Author Ribale Sleiman Haidar University I.D k0913097
Special Thanks Wissam Bou Assi Anne Chick
MA Design for Development DDM003 Major Design Project
Ahmad Gharbieh
Š Kingston University London, 2010
Tammam Yamout
The FDZ
Special note Throughout the report, whenever ÂŤdesignÂť is mentioned, it mainly refers to Graphic Design because it is the dominant design field in Lebanon and the focus of this research.
Contents Introduction ................................................................................... #7 Where is Lebanon on the design map? Lebanon today ............................................................................... #10 Design speaks out .......................................................................... #12 What are some inspiring examples? Kharita Group ................................................................................ #16 Stereotypo ...................................................................................... #18 Samandal Comics Magazine ........................................................... #20 ...So where do we proceed from here? Proposal .......................................................................................... #24 Target Audience ............................................................................. #26 Activities ......................................................................................... #27 Members’ Recruitment .................................................................... #30 Structure & Future Growth .............................................................. #31 Impact Assessment ...........................................................................#32 Financing ......................................................................................... #33 References ....................................................................................... #35
Introduction The definition of “good design” is
the socio-political situation at the
and in need of their participation.
often debated and contested in the
time (2009). Designers therefore
After looking at the current situation
professional community. While some
have always had certain roles and
in Lebanon today, and then relating
equate “good” with “cool”, where
responsibilities towards their society.
it to the Lebanese design scene, we
a slick logo or a futuristic poster
Quoting the Gestalt therapy developed
can draw on a number of conclusions
are admired, others have a deeper
by a group of psychologists led by Fritz
that can lead to further research and
view of “good” associating it with
Perls, Maggie MacNab explains the
suggestion of a potential solution.
social, political and environmental
anatomy of the word responsibility
responsibility. Steven Heller links
which could be divided into two parts:
design to citizenship, explaining that
response-ability (1997). Primarily, it
a good designer should thrive to add
describes the necessity of matching
value to society and hence be an even
your skills to the task at hand. Hence,
better citizen (2003). Heller praises the
designers should use their ability in
power of design as a tool to encourage
response to any situational change.
others to wake up and participate as
Building on this idea, a pattern in
well. Here, the designer takes the role
the behavior of designers can be
of the role model or even the leader.
constructed, in relation to their context
The designer no longer waits for others
historically and geographically among
to initiate change but rather takes the
other variants. Depending on the
initiatives independently.
economic, social and political situation,
However, just like all human beings, designers react to the surrounding environment and act upon it. As
designers might either feel encouraged to ignite change or, in contrary, be dispirited and adhere to the status-quo.
Alastair Fuad-Luke discusses in his
Taking Lebanon as a case in point, it is
“Design Activism”, designers have
interesting to observe how politically
taken leading roles throughout history
and socially active designers are being,
with a remarkable pattern reflecting
especially in a time of complete change
Introduction
Where is Lebanon on the design map?
Lebanon today A brief description of Lebanon’s modern history It is no surprise that history
this particular ending. In 1990, the war
These crested with the “Cedar
schoolbooks in Lebanon stop at 1975,
was over and people were expected
Revolution” which saw more than a
the year the civil war broke off. The
to forgive and forget. Inquiring about
million Lebanese (almost a quarter of
modern history of this rather young
the past was (and still is) frowned
the country’s population) going out in
country has always been and still is the
upon. Here, the country and its citizens
masses demanding the withdrawal of
subject of heated debates and conflicts.
went into a long period of stagnation
all foreign influence, primarily Syrian.
The Lebanese civil war lasted for 15
and lassitude. The infrastructure and
Nationalism and patriotism were born
years and was no different than others
the economy were being rebuilt on a
out of the need for reform. The flag
when it comes to destruction, political
slow pace but the social and political
and its cedar, previously contested
and economical instability leading to
problems were left unsolved. Lebanese
symbols, were now held proudly as
social chaos.
people slowly adapted to being passive
national icons.
# 12
© photogenic™
and simply reactive.
The following year was rather hard
Lebanese civil war was its ending.
