Birdhouses designed by Norman Foster, Sou Fujimoto, Lina Ghotmeh, Frida Escobedo, and more are shown in the exhibition Architects for the Birds during London Frieze Week. Taking place at Christie’s London 20/21 Marquee Week between October 13th and 17th and during the Frieze Week between October 8th and 14th, 2025, the project led by Norman Foster brings together ten renowned architects to design homes for the birds for an exhibition and a charity auction supporting brain cancer research.  

Norman Foster initiated the collaboration with the Tessa Jowell Foundation, inviting nine other architects to interpret themes of sanctuary, care, and hope through miniature architectural birdhouses. The participating architects include Norman Foster, Renzo Piano, David Chipperfield, Grafton Architects, Sou Fujimoto, Lina Ghotmeh, Jacques Herzog, Frida Escobedo, Farshid Moussavi, and Kazuyo Sejima/SANAA.

all images courtesy of Christie’s Images Ltd. 2025 | photo by Michael Bodiam

Exhibition at Christie’s King Street during London’s Frieze Week

Each architect, including Norman Foster, who conceived the project, received an open brief allowing interpretation of the sanctuary theme, and the resulting birdhouses are set to be exhibited publicly at Christie’s King Street during London’s Frieze Week in October 2025, then sold at a private dinner auction. While specific construction details aren’t provided, each architect, including Norman Foster himself, likely approaches the birdhouses using materials and techniques consistent with their established design philosophies and architectural styles.

The scale shift from large buildings to small birdhouses poses technical challenges, as details that work at building scale may not function at miniature scale, requiring the contributing architects to rethink proportions and their joinery methods. The theme of sanctuary, care, and hope offers them a conceptual framework while allowing individual interpretation. Some architects focus on the protective aspects of shelter, such as Norman Foster’s tiered, lamp-like birdhouse, while others zero in on the nurturing qualities of home, including Frida Escobedo’s ladderized wooden open birdhouse and Grafton Architects’ playful resting rods. 

Norman Foster, Birdfeeder, 2025. Prototype | photo by Michael Bodiam

‘Architects for the Birds’ to support research on brain cancer

Named Architects for the Birds, the exhibition coinciding with London Frieze Week and the auction by Christie’s represents a rare and collectible design challenge through birdhouses by the most revered architects of the present time. Each birdhouse is slated to be auctioned at a private dinner at Christie’s to support the work of the Tessa Jowell Foundation to improve treatment and care for people with brain cancer across the NHS in the UK.

The Tessa Jowell Foundation focuses on brain cancer treatment improvement, specifically addressing what they identify as the leading cancer killer of children and adults under 40. The foundation was established following Tessa Jowell’s death from brain cancer. She served as the UK’s longest-serving Secretary of State for Culture, which explains the cultural connections that enabled this architectural collaboration.

Norman Foster, Birdfeeder, 2025. Prototype | photo by Michael Bodiam

Frida Escobedo, Bird Station – 01, 2025

Grafton Architects, A drawing of Éanlann for Architects for the Birds, 2025

Grafton Architects, Éanlann, 2025

Grafton Architects, A drawing of Éanlann for Architects for the Birds, 2025

Jacques Herzog, Utensils, 2025

Jacques Herzog, Utensils, 2025

Kazuyo Sajima, Tori no le, 2025

project info:

name: Architects for the Birds

architects: Norman Foster, Renzo Piano, David Chipperfield, Grafton Architects, Sou Fujimoto, Lina Ghotmeh, Jacques Herzog, Frida Escobedo, Farshid Moussavi, Kazuyo Sejima | @officialnormanfoster, @rpbw_architects, @david.chipperfield, @graftonarchitects, @sou_fujimoto, @linaghotmeh, @herzogdemeuron, @fridaescobedo, @farshidmoussavi, @sanaa_jimusho

foundation: Tessa Jowell Foundation | @tessajowellfoundation

auction: Christie’s | @christiesinc

event: London 20/21 Marquee Week, London Frieze Week | @friezeofficial

dates: October 13th to 17th, 2025

photography: Michael Bodiam | @michaelbodiam

The post norman foster, sou fujimoto, lina ghotmeh and more design birdhouses at christie’s in london appeared first on designboom | architecture & design magazine.

The Uzbekistan Art and Culture Development Foundation (ACDF) appoints architect Lina Ghotmeh to design the Jadids’ Legacy Museum in Bukhara, a project that reimagines the former residence of reformist leader Usmon Khodjaev as a cultural landmark. Due to open in 2027, the museum is designed to explore the ideas and influence of Jadidism, the reform movement of the late 19th and early 20th centuries that sought to modernize education, foster cultural renewal, and expand intellectual horizons across Central Asia. The commission also marks Ghotmeh’s first project in the region.

‘The opportunity to work in Bukhara is a profound immersion into an extraordinarily rich history, one that has left behind truly fascinating architectural gems,’ Lina Ghotmeh tells designboom. ‘As you wander through the city’s streets, you are embraced by a heritage that carries you back to the Silk Road, to the architectural wonders of the early Islamic period, through the medieval flourishing under the Timurids, and forward into modern times. To build within this context is to listen carefully to the depth of history and to introduce new spaces – gently, softly, almost as whispers in dialogue with the past.’

The museum is part of a growing network of institutions spearheaded by ACDF that seek to place Uzbekistan’s cultural identity on the global stage. In Bukhara alone, this includes the recently launched Bukhara Biennial, while nationwide initiatives range from the revitalization of the Centre for Contemporary Arts in Tashkent to the Tadao Ando-designed National Museum of Uzbekistan, currently under construction (find designboom’s previous coverage here). 

elevation sketch | Jadids’ Legacy Museum renders by Lina Ghotmeh – Architecture, courtesy Uzbekistan Art and Culture Development Foundation (ACDF)

A historic residence Reborn Through Archaeology of the Future

Known for projects such as the 2023 Serpentine Pavilion in London, the Stone Garden tower in Beirut, and her current commission to renovate the British Museum’s Western Range galleries, Lebanese-born architect Lina Ghotmeh describes her method as an Archaeology of the Future. ‘It involves delving into the history and context of a place, much like an archaeologist unearths layers of the past, to inform designs that are rooted in memory and place,’ she explains to us. ‘For the Jadids’ Legacy Museum, this approach means creating a space that dialogues with its historical context, offering visitors an immersive experience that connects them to the past while inspiring future reflection.’

The building chosen to house the Jadids’ Legacy Museum once belonged to Usmon Khodjaev (1878–1968), a central figure in the Jadid movement and the first president of the short-lived Bukhara People’s Republic. Born into a merchant family in Bukhara, Khodjaev studied in Istanbul, where he raised funds to establish Jadid schools. Returning to Uzbekistan in 1913, he helped form the Young Bukharans, a group of reform-minded intellectuals advocating for educational and social change. His later career extended into diplomacy and scholarship, including leadership at the Institute for the Study of Turkic Culture in Ankara.

