Context Magazine 2012-2013: Issue 2 by VCUQatar

ISSUE N o.

CONTEXT VCU Q ATA R M AGA Z I N E 2 012 –2 013

TA B L E of contents

D E AN’S M E S SAG E

CU LTU R E IN TH E MAKIN G ... TA S M E E M D O HA 2013

R E S E ARCH IN CO NTE X T: TH E STO RY O F O N E S ECO N D

R E S E ARCH

2 4

CU LTIVATIN G CR E ATIVE TH IN KIN G

G LO BAL E XPE R IE N CE

TH E YE AR IN N U M B E R S

3 8

ALU M N I PRO FILE S

5 0

ALU M N I ACH IE VE M E NT S

5 4

FACU LT Y & STAFF ACH IE VE M E NT S

6 0

A D E STINATI O N FO R D IALO GU E

6 4 FO STE R IN G CO M M U N IT Y INVO LVE M E NT

6 6

CL A S S O F 2013

THAN K YO U

74 — Issue 2

D E A N’S Message A L LY S O N VA N S T O N E

With the 15th anniversary celebration behind us, VCUQatar is looking forward to envisioning a future fully aligned with the Qatar National Vision 2030 and the development of Hamad bin Khalifa University (HBKU). We are proud to continue our historic partnership with Qatar Foundation (QF). The opening agenda for our 2013/14 academic year was the initiation of an inclusive planning process to redevelop our vision, mission, and multiyear strategy with the understanding that we have embarked upon the next phase in the educational endeavor of QF, the development of HBKU. Our ambition is to discover unique opportunities through innovative collaborations of all partner universities in Education City that are only possible due to the unrivaled collection of knowledge and the value that the creative processes embedded in art and design disciplines bring to these collective ventures. Throughout this magazine, you will be able to (re)engage with a selection of creative activities that took place at VCUQatar during the past year, and discover our ambitions. The biennial Tasmeem Doha International Art & Design Conference, Hybrid Making, was a monumental success. A significant part of the program engaged over 300 students from within Qatar and across the globe in collaborative, experimental workshops led by international experts and hosted at Mathaf, Arab Museum of Modern Art. Our research and entrepreneurship initiatives continue to focus on the needs of Qatar and the region. The successful collaboration with Maersk Oil to support alumni in the creation of the Qatar National Road Safety campaign ‘One Second’ has led to the expansion of this alumni sponsorship program. Our science faculty, Khalid Saoud, received a Qatar National Priorities Research Program grant for $881,000, and Diana Woodcock received a $50,000 VCU Presidential Quest Research Fund award, the first Qatar faculty to receive this award. 2012-2013 was also the inaugural year of Fanoon: Center For Printmedia Research, the Middle East’s first printmaking publishing program producing limited edition works. We continue to strive for excellence in everything we do. We value our partnership with Qatar Foundation and Hamad bin Khalifa University through the unwavering support of Her Highness Sheikha Moza bint Nasser, Chairperson of QF, and His Excellency Dr. Abdulla bin Ali Al Thani, President of HBKU. Our efforts are expressed through the stories of our alumni, students, faculty and collaborators in this publication. We believe you will find them inspiring.

‫كلمة عميد الجامعة‬

‫السيدة أليسون فانستون‬

‫ تتطلع جامعة فرجينيا كومنولث يف قطر إىل‬،‫مع مرور الذكرى اخلامسة عرش عىل تأسيسنا‬ ‫ وتطوير جامعة محد بن خليفة‬2030 ‫تصور مستقبل يتماىش متاما مع رؤية قطر الوطنية‬ .)QF( ‫ وحنن نفخر مبواصلة الرشاكة التارخيية لنا مع مؤسسة قطر‬.)HBKU( ‫ وتطوير جامعة‬،‫نظرا للرشوع يف المرحلة المقبلة من الماسعي التعليمية لمؤسسة قطر‬ ‫ كان عىل رأس جدول أعمالنا يف بداية هذا العام األ كادميي‬،HBKU ‫محد بن خليفة‬ ‫ الرشوع يف عملية ختطيط اشملة إلعادة تطوير رؤيتنا وراسلتنا واسرتاتيجية‬14/2013 ‫ طموحنا هو اكتاشف فرص فريدة من نوعها من خالل‬.‫متعددة السنوات للجامعة‬ ‫التعاون اخلالق بني كافة اجلامعات الرشيكة يف المدينة التعليمية والذي هوممكن فقط‬ ‫بسبب جمموعة ال مثيل لها من المعرفة وقيمة أن العمليات اإلبداعية يف الفن جزءا ال‬ .‫يتجزأ من ختصصات التصميم الذي يرافق هذه الماشريع اجلماعية‬ ‫ االطالع جمددا عىل جمموعة خمتارة من األنشطة‬،‫سنكون قادرين ومن خالل هذه المجلة‬ ‫اإلبداعية اليت أقيمت يف جامعة فرجينيا كومنولث يف قطر خالل العام المايض واكتاشف‬ ‫ لقد حقق مؤمتر تصميم دوحة الدويل للفنون والتصميم والذي يعقد كل‬.‫طموحاتنا‬ ‫ عمل جزء كبري من الربناجم‬.‫ جناحا هائال‬Hybrid Making ‫سنتني مرة وكان حتت عنوان‬ ‫ وباإلضافة إىل حلقات‬،‫ طالب وطالبة من داخل قطر ومجيع أحناء العالم‬300 ‫مباشركة‬ ‫ المتحف العريب‬: ‫العمل التجريبية بقيادة خرباء دوليني واليت تم استضافهتا يف متحف‬ .‫للفن احلديث‬ .‫تواصل مبادرات البحوث والماشريع المقدمة يف الرتكزي عىل احتياجات قطر والمنطقة‬ ‫أدى التعاون الناجح مع رشكة مريسك للبرتول لدعم اخلرجيني يف محلة قطر الوطنية‬ ‫ حصل الدكتور‬.‫للسالمة عىل الطرق ’حلظة واحدة‘ إىل إطالق محلة أوسع نطاقا وأشمل‬ ‫ أستاذ العلوم يف اجلامعة عىل منحة برناجم األولويات الوطنية للبحوث‬،‫خالد سعود‬ ‫ مببلغ وقدره‬QNRF ‫ والمقدمة من الصندوق القطري لرعاية البحث العلمي‬NPRP ‫ دوالر كجائزة من‬50,000 ‫ كما حصلت ديانا وودكوك عىل منحة بقيمة‬،‫ دوالر‬881,000 ‫صندوق جامعة فرجينيا كومنولث الرئايس للبحوث لتكون بذلك أول أستاذ يف فرع قطر‬ ‫ مركز لبحوث واسئل‬:‫ افتتاح فنون‬2013/2012 ‫ كما تم عام‬.‫حيصل عىل هذه اجلائزة‬ ‫ أول برناجم للطباعة والنرش يف الرشق األوسط يقوم بإنتاج أعمال‬،Printmedia ‫الطباعة‬ .‫بطبعة حمدودة‬ ‫ حنن نقدر رشاكتنا مع مؤسسة قطر‬.‫حنن نواصل السعي لتحقيق التمزي يف كل ما نقوم به‬ ،‫وجامعة محد بن خليفة من خالل الدعم الراسخ من صاحبة السمو الشيخة موزا بنت نارص‬ ‫ رئيس جامعة محد بن خليفة‬،‫رئيس مؤسسة قطر ومعايل الدكتور عبدالله بن عيل آل ثاين‬ ‫ يتم التعبري عن جهودنا من خالل قصص خرجيينا وطالبنا وأعضاء هيئة التدريس‬.HBKU .‫ وحنن عىل ثقة بأهنا ستنال رضاكم‬.‫لدينا وأي من المتعاونني معنا يف إصدار هذه المجلة‬

Issue 2 — 1

C U LT U R E in the Making ... TA S M E E M D O H A 2 013 DR. THOMAS MODEEN

B E N J U RG E N S E N ’ S M A L E T O R SO E X H I B I T E D AT TA S M E E M D O H A 2013 2 — Issue 2

Doha 2013

‫‪TA S M E E M D O H A 2 0 13‬‬

‫ثقافة ماذا نصنع‬

‫بقلم الدكتور توماس مودين‬

‫ما ميكننا أن نصنع هو انعكاس لمن حنن عليه‪ .‬ثقافتنا وتقاليدنا‪ ،‬يف مجيع أشكالها‪ ،‬يتم‬ ‫نقلها وجتسيدها من خالل‪ ،‬التحف والبيئات واألمناط السلوكية الموروثة‪ ،‬واالحتفاالت‪،‬‬ ‫والمواقف اليت نتخذها‪.‬‬ ‫هذا الفعل من صنع‪ ،‬تعهد لدجم المفاهيم الطبيعية مع المادية واحلرفية‪ ،‬كما يلعب دورا‬ ‫أاسسيا يف حتديد ومتيزي ثقافة من أخرى‪ .‬هذا هو الشكل الوحيد من أشكال الماشركة‬ ‫اليت تنتج تسليم وتوريث ديناميكية فريدة من نوعها واستمرارية "ثقافة" ممزية ‪ -‬للتغليف‬ ‫واالستيعاب والتلخيص من روح وطابع اللغة المتطورة باستمرار وشعهبا وتطلعاته‪.‬‬

‫وكما نعرف‪ ،‬يتم إنتاج التصميم والفن بشكل بسيط يف قطر اليوم‪ .‬فالكثري من السلع‬ ‫االسهتالكية‪ ،‬والمنتجات الثقافية احلالية يتم استريادها‪ .‬هذا االفتقار إىل إبداعات‬ ‫وتكوينات وماشركات مبارشة مع فعل صنع هو واضح يف كثري من جوانب احلياة المحلية‪.‬‬ ‫ميكن مالحظة قلة مرافق التصنيع والتقنيات والمهارات واألشياء المبنية‪ .‬كل هذه‬ ‫األمثلة هي دليل عىل وجود ندرة الوعي والماشركة مع العديد من المتغريات المرتابطة‬ ‫الماشركة يف صنع يشء‪ ،‬وتصميم أشياء جديرة باالهتمام ومكررة أكرث‪ .‬وبالتايل ما حيتاج إىل‬ ‫تطوير هو االعرتاف أكرث ويف كل مكان بقيمة التخصصات اإلبداعية يف حتديد وحتقيق جمتمع‬ ‫متطور‪ ،‬ليس يف ثقافته الرتاثية فحسب‪ ،‬بل أيضا يف ثقافته المستقبلية‪.‬‬ ‫الفن والتصميم هما صورة مطلقة وأداء لسلطة األمة اللينة‪ ،‬وهي الممارسة اليت ومن‬ ‫خاللها عرفت قطر لدبلوماسيهتا داخل وخارج المنطقة‪ .‬ومثل هذه الماشريع اخلرية‬ ‫ستكون دامئا وبقوة أكرب الورقة الراحبة لالستغالل‪ .‬هناك‪ ،‬بطبيعة احلال‪ ،‬أمثلة متفرقة من‬ ‫الفنون والتصاميم واالستجابات المتضاربة و المحفزة‪ .‬ومع ذلك‪ ،‬فعادة ما تستخدم‬ ‫هذه لتمثل المعارضة والمقاومة بشكل واضح بدال من متثيل اجلوانب اجلمالية والوظيفية‬ ‫أو المواقف التقدمية والمتحررة‪ .‬احلرف اإلبداعية هي‪ ،‬بشكل عام‪ ،‬حمفزات من يشء بناء‪،‬‬ ‫وحىت شحذ االلهام واحليوية‪.‬‬ ‫عندما قمت أنا و جرانبريغ يوهان بصياغة االقرتاح األويل لمؤمتر "تصميم دوحة ‪"2013‬‬ ‫كانت االعتبارات المذكورة أعاله يف طليعة ما يف أذهاننا‪ .‬يف اجلوهر‪ ،‬تم قسم الهدف من‬ ‫"تصميم دوحة ‪ "2013‬إىل شقني‪ .‬أوال‪ ،‬اخنراط الماشركني يف المؤمتر مع الفعل المادي‬ ‫ليصنع‪ ،‬وثانيا‪ ،‬أن يفعلوا ذلك باستخدام العديد من الواسئل المختلفة ووفقا أل كرب‬ ‫عدد من األطر المفاهيمية المتباينة والممكنة‪.‬‬ ‫وكان المؤمتر كما أردناه أن يكون‪ .‬ليس فقط ألنه تكون من العنارص اليت يفرتض توفرها يف‬ ‫أي مؤمتر حمرتم ولكن ألنه اشتمل أيضا عىل جمموعة من ورش العمل لأل كادمييني والمهنيني‪،‬‬ ‫وخمتربات لطالب اجلامعات (أقيمت بالتعاون مع متحف‪ :‬المتحف العريب للفن احلديث)‪،‬‬ ‫مهرجان سينمايئ‪ ،‬وجمموعة متنوعة من المعارض‪ ،‬وعرض لألزياء‪ ،‬وحفالت‪ ،‬وغريها‬ ‫من األداءات واالحداث المفاهيمية (الفالاشت والعروض والمواكب) والمناقاشت‬ ‫المنظمة‪ ،‬وعدد ال حرص له من اإلضافات سواء المخطط لها مسبقا أو اليت نتجت بشكل‬ ‫متقطع من مجيع التجارب أعاله‪.‬‬ ‫نرغب يف المزيد من مثل هذه الفعاليات اليت جتري يف قطر‪ .‬واستنادا إىل ردود الفعل اليت‬ ‫تلقيناها يف أعقاب مؤمتر تصميم هناك جوع واضح لمثل هذه األنواع من التجارب‪ .‬حنن‬ ‫يف قطر حباجة إىل أن نكون أكرث اخنراطا يف إصدار األفكار‪ ،‬وحتقيقها من األلف إىل الياء‪ .‬حنن‬ ‫حباجة إىل أن نصبح المروجني والمصدرين لمثل هذه التصاميم المحفزة ونسهبا إىل عقول‬ ‫أصحاب اخلربات والمهارات بأن يقوموا بتصور وإجناز مثل هذه احلرف‪ ،‬بدال من أن يكونوا‬ ‫جمرد مسهتلكني لألفكار وجالبني للتحف من اخلارج‪.‬‬

‫‪Issue 2 — 3‬‬

‫‪What we make is an inherent reflection of who we are. Our culture‬‬ ‫‪and traditions, in all their guises, are transferred through and epito‬‬‫‪mized by the artifacts, environments, inherited behavioral patterns,‬‬ ‫‪ceremonies, and communal events that we make.‬‬ ‫‪This act of making, an undertaking that fuses the conceptual with‬‬ ‫‪the physical and the crafted, also plays a fundamental role in defin‬‬‫‪ing and distinguishing one culture from another. It is the only form‬‬ ‫‪of engagement that produces a dynamic and unique rendition and‬‬ ‫‪perpetuation of a distinct ‘culture’—the encapsulation, assimilation‬‬ ‫‪and summarization of the spirit and character of an ever-evolving‬‬ ‫‪locale, its people and their aspirations.‬‬ ‫‪As it stands, only a small amount of design and art is produced in‬‬ ‫‪Qatar today. Along with consumer goods, much of its more recent‬‬ ‫‪cultural products are imported. This lack of direct originative and‬‬ ‫‪formative involvement with the act of making is evident in many‬‬ ‫‪aspects of local life. It can be observed in the scarcity of fabrication‬‬ ‫‪facilities, technologies, and skills, as well as in the lack of precision,‬‬ ‫‪variability and refinement in how they are executed. All such ex‬‬‫‪amples can be considered proof of a pervasive paucity of awareness‬‬ ‫‪and engagement with the multitude of interlinked variables involved‬‬ ‫‪in making and designing something more refined. Thus, what needs‬‬ ‫‪to be developed is a more ubiquitous acknowledgement about the‬‬ ‫‪value of the creative disciplines in defining and realizing an evolving‬‬ ‫‪society’s, not only cultural heritage, but also cultural future.‬‬ ‫‪When Johan Granberg and I first formulated the initial proposal‬‬ ‫‪for Tasmeem Doha 2013, the above considerations were at the fore‬‬‫‪front of our mind. At its core, the aim of Tasmeem Doha 2013 was‬‬ ‫‪thus two fold. Firstly, to engage its participants with the physical‬‬ ‫‪act of making and, secondly, to do so in as many different fabrica‬‬‫‪tion based means, and according to as many disparate conceptual‬‬ ‫‪frameworks, as possible.‬‬ ‫‪And what an Event (with a capital ‘E’!) it turned out to be.‬‬ ‫‪For not only did it have the default talking-heads component any‬‬ ‫‪self-respecting conference needs to include, but also comprised a set‬‬ ‫‪of workshops for academics and professionals, labs for university‬‬ ‫‪students (realized in collaboration with Mathaf: Arab Museum of‬‬ ‫‪Modern Art), a film festival, a variety of exhibitions, a fashion show,‬‬ ‫‪performances, conceptual happenings (flash-mobs, parades …), orga‬‬‫‪nized debates, and an infinite number of additional, both pre-planned‬‬ ‫‪and more sporadically catalyzed renditions of all of the above.‬‬

TA S M E E M D O H A 2013

01 02 03 04 05

‫ ليس فقط فيما يتعلق بكيفية تعريف النماذج‬،‫وحنن نعتقد بأننا قمنا بتوضيح ذلك‬ ‫ ولكن أيضا يف الطريقة اليت ميكن فهيا ترتيب هذا النوع‬،‫الموضوعية لمثل هذا احلدث‬ .)‫من التجارب متعددة األوجه المعقدة بطبيعهتا (بطريقة جيدة‬

We need more events like this taking place in Qatar. Based on the feedback we’ve received in the aftermath of Tasmeem there clearly is a hunger for these types of experiences. In Qatar, we need to be more engaged in originating and realizing ideas from the ground up. We need to become promoters and exporters of such catalytic designs and the affiliated nous—the skill sets and expertise—that the conception and realization of such crafts entails, rather than being consumers of ideas and artifacts brought in from abroad.