It is only 15 years later that Lebanese
on Lebanon dominated by a series
Through political discussions and
citizens rose demanding change. On
of bombings and assassinations
prearranged agreements the Taif
February 14th 2005, the assassination
culminating in the second Israeli war
Agreement was put to place and
of former Prime Minister Rafic Hariri
in July 2006. Again, the Lebanese
the war was put to an end without
determined the start of a new era for
citizenship was put to test by the
reaching any solving point. There
Lebanon. Although not on agreement
difficult circumstances, which were
were neither “winners” nor “losers”;
about the identity of the assassinator,
eventually overcome. During the past
instead all political and religious
all Lebanese parties condemned the
five years, Lebanon went through
parties involved in the war retained
event, which was followed by a series
groundbreaking events that pushed
their respective power over different
of demonstrations and massive civil
its population out of tameness and
regions of the country without being
activity. Daily manifestations were
submission giving them the power to
contested or questioned. This quite
organized by different Lebanese sides,
constantly question and challenge their
simple description of the civil war
from religious and political to civil
country’s situation.
doesn’t aim at narrating the entire
groups, everyone went down on the
events and history but it is rather a way
street to demand the truth.
© dxspace
to understand the consequences of
© rob maguire
© epapre
© baruda
However, the notable feature of the
Where is Lebanon on the design map > Lebanon Today
Design speaks out When designers’ voices become heard Design in Lebanon is a fairly new
covering most of the city’s walls with
profession. It is only in 1992, after the
personal, political and social statements
end of the civil war, that graphic design
showcase the intense agitation among
was introduced in higher education.
designers. Possessing control over
At that time, design was solely used as
this great tool of communication and
a tool for businesses. Designers were
expression, designers now follow a
trained to answer the needs of the
more powerful approach, one that
market and simply answer these needs
holds a considerable social and
to maximize profit. This trend was not
political significance.
exclusive to the Lebanese scene but was dominant in most of the western world as well. However, while in other countries some designers were already questioning their limited contribution to society, Lebanese designers remained fixed to their professional demands. Just like the rest of the population, they shared the feeling of hopelessness.
This activism movement was also introduced in traditional design context through both radical and modest initiatives. While some design agencies for example began accepting pro-bono work in addition to their profitable projects, others took it upon themselves to initiate new independent projects that they believed would benefit society or would make a
However, the series of events that
powerful statement. Also, the design
agitated Lebanese in general,
field witnessed the founding of
undeniably affected designers as
design-led projects and clusters born
well. Although design education
out of need for protest and change
didn’t develop much over the past
optimistically leading to social benefit.
decade, designers themselves did start challenging the status quo of their field. As they were engaging more in social consciousness as citizens, this was reflected in their work. First and foremost, designers literally went down on the street: A stroll around Beirut is enough to witness this agitation. Out of chaos and apparent disorder, graffitis
# 14
Where is Lebanon on the design map > Design speaks out
What are some inspiring examples?
Kharita Group
3
Design as a weapon of defense “Our first reaction was to help out at relief centers: giving out food, finding available lodging for displaced people, dividing donations into equal rations… basically what everyone was trying to do during the Israeli war on Lebanon in July 2006. But a group of us designers knew we could do more” tells Ahmad
happenings of the war through
Architects, journalists, researchers,
successive maps. Mapping was chosen
media specialists and others all joined
to create an “alternative narrative
forces, brought together by the strong
of the conflict to the one produced
activist drive in them.
Gharbieh regarding the Kharita Group.
