Qatar Debuts at LDB 2025 with Matter Diplopia by VCUarts Qatar

Qatar has taken centre stage at the London Design Biennale (LDB) 2025 with Matter Diplopia, an immersive pavilion by Virginia Commonwealth University School of the Arts in Qatar (VCUarts Qatar). This collective, research-driven exhibition explores the deep connections between materiality, culture, and environment, offering the world a glimpse into the vibrant design inquiries emerging from the region.

The fifth edition of the London Design Biennale, themed Surface Reflections, runs from June 5 to June 29 at Somerset House, gathering over 40 exhibitors to showcase designs that respond to urgent global challenges. Victoria Broackes, Director of LDB, described the Biennale’s atmosphere as buzzing with ideas and vibrant exchanges, while Artistic Director Dr. Samuel Ross curated Surface Reflections to inspire layered interpretations.

VCUarts Qatar’s Matter Diplopia unfolds through nine projects under three thematic tours — Material Innovation, Cultural Narrative + Tech, and Observing Environments — each encouraging visitors to “look again” at the materials shaping our world.

As Amir Berbić, Dean of VCUarts Qatar, explains, “Matter Diplopia is a “collective act of creative production” that positions design as a bridge between tradition and innovation.”

Chrysalis: A Kinetic Sculpture that Cleans the Air

Chrysalis is a dynamic air-cleaning sculpture that mimics a living organism. Suspended from the ceiling, the sculpture is composed of a rigid upper structure and a kinetic lower section made of concentric fabric rings. These rings move rhythmically, creating a visible and audible breathing cycle. As the rings descend, the structure expands, drawing in polluted air through one-way valves. When they lift, the air is compressed and pushed through multi-layered filters embedded with nano-coated textiles, effectively neutralising toxins, gases, bacteria, and particulates.

Rab McClure, Interim Director, MFA Design Studies at VCUarts Qatar, explained, “The most inspiring aspect of this project was the interdisciplinary collaboration. Chrysalis could not have existed without the fusion of creative coding, physical computing, and nanotechnology. Working with Levi Hammett and Dr. Rola Al-Soubaihi was both challenging and profoundly rewarding.”

Erzum Naqvi, an MFA graduate, shared how participating in LDB boosted his confidence. “Being able to showcase our work at such a global platform was a great confidence builder. It was empowering to witness the genuine appreciation of our audiences.” He emphasised that beyond showcasing, the Biennale offered an opportunity to explore other groundbreaking projects and reimagine new creative possibilities. “Stepping into the Biennale was like a creative reset, reminding us to step back and pursue new directions.”

DUB DOUBT: Remixing Cultural Appropriation

DUB DOUBT is a provocative installation that challenges the boundaries of cultural appropriation through sound, touch, and visual remixing. Inspired by Jamaican sound systems, the installation replaces traditional speakers with interactive vibrating sculptures made of metal, resin, and wood, each linked to different sound layers of a popular reggae track.

Visitors engage directly by touching the sculptures, which vibrate to different parts of the track, creating a participatory remixing experience. Framed by mashrabiya-inspired screens, the installation invites audiences to confront questions about ownership, cultural exchange, and hybridity.

Simone Carena, one of the creators, and Associate Professor, Interior Design at VCUarts Qatar explained, “DUB DOUBT plays on the dilemma of cultural appropriation. Visitors can mix portions of a song by interacting with sculptures inspired by Egyptian art taken from the British Museum. We wanted to suggest that in doubt, you must dub.”

Simone found the most powerful moments in visitors’ reactions. “Seeing people smile and engage while touching such a controversial theme was deeply inspiring. It was about positive vibrations and unity with a personal touch.” He also reflected on the broader landscape of the Biennale, noting that “too many installations resembled luxury resorts, missing the raw energy of disruptive ideas. Our responsibility is to push for challenging, thought-provoking work.”