The word originates in Arabic and Persian, where jadid means ‘new’. Initially applied to modern educational methods, the word came to represent a wider program of cultural and social reform in Central Asia. The movement emphasized literacy, the inclusion of women in education, and engagement with global intellectual currents, while remaining grounded in local identity.

ACDF appoints architect Lina Ghotmeh to design the Jadids’ Legacy Museum in Bukhara | Iwan

The Khodjaev Residence as Cultural Landmark

Located beside Lyabi-Hauz, Bukhara’s 17th-century square and gathering place, the house has witnessed a transformative era in the region’s history. In a gesture of continuity, Khodjaev’s son, Professor Temur Khodja, has pledged the property to the Ministry of Culture to guarantee its continuity as a museum dedicated to Jadid heritage. ‘The residence of Usmon Khodjaev is more than a house. It is a vessel of memory, a silent witness to an age of change,’ Ghotmeh tells us. ‘Within its walls echo the voices of a generation that dreamed of new schools, new freedoms, and a new future for Central Asia. It bears the weight of history — the aspirations of the Jadid reformers, the collapse of the Emirate, the shadows of the Soviet years — and now, the possibility of a new chapter where memory and imagination converge.’

The museum will integrate the city’s architectural legacy into its design. ‘Bukhara’s architectural tapestry is profoundly rich, shaped by centuries of cultural exchange and evolution. Our design seeks to honor this complexity by weaving together traditional materials and forms with contemporary interventions, creating a harmonious dialogue between past and present so the museum becomes a meaningful addition to Bukhara’s architectural narrative,’ the architect notes.

the museum is designed to explore the ideas and influence of Jadidism | garden view

Carrying the Jadids’ Vision in Bukhara forward

At the same time, the project will highlight the work of local artisans. ‘Collaboration with local craftspeople lies at the heart of our approach, ensuring the design remains authentic, locally crafted, and culturally resonant,’ Ghotmeh shares. ‘By working with traditional materials — clay, ceramics, wood — and employing age-old techniques passed down through generations, the project both supports the craft community and embeds the museum within the cultural fabric of Bukhara. Our aim is to reinterpret these practices through contemporary applications, transforming the museum into more than an exhibition space — into an inspiring, spiritual environment where tradition and modernity meet.’

For ACDF, the museum is an opportunity to bring these stories into the present, establishing a space for reflection on how the reformers’ vision continues to resonate today. Gayane Umerova, Chairperson of ACDF and head of the Department for Creative Economy and Tourism, describes the project as a chance to connect past and present. ‘The Jadids’ Legacy Museum will tell the story of visionaries whose belief in knowledge, cultural renewal, and openness resonates powerfully today. In Bukhara, their legacy is part of the city’s fabric, and an inspiration for all generations,’ she notes.

the commission also marks Ghotmeh’s first project in the region | home

part of a growing network of institutions spearheaded by ACDF | scholarly impact

project info:

name: Jadids’ Legacy Museum

architect: Lina Ghotmeh—Architecture | @linaghotmeh_architecture

location: Bukhara, Uzbekistan

commissioner: Uzbekistan Art and Culture Development Foundation (ACDF) | @acdfuz

completion: 2027

The post lina ghotmeh to transform historic uzbek residence into jadids’ legacy museum appeared first on designboom | architecture & design magazine.

Museums offer a singular way to experience architecture as a living record. Across the world, new cultural institutions and thoughtful transformations continue to shape how we engage with artwork, historical artifacts, and civic life. In this context, architecture becomes a means of orientation, framing memory and revealing histories. This year, major museum projects have been unveiled and completed. From subterranean expansions to open-air installations, the physical frameworks of these institutions reflect shifting curatorial values and public expectations. Some buildings stretch across city streets or rise from the forest floor, while others embed themselves carefully within existing heritage, expanding through deliberate restraint.

To celebrate International Museum Day, held on May 18th each year, designboom rounds up a selection of recently unveiled and anticipated museums. These projects move beyond the boundaries of the traditional gallery, inviting new modes of participation and perception. What emerges is a deeper consideration of structure and story — each museum offers its own response to the evolving role of architecture in public life.

The Frick Collection, New York, NY | image © Nicholas Venezia

Hungarian Natural History Museum

In Debrecen’s Great Forest, the Hungarian Natural History Museum designed by Bjarke Ingels Group with Vikár és Lukács Építész Stúdió, Museum Studio, and TYPSA rises from the ground in a trio of landscaped ribbons that weave through the trees. The mass timber structure is partially embedded into the terrain, its charred wood facade drawing material cues from the forest while supporting the ecological rhythms of the site.

Conceived as both architecture and landscape, the building folds together exhibition halls, public spaces, and research facilities in a continuous spatial flow, anchored by a central atrium and topped with native-planted green roofs. Viewed from above, the museum appears as an extension of the forest floor, its geometry clear but softened by its interaction with the natural surroundings. Passive design systems and on-site renewables help stabilize the interior climate, reinforcing a broader vision of cultural and environmental restoration.

Hungarian Natural History Museum, Debrecen, Hungary | visualization © BIG

FENIX MUSEUM OF MIGRATION

Fenix, the new museum of migration designed by MAD and led by architect Ma Yansong, has opened its doors within a transformed 1923 warehouse in Rotterdam’s Katendrecht district. The project anchors itself in a place once defined by departures, reimagining the monumental port structure as a civic space where personal histories and collective memory converge. At its core rises the Tornado, a spiraling double-helix staircase that cuts through the historic building and culminates in a rooftop observatory. This gesture of upward motion becomes a sculptural expression of passage, both physical and symbolic.

Inside, exhibitions unfold across immersive installations and contemporary artworks, interweaving photography, found objects, and oral histories to chart the human experiences of migration. At ground level, a freely accessible public plaza with food offerings and performances reflects the city’s multicultural spirit. For Ma Yansong, Fenix is at once an architectural milestone and a vessel for encounter and memory. It is an idea brought to life as visitors ascend through light, shadows, and shared stories.

Fenix Museum of Migration, Rotterdam, The Netherlands | image © designboom

Shenzhen Science & Technology Museum

In Shenzhen’s Guangming District, the newly opened Science & Technology Museum by Zaha Hadid Architects stands as a bold focal point at the edge of the city’s emerging Science Park. The spherical structure anchors the site with a deep blue stainless-steel skin that subtly shifts in color and reflects the sky. Terraces unfold to the west, connecting the building to the park and extending the experience of the galleries outdoors.

A vast central atrium serves as the spatial core, with exhibition spaces branching outward in layered, shifting planes that invite movement and exploration. The design merges civic architecture with sustainable ambition, incorporating passive ventilation, solar energy, and water recycling while using a digital twin to navigate its intricate geometry. Designed as a cultural and research hub, the museum brings together education and technology into a single fluid form.

