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Yahoo
a day ago
- Entertainment
- Yahoo
London Design Biennale 2025 — 7 Immersive Pavilions Reinterpreted as Lessons in Decor
When you buy through links on our articles, Future and its syndication partners may earn a commission. Is it just me, or has June in the British capital never felt busier? Between much-anticipated openings rethinking the role of museum collections, annual architecture festivals making the discipline as interactive as it's ever been, and more one-off design exhibitions to catch in London, this month is jam-packed with creative inspiration, starting from the latest iteration of the London Design Biennale. Inaugurated on June 5, the fifth edition of the acclaimed showcase, titled Surface Reflections, reunites over 40 countries from across the globe in a thought-provoking, cross-disciplinary presentation that, to quote its Artistic Director, Samuel Ross, strives to show "how design can be the great connector between industry, the political landscape, and meritocracy as a whole." "Surface Reflections is an invitation to introspectively look at what we all have to offer with our unique allegories, context, and histories," the British fashion designer said during the speech that marked the unveiling of the London Design Biennale 2025. "It's about that distinction of self, but it's also about the connective tissue that links us all together. We go through the same processes and matters of life, whether that be eternal, internal, or external, matters of deep introspection or respite." Comprising 40 pavilions centered around the production of either specific nations, collective research projects, international collaborations, or standalone creatives, with contributions straddling the fields of design, culture, science, and technology, this year's curatorial program is, "at its core, a contemplation of the times that we're in — a call for us to consider our common interests, sense of self, and humanity", Ross said. For us, it was an opportunity to learn directly from the designers who are shaping the future of the field about how their climate-friendly material innovations, reinvention of traditional craftsmanship techniques, and latest technological experimentation can weave their way into the home, too. Not just as meaningful decor additions, but as design principles that can inform the way we live moving forward — as my favorite projects from the London Design Biennale 2025 exemplify below. Taking over the cinematic Nelson Stair in Somerset House's West Wing, Paper Clouds: Materiality in Empty Space, Japan's participation in the London Design Biennale 2025, looks to the country's storied tradition of creating with Washi paper, derived from a blend of plant-fiber and wood pulps, to investigate its possible uses within the architecture and fashion space. A site-specific project by the University of Tokyo's SEKISUI HOUSE - KUMA LAB, curated by Clare Farrow, this whimsical, airy installation unfolds as a series of floating cloud-like structures that, hanging from the ceiling, captivate the viewer with their organically textural form. Amplified, like the sky projecting its color onto bodies of water, by the teardrop-shaped mirrors placed on the floor, it was activated by a stirring original piece of music, including live performances, by violinist and composer Midori Komachi, dressed for the occasion in a sculptural dress obtained from the same material. Pavilions like Paper Clouds: Materiality in Empty Space don't just look magical, as if offering a glimpse into another, delicately poetic world, but also demonstrate just how much more sustainable, and less detrimental to the environment, modern interior design, architecture, and couture can be when incorporating naturally sourced, ancient materials. A study in lightness, resilience, and the inner strength of Washi paper, the pavilion "is entirely recyclable and made with threads from traditional Japanese kimonos," curator Clare Farrow tells me. The music accompanying it captures the "actual sound that the medium makes when touching human skin". Played through visually unobtrusive, aesthetic speakers crafted from ancient stone by Mineral Sound, "it's a fusion of art forms that brings an experimental element to this 18th-century space," she adds. Multiple dimensions coexist in architect Haitham Al-Busafi's pavilion for Oman, Memory Grid; at a moment, the blue neons above me make the corridor at its heart into the perfect setting for a sci-fi. The next, I am reminded of the primordial importance ceramic vessels have had for humans and the world as a whole, as carriers of primary goods, but also of meaning, heritage, and culture, since the dawn of time, as I inspect the transparent vases trapped in the installation's checkered structure. Already 5,000 years ago, "ancient civilizations used them as containers for storing whatever they deemed most precious — water, food, oil," Al-Busafi tells me. His Memory Grid does the same, just with our never-ending flow of data; "what we share constantly on social networks, day after day". Rather than representing the data visually, he built the pavilion to immerse visitors in the modularity