Group, this image is problematic
Kharita or “Solidarity Maps” was founded precisely at this time when war was at its climax and with it frustration and despondency. As Ahmad, one of the founders describes, it all started when a group of graphic designers felt the need to use their mastership of a powerful tool of communication in order to campaign against the war. The product was a documentation of the day-to-day
almasryalyoum.com). Conventionally, the media would for example use images of burning buildings with massive clouds of smoke to depict bombing. According to the Kharita because it holds too many predefined biases that would provoke extreme reactions. However, a map with its different layers of meaning and a more objective portrayal of the war would be a more powerful medium to showcase and hence protest its consequences. In order for the project to be successful, the designers needed to collaborate with other professionals
The solid campaigning and the widespread of the maps online as well as by other media was an obvious success credential for the Kharita Group. It reinforced the role of design as a powerful tool of communication especially during hard times as well as the importance of cooperation between different professions. After the end of the July War in 2006, Kharita Group did not stop its activism. Instead, it used the same mapping exercises to tell alternative narratives of other conflicts in the region such as the Gaza War and the Nahr El-Bared 2007 conflict in North Lebanon.
each specialist in a different field. 2
www. kharita.wordpress.com
1
by mainstream media” (www.
Fig. 1, 2 & 3: Sequence of maps issued by Kharita Group during the July 2006 War
# 18
Where is Lebanon on the design map > Inspiring examples > Kharita Group
Stereotypo A type about stereotypes After the 911/ attacks media attention
Hence, the meaning of the symbols
In a context where social and political
was turned towards the Middle East
varies depending on the intentions of
differences and hence stereotypes are
as a whole and Arabs in specific.
the person.
treated as serious, even dangerous
A certain image of the Arab world and its people started to be more naturally accompanied by a set of www.stereotypo.org
stereotypes. In 2005, Lebanon was
www.facebook.com
www.stereotypo.org
and more pronounced and was
particularly put under the spotlight after the assassination of the former Prime Minister Rafik Hariri and the consequent bombings and killings.
The designers in this case delegate their control over this powerful tool to the general public. They simplified it and democratized it to make it accessible to everyone interested in or in need of commentating. After the initiation of the project, Stereotypo’s website was supported by strong online social networking (facebook, twitter,
Here, PenguinCube, a growing design
youtube) where people can share their
agency based in Beirut took the
different usages of the font. This adds
initiative of developing Stereotypo.
yet another layer of activism to the
After four years of preparation and
project where it not only provides a
implementation, Stereoypo was
tool, but it also creates and encourages
launched in 2009 through its website
dialogue among Arabs and Lebanese.
matters, Stereotypo could be an alternative opportunity for Lebanese to make powerful statements while avoiding the habitual strict language. Stereotypo becomes a great example of initiatives by a traditional design agency purely intended as a social statement. PenguinCube designers surpassed their conventional role of solving clients’ briefs by proactively creating their very own project answering a social need where their design skills where smartly put into practice.
stereotypo.org. Put simply, Stereotypo is a type about stereotypes. It is a free dingbat font available for everyone to download, use and share. However, Stereotypo is a lot more than clever little symbols referencing Arabs and Lebanese (penguincube.com). As Wissam Bou Assi, one of the “design enthusiasts” behind this project emphasizes, the symbols but are rather a tool aimed at empowering people to communicate
www.facebook.com
www.facebook.com
their socio-political views.
www.stereotypo.org
themselves are not the message
“inspired by a bomb-decorated Beirut and the terror-monger, post 9 /11, Arab image” Tammam Yamout
Examples of applications of Stereotypo uploaded through Facebook and Stereotypo.org
# 20
Where is Lebanon on the design map > Inspiring examples > Stereotypo
Samandal Comics Magazine A magazine between word and image Just like the salamander lives between
However, Samandal does not limit
However, according to Omar Khouri,
land and water, Samandal Comics
itself to its five founders; on the
comics as a medium being taken a bit
Magazine exists between word and
contrary, submission for publishing
lightly also has its advantages: it allows
image. This one of its kind trilingual
is open to all illustrators, designers,
the authors to make very strong social
quarterly magazine represents the
musicians, writers and anyone
and political commentaries that can
very “Lebanese” take on comics. The
interested in experimenting with
pass under the radar (www.bidoun.
founders of Samandal, Fadi Baki (aka
language and image.
com).