Nature’s Alchemy: The Sacred Cycles of the Date Palm

Nature’s Alchemy is a poetic investigation into the date palm, a regional symbol of resilience, sustainability, and sacredness. The installation explores the life cycle of the date palm, from its religious significance and traditional uses to its everyday presence in the Gulf landscape.

Through this project, artists and designers offer an intimate narrative of the palm’s relationship with human life, emphasising its role in providing nourishment, shelter, and cultural identity. The exhibit included gilded date seeds, traditional building elements, and spiritual references that sparked profound engagement among visitors.

Stella Colaleo, Adjunct Faculty at VCUarts Qatar, recalled the emotional resonance visitors found in the smallest objects. “Seeing people pause to reflect on something as modest as a gilded date seed reminded me of the power of material storytelling,” she said.

The collaborative process reinforced the importance of slowness and care in design. “This experience affirmed that design is about relationships—between people, places, and the systems we choose to honour or challenge,” Stella noted.

El Zaffah: Immersive Arab Wedding Traditions

El Zaffah brings to life the Arab wedding procession through an immersive, multi-sensory installation. The project focuses on the Zaffah, a celebratory tradition marked by vibrant music and dance, popular across Egypt, Qatar, and Palestine.

The installation blends analogue and digital media, featuring a custom-made carpet with embedded speakers and an integrated screen. Through audio-visual recordings, it captures the diverse musical and dance expressions of the Zaffah, highlighting both the regional variations and shared cultural spirit.

Erzum Naqvi described El Zaffah as a celebration of heritage and joy. “Our aim was to offer visitors a sensory experience that made them feel the vibrancy of this communal tradition,” he said.

Hadeer Omar shares that the most inspiring moment during his participation at the LDB came after his Pecha Kucha presentation, when attendees approached him to share their reactions.

“Their responses were incredibly heartfelt and insightful,” he says. “Many opened up about their own experiences with wedding traditions from different parts of the world — from small, rural rituals to grand urban celebrations. It was deeply moving to see how the project sparked a sense of connection, nostalgia, and even curiosity. These conversations reminded me that despite our cultural differences, there’s a shared emotional language around celebration, memory, and belonging.”

Hadeer emphasises that the power of storytelling was a key takeaway from the LDB.

“One of the most powerful learnings was how sound and rhythm can instantly transport us — and others — into intimate spaces of memory. Hearing familiar melodies and ambient sounds from my own childhood resonating through the exhibition space was surreal. It created an emotional anchor not just for me, but also for visitors who found echoes of their own pasts in the work. Representing a fragment of ‘home’ to an unfamiliar audience showed me how storytelling through sensory elements can be both deeply personal and profoundly universal. Art, I realised, can become a bridge between lived experience and cultural exchange.”

Greener Greenhouse Goes GMT: A Global South Reinterpretation

Greener Greenhouse Goes GMT reimagines the Victorian Crystal Palace through the lens of sustainable architecture from the Global South. Built in Kenya using locally sourced bamboo and friction joinery, the structure honours local materials and craftsmanship.

Rather than replicating colonial grandeur, the project focuses on the adaptability and resilience of vernacular construction methods. By employing second-hand materials and local ingenuity, the greenhouse stands as a counterpoint to imperial narratives.

The team’s collaboration with Kenyan metalworkers and their experimentation with friction joinery demonstrate sustainable design in action. The project embodies the idea that meaningful architecture can arise from modest resources and local knowledge, challenging the dominance of Western design tropes.

Dunes and Dugongs: Climate Action through Play

Dunes and Dugongs is a gamified installation inspired by Dungeons and Dragons that invites participants to make critical decisions about climate futures. Through role-playing and interactive storytelling, the project explores how individual and collective choices shape environmental outcomes.

Artist and previous Adjunct Professor at Virginia Commonwealth University, Charlotte Rodenberg shared a transformative moment: “A young artist named Sophie told us our project gave her the confidence to develop her own world-building installation. Beyond encouraging environmental stewardship, inspiring fellow creatives is a powerful outcome.”