of a data center, the see-through body of each vase standing in for their incorporeality, their ephemeral essence, their fragility — and ours, in return. Created with actual vessels Al-Busafi 3D-scanned and used as molds, each fragment of Memory Grid, made from a hot plastic sheet, took its final shape through vacuum forming. Remembering how he once saw a fully intact ceramic vessel from around 300 BC while working at an archeological gallery in Oman, the designer asks: "should people still exist in 3,000 years' time, what would they find of us? Would there be anything left, or would things only exist in the digital realm?" My most immediate reaction to Oman's London Design Biennale 2025 pavilion was one: we shouldn't let go of traditional crafts, as those are the only ones with the potential to outlive us. Instead, we should allow them to take on new forms. Specifically, I was intrigued by Al-Busafi's 3D printer-assisted reinterpretation of pottery, and how, despite relying on different mediums than the original one, it still manages to convey ceramics' storied legacy and make it relevant to today's world. I'll be honest, you'll have to see URNA, the Malta pavilion and Golden Medal winner at the 2025 London Design Biennale, in person to get a sense of the poetry captured in this project. A spherical, fascinating reconstituted limestone installation seemingly floating above a dark podium, complete with a short film screening in the space and a series of BTS printed matter catalogues, the project has just been announced as the most outstanding overall contribution to this year's exhibition. Created by a collaborative team of architects, designers, curators, and creative directors, it "speculates on a radical future for the adoption of cremation in Malta," they explain, one that reinvents the handling of human remains "as a culturally significant process". The idea is to integrate their dust into spheres like the one spotlighted here, each of which would become part of an alternative kind of burial site — a powerfully suggestive, utopian, quarry-like place where memory, heritage, sustainability, eco Brutalism, and transformation collide. As thought-provoking as forward-thinking, the commission, which draws from both ancient civilizations' sepulture practices and a futuristic approach to design, wants us to rethink the notion of death and the rituals around it through a surreally beautiful proposal that will make our departed loved ones an integral part of our everyday life. Although the greatest lesson one can take from URNA has been outlined above, there is more to be said about the opportunity that resides in regenerative design, and even more when applied to the decor world. Human remains aside, plenty are the creatives already repurposing other organic materials, from fungi and raw plant fibers to wheat, into functional projects that strike the balance between aesthetics and sustainability, one for all Mexico City-based Fernando Laposse, who recently featured in our review of London's hot new Latin American foodie hotspot, FONDA. Another take-home comes from URNA's brutalist essence — a reminder of how Brutalism, an architectural genre that's recently returned to the fore — continues to be associated with parallel realities and a desire to craft better futures for all. Putting the vibrancy of SUR ANDINA, the Argentinian presentation at the London Design Biennale 2025, into words will be hard, but I'll give it a go anyway. Wrapped around the walls of a small room in the East Wing of the showcase's location, looking at this installation feels like staring straight into the sun, as a giant, back-lit, loom-like structure stands glowing before you. A folklore-inspired collaboration between textile designer Cindy Lilen and sound artist Iliana Díaz López, this multisensory pavilion, pairing woven textiles and furniture with entrancing field recording, choral singing, and light, strives to evoke "the call of Mother Nature, the living pulse of the land, and the Andean world," the duo tells me. Combining multiple ancestral weaving techniques with a futuristic sound system and a mystical take on decor, it renders the beauty and wonder that lies in the outdoors. I had never considered how much specific textiles can alterate the way we perceive light, but as designer Cindy Lilen tells me while welcoming visitors to her London Design Biennale debut, "every type of wool makes for a completely different effect," and the ones she worked with collided to an otherworldly one. Obtained from locally sourced, indigenous, and regenerative natural fibers from Argentina's mountainous region of the Andes, SUR ANDINA not only leads the way in sustainable textile design, but also exemplifies the potential this medium can have in relation to sculptural, accent lighting. Plus, who wouldn't want that illuminated ottoman? Among the collective, non-country pavilions gathered in the fifth edition of the London Design Biennale, Life Calling's Notes to Humanity caught my eye for its essential set-up and powerful mission. Entering its room, situated in Somerset House's West Wing, feels like stepping into an ethereal library, dotted with beautiful green Banker's lamps, pale