In an interview with one of the
Here, another layer of complexity, even
founders, The FDZ, he explains how
if unintentional, is added to Samandal:
the main aim behind the magazine is to
this comics magazine moves from
provide a platform for comics to grow
simply promoting a medium to actively
in Lebanon and in the region. The FDZ
appropriating it and adapting it to the
sees in Samandal a way for comics to
very special context of Lebanon.
The FDZ), Hatem Imam, Omar Khouri, Lena Merhej, and Tarek Nabaa share very special common grounds: All four were born and grown in wartorn Beirut of the 80s and all were very much influenced by the Arabicspeaking Grendizer that was fighting www.samandal.org
evil relating to their daily life (www.iloubnan.info).
be regarded as a legal “high quality” way of communication and expression.
www.letscomics.org
www.klekeesh.blogspot.com
Spreads from Samandal Comics Magazine
Examples of children’s work at Shatila Refugee Camp
# 22
www.samandal.org
www.letscomics.org
Samandal members organizing a workshop with children of Shatila Refugee Camp
“Samandal was a way to do political commentary in a way we don’t see it in Lebanese literature or media.” Omar Khouri Where is Lebanon on the design map > Inspiring examples > Samandal Comics Magazine
As demonstrated in the case studies
know what is happening around
On the other hand, some designers,
above, Lebanese designers are trying
them. Word-of-mouth and informal
especially the young of them, possess
to use their skills and knowledge
groups are the main approaches to
the drive and enthusiasm for activism
in a bid to create social change or
keeping oneself up-to-date. Here, it
but do not feel puissant enough to
at least spread social awareness.
becomes a personal choice of whether
pursue this path in design. Not being
They now understand the power of
designers want to go the extra mile
informed about the alternative design
their tool and are no longer limiting
to become informed of others’ work
scene growing in their country, they
its use to business-driven profit.
and initiatives or not. This absence of
tend to fall back into the traditional
Design hence becomes a means
support networking systems creates
career path of advertising and business.
for social commentaries for those
many gaps in the design community.
During a workshop with a dozen
who cannot reach the mainstream
Those taking an activist approach to
of fresh professionals, all designers
media. However, one can query
design, like the interviewee from the
expressed their interest in socially
about the efficiency of this means of
above case studies, do not receive
responsible work. Most of them did
communication. First and foremost, the
the necessary recognition for their
in fact focus on this area of design
initiatives happening in Lebanon are
powerful and influential role. They all
during their studies, however, they
all established on a single prominent
admit being mostly unaware of each
all felt unable to continue this type of
figure: the designer. This one-man
other’s activities, which leaves them
vocation after their graduation. Either
show approach to activism is mainly
thinking they are fighting the battle
for financial reasons or because of
due to the lack of networking among
on their own. Being able to find these
lack of support, all fresh designers left
designers who mostly do not (and
activists for the purpose of this research
their activism behind and started their
cannot) know what others are doing.
was even hard. It resembled the
professional life in a different field.
The design community in Lebanon is
treasure hunt, where one clue led to
not formally shaped or represented
the next, concluding in the discovery of
which leaves the responsibility on
these three unique examples of design
the designers themselves to try and
activism in Lebanon.
...So where do we proceed from here?
Proposal The name of the organization was specifically chosen to appeal to its target audience. Just like the Lebanese colloquial language, it mixes English and Arabic to create a special word that only Lebanese can use and relate to, but still understandable in English.
The organization bases its principles on the local traits of design. By appropriating itself to the design community, it gives them the sense of ownership over the project, which will make them more involved in it and more concerned with its results.
Also, the communitarian feel of the name reminds us of the real role of design as a tool for social change, which is the highest level of cooperation and mutual respect between the designers and their environment.
designa is a not-for-profit organization network-society aimed at building and growing a collective of socially active designers in Lebanon, conceived in response to their needs. It comes to fill the missing link in the design community by creating networks, building mutually supportive relationships and most importantly, providing common grounds for Lebanese designers working with social incentives. In addition, this collective will provide designers with a well-needed sense of identity and belonging among like-minded people.
