Human life, from its very beginning, has existed within structures of competition, achievement, and a strive for victory – whether it is the individual attempting to outdo himself, or a group shaping its identity through struggle. In the context of these structures, the court – whether it be tangible or imaginary – functions as a facilitating space where rules, discipline, boundaries and motion all come together to mold a sense of identity and belonging. In both individual and team sports, in the stadium or at home, a recurring pattern appears: a framework of rules that invites man, whether on the pitch or up in the stands, to either comply to the rules or test their limits – all while forging an intricate sphere of reality, as well as a simultaneous escape from it.
The rise of sport as a cultural, social, and symbolic arena has positioned design as a central player within this realm. Team colors, logos, uniforms, flags and fan accessories help shape the communities and situate the individual in a collective setting. Architectural spaces such as stadiums, stands and tracks create an integrating experience, bringing fans together, while also maintaining a sense of rivalry, suspense and drama. Meanwhile, tracking technology, wearable tech, and sports fashion add another layer to modern body culture: smart watches convert motion into data, sneakers serve as status symbols, and leggings traverse both training sessions and everyday routine, becoming a visual code of social significance. In an era of shifting and redefined identities, the body becomes a playground upon which we search for meaning, self governance, and modern ritualism.
History shows that competitive spaces have long functioned as mechanisms of power, survival, and control. The games of the Roman Colosseum were perceived as a showcase of imperial might; throughout the modern era in Europe, sports parades played an important role in the construction of national identity; in the 20th century, sports became a field of ideology, doctrine, and their implementation – from the monumental stadiums of Nazi Germany, to the Soviet culture of fitness designed to manufacture obedient, loyal citizens. Even today, in large-scale sports events such as the Olympics opening ceremony or world championships, a coordinated, organized image of society is carefully crafted using design, choreography, and complex visual performances that combine sports and identity attributes into a grand display of representation.
Jerusalem Design Week 2026 – “Match Point” will examine how visual language and practices stemming from the realm of sports affect contemporary design, and how we experience competition, belonging and play. Opening on the backdrop of major sports events such as the FIFA World Cup and the Maccabiah Games, this edition of JDW offers a comprehensive interpretation of both global and local sports culture.
By designing competitive arenas, architectural spaces, pavilions, and visual language for stadiums, this year’s Design Week seeks to illuminate how design dictates the relationships, atmosphere and rules of any field. Interactive works will transform visitors into major players of design processes, participating in simulations of competition, ceremony and group encounters. The exhibitions on display will include projects inspired by relay races, trophies and medals, by collaborations between football clubs and municipal authorities, and by the manner in which objects, graphics and architecture help create group identity and shared experiences. JDW 2026 explores the point where games, competition and culture intersect, and how design can grant them form, meaning, and an escape from reality – but also a connection to it, through a newfound partnership between the audience, the city, and creative space.
Jerusalem Design Week seeks to illuminate the ways in which play, competition, and culture intersect—and how design gives them form, meaning, and the possibility of escape from reality, while also enabling connection to it, through new collaborations between audiences, the city, and creative spaces.
General Management: Smadar Tsook and Ran Wolf, Ran Wolf Ltd.
Chief Curators: Dana Ben Shalom and Sonia Olitsky
Timeline:
1.2.2026 – Deadline for submitting proposals to the open call, until 23:00
15.2.2026 – Notifications regarding advancement to the discussion stage with the curators
18.6.2026 – Opening of Jerusalem Design Week to the general public
Please note:
– You may apply to several categories simultaneously, using separate forms.
– Selected works will receive funding and be exhibited at Jerusalem Design Week, which will be open to the public.
For full information and to submit to the open call