wood furniture, and thriving vegetation that infiltrates each corner of the room — from patches of musk to lush ficuses and ferns. Framed and hung on the left-hand side wall of the pavilion is a series of messages left by people from all walks of life, each addressing the same dilemma: "what does it mean to preserve your humanity in the Digital Age?" Rather than rushing off to see the next installation, here, visitors are invited to take a moment to think, stop, and express their vision of a human-friendly, incoming future. Any avid Livingetc reader will glance at Notes to Humanity and think the same thing: biophilic interior design. And while that was, largely, my very reaction given the green thumb feel of the installation, the initiative goes one step further than simply encouraging people to create domestic spaces that can foster a better way of life by incorporating plants, wellness-aiding textures, and colors into our domestic design. It prompts us to bring what we have inside out — whatever those worries, hopes, and preoccupations might be — get closer to ourselves, and to each other, all while allowing nature in. Call it indoor-outdoor living, just a little more brainy? Wura, the Global South's contribution to the London Design Biennale 2025, sited at the very end of Somerset House's East Wing, enchants with its softly glowing quietness. Coming a couple of rooms after Saudi Arabia's tech-engineered, busy 'assembly line' exploration of water in the contemporary landscape, this golden-hued room instantly imbues you with a sense of calm. Created by lead artist and curator Danielle Alakija, Wura houses an inner lit standing sculpture framed by four square, wood-carved stools bearing handmade abstract motifs. The centerpiece, made from cowrie shells and gold chain — embodying the currencies of old Africa and today's one, respectively — speaks to the interlaced histories of trade, colonization, and cultural rebirth that have led the continent to the present day, and continue to inform its future. Translating to "precious" in Yoruba, the Wura pavilion captures the importance of acknowledging and reconciling with the past to move forward, without ever leaving our roots behind. Fashioned from shells, gold chain, and a cylindrical, wrought-iron structure, and hand-carved wood, the Global South's participation in the London Design Biennale 2025 is possibly the most interiors-worthy among the pavilions presented. While it's hard to abstract its message from its aesthetics, Alakija's work shows how traditional artisanal practices can be reinvented in a contemporary form that protects their history and resonance while making them even more resonant to the eye of today's viewers. Hong Kong's pavilion at the London Design Biennale 2025, Human-Centred Design: Visuospace, was one of the first ones I walked into during the event's press preview, and the one whose vision stuck with me the longest after leaving the building. A mesmerizing audiovisual installation at the intersection of art, design, and neuroscience, it will hypnotize you with its shape-shifting moving images, morphing from barely recognizable, abstract compositions into ultra-red renders of urban cityscapes and towering skyscrapers. Led by H.S. Choi, the project was developed by collecting emotional data from Hong Kong residents, monitoring the degree to which they felt happiness, sadness, anger, and frustration, the team behind it explains. The stats were then translated into an animated sequence that, assigning specific visual effects to each feeling experienced by the participants, maps the spectrum of Hong Kongese citizens' well-being into a neon-lit, captivating artwork. One of the most densely populated places on Earth, Hong Kong is known for its high-rise buildings, where residents live up to 200 meters above ground level. In Human-Centred Design: Visuospace, viewers are confronted with the way in which the spaces we inhabit shape our physical, mental, and emotional health through a spectacular audiovisual piece that digs into themes of identity, belonging, and alienation. Here, you won't just be able to discover how citizens living in lower-rise residential units compare to those housed in Hong Kong's tallest skyscrapers, but you'll also get to learn more about your own well-being, thanks to the opportunity of having your data collected via a headband on-site and shared with you within days. The London Design Biennale 2025 couldn't, in any way, have landed at a more exciting moment for London's cultural community. What am I hinting at? Well, well, well. In case you missed it, the V&A, one of the world's leading museums, has just revealed its years-in-the-making, Stratford outpost, the Victoria & Albert East Storehouse. We visited it first-hand on its opening day last week to test drive it for you, and its 250,000-artifact collection is well worth a deep dive. In other cultural news, Marina Tabassum's Serpentine Pavilion 2025 was inaugurated at the namesake Kensington Gardens gallery this Tuesday. A breathing, poetic installation with a tree at its heart, the large-scale enterprise captures how, by leaning into natural growth and transformation, "architecture can outlive time".