Charlotte emphasised the personal growth gained through the project. “Leading such an interdisciplinary effort taught me resilience, adaptability, and the importance of navigating complex challenges collaboratively. Our team remained cohesive and committed throughout.”

The project underscores the importance of creative engagement in climate discourse, offering an interactive way to reflect on the real-world impact of our choices.

Stone Plus: Giving Imperfect Stones New Life

Stone Plus transforms rejected sedimentary stones from Qatar into a distinctive collection of adaptive furniture. Originally discarded due to their structural fragility, these stones are reimagined through design strategies that embrace their imperfections.

The resulting furniture pieces are designed for flat-pack transportation and easy assembly, promoting sustainable practices and local material use. By working with ‘imperfect’ materials, the project challenges the construction industry’s bias towards flawlessness.

Marco Bruno valued the dynamic exchanges that took place at LDB. “Good projects do not need any explanation—they speak for themselves,” he observed, emphasizing the importance of clear design language and the natural appeal of well-crafted work.

Stone Plus proposes a new approach to design that is resourceful, context-aware, and beautiful in its honesty.

Tatreez Unbroken: Stitching Stories of Palestinian Resistance

Tatreez Unbroken is a poignant homage to Palestinian embroidery, known as Tatreez, and to the resilient women of Gaza who have resettled in Doha. Central to the project is the creation of custom Arabic and Latin typefaces inspired by the geometric patterns of traditional embroidery.

Each stitched letter tells a story of survival, identity, and cultural resistance. The installation allows visitors to interact with the typeface by typing their names in both Arabic and English, creating a direct, tactile connection to the women’s narratives.

VCUarts Qatar, MFA graduate, Naima Almajdobah shared the emotional depth of the audience’s response. “People didn’t just observe — they touched the stitches, engaged with the typeface, and showed a genuine curiosity to learn the stories behind each piece.”

She emphasised that the project bridged cultural divides. “People from different backgrounds connected deeply with the themes of displacement and resilience. Tatreez became a universal language of struggle and survival.”

Discursive Instrumentation of Urban Rhythms: Doha in Sound

Discursive Instrumentation of Urban Rhythms brings the layered soundscape of Doha to life through three custom instruments: The Body (infrastructure), The Worker (individuals), and The City (movement). Each instrument embodies a vital aspect of urban existence, and when played together, they merge into a new sonic portrait of the city.

Visitors actively engage by playing the instruments, uncovering familiar and unfamiliar rhythms that reflect the cultural and migratory layers of Qatar’s urban fabric. The soundscape creates a resonant portrait of Doha’s dynamic identity.

VCUarts Qatar, Head of Digital Design and Fabrication, Shankar Padmanabhan noted, “The Biennale showed us the significance of cultural platforms in enhancing institutional visibility. It reinforced VCUarts Qatar’s potential to contribute meaningfully to global design conversations.”

The project celebrates Qatar’s diverse communities and the sounds that shape daily life, offering a multi-sensory reflection on place, migration, and modernity.

Insights from Matter Diplopia

Through these nine distinct projects, VCUarts Qatar’s Matter Diplopia showcased the institution’s global ambition, interdisciplinary creativity, and commitment to addressing complex cultural and environmental questions. The pavilion underscored the power of design to forge dialogues, honour heritage, and inspire action.

Dr. Diane Derr, Associate Dean of Research at VCUarts Qatar, summarised, “Each project opens a different line of inquiry—some ask difficult questions; others propose unexpected solutions—but all reflect a shared commitment to exploring and responding to a rapidly changing world.”

Qatar and VCUartsd Qatar’s debut at the London Design Biennale is a milestone that amplifies its design voice on the international stage, fostering connections that will shape future collaborations and cultural exchanges far beyond Somerset House.

All Images Courtsey LDB, VCUArts Qatar and Erzum Naqvi.