‫لوال اجلهود اجلماعية جلميع الماشركني – هيئة التدريس والموظفني والطالب من جامعة‬ ،‫ وقائدي المختربات وورش العمل والمتحدثني يف المؤمتر‬،‫فرجينيا كومنولث يف قطر‬ .‫ والضيوف الزوار – لم يكن هذا احلدث ممكنا‬،‫والمهنيني من المؤساست المتعاونة‬ .‫حنن ممتنون جدا لكم مجيعا‬ ‫قد تكون التحضريات لمؤمتر تصميم القادم قد بدأت فعال! وأنا أتطلع فعال لذلك مع‬ ... ‫توقعات مبؤمتر استثنايئ سرنى وناشرك من خالله بفعاليات ونتاجئ مهبجة ال حمالة‬

We believe a precedent has been set, both regarding how the thematic paradigms of an event like this can be defined, but also in the manner in which this type of an inherently multifaceted and complex (in a good way) experience can be arranged. Without the collective efforts of all its participants—faculty, staff and students of VCU, lab and workshop leaders, conference speakers, professionals from collaborating institutions, and visiting guests— this event would not have been possible. We are immensely grateful to you all. May the preparations for the next Tasmeem commence! I’m already looking forward, with prodigious anticipation, to seeing and partaking in its inevitably exhilarating exploits … 05

4 — Issue 2

Tasmeem Doha 2013 Co-Chairs (from left) Dr. Thomas Modeen & Dr. Johan Granberg Tasmeem branding at Mathaf: Arab Museum of Modern Art Student participant from VCU Richmond Tasmeem lab outcome on exhibit at Mathaf Tasmeem lab in progress

Issue 2 — 5

01 02 03 04 05

Tasmeem lab in progress Student participant A section of the audience during Rem Koolhaas keynote address at Tasmeem Doha 2013 The keynote address by acclaimed Dutch architect, Rem Koolhaas Tasmeem workshop in progress 05

6 â&#x20AC;&#x201D; Issue 2

Issue 2 — 7

01 02 03

8 — Issue 2

Painting and Printmaking mobile print studio Student lab participants Tasmeem ‘Faculty Exhibition’ at the HBKU Student Center

TA S M E E M D O H A 2013

Tasmeem Journal—A New Beginning The abstract expressionist artist Barnett Newman once famously quipped, “Aesthetics is for the artist as ornithology is for the birds.” He was speaking of what is now referred to as the theory/practice divide in the arts – practitioners make art, and another group of professionals decode it for the larger academic community. Bridging this divide is one of the goals of the redesign of VCUQatar’s academic art and design journal, Tasmeem. Published as part of Bloomsbury Qatar’s QScience series of journals, Tasmeem was conceived to provide a voice for the academic design community of the Middle East North Africa region. Although it was officially launched two years ago, its original focus on pure design research limited participation to a small audience. The relaunch of the new concept for the journal, which coincided with the 2013 conference of the same name, attempts to remedy the narrow focus by opening the journal to artists and designers as well as design researchers. The new journal is now split into thematic issues, with the inaugural issue corresponding with the “Hybrid Making” theme of the 2013 conference. Additionally, the journal has been split to include sections for short, focused articles as well as traditional academic writing. It now also includes an image-based “exhibition” section. All sections are still peer reviewed, with a jury selecting the works for the “exhibition” section. The change is designed to encourage practicing artists and designers, as well as traditional academics, to submit work to the journal. Academic writing can be seen as a language students in some disciplines learn to speak during their graduate studies. Practicing artists and designers, however, are not usually taught how to speak “academia” during their graduate studies. They’re taught how to speak “art” and “design.” The redesign of the journal is intended to accommodate some of that language so the voice of the art and design practitioner is not lost. The hope is that the exhibition section will encourage participation by practitioners whose research is more visual than textual, and the section for shorter articles will encourage participation by those who may not be used to the potentially unwieldy structure of the standard 4000-word academic essay. The first issue, due to be published in fall 2013, will consist of select presentations and exhibitions from the 2013 Tasmeem conference. The journal’s co-editors, Diane Mikhael and Michael Wirtz, are planning the second issue with the theme of “Street Language,” and will put out a call for articles and exhibition submissions by mid-October. The journal is open-access and available online at qscience.com

Issue 2 — 9

R E S E A RCH in context TH E S TO RY O F O N E S E CO N D PAT R I C I A D U I G N A N

10 — Issue 2

‫‪TH E STO RY O F‬‬ ‫‪ONE SECOND‬‬

‫قصة لحظة واحدة‬

‫بقلم باتريشيا دايجنان‬

‫تأكيدا عىل الزتام دولة قطر بتحسني سجلها يف السالمة عىل الطرق ‪ ،‬قامت وزارة‬ ‫الداخلية ‪ ،MOI‬بإطالق محلة وطنية جديدة لتوعية اجلمهور – ’حلظة واحدة‘‪ .‬هذه‬ ‫احلملة المبتكرة‪ ،‬وبدعم من رشكة مريسك قطر للبرتول – كجزء من مسؤوليهتا االجتماعية‬ ‫للرشكات ‪—CSR‬تم تطويرها ورعايهتا من قبل جامعة فرجينيا كومنولث يف قطر‪ ،‬هبدف‬ ‫إحداث تغيريات دامئة يف عادات الاسئقني يف قطر‪ .‬تم إطالق احلملة يف مايو ‪،2013‬‬ ‫وسيتم تطبيقها عىل عدة مراحل‪ ،‬تسهتدف وتركز عىل جماالت حمددة جدا مبا يكفل سالمة‬ ‫الاسئق و سالمة المركبات‪.‬‬

‫كانت محلة ’حلظة واحدة‘ نتاج للمرشوع الذي بدأ مع فكرة تعزيز استخدام مقاعد السيارة‬ ‫لألطفال وكان القصد أن تستمر لستة أاسبيع فقط‪ .‬يف متوز‪/‬يوليو ‪ ،2012‬اتصلت‬ ‫مريسك للبرتول مبركز البحوث والتصميم والماشريع ‪ CRD+E‬يف جامعة فرجينيا‬ ‫كومنولث يف قطر‪ .‬فكجزء من برناجم المسؤولية االجتماعية للرشكات تم تكليفهم من‬ ‫قبل المجلس األعىل للصحة بتوفري ‪ 7000‬مقعد من مقاعد السيارات لألطفال جمانا يتم‬ ‫تسليمهم لألمهات اجلدد يف مستشفى محد‪ .‬وكان الطلب واضحا‪ :‬تطوير عنوان لتعزيز‬ ‫هذا المرشوع وتصميم نرشة توزع عن مزايا مقاعد السيارة لألطفال‪.‬‬ ‫قام مركز البحوث والتصميم والماشريع ‪ CRD+E‬يف جامعة فرجينيا كومنولث يف قطر‬ ‫بتشكيل فريق من خرجيي ومصممي اجلامعة يتألف من‪ :‬حنني الرشيف ولولو أبو الديس‬ ‫كمصممي جرافيك و رنا مراد إبراهيم كمصمم داخيل‪ .‬قام الفريق بالعمل حتت إرشاف‬ ‫باتريشيا داجينان مدير التصميم والماشريع يف المركز‪.‬‬ ‫وعند إجراء البحوث حول موضوع السالمة عىل الطرق‪ ،‬والذي اختربالطرق المختلفة‬ ‫لتغيري السلوك االجتماعي والفردي‪ ،‬ظهر مبكرا أن جمرد منح مقاعد السيارة لألطفال لن‬ ‫حيقق األثر المنشود عىل المدى الطويل‪.‬‬ ‫يعد معدل حوادث الطرق والوفيات يف قطر أعىل من المتوسط العالمي مع بعض‬ ‫اإلحصاءات المروعة‪ .‬كان النمو السكاين المتاسرع وتطوير شبكات الطرق الرسيعة‬ ‫والموسعة‪ ،‬والمستخدمة من قبل جمموعة كبرية من الاسئقني‪ ،‬والكثري مهنم يف سيارات‬ ‫قوية‪ ،‬عامال ماسهما رئيسيا‪ .‬حترز الطرق والسيارات يف قطر تقدما من الناحية‬ ‫التكنولوجية‪ ،‬ولكن الوعي باألمن والسالمة عىل الطرق والفهم الصحيح يعد يف بدايته‪.‬‬ ‫عند االتصال بالدكتور بايراد ييالند ‪ ،‬مدير اآلداب والعلوم اإلناسنية‪ ،‬وأستاذا تصميم‬ ‫اجلرافيك مايكل هريسد وبسمة محدى‪ ،‬رسعان ما أصبح واضحا للفريق أن هذا المرشوع‬ ‫جيب ان يكون له تأثري واضح‪ ،‬حيتاج إىل أن يكون جزءا من محلة أكرب للسالمة عىل الطرق‬ ‫حيث سيتم الرتوجي لمقاعد السيارة لألطفال كجزء من راسلة واسرتاتيجية أوسع نطاقا‪.‬‬ ‫وهكذا‪ ،‬بدأ الماسر إىل إطالق محلة وطنية للسالمة عىل الطرق‪.‬‬ ‫بدعم من رشكة مريسك للبرتول‪ ،‬تم متديد فكرة المرشوع ‪ ،‬وحتت إرشاف روجر غريفيث‪،‬‬ ‫مدير ماشيع التصميم يف مركز البحوث والتصميم والماشريع ‪ CRD+E‬ومدير برناجم‬ ‫‪( YES‬سلسلة رواد األعمال الشباب) الذي هيدف إىل إرشاك خرجيي جامعة فرجينيا‬ ‫كومنولث يف ماشريع العالم احلقيقي والذي متوله اجلهات الراعية‪ ،‬تم تطوير المرشوع‬ ‫واسعد يف خلق مفهوم حلملة وطنية للسالمة عىل الطرق‪.‬‬ ‫انضمت خرجية أخرى‪ ،‬مصممة جرافيك‪ ،‬هدير عمر‪ ،‬إىل الفريق وأجرت حبوثا متعمقة‬ ‫يف موضوع السالمة عىل الطرق لفحص الفروق الدقيقة يف االتصاالت داخل مثل هذا‬ ‫الموضوع الكبري والمعقد‪ .‬كجزء من األحباث األولية‪ ،‬تم حتديد احلمالت المحلية والدولية‬ ‫يف جمال السالمة عىل الطرق ودراسهتا‪ .‬خالل مرحلة البحث‪ ،‬وضعت اسرتاتيجية إلناشء‬

‫‪Issue 2 — 11‬‬

‫‪Underlining its commitment to improving Qatar’s road safety‬‬ ‫‪record, the Ministry of Interior (MOI) has launched a new national‬‬ ‫‪public awareness campaign—‘One Second.’ The innovative campaign,‬‬ ‫‪supported by Maersk Oil Qatar as part of its corporate social respon‬‬‫‪sibility (CSR) undertaking and developed by VCUQatar, seeks to‬‬ ‫‪bring about lasting changes to driver habits in Qatar. Launched in‬‬ ‫‪May 2013, the campaign is being rolled out in several phases, each‬‬ ‫‪targeting very specific areas of driver and vehicle safety.‬‬ ‫‪‘One Second’ was the outcome of a project that started with the idea‬‬ ‫‪to promote the usage of the baby car seat and was intended to last‬‬ ‫‪just six weeks. In July 2012, Maersk Oil approached the Center for‬‬ ‫‪Research Design and Entrepreneurship (CRD+E) at VCUQatar. As‬‬ ‫‪part of their CSR program, they had been tasked by the Supreme‬‬ ‫‪Council of Health to provide 7000 free baby car seats for new moth‬‬‫‪ers at Hamad Hospital. The design brief was clear: develop a title‬‬ ‫‪for the promotion and design a handout for the car seat.‬‬ ‫‪The CRD+E included a team of VCUQatar alumni designers, which‬‬ ‫‪consisted of graphic designers Haneen Al Sharif and LuLu Abu‬‬ ‫‪Dheays and interior designer Rana Murad Ibrahim. The team oper‬‬‫‪ated under the direction of Patricia Duignan, project and design‬‬ ‫‪manager at the CRD+E.‬‬ ‫‪Early into the research on the topic of road safety, which examined‬‬ ‫‪different ways to change social and individual behavior, it became‬‬ ‫‪clear that simply giving away baby car seats would not achieve the‬‬ ‫‪desired long-term impact.‬‬ ‫‪The road accident and fatality rate in Qatar is above the world av‬‬‫‪erage with some shocking statistics. The accelerated population‬‬ ‫‪growth and development of expanded road networks and highways,‬‬ ‫‪used by a broad spectrum of drivers, many of them in powerful cars,‬‬ ‫‪has been a major contributing factor. Qatar’s roads and cars are tech‬‬‫‪nologically advanced, yet common understanding and awareness of‬‬ ‫‪road safety is in its infancy. While liaising with Dr. Byrad Yyelland,‬‬ ‫‪director of the Liberal Arts & Sciences Department, and graphic‬‬ ‫‪design professors Michael Hersrud and Basma Hamdy, it quickly‬‬ ‫‪became obvious to the team that for this project to have impact, it‬‬ ‫‪needed to be part of a larger campaign for road safety, where the‬‬ ‫‪car seat would be promoted as part of a wider message and strategy.‬‬ ‫‪Thus, the path to launching a national road safety campaign began.‬‬ ‫‪With the support of Maersk Oil, the project brief was extended and‬‬ ‫‪under the direction of Roger Griffiths, director of Entrepreneurship‬‬ ‫‪at CRD+E, the YES (Young Entrepreneurship Series) program,‬‬

intended to engage VCUQatar alumni in real world projects funded by industry sponsors, was developed to further support the project and help create the concept for a national road safety campaign. An additional alumna graphic designer, Hadeer S. Omar, joined the team and conducted in-depth research into the topic of road safety to examine the nuances of communication within such a large and complex topic. As part of the initial research, local and international road safety campaigns were identified and studied. During the research phase, a strategy was developed to create a campaign for Qatar that would influence behavioral change with methodology that targets the values and beliefs of individuals in order to appeal to their conscience. The campaign incorporates the notion of incentive and disincentive, which are designed to motivate behavioral change by triggering an emotive response in the audience. The ‘One Second’ campaign was designed to act as a platform for all road safety initiatives launched in Qatar, thus creating an identifiable and sustainable identity to support the long-term vision for a national road safety campaign. One of the strategic design decisions was to create a bilingual campaign to reach Qatar’s multi-cultural audience. The alumni designers added real value to the project in terms of understanding the local situation, thus contextualizing the information having had the experience of living in Qatar. The concept for ‘One Second’ was presented to Maersk Oil who then took it to the MOI. VCUQatar alumni were integral to the process and helped promote the national campaign idea with several presentations to the MOI. The alumni also supported additional projects including helping the William’s Formula 1 science and technology team create an interactive branded space for a road safety simulator they developed in collaboration with Maersk Oil. At the launch in May, the MOI announced ‘One Second’ as the new umbrella brand that will bring under it all traffic and road safety awareness programs in Qatar. The ‘One Second’ campaign highlights the value of design and its crucial role in communicating messages. The campaign has a unique and visible brand identity that has received over 18,175 ‘likes’ through social network sites and generated unprecedented community interest and engagement from the people living in Qatar. The project demonstrates how design uniquely links diverse expertise that cuts across disciplines. This is just the beginning of an era of education, awareness and change. ‘One Second’ will guide the road ahead and VCUQatar looks forward to the challenges of designing innovative solutions to make Qatar’s roads safer.

