Millennium Dome
The Millennium Dome (now The O2) was conceived to mark the turn of the new millennium and constructed on the Greenwich Peninsula in London.
Within its vast interior sat a series of themed pavilions exploring science, culture and innovation. I was one of three Senior Project Mangers at Imagination responsible for the delivery of two of these zones: the Journey Zone for their client Ford and the Talk Zone for British Telecom.
Each pavilion represented a significant architectural intervention, rising more than six storeys within the Dome’s structure. Their interiors combined museum-grade exhibits, emerging digital technologies and immersive experiential environments – requiring close integration between creative direction, technical systems, live operations and stage management.
Designed as permanent buildings, both zones were conceived and delivered against an absolute, immovable deadline: midnight on 31 December 1999.
The Dome opened with a national celebration attended by Her Late Majesty Queen Elizabeth II and His Late Royal Highness The Duke of Edinburgh, marking one of the most symbolically significant public projects of its era.
Journey Zone
The Journey Zone provided Ford with an opportunity to articulate its brand at the turn of the millennium – positioning mobility not simply as transportation, but as human progress.
Developed by Imagination through extensive research and narrative planning, the pavilion became one of the most visited and popular attractions within the Dome.
The visitor experience unfolded across three interconnected structures, linked by elevated bridges, walkways and galleries that physically expressed movement and transition.
Architecturally and experientially, the space explored the evolution of travel – from past innovation to future possibilities – translating brand values into an immersive spatial narrative.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Talk Zone
The Talk Zone, created for British Telecom, explored how communication technologies were reshaping the way people connect – in the present and into the future.
Designed and developed by Imagination’s multidisciplinary creative, content and technical teams, the pavilion examined emerging digital behaviours and offered visitors multiple ways to experience evolving modes of communication.
Architecturally, the zone was housed within two large glass-clad monoliths connected by bridges and elevated walkways. The scale and transparency of the structures demanded innovative construction methods and bespoke glass fabrication processes.
The content – focused on connectivity, interactivity and digital convergence – anticipated communication habits that are now commonplace but were pioneering at the time.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
Photo courtesy of Imagination.
London 2012 Cultural Olympiad - Showtime
In 2012 I served as Executive Producer of Showtime, the largest free outdoor arts festival ever staged in London and a core component of the Mayor of London Presents programme within the London 2012 Cultural Olympiad to create a summer like no other on behalf of the Greater London Authority.
Working with producers: Bridey Watson, David Belshaw, Mel Wilds, Vashti Waite and Dave Reeves, Showtime extended the spirit of the Olympic and Paralympic Games beyond ticketed venues, delivering free, high-energy performances directly into high streets, parks and town centres across all 33 London boroughs.
Over the course of the Games period, the programme comprised approximately 5,000 performances by hundreds of artists, reaching live audiences in excess of half a million Londoners.
The festival operated as a distributed city-wide production model – simultaneously active across multiple boroughs – requiring coordination across local authorities, cultural partners and community stakeholders during one of the most high-profile periods in the capital’s history.
Showtime formed part of a mulitmillion pound cultural investment surrounding London 2012 and played a central role in ensuring the Games were experienced not only inside venues, but across the fabric of the city itself.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Photo courtesy of the Greater London Authority.
Royal Edinburgh Military Tattoo
The Royal Edinburgh Military Tattoo is one of the United Kingdom’s most internationally recognised cultural events – a globally televised spectacle combining military precision, music and state-level ceremony.
I was appointed to work with the Tattoo its senior stakeholders and partners to explore and lead the creative development of new formats suitable for potential international presentation.
Extending a nationally symbolic institution into overseas environments required careful consideration of cultural diplomacy, host-nation sensitivities and the preservation of artistic and cultural integrity.
The work operated at the intersection of creativity, protocol and international partnership.
Photo: xlibber, CC BY 2.0, via Wikimedia Commons
Dubai Parks and Resorts Grand Opening
In 2016 I served as Executive Producer at Action Impact for the Grand Opening of Dubai Parks and Resorts – then the largest theme park destination in the Middle East.
The brief – create a single, coherent opening experience spanning multiple global IPs, international stakeholders and senior government leadership.
We constructed a purpose-built theatre floating on the resort’s central lake and delivered a live production integrating film, music, character performance and emerging technology.
Opened by His Highness Sheikh Mohammed bin Rashid Al Maktoum, the event featured a live performance by Academy Award-winning composer Alan Menken and incorporated the first large-scale drone show staged in the region.
With a cast including Shrek, The Smurfs and Legoland characters, it was a high-profile, technically complex and politically visible launch – designed to promote the UAE as a global entertainment destination. A full integrated multi-intellectual property spectacle under head-of-state visibility.
