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Khaleej Times
3 days ago
- Entertainment
- Khaleej Times
Emirati architect Azza Aboualam takes UAE climate solutions to Venice Biennale 2025
In May, the days in Venice are longer than usual — so are the queues outside exhibitions in Giardini and the Arsenale complex, the two major hubs of the prestigious Venice Biennale. This year, the 19th International Architecture Exhibition of the biennale (which is also known as 'the Olympics' of the art and architectural world) opened to the public on May 10, with around 66 countries displaying their finest cultural productions. The UAE, which has been hosting award-winning pavilions at the biennale since 2014, returns this time with a theme that couldn't be more relevant — the importance of food production, sustainable agrarian practices, greenhouse architecture, and climate strategies in arid regions like the UAE. Commissioned by the Salama bint Hamdan Al Nahyan Foundation and supported by the UAE Ministry of Culture, the national pavilion, aptly titled Pressure Cooker, has been curated by architect and academic, Azza Aboualam. Interestingly, Aboualam, who is based between Dubai and Sharjah, is the first Emirati woman curator representing the national pavilion of the UAE at Venice Architecture Biennale. The installations in Pressure Cooker (including multimedia and audio content) invite visitors to examine Aboualam and her team's extensive research, which focuses on the transformative power of greenhouses and how UAE is responding to the challenges of climate change. Aboualam, who is an assistant professor at the College of Arts and Creative Enterprises at Zayed University and co-founder of Holesum Studio, was selected after an open call for proposals to curate the national pavilion of the UAE in 2023. As the pavilion creates unprecedented buzz in Venice, we speak to her about her curatorial concept, the UAE's role in driving solutions to the looming environmental crisis, and what we can learn from local wisdom and indigenous climate systems. Is it true that the Eureka moment for this project came to you when your mother expressed surprise after sampling some desert blueberries you offered her — 'But you need greenhouses to produce these?' she reportedly remarked? Yes, the whole project really started from that moment with my mother. She was shocked when I told her the blueberries we were eating were locally grown. 'In the desert? They must be grown in greenhouses,' she said. That sparked something. I started researching how greenhouses are used in the UAE, and quickly noticed that they are mostly approached from a technical or agricultural angle, not architectural. With Pressure Cooker, we reframe the greenhouse as a spatial and formal composition, in addition to it being a tool to grow food. Through design and experimentation, we explored how architecture can enhance food production in extreme climates — responding to sunlight, heat, and water scarcity. It's not about offering a perfect solution, but rather opening up ways in which architecture can support food security and resilience, particularly in arid environments like the UAE. The installations in Pressure Cooker highlight traditional farming methods and there's all this research that visitors are free to explore. Can you share the idea behind recreating greenhouses as objects of art? In collaboration with Holesum Studio, the exhibition focuses on three greenhouse assemblies, each using a modular 'kit-of-parts' that we designed. Each configuration explores different design variables — roof shape, shading, wall height — and how they impact interior climate and crop growth. We also included regional crops to show what's possible. The aim was to make the research visible, showing the process from fieldwork to construction, and inviting visitors to think about design as experimentation and imagine how architecture and food production can overlap. Greenhouses are sanctuaries for growth and birth but in a way, they also stand as metaphors or seeds for new ideas. They are spaces of protection, growth, and transformation. In many ways, they reflect the design process itself. We saw them as spaces where ideas take root and where adaptation becomes possible. For us, the greenhouse became a way to talk about care, context, and how architecture can create the conditions for change as well as act as third spaces in arid climates. The UAE relies mostly on food imports. As an architect and researcher, what do you believe can be done to make the UAE more self-sufficient in terms of food production? Self-sufficiency in the UAE will require a mix of traditional knowledge and new tools. Pressure Cooker suggests that adaptive, small-scale systems, designed with climate in mind, can be part of the solution. If we rethink food production as a spatial issue, not just a technological one, we can build more resilient and locally attuned infrastructures that communities can access and maintain. What can countries with harsh climates, like the UAE and others in the Gulf region, learn from Pressure Cooker? They can take from Pressure Cooker the idea that architecture can help us think with the land, not just on top of it. Harsh environments aren't obstacles to work around, they are part of the equation. The project proposes small-scale, adaptable systems that respond to heat, light, and resource limits through design. It's not about importing solutions, but developing ones rooted in local conditions. If we pay attention to how land behaves, how it retains heat, where shade falls, and how air moves, we can shape more efficient, resilient spaces