In Arabic, when at the end of a word the term “na” is added, it means “our”. For example: cultural + na = our culture
“designa” means our design.
designa strives for providing a platform with online and offline components where adhering members can have access to a community of designers who share the same principals and beliefs about Lebanese design. One of the main drives behind this project is the reaffirmation of the social role of design as a powerful tool for expression and also as a great agent for change.
Symbol used in Arabic to phonetically emphasize a letter instead of writing it twice consecutively. It helps read the word better in Arabic and it creates a personalized mix of Latin and Arabic. The punctuation is hand-drawn with a different color, to give the feel of it being added by someone as a statement. It denotes the special touch of Lebanese designers, their adoption of international design principles and their adaptation to the local environment.
# 26
Future Steps > Project Proposal
Target Audience
Activities
Who to target and why
Designa functions on the basis of five main principles that dictate its activities and its directions.
One of the main problems in the
smaller and only a limited amount of
These designers do understand the
1. CONNECT
design community today in Lebanon
universities were offering the course.
power of design and use their skills
is the lack of certified statistics by the
The number of Lebanese professional
with that principle in mind. However,
Establish bonds among individual
government that does not hold and
designers would be estimated at 3500
they could find it difficult to network
publish records regarding designers
people. This amount should not be
with each other and learn from others
in particular. Also, even if the amount
considered definitive. However, it only
because their environment lacks the
of registered design firms can be
acts a guiding line for the purpose of
necessary support system. On the
documented, there are still a lot
the research.
other hand, another vaster group of
This objective will be achieved
designers do share the same beliefs
through two different approaches:
of freelance designers that are not officially recognized because they do not notify about their work. Hence, assessing the size of the community is considerably hard and even impossible to exactly determine.
As described above, designa targets and appeals to a certain profile of designers, those interested in design as a tool for social activism. Hence, it might not attract the entire design community in Lebanon. Yet, designa
Here, an approximation of the size
does not limit itself to those already in
of the design community can be
the field of social design; it rather aims
made by looking at the number of
at broadening the scope of designers
students graduating each year since
through spreading awareness and
the establishment of the major in 1992.
generating interest and curiosity
There are approximately 15 institutions
among those less involved in the
teaching design in Lebanon, with each
realm of design in society. Hence,
graduating an average of 20 students
THIS’s target audience can be divided
a year. However, it should be taken
in two main groups with distinct
into consideration that when design
characteristics and needs. The first
was first brought into higher education,
group is formed of designers that are
the number of students was much
already involved in design activism.
# 28
about ethical design but they do not apply these standards. Designers in this category tend to separate between the citizen and the professional. Although this might go against their values sometimes, they are not experienced enough or empowered enough to
designers and between existing clusters in order to encourage dialogue and increase awareness of their mutual presence.
i. Online networking
ii. Offline networking
• Provide a search engine where
• Hold regular networking events for
members can upload their information
members to interact in an informal
and access others through a search
social setting creating closer bonds
engine. This will enable members to
across seniority levels, age groups and
identify people with similar concerns
areas of expertise.
and interests within the area of design. • Start online discussions, which
of members with specific area of
can be posted by members and later
interest where a more focused
answered by others. Members will have
discussion can happen, without
the opportunity to start discussions and
discriminating any other party from the
debates, search for a conversation of
right of attendance.
interest and join in the exchange of ideas and thoughts.
pursue a path of design activism. This
• Give the opportunity for members
group has yet another set of needs and
to create online sub-groups where
unexplored potential. In order for them
people with specific interest can join to
to start investigating with design in new
form smaller more exclusive clusters,
ways, they need to be guided in the
all falling under the umbrella of the
right direction and provided with the
• Encourage smaller-scale gatherings
organization designa.
essential support for their growth as activist designers.
Future Steps > Target Audience
Future Steps > Activities
2. FOSTER
4. ASSIST
3. SUSTAIN
5. DIFFUSE
Support young or inexperienced designers by
Widen the horizon of design activists in Lebanon
Generate new projects opportunities in order to
Facilitate sharing of ideas and concepts between
developing their confidence in design activism in order
through exposing them to today’s global trends of
maintain high levels of interest in socially active design
members to spread the knowledge equally among
to encourage them to rediscover the path of design in
design.
and aid designers when following this path.
others.