Photo courtesy of Action Impact.
Photo courtesy of Action Impact.
Photo courtesy of Action Impact.
Photo courtesy of Action Impact.
Photo courtesy of Action Impact.
Photo courtesy of Action Impact.
Photo courtesy of Action Impact.
Her Majesty The Queen's Platinum Jubilee
I served as Executive Producer for ‘A Gallop Through History’, working alongside Simon Brooks-Ward and HPower on a four-night production culminating in a live ITV broadcast watched by millions.
The event was attended by Her Late Majesty Queen Elizabeth II – one of her final public appearances – placing the production at the centre of a moment of profound national significance.
With a cast of more than 1,000 performers, the show combined large-scale equestrian choreography, theatrical staging and live performance.
It was led by household names including Tom Cruise, Dame Helen Mirren, Damian Lewis, Omid Djalili, Adjoa Andoh, Gregory Porter, Martin Clunes, Keala Settle, Alan Titchmarsh and Katherine Jenkins.
This historic event required considerate creative development and seamless integration across broadcast, equestrian performance, royal protocol and live audience delivery within a highly visible national context.
Photo © Steve Parsons/PA - courtesy of HPower.
Diriyah Contemporary Art Biennale
As senior advisor and the executive producer, and part of the original senior management team at the Diriyah Biennale Foundation in Saudi Arabia, we developed, designed and delivered the country’s first ever contemporary art biennale.
The Diriyah Contemporary Art Biennale in Diriyah, Riyadh, hosted in the JAX District, is an international showcase and celebration of contemporary art, featuring artists from around the world.
Spanning approximately 20,000 square meters, the Biennale assumes a critical role in nurturing creative expression and instilling an appreciation for culture and the arts and their transformative potential.
These Biennales showcase some of the world’s leading artists and drive cultural exchange between the Kingdom and international communities.
Find out more about the at the Diriyah Biennale Foundation’s website.
Diriyah Contemporary Art Biennale 2026, 'In Interludes and Transitions'
drawing from a colloquial phrase invoking the cycles of encampments and journeys in nomadic communities in the Arabian Peninsula, taking as a point of departure the movements, migrations, and transformations that continue to connect the Gulf region with the world.
This Biennale produced by Diriyah Biennale Foundation with its curation led by co-artistic directors Nora Razian and Sabih Ahmed is conceived as a choreography in which histories, ancestors, dreams, and premonitions move together through song, stories, dance, and whirlwinds.
Find out more at the Diriyah Biennale Foundation website.
Diriyah Contemporary Art Biennale 2026 - In Interludes and Transitions. Petrit Halilaj, ‘Very volcanic over this green feather’ (2021). Photo by Alessandro Brasile, courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2026 - In Interludes and Transitions. Pio Abad, ‘Vanwa’ (2023/2026). Courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2026 - In Interludes and Transitions. Nour Mobarak, ‘Dafne Phono’ (2024). Courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2026 - In Interludes and Transitions. Shadia Alem, ‘Transformation – Jinniyat Lar’ (1996/2026). Photo by Alessandro Brasile, courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2026 - In Interludes and Transitions. Faisal Samra ‘Immortal Moment III (Post Shock Creatures 02)’ (2026). Nolan Oswald Dennis ‘Black Liberation Zodiac (whale mouth solidarities)’ 2025. Photo by Alessandro Brasile, courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2026 - In Interludes and Transitions. Théo Mercier, ‘House of Eternity’ (2026). Photo by Alessandro Brasile, courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2024, 'After Rain'
Titled ‘After Rain’ the second edition of the Diriyah Contemporary Art Biennale opened up a moment of revitalisation and renewal, presenting a Biennale as a nurturing entity, filled with life, while acknowledging the necessity of water for all forms of life that dwell and seek shelter on our planet.
Produced by the Diriyah Biennale Foundation with its curation led by Artistic Director Ute Meta Bauer, this Biennale presented works that engaged with the human-nature continuum, examined the built environment, observed the state of our surrounding landscapes, recounted histories, and encouragedus to listen more closely.
Find out more at the Diriyah Biennale Foundation’s website.
Marjetica Potrč, Acre Palafita with Infrastructure (2024). Exhibition view: Diriyah Contemporary Art Biennale 2024: After Rain (20 February–24 May 2024). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
After Rain, Diriyah Contemporary Art Biennale 2024, Martha Atienza, Equation of State (2019/2024). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
After Rain, Diriyah Contemporary Art Biennale 2024, El Anatsui, Logoligi Logarithm (2019). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
After Rain, Diriyah Contemporary Art Biennale 2024, Sopheap Pich, Rang Phnom Flower (2015). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
After Rain, Diriyah Contemporary Art Biennale 2024, Alia Farid, In Lieu of What Was (2019). Chibayish (2022). Chibayish (2023). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2021/2, 'Feeling the Stones'
‘Feeling the Stones’ was the title of the inaugural Diriyah Contemporary Art Biennale.