for food production, even in the most challenging settings. During your research, you visited farms in the UAE. In your view, how is the UAE coping with cultivating vegetation for the local population and what are the impacts of climate change on this region? In the UAE, agriculture faces significant challenges due to the country's hot climate and limited water resources. However, there have been notable strides toward sustainability. The government has introduced innovations like hydroponics, vertical farming, and controlled-environment agriculture to mitigate these challenges and ensure food security. There's also a growing interest in researching drought-resistant crops and more efficient water management systems. In terms of climate change, the UAE is highly vulnerable. Rising temperatures, water scarcity, and desertification are key concerns, which is why the country is investing in research to develop sustainable agricultural practices. The impacts of climate change are already being felt through increased temperatures and unpredictable weather patterns, which further strain existing agricultural resources and traditional farming methods. What is the best response you've received at Venice so far and what has been your personal takeaway from participating in this biennale? There were many interesting conversations and comments, but one in particular struck me. One of the visitors told me the exhibition reminded her of their farming techniques in Oman — along with the different ways they've adapted to their context and how architecture can play a role in that. That felt like success to me. It meant we created spaces that visitors could visually recognise but also where people could slow down and reflect and realise the potential in their slight alterations and modifications. Personally, my biggest takeaway has been how architecture can function as a bridge — especially on a global scale like the Venice Biennale. It reminded me that sometimes, the most impactful ideas are the ones that emerge slowly, through conversation and contemplation. Venice, as a lagoon, is probably as fragile to the rising tides of climate catastrophe as the UAE. This is a city where nothing is grown locally and most of the food arrives on boats. Does your exhibition feature nods to Venice? Yes, it does and the parallels between Venice and the UAE were intentional. Both are places where sustenance has historically depended on the outside world to meet a large number of its needs, in terms of food and other goods. Venice receives its food by boat, echoing the UAE's own logistical choreography of food imports, as proven by the archival research conducted for the project. In Pressure Cooker, and the space in the pavilion, we reference the Veneto region in the materiality of the space. The rammed earth element, for example, relies on the same recipe as the one we experimented with in Dubai during the design-build phase but here it has a pink undertone due to the materials and colour of sand from the region. The crops that you see are at a Venetian growth phase and echo Venice's climate. Other nods include spatial references and thematic echoes that invite the visitor to think about how geography, climate, and trade shape our food systems and our futures, and how architecture can play a role. What made you first become interested in architecture? My interest in architecture grew out of a fascination, as a young girl, about how spaces influence human behaviour. Growing up and witnessing the urban development of the UAE, I was fascinated by how architecture responded to both the environment and culture, as well as its users. I started seeing architecture not just as buildings but also as a way to solve problems and create environments where people can interact, work, and live more effectively. As an architect, I would describe myself as practical and context-driven. I focus on solutions that work for the specific place and people, whether that's through sustainability, material choices, or just making sure a space feels right for the people who use it, with a focus on designing spaces that have a lasting impact and respond to both their immediate and broader environments. I grew up witnessing rapid change around me, and still do. That pace of transformation made me curious about what we choose to keep, especially in our memories, and how cities are constantly changing. I was drawn to architecture not just for its creative potential but also for how it holds memory and meaning. Research came during my time at Yale and grew tremendously after that. I was curious about architecture and its strong ties to history, form, and systems of care. Becoming the first Emirati curator at the Venice Biennale for its architectural version wasn't something I imagined early on, but it became a way to reflect on where we are as a region and where we might go. It wasn't just about representation. It was about opening a dialogue that felt simultaneously personal and global. Finally, how can architects contribute to a global discourse on climate change? Architects are uniquely positioned to address climate change because the built environment is both a major contributor to global emissions while it could be used as a powerful platform for sustainable solutions. Through material choices, energy strategies, urban planning, and even reframing policy, architects can lead the way in reducing environmental impact. But more than that, architecture shapes how people live, move, and interact with their environments — so it's also about understanding culture and human behaviour and re-framing it through the built environment.