12 — Issue 2

‫محلة لقطر من أشهنا أن تؤثر يف تغيري السلوك مع المهنجية اليت تسهتدف قيم ومعتقدات‬ ،‫ احلملة تنطوي عىل مفهوم احلوافز اإلجيابية والسلبية‬.‫األفراد من أجل مناشدة ضمائرهم‬ .‫واليت صممت لتحفزي تغيري السلوك عن طريق إحداث استجابة انفعالية لدى اجلمهور‬ ‫تم تصميم محلة ’حلظة واحدة‘ يف قطر لتكون مبثابة منصة جلميع مبادرات السالمة عىل‬ ‫ وبالتايل خلق هوية حمددة ومستدامة تدعم الرؤية طويلة األجل للحملة الوطنية‬، ‫الطرق‬ .‫للسالمة عىل الطرق‬ ‫كان واحدا من قرارات التصميم االسرتاتيجي إناشء محلة ثنائية اللغة للوصول إىل اجلمهور‬ ‫ أضاف المصممون اخلرجيون قيمة حقيقية للمرشوع من‬.‫متعدد الثقافات يف دولة قطر‬ ‫ وبالتايل وضع المعلومات يف سياقها الصحيح من جتربة العيش‬،‫حيث فهم الوضع المحيل‬ .‫يف قطر‬ ‫تم تقديم مفهوم ’حلظة واحدة‘ لمريسك للبرتول الذين قاموا بدورهم برفعه إىل وزارة‬ ،‫ وكان خرجيو جامعة فرجينيا كومنولث يف قطر جزءا ال يتجزأ من هذه العملية‬.‫الداخلية‬ ‫ قام‬.‫اسعدوا يف تعزيز فكرة احلملة الوطنية وتقديم عدة عروض إىل وزارة الداخلية‬ William’s Formula 1 ‫اخلرجيون أيضا بدعم ماشريع إضافية مبا يف ذلك الماسعدة يف‬ ‫) وقام فريق العلوم والتكنولوجيا بابتكار وتطوير وصف لماسحة‬1 ‫– (صيغة ويليام‬ .‫تفاعلية لمحاكاة السالمة عىل الطرق وذلك بالتعاون مع رشكة مريسك للبرتول‬ ‫أعلنت وزارة الداخلية عند إطالق الحملة في شهر مايو أن ’حلظة واحدة‘ هي المظلة‬ ‫والعالمة التجارية اجلديدة اليت ستجلب حتهتا كل حركة المرور وبراجم التوعية للسالمة عىل‬ .‫الطرق يف قطر‬ ‫ أصبح‬.‫تسلط محلة ’حلظة واحدة‘ الضوء عىل قيمة التصميم ودوره احلاسم يف نقل الراسئل‬ ‫ صوت ًا مؤيد ًا من‬18,175 ‫للحملة هوية وعالمة جتارية فريدة وواضحة وقد تلقت أكرث من‬ ‫خالل مواقع الشبكة االجتماعية و أثارت اهتماما وماشركة غري مسبوقة من المجتمع يف‬

‫ يوضح المرشوع أيضا كيف يربط التصميم الفريد اخلربات المتنوعة اليت تلتقي من‬.‫قطر‬ .‫خمتلف التخصصات‬

‫ ستوجه ’حلظة واحدة‘ الطريق إىل األمام‬.‫هذا جمرد بداية حلقبة من التعليم والوعي والتغيري‬ ‫وتتطلع جامعة فرجينيا كومنولث يف قطر إىل حتديات التصميم وابتكار حلول جلعل الطرق‬ .‫يف دولة قطر أكرث أمانا‬

R E S E A RC H

EACH SECOND COUNTS The ‘One Second’ National Road Safety Program The difference between life and death on the roads comes down to the decisions we make in an instant: the decision to wear a seatbelt, the decision to send an SMS and the decision to speed. The ‘One Second’ brand is the national platform for national campaigns that revolves around road safety. The number of deaths and injuries caused by car accidents in Qatar are shockingly high; the ‘One Second’ campaign is a movement that can save your life and the lives of others by helping you make better decisions. The initiative has been launched across a combination of media channels throughout the country. Ads have been published outdoor, through national newspapers, local radio stations, cinemas, TV channels and social media sites.

‘One Second’ objectives To elevate road safety to an appropriate position in line with the statutes of the Qatar National Vision 2030 To create a unified umbrella under the Ministry of Interior for all CSR campaigns related to road safety To develop a consistent and coordinated calendar of road safety campaigns addressing the most pressing problems in the country To utilize world class research and best practice in delivering a program that changes road user behavior and reduces road accidents The ‘One Second’ campaign will initiate change in Qatar; our main aim is to make road safety a priority in your life as well as help others make better decisions in theirs

Just one second can change your life. http://www.onesecond.qa/

Issue 2 — 13

A P O RTA B L E Architecture for Qatar

14 â&#x20AC;&#x201D; Issue 2

P RO V I D I N G A N E C O N O M I C A L LY S U STA I N A B L E M O D E L FO R MIGRANT WORKER HOUSING ‫بنايات متنقلة في قطر‬

‫توفير نموذج مستدام اقتصاديا إلسكان العمال المهاجرين‬

The Center for Research, Design and Entrepreneurship at VCUQatar supports collaborative research endeavors that contribute to Qatar’s innovative and enterprising future. One ongoing endeavor is the migrant worker housing project aimed to address the need for temporary labor accommodation associated with Qatar’s rapid growth and development. VCUQatar recently entered into a commercial agreement with CORE Projects and Supply W.L.L. who have purchased the first rights to use the VCUQatar developed concept and are currently negotiating long-term rights. Working with CORE who are experts in the field of supply chain logistics, the team addressed the logistics of manufacturing and delivering the modules in the quantities and within a schedule that will meet the anticipated need. Eight global module manufacturers have been shortlisted who have the capability and the capacity to meet our specifications, manufacturing, and delivery schedules. From the start, the VCUQatar team understood that to make a real and sustainable change to the quality of guest workers’ lives, the design of the accommodation was only one piece of an intricate network of issues that needed to be addressed. Thus the key component of the concept became a sustainable social model for communal living, reinforced by innovative design concepts using modular, portable modules. Over the last year, the VCUQatar team has worked tirelessly on refining the original design and material specifications to achieve the maximum and cost effective life cycle of the building system. Our ‘portable’ implementation strategy is now well able to respond to the rapidly changing conditions in Qatar. The modular design expedites the speed of construction through prefabricated components such as ‘plug and play’ mechanical and electrical systems, demountable and re-locatable building components and multiple manufacturers. The site infrastructure is supported by a self-contained sewage treatment plant, recycled water systems, and portable landscaping concepts. In addition, the accommodation can be re-purposed after its initial use. It can be rented or leased to others, sold and/or relocated. In April of this year, Qatar Foundation introduced the “QF Mandatory Standards of Migrant Workers’ Welfare for Contractors and Sub-Contractors” to ensure the application of fair employment principles for all migrant workers engaged in construction and other service activities. These standards are now included in the tender documents for all QF contracts. Leading institutions such as Ashghal, Musheireb Properties, Qatar Rail and others have adopted these standards as well.

‫يدعم مركز البحوث والتصميم والماشريع يف جامعة فرجينيا كومنولث يف قطر الماسعي‬ ‫ أحد الماسعى احلالية هو‬.‫البحثية التعاونية اليت تهسم يف مستقبل قطر المبتكر والمغامر‬ ‫مرشوع إسكان العمال المهاجرين الذي هيدف إىل تلبية احلاجة إىل إسكان العمالة المؤقتة‬ .‫والمرتبطة بالنمو والتطور الرسيع يف قطر‬ ‫قامت جامعة فرجينيا كومنولث يف قطر بتطوير هذا المفهوم وعقدت اجلامعة مؤخرا‬ ‫ للماشريع والتوريد المحدودة لرشاء احلقوق األولية الستخدامه‬CORE ‫اتفاقا جتاريا مع‬ .‫حيث يتم حاليا التفاوض للوصول اىل احلقوق طويلة األجل‬ ‫ للماشريع والتوريد المحدودة والذين هم خرباء يف جمال سلسلة‬CORE ‫بالعمل مع‬ ‫ قام الفريق مبعاجلة اخلدمات من تصنيع وتسليم الوحدات وفقا‬،‫التوريد واإلمداد‬

‫ قمنا بوضع قامئة تتضمن مثانية‬.‫للجداول الزمنية والكمية المطلوبة لتلبية احلاجة المتوقعة‬ ‫مصنعني عالميني ممن لدهيم القدرة عىل الوفاء بالمواصفات المطلوبة والتصنيع واجلداول‬ .‫الزمنية للتسليم‬ ‫ أدرك فريق جامعة فرجينيا كومنولث يف قطر أنه ال بد من إجراء تغيري‬،‫منذ البداية‬ ‫حقيقي ومستدام لنوعية حياة العمال الضيوف وكان تصميم المسكن بندا واحدا يف‬ ‫ أصبح العنرص األاسيس يف هذا المفهوم‬.‫شبكة معقدة من القضايا اليت حتتاج إىل معاجلة‬ ‫ الذي يعززه التصميم المبتكر ومفاهيم‬،‫هو منوذج اجتماعي مستدام للعيش المشرتك‬ .‫ والوحدات المتنقلة‬،‫التخطيط باستخدام الوحدات‬ ‫ عمل فريق جامعة فرجينيا كومنولث يف قطر بال كلل يف صقل‬،‫خالل العام المايض‬ ‫التصميم األصيل والمواصفات المادية الالزمة لتحقيق احلد األقىص وتكلفة دورة احلياة‬ ‫ اسرتاتيجية تنفيذ "الوحدات المتنقلة" لدينا اآلن‬.‫الفعالة يف بناء نظام لهذه المباين‬ ‫ تصميم وحدات للتعجيل يف‬.‫قادرة أيضا عىل االستجابة للظروف المتغرية برسعة يف قطر‬ ‫رسعة البناء من خالل مكونات مسبقة الصنع مثل "توصيل وتشغيل"األنظمة الميكانيكية‬ ‫ يتم دعم البنية‬.‫ وبناء مكونات قابلة للفك والنقل ورشكات مصنعة متعددة‬،‫والكهربائية‬ ‫التحتية للموقع من قبل حمطة ذاتية لمعاجلة مياه الرصف الصحي وشبكات المياه المعاد‬ ‫ من الممكن أن يكون المسكن‬،‫ وباإلضافة إىل ذلك‬.‫تدويرها ومفاهيم المناظر الطبيعية‬ .‫ وميكن استئجاره او تأجريه أو بيعه أو تغيري مكانه‬.‫متعدد األغراض بعد استخدامه األويل‬ ‫ المعايري اإللزامية لرعاية العمال‬QF ‫ عرضت مؤسسة قطر‬،‫يف هشر ابريل من هذا العام‬ ‫المهاجرين عىل المقاولني والمقاولني من الباطن" لضمان تطبيق مبادئ العمل العادلة‬ ‫ يتم تضمني هذه‬.‫جلميع العمال المهاجرين العاملني يف البناء واألنشطة اخلدمية األخرى‬ ‫ وقد قامت المؤساست‬.QF ‫المعايري اآلن يف وثائق المناقصة جلميع عقود مؤسسة قطر‬ ‫ قطر للسكك احلديدية وغريها‬،‫ مشريب العقارية‬،‫الرائدة مثل هيئة األشغال العامة‬ .‫باعتماد هذه المعايري كذلك‬ ‫ فجامعة فرجينيا كومنولث يف قطر يف موقف‬،‫ ومعايري جديدة يف األفق‬CORE ‫مع وجود‬ ‫ تقوم جامعة فرجينيا كومنولث يف قطر حاليا مبناقاشت مع‬.‫قوي جدا لتسويق المرشوع‬ ‫العديد من المطورين والمستثمرين المحتملني وتستعد لتقديم عرض رسمي لمجمع‬ .‫ عامل‬2200 ‫عمال يتضمن‬

With CORE on board and new standards on the rise, VCUQatar is in a very strong position to commercialize the project. The team is currently in discussions with several potential developers and investors and is preparing a formal proposal for a 2,200 – person labor camp. Issue 2 — 15

R E S E A RC H

The Donkey Lady and Other Tales from the Arabian Gulf Wins Third Place in QNRFâ&#x20AC;&#x2122;s 5th UREP Competition PAT T Y PA I N E A N D J E S S E U L M E R

Folktales are collaborative. Experiencing them involves a subtle and complex interaction among multiple imaginations. Teller and audience unite to inhabit meaningful narratives that tell us something about the world and ourselves. Folktales are also collaborative in the sense that they circulate among many individuals, mutating as they pass from one teller to the next, a process of weaving and re-weaving that creates an ever-changing social and cultural tapestry. The collaborative nature of the folktale reflects in many ways the process of developing this anthology. The story of this project begins with two curious college students. In 2009, Fatma Al Remaihi, a student at VCUQatar,

16 â&#x20AC;&#x201D; Issue 2

R E S E A RC H

All images Illustrations from The Donkey Lady and Other Tales from the Arabian Gulf

10/20/12 11:58 AM

presented fellow student and friend Al-Hussein Wanas with an old photocopied collection of Qatari legends and tales she was told as a child. Wanas, an Egyptian national, arrived in Doha when he was seven and was always fascinated by traditional folktales. After reading the book, he approached one of his professors, Patty Paine, with an idea for a project. Perhaps, Wanas thought, more of these tales could be collected and then illustrated in a way that would engage a contemporary generation of cultural consumers immersed in diverse forms of media. Professor Paine believed the project was promising enough to compete for a Qatar Foundation Undergraduate Research Experience Program grant (UREP). UREP grants are sponsered by Qatar Foundation and Qatar National Research Fund (QNRF) and aim to stimulate a broad array of undergraduate research opportunities in Qatar for faculty-led projects. She enlisted colleagues Jesse Ulmer, Donald Earley and Michael Hersrud to serve as mentors, and also contacted Dr. Sara Al-Mohannadi, assistant

professor in the Department of English Literature and Linguistics at Qatar University, to propose an inter-institutional collaboration. Dr. Al-Mohannadi, a Qatari national, eagerly agreed to participate. The project, Orality to Image: Traditional Qatari Narratives and Visual Media, was awarded a UREP grant in 2011 and work began in earnest. Dr. Al-Mohannadi, who was teaching an Arabic to English translation course, devised an innovative assignment. She directed her students to collect oral stories in Arabic to be transcribed and translated into English. The students sought out uncles, aunts, mothers, fathers, grandparents, and other members of their local community, asking them to recall the folktales they were told as children. After the students at Qatar University collected, transcribed and translated the tales, they were given to art and design students at VCUQatar to edit and illustrate using a variety of artistic techniques and styles. The VCUQatar team included a student from every major program of study offered at the university â&#x20AC;&#x201C; Fashion Design, Graphic Design, Interior Design

Issue 2 â&#x20AC;&#x201D; 17

R E S E A RC H

and Painting and Printmaking–and faculty members from academic and artistic disciplines across the university who guided the students throughout the project, which recently won third place at QNRF’s 5th UREP Competition after being selected as one of the top five projects out of 88 UREPs submitted by post-secondary institutions across Qatar. Products of culture are always informed by context, and The Donkey Lady and Other Tales from the Arabian Gulf is no exception. The Arabian Gulf is undergoing a series of profound transformations that are rapidly reconfiguring its social, cultural, political and material landscape. The discovery of oil and natural gas has generated a great deal of wealth and modernization, a process perhaps best symbolized by the gleaming, ultra-modern skyscrapers that seem to burst fully formed from the shifting desert sands. Although modernization bears many attractive fruits, one of the unintended by-products of such intense change is the corrosion of traditional culture; ways of living and being that include, among other traditional practices, the oral performance of folktales. This anthology is an attempt to sustain this rich and vibrant tradition, not by attempting to turn back the clock or to freeze it, but by re-presenting the past in a new way, locating a balance between tradition and modernity. Where do these tales come from? The matter of origins is a persistent and pertinent question that arose in the process of creating the anthology. Our multi–national project team, which included members from the region who remembered hearing versions of the tales they were illustrating. Can we truly claim, then, that these tales are Qatari? Like any attempt to trace the origins of culture, the answer is complicated. Ultimately, it is a mistake to treat any culture as a monolithic, homogenous entity, either past or present. Cultures are, to a greater or lesser degree, constituted by the influence of other cultures and evolve over time. Moreover, in the final analysis, whether or not the stories

18 — Issue 2

are purely Qatari in origin is indeterminate due to the oral nature of the tales themselves. Oral stories are slippery artifacts to study. Anyone who has played telephone as a child understands that information transmitted orally tends to change when passed from person to person. We do not view this as an inherent flaw of the folktale, in fact, the perpetually modifying configuration of the oral folktale is part and parcel of its beauty. Ultimately, the best we can say is that the tales you are about to read represent stories that were collected in Qatar. Regardless of origin, they form a part of contemporary Qatari culture. The overall purpose of The Donkey Lady and Other Tales from the Arabian Gulf is to present cross–generational oral stories into visual, printed form. We hope this book will increase awareness of Qatari culture among the general reading public and particularly among younger readers. The aim of this collection is to educate and entertain readers about Qatari tradition and lore while also providing opportunities for readers to explore text-based graphic medium to stimulate interest in both reading and the visual arts.