• Organize conferences by local and international speakers
• Launch design competitions in collaboration with
• Create an open-source online network where members
• Initiate one-on-one mentoring schemes between a
where a common theme can be discussed allowing
different parties (government bodies, NGOs…) through
can upload previous successful projects, potential projects
knowledgeable design activist and a young designer during
Lebanese designers to showcase their knowledge but also
which bridges between designers and other stakeholders
ideas and calls for help and partnership.
which the first volunteers to offer support and expertise.
providing them with a global perspective on design.
can be built.
• Arrange internship opportunities for young graduates
• Encourage Lebanese designers to adopt but most
• Promote multi-disciplinary teams through the
online links, upcoming events, possible grants opportunities
or current students in design, where they receive on-
importantly adapt these global trends to their very own
competitions in order to familiarize designers with other
and potential employment openings.
the-ground experience of their future career alternative
context through workshops revolving around the previous
professionals and, in return, expand the view of design in
choices.
conferences.
the mind of others.
society.
# 30
• Provide up-to-date information regarding interesting
Future Steps > Activities
Members’ Recruitment
Structure & Future Growth
How to recruit the first person
Projections and plans for the future
One of the main keys to success of
as students ambassadors for the
designa would choose its
Year 1
Year 2
Year 3
designa is the constant growth of its
organization among their peers. They
partnerships, its lecturers and its
membership base and the sustainment
will be able to discuss the benefits and
In order for the organization to grow
After the successful implementation of
The third year will see the organization
leaders with high standards of
of their interest in the organization
the advantages of the organization
naturally and vigorously, its structure
the organization and the establishment
having a larger-scale global approach.
reputation and distinction, which will
and its activities. In order to recruit
thus triggering interest among
and activities will need to develop on
of a loyal membership base, designa
After being established and renowned
intrigue designers and create demand
members, there are different methods
others. Also, workshops and lectures
different successive stages. At early
can expand its activities through
in Lebanon, designa starts to gain
over the membership. When members
that will be adopted depending on the
arranged by designa will help draw
phases, the focal point of designa will
arranging live social networking
a universal edge through exchange
are recruited, they can simply sign
specific target audience in question.
more attention onto the activities of
be the website. Being easy to manage
events and lectures and workshops.
of ideas between local and foreign
up on the website from where they
Lebanon being a small country, and
the organization and generate more
and control, the online activities do
This phase of the project will require
designers. Lecturers and workshop
will receive updates and important
Beirut being its cultural and economic
awareness around it.
not require a large budget or a big
more on-the-ground work from the
leaders will diversify in nature and
information.
number of personnel. It can be simply
founding members and with it more
origin because people would be more
administered by a small team, who
time and effort dedication. In order for
familiar with the achievements of
do not need to devote their entire
the events to succeed, one full-time
the association. designa will gain
time and energy for it. These founding
employee for the organization will be
its stature as part of the international
members of the organization can
needed. This person will have excellent
community of design as being the
have different career paths yet share
communication skills and a high level
Lebanese center for design activism.
a strong belief and dedication to the
of management. He or she will handle
With wider recognition comes a wider
principles of designa.
all the preparation for each event and
audience. Lebanese designers, even
constantly monitor the performance of
though not directly involved in social
the association. At this point, designa
work, will want to be part of this design
would have a strong reputation among
community, which will provide them
designers in Lebanon and would start
with support but also belonging.
hub, most of the information exchange
Also, professional designers need to
Altogether, distinct public relations
be recruited through networking.
and communication skills will be at
By organizing events and meetings
the core of the success and growth
among the design community,
of THIS. Its founding members need
designa will grab the attention of
to have exceptional sociability within
One of the main target groups are
professionals interested in knowing
a wide range of connections and
students who are mostly influenced
about others but also letting others
acquaintances for the organization to
by their tutors and their colleagues.
know about them. This will be viewed
excel in its role.
