this marks the Kingdom's fourth participation in this prestigious event. A Vision of Inquiry and Collaboration 'In a Biennale that explores the intersection of inner experiences and external influences, 'Good Water' reflects the spirit of inquiry we hope to share with the world,' Al-Solaiman stated. She emphasized the pavilion's role in supporting the next generation of Saudi practitioners, providing platforms that amplify their voices on the international stage. Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif, and Aziz Jamal collaborated as co-curators, merging their diverse backgrounds in the arts sector. 'In our team, we don't have specific roles,' Jamal explained. 'We all collaborated on everything. We shot the video together and wrote it together. Our democratic process fosters creativity without strict guidelines.' At the heart of the Saudi contribution in London lies the sabeel, a traditional water fountain typically found in shaded communal spaces. This fountain serves the community, offering free access to water. The sabeel symbolizes hospitality and generosity, deeply rooted in the Arabian Peninsula and prevalent throughout the Middle East. 'Growing up in Dhahran, you would see sabeels everywhere,' Jamal recalled. 'Our house didn't have one, but a mosque nearby did.' The London installation transforms the sabeel from a nostalgic relic into a contemporary, functional object. Visitors can fill their cups, both literally and figuratively, as they reflect on the unseen systems, labor, and energy that make flowing water possible. Engaging Visitors with Interactive Experiences Stacks of paper cups, emblazoned with the message 'Good Water: 500 ml = one AI prompt,' will be available in vibrant colors. Refillable water bottles will encourage spectators to enjoy a 'water-cooler moment' to chat, sip, and ponder. The pavilion also features four videos filmed at an old water factory in Riyadh, showcasing the painstaking journey of water from droplet to distribution. Each film lasts under ten minutes, tracing the production process across various bottle sizes. Jamal's perspective on water changed significantly while working on this project. 'Visiting the water factory in Riyadh made me appreciate the enormous effort required to fill one tiny water bottle,' he said. 'Now, I make it a point to finish my water bottle because I understand the extensive process behind it.' A Commitment to Sustainability and Accessibility Jamal hopes visitors will engage with the pavilion and recognize the importance of generosity. 'We want people to drink the water and interact with the piece,' he stated. The sabeel will dispense locally sourced water, ensuring sustainability and reducing transportation impacts. Additionally, a printed catalogue will provide further context through essays, research material, and images of water infrastructure and sabeels from the Middle East and North Africa. Saudi Arabia faces significant water scarcity challenges, with only 2.5 percent of the world's water being freshwater. The Kingdom leads globally in desalinated water production, supplying over 60 percent of its potable water. 'The sabeel perfectly illustrates the principle that water is a human right, not a luxury,' Jamal explained. 'It's free drinking water from a private source, embodying the spirit of paying it forward.' Through 'Good Water,' the Saudi National Pavilion highlights the labor behind everyday hydration and the importance of water access. 'Our research focused on water and access,' Jamal added. 'We examined the hidden costs of free water in Saudi Arabia, particularly through the lens of the sabeel.' Despite the rise of plastic bottles, Jamal emphasized the enduring relevance of the sabeel, especially in a country with scorching summers and large outdoor workforces. 'People need convenience, but sabeels remain vital for those working outdoors,' he noted. 'Cold drinking water is essential in Saudi Arabia.' After nearly a year of hard work, the team plans to celebrate by raising a glass of water. The pavilion will remain open until 29 June at Somerset House, inviting visitors to explore the significance of water in our lives. Short link : Post Views: 34


Leaders
a day ago
- Leaders
Cultural Fund Brings Saudi Handicrafts to Selfridges in London
The Cultural Development Fund has launched a special showcase of Saudi handicrafts at Selfridges in London, offering global visitors a unique glimpse into the Kingdom's rich artisanal traditions. Drawing inspiration from Saudi Arabia's varied landscapes and urban culture, the exhibition celebrates the creative and economic significance of traditional crafts. This initiative is part of the Year of Crafts 2025 and will be on display throughout June in a specially curated space within the renowned department store. Designed to reflect the essence of Saudi culture, the installation features lavender and clay-inspired elements symbols of the nation's natural beauty and architectural legacy. The exhibition reinterprets Saudi craftsmanship through a contemporary lens, featuring a vibrant collection of palm-weaving, leatherwork, and handcrafted jewelry. Each piece is made by skilled male and female artisans across the Kingdom, showcasing the country's cultural richness and regional diversity. Finally, the display highlights the fusion of age-old techniques with modern design, underscoring the evolving story of Saudi craft. Related Topics : Celebrating Heritage: Saudi Embassy USA Commemorates Saudi Founding Day Almortajaz Arabian Horse Show to Celebrate Saudi Founding Day 500 drones fly in the sky of 'Ithra' on the Saudi founding day KSA Gears Up to Celebrate Saudi Founding Day Short link : Post Views: 1 Related Stories