R E S E A RC H

01,02 Illustrations from The Donkey Lady and Other Tales from the Arabian Gulf 03 VCUQatar faculty and students working on the project

Issue 2 â&#x20AC;&#x201D; 19

R E S E A RC H

Fanoon: Center For Printmedia In addition to an active and ambitious program of visiting artists,

class will find themselves working alongside international, established

lecturers, and artists–in–residence, the department of Painting

artists one week, and emerging artists, who may be of similar age to

and Printmaking also operates a printmaking publishing program.

them, the next. Students will also be actively involved in the process

The program collaborates with local, regional, and international

of publishing the artists’ work during their visit, an activity described

artists in the publishing of editions of prints, books, and the realiza-

by Fanoon’s master printmaker, Zach Stensen—

tion of research projects within printmaking. ‘The mentorship role between the undergraduate students and Fanoon is the first printmaking publishing program in the Middle-

visiting artists is what makes Fanoon unique. When assisting

East. The Center publishes limited edition works within the medium

with the projects students are exposed to a range of techniques

of print with an emphasis on research. As printmaking enters a

and image-making strategies, and they observe the diverse ways

watershed moment in the medium’s history, which spans the

in which the artists approach their studio work. The student

Gutenberg press to the worldwide web, it is fitting that a new center

assistants also see how the guest artists solve problems and

is opened to explore print’s capabilities and relevance

adapt their plans to deal with unforeseen challenges. In short,

Fanoon will not simply focus on traditional print mediums, although

working hands-on with the visiting artists provides our students

these are of course as relevant today as they ever have been, but

with a unique learning experience that cannot be replicated in

will also see artists realize projects in new technologies such as

the classroom.’

stereo lithography, 3 dimensional scanning, UV printing and digital engraving. Our selection of artists also aims to expand the notion of what printmaking can be in the 21st century by curating and patronizing artists who engage with print from a variety of perspectives and experiences including, painting, sculpture, video, photography, and performance.

Over the last year, Fanoon has had the pleasure to work with artists from India, Japan, the US, and UK. We intend to continue work with international artists over the coming year, but with a greater focus on the region. Artists have engaged in monoprint, digital collage, installation, screen-print, laser engraving, and papermaking to name but a few mediums. Over the next 12, months Fanoon will see further

Fanoon brings between six to eight visiting artists a year to VCUQatar,

expansion into new mediums and the first publications of limited

featuring local, regional and international practitioners. Each artist

edition artists’ books and portfolios. Discussions are underway on

may spend between a week to a month in the Center to work on

expanding the program and embarking on a project to document the

a particular project. Fanoon shares its facilities with the Depart-

legacy of Qatari artists through print as well as a possible exhibition

ment of Painting and Printmaking, enabling the Center to combine

and symposia intended to help situate Fanoon as the leading voice in

research with hands-on learning. Students taking a printmaking

the region on contemporary printmedia discourse.

Artists in Residence Program The VCUQatar Fellowship Artist in Residence program recruits emerging artists to work within the Department of Painting and Printmaking as artists–in–residence. The department supports two fellowships, one open to recent BFA graduates from the Painting and Printmaking program of the VCU Richmond campus, the other open to recent MFA graduates from Painting and Printmaking programs across the world. The fellowship aims to bring the best in talent from both the home campus and abroad to VCUQatar. Fellows work in a specially provided studio, engage in research, exhibit, mentor, and teach within the program. Also, along with faculty, students and visiting artists, fellows help to create a community of artists engaged in scholarly activity and research.

20 — Issue 2

R E S E A RC H

All images Students working with Fanoon visiting artists

Issue 2 â&#x20AC;&#x201D; 21

R E S E A RC H

The Artist Studio A Study for Qatar VCUQatar was awarded a $350,000 National Priorities Research Program (NPRP) grant by Qatar National Research Fund (QNRF) to research and develop a plan to design an artist’s studio complex or “Art Souq” in Doha. The outcome of the research, which began in January 2013, will be the building of an artist studio complex to provide a crucial component to the future of a thriving artist community in Doha. This research builds on the wide plethora of experience that constitutes VCUQatar’s community, involving art, design and the social sciences. The research team, led by Rhys Himsworth, director of Painting and Printmaking and Dr. Byrad Yyelland, a sociologist and director of VCUQatar's Liberal Arts & Sciences Program, includes designers Dr. Johan Granberg and Rana Rwaished. Their research has taken them from the foundries in Beijing to the favelas of Rio with stops at the marble quarries of Pietrasanta and the artist squats in Berlin. They have discovered that the studio is as important a factor in artistic production as it has ever been. This is particularly apparent at a time when so many artists work within a global context. The team also discovered that, regardless of geographic location, the studio is vital to the development of any artist community. Thus far, the research has focused on three main phases: (1) collection of data through international field studies and (2) from local stakeholders, and (3) the design of a studio complex to be presented to interested parties within Qatar. Over a span of eight months, more than 100 interviews and focus group sessions have been conducted with over 50 data sites examined across ten countries including China, Japan, Italy, Germany, Brazil, Columbia, the US and Canada, as well as visits to Lebanon, U.A.E, and the Far East still to complete.

R E S E A R C H S TAT I S T I C S 2 01 2 –2 01 3

22 — Issue 2

R E S E A RC H

Preservation of Cultural Heritage in Qatar

Mechanically Strong Aerogels

Using Nanotechnology

with Custom Shapes

This research project, which was awarded a $29,249 Undergraduate

The three-year project, awarded an $881,000 NPRP grant by QNRF in

Research Experience Program (UREP) grant by QNRF in May, 2013,

May 2013, aims to develop cost-effective, up-scalable fabrication meth-

aims to find new ways to support the preservation of cultural artifacts

odology that yields mechanically robust aerogels in customized shapes.

in Qatar, and beyond, through the use of cuttingâ&#x20AC;&#x201C;edge nanotechnology.

Dr. Khaled Saoud, assistant professor of physics in the Liberal Arts &

Undergraduate researchers, along with their leader, VCUQatar

Sciences program at VCUQatar and Dr. Massimo Bertino, associate

Assistant Professor of Physics, Dr. Khaled Saoud, will investigate the

professor of physics in the College of Humanities and Sciences at VCU

preservation and conservation needs of cultural organizations in Qatar

Richmond, co-leads on the project, have been developing strong and

to determine the focus of their nanotechnology research. The team

highly thermal insulating materials using alternative fabrication

will then experiment with a variety of nanotechnology methodologies

methods. The goal of their research is to bring their photo-cross-link-

to understand how nanotechnology best can respond to their needs

ing technology to the market.

and generate technical and cost-effective solutions for preserving

The project will be carried out in three phases with the following

select cultural artifacts.

deliverables: Three proof-of-concept aerogel composites with custom

A major goal of the research is to learn about local artifacts held

shapes in Phase 1; an upscalable production line capable of yield-

in Qatari collections, to identify the items in need of preservation,

ing two to 10 custom-shaped aerogels per day in Phase 2; and cost

to determine the causes of deterioration, and to develop a method

analysis for the production of custom-shaped aerogels in Phase 3. The

of treatment.

project will be extended to other areas such as new composite materials for thermal insulation. The results of this project will be used to seek funds from institutional and private investors to initiate large-scale fabrication in Qatar. The project hopes to enable Qatar to become a major supplier of aerogel materials and aerogel custom parts for thermal insulation while also

P R E S E N TAT I O N S

40 EXHIBITIONS

19 P U B L I S H E D A RT I C L E S

GR ANTS IN PRO GRE SS

NPRP

$ 2 .6 4 5 M I L UREP

$ 2 9,0 0 0

scholarships

research grants

dissemination \ total faculty 66

introducing a new area of commercializable technology to the nation.

$ 9 7, 5 0 0

C O R P O R AT E

$ 1 8 1 ,0 0 0 OTHER

$ 5 0,0 0 0

PUBLISHED POEMS

19 CRITICAL REVIEWS

8 BOOK CHAPTERS

Issue 2 â&#x20AC;&#x201D; 23

C U LT I VAT I N G Creative Thinking

VCUQatar alumni Ahood Al Dafa, Assil Diab, Dima Masoud and Rana Selo with eL Seed and other volunteers

24 â&#x20AC;&#x201D; Issue 2

Alumni and Students Join eL Seed to Mark the Streets of Doha VCUQatar’s alumni and students worked with renowned Calligraffiti artist eL Seed on two projects. French-Tunisian graffiti artist eL Seed and his team, which included VCUQatar alumni Ahood Al Dafa, Assil Diab, Dima Masoud and Rana Selo, painted four underground tunnels on Salwa Road early this year, embellishing 52 large-scale murals with artistic graffiti themes inspired by anecdotes from Qatari culture and markers of Qatari life. The project was managed by the Public Art team at Qatar Museums Authority, in partnership with the Public Works Authority Ashghal.

01 Detail of large-scale mural 02 Volunteer working from hydraulic lift in a Salwa Road tunnel

Speaking about her experience working on such a major public art project, Ahood Al Dafa said: “I thank QMA for giving me this great opportunity to work for the past four months with eL Seed on this unique project for my own country. The chance to work with a global, well-known artist has improved my creative capacities, from dealing with large-scale paintings in Arabic calligraphy to complementing and mixing colors. We, as a team of volunteers, were very involved in the project by virtue of an artist who was open to sharing and discussing his ideas. I am honored to have met and worked with an artist who represents Arabic culture in such a contemporary way.” Students and alumni had another opportunity to work with eL Seed on a collaboration initiated by The Gate Mall through VCUQatar’s Center for Research, Design and Entrepreneurship. The project was presented to the Graphic Design Department who then introduced it as an assignment within Professors Leland Hill and Basma Hamdy’s typography class. The department continued receiving submissions not just from students in the typography and painting and printmaking classes, but from other VCUQatar students and alumni as well. Final submissions were assessed by Graphic Design Department Chair Muneera Spence, Qatari artist Fatima Al Shebani and Hamdy. eL Seed chose the final images that were rendered at The Gate Mall. VCUQatar students and alumni whose submissions were selected included: Aisha Al Thani, AlMaha Al-Kawari, Filza Khan, Hala Hamad, Lolwa Al-Mohannadi, Maeda Al-Haidar, Mona Al Sulaiti, Muneera Al Khulaifi, Noof Al Mohannadi, Aisha Rasheed, Alanoud Al-Sowaidi, Dania Jalees, Ghada Al-Suwaidi, Noof Al Binali, Noor Al-Thani, Noora Melhim, Salma Hamouda, Wanoun Yaqoob and Haneen Al-Sharif. As part of the project, eLSeed also ran a workshop for students at VCUQatar where he introduced them to painting large surfaces and strategies to tackle huge walls.

Issue 2 — 25

26 — Issue 2

CU LT I VAT I N G C R E AT I V E T H I N K I N G

Borrowed City Best DAM Architecture Book of 2013 Borrowed City, a book by Marco Bruno, assistant professor of Foundation and his partners Simone Carena and Minji Kim, won the DAM (Deutsches Architekturmuseum) Architectural Book Award 2013. Published in South Korea by Damdi in July 2013, Borrowed City delves extensively into the uses of Seoul’s public spaces, documenting and analyzing a diverse spectrum of typologies and activities through photographs, diagrams and installations. An ongoing project developed by experimental space-lab MOTOElastico (Carena, Bruno and Kim), the book is the result of research the authors have developed over the past four years and illustrates the main features of the local space borrowing, ranging from individual extravaganzas to collective behaviors. Each sample is described through images and exploded drawings, with the purpose of isolating the ingredients and invite the audience to reconsider the way they experience them in everyday life. A series of “Mutations”, creative transformations designed by MOTOElastico, are also featured in the book. The projects take advantage of selected borrowed ingredients to design unexpected yet familiar artifacts, showing the potentials of such a creative process. Once individual interaction with public space begins, our presence must be constantly negotiated with the rest of the community, something that changes according to local culture or rules and becomes self-defining, a mutual agreement among citizens. Most of these “negotiated” activities are illegal, but at the same time they are the result of a mutual agreement among citizens, which is a fundamental process in any democracy. For this reason, “borrowing space” should be considered more as a resource to exploit than a problem to eradicate according to the authors of the study. “Borrowed City is the filter we used to investigate Seoul public realm. Most of the borrowing activities we observed around the city are rich in creativity and social negotiation skills. There are plenty of surprising stories behind them: we find these stories inspiring and full of design potentials because they test our level of tolerance and they stimulate us to consider alternative ways of using the public space of our cities. We realized Borrowed City is not only a physical place, but most of all is a state of awareness: we don’t own any space, we borrow it all! Borrowing space is the level zero of sharing, it is the first rule of sustainability. Borrowed City is indeed a very Smart City,” say the authors. The results of the research have already been presented through exhibitions, workshops, and lectures in Korea, Italy, Thailand and Qatar. The aim is to turn Borrowed City into a global project comprising urban research, social awareness, creative transformation, and innovative form of public space administration. From a Borrowed City to a Borrowed Planet!

Issue 2 — 27

CU LT I VAT I N G C R E AT I V E T H I N K I N G

The Moving Postcards Project The Moving Postcards Project, funded by a VCUQatar faculty research grant, was presented by Assistant Professor of Foundation Simone Muscolino in collaboration with the Qatar Museums Authority and the Doha Film Institute (DFI) at the “Art of Travel“ exhibition during the Doha Tribeca Film Festival (DTFF) in November 2012. The project is an innovative endeavor that documents the changing life in Doha through a developing collection of video fragments. Moving Postcards are microvideo loops that present a space, a behavior, or an atmosphere, particular to a local environment, in this case, that of Qatar. Project leader Muscolino has been working on the Moving Postcards Project since joining VCUQatar in 2010. He has produced his own videos and taught the technique to students in his Time Studio classes. Over the last five semesters, approximately 150 students, both Qatari and expatriate, were involved in the project, and the body of work included around 1000 Moving Postcards about Qatar. The project provides glimpses into the landscapes and customs of a country in motion through the eyes of those who know it best. The different outcomes gave relevance to the project in contemporary time-based media research. The project explored short forms of video-making and storytelling; it investigated solutions in disseminating non-linear video content; it considered interaction design practices, and it was based both on mobile and desktop platforms. DFI dedicated a section of the DTFF 2012 website to the Moving Postcards Project. The site hosted a selection of the best content produced in the last two years, with information about the videos, the authors and a description of the project.

28 — Issue 2

CU LT I VAT I N G C R E AT I V E T H I N K I N G

The project was also featured in the new DFI mobile application launched at the DTFF 2012 as part of their social engagement strategy. A map was pinned with interesting, curious, hidden places in Doha while every place could be visualized with a Moving Postcard and users had to find those places thereby participating in a simple game.

03 01,02 03

Postcard Rocking Hamali by Carisa Antariksa Visitor at the “Art of Travel“ exhibition identifying places in Doha through the interactive interface

The installation itself, presented for the first time by the QMA and the Orientalist Museum at the “Art of Travel“ exhibition, was displayed through an interactive interface with the same look–and–feel of the website. It comprised a table as an interface and 45 postcards with RFID (radiofrequency identification) tags. Users could trigger the moving postcard (video) by sliding the postcard into a dedicated slot. Together with DFI, Muscolino and his collaborators – Assistant Professors at VCUQatar Lauren Maas as copywriter, Stella Colaleo and Ben Benjamin Jurgensen as installation designers; international interaction design firm ToDo as technology consultants; VCUQatar students Al Hussein Wanas and Dhika Khaira as assistants; Laura Fox, digital campaigns specialist and community development (QMA), and Shamir Allibhai, new media producer/ digital strategist (DFI)—hope to produce an innovative documentary about Doha/Qatar for local and international visitors and audiences. The project also aims to produce content through educational activities and aspires to create a platform for the young filmmakers it features, while also aiming to connect to a burgeoning regional community invested in film through the ongoing curation and sharing of works. “The website will collect the best work, and as a work in progress, we will have very interesting perspectives of the city,” said Muscolino who also curated the exhibit.

