Makers in Qatar are navigating the tension between traditional materials and contemporary design practices, demonstrating how material resilience emerges through the preservation and adaptive reinterpretation of cultural practices. Qatar’s evolution from a pearling and fishing economy to a global energy powerhouse has created unique tensions in the creative industry. The discovery of natural gas, which boosted Qatar’s economy, created an unintentional gap in material production. As Qatari society evolved with the globalisation of the country, traditional crafts were abandoned as craftspeople found more lucrative opportunities. This shift has led to a disruption in traditional knowledge transfer between generations, resulting in the gradual loss of artisanal skills that were regionally specific. Additionally, the wealth generated by natural gas increased the importation of foreign goods, reducing reliance on locally produced materials and crafts. This cultural transition created a significant discontinuity in Qatar’s material practices from the 1950s to the late 1990s, until formal design education was reintroduced.
When design education was reinstated in Qatar with the Virginia Commonwealth University School of the Arts Qatar in 1998, material resilience re-emerged in alternative formats. What distinguishes Qatar’s response to modernisation is not simply passive adaptation to global influences but rather what scholars identify as ‘creative resilience’. This concept goes beyond mere survival or preservation of traditions – it represents an active process where Qatari, or Qatar-based, makers reimagine historical material practices in contemporary contexts. Through this creative resilience, traditional techniques and indigenous materials are not simply preserved as artefacts but are transformed and reinterpreted to remain culturally relevant.
Prior to this economic boost, material practices were characterised by two distinctive features: the proximity of materials to society and the environmental constraints of the objects being created. In his ethnographic study Bedouins of Qatar, Klaus Ferdinand notes that Qataris lived in temporary settlements on the coastline or moved as nomads between Qatar and Saudi Arabia.[1] The interior of Qatar was rarely inhabited during Qatar’s pre-industrialised period. Makers therefore utilised locally available materials – limestone, gypsum, coral rock, palm fibres, camel hair, sheep’s wool, clay and pearls.
Sustainability was inherently ingrained in Qatari crafts, as makers incorporated available materials in all their creations. These practices embodied sustainability principles through intimate knowledge of local resources and environmental conditions. We see this even extend to more modern times, such as the ’70s and ’80s, when discarded industrial materials from oil operations were incorporated into daily life. For example, tin containers from oil rigs were repurposed for storage, construction and decoration. Another example would be the use of discarded oil pipes as a material for camel harnesses. In Bedouins of Qatar Ferdinand documents the material culture of Qatari society. Ferdinand observes the intriguing juxtaposition of traditional indigenous materials and Western industrialised ones among native Qatari tribes as early as the 1940s. This coexistence of primitive and modern materials reveals the region’s early stages of cultural transition.
To fully understand the notion of material resilience, we must consider the overarching theory of material culture presented by Ileana Baird and Hülya Yağcıoğlu in All Things Arabia. The authors argue that traditional objects serve as stable cultural signifiers, revealing complex trade and social networks.[2] By focusing on the materiality of an object, we can trace information about tribal identities, social hierarchies and environmental conditions.
Material culture further demonstrates how certain objects became essential for survival in harsh desert environments. The nomadic lifestyle required functional and portable objects – water containers, tents and tools had to be durable yet lightweight. These practical demands created deep relationships between makers and materials, between communities and their crafts. The knowledge embedded in creating these objects enabled cultural continuity despite challenging environmental conditions. This expertise encompassed selecting appropriate materials, understanding their properties and developing specialised techniques to work with them. Bedouin communities maintained their identity through these material practices while constantly adapting to changing circumstances.
A fundamental challenge in studying Qatar’s material practices stems from the region’s traditional oral culture. Unlike areas with extensive written records, cultures of the Gulf region have limited historical documentation. This context explains why oral history has become a crucial documentation tool in Qatar, filling fundamental gaps in the historical record. While many scholars have traditionally argued that oral narratives are the primary – and perhaps even the only – reliable means of reflecting on the history of the region, I argue that material culture studies allow us to contextualise cultures by revealing the resources they have at hand. An object can provide equally valuable historical evidence, which has been underutilised in Gulf studies. By examining material culture through the lens of material studies, we can extract rich information about social structures, environmental adaptations and cultural values. When studied alongside oral histories, these material artefacts offer tangible insights, allowing for a more comprehensive understanding of Qatar’s past.
