Projects highlighting the versatility of natural materials as a building resource include ETA’DAN by Hive Earth, a multi-functional wall made of rammed earth and agro-waste. An interactive installation for all ages with seating and steps for rest and relaxation, it promotes sustainability through resource sharing and waste reuse. Employing mud as material is also the foundation for Sumaya Dabbagh’s EARTH TO EARTH, a curved wall structure that reflects the fundamental circularity and duality of a material which embodies both solidity and fluidity.

Addressing the extractive impact of modern market economies on biodiversity and indigenous knowledge, Hunnarshala Foundation’s Back to the Future is an exhibition that explores how natural materials and traditional building skills can strengthen marginalised voices.

Projects also highlight innovative responses, and resistance to waste culture. Thomas Egoumenides’Ship of Theseus, embraces a circular approach using discarded plastic spools and threaded rods. Repurposing these materials to craft an architectural installation, the project becomes a symbol of resistance to a throwaway culture. A project by Papa Omotayo & Eve Nnaji MOE+AA/ADD-apt based in one of Sharjah’s industrial zones, explores life amid the area’s vacant lots and unutilised spaces. WE REST AT THE BIRD'S NEST is an installation constructed from organic waste and scaffolding that asks what happens when space is adapted to create a collective point of rest.

Cambio (2020-2023) is an ongoing project by Formafantasma, which investigates the wood industry's origins in colonial bioprospecting in the nineteenth century. It explores the supply chain's environmental impacts and seeks to expand design beyond finished products by integrating forestry, legislation, science and activism. Through videos presented as part of a multidisciplinary exhibition, they ask how design can address environmental issues through collaborative and informed approaches.

Highlighting the issue of waste colonialism, clothing brand BUZIGAHILL - who creatively transform second-hand clothing waste from the West and sell it back to the Global North - reconstructs their production studio and stage RETURN TO SENDER. This defiant performance showcases the resourcefulness of Sub-Saharan Africans in harnessing waste as a valuable resource. Sharjah plays a significant role in the second-hand clothing supply chain, and bales of unwashed second-hand clothing have been specially acquired for the performance from a sorting centre in one of Sharjah’s Free Zones, where migrant workers unpack, sort and repack unwanted clothes collected in Europe.

Power Shifts is a photographic installation by Dia Mrad that looks at Lebanon's economic collapse using aerial imagery of the proliferation of solar panels on rooftops in Beirut. Viewed not just as objects, the panels become manifestations of the crisis itself, inviting viewers to reflect on not only the visual impact of the economic collapse on the cityscape, but also its profound effect on the lives of its residents.

In response to Sharjah’s evolving national identity and cultural significance in the UAE, Olalekan Jeyifous presents SHJ 1X72 - 1X89, a speculative work that offers a retro-futurist vision of the region. Set on Sharjah’s Bank Street and its ‘heritage areas’, Jeyifous imagines an alternative architecture that embraces sustainable practices and local typologies, in tune with the climatic conditions of the region and the social rhythms of its inhabitants.

Abandoned sites in Sharjah provide a catalyst for many of these ideas, such as the old Al Jubail Vegetable Market, which closed in 2015 but was saved from demolition by SAT in 2019. 51-1 Arquitectos turn the area adjacent to the venue into Play You Are in Sharjah, a public space for communal activity with tables, chairs and board games that are reconfigured according to the position of the sun throughout the day.

Elsewhere, in the desert surrounding the city, the Al Madam ‘ghost village’ is part of a series of modernist settlements that were built in the 1970s to house nomadic groups. Long since abandoned, DAAR – Sandra Hilal & Alessandro Petti’s project Concrete Tent use fabric to cover the ruins of the village, reframing it as a symbol of enduring transience. Ultimately, like the buildings, the project will be reclaimed by the dunes, a poetic reminder of the inevitability of impermanence.

Honouring architecture as a space for ritual, performance and tradition, Yussef Agbo-Ola presents JABALA 9: ASH CLEANSING TEMPLE. This sacred structure – honouring Bedouin, Yoruba and Cherokee cultures – is built from organic materials such as jute, hemp and cotton yarn and illustrated with cosmological motifs, inviting visitors to partake in collective incense burning and breathing ceremonies within. The Museum of Artifice by Miriam Hillawi Abraham reimagines the sacred rock-hewn churches of Lalibela in Northern Ethiopia as constructed entirely from blocks of salt – a nod to the material culture of Sharjah and its historic relationship with Ethiopia. The structure will eventually be dismantled and its salt blocks returned to the merchant for re-use in agriculture and construction, only leaving behind remnants of salt, dust, and memories.