Qatar Living
21-05-2025
- Business
- Qatar Living
Art Basel, Qatar Sports Investments (QSI) and QC+ Announce Partnership to Launch Art Basel Qatar in Doha
Art Basel, together with its parent company MCH Group, and leading Qatari organisations Qatar Sports Investments (QSI), a major investor in sports, culture, entertainment and lifestyle, and QC+, a strategic and creative collective specialising in cultural commerce, today announced a one-of-a-kind partnership that will include the launch of a new fair of modern and contemporary art in Qatar. Debuting in Doha in February 2026, Art Basel Qatar will embed itself in Qatar's vibrant cultural landscape and the dynamic arts ecosystem of the MENA region, providing an unparalleled platform to showcase leading galleries and artistic talent from the Middle East, North Africa, South Asia and further afield. The inaugural edition of Art Basel Qatar will be held in M7 creative hub and the Doha Design District in downtown Msheireb, in proximity to world-renowned landmarks including the National Museum of Qatar. This partnership builds upon Qatar's singular cultural vision and amplifies Art Basel's unifying power to create new opportunities for the production, dissemination and discovery of art, going well beyond the operation of an art fair through year-round touchpoints both in Qatar and across Art Basel's global platform. Art Basel Qatar will offer a gateway into the creative culture of the Middle East for the stakeholders and audiences of Art Basel and expand the circle of collectors, gallerists, artists and cultural leaders from the MENA region and around the world. The fair will launch as a tightly curated showcase featuring a select group of leading galleries and artists, designed to respond to today's market while laying the foundation for growth. Through educational programming and market development strategies, public arts engagement and more, Art Basel Qatar will holistically weave into the fabric of Qatar and further catalyse a growing collector and gallery network. Charged by His Highness the Amir Sheikh Tamim bin Hamad Al Thani with realising Qatar's ambitions across multiple areas of social and economic development, Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, Chairperson of Qatar Museums, has elevated the nation to a leading position in global cultural exchange. Qatar has assembled world-class art collections, developed a growing list of celebrated museums and exhibitions, founded design and photography festivals and established incubators for the film, fashion and design industries. Ongoing initiatives include the creation of the future Art Mill Museum, development of the future Lusail Museum and the establishment of a permanent Qatar Pavilion in Venice in the Giardini de la Biennale di Venezia. Her Excellency Sheikha Al Mayassa Bint Hamad bin Khalifa Al Thani, Chairperson of Qatar Museums (QM), said, 'As part of His Highness the Amir's National Vision 2030, Qatar has been transforming itself into a knowledge-based economy, with culture and the creative industries helping to lead the way. We have built a thriving ecosystem of culture and sports, harnessing the capacity of both to break down barriers, create shared experiences, increase understanding and drive positive change. We have opened the National Museum of Qatar and the 3-2-1 Qatar Olympic and Sports Museum, and this year we will launch the Lusail Museum and DADU: Children's Museum of Qatar. We have also opened a variety of creative hubs — from the Fire Station: Artist in Residence to M7 and Liwan Design Studios and Labs. When we welcomed the world to Hamad International Airport for the FIFA World Cup Qatar 2022™, the power of merging culture with sports could not have been more evident. As Qatar Museums marks its twentieth anniversary, we are pleased to welcome the Art Basel organisation as our partner to further elevate Qatar's initiatives to support the creative industries of our region, offering exceptional new artistic experiences and opportunities to our talent.' His Excellency Nasser Al-Khelaïfi, Chairman of Qatar Sports Investments (QSI), said, 'As a leading investor in sports, culture, entertainment and lifestyle, QSI is very proud and excited to play a role in bringing the world-renowned Art Basel fair to Qatar and our region as part of the legacy of the FIFA World Cup Qatar 2022. As that event demonstrated so unforgettably, sports and culture are closely linked in their capacity to unite people and bring the world together, which is at the heart of QSI's mission. We are delighted to work with QC+ and to welcome Art Basel to Qatar—a partnership that will inspire the region and bring further investment to a great cultural organisation.' QC+, a key member of the Art Basel Qatar partnership, brings a rich legacy of supporting the arts and is a natural collaborator in bringing the world-renowned art fair to Doha. With its expertise in cultural commerce and art curation, exhibition design and visitor engagement, QC+ has played a pivotal role in developing Qatar's cultural infrastructure. Art Basel brings to this project its 50-year history of creating the world's leading art fairs in Europe, the Americas and Asia. Defined by its host city and region, each Art Basel show is unique, as reflected in its participating galleries, artworks presented and the parallel programming produced in collaboration with local institutions. Andrea Zappia, Chairman and Group CEO at MCH Group, said, 'We are very proud to work with QSI and QC+. This is a groundbreaking project based on the unity of intent of ambitious organisations and we believe we will build something completely new that will attract art buyers and fans from the region and all over the world. We want to thank the partners who, under His Highness the Amir's leadership, strongly believed in this collaboration from the very first day and have chosen Art Basel as a key driver to support Qatar's cultural, sport and touristic vision. We are committed to Art Basel's growth and following the launch of Art Basel Paris in 2022 we are ready to add a fifth fair to our exclusive and successful portfolio. MCH Group, owner of Art Basel, is committed to contributing unique resources and capabilities to this partnership to ensure its long-term success.' Noah Horowitz, Chief Executive Officer of Art Basel, said, 'Growing the global art market, supporting artists and galleries and developing new collecting audiences is core to Art Basel's mission. The art scene across the MENA region has undergone exponential growth in recent decades, with the establishment of world-class institutions, the launch of leading cultural events and the growth of a vibrant community of artists, galleries and professionals. We are compelled by Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani's singular vision for the arts ecosystem in Qatar, and we share a commitment to supporting artists in realising their highest potential. We are equally energised by the opportunities unlocked by our collaboration with QSI and QC+ to create new touchpoints for the broadest possible audiences. Qatar's depth of collections, history of building great cultural institutions and unique role as an incubator and supporter of talent position the new Art Basel Qatar for success on the world stage.' --- Make sure to check out our social media to keep track of the latest content. 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The Guardian