Issue 2 — 29

GLOBAL Experience

30 — Issue 2

All images Interior Design students during their service learning trip to Thailand

Service Learning Trips to Indonesia and Thailand Nineteen students and four faculty went to Yogyakarta, Indonesia in May 2013 as volunteers on a trip organized by Reach Out to Asia (ROTA) where students led four five-day workshops on art and design at the SMK ROTA school in Bayat. The Student Affairs office also collaborated with the Interior Design department and Into The Wild on a service learning trip to northern Thailand in January 2013 with 12 students and three faculty/staff assisting with building projects for a hill tribe community five hours north of Chiang Mai. Students mixed cement, laid concrete blocks, plastered walls, and painted murals. Students also experienced outdoor activities including cave exploration and technical mountain climbing.

Issue 2 â&#x20AC;&#x201D; 31

G LO B A L E X P E R I E N C E

This page Graphic Design students in Nepal

International Study Opportunities Students visit South Korea, Nepal, Australia and UAE

spoke to artists and designers sharing perspectives and observances in Kathmandu. They observed the critical issues of environmental

VCUQatar organizes annual international study experiences for

preservation and sustainability in the nature preserve Chitwan and

undergraduate and graduate students. These programs provide the

picturesque Pokara and participated in two workshops, one with

opportunity to learn in an international context, work with students

Design University students in Kathmandu and the other with CNN;

from international universities, attend and present at international art

Interior Design took 13 students to Melbourne, Australia, to the Royal

and design events, and share the cultural heritage of Qatar and the

Melbourne Institute of Technology where they worked on a project

region. Fifty-three undergraduate VCUQatar students participated in

to create a “library” for RMIT’s graduating ID students’ thesis books

a variety of trips abroad. Fashion Design took ten students and three

at their terminal show. The trip also included site visits to Fender

alumni to Seoul, Korea for visits to designers, manufacturers, textile

Katsalidis Architects’ Eureka Skydeck, Federation Square, the National

providers, and to attend Seoul Fashion Week. They also participated

Gallery of Victoria, the Australian Center for the Moving Image, and

in a day-long collaboration with students and faculty from Hongik

the Yarra Valley to visit the Healesville Wildlife Sanctuary; and Painting

University; Graphic Design took 21 students to Kathmandu, Nepal where

and Printmaking took nine students to attend the Sharjah Biennial in

they visited important religious shrines, museums, and craftsmen and

April, the most significant fine art exhibition in the Arabian Gulf region.

32 — Issue 2

G LO B A L E X P E R I E N C E

MFA Students travel to Helsinki and Venice In November 2012, MFA students and Assistant Professors Thomas

These techniques were consequently re-applied in the context of

Modeen and Paolo Cardini went to Venice and Helsinki on field study

Venice, where they also visited the Venice Architectural Biennale, as

trips. The field study built upon some of the notions suggested by the

well as in collaboration with a number of design students from the

'Situationists International', an art movement most active around

Aalto University, using Helsinki as a setting. The resulting projects

mid-twentieth century. It was also partially inspired by the 'flaneurs' â&#x20AC;&#x201D;urban strollers / Dionysian anthropologistsâ&#x20AC;&#x201D;who mainly occupied the streets of Paris around the early to mid-nineteenth century. A work-

were as varied as they were interesting, resulting in designs where the cities were interpreted through poetry, city-specific physical 'emoticon' figurines, a set of articulate fabrics or even a small expressive

shop was developed in collaboration with architect Toni Kauppila,

performance depicting the qualities of light, or shadow, of the three

Department of Design at the Aalto University, Helsinki, Finland.

cities in question.

Students were asked to use the techniques of the aforementioned movements to analyze and provide a more updated and personalized interpretation of Doha.

Issue 2 â&#x20AC;&#x201D; 33

G LO B A L E X P E R I E N C E

VCUQatar House Opens in Richmond VCUQatar celebrated its 15th anniversary of innovative undergraduate

W Hotel Fashion Award Mona Al-Ansari, and Arabic calligraphy

and graduate programs with the opening of the VCUQatar House on

works on paper by graphic design alumna Manar Al-Muftah. Guests

the home campus in Richmond, Virginia. Guests from VCU, VCUQatar,

were treated to traditional Qatari foods that had been creatively

the Qatar Embassy in Washington D.C., and the Richmond community

reimagined and presented for the event. The VCUQatar House is a

gathered to celebrate this important milestone at the new VCUQatar

multi-purpose building and includes offices for the Richmond-based

House in Richmond, Virginia on 23 October, 2012.

VCUQatar support staff, a street front gallery space and meeting

“It seems only fitting to honor our 15th anniversary year in Qatar with the opening of a full-fledged home here in Richmond,” said VCUQatar Dean Allyson Vanstone in her address. “Fifteen years ago, VCU made a commitment to Qatar, to take our number one public art and design program from the United States and create a rich culture of innovation and creativity in Qatar and the region. The VCUQatar House on the home campus will play a significant role in supporting this commitment. It will be a meeting point for our students, faculty and staff to create and collaborate as we pursue the exchange of ideas and insights across borders of geography. It will be a space to share our experiences and showcase the wonderful work of the VCUQatar family,” she said. During the ceremony Dean Vanstone thanked VCU School of the Arts Dean Joe Seipel for his tremendous support and his vision and commitment in facilitating the project. The evening event included a fashion show featuring designs by VCUQatar alumna and recipient of the

34 — Issue 2

space for students. Ten students from VCUQatar were on the Richmond campus during the event as part of an ongoing student leadership exchange program. These students, alongside faculty and staff from both campuses hosted the third annual VCUQatar Day earlier in the day at the VCU student commons on the Richmond campus. The event was designed to showcase some of the traditional aspects of Qatari culture. Many event attendees took the opportunity to have current VCUQatar students paint traditional henna designs on their arms and have their names written in Arabic calligraphy. Traditional Qatari clothing was available for students to wear for a picture at the photo booth. This annual event enabled VCUQatar students to interact with event attendees who were eager to learn more about VCUQatar and the Qatari culture. VCUQatar received assistance from the VCU Division of Student Affairs, Activities Programing Board, Student Government Association and School of the Arts in planning and promoting the VCUQatar Day.

G LO B A L E X P E R I E N C E

01 02

VCU School of the Arts Dean Joseph Seipel with Ahmed Bin Yousef Al-Rumaihi, deputy chief of mission, Embassy of the State of Qatar in Washington D.C. at the opening of the VCUQatar House in Richmond VCUQatar alumna and recipient of the W Hotel Fashion Award Mona Al-Ansari with the models

Student Exchanges between Richmond & Qatar The VCUQatar/ VCURichmond exchange program is an ongoing program in which three students from the Doha campus travel and study in Richmond and three students from the Richmond campus study in Doha. This year, VCUQatar sent one Fashion Design junior to Richmond for the Fall 2012 semester and one Painting and Printmaking junior for the Spring 2013 semester. One Fashion Design and one Interior Design junior went to Richmond for both the Fall 2013 and Spring 2013 semesters. Three rising seniors including two Qatari students traveled to Richmond during the summer to take summer session courses in studio art and graphic design.

Issue 2 â&#x20AC;&#x201D; 35

YEAR IN NUMBERS

THE YEAR In Numbers

2012–2013

16T H AC A D E M I C Y E A R 2 4 3 B FA + 14 M FA S T U D E N T S E N R O L L E D C ANADA

I N T H E I N C O M I N G FA L L C L A S S E S 12 T H G R A D UAT I O N C L A S S 39 B FA + 5 M FA S T U D E N T S G R A D UAT E D I N M AY 2 013

STUDENTS ENROLLED 2 57 S T U D E N T S

TRINDAD & TOBAGO

MEXICO

UNITED STATES

4 0 9 A LU M N I

BR A ZIL

BREAKDOWN BY MAJOR B FA F O U N DAT I O N 6 8 FA S H I O N 2 5 GR APHIC 68 I N T E R I O R 61

S T U D E N T P O P U L AT I O N

PA I N T I N G A N D P R I N T M A K I N G 1 5

BA A RT H I S T O RY 6

M FA

Q ATA R I

N O N Q ATA R I

51%

49 %

14 S T U D E N T S

C R O S S R E G I S T R AT I O N FA L L S E M E S T E R 2 0 1 2 E D U C AT I O N C I T Y U N I V E R S I T I E S: 4 0 AC A D E M I C B R I D G E P R O G R A M: 9

A LU M N I 2002–2013 4 0 9 G R A D UAT E S 26 3 Q ATA R I , 14 6 N O N - Q ATA R I

S P R I NG S E M E ST E R 2013

396 F E M A L E , 13 M A L E (S TA RT I N G 2 011)

E D U C AT I O N C I T Y U N I V E R S I T I E S: 2 0 AC A D E M I C B R I D G E P R O G R A M: 17

BY MAJOR RECRUITMENT

FA S H I O N 4 3 G R A P H I C 18 8

2 18 C O M P L E T E D A P P L I C AT I O N S 1 02 AC C E P T E D S T U D E N T S 68 ENROLLED STUDENTS

I N T E R I O R 1 57 G R A P H I C / FA S H I O N 4 I N T E R I O R / FA S H I O N 11 M FA 6

36 — Issue 2

1 59

141

2 57

244

2 31

223

21 0

193

19 2

182

B FA

2 012

12 2

117

M FA

2 011

2 01 0

2009

2008

2 0 07

2006

2005

2004

2 0 03

2 0 02

2 0 01

SOUTH AFRIC A

STUDENTS

T O TA L E N R O L L M E N T

F O U N DAT I O N

2 8.8% AUSTR ALIA

NAMIBIA

NEW ZE AL AND

IND ONESIA

JORDAN

BRUNEI

MAL AYSIA

THAIL AND

BANGL ADESH

FR ANCE

KUWAIT

SYRIA

IR AN

KORE A

IR AQ ARMENIA

CROATIA

UNITED KINGD OM

RUSSIA

FINL AND

SWEDEN

DENMARK GERMANY

HUNGARY

LEBANON

PALESTINE

ITALY

SWITZERL AND

CHINA

PAKISTAN

Q ATAR UAE

INDIA

OMAN

EGYP T

BAHR AIN

SAUDI AR ABIA

YEMEN

PHILIPPINES

SINGAP ORE

SRI L ANK A

KENYA

SUDAN

TUNISIA

ALGERIA

IREL AND

Y E AYRE A IN RN I NU M NU B EMRBSE R S

FACULT Y / STAFF

E N R O L L M E N T B Y D E PA R T M E N T

M FA D E S I G N S T U D I E S

5.4%

PA I N T I N G & P R I N T M A K I N G

5.9 %

INTERIOR DESIGN

2 3.7 %

FA S H I O N D E S I G N

9.8 %

GR APHIC DESIGN

26.4%

Issue 2 — 37

A LU M N I P RO F I L E S

Rabab Abdulla I N T E R I O R / FA S H I O N D E S I G N ‘ 13

38 — Issue 2

‫‪A LU M N I P RO F I L E S‬‬

‫رباب عبدالله‬

‫‪“My rule of thumb is to always set‬‬ ‫‪personal goals, do your best, and‬‬ ‫‪never regret giving your work your‬‬ ‫”‪best effort.‬‬

‫دفعة ‪ – 2013‬التصميم الداخلي‪ /‬تصميم األزياء‬

‫عادت لتوها من أسبوع الموضة ‪ 2013‬يف نيويورك‪ ،‬حيث تم عرض جزء من جمموعهتا‬ ‫اليت قدمهتا يف مرشوعها للتخرج من جامعة فرجينيا كومنولث يف قطر‪ ،‬ال تزال رباب عبد‬

‫الله تتلقى الكثري من العروض لعرض تصاميمها واليت صممهتا حتت فكرة "ارتداء المالبس‬ ‫ليس فقط المهبرة والمرحية ولكن اليت تاسعد أيضا عىل إطالق خيال مرتدهيا وإحاسهسم‬ ‫بسعادة الوجود"‪.‬‬

‫رباب مشغولة جدا حاليا‪ ،‬وتركز متاما عىل اهناء جمموعهتا الثانية اليت سيتم عرضها يف‬ ‫فندق ‪ W‬الدوحة يف منتصف نوفمرب من هذا العام ‪ -‬الفرصة اليت جاءت من فوزها جبائزة‬ ‫فندق دبليو الدوحة لألزياء للطالب األ كرث ابتكارا هذا العام من بني طلبة تصميم األزياء‬ ‫يف جامعة فرجينيا كومنولث يف قطر‪ .‬تشعر رباب بسعادة غامرة ولكهنا يف نفس الوقت‬ ‫تعرتف بصعوبة ذلك‪ .‬ستاسفر رباب أيضا إىل ريتشموند فرجينيا حيث سيتم عرض‬ ‫جمموعهتا الكاملة للتخرج يف احلدث السنوي "اليوم القطري" الذي يقام يف اكتوبر من كل عام‪.‬‬ ‫بعد عرض جمموعهتا يف فندق دبليو الدوحة‪ ،‬تأمل رباب أن تعود األمور إىل اسبق عهدها‬ ‫قبل خترجها يف مايو من هذا العام وأن تأخذ قسطا من الهدوء حىت تتمكن من البحث‬ ‫عن وظيفة بدوام كامل‪ .‬قالت رباب ‪" :‬مبا أنين شخص حيب االلزتام كلية جتاه العمل‪،‬‬ ‫بغض النظر عن نوعية العمل‪ ،‬أرغب أيضا يف البحث عن فرصة للعمل داخل اجلامعة‬ ‫أو يف المدينة اجلامعية‪ .‬سيكون خياري األول جامعة فرجينيا كومنولث يف قطر‪ ،‬وأسكون‬ ‫سعيدة جدا يف تقديم أفضل ما ميكنين للجامعة‪ .‬وأسرى يف الوقت نفسه‪ ،‬إذا ما أسكون‬ ‫قادرة عىل قبول المرشوعات الصغرية يف تصميم األزياء أو التصميم الداخيل"‪.‬‬ ‫ال تبدو فرصة احلصول عىل قسط من الهدوء حمتملة يف الوقت الراهن‪ .‬فقد حصلت‬ ‫رباب عىل فرصة لتنظيم عرض لألزياء حلفل خريي‪ ،‬لكن ال يزال يتعن علهيا االنهتاء من‬ ‫التفاصيل ووضع اللماست األخرية‪ .‬باالضافة اىل ذلك‪ ،‬رباب تعمل بدوام جزيئ يف‬ ‫تصاميم احلناء حيث أهنا كانت تقوم هبذا العمل عىل مدى السنوات السبع الماضية‪" .‬انه‬ ‫يشء أستمتع به وقد اسعدين كذلك عىل كسب بعض المال"‪ ،‬قالت المصممة الاشبة‬ ‫متعددة المواهب‪.‬‬ ‫كطالب يف جامعة فرجينيا كومنولث‪ ،‬كانت رباب دامئا تاشرك وبناشط يف العديد‬ ‫من جوانب احلياة الطالبية األخرى غري دراسهتا‪" .‬حيايت اجلامعية كانت خربة حياتية متغرية‪.‬‬ ‫أصبحت أكرث وعيا حول التصميم من خالل دراسيت حيث المقررات المختلفة اليت أخذهتا‬ ‫علمتين التفكري يف يف التصميم بطرق خمتلفة‪ .‬وإىل جانب ذلك فالفرص األخرى اليت‬ ‫حصلنا علهيا مثل الدرااست الميدانية والرحالت اسعدتين عىل استكاشف الدول‬ ‫األخرى واكتاسب مهارات أعزت هبا حىت اليوم"‪ .‬وتقول رباب بأهنا تعلمت أيضا كيفية‬ ‫التعامل مع اآلخرين والشخصيات والنوعيات والمزيد عن مهاراهتا‪ .‬كوهنا طالب بتخصص‬ ‫مزدوج فالبقاء مستيقظة طوال الليل كان طبيعيا ويف الوقت نفسه‪ ،‬فإهنا تقول بإهنا لم‬ ‫تتمكن أبدا من العمل هبذا النجاح دون وجود احلياة االجتماعية أو قضاء بعض الوقت مع‬ ‫صديقاهتا‪ ،‬وأحباهئا‪ .‬متكنت رباب أيضا من إدماج هذا الفكر عىل نطاق المدينة التعليمية‬ ‫حيث عملت عىل تعزيز ثقافة جنوب آسيا من خالل إحياء فعالية تسمى "ليلة دييس"‪،‬‬ ‫مع بعض الزمالء اآلخرين‪ .‬حيث أصبح هذا احلدث السنوي نصف سنوي خالل العام‬ ‫المايض يف اجلامعة وكان ال بد من نقله من مكان انعقاده الرئييس يف قاعة االحتفاالت يف‬