Hence, the first way into the students’
as a great opportunity for them to
community would be through the
be part of a defined design hub, all
recruitment of teachers themselves.
sharing the same principles and ideas.
This will be presented in meetings and
Although designers will certainly be
lectures engaging tutors and getting
attracted by the whole experience
them on board of the association.
of being part of the association,
Once a few students are interested
they also need recognition and
in joining designa, they could act
acknowledgment in return.
happens through word-of-mouth and personal experiences. Hence, this could be the way into the community of design in Lebanon.
# 32
being recognized as the hub for social activist design in the country.
Future Steps > Members’ Recruitment
Future Steps > Structure & Future Growth
Impact Assessment
Financing
What success will be measured against
Possible supporting organizations designa will rely mainly on
One of the main goals of the
Local, Regional and international commendation
organization being the constant
can be possibly offered by major
revenue generation. Hence, the
Being a network society representing
expansion of its members base, their
design agencies, cultural support
assessment needs to focus on more
a big number of activist Lebanese
number is a key indicators of success.
associations and prominent
qualitative aspects of the project,
Throughout time, as designa expands
designers, designa needs the
by looking at the social benefit
Being a not-for-profit organization,
Registration Records
designa success cannot be quantitatively measured based on
grants and donations. Donations
recognition of local, regional and
individuals. designa founding
its activities, the number of members
members will work on promoting
it has created, the awareness it
international bodies and organizations
should increase accordingly. Hence, a
and acquiring donations from
has spread, and the answer to its
in order to determine its success. By
visible increase in members will directly
these different stakeholders
original goals and objectives.
becoming renowned on these three
indicate the success of the organization
levels respectively, it gains more
through meetings, profile
in recruiting new advocates of design
status and importance, which will,
presentations but also personal
activism.
ultimately, lead to even more success.
acquaintances. After a certain
This positioning requires a long time
period of operating in the field,
Members’ Feedback Another important factor to the success of designa is the members’ satisfaction with the services offered. Not only is it important to have a
of development and work that will be
designa will be rooted enough
crowned with appreciation.
to be approached by potential donors. Those will want to
Media Coverage
support the cause of design activism in Lebanon as well as
The Arab Fund for Arts & Culture
Bader Deutsche Bank Creative Award 2010
According to its website, “The Arab
For the first time in Lebanon, Bader
Fund for Arts & Culture aims at
Young Entrepreneurs Program and
stimulating and supporting artistic
Deutsche Bank work together to offer
creativity and freedom of cultural
two creative awards to Lebanese
expression in the Arab World.” (www.
candidates at €8,300 each. The Awards
arabculturefund.org) Among others,
offer practical and financial support
The Arab Fund for Arts & Culture
to artists, craftspeople, designers
supports individuals, groups and
and performers to start a business
NGOs working in the field of research
or carry out a project (http://www.
and workshop and capacity building.
baderlebanon.com/). Bader Young
Between 2007 and 2009, the Arab
Entrepreneurs Program is a Lebanese
Fund for Arts & Culture supported a
non-governmental and non-profit
total of 151 projects by providing a
organization created in 2006. It
sum of £1,500,000 divided among the
encourages entrepreneurship in
beneficiaries (each receiving between
Lebanon through Education, Finance
£3,000 and £30,000)
and Networking. The award is not
growing members’ base, but also it
Through its events, designa will
is even more crucial to make sure
be creating a public image of itself,
attaching their name to the
the organization’s work is delivered
projected to designers but also to the
A few of its goals are answered by the
organization.
efficiently. This can be identified
media in Lebanon. The organization
designa project proposal:
through constantly inquiring about the
gaining media’s attention will in no
In order to set up the organization
• Increase and Enhance Cultural
carried upon. If the funders see the
contentment of the members. Through
doubt be an indicator of success. Local
on safe grounds, it will have to
Production and Research.
importance of the presence of this
an online feedback form for example or
TV channels, blogs, websites and
through online and offline discussions,
magazine all could be interested in
the association can learn what it is
documenting the development of this
achieving and where it is still lacking in
new social venture that is changing
order to improve its performance.
the image of Lebanese design. The more exposure designa receives, the more probable it is to grow and accomplish its goal of reaching the design community.
promoting themselves through
be supported by a grant that will provide the essential financing.