It’s title drawn from a saying that emerged during the 1980s as a metaphor for action at a time of social and economic transformation, ‘crossing the river by feeling the stones’, which encapsulates considered progress – transformation through intelligent actions, echoing the Diriyah Biennale Foundation’s core mission of empowering artistic spirit as a force for meaningful change.
Produced by the Diriyah Biennale Foundation with its curation led by Artistic Director Philip Tinari, this Biennale’s theme was a metaphorical journey through the nuances of artistic production and ideas that, just like social reform, saw art as a process – incremental, tentative, and, ultimately, directed improvisation.
Find out more at the Diriyah Biennale Foundation’s website.
Diriyah Contemporary Art Biennale 2021/2 - 'Feeling the Stones'. Will Glendinning at the Opening Ceremony in front of Richard Long's 'Red Earth Circle' (1989/2021).
Diriyah Contemporary Art Biennale 2021/2 - 'Feeling the Stones'. Photo courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2021/2 - 'Feeling the Stones'. Photo courtesy of the Diriyah Biennale Foundation.
Diriyah Contemporary Art Biennale 2021/2 - 'Feeling the Stones'. Photo courtesy of the Diriyah Biennale Foundation.
Islamic Arts Biennale
As senior advisor and the executive producer, and part of the original senior management team at the Diriyah Biennale Foundation in Saudi Arabia, we developed, designed and delivered the first ever Islamic Arts Biennale.
The Islamic Arts Biennale in Jeddah is the world’s first biennale dedicated to Islamic arts and culture. At over 60,000 square meters – it is also one of the largest Biennales too.
Juxtaposing contemporary art with historical objects, the Biennale has quickly become – in just two editions, in 2023 and 2025 – one of the most critically acclaimed and visited Biennales in the world.
Find out more about the at the Diriyah Biennale Foundation’s website.
Islamic Arts Biennale 2025, 'And All That Is In Between'
The second edition of the Islamic Arts Biennale was titled ‘And All That is In Between’ – from the phrase “And God created the Heavens and the Earth and all that is in between.”
The 2025 Islamic Arts Biennale drew inspiration from that verse, exploring how faith is lived, expressed and celebrated. It spanned five exhibition halls and the vast outdoor spaces – presenting over 600 historical object and contemporary artworks.
The Biennale has become a global hub for Islamic arts and culture, showcasing treasures from prestigious worldwide institutions.
Find out more at the Diriyah Biennale Foundation website.
The Kiswa on display at the Islamic Arts Biennale. Part of the AlBidayah component of the 2025 Islamic Arts Biennale. Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
Installation view of the AlMadar component of the 2025 Islamic Arts Biennale. Top: Timo Nasseri, Echoes of the Skies (2025). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
View of the AlMidhallah exhibition component, the outdoor exhibition spaces, at the Islamic Arts Biennale 2025. Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
Installation view of the AlBidayah component of the 2025 Islamic Arts Biennale. Arcangelo Sassolino, Memory of Becoming (2024). Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
Islamic Arts Biennale 2023, 'Awwal Bait'
The inaugural edition of the Islamic Arts Biennale in 2023 was titled ‘Awwal Bait’ (‘First House’) and explored the timeless rituals that define Islam. Rituals about movement, sound, and invisible lines of direction.
The Kingdom of Saudi Arabia, custodian of the two holy mosques is the spiritual focus for Muslims across the world.
This Islamic Arts Biennale is situated at the gateway to Makkah, in the historic Hajj Terminal in Jeddah. Designed by Skidmore, Owings & Merrill in 1981 and recipient of the 1983 Aga Khan Award for Architecture, each year this prestigious building welcomes millions of pilgrims making their way to the Ka’bah.
The Biennale brought historical works into dialogue with contemporary artworks by both Muslim artists and others whose work resonated with or echoed Islamic ritual and tradition.
Find out more at the Diriyah Biennale Foundation’s website.
The Kaaba door - the door to Awwal Bait at the 2023 Islamic Arts Biennale. Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
Haroon Gunn-Salie's installation 'Amongst Men' at the 2023 Islamic Arts Biennale. Photo by Marco Cappelletti, courtesy of the Diriyah Biennale Foundation.
Basmah Felemban 'Wave Catcher' at the 2023 Islamic Arts Biennale. Photo courtesy of the Diriyah Biennale Foundation.