‫‪Issue 2 — 39‬‬

‫‪Just back from New York Fashion Week 2013, where a portion of‬‬ ‫‪her VCUQatar graduate collection was showcased, Rabab Abdulla‬‬ ‫‪continues to be inundated with proposals to showcase her designs‬‬ ‫‪which elaborate on the idea of dressing not only to impress while be‬‬‫‪ing comfortable, but also helping cultivate the wearer’s own imagina‬‬‫‪tion and their joy of being.‬‬ ‫‪Currently busy and completely focused on finishing her second col‬‬‫‪lection that will be showcased at the W Hotel Doha mid-November‬‬ ‫‪this year—the opportunity that came along with being presented‬‬ ‫‪the W Hotel Doha Fashion Award for the most outstanding and‬‬ ‫‪innovative VCUQatar fashion design student of the year. Rabab is‬‬ ‫‪thrilled, but also admits to being overwhelmed.‬‬ ‫‪After the W Doha event, Rabab hopes the pace of activities, which‬‬ ‫‪have been back-to-back since her graduation in May this year, slows‬‬ ‫‪down so she is also able to look for a full-time job. “Since I am some‬‬‫‪one who would completely commit myself to work, no matter what‬‬ ‫‪the work was, I would also consider working at the university or‬‬ ‫‪Education City. My first choice would be VCUQatar, as I would be‬‬ ‫‪happy to give back the best I can to the university. At the same time,‬‬ ‫‪if I am able to accept small projects in fashion or interior design, I‬‬ ‫‪would like to look into those too,” says Rabab.‬‬ ‫‪The chance of things slowing down doesn’t seem likely at the mo‬‬‫‪ment. She has been approached with a proposal to organize a fashion‬‬ ‫‪show for a charity event, but details are yet to be finalized. Besides‬‬ ‫‪that, she has her part-time henna designing job that she has been‬‬ ‫‪doing for the past seven years now. “It’s something I enjoy and‬‬ ‫‪something that helps me earn some money as well,” says this multi‬‬‫‪talented young designer.‬‬ ‫‪As a student at VCUQatar, Rabab was always actively involved‬‬ ‫‪in some aspect of student life other than just her studies. “My‬‬ ‫‪university life was one life changing experiences I became more‬‬ ‫‪aware about design through my studies as various classes taught‬‬ ‫‪me to think about design in different ways. Apart from that, other‬‬ ‫‪opportunities like field study and service trips helped me explore‬‬ ‫”‪bits of other countries and created bonds that I cherish even today.‬‬ ‫‪Rabab says she also learned how to deal with other people as well‬‬ ‫‪as learned more about her skills, qualities and character. Being a‬‬

A LU M N I P RO F I L E S

double major student too, staying up all night was just normal, and at the same time, she says she could never work without socializing or spending time with her friends and loved ones. Rabab even managed to incorporate this thought into an Education City-wide event promoting South Asian Culture called ‘Desi Night’, with some other classmates. The fact that this annual event became a biannual during her last year at university and had to be moved from its venue, the atrium at VCUQatar, to the Ceremonial Court at Education City, is testament to its popularity. “My rule of thumb is to always set personal goals, do your best, and never regret giving your work your best effort. My support always has been Almighty, along with my family, loved ones, friends, and university.” She is especially happy her father encouraged her to apply to VCUQatar even when she didn’t win the four-year Sheikha Moza Scholarship for Creativity to study at VCUQatar. “I had dreamt of studying at VCUQatar since the 9th grade when my art teacher told us about Qatar’s only art and design university. I didn’t think it would be possible for me to attend because of the tuition fee, but with my father’s support and financial aid from Qatar Foundation, application to VCUQatar became easier,” says the young lady who doesn’t so easily call it quits. And as long as she continues following her instincts and goes with her signature style of blending comfort with conﬁdence, she is going to succeed.

40 — Issue 2

‫ إىل مدرج االحتفاالت يف المدينة التعليمية داللة عىل‬،‫جامعة فرجينيا كومنولث يف قطر‬ .‫شعبيته واالقبال عليه‬ ،‫وعن ذلك قالت المصممة الاشبة ”نصيحيت لكم أن حتددوا أهدافكم الشخصية دامئا‬ ‫ استمد‬.‫ والتندموا أبدا عىل بذل أفضل ما لديكم من أجل عملكم‬،‫بذل قصارى جهدكم‬ ‫ وأصدقايئ وأحبايئ‬،‫ باإلضافة إىل دعم عائليت‬،‫دعمي وقويت دامئا من الله سبحانه وتعاىل‬ ‫ تشعر رباب بالسعادة لتشجيع والدها لها للتقديم عىل جامعة فرجينيا‬.‫وجامعيت‬ ‫كومنولث يف قطر حىت عندما لم تفز يف منحة سمو الشيخة موزا بنت نارص لإلبداع‬ ‫ “كنت من الذين حيلمون‬.‫للدراسة يف جامعة فرجينيا كومنولث يف قطر ألربع سنوات‬ ‫بالدراسة يف جامعة فرجينيا كومنولث يف قطر منذ الصف التاسع عندما قالت لنا معلمة‬ ‫ لم أكن أعتقد أنين أسمتكن من الدراسة فهيا‬.‫الفن عن جامعة قطرية للفن والتصميم‬ ،‫ ولكن مع دعم والدي والماسعدات المالية من مؤسسة قطر‬،‫بسبب الرسوم الدراسية‬ “.‫كان التقديم وااللتحاق جبامعة فرجينيا كومنولث يف قطر أهسل‬ ‫ ومتايش أسلوهبا يف المزج ما بني‬،‫وطالما رباب ال تزال تستمر بإتباع موهبهتا وقدراهتا‬ .‫ فهى واثقة من أهنا يف طريقها لتحقيق النجاح‬،‫الراحة والثقة‬

A LU M N I P RO F I L E S

Mona Al Ansari I N T E R I O R / FA S H I O N D E S I G N ‘ 1 2 D E S I G N S F O R Q ATA R A I RWAY S

Interior and fashion design graduate Mona Al Ansari was hired this year by Qatar Airways as part of its Graduate Development Program which offers Qatari nationals with recent college degrees a unique career rotation opportunity that allows them to move within divisions related to their field of study. Graduates are assigned to specific departments based on their performance and personal interest and are required to complete a number of workshops and training courses with Qatar Airways Learning and Development Center. Mona is excited about her current role as a designer in the airline’s product development department. She recently finished putting the final touches on the uniforms for the cabin crew of Qatar’s national carrier and can’t wait to see what they’ll look like when realized. In addition to her work with Qatar Airways, Mona continues to work on her own collections. She is currently developing a line of Abayas to showcase at the W Hotel soon. In 2012, Mona was the recipient of VCUQatar’s Golden Needle Award for most outstanding senior collection and the W Doha Fashion Award, presented to the most outstanding and innovative VCUQatar fashion design student of the year. The W Doha award included the opportunity to use W Doha, and another W Hotel in Istanbul, Turkey, as a platform to showcase her collections. Mona’s senior collection was also showcased at the opening of the VCUQatar House in Richmond, Virginia, to mark VCUQatar’s 15th anniversary celebrations. Her third collection ‘W Revealed’, inspired by the W Doha, comprised 24 unique pieces and debuted during an evening presentation at the Lusail Marina in November 2012 in front of a selection of Doha’s fashionistas and notable members from the local design and fashion industries. The young designer says her collections are products of different inspirations. “My first collection was inspired by architect Frank Gehry, my W collections by the interiors and patterns of the edifice and my other work by Her Highness Sheikha Moza bint Nasser.” Mona also credits her husband, especially, and her family for always supporting her in all of her ventures. Mona is looking forward to showcasing her new collection and contributing to the voice of young Qatari designers shaping the nation.

‫منى األنصاري‬

‫ تصميم األزياء‬/‫ – التصميم الداخلي‬2012 ‫دفعة‬

‫تصمم للخطوط الجوية القطرية‬

‫قامت الخطوط الجوية القطرية هذا العام بتعيين خريجة جامعة فرجينيا كومنولث من قسمي‬ ‫التصميم الداخلي وتصميم األزياء منى األنصاري كجزء من برنامجهم لتطوير الخريجين الجدد من‬ ‫المواطنين القطريين حيث تقدم لهم فرص وظيفية فريدة من نوعها تسمح لهم بالتحرك داخل‬ ‫ يتم تعيين الخريجين في إدارات معينة على أساس أدائهم‬.‫المجاالت المتعلقة بمجال دراستهم‬ ‫واهتماماتهم الشخصية والمطلوب منهم إكمال عدد من ورش العمل والدورات التدريبية مع‬ .‫مركز التدريب والتنمية التابع للخطوط الجوية القطرية‬ ‫ انتهت منى‬.‫متحمسة لدورها الحالي كمصمم في قسم تطوير المنتجات في شركة الطيران‬ ‫مؤخرا من وضع اللمسات النهائية على الزي الرسمي لطاقم الطائرة للناقل الوطني لدولة‬ .‫ وال يمكنها االنتظار لرؤية كيف سيبدو عند االنتهاء‬،‫قطر‬ ‫ تستمر منى في العمل على مجموعتها‬،‫باإلضافة إلى عملها في الخطوط الجوية القطرية‬ ‫ وهي حاليا تعمل على تطوير مجموعة ألزياء العبايات ستعرض في فندق دبليو الدوحة‬.‫الخاصة‬ .‫في أقرب وقت‬ ‫ فازت منى بجائزة اإلبرة الذهبية لجامعة فرجينيا كومنولث في قطر وذلك عن‬،2012 ‫في عام‬ ‫ و التي قدمت إلى‬،‫أفضل مجموعة لألزياء بين طلبة التخرج وجائزة فندق دبليو الدوحة لألزياء‬ ‫مصمم األزياء األكثر تميزا وابتكارا بين طلبة التخرج من قسم تصميم األزياء في جامعة فرجينيا‬ ‫ ودبليو اسطنبول‬،‫ تضمنت جائزة فندق دبليو الدوحة الفرصة الستخدام دبليو الدوحة‬.‫كومنولث‬ ‫ كما عرضت أيضا مجموعة منى للتخرج في افتتاح‬.‫ كمنصة لعرض مجموعاتها لألزياء‬،‫في تركيا‬ ‫ والذي صادف احتفاالت‬،‫ فرجينيا‬،‫مكتب قطر في جامعة فرجينيا كومنولث في ريتشموند‬ .‫الذكرى السنوية الخامسة عشر لجامعة فرجينيا كومنولث في قطر‬ ‫ قطعة‬24 ‫“ والمستوحاة من فندق دبليو الدوحة‬W ‫تضم مجموعة منى الثالثة لألزياء ”إيحاءات‬ 2012 ‫فريدة من نوعها عرضت ألول مرة خالل العرض المسائي في اللوسيل مارينا في نوفمبر‬ ‫إلى جانب مجموعة مختارة لمجموعة من عشاق الموضة في الدوحة وأعضاء بارزين في صناعة‬ .‫ وقالت المصممة الشابة كانت مجموعاتي نتاج ايحاءات مختلفة‬.‫التصميم واألزياء المحلية‬ ‫ أما مجموعتي لفندق‬،‫”استلهمت مجموعتي األولى من المهندس المعماري فرانك جيري‬ ‫ وأعمالي األخرى كانت مستوحاة‬،‫الدبليو فاستلهمتها من التصاميم الداخلية والمباني الضخمة‬ ‫“ كما أعادت منى الفضل لكل من زوجها بشكل خاص‬.‫من صاحبة السمو الشيخة موزا بنت ناصر‬ .‫وعائلتها على دعمهم الدائم لها في جميع المشاريع‬ ‫تتطلع منى إلى عرض مجموعتها الجديدة والمساهمة مع المصممين القطريين الشباب في‬ .‫تشكيل األمة‬

Issue 2 — 41

A LU M N I P RO F I L E S

Engy Hashem G R A P H I C D E S I G N ‘0 8

42 — Issue 2

‫‪A LU M N I P RO F I L E S‬‬

‫إنجي هاشم‬

‫‪“Art doesn’t necessarily need to be‬‬ ‫‪beautiful; it can be shockingly ugly‬‬ ‫‪or provoke public opinion. If art is‬‬ ‫‪meant to inspire it can be any of‬‬ ‫”‪this but needs to leave you sated.‬‬

‫دفعة عام ‪ – 2008‬تصميم الغرافيك‬

‫عندما قررت خرجية قسم تصميم الغرافيك اجنى هاشم االشرتاك يف ماسبقة‬ ‫“‪ ”Crossway Foundation‬لإلبداع ومقرها المملكة المتحدة‪ ،‬فعلت ذلك ليس‬ ‫فقط ألهنا أدركت أن هذه ستكون فرصهتا األخرية – حيث تفتح الماسبقة أبواهبا للفئة‬

‫العمرية أقل من ‪ 25‬عاما ‪ -‬ولكن ألهنا شعرت أيضا بالقوة والرغبة يف الماشركة مبوضوع‬ ‫الماسبقة “الفن العام‪ :‬إعادة ختيل جمتمعك”‪ .‬أمضت إجني األاسبيع المتبقية عىل موعد‬ ‫التقديم للماسبقة يف استنباط الكثري من األفكار‪ ،‬وتسجيلهم واخلروج بأفكار جديدة‪.‬‬ ‫وقبل أسبوع واحد فقط من الموعد المقرر خرجت إجني بالفكرة اليت مكنهتا من الفوز‬ ‫بالماسبقة ‘‪.’wheeling-2‬‬ ‫تقول إجني جاء إلهامها لهذه القطعة الفنية من النقص يف القطع الفنية العامة يف المنطقة‬ ‫ويرجع ذلك جزئيا إىل الظروف اجلوية القاسية‪" .‬يف أي مكان يف العالم‪ ،‬حنن معتادون عىل‬ ‫الميش يف احلدائق واسحات البلدة أو المنزتهات مع التماثيل والمنحوتات وغريها من‬ ‫األعمال الفنية المعروضة يف هذه األماكن العامة‪ .‬ولكن يف قطر أنت تقود من وإىل معظم‬ ‫األماكن والفتات الطريق هي المصدر الوحيد للرتفيه"‪ .‬عندما ذهب مصمما الغرافيك‬ ‫الربيطانيان والطابعان جوك كينيري ومارغريت كالفرت حول توحيد شبكة الفتات‬ ‫الطريق لهذا البلد يف اخلمسينات والستينات من هذا القرن‪ ،‬تقول اجنى أهنما قاما‬ ‫بتصميم الفتات تعالج احتياجات الطرق ومن ثم الاسئقني‪ .‬فكرهتا ومرشوعها للماسبقة‬ ‫‘‪ ’wheeling-2‬إعادة تصميم الفتات الطريق اليت تتناول تقنيات مسلية وخطرية قد‬ ‫يواجهها الاسئقني والركاب اآلخرين عىل الطرق اليوم يف قطر‪.‬‬ ‫وتقول المصممة الاشبة “ال حيتاج الفن بالرضورة أن يكون مجيال‪ ،‬بل ميكن أن يكون قبيحا‬ ‫مثريا للصدمة أو مثريا للرأي العام‪ .‬إذا كان المقصود من وراء الفن هو التعبري‪ ،‬ميكن أن‬ ‫يكون الفن أي يشء من هذا ولكن حيتاج أن يكون معربا وواضحا”‪.‬‬ ‫اعرتفت اجنى بأهنا ويف عمر الاسدسة عرش كانت مهتمة يف العديد من األمور مبا يف‬ ‫ذلك الكتابة والرسوم التشكيلية‪ .‬و أخريا انضمت إىل جامعة فرجينيا كومنولث يف قطر‪.‬‬ ‫وقالت إجني عن وقهتا الذي قضته يف اجلامعة‪“ :‬لمدة أربعة سنوات كانت جامعة فرجينيا‬ ‫كومنولث يف قطر هي مزنيل‪ .‬فلقد كانت اجلامعة يف ذلك الوقت للفتيات فقط مما جعلنا‬ ‫يف بيئة مرحية أكرث‪ ،‬ولكن ومبقارنهتا مع اجلامعات األخرى‪ ،‬إقليميا أو دوليا‪ ،‬كانت حقا‬ ‫جتربة فريدة من نوعها”‪.‬‬ ‫بعد خترجها من جامعة فرجينيا كومنولث يف مايو ‪ 2008‬وحصولها عىل درجة البكالوريوس‬ ‫يف تصميم الغرافيك وبامتياز‪ ،‬بدأت إجني العمل‪ ،‬يف برناجم جنوم العلوم‪ ،‬أول برناجم‬ ‫تلفزيوين عريب واقعي يتم تكريسه لالبتكارات واالخرتاعات‪ .‬عملت إجني مع متاسبقني‬ ‫من المنطقة‪ ،‬واسعدت يف تصميم العالمة التجارية الخرتاعاهتم (أو منتجاهتم) وتسويقها‬ ‫جتاريا‪ .‬قامت إجني بعد ذلك بدراسة اخلط العريب‪ ،‬والذي تقول‪ ،‬بأنه ال يزال له تأثري كبري‬ ‫يف عملها وحياهتا المهنية والشخصية‪ .‬يف عام ‪ ،2010‬انضمت اجنى إىل "متحف‪ :‬المتحف العريب‬ ‫للفن احلديث"‪ ،‬وهو جزء من هيئة متاحف قطر‪ ،‬وعملت أوال كمستاشر للعمل عىل تصميم‬ ‫محلة افتتاح المتحف‪ ،‬ومن ثم حصلت عىل وظيفة مصمم جرافيك بدوام كامل‪.‬‬ ‫عىل مر السنني‪ ،‬عملت إجني عىل محالت المتحف الكربى مثل سوالف‪ :‬الفن القطري بني‬ ‫الذاكرة واحلداثة؛ محلة إىل األبد اآلن‪ :‬مخسة حكايات من المجموعة الدامئة؛ الاشي مع‬