Shenzhen Science & Technology Museum, Shenzhen, China | image courtesy Zaha Hadid Architects

the frick Collection

After nearly five years of renovation, The Frick Collection has reopened in New York with a renewed sense of architectural continuity, guided by Selldorf Architects in collaboration with Beyer Blinder Belle. The design navigates the delicate balance between preservation and intervention, with subtle alterations that honor the original 1914 Carrère and Hastings mansion while expanding its spatial and programmatic possibilities.

Key additions include the Ronald S. Lauder Exhibition Galleries, a subterranean auditorium, and public access to the residence’s second floor, where private rooms have been carefully restored. The architecture is thoughtful in tone and quiet in execution, from the oak floors to the glass-and-bronze bridge connecting the museum to the Frick Art Reference Library. With expanded facilities and newly integrated sightlines, the building deepens its role as both a cultural landmark and a site of ongoing scholarship.

The Frick Collection, New York, NY | image © Joseph Coscia Jr.

British Museum, Western Range galleries

Lina Ghotmeh—Architecture has been selected to lead the redesign of the Western Range galleries at London‘s British Museum, marking a defining chapter in the institution’s ongoing Masterplan. Known for her context-driven and materially sensitive approach, Ghotmeh proposes a reconfiguration that responds both to the museum’s architectural fabric and its layered historical collections. Her design draws from archaeological thinking, using excavation as metaphor and method, particularly in the reimagined space for the Mausoleum of Halicarnassus.

The project, slated for completion in 2026, will unfold through a multidisciplinary collaboration with specialists in conservation, engineering, and curatorial practice. As a result, the Western Range will become a renewed site of encounter — architecturally measured and intellectually charged — where history is at once preserved and reinterpreted.

Western Range galleries at the British Museum, London, England | visualization courtesy Lina Ghotmeh

Los Angeles County Museum of Art (LACMA)

As construction on the David Geffen Galleries nears completion, the Los Angeles County Museum of Art prepares for a transformative chapter shaped by Peter Zumthor’s sweeping concrete design. Elevated above LA‘s Wilshire Boulevard, the new building stretches across both sides of the thoroughfare, reorienting the museum’s campus with a fluid, sculptural presence. 

Accessed by floating stairs and elevators, the structure will offer new public spaces, shaded plazas, and the East West Bank Commons beneath the elevated galleries. Educational and cultural programs will be anchored by the W.M. Keck Education Center and the Steve Tisch Theater, while large-scale works by Mariana Castillo Deball, Sarah Rosalena, and others will be embedded across the 3.5-acre landscape. The David Geffen Galleries will open to the public for the first time in April 2026 as LACMA’s entirely new home for its permanent collection. Meanwhile, the public will be able to begin exploring multiple features of and around the new David Geffen Galleries in summer 2025 including installations of outdoor sculptures, and special preview events.

Los Angeles County Museum of Art, Los Angeles, California | image via @LACMA

TEAMLAB PHENOMENA

Set to open in April 2025 within Abu Dhabi’s Saadiyat Cultural District, teamLab Phenomena introduces a permanent space for immersive, interactive installations that evolve in real time. Conceived by the Tokyo-based art collective and designed in collaboration with MZ Architects, the 17,000-square-meter structure is shaped around teamLab’s philosophy of environmental phenomena, where artworks emerge through changing conditions of light, air, and water. The architecture facilitates a fluid relationship between visitor, artwork, and atmosphere, transforming each encounter into a distinct sensory event. As part of Abu Dhabi’s cultural vision, the venue invites open-ended exploration across art and technology while positioning itself as a catalyst for continuous discovery.

teamLab Phenomena, Abu Dhabi, UAE | visualization courtesy © teamLab

Museo Egizio, Gallery of the Kings

At Turin’s Museo Egizio, OMA has completed the renovation of the Gallery of the Kings as part of its broader reimagining of the institution, set for completion in 2025. Working with Andrea Tabocchini Architecture, the team transformed a once shadowed interior into a luminous sequence of vaulted halls, where natural and artificial light reflect off aluminum walls to heighten the presence of monumental statuary.

The design draws on ancient Egyptian associations between light and divinity, aligning spatial experience with curatorial intent. Visitors now enter through a darkened threshold before emerging into two galleries that restore the architectural clarity of the 17th-century building and stage the statues of Karnak in a newly choreographed order. The interplay of material and history offers a renewed encounter with the museum’s core collection, shaped by light and grounded in time.

Gallery of the Kings, Museo Egizio, Turin, Italy | image © Marco Cappelletti, courtesy OMA

The Fondation Cartier pour l’art contemporain

During the 2025 Architecture Biennale, the Fondation Cartier pour l’art contemporain presents an exhibition by Jean Nouvel at the Fondazione Giorgio Cini in Venice, offering a preview of the institution’s forthcoming transformation in Paris. Following his celebrated 1994 design for the glass-and-steel building on Boulevard Raspail, Nouvel now turns to a Haussmannian structure at Place du Palais-Royal, reimagining it as a dynamic exhibition space attuned to the needs of contemporary art.

In Venice, the exhibition traces this evolution through sectional models, large-scale imagery, and kinetic design elements such as movable ceilings and adjustable platforms that reflect the adaptable nature of the new venue. The architecture is presented in dialogue with its surroundings, with views of San Giorgio Maggiore reinforcing the show’s themes of spatial and cultural continuity. As the Fondation prepares to open its new Parisian home in autumn 2025, the exhibition foregrounds architecture as a living practice shaped by decades of collaboration.

The Fondation Cartier pour l’art contemporain by Jean Nouvel, Venice, Italy | image © Jean Nouvel/ADAGP

Lucas Museum of Narrative Art

Los Angeles‘ Exposition Park is undergoing a significant transformation as the MAD Architects-designed Lucas Museum of Narrative Art continues to take shape. Spearheaded by filmmaker George Lucas, the curving volume is sculptural and complex as it rises from the ground in stark contrast to the traditional structures that surround it.

An important aspect of the overall masterplan is its commitment to creating a shaded, green oasis. Previously dominated by parking lots, the area will be reborn as a walkable, landscaped gathering place amongst the car-centric city. Over two-hundred new trees have already been planted on the site surrounding the museum, overseen by landscape architect Mia Lehrer, with a focus on native and drought-tolerant species. This transformation prioritizes people over cars, creating a much-needed green space for the community of South LA. The museum is set to open in 2026, with content direction led by George Lucas.

Lucas Museum of Narrative Art, Los Angeles, California | image courtesy Lucas Museum of Narrative Art

The post international museum day: 10 must-see museums that just opened (or will soon) appeared first on designboom | architecture & design magazine.

Lina Ghotmeh’s vision for the permanent national pavilion of Qatar at the Giardini of Venice has been unveiled, marking an important moment for the nation’s cultural presence at La Biennale di Venezia. The new pavilion will be only the third to join this historic landscape in more than half a century. As images of the design were revealed, Qatar’s leadership, together with Ghotmeh, described the pavilion as a space of hospitality, one that will serve as both a cultural platform and a symbol of dialogue between Qatar and the world. See designboom’s previous coverage here.