Despite multiple efforts to preserve materials and traditional craftsmanship techniques, Qatar-based designers still face a challenging predicament: the lack of access to local materials and artisanal production. As a designer myself, I can testify that these challenges are indeed present. It is almost impossible for a master artisan to find material that is accessible year-round. However, several Qatar-based makers – including Alexandrine Guérin, Yousef Ahmed, Nada El Kharashi, Shaikha Al Sulaiti, Asma Derouiche and many more – have explored using materials from Qatar’s vast landscape. I will focus on two specific projects that were part of my journey in seeking out material culture.
In 2022 I participated in two career-changing residency programmes in Qatar: Artist in Residence 7 at Fire Station and Caravane Earth at Heenat Salma Farm. Since both residencies took place simultaneously, I found motivation in a related phenomenon, although it manifested differently in each residency. During this period, I was interested in my grandmother’s stories of the resource-rich material land of Qatar and how she depicted Qatar as a land characterised by piles of clay, fields of grass and abundant cattle by-products. The stark contrast between my grandmother’s vivid descriptions of Qatar and today’s predominantly urbanised landscape sparked my curiosity. This disconnect between past and present motivated me to search for indigenous materials that persist in Qatar but have been overlooked in contemporary design practices. This exploration led me to rediscover two fundamental materials that have been part of Qatar’s landscape for centuries but are rarely utilised in modern contexts: limestone and clay.
During my nine-month residency at the Fire Station, I conducted an in-depth investigation into the overlooked potential of local Qatari limestone. Despite its abundance in Qatar’s natural landscape, this material is often discarded and undervalued in contemporary construction practices. My exploration positioned this native stone as a central focus, examining both its physical properties and its cultural significance. During my research, I was inspired by the nine hundred rock carvings scattered around Qatar’s coastline. What intrigued me about these rock carvings were not the tools used – a hammer and something resembling a modern chisel – nor the carving technique itself nor the material. Instead, it was the fascinating intersection where these carvings were placed. Beyond mere visual representations of the landscape, they function as landmarks, guiding travellers along the coastline with primitive wayfinding.
Through this project at the Fire Station, I aimed to reframe the understanding of limestone through rigorous material exploration. By engaging directly with its materiality – testing its structural capabilities, surface qualities and aesthetic potential – I sought to reveal the beauty and practical applications of this frequently discarded material. The outcome of the residency was an artwork titled Limestone Hendge. The installation features moss-covered, engraved rocks reminiscent of Thailand’s island landscapes. These sculptural elements guide visitors through the gallery space and illuminate an ancient, nearly forgotten rock-carving technique.
While at Heenat Salma Farm, I concentrated on studying wild clay under the mentorship of Alexandrine Guérin. She helped me locate potential clay deposits and provided insights into the geological characteristics of Qatar’s soil compositions. It is important to note that, contrary to my grandmother’s stories, clay deposits in Qatar are relatively scarce, due to the specific environmental conditions required for clay formation in arid climates. This research, documented in a comprehensive publication documenting my methodologies and findings, ‘Wild Clay of Qatar’,[3] is a comprehensive examination of this understudied resource. Moving beyond traditional pottery applications, I conducted extensive field research to identify and document these limited clay deposits throughout Qatar’s landscape – the research methodology centred on rigorous material experimentation, revealing the complex challenges of working with wild clay. I documented the intricate processes of harvesting, preparing and conditioning the material. A significant component of my investigation involved developing specialised mixing techniques to enhance the clay’s malleability, adapting it for diverse applications beyond conventional ceramics. This research culminated in two significant outcomes: ‘Wild Clay of Qatar’ and a series of experimental vessels demonstrating the material’s versatility and aesthetic potential.
As Qatar balances honouring its past and embracing innovation, material resilience suggests that we do not need to choose between tradition and modernity. Instead, we can create meaningful connections between them. By rediscovering materials our ancestors used and finding new ways to work with them, makers can create work that respects heritage while addressing today’s needs. This shows that knowledge about materials is not just about preserving the past – it can inspire new creative work that carries our cultural identity forward. Through these material investigations, I have demonstrated that Qatar’s identity can be both rooted in tradition and forward-looking.