‫‪Issue 2 — 43‬‬

‫‪When graphic design graduate Engy Hashem decided to enter UK‬‬‫‪based Crossway Foundation’s Create and Inspire competition, she‬‬ ‫‪did it not only because she realized this would be her last chance‬‬ ‫‪—the competition isn’t open to those above the ages of 25—but also‬‬ ‫‪because she felt strongly about the theme ‘Public Art: Re-imagining‬‬ ‫‪your Community’. She then spent almost all of the three weeks left‬‬ ‫‪to submission deadline coming up with loads of ideas, doodling them‬‬ ‫‪down, and coming up with some more. With one week to go and stuck‬‬ ‫‪in traffic, she finally hit upon her idea for ‘2-wheeling’ the piece that‬‬ ‫‪went on to win the award.‬‬ ‫‪Engy says her inspiration for the piece came from a lack of public‬‬ ‫‪art pieces in the region partially due to the extreme weather condi‬‬‫‪tions. “Anywhere else in the world, we’re used to walking through‬‬ ‫‪parks, town squares or promenades with statues, sculptures and‬‬ ‫‪other works of art on display. But in Qatar you drive to and from‬‬ ‫”‪most places and road signs are your only source of entertainment.‬‬ ‫‪When British graphic designers and typographers Jock Kinneir‬‬ ‫‪and Margret Calvert went about standardizing the road sign net‬‬‫‪work for the country in the 1950s and 60s, Engy says they designed‬‬ ‫‪road signs that addressed the needs of roads and drivers then.‬‬ ‫‪Her ‘2-wheeling’ is a redesigned road sign that addresses the enter‬‬‫‪taining yet dangerous techniques that other drivers and passengers‬‬ ‫‪may encounter on the roads in Qatar today.‬‬ ‫‪“Art doesn’t necessarily need to be beautiful; it can be shockingly‬‬ ‫‪ugly or provoke public opinion. If art is meant to inspire it can be‬‬ ‫‪any of this but needs to leave you sated,” states the young artist.‬‬ ‫‪As a 16 year old, Engy admits to having been interested in many‬‬ ‫‪things including writing and illustration. She eventually landed at‬‬ ‫‪VCUQatar. “For four years VCUQatar was my home away from‬‬ ‫‪home. It was still an all girls’ university when I first started, which‬‬ ‫‪might have additionally factored into its relaxed environment, but‬‬ ‫‪when compared to other universities, regionally or internationally,‬‬ ‫‪it was truly a unique experience,” says Engy of her time spent at‬‬ ‫‪the university.‬‬ ‫‪After graduating from VCUQatar in May 2008 with a BFA in graph‬‬‫‪ic design, cum laude, Engy started working at Stars of Science, the‬‬ ‫‪first pan-Arab reality-TV program dedicated to innovation. Working‬‬ ‫‪with contestants from the region, she helped brand and market their‬‬

The winning entry “2-wheeling“ for the Crossway Foundation’s Create and Inspire competition

products commercially. She then went on to study Arabic calligraphy, which she says, continues to be a major influence in her professional and personal work. In 2010, Engy joined Mathaf: Arab Museum of Modern Art, part of the Qatar Museums Authority, first as design consultant to work on its inauguration campaign, and then as fulltime graphic designer. Over the years, she has worked on the museum’s major campaigns including Swalif: Qatari Art Between Memory and Modernity; Forever Now: Five Anecdotes from the Permanent Collection; Tea with Nefertiti and most recently Selections from the Collection. Her line of work includes designing book covers, program identities, event collateral and merchandise material. Engy has a mixed background and varied interests: 25 years in ever-changing Qatar and summers in rich, colorful Egypt; old Arabic movies; Ahmed Mazhar; Nadia El Gindi; Arabic calligraphy; Persian graphic design; Arabic proverbs; empty walls; documentaries; controversies; the Internet. “Work gives you a nice serving of reality,” she adds speaking about what her day entails. Early morning wake up calls, venturing through Doha’s traffic, print deadlines, signing in and out, taking responsibility for typos, being on a list of credits, making great contacts and growing your network. “It takes time, to figure out what you eventually want to do. I’ve tried many things, and am continuing to do so. I’m still a student in so many ways.”

44 — Issue 2

،‫ وكان عملها يتضمن تصميم أغلفة الكتب‬.‫نفرتييت والمختارات األحدث من المجموعة‬ ‫وتصميم منشورات الربناجم والفعاليات المزتامنة مع احلدث والهدايا التذكارية والمواد‬ .‫والبضائع المطلوبة‬ ‫ عاما تتنقل وباستمرار ما بني قطر والصيف المزدحم‬25 :‫إلجني خلفية واهتمامات متنوعة‬ ‫ ونادية اجلندي؛ واخلط‬،‫ وأمحد مظهر‬،‫والملون والمتنوع يف مرص؛ األفالم العربية القدمية‬ ‫ وتصميم الرسوم البيانية الفارسية؛ واألمثال العربية؛ واجلدران الفارغة؛ والوثائق؛‬،‫العريب‬ .‫واخلالفات؛ وشبكة اإلنرتنت‬ .‫ وتضيف إجني متحدثة عن ما تفعله كل يوم‬،”‫“مينحك العمل شعورا لطيفا بالواقع‬ ‫ تبدأ يومها مبغامرة القيادة من خالل حركة المرور يف‬،‫تستيقظ أجني يف الصباح الباكر‬ ‫ حتمل المسؤولية عن‬،‫ توقيع الدخول واخلروج‬،‫ والمواعيد الهنائية للطباعة‬،‫الدوحة‬ ‫ وضع الحئة معتمدة تتضمن اتصاالت كبرية وتنمية شبكة اتصااليت‬،‫األخطاء المطبعية‬ ‫ لقد حاولت‬.‫ لمعرفة ما تريد يف الهناية القيام به‬،‫ “يتطلب األمر بعض الوقت‬.‫عالقايت‬ ‫ وأنا ال أزال طالبة احتاج إىل تعلم المزيد‬.‫فعل العديد من االشياء وأواصل القيام بذلك‬ .”‫من نواح كثرية‬

Rania Chamsine M FA I N D E S I G N ST U D I E S ‘ 1 2 E X H I B I T S AT S T U D I O D R O O G , A M S T E R D A M

Rania Chamsine was thrilled that her MFA thesis project, The Braided Hair Scarf, was chosen by curator Renny Ramakers, co-founder and director of the design company Droog, to be exhibited at Hotel Droog in Amsterdam. The exhibition ‘Seven little Wonders’ which was on display December through January 2013, featured seven topical projects from the world of art and design. Each project touched upon—in a modest and often poetic way—something in the news. The Hair Scarf was inspired by the sheila worn by women in the Gulf to cover their hair. It was designed using braided hair extensions and measures 200cm x 30cm, weighing a little over 2kg. “VCUQatar helped me develop both personally and as a designer,” says Rania. “I got to meet people that I would research in books such as Fiona Raby, Yan Wilker, and Sam Baron.” An artist and designer, Rania had a degree in fine arts from the Lebanese University and a graphic design degree from the American University of Technology before she joined the MFA in Design Studies program at VCUQatar. Prior to joining, Rania had participated in several collective art exhibitions and symposiums and worked in various positions in both the design and illustration fields in Lebanon. She had also worked as a senior graphic designer at Eureka Media in Kuwait where clients included Fouad Alghanim & Sons Automotive Co., Al-Aqeelah Investment and Jacques Dessange Paris among others. After spending three years in Kuwait, Rania moved back to Lebanon and noticed she was no longer fulfilled by graphic design alone. She started creating her first small fashion collection, and then prepared for her first solo art exhibition. “During this two-year search for myself, I realized that it is design in all its aspects that is of great interest to me, and my intention was to acquire all the resources I needed to release my full artistic potential in the design field as a whole.” This quest brought her to VCUQatar. Since graduating with her MFA, Rania has worked with American company, Lylavie, designing characters and icons for iphone and ipad applications. “I recently designed icons for a voice changing application, Voicy, which ranked number one of all downloads in Lebanon.”

‫رانيا شمسين‬

‫ – برنامج الماجستير‬2012 ‫دفعة‬

‫تعرض تصاميمها في استوديو دروغ في امستردام‬

‫شعرت رانيا شمسين بسعادة غامرة عندما تم اختيار مشروعها لرسالة الماجستير “وشاح مزين‬ ‫ لعرضها في فندق دروغ‬،Droog ‫ مؤسس ومدير شركة تصميم‬،‫الشعر" من قبل رينى راماكرز‬ ‫ وعن ذلك قالت المصممة الحاصلة على درجة‬.2013 ‫في أمستردام خالل شهري ديسمبر و يناير‬ .”‫الماجستير "كانت هذه فرصة لم أكن أحلم بها قبل انضمامي لجامعة فرجينيا كومنولث في قطر‬ .‫”ساعدت جامعة فرجينيا كومنولث في قطر على تطويري شخصيا وكمصممة“ تقول رانيا‬ ‫ وسام‬،‫ يان ويلكر‬،‫”حصلت على فرصة لقاء ناس كنت أبحث عنهم في الكتب مثل فيونا رابي‬ ‫ حصلت رانيا على شهادة البكالوريوس في الفنون الجميلة من‬،‫“ فنانين ومصممين‬.‫بارون‬ ‫الجامعة اللبنانية وشهادة في تصميم الغرافيك من الجامعة التقنية األمريكية قبل أن تنضم‬ .‫إلى برنامج الماجستير في دراسات التصميم في جامعة فرجينيا كومنولث في قطر‬ ‫ شاركت رانيا في العديد من المعارض‬،‫وقبل انضمامها إلى جامعة فرجينيا كومنولث في قطر‬ ‫الفنية الجماعية والندوات وعملت في عدة مناصب في كل من مجاالت التصميم والرسم‬ ‫ وكانت قد عملت أيضا كمصمم جرافيك رئيسي في يوريكا ميديا في‬.‫والتصوير في لبنان‬ ‫ العقيلة لالستثمار وجاك‬،‫الكويت وكان من بين عمالئها شركة فؤاد الغانم وأوالده للسيارات‬ .‫ديسانج باريس وغيرها‬ ‫ والحظت أنها لم تعد تكتفي بتصميم‬،‫ انتقلت رانيا إلى لبنان‬،‫بعد ثالث سنوات في الكويت‬ ‫ ثم أعدت ألول معرض فني‬،‫ وبدأت بابتكار مجموعتها الصغيرة األولى لألزياء‬.‫الغرافيك وحده‬ ‫ أدركت أن أول اهتماماتي‬،‫ وقالت رانيا ”خالل هاتين السنتين في البحث عن نفسي‬.‫منفردا لها‬ ‫ ونويت الحصول على جميع الموارد وكنت بحاجة الى‬،‫هو التصميم بكل جوانبه بالنسبة لي‬ ‫” وهذا ما جعلني انضم لجامعة‬.‫اطالق سراح جميع اهتماماتي الفنية في مجال التصميم ككل‬ .‫فرجينيا كومنولث في قطر‬ ‫ حيث قامت بتصميم الشخصيات والرموز‬Lylavie ،‫منذ التخرج عملت رانيا مع شركة أمريكية‬ ‫ التي‬،Voicy ،‫ ”قمت مؤخرا بتصميم رموز لتطبيقات تغيير الصوت‬.‫لتطبيقات أيفون وآيباد‬ ”.‫احتلت المرتبة رقم واحد بين جميع البرامج التي يمكن تحميلها في لبنان‬

”The Braided Hair Scarf“ exhibited at Hotel Droog in Amsterdam

Issue 2 — 45

A LU M N I P RO F I L E S

Hamzah Abdelal GR APHIC DESIGN ‘11

Hamzah Abdelal describes himself as a passionate Palestinian Jordanian artist seeking to embody human rights values and the essence of freedom through a form of expression relatively new to the Middle Eastern region-Digital Art. It is hard to not be awestruck by the intensity of Hamzah’s images, a fusion of digital art and Arabic calligraphy, which in this ‘more conventional’ region do border on the controversial. The young designer, however, is not shy of stating how he feels and his work, be they posters, brand development or his personal projects, are a reflection of this expression. In June 2013, he exhibited his work as part of ArtSho in Budapest and has since been in Spain and Norway speaking to curators and galleries about showcasing work there, which he hopes to be able to start doing more regularly next year onwards. Presently employed as a designer at the Qatar Foundation Publishing Center, Hamzah enjoys the support of the organization who encourage his involvement in the exhibitions. While his previous employer Fitch Doha, one of the largest branding and design networks in the Middle East, was just as supportive, he says he has more time now to focus on his art because he finishes work early and he is able to dedicate those extra hours to his craft.

‫حمزة عبد العال‬

‫ – تصميم الغرافيك‬2011 ‫دفعة‬ ‫يصف حمزة عبد العال نفسه بأنه فنان فلسطيني أردني عاطفي يسعى لتجسيد قيم حقوق‬ ‫اإلنسان وجوهر الحرية من خالل شكل من أشكال التعبير الجديدة نسبيا في منطقة الشرق‬ .‫ الفن الرقمي‬- ‫األوسط‬ ‫ فهي مزيج من الفن الرقمي‬،‫من الصعب أن ال ترتعب عند رؤية صور حمزة الفنية من شدتها‬ ‫ وهو في ذلك أكثر في المنطقة “التقليدية“ القائمة على الحدود المثيرة‬،‫والخط العربي‬ ‫ سواء كان في‬،‫ ال يخجل من التعبير عن شعوره وعمله‬، ،‫ ومع ذلك فالمصمم الشاب‬.‫للجدل‬ .‫ فجميعها انعكاس لهذا التعبير‬،‫ تطوير العالمة التجارية أو المشاريع الشخصية‬،‫صورة ملصقات‬ ‫ في بودابست ومنذ‬ArtSho ‫ حزيران من هذا العام قام حمزة بعرض عمله كجزء من‬- ‫في يونيو‬ ‫ذلك الحين وهو في اسبانيا والنرويج يتحدث الى القيمين على المعارض حول عرض أعماله‬ ‫ ويتأمل بأن يكون قادرا على البدء في بذل المزيد من الجهد بانتظام ابتداء من‬،‫هناك‬ .‫العام المقبل‬ ‫ يحظى حمزة بدعم من هذه‬،‫يعمل حمزة حاليا كمصمم في مركز مؤسسة قطر للنشر‬ ‫ كما يعترف حمزة بدعم فيتش‬.‫المؤسسة التي تشجع مشاركاته ومساهماته في المعارض‬ ‫ وهي واحدة من أكبر مؤسسات تصميم العالمات التجارية وتصميم الشبكات في‬،‫الدوحة له‬

Working simultaneously on several huge projects is nothing new to this young artist. “I have worked of many projects for QF, for instance, the brand development for Amlak, while also preparing for my exhibitions in Budapest or Istanbul before that. I have always worked even while I was studying, so I am familiar with how the market works. My studies helped me hone my skills, and after graduating with a BFA in graphic design in 2011, I had the opportunity to focus solely on the work experience. I also had some time to develop my own art,” he says. Hamzah says his student experience at VCUQatar did indeed prepare him for the real world. “University was really fun but at the same time it was really hard work too. I had to pull all-nighters a few times to finish my projects. This experience made me ready after graduation for the industry I was stepping into.” Inspired by almost anything creative be it music, or an art or talent show, Hamzah doesn’t just rely on his skills to see him through a project, but he spends as much time researching something as he does creating it. “I had heard about VCUQatar from a friend of mine who was already a student at the university, but I did my own research on VCUQatar and the School of the Arts in Richmond. I really liked their curriculum, so I applied to the university and was accepted,” says the designer who was one of six of the first class of male students admitted to VCUQatar in 2007. With plans to take his work to a global audience in the near future, Hamzah hopes to continue using his skills in art and design as a way of approaching problems and finding rich and creative solutions.

