OMA (Office for Metropolitan Architecture), founded by renowned architect and theorist Rem Koolhaas, is known for its experimental approach to architecture and urbanism. OMA has played a pivotal role in redefining contemporary architecture with landmark projects such as the CCTV Headquarters in Beijing and the Seattle Central Library. OMA’s counterpart, AMO, focuses on research and design projects beyond architecture, including scenography, fashion, and exhibitions.
In this interview, Kaveh Dabiri, an associate at OMA, discusses his extensive experience with the firm, highlighting his work on the scenography for the Islamic Arts Biennale in Jeddah. He reflects on the creative process, the evolving collaboration with curators, and how the scenography translates complex concepts into immersive spatial experiences, blending architecture with storytelling.
Interview with Kaveh Dabiri
Tell us about your background and your journey with OMA.
I’ve been with OMA for about 16 years, starting in Rotterdam and moving across various cities, including Doha, Dubai, and Beirut, before returning to Rotterdam in 2019. Our headquarters is in Rotterdam, but we also have offices in New York and Hong Kong. From Rotterdam, we primarily manage projects in Europe and the Middle East. My current position as an associate involves leading a wide range of projects, from master planning to architecture and scenography. Personally, my experience in scenography began with the Islamic Arts Biennale in Jeddah, although I had worked on museum projects before, but not on this scale.
How did you become involved with the Islamic Arts Biennale?
For the inaugural edition, it was an internal decision. Given my track record, the company believed I would be a good fit. We had no prior experience working with the client, Diriyah Biennale Foundation (DBF), so it was a somewhat of a leap of faith for both of us. The collaboration went well, so we were commissioned to return for the next edition.
Can you describe your general design approach and how it shaped the scenography for the Biennale?
Our design approach is rooted in research, context, and experimentation. We try to remain open to inspiration from various sources while exploring the typology and function of the project. We often start by asking ourselves questions like: How should it function? How can we make it different and meaningful? We constantly test and refine ideas through physical models and prototypes.
When working on the first Islamic Arts Biennale, the scenography evolved alongside the curatorial concept. The overarching theme—focused on rituals, the art of being a Muslim, and various cultural sections—was quite broad, but it became clearer as we worked closely with the curators. We translated this curatorial vision into spatial experiences, creating a series of interlocking rooms with different moods and atmospheres for each section. We used felt as the primary material to convey softness and intimacy. One of the challenges was to ensure the scenography complemented the evolving curatorial framework without overwhelming it. The buildings were still under construction while we were developing the scenography, which required flexibility and adaptability.
How did the design evolve for the second Islamic Arts Biennale?
For the second edition, the process was more structured. We had more time and a clearer curatorial brief from the get-go. As well, we started earlier collaborating with the scenography and art production team from Black Engineering. The curatorial brief focused on various exhibition themes, namely Al Bidayah (The Beginning), Al Madar (The Orbit), Al Muqtani (Homage), and AlMidhallah (the Canopy). Each space had its own distinct narrative and demands, which we translated into cohesive yet diverse experiences.
Al Bidayah is about entering a sacred, almost divine space. The scenography emphasises monumentality and pure abstraction, with soaring heights and layers of translucent white textiles that create a sense of ethereal space. The contrast between the dark objects and artworks and the white space creates a sense of reverence, making the space feel both introspective and expansive.
Al Madar focuses on the art of numbers, with themes such as astronomy, mapping, and geometry—concepts central to Islamic art and science. We designed tall, abstract columns that were essentially extruded display cases, with a gradient of lightness to darkness. These columns connected the ground to the ceiling, reinforcing a sense of vertical continuity and transcendence.
Al Muqtani paid tribute to two prominent collectors. The space is object-heavy, so we used pleated textile walls to create a dynamic, layered environment. The cases are embedded within the walls, with the highlights floating in the middle, offering visitors a sense of discovery as they move through the space. The symmetry of the gallery lends it a classical architectural quality.
Materiality was crucial. We used different types of translucent textiles throughout the galleries to maintain continuity while giving each space a unique character. The varying degrees of transparency helped us achieve the desired atmosphere—from the hazy abstraction of Al Bidayah to the structured and monumental feel of Al Muqtani. Working with textiles presented its own challenges. Unlike hard materials, textiles behave differently depending on humidity and temperature, so much of the design had to be worked out on-site. We collaborated with a specialised textile company called Showtex, conducting full-scale mock-ups before installation. This hands-on process was essential for ensuring the desired effect.
For the inaugural edition, we were also invited to create a permanent installation outdoors. We proposed a series of slanted walls that followed the grid structure of the canopy, designed by Skidmore, Owings & Merrill and a winner of the 1983 Aga Khan Award. The walls created a layered, almost archaeological experience, reminiscent of desert ruins. This time, the outdoor scenography, known as AlMidhallah (The Canopy), was inspired by the concept of the Islamic Garden and its significance in different cultures. We collaborated with landscape architect Rami Badawi from Green Group. He selected plants that could thrive under the conditions of the canopy—limited UV light and Jeddah’s climate. The gardens are intentionally wild and textured, blending with the artworks to create a natural yet curated environment.
How did you manage the dynamic process of scenography while the curatorial framework and artists’ contributions were evolving?
It was a constant dialogue. At our kick-off meeting in Rotterdam in February 2024, the curators provided a broad curatorial overview with a preliminary list of artists and objects for all the four sections of the Biennale. But over time, around half of the artworks changed due to availability and evolving concepts. This required us to remain flexible and adapt the scenography accordingly. As an example, for Al Madar, we had to modify the number and layout of columns several times as the selection of institutions and objects evolved throughout . But the core concept—turning display cases into architectural elements—remained intact.
What role did lighting play in the scenography?
Lighting was a key element in enhancing the visitor experience. We worked with Les Éclaireurs, a lighting design firm based in Lyon, on both editions of the Biennale. For the outdoor space, they highlighted the canopy structure while focusing on the artworks and gardens below. Inside, the lighting emphasised the texture and translucency of the textiles, creating a layered, immersive environment that shifted with the viewer’s movement.
Are there any upcoming projects you’re excited about?
We’re continuing our collaboration with DBF on the JAX project in Riyadh, which hosts DBF’s Contemporary Arts Biennale. We’ve completed the design and are now overseeing the execution phase. We’re also working on several other projects across the Middle East.