Lina Ghotmeh says: ‘Qatar is a place where the world comes to discuss serious matters while the nation continues to foster cultural diplomacy through art and creativity. This is the vocation of the permanent Qatar Pavilion as well — to be a place where visitors can discover art as a way of bringing people together.

‘The question of hospitality is at the center of the design of the Qatar Pavilion. It is about how a place can embrace people and allow these encounters, especially at this location, which is really at the heart at the Giardini. Opening up this new platform for Arab voices and presenting us in our diversity brings a new perspective to the Giardini.’

winning proposal for the Future Qatar Pavilion by Lina Ghotmeh, 2025

lina ghotmeh offers a platform for diverse arab voices

Architect Lina Ghotmeh emphasizes that Qatar’s pavilion in Venice will introduce a new language to the Giardini, one that responds to the Middle Eastern traditions of gathering and hospitality. In conversation with architecture critic Nicolai Ouroussoff, she noted how the pavilion’s presence will expand the Biennale’s cultural geography, offering a platform for diverse Arab voices.

The proposal reflects Qatar’s ambition to contribute a lasting voice to the Biennale’s architectural landscape in Venice. Presented during a series of celebrations hosted by Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the design was described as a place of encounter, shaped by the principles of openness and welcome. Ghotmeh spoke of the pavilion as a home for exchange, a site where visitors are invited to explore art, architecture, and collective memory through the lens of Qatar’s cultural identity.

Opening of Qatar’s Participation in the 19th International Architectural Exhibition, La Biennale di Venezia, courtesy Qatar Museums

a new chapter for venice’s architectural narrative

Lina Ghotmeh’s unveiling of Qatar’s pavilion coincided with the opening of ‘Beyti Beytak. My Home is Your Home. La mia casa è la tua casa,’ the nation’s official presentation for the 19th International Architecture Exhibition. While the temporary exhibition at Palazzo Franchetti welcomed visitors with projects addressing community and care, the announcement of the permanent pavilion carried a deeper message about Qatar’s long-term commitment to cultural diplomacy. As the pavilion takes shape in the Giardini, Qatar and Lina Ghotmeh together begin writing a new chapter in the architectural narrative of Venice.

Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani in conversation with Qatar Pavilion Architect Lina Ghotmeh moderated by Architecture Critic Nicolai Ouroussoff at ACP-Palazzo Franchetti, courtesy Qatar Museums

Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani marks the site of the future Qatar Pavilion in the Giardini of La Biennale di Venezia During the 19th International Architectural Exhibition with President of La Biennale di Venezia Pietrangelo Buttafuoco, Venice Mayor Luigi Brugnaro and Lina Ghotmeh, architect of the future Qatar Pavilion, photo © Simone Padovani/Getty Images for Qatar Museums

Community Centre by Architect Yasmeen Lari on the site of the future Qatar Pavilion in the Giardini of La Biennale di Venezia, photo © Simone Padovani/Getty Images for Qatar Museums

project info:

name: Qatar National Pavilion

architect: Lina Ghotmeh

location: Giardini della Biennale, Venice

program: La Biennale Di Venezia 

exhibition: Beyti Beytak. My home is your home. La mia casa è la tua casa.

commissioner: H.E. Sheikha Al Mayassa, Qatar Museums | @qatar_museums

organizer: Art Mill Museum

curator: Aurélien Lemonier (Art Mill Museum Curator of Architecture), Sean Anderson (Associate Professor at Cornell

University), Virgile Alexandre

The post qatar unveils first visual of lina ghotmeh’s permanent national pavilion at venice biennale appeared first on designboom | architecture & design magazine.

Qatar selects Lebanese architect Lina Ghotmeh to design its new national pavilion in the historic Giardini of Venice, one of the two historic venues of La Biennale di Venezia. It is set to become the first permanent structure to be added to the site in three decades.

Since its inauguration in 1895, the Giardini has been the symbolic heart of La Biennale di Venezia, hosting national pavilions that operate as architectural emissaries of their countries. However, only two permanent additions have been made over the last half-century: Australia’s in 1988, and South Korea’s in 1995. Qatar now joins this rarefied group — a reflection of its sustained cultural investment and growing architectural voice on the global stage. See designboom’s coverage of the Qatar Pavilion’s announcement here.

The move marks Lina Ghotmeh’s return to Venice — at the 2021 Venice Architecture Biennale, her team presented the design process behind its Stone Garden housing project situated in Beirut, Lebanon. Through the project, the team showcased the ability of architecture to function as reconciliation and resilience in times of crisis.

Padiglione Centrale Giardini | image by Andrea Avezzu, courtesy La Biennale di Venezia

ARCHITECT Lina Ghotmeh selected for her contextual work

Selected through an international competition, Lina Ghotmeh is set to bring her celebrated sensibility to the permanent Qatar Pavilion at the Giardini of Venice. The Lebanese-born, Paris-based architect is known for her deeply contextual work, often addressing memory, territory, and craft through architecture that speaks in quiet but powerful tones.

‘My team and I are deeply honoured to have been chosen for this uniquely exciting and significant project,’ Ghotmeh shares. ‘Qatar is a cultural beacon for the entire MENASA region. It is thrilling to be given this opportunity to design Qatar’s Pavilion on the historic grounds of the Giardini of La Biennale di Venezia.’

According to an official statement, Ghotmeh’s concept stood out for its ‘architectural clarity and thoughtful response to the Pavilion’s historic context,’ a design approach that responds into its surroundings while offering flexibility for exhibitions within.

Lina Ghotmeh | image © Kimberly Lloyd

qatar PERMANENT pavilion symbolizes international Exchange

Praising Lina Ghotmeh’s appointment as designer for the Qatar Pavilion at the Giardini of Venice, Qatar Museums Chairperson Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani says: ‘Her work is inspiring new and traditional audiences with its sensitivity to the human condition and its confident, innovative flair. Lina has wholeheartedly embraced our vision for the Qatar Pavilion as a platform for the artistic, architectural, and cultural creativity of our nation and the Middle East, North Africa, and South Asia.’

During the upcoming Venice Architecture Biennale, opening on May 10th, 2025, Qatar will present a two-part exhibition titled ‘Beyti Beytak. My home is your home. La mia casa è la tua casa.’ Commissioned by H.E. Sheikha Al Mayassa and organized by the future Art Mill Museum, the exhibition will explore architectural expressions of hospitality, domesticity, and cultural exchange across the MENASA region.

Lina Ghotmeh’s model of Beirut’s Stone Garden housing at Venice Architecture Biennale 2021

The first part of the exhibition will be installed directly on the future pavilion site and feature the Community Centre by Pakistani architect Yasmeen Lari, previously seen in Qatar’s MANZAR exhibition (see designboom’s coverage here). The second part, hosted at Palazzo Franchetti, brings together works by over twenty modern and contemporary architects — from regional legends such as Raj Rewal and Minnette de Silva to contemporary voices like Marina Tabassum and Abeer Seikaly.