Times of Oman
a day ago
- Entertainment
- Times of Oman
Oman Pavilion wins best artwork design award at London Design Biennale 2025
Muscat: The Oman Pavilion has won the Best Artwork Design Award at the London Design Biennale 2025 for its installation Memory Network by Haitham Al-Busaifi. The award was announced during the opening ceremony held at Somerset House in London. The winning installation reflects the strategic vision of the Ministry of Culture, Sports, and Youth to support artistic and intellectual creativity among Omani youth. Designed by architect and designer Haitham Al-Busaifi in collaboration with the Zawraq Group, the piece blends cultural heritage with contemporary design. Memory Network reinterprets traditional Omani pottery through transparent formations arranged to resemble digital data centers. The installation examines values and social connections, prompting reflection on what societies choose to preserve across generations. Aligned with the Biennale's theme, Surface Reflections, it poses global humanitarian questions on the value of memories and shared experiences. The installation also includes an interactive element, allowing visitors to contribute their own memories and reflections, which are digitally integrated into the exhibit. This marks Oman's debut at the London Design Biennale, highlighting the Ministry's commitment to promoting Omani creativity on the global stage.
Forbes
3 days ago
- Business
- Forbes
9 Highlights Of The London Design Biennale 2025
The London Design Biennial, one of the world's most prestigious design events. Anadolu via Getty Images The fifth edition of the London Design Biennale kicked off today at Somerset House, featuring over 30 international pavilions exploring this year's theme, "Surface Reflections." Of the theme, the Director of the biennale, Victoria Broackes, says that it 'invites the world to pause, reflect and look beneath the surface. At a time of global uncertainty, our designers and artists are not only responding to the challenges we face, they are imagining bold, hopeful alternatives.' Malta pavilion, London Design Biennale 2025 London Design Biennale As always, visitors can expect to see the best in new design through immersive installations, musical performances, soundscapes and sculptural works. Here are nine highlights ranging from a paper dress and speakers made from fossils to the world's first known organisational chart made for the New York Railways in 1855. Japan, London Design Biennale 2025 Taran Wilkhu Taking over the glorious Nelson Stairs in Somerset House is the best pavilion at this year's London Design Biennale. Paper Clouds: Materiality in Empty Space presents an ethereal delight, featuring suspended clouds and a dress made of Japanese washi paper with stone speakers constructed from 350 million year old fossils that play new music by violinist-composer Midori Komachi. The delicate washi paper clouds and washi dress (inspired by traditional Japanese armor) were created by Tokyo-based Sekisui House – Kuma Lab while the stone speakers were by British company Mineral Sound. Overseen by Clare Farrow Studio, the project is a brilliant Tokyo meets London experiment in design, materiality, music and fashion. There will be a live performance byMidori Komachi on June 27th. Rachel Botsman, Roots of Trust (detail) at London Design Biennale 2025 Mark Cocksedge Who would have thought an organisational chart could be so beautiful? On display on the lower floor at Somerset House is artist Rachel Botsman's Roots of Trust, a reinterpretation of the first known organisational chart, created in 1855 for the New York and Erie Railroad Company. The chart, based on a document rediscovered and carefully restored from the archives of the U.S. Library of Congress. is etched onto a large-scale floating transparent panel. Unlike the structured pyramid hierarchy that we are familiar with today, this early chart takes a distinctly different form and challenges traditional ideas of hierarchy, power and trust in systems and society. Uzbek Design - The Once and Future Garden, London Design Biennale London Design Biennale The Uzbek Design pavilion presents The Once and