The living thread

Throughout human history, the symbolism of weaving has run through cultures around the world. From Greek mythology’s Three Fates who control the thread of life, to Inyeon, a Korean conception of fate often visualised with red thread tied around a finger. For Design Doha Biennial 2026, international scenography and exhibition design collective TheLoveTriangle will explore weaving through a Middle Eastern lens with an immersive installation titled The Thread That Binds.

The installation is a large-scale, immersive environment through which visitors can move, accompanied by a soundscape by Lebanese sound designer and musician Youmna Saba. It draws on the traditional weaving styles of khous and khaizaran – both ancient weaving techniques found throughout the MENASA region. “We wanted to highlight that these traditions should remain as lived traditions and not elements of memory,” explains Rana Rmeily, co-founder of TheLoveTriangle and curator of the installation.

Homing in on these traditional crafts, Rmeily and her team – including TheLoveTriangle artistic director Tarek Moukaddem and design director Wassim Melki – developed a “participatory and performative” concept for the installation. First, a thick cane structure was created by Lebanese khaizaran artisans Dima Stephan and Maher Barbour. A second group of artisans sourced by the Heenat Salma Farm in Doha then created a khous weave covering. This process will continue throughout Design Doha, adding a performative element.

Importantly, the work is a true collaboration between TheLoveTriangle and the artisans. “We’ve produced drawings to set up a base from which the artisans have the freedom to change and adapt,” says Rmeily. “We give them the full space to explore how they want to develop and take their piece further. They are the protagonists and the final outcome will not necessarily be as we initially visualised it. That’s the beauty of it.”

This invitation to participate in the final expression of the work also extends to the audience. Visitors will be able to speak with the artisans, learn about their craft and perhaps even try weaving themselves.

For Rmeily, what matters most is keeping these techniques alive. “We choreograph encounters,” she says. “What is important for us is that the end outcome for the visitors is an emotional and visceral experience. I hope that we work actively on preserving these traditions – that we really treat them as lived traditions and not just memories.”

The Design Doha Biennial 2026 runs from 5 November 2026–31 January 2027