Curated by Aurélien Lemonier of the Art Mill Museum and Sean Anderson from Cornell University, with collaboration from Virgile Alexandre, the exhibition responds to Biennale curator Carlo Ratti’s 2025 theme: Intelligens. Natural. Artificial. Collective. Discover what else we know so far about the Venice Architecture Biennale 2025 here!

Lina Ghotmeh designs Bahrain’s National Pavilion for Expo 2025 Osaka | image © Lina Ghotmeh—Architecture

This announcement follows a 2024 Protocol of Cooperation signed between Qatar Museums and the Municipality of Venice, underscoring a shared commitment to cultural and socio-economic collaboration. For Qatar, the new pavilion symbolizes not only a strategic cultural foothold in Europe, but also an invitation for global audiences to engage with the architectural narratives shaping the MENASA region today.

Pietrangelo Buttafuoco, President of La Biennale di Venezia, acknowledged the significance of this addition: ‘Venice is the only European city to have had, since the year 1000 CE, a name in Arabic — Bunduqiyyah — a fact that testifies to the teeming mixture of languages and ethnicities that have long sheltered here. In the spirit of curiosity, exploration, and sincere human exchange, I welcome Qatar to the Giardini, as a powerful global source of creativity and cross-cultural understanding.’

With Lina Ghotmeh leading the project, Qatar’s new pavilion is set to be a physical anchor and a symbolic gesture, a space of belonging, exchange, and architectural resonance on one of the world’s most important stages.

Serpentine Pavilion 2023 designed by Lina Ghotmeh | image © Iwan Baan

project info:

name: Qatar National Pavilion

architect: Lina Ghotmeh

location: Giardini della Biennale, Venice

program: La Biennale Di Venezia 

exhibition: Beyti Beytak. My home is your home. La mia casa è la tua casa.

commissioner: H.E. Sheikha Al Mayassa, Qatar Museums | @qatar_museums

organizer: Art Mill Museum

curator: Aurélien Lemonier (Art Mill Museum Curator of Architecture), Sean Anderson (Associate Professor at Cornell

University), Virgile Alexandre

The post lina ghotmeh selected to design permanent qatar pavilion at venice biennale’s giardini appeared first on designboom | architecture & design magazine.

Lina Ghotmeh—Architecture (LG—A) wins the competition to redesign the Western Range galleries of the British Museum, marking a pivotal step in the ongoing Masterplan project of the institution. The ambitious transformation will be one of the most significant cultural renovations worldwide, reconfiguring the architecture and display of key artifacts within the historic museum by the middle of 2026. ‘My team and I are thrilled to embark on this journey for the renovation of the Western Range of the British Museum,’ shares the Lebanese-born architect. ‘This competition has been an exciting process shaped by dialogue and multiple voices. I am looking forward to continuing this rich and collaborative process as we work towards transforming this section of the museum into an extraordinary space — a place of connections for the world and of the world.’

all images courtesy of Lina Ghotmeh, unless stated otherwise

the architect’s ‘archaeological’ approach wins the jury

Led by Lina Ghotmeh, the Paris-based practice was selected for its sensitivity to the context of the museum, demonstrating a profound understanding of collections display and visitor interaction. The jury particularly resonated with the architect’s ‘archaeological’ approach, which aligns with the historical and curatorial ethos of the British Museum.

The competition drew over 60 international teams, culminating in a nine-month selection process. It tasked participants with reimagining key gallery spaces within the Western Range, including the architecture and display of significant artifacts. Five finalists advanced to the second stage, where Lina Ghotmeh—architecture emerged as the unanimous choice.

Lina Ghotmeh’s proposal includes a reconfigured space dedicated to the Mausoleum of Halicarnassus—one of the Seven Wonders of the Ancient World—situated in present-day Bodrum, Turkey. The selection process was overseen by a distinguished jury, including Yvonne Farrell, Meneesha Kellay, Mahrukh Tarapor, and Sarah Younger, alongside George Osborn, Chairman of the British Museum, and Dr. Nicholas Cullinan, the Museum’s Director. Representatives of the Board of Trustees, including Tracey Emin, Charlie Mayfield, and Alejandro Santo Domingo, also played a role in the decision-making process.

Lina Ghotmeh—Architecture (LG—A) to redesign the Western Range galleries of the British Museum

the project to be delivered by the middle of 2026

Ghotmeh approaches each project as a layered excavation—unearthing a building’s past to inform its reimagined future. Prioritizing sustainability and natural materials, her vision resonated with the collection of the museum, which spans two million years of human history. ‘Lina Ghotmeh is an architect of extraordinary grace and gravitas. Her team’s proposals demonstrated an exceptional and materially sensitive architectural vision for the British Museum, and their ‘archaeological’ approach clearly understood the ambition for this project to be as much an intellectual transformation as an architectural one,’ explains Dr. Nicholas Cullinan, director of the British Museum. ‘Lina and her team have a track record for delivering unique and human-centred design with a timeless elegance. I am delighted we will be working together and excited for the years ahead at such a pivotal chapter for the Museum, embarking on a generationally significant project that will transform a third of our gallery space.’

Lina Ghotmeh will work alongside a multidisciplinary team, including artist Ali Cherri, Plan A for design team coordination, Purcell as executive and conservation architect, Arup for structural and civil engineering, and Holmes Studio for graphic design and wayfinding. Together, they will refine their winning concept into a final design approach set to be delivered by mid-2026.

the competition tasked participants with reimagining key gallery spaces | image via @nicholascullinan

the jury particularly resonated with the architect’s ‘archaeological’ approach | image via @nicholascullinan

the Paris-based practice was selected for its sensitivity to the context of the museum | image via @nicholascullinan

Lina Ghotmeh and Nicholas Cullinan in the Western Range | © The Trustees of the British Museum

model submitted by Lina Ghotmeh Architecture for competition

project info:

name: British Museum’s Western Range galleries renovation
architect: Lina Ghotmeh—Architecture | @linaghotmeh_architecture
location: British Museum | @britishmuseum, London, United Kingdom

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The Kingdom of Bahrain has unveiled its National Pavilion for Expo 2025 Osaka, with design by Lebanese-French architect Lina Ghotmeh and her Paris-based studio, Lina Ghotmeh—Architecture. This pavilion will mark the country’s fourth participation in a World Expo, following its previous participations in Expo Shanghai 2010, Expo Milan 2015, and Expo Dubai 2020. Built of timber, this project will be located in the Expo’s ‘Empowering Lives’ area, facing the sea to symbolize Bahrain’s rich maritime heritage.