Future Garden, inspired by the historic gardens of Samarkand. As spaces for imperial leisure, ritual, and celebration, the gardens and pavilions within them were filled with ceramics, textiles, furniture, and fashion—produced by highly-skilled artists and artisans from across the empire. Four design studios (Madina Kasimbaeva, Nigora Hashimova, Tigran Erdman and Timur Parmanov and Ruth Shelley) showcase objects that reflect those past centuries of skill and tradition, while also pointing to a future. A fashion designer's colorful waistcoat and jacket with a nod to historical garments and a footstool covered with bold vertical stripes are standout pieces. Oman pavilion at London Design Biennale 2025 Anadolu via Getty Images Oman's Memory Grid is an immersive installation that channels traditional pottery as a metaphor for what we value most. It connects ancient craft with digital ideas, prompting visitors to consider themes of survival, value and legacy. Plastic replicas of Omani pottery - vessels that preserved valuable resources like water across centuries are on show in a striking, colorful installation. Founded by Charos and Timur Kamalov in 2018, Teplo Store is a Tashkent-based concept store supporting over 300 independent brands of which 95% are women-led. Bringing a selection of jewlery, clothes and other accessories to the London Design Biennale, Silk Road Teplo Store shows some of the best young fashion designers from Uzbekistan. Taking a neuroscientific approach to the understanding and cognition of urban space, Human-Centred Design: Visuospace is an immersive digital exhibition. It highlights the complex relationships between emotions and the environment, spatial design and psychology to better understand how to 'live and build well.' Melek Zeynep Studio installation at London Design Biennial 2025 Anadolu via Getty Images The Recursion Project approaches the concept of repetition as an instrument that shapes the relationship between collective memory, matter and form. The installation includes hundreds of small cubes, handcrafted from Turkish terracotta clay and mirrored on two sides which create a single large cube. Central to the installation is the artist's playful reference to the Tesseract Cube: a calculation used in physics to go beyond matter into the fourth dimension. A view of "Emotional Reflections: The Soul of Seven Horizons" by Turkish artist Halise Karakaya, London Design Biennial at Somerset House in London, United Kingdom on 05, 2025. Anadolu via Getty Images The Turkey Pavilion presents Emotional Reflections: The Soul of Seven Horizons, a multisensory installation that merges contemporary art with ancient memory, inviting the audience into an emotional dialogue with the city of Istanbul. Inspired by the city's iconic seven hills, the installation features kinetic sculptures, LED responsive lighting, thermal and motion sensors, ambient soundscapes and the scent of traditional Turkish coffee. The Global South, London Design Biennale 2025 Taran Wilkhu Wura, meaning 'precious' in Yoruba, is a sculptural tribute to the wealth, resilience, and complexity of the Global South. Created from gold chain and cowrie shells, this installation weaves together narratives of trade, colonization and cultural rebirth. The cowries, once used as currency across Africa, Asia, and the Americas, are honored here as symbols of an indigenous economy - one rooted in exchange, meaning, and connection Abu Dhabi, Argentina, Azerbaijan, Black British Artist Grants programme by SR_A, Chile, China, European Union, Design Council, Eco-Vision Plan, Hong Kong, India, Institute for Global Prosperity at UCL, Japan, King's College London, Life Calling, Malta, Melek Zeynep Bulut, Netherlands, Nigeria, Northumbria University and University College London, Oman, Peru, Poland, Portugal, Rachel Botsman, Romania, Saudi Arabia, The Global South, The Silk Road Pop-Up by Teplo Store, Tijuana-San Diego, Turkey, UK Civil Service, Uzbek Design, VCUarts Qatar and World Monuments Fund and English Heritage. The London Design Biennale is at Somerset House, London until 29 June 2025. Tickets are from £22 for adults. £10 Youth tickets for visitors aged 16-25.