Arab News
2 days ago
- Arab News
Highlights from the Venice Biennale of Architecture
Following our in-depth coverage of this year's Saudi and Qatar entries, here are three more must-see pavilions at this year's biennale. For the latest updates, follow us on Instagram @ Bahrain At first glance, Bahrain's pavilion isn't much to look at. A modest modular structure consisting of a raised platform, a suspended ceiling, and a central column, it lacks the artistic clout of other pavilions. And yet, this passive cooling installation designed for public spaces was awarded the Golden Lion for best national participation. 'Heatwave' presents a meaningful and practical response to the climate crisis. By reimagining traditional Bahraini cooling systems, such as wind towers and shaded courtyards, it provides an innovative response to rising temperatures. The pavilion's design integrates a geothermal well that draws in cool air from below the surface, paired with a solar chimney that releases warm air upwards. Together, these elements form what the designers describe as a 'thermo-hygrometric axis,' a system that maintains a mild, regulated indoor climate. In the exhibition space, where excavation for a geothermal well was not feasible, the system relies on mechanical ventilation, drawing air through a canal-facing window and guiding it through a network of ducts and nozzles to create a controlled microclimate. Importantly, it is designed to be scalable and adaptable to a wide range of environments. Commissioned by Shaikh Khalifa bin Ahmed Al-Khalifa, president of the Bahrain Authority for Culture and Antiquities, and curated by architect Andrea Faraguna, the pavilion functions as a full-scale, inhabitable prototype. Aimed primarily at meeting the challenges faced by construction workers in the Gulf, the pavilion's design was developed in collaboration with structural engineer Mario Monotti and thermomechanical expert Alexander Puzrin. Britain 'I call this pavilion a reverse case because it also makes a statement against British colonial rule,' says Yara Sharif, one of the co-founders of the Palestine Regeneration Team (PART). 'After all, they were the ones who initiated the exploitation of Palestinian resources. So having a platform within the British Pavilion is, in itself, a statement — a reverse case that says, 'We are also here to occupy you.' It's also a way to challenge the mental occupation; the idea of portraying Palestinians as passive subjects.' PART's 'Objects of Repair' is a small but vitally important component within the British pavilion's 'Geology of Britannic Repair,' a UK-Kenya collaboration that seeks to expose and rework the entangled legacies of architecture and colonization. In a series of installations, the exhibition proposes earth-bound solutions that resist extractive practices and respond to climate, social, and political upheaval. The British Pavilion received a special mention for national participation. At the core of PART's installation, created by Sharif, Nasser Golzari, and Murray Fraser, lies the Travelling Lab, a project inspired by Gazans' reappropriation of rubble to create new architectural 'skins.' 'The whole idea behind the Travelling Lab is that it continues to develop and evolve as it moves,' explains Sharif, who is also a co-founder of Architects for Gaza. 'We call it a way to cultivate hope, but also to create a matrix of possibilities that may suggest new scenarios and aesthetics to challenge the ones we're familiar with. The aim of the pavilion is not to create a beautiful object; it's to provoke a collision, spark discussion, and to draw attention to a context that is continually being rendered invisible.' Uzbekistan One of the first things you see when entering the Uzbekistan National Pavilion is a heliostat – a mirror system designed to track the sun and reflect its light onto a fixed point. Beyond it lie a control room table, a monumental glass chandelier created by Irena Lipene, and a giant solar screen. All belong to — or are reconstructions of those found at — the Sun Institute of Material Science in Tashkent, one of the city's Soviet-era modernist structures. The landmark building, originally known as the Sun Heliocomplex, is the inspiration behind 'A Matter of Radiance,' the pavilion's exhibition. Curated by GRACE studio's Ekaterina Golovatyuk and Giacomo Cantoni, the exhibition explores the scientific and cultural relevance of the Heliocomplex. In particular, its potential as an international scientific hub. 'This was a catalyst building for its time,' says Gayane Umerova, chairperson of the Uzbekistan Art and Culture Development Foundation, who commissioned the exhibition. 'The architecture was profound. The designers were given remarkable freedom, and I think it's important for us to not only celebrate it, but also preserve it.' Opened near Tashkent in 1987, the Heliocomplex is one of only two major solar furnaces in the world designed to study how materials behave under extreme temperatures. It is also one of 24 key modernist sites spread across the capital, 21 of which have been granted national heritage status. 'It's important for us to show that this is not just a monolith,' says Umerova of the Heliocomplex, which is currently being used for civilian scientific research. 'It's an art object, in a way, but it's a living structure.'