Bahraini design studio Shepherd Studio leads the interior design of the exhibition under Lina Ghotmeh’s artistic direction. The exhibition will highlight Bahrain’s maritime, logistical, and natural resources.

image © Lina Ghotmeh—Architecture

Inspiration from Traditional Dhow Boats

The design by architect Lina Ghotmeh draws inspiration from the traditional dhow boats of Bahrain, reinterpreting millennial boat-building techniques to showcase the nation’s craftsmanship and manufacturing heritage at Expo 2025 Osaka. The pavilion also pays homage to Japanese wood artistry, celebrating the bilateral relationship between Bahrain and Japan.

By focusing on the country’s maritime history, the pavilion highlights Bahrain’s strategic geographic location as a maritime crossroads in the Gulf Region. This historical position as a major port of trade has contributed to the country’s cultural diversity, driving innovation and creativity. This aligns with the overarching theme of Expo Osaka, ‘Designing Future Society for our Lives,’ and its sub-themes ‘Saving Lives,’ ‘Empowering Lives,’ and ‘Connecting Lives.’ The pavilion is expected to attract over 28 million visitors from 150 countries.

The pavilion’s structure reinterprets heritage boat-building techniques, featuring a wooden structure with an outer aluminum layer. Designed for easy disassembly and recycling after the Expo, the pavilion also incorporates ancient cooling techniques to reduce reliance on mechanical cooling methods, adapting to contemporary needs and lowering environmental impact.

a ship under construction in India | image courtesy the National Pavilion of the Kingdom of Bahrain

Emphasizing Historical Maritime Significance

The pavilion emphasizes Bahrain’s historical maritime heritage, which has served as a primary means of communication with the world since the Dilmun Civilization. Showcasing Bahrain’s strategic location as a gateway to the Gulf, the pavilion will illustrate its history as a major port of trade and its exceptional cultural diversity and innovation.

His Excellency Shaikh Khalifa bin Ahmed bin Abdullah Al Khalifa, President of the Bahrain Authority for Culture and Antiquities and General Commissioner of Bahrain’s National Pavilion at Expo Osaka 2025, stated: ‘In today’s rapidly evolving world, our efforts aim to establish Bahrain as a leader in innovation, creativity, and sustainability. Our participation in the World Expo is crucial, providing a platform to demonstrate our diverse capabilities, rich cultural heritage, and innovative solutions to global challenges.’

Japanese constructors building with wood | image courtesy the National Pavilion of the Kingdom of Bahrain

He emphasized Bahrain’s unique geographic location and historical role as a maritime crossroads, shaping its rich culture and economic strengths. He also highlighted the synergy between various sectors in Bahrain working together to represent the Kingdom. Additionally, he noted the importance of Expo Osaka as a platform for global communication and collaboration, ultimately benefiting humanity.

Expo Osaka 2025 will take place in the Osaka-Kansai region of Japan from April 13 to October 13, 2025. Under the theme “Designing Future Society for our Lives,” the Expo is expected to attract over 28 million visitors exploring contributions from around 150 countries. The Expo will feature various events, providing opportunities for global knowledge exchange and collaboration.

sewn planking involves fitting the wooden planks together tightly and sewing them together with natural cord
image courtesy the National Pavilion of the Kingdom of Bahrain
a man works on a large wooden boat (dhow) at a shipyard in Manama in about 1950
image courtesy the National Pavilion of the Kingdom of Bahrain

Noah Building the Ark by Jan Sadeler © public domain (1586)
image courtesy the National Pavilion of the Kingdom of Bahrain

project info: 

project title: National Pavilion for The Kingdom of Bahrain

architecture: Lina Ghotmeh—Architecture | @linaghotmeh_architecture

location: Expo 2025 Osaka | @expo2025japan

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In his latest photography series, Ste Murray captures the essence of the 2023 Serpentine Pavilion designed by Lina Ghotmeh. Aptly, named ‘À table,’ this newly unveiled structure beckons visitors to gather and connect around a concentric table. The architect’s Mediterranean heritage greatly influences this concept, as she recognizes the profound value of the enriching discussions that occur around a table while sharing a meal. ‘I always thought that food is the place where I feel at home. I think food is what draws our relation to our roots, in a way,’ shares the architect in an interview with designboom.

The Serpentine Pavilion gracefully emerges from its surroundings, incorporating the organic forms of the natural environment to create a circular timber structure with a distinctive pleated roof. Beyond its aesthetic appeal, the Pavilion symbolizes our collective yearning for a profound and lasting connection with the natural world.

the 2023 Serpentine Pavilion designed by Lina Ghotmeh | all images courtesy of Ste Murray

seamless integration with the natural environment

Ste Murray (find more here) photographs the 2023 Serpentine Pavilion, efficiently showcasing both its overall structure and intricate details. The pavilion stands out for its predominant use of bio-sourced and low-carbon materials, aligning with Lina Ghotmeh’s commitment to sustainability and creating spaces that harmonize with their natural surroundings. 

The structure of the Pavilion takes on an intriguing skeletal appearance, featuring a series of timber ribs that gracefully support a pleated roof. Designed in harmony with the surrounding tree canopies, the internal wooden beams elegantly emerge, resembling slender birch tree trunks. To mirror the intricate patterns found on leaves, perforated timber slabs adorn the space, while the roof itself draws inspiration from the graceful form of a palm leaf. This roof design not only accentuates the Pavilion’s horizontal profile but also adds a distinctive character and relationship with light. Unlike a flat surface, the pleats create a captivating interplay of light as it enters and interacts with the Pavilion in a truly unique manner. Furthermore, the inclusion of a lightwell in the center ensures an abundance of natural light and optimal ventilation, further enhancing the Pavilion’s seamless integration with its natural environment.

an assembly of wooden columns supports the pleated roof

Ste Murray’s series captures the wooden pavilion as well the way the visitors enage with it

the pavilion stands out for its predominant use of bio-sourced and low-carbon materials

the structure takes on an intriguing skeletal appearance, featuring a series of timber ribs

the striking roof accentuates the pavilion’s horizontal profile

Lina Ghotmeh within the pavilion

the structure beckons visitors to gather and connect around a concentric table

the wooden beams elegantly emerge, resembling slender birch tree trunks

the perforated facades and the pleated roof add to the intricate visual character of the pavilion

the inclusion of a lightwell in the center ensures an abundance of natural light and optimal ventilation

the perforations on the side of the structure mimic the intricate patterns of leaves

vertical slabs, leaf-shaped apertures and diagonal lines create a dynamic play of patterns within the structure

inside the pavilion, an immersive intimate environment emerges

‘à table’ invites the visitors to gather under the same roof

detailed view of the pleated roof construction

project info: 

name: À table – Serpentine Pavilion 2023
architect: Lina Ghotmeh
location: Serpentine Gallery, London
photography: Ste Murray | @ste_murray

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Lebanese-born architect Lina Ghotmeh has been selected to design the 22nd Serpentine Pavilion, currently being constructed in Kensington Gardens. Named ‘À table,’ the Serpentine Pavilion 2023 by Lina Ghotmeh, invites visitors to gather and sit down together, engage in dialogue and share a meal. The project draws inspiration from Ghotmeh’s Mediterranean heritage and the meaningful conversations that take place around a table, embodying the desire to establish a sustainable connection with the land through food and our innate bond with the Earth.