• Support Capacities building and
There are a number of grants that
training.
assist young entrepreneurs at
• Stimulate cultural Exchange and
the early stages of their projects in order to promote Arab and
Collaboration Across the Arab Region
restricted to a specific area of interest within the artistic realm, which can make it easier for the project to be
design society in Lebanon, then there are no limitations for them to accept it.
Deutsche Bank AG Name: Dana Budeiri Phone: +971 (0) 4 428 3860
Lebanese cultural activity. Two
The similarities in the mission and
main sources of funds were
vision statements of both designa
E-Mail: dana.budeiri@db.com
identified as potential grantors of
and The Arab Fund for Arts & Culture showcase the compatibility and the
Bader Young Entrepreneurs
the start-up capital.
possibility of a funding opportunity.
Program Name: Hiba Zunji E-Mail: hzunji@baderlebanon.com
The Arab Fund for Arts & Culture
Phone: +961 (0)1 612 500 ext 5153
Jabal Al Weibdeh Banouieh Street- George Noqql Bldg. Second flour. P.O.Box 1402 Amman 11118 Jordan
# 34
Future Steps > Impact Assesment
Future Steps > Financing
References AndrÊ, F (2010) Comic relief: Local youths learn from Samandal comic masters. Available at: http://www.nowlebanon. com/NewsArchiveDetails.aspx?ID=190216 (Accessed: 20 August 2010). Arab Fund for Arts and Culture (2010) Arab Fund for Arts and Culture. Available at: http://arabculturefund.org/ (Accessed: 15 August 2010). Atallah, L (2009) Tactical mapping. Available at: http://www.almasryalyoum.com/en/news/tactical-mapping (Accessed: 25 August 2010). Azimi, N (2009). Super Friends Samandal. Available at: http://bidoun.com/bdn/magazine/18-interviews/samandal/ (Accessed: 20 August 2010). Bader Lebanon (2007) Bader Deutsche Bank Creative Award 2010 . Available at: http://www.baderlebanon.com/ deutch-bank.shtml (Accessed: 1 September 2010). Baki, Fadi, 15 July 2010. Berman, DB (2009) Do Good: How Designers Can Change the World. Berkeley, Calif: New Riders. Bou Assi, Wissam.25 August 2010. Fuad-Luke, A. (2009) Design Activism: Beautiful Strangeness for a sustainable world. London: Earthscan. Gharbieh, Ahmad, 20 July 2010. Heller, S. & Vienne, V (2003) Citizen Designer: Perspectives on Design Responsibility. New York: Allworth Press. Heller, S. & Pettit E. (1998) Design Dialogues. New York: Allworth Press. Holland, DK (2001) Design Issues: How Graphic Design Informs Society. New York: Allworth Press. Klekeesh (2010) El 7a2 3al Telyein. Available at: http://klekeesh.blogspot.com/ (Accessed: 15 July 2010). Lets Comics (2010) A comic competition on multicultural societies. Available at: http://www.letscomics.org/ (Accessed: 30 July 2010). Najjar, J (2008) Samandal Comics: Living Novel Graphic Experiences. Available at: http://www.iloubnan.info/ artsandculture/interview/id/25993/titre/Samandal-Comics:-Living-Novel-Graphic-Experiences/ (Accessed: 25 August 2010). PenguinCube (2009) PenguinCube. Available at: http://penguincube.com/ (Accessed: 20 August 2010). Samandal Comics Magazine (2010) Samandal Comics Magazine . Available at: http://www.samandal.org/ (Accessed: 20 June 2010). Solidarity Maps (n.a) Lebanon – Maps of Locations Bombed. Available at: http://kharita.wordpress.com/about/ (Accessed: 20 August 2010). Stereotypo (2009) Stereotypo. Available at: http://stereotypo.org/ (Accessed: 20 August 2010).