10-05-2025
- Entertainment
- The Guardian
‘A lot of pride and joy': the First Nations team representing Australia at the Venice Biennale of Architecture
Australia's participation in next year's Venice Biennale remains under a cloud. With Creative Australia holding fast to its decision to cancel its commission of artist Khaled Sabsabi and curator Michael Dagostino, it's becoming increasingly likely that the Australian Pavilion might remain dark in 2026. It is an added weight for the First Nations team who have unveiled their new creation inside the pavilion as part of Venice's other biennale: the Venice Biennale of Architecture, held every other year in the Giardini. The seven designers, collectively working under the moniker The Creative Sphere, are the first all Indigenous team Australia has sent to Venice. Tasked with introducing Indigenous concepts of building, design and connection to Country to the world, they have painstakingly reconstructed their rammed-earth, 4.8 metre by nine metre prototype called Home, first created at the University of Sydney. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Hand-built from scratch from sustainable materials – clay, plaster and plywood – sourced from within the Veneto region, Home's construction relied on barges travelling up Venice's canals and off-loading at the base of the Australian pavilion's elevated site. From there, wheelbarrows and makeshift ramps were the only means of transporting the building materials inside. Home's walls are made from 139 individually cast plaster panels, each of which required a minimum of five to six people to make. 'The oils of our skins are embedded throughout this entire exhibition,' says Worimi and Biripi Guri architect Jack Gillmer-Lilley, of SJB Architecture in Sydney and part of The Creative Sphere. It is his hope that Home will encourage each visitor to the Australian Pavilion to embrace their unique relationship with the concept of home. 'For me, the definition keeps changing, it's not tangible,' he says. 'I never had a stable home growing up. There was lot of family trauma, there's a lot of stories of happiness, a lot of sadness and we were always moving around. Home for me is where I can feel connected with my family, regardless of where in the world I am at the time.' For Quandamooka architect Bradley Kerr, home used to be 'where Mum is'; now the father-of-two defines home as wherever he can 'share in his son's smile and stupid fart jokes'. 'We didn't want to impose a feeling or an image or an idea on to people,' he adds. 'We wanted people to find something they relate to and connect to, because for us as First Nations people, it's one of the ways that we relate to and connect with each other, and it's something that we felt we really needed to share within this space.' The Creative Sphere team were working when the news broke that Sabsabi and Dagostino had been sacked by Creative Australia, the producers of their biennale project (with the Australian Institute of Architects, which commissions them). The architects shared a statement in solidarity with the artist, writing on Instagram: 'As First Nations people, we respond to this act of censorship, exclusion and marginalisation with disappointment and concern.' Although the project never started with it in mind, Home became the team's response to the defeat of the voice referendum in 2023. 'We're still trying to demonstrate that we want to move forward together, and that we want to celebrate and share our culture with Australian people,' says Kerr. 'We want to continue to be generous, in spite of all the backlash, the racism that we have to manage and juggle and face on a daily and weekly basis. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion 'People want, and expect, marginalised people to feel all of that deep sadness and trauma. But our strength comes from joy, in spite of all of the challenges that we face. Joy in itself can be an act of resistance.' Last year, a primary school in Sydney's Darlington took out the highest prize at the World Architectural festival in Singapore, praised for its celebration of the school's 'strong connections to Aboriginal people' and its incorporation of Indigenous art and design . The same architectural firm, FJC Studio, also designed the Yellamundie library in south-west Sydney, which was named one of the world's four most beautiful new libraries in September. While only 0.3% of architecture students graduating from Australian universities identify as First Nations, multiple projects recently recognised by the AIA have incorporated connection to country at the centre of their design, including Spinifex Hill Project Space, Mildura's Powerhouse Place, Darwin's Nungalinya student accommodation project, and the North Head viewing platforms. 'We're getting stronger and stronger engagement with Indigenous place, country and the influence of Indigenous thinking around how buildings work … and how they actually speak to the significance of a place,' former AIA president Stuart Tanner told the Guardian in December. 'This is a whole other layer to architecture which is going to, I believe, elevate Australian architecture to a level far beyond what traditionally people might think architects do.' When the Venice Biennale of Architecture concludes, Home will be manually dismantled, all its materials returned to the landscape they came from. No screws, adhesives or metal fixings were used in Home's construction. 'It was a tough build,' Gillmer-Lilley says. 'The amount of energy, the amount of emotions that were put in the creation of this … but it gives us a lot of pride and joy in the outcome.'