At the heart of the pavilion lies a circular table, encouraging us to gather, reflect, exchange thoughts, and forge new relationships. Recognizing food as a form of care, the design of the pavilion serves as a space for contemplation and introspection, prompting us to reconsider our relationship with the environment and nature. By creating a convivial setting around the table, the architect invites us to share our ideas, concerns, joys, responsibilities, traditions, cultural memories, and histories, fostering a sense of unity and connection. ”À table’ represents the return to something very rudimentary and primitive: the act of bringing everyone around the same table, the table where we eat, where we share.’ mentions Ghotmeh. To gain a comprehensive understanding of the design, inspiration, and symbolism behind this year’s Serpentine Pavilion, designboom spoke with the Paris-based architect. Read the interview in full below. 

Serpentine Pavilion 2023 designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine.

interview with Lina Ghotmeh

designboom (DB): Can you briefly introduce ‘À table’ to us? What was the inspiration behind the design for this year’s Serpentine Pavilion?

Lina Ghotmeh (LG): I named the Pavilion ‘À table’, which is this call to get together around the same table. It represents going back to the source, to something very rudimentary and primitive: bringing everyone around the same table, the table where we eat, where we share. It’s where sometimes we decide on important matters, related to our society. It’s also about the moment of how we actually eat. Because, if we change the way we eat, we change our relationship to Earth as well. So, I wanted to start with this thought.

DB: How does your ‘Archaeology of the Future’ concept come into play in this particular design? How does the Pavilion incorporate historical influences into its essence?

LG: Part of the design process that I lead in my atelier is about researching and trying to build a memory for a project that doesn’t just emerge as an alien to its site, but tries to incorporate notions of history, of society, of our evolution. So, we started looking at what a pavilion is, what a folly in a park is, and how these follies have evolved as these kinds of open structures with colonnades. We also looked at moments of assembly in different cultures, for example, the notion of the symposium, where Greek people used to sit at tables, eat, and decide at the same time, around a feast. We looked at the structures of the Dogon people, where the elderly of the villages used to all meet under this roof, stay seated, and embark on a decision. I think that this approach, the ‘Archaeology of the Future,’  brings one to think about a history of references that sometimes are distant.

Serpentine Pavilion 2023 designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine.

DB: Can you walk us through the spatial experience of the Pavilion? 

Another thought that shapes the design of the Pavilion is understanding of the environment in which I am intervening, allowing it to emerge organically from its surroundings. It is not some object that is positioned there, but it emerges from the resources of the place.

The first thing that one can think about is the material itself. It’s constructed in wood, it echoes the tree trunks, and it’s a natural bio-sourced material. The Pavilion deploys itself as a series of tree trunks that invite one to enter into the heart of what could be a forest, maybe. As you walk around in the concave form of this Pavilion, you start to be aware of the canopies of the trees that envelop and surround the Pavilion. The design incorporates a gradation of experiences, creating a porous transition from the outside to the inside. The outer gallery space is more open, it’s a walkway where kids could run — a space with an almost kaleidoscopic feel to it. So, as you would walk around, you first experience the outside, rather than the interiority. 

The tree trunks shield you from the rain of London, and then from there, you can enter into the more inner heart of the Pavilion, which offers an intimate interior experience. Within the interior, one discovers a split structure that echoes natural forms like the structures of leaves. The repetition of beams, and the secondary elements that brace them, makes you almost feel like you are under a large leaf or a mushroom. You are invited to contemplate, walk around, sit around the table, meet your neighbors, discuss with friends, and have a café. You are invited to really use the space and not simply just look at it. So, the design provides a progression of experiences, from contemplation to functional use, aiming to create a warm and inviting atmosphere within the park’s context.

Serpentine Pavilion 2023 designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine.

DB: You mentioned the roof of the Pavilion, which draws inspiration from a leaf, and is a quite distinctive element in the design. Can you elaborate on this pleated roof and its significance? 

LG: The pavilion has this horizontality that looks like a landscape. It is not an object that sits there and tries to dominate the site. It really merges with the site, still allowing the gallery space of the Serpentine to be hovering around. The roof is what gathers us, inviting us to come together: you are shielded, and you are connected to your surroundings.

The idea was to create this pleated structure as if you took a piece of paper and you just unfolded it. The design generates that very feeling of horizontality, but it also gives it a certain specificity and a relationship to light. Unlike a flat surface, the pleats allow light to enter and interact with the Pavilion in a unique manner. As I mentioned earlier, the shape draws from the leaf of a tree. When you look at a leaf, there’s this arrangement of structures —main and secondary— that hold this magical quality. Learning from this and trying to reapply it into the architecture, I aimed to advocate for simplicity and emotion, a design that does not have to talk too much, really. It is present in its own way. 

Serpentine Pavilion 2023 designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine

DB: Why is it essential for the Pavilion to be in harmony with its natural surroundings?

LG: I think it’s a must. It’s not even a design approach or a concept; it’s a responsibility we have to the earth and to humanity. We need to be as conscious as possible about the environment and the current problems of climate change. If architecture is to be meaningful, it must have as little impact on the environment as possible.

Building with wood means building lightweight structures that are easier to assemble and reduce the carbon footprint associated with construction. By using this method, we draw attention to the importance of nature and acknowledge that we are an integral part of it. Nature is not separate from humans, we are part of nature, and we are almost all microbes. So the world can not be human-centric, we need to live more in harmony with the environment if we really want to live better too. We need nature to survive. Nature will always survive with its earthly wonders, but we need to stay close to nature to survive, learn from it, and understand ourselves. Of course, architecture cannot have the response to all that, but it can contribute and raise awareness, and create a dialogue.

Serpentine Pavilion 2023 designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine.

DB: ‘Considering food as an expression of care, the Pavilion’s design is a space for grounding and reflection on our relationship to land, nature, and environment.’ How is this idea translated into the design?

LG: Having grown up in Lebanon and now living in France, many people ask me, ‘Where do you feel most at home, as you move, live, and work in different places?’ I always thought that food is the place where I feel home. I think food is what draws our relation to our roots, in a way. Suddenly, you are eating and you remember your relationship to Earth, to what it provided, to your geography. We are rooted beings, in a way, and we’re very much linked to what geography is able to bring as food. But that makes us think of ourselves as climate beings. When we move, we start to learn more and diversify and gain complexity in our personalities. Food makes us think of ourselves as beings defined not only by our nationality but also by the climates in which we have been nurtured. This link to food is important for me because it is before architecture even, it’s about us, as humans, and how we are related to Earth, and how architecture can serve as a medium to make one more aware of that. 

Serpentine Pavilion 2023 designed by Lina Ghotmeh. © Lina Ghotmeh — Architecture. Photo: Iwan Baan, Courtesy: Serpentine.