Leaders
3 days ago
- Entertainment
- 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
Arab News
3 days ago
- Business
- Arab News
Saudi pavilion makes a splash at London Design Biennale
DHAHRAN: 'Good Water,' the Saudi National Pavilion that reimagines our relationship with water, is sure to be popular with visitors at the London Design Biennale, which opens today. For the latest updates, follow us on Instagram @ Examining water systems, accessibility, equity and scarcity, the pavilion was commissioned by the Architecture and Design Commission and supported by the Ministry of Culture. Presented under the leadership of commission CEO Sumayah Al-Solaiman, it marks the fourth time the Kingdom has taken part in the event. A post shared by London Design Biennale (@londondesignbiennale) '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,' said Al-Solaiman. 'With this pavilion, we are proud to support the next generation of Saudi practitioners and provide platforms that amplify their voices on the international stage.' Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif and Aziz Jamal worked as co-curators, collaborating across various disciplines. 'In the team, we don't have specific roles,' Jamal told Arab News. 'We all collaborated on everything. So the video, we all shot together — we all wrote together. We all have different backgrounds in the arts sector but we've worked together (in the Saudi art scene) for the past five years and that's actually how we came together; it's more of a democratic process and there's no kind of strict guidelines.' At the heart of the Saudi contribution in London is the sabeel, a traditional water fountain usually placed and funded privately in a shaded outdoor communal space. It is meant for use by anyone in the community, free of charge. The sabeel is an enduring symbol of hospitality and generosity, deeply rooted in the Arabian Peninsula and found in many spots throughout the Middle East. 'Growing up in Dhahran, you would see sabeels everywhere. Our house didn't have one, but there was a mosque in front of our house that had one,' Jamal said. The London installation strips the sabeel of nostalgia and re-centers it as a contemporary, working object. Visitors are invited to fill their cups — literally and figuratively, as they pause to reflect on the often unseen systems, labor and energy that make the flowing 'free' water possible. Stacks of paper cups will be provided, bearing the message 'Good Water: 500 ml = one AI prompt' in vibrant color. There will also be refillable water bottles so spectators can have a 'water-cooler moment' to chat, sip and ponder. The pavilion also features four videos, filmed at an old water factory in Riyadh, showing the painstaking journey of water from droplet to distribution. The screens trace the production process across different sizes of bottles, with each film lasting under 10 minutes. Jamal's relationship with water shifted since he started working on this project. 'I have to say, watching and going to visit the water factory (in Riyadh) and seeing the enormous effort that it takes to fill up one tiny water bottle — you don't take that effort for granted anymore,' he said. 'Before, if there was a little bit of water in my water bottle, I would just leave it, but now it's like, I make it a point to drink (it) all … to finish my water bottle, because it's not just a matter of just getting the water filled up, it's testing it, going through inspection, doing all the mineral checks. It has made me more conscious of every drop.' Jamal's aim is for visitors to the pavilion to quench their thirst with that same realization. 'What I really hope for is for people to interact with the piece,' he said. 'We want that act of generosity to come through and we want people to drink the water.' The eco-conscious will be glad to know the sabeel will dispense locally sourced water — not any transported from Riyadh. It will also be indoors. A printed catalogue written by the curators will also be available, offering further context in the form of essays, research material and images of water infrastructure and sabeels from across the Middle East and North Africa region. Saudi Arabia is one of the most water-scarce countries in the world. Only 2.5 percent of the world's water is freshwater, and even less is accessible for drinking. The Kingdom is the largest producer of desalinated water globally, supplying over 60 percent of its potable water, according to the Saudi Pavilion team's research. 'We thought (the sabeel) was a perfect anecdote to describe the attitude and the general principle behind this concept of water as a human right and not as a luxury,' Jamal said. 'It's free drinking water, but it's from a private source. So we felt it really encompassed this specific phenomenon in Saudi, of paying it forward and offering water to people who don't have access to it.' With 'Good Water,' the Saudi National Pavilion puts this scarcity — and the labor behind everyday hydration — center stage. 'Our research was about water and access to water,' Jamal added. 'When we were first conceptualizing the piece for the London Biennale, we were looking at the infrastructure and water and access and what's the hidden cost of free water in Saudi — and specifically looking at the object(ive) of a sabeel: What does this act of generosity and act of making water into a human right mean, and what is the hidden cost of that?' Though the widespread distribution of plastic bottles has displaced the sabeel to some extent, Jamal emphasized its enduring relevance, especially in a country with scorching summers and large outdoor workforces. 'I think people are on the go, so they need something convenient, but I think water bottles haven't killed off sabeels completely,' he said. 'A lot of the workforce in Saudi, who have more direct contact under the sun and the streets — they still use it all the time. It's not just drinking water — it's cold drinking water, and in Saudi that's very important.' Jamal joked that after nearly a year of working on this project, the team would raise a glass of water in celebration. The pavilion will be open until June 29 at Somerset House.