DB: Can tell us a bit about the two exclusively designed furniture pieces for the Conran shop that will be displayed at the Pavilion?

LG: The concept for this pavilion started with the idea of a table idea as a place of commonality. The design focused on creating a modular structure composed of nine segments, each consisting of three tables. Then, there are the stools. I was so lucky that Conrad accepted to produce these, resulting in a flexible seating arrangement that can be arranged concentrically or in different configurations to accommodate various programs and activities. They’re crafted in wood, all in reddish colors. The flooring and tables are of a dark Bordeaux red color, creating a sense of richness, while the remaining elements retain their natural wood hues, adding a touch of lightness to the roof and columns.

Stool and table for Serpentine Pavilion 2023 © Lina Ghotmeh — Architecture

Stool and table for Serpentine Pavilion 2023 © Lina Ghotmeh — Architecture

Serpentine Pavilion 2023 designed by Lina Ghotmeh — Architecture Built with Nature Ink, Pencil & Watercolor Sketch by © Lina Ghotmeh, Courtesy: Serpentine

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The Royal Commission for AlUla (RCU) announces Lina Ghotmeh and Asif Khan as architects for two upcoming museums in its constellation of cultural assets. Ghotmeh will lead the design for the contemporary art museum, and Khan will cover the museum of the Incense Road. Both projects are situated in AlUla, a destination in northwest Saudi Arabia with 7,000 years of continuous human history. The news was spotlighted during the 2023 Venice Architecture Biennale at the Metropole Hotel, where Ghotmeh and Khan participated in a discussion alongside British art critic Iwona Blazwick.

Awarded an MBE for his services to architecture and currently working on the renewal of the Barbican Centre and the new London Museum, Asif Khan is known for his radical approach to architecture, which merges history with the future, grounding projects in material experimentation and social context.­ Award-winning Lina Ghotmeh, designing the 2023 Serpentine Pavilion, creates work at the intersection of art, architecture, and design. Her practice is developed through thorough historical research, emerging in complete symbiosis with nature as exquisite interventions that enliven memories and the senses.

Lina Ghotmeh and Asif Khan | image © Luke Walker, courtesy Royal Commission for AlUla (RCU)

two major PROJECTS IN ALULA celebrating regional culture

Set under the leadership of RCU’s Nora Albadal and Iwona Blazwick, the Contemporary Art Museum in AlUla is a museum of regional and global contemporary art with Arabia at its heart. Offering a core collection of works by artists from regions adjoining the Red Sea, the Arabian Sea, and the Eastern Mediterranean in dialogue with their contemporaries worldwide, it aims to evolve in partnership with these artists, including a robust program of commissioned works. As the primary art museum in AlUla, it contributes to the region’s legacy as a cultural beacon, generating opportunities for artists, designers, creatives, and curators.

An adjoining series of artist-designed gardens will ensure the experience is connected to the landscape in which it sits. Integrated into the distinctive AlUla oasis, set amongst vegetable gardens, palm groves, mountain ranges, and an ancient settlement, the museum will explore sensitive environmental design and function as a catalyst for ecological renewal and regeneration of the oasis. It will be structured as an archipelago of pavilion galleries interspersed with a mosaic of artist gardens. Its balance of interior and exterior galleries and gardens will allow visitors to define their encounters with art and the natural landscape.

video © designboom 

‘The architecture of the contemporary art museum in AlUla immerses visitors in a creative journey from the desert expanse to the lush cultural oasis of AlUla, interweaving the natural environment, agriculture and art to reveal the heart of contemporary culture. Through a series of garden pavilions, the museum presents a constant interplay between art and nature, capturing the essence of this unique place. The galleries offer surprising and anchored perspectives on the many facets of AlUla, from the microclimates of the oasis to the expanse of the desert, evoking a deep sense of attachment to the land and its heritage,’ writes Lina Ghomeh (see more here).

The Museum of the Incense Road — under Eman Alankari and Dr. Helen McGauran — will be the world’s first museum dedicated to this epic and millennia-old network of major land and sea trading routes, celebrating AlUla’s cultural legacy as a place of exchange at the confluence of civilizations. Bringing to life global histories through which ideas, goods, and culture were exchanged, it shines a light on north-west Arabia as a cultural epicenter. Living and dynamic narratives will include: spotlighting the discoveries of ongoing excavations, highlighting the active nature of AlUla’s archaeological sites, and the cultural importance of the Incense Road. At the forefront of innovative museum practice, it will enable visitors to engage through layered, multidisciplinary interpretation anchored by carefully curated collections.

installations at AlUla arts valley | visualization by Atelier Monolit. © ATHR Gallery

The museum is being developed in dialogue with AlUla’s ancient heritage – including Hegra, Saudi Arabia’s first UNESCO World Heritage Site – and its host village, AlJadidah. It will be an extension of the urban fabric that sits towards the oasis edge, looking out on a vista where Dadan and Hegra – once vibrant cities that thrived as a result of the Incense Road – are located. Guided by subject experts and the local community, the new complex will continue to be developed through extensive local and international collaboration with specialists across fields, including academia and museology.

Architect Asif Khan shares his reflections on the project: ‘AlUla resonated with me deeply, as did the local community members I met. The design takes the form of a public space, not a museum within walls, situated in AlJadidah village with galleries and spaces for sensory experiences and learning. The mountains are a constant background, whose sand dunes reach down to greet the edges of the museum, while stepped terraces of gardens act as a new interface between the village and the oasis. I am excited about how the museum of the Incense Road can be brought into the collective memory of the world and become a transformative asset for the local community.’

desert X AlUla 2022: ‘Where the dwellers lay’ by Dana Awartani | image © Roberto Conte

Both museums offer a unique entry point into AlUla’s rich and extensive cultural offering and will be developed with a socially responsible approach to the preservation, interpretation, meaningful community engagement, and presentation of AlUla’s cultural inheritance. In addition, they will consider reducing environmental impact while building significant spaces, particularly regarding conservation, controlled temperature, humidity, and lighting, and will work with a network of cultural leaders at an institutional, thematic, and discipline level in the spirit of reciprocal exchange.

Lina Ghotmeh and Asif Khan were chosen through an international competition with a jury comprising key stakeholders and specialists in architecture, landscape, and museology, supported by a technical panel, and was chaired by Dr. Khaled Azzam, the architect of AlUla’s Journey Through Time Masterplan.

in conversation with Iwona Blazwick at the Metropole Hotel Venice | image © designboom

project info:

museums location: AlUla, Saudi Arabia

commissioned by: Royal Commission for AlUla (RCU)

— Contemporary Art Museum — 
architect: Lina Gotmeh | @linaghotmeh

lead curators: Nora Albadal and Iwona Blazwick

— Museum of the Incense Road — 

architect: Asif Khan | @asifkhan.now

lead curators: Eman Alankari and Dr. Helen McGauran

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