‫ يقول حمزة بأنه اآلن لديه المزيد من الوقت‬،‫ والتي كان يعمل بها سابقا‬،‫الشرق األوسط‬ ‫للتركيز على فنه حيث ينتهي من العمل مبكرا وهو قادر على تكريس تلك الساعات االضافية‬ .‫في تطوير حرفته‬ ‫ يقول‬.‫فالعمل في نفس الوقت على عدة مشاريع ضخمة ليس شيئا جديدا لهذا الفنان الشاب‬ ‫ مشروع تطوير‬،‫ على سبيل المثال‬،‫ “لقد عملت على العديد من المشاريع لمؤسسة قطر‬:‫حمزة‬ ‫ في نفس الوقت الذي كنت استعد فيه إلقامة معرضي في‬،‫العالمة التجارية لشركة أمالك‬ ‫ لذلك فأنا أدرك كيف‬،‫ لقد عملت دائما حتى وانا ما زلت طالبا‬.‫بودابست و اسطنبول من قبل‬ ‫ وبعد تخرجي وحصولي على درجة‬،‫ ساعدتني دراستي على صقل مهاراتي‬.‫يعمل السوق‬ ‫ أتيحت لي الفرصة للتركيز فقط على الجانب‬،2011 ‫البكالوريوس في تصميم الغرافيك في عام‬ ‫ وهذا كان جيدا‬،‫العملي واكتساب الخبرة الالزمة للعمل أفضل مما كنت عليه عندما الزلت طالبا‬ ”.‫ كما أتيح لي وقتا أكبر أيضا لتطوير فني وجعله أفضل‬.‫حقا‬ ‫يقول حمزة أن تجربته كطالب في جامعة فرجينيا كومنولث في قطر أعدته وهيأته حقا للعالم‬ ‫ “كانت الحياة الجامعية متعة ولم يكن من السهل العمل في نفس الوقت‬.‫الحقيقي الواقعي‬ ‫ هذه التجربة‬.‫ وقد اضطررت عدة مرات إلن أمضي الليل في الجامعة إلنهاء مشاريعي‬.‫أيضا‬ ‫جعلتني جاهزا بعد التخرج للمضي قدما فيما كنت أصبو إليه" يستوحي حمزة أفكاره تقريبا‬ ‫ ال يعتمد‬،‫ أو فن أو حتى عرضا للمواهب‬،‫من كل شيء مبتكر وخالق سواء كان موسيقى‬ ‫ ولكنه يمضي الكثير من الوقت في البحث عن‬،‫حمزة على مهاراته فقط في تنفيذ مشاريعه‬ ‫ المصمم الشاب الذي كان واحدا من ستة‬، ‫ وأضاف حمزة‬.‫األشياء كما يفعل عند ابتكار إبداعاته‬ ‫مصممين شباب من الذكور تم قبولهم كأول مرة في جامعة فرجينيا كومنولث في قطر في‬ ‫ "كنت قد سمعت عن جامعة فرجينيا كومنولث في قطر من أحد أصدقائي الذي بدأ‬.2007 ‫عام‬ ‫يدرس فيها في ذلك الوقت ولكنني قمت أيضا باالستفسار وإجراء بحثي الخاص عن جامعة‬ ‫ لقد أحببت حقا مناهجهم‬.‫فرجينيا كومنولث في قطر وكلية فنون التصميم في ريتشموند‬ “.‫ ولذلك قمت بتقديم طلب التحاق إلى الجامعة وقبلت‬،‫الدراسية‬ ‫ يأمل حمزة االستمرار‬،‫مع وجود خطط لعرض أعماله على جمهور عالمي في المستقبل القريب‬ ‫في استخدام مهاراته في الفن والتصميم كوسيلة الكتشاف المشاكل وإيجاد حلول غنية‬ .‫وخالقة لها‬

46 — Issue 2 46 — Issue 2

01 02

Hamzah Abdelal’s digital art exhibited in Budapest at ArtSho A piece from Aisha Al-Sowaidi’s “Finding History in The Future“ thesis work

A LU M N I P RO F I L E S

Aisha Al-Sowaidi

‫عائشة السويدي‬

‫ – ماجستير دراسات التصميم‬2013 ‫دفعة‬

M FA I N D E S I G N ST U D I E S ‘ 1 3

‫تقول عائشة السويدي والتي حصلت مؤخرا على درجة ماجستير الفنون الجميلة في دراسات‬

Opting to study further before embarking on a career was one of the best decisions she has ever made says Aisha Al-Sowaidi, who recently graduated with a MFA in design studies. “I knew finding work as a fresh graduate wouldn’t be easy,” she says going back to 2005 when she graduated from VCUQatar with a BFA in graphic design. “A degree wouldn’t thrive without experience, and I found myself under more pressure to find the right place and experience with the right people so I could move from one level to another.”

‫التصميم بأن قرار االستمرار في المزيد من الدراسة قبل الشروع في مهنة كان واحدا من‬ ‫”كنت أعرف أن العثور على عمل باعتباري خريجة‬.،‫أفضل القرارات التي اتخذتها في حياتها‬ ‫ عندما تخرجت من جامعة فرجينيا كومنولث في‬2005 ‫ وبالعودة إلى عام‬،“‫جديدة لن يكون سهال‬ ‫ ”لم تكن شهادتي‬: ‫قطر وحصلت على درجة البكالوريوس فى تصميم الغرافيك تقول عائشة‬ ‫ لقد وجدت نفسي تحت مزيد من الضغط إليجاد المكان‬.‫دون خبرة تكفي إليجاد عمل مناسب‬ “.‫المناسب والخبرة مع األشخاص المناسبين حتى أتمكن من االنتقال من مستوى إلى آخر‬ ‫ وبدأت من حينها تطلق عليها ”اختراعاتها“ ”لقد‬،‫ اهتمت عائشة بابتكار األشياء‬،‫منذ صغرها‬

Since she was young, Aisha was interested in creating things, which, back then, she called her inventions. “I enjoyed exploring materials and creating solutions to things around me. Design came naturally to my life and found its way to me; it just seemed a suitable career for me to approach.” A student from VCUQatar’s inaugural batches of graphic design (VCUQatar began operations in 1998 under the name Shaqab College of Design Arts and in 2001 changed its name to become the VCUQatar College of Design Arts), Aisha says her time at VCUQatar as an undergraduate was challenging and introduced her to another level of innovation and creativity. “I didn’t want the challenge to end, and since I was an undergraduate long before the MFA program was offered at VCUQatar, I was hoping and anticipating a master’s would be offered soon.” And as soon as she heard about the MFA in design studies she applied.

‫ دخل التصميم إلى حياتي بصورة‬.‫استمتعت باستكشاف المواد وإيجاد حلول ألشياء من حولي‬ ‫“ كانت عائشة من أول دفعة‬.‫ بل بدا مجرد مهنة مناسبة بالنسبة لي‬، ‫طبيعية ووجد طريقه إلى‬ ‫تخرجت من جامعة فرجينيا كومنولث في قطر من قسم تصميم الغرافيك (فتحت جامعة فرجينيا‬ ‫ تحت اسم كلية الشقب لفنون التصميم وفي عام‬1998 ‫كومنولث في قطر أبوابها في عام‬ ‫ تقول عائشة‬،)‫ تغير اسمها إلى جامعة فرجينيا كومنولث في قطر – كلية فنون التصميم‬2001 ‫كان الوقت الذي أمضته في جامعة فرجينيا كومنولث في قطر كطالبة تحديا وقدم لها مستوى‬ ‫ ومنذ أن كنت في المرحلة‬، ‫ ”لم أكن أريد لهذا التحدي أن ينتهي‬.‫آخر من اإلبداع واالبتكار‬ ‫الجامعية وقبل تخرجي من جامعة فرجينيا كومنولث في قطر بوقت طويل كنت آمل وأتوقع ان‬ .‫” وحالما سمعت عن هذا البرنامج تقدمت بطلب لاللتحاق‬.‫يتم طرح برنامج الماجستير قريبا‬ ‫تقول عائشة وعلى الرغم من حصولها على شهادتي البكالوريوس والماجستير من نفس جامعة‬ ‫ ”لقد‬.‫ إال ان كال التجربتين كانت مختلفة إلى حد كبير بالنسبة لها‬،‫فرجينيا كومنولث في قطر‬ ‫ لقد منحني معرفة أعمق عن هذا‬.‫أضاف برنامج الماجستير لي وجهة نظر جديدة عن التصميم‬ “.‫المجال و ثقة أكبر في عملي‬ ‫ أصبحت عائشة اآلن جاهزة لالنتقال إلى‬،‫بعد أن أمضت عائشة عامين في برنامج الماجستير‬ .‫المستوى التالي وتتطلع إلى منصبها الجديد في هيئة متاحف قطر‬

Having undertaken both undergraduate and graduate degrees at VCUQatar, Aisha says the experiences were vastly different for her. “The MFA program added another perspective to design for me. It gave me a deeper knowledge of the field and more confidence in my work.”

‫”سمعت الكثير من الكالم عن جميع المتاحف التي فتحت والتي على وشك أن يتم افتتاحها‬ ”.‫ وأردت أن اساهم بمعرفتي في هذه الثورة‬.‫في قطر على مدى السنوات القليلة المقبلة‬ ،‫وتضيف عائشة بأنه وفي حين أن معظم الناس يختلفون في التمييز بين الفن والتصميم‬ ‫ ”أعتقد بأن كل قطعة‬.‫ وتفضل أن ترى نفسها بالوسط‬،‫إال أنها ال تهتم لهذه الفروق الدقيقة‬ ‫ في حين أن التصميم يمكن أن يكون حال فقط لوضع‬،‫ وقصة من ورائها‬،‫من الفن لها معنى‬

After spending two years in the MFA program, Aisha is now ready for the next level and looking forward to her new position at the Qatar Museums Authority.

.‫ أنا مهتمة في قطر القديمة وقطر النامية الجديدة وأريد أن أساعد بسد الفجوة بينهما‬.‫معين‬ ‫تبدو لي هيئة متاحف قطر مكانا مناسبا للبدء في العمل في المكان الذي يمكن أن يجلب‬ ”.‫لرؤيتي وتصميماتي الحياة‬

“I have been hearing a lot of talk about all the museums that have opened and are about to be opened in Qatar over the next few years. I wanted to take my knowledge and contribute to this revolution,” she says. Aisha says that while most people disagree about the distinction between art and design, she doesn’t bother with these nuances, rather sees herself as an intermediary. “I believe every piece of art has meaning, a story behind it, while design could be solely a solution to a situation. I am interested in the old Qatar and the new developing Qatar and I want to bridge the gap between them. QMA seemed an appropriate place to start working at where I can bring alive my design vision.”

Issue 2 — 47

A LU M N I

6:3:1 – 6 Alumni, 3 Majors, 1 Exhibition

01 02 03 04

Work by Jung Kwon Visitors looking at work by Donwan Harrell Nayla Ahmad Al-Mulla’s ready-to-wear line Reem Al-Thani’s exhibition design piece in the foreground

48 — Issue 2

The alumni exhibition 6:3:1, hosted at the VCUQatar Gallery brought together the work of six invited alumni, from three major design disciplines at VCUQatar and VCUarts, in one unique exhibition. Fashion Design, Graphic Design and Interior Design were represented, and a cross-campus curatorial collaboration provided the opportunity for a dynamic exchange of ideas. The result was an exhibition that celebrated the creative process and the achievements of each individual designer. “It also highlighted their shared connection to VCU, their drive to succeed, and their exciting professional journeys. This is what united 6:3:1 as an exhibition and what, it is hoped, will inspire future design graduates of VCU,” said Exhibitions and Speaker Curator Caitlin Doherty. The alumni who exhibited their work were VCUQatar alumni Hamzah Abdelal Nayla Ahmad Al-Mulla and Reem Al Thani and VCUarts alumni Donwan Harrell, Jung Kwon and Eleanor Barton.

A LU M N I

Mixing Arabic calligraphy with digital art has become Hamzah’s trademark. Hamzah who graduated with a BFA in graphic design in 2011 says, “As a passionate Palestinian artist I seek to embody human rights values and the essence of freedom through digital art, a form of expression relatively new to the Middle Eastern region.“ Hamzah currently works at the QF Publishing Center. Class of 2008 fashion design graduate Nayla’s first ready-to-wear collection showcased in the exhibition was used by her to explore the design and production process. Reem, who graduated in 2010 with a double major in interior and fashion design, started working at Mathaf as an exhibition designer a month after graduating. “In almost three years at Mathaf, I have designed four exhibitions and implemented and managed seven. I have had the opportunity to work with notable professionals from all corners of the globe; each sharing with me their highly specialized skill-sets, as well as the invaluable industry experience they’ve garnered working in the competitive world of international design,” she said explaining her exhibit. Donwan who graduated from VCUarts in 1992 in fashion design, is founder, designer and CEO of PRPS, his first luxury denim brand, based in America and Japan. He presented his PRPS Fall 2013 “Grizzly Adams” line; and his “Noir” line jeans in the exhibition. Class of 2007 graphic design graduate Jung believes in solving problems through thoughtful, intellectual and analytical process. The inspirations for his work come from his surroundings and things he encounters on the streets on a daily basis; they come unexpectedly and from diverse sources he said. Eleanor is presently senior associate director of the Interior Design Studio at Glave and Holmes Architecture in Richmond, Virginia. She graduated in 2004 from VCUarts in interior design. “Interior design is about people. It is their experience of a place and how well it serves their purposes that will be the measures of your design’s success. I believe in the power to change lives through the transformation of existing spaces and creation of new ones. With the help of my team, I’ve had the opportunity to work on a variety of project types with very diverse groups of users: from university faculty and student spaces, to cultural, religious, and historic interiors. It is truly a thrill when I visit a finished project and see the activity of people as they engage the interior and each other.”

Issue 2 — 49

A LU M N I AC H I E V E M E N T S

VCUQatar graduates are pursuing successful careers within the government, nonprofit and privte industries in Qatar and around the world. Many have gone on to establish their own businesses, thereby contributing to the development of the small and medium enterprise culture in Qatar. A few examples are listed below:

Rabab Abdulla

Hanouf Al-Mana

INTERIOR/FASHION DESIGN '13

INTERIOR DESIGN '09

Won the VCUQatar outstanding seniors collection award as well as

Established Al-Mana Concept in 2012, an upcoming and progressive

the W Doha fashion award. She was recently selected by the Center

interior design one-stop solution. While the company may be regarded

for Fashion Design in America to represent VCUQatar and showcase

as young, some very prestigious projects are in the pipeline including

part of her graduate collection at the New York Fashion Week 2013.

Al-Mana Commercial Center II, 02 Mall, Private Villa, Al-Mana Square Tower and Viva Bahiriya Pearl Qatar.

Hend Al Eidan GRAPHIC DESIGN '09

Abeer Al Sulaiti

Created and designed the theme for Qatar Petroleum’s (QP) Career

INTERIOR DESIGN '04

Fair advertisements and publications for the 2012 edition of the fair.

Is an entrepreneur who has recently founded Mad Science Qatar,

She helped organize the Qatar Petroleum Environmental Fair, 7th

a leading science enrichment provider for children in kindergarten

edition 2013, for Corporate Health, Safety and Environment in coor-

through to grade six, which delivers unique, hands-on-science experi-

dination with other departments’ focal points and designed environ-

ence to children.

mental posters (water pollution-Minimata disaster). She also created QP’s Students Recognition Ceremony 2012’s theme and logo, designed ceremony collateral and publications. She presently works at QP as Health, Safety and Environment promotion and publicity supervisor.

Haya Sayel Daher GRAPHIC DESIGN '07

Presently works as a graphic designer in the Communications department at VCUQatar working on print, digital and web collateral for

Shorook Al Fara

the university. While she worked at VCUQatar’s Center for Research,

GRAPHIC DESIGN '07

Design + Entrepreneurship she created the brand identity for the

In her capacity as part of the in-house design team, in the External

Qatar National Vision 2030 along with colleague and alumna Marwa

Relations department at Qatar University she has worked on several

Abbas; was part of the team that redesigned the insignia and acces-

projects marketing QU locally and internationally. She has worked on

sories for the uniforms of the Qatar Armed Forces and also designed

the ‘QU Graduation’ design concept, campus and venue branding and

the identity for Qatar Life and Medical Insurance company, a branch

all related collateral two years in a row. The graduation ceremony was

of Qatar Insurance Company.

attended by His Highness The Father Emir Sheikh Hamad Bin Khalifa Al Thani last year and by His Highness The Emir Sheikh Tamim Bin Hamad Bin Khalifa Al Thani this year.

Assil Diab GRAPHIC/FASHION DESIGN '11

Choreographed and organized the Wanasa Night Fashion Show at the

Daleen Munther Al Khatib

College of North Atlantic-Qatar in February 2013. She was also part of

GRAPHIC DESIGN '09

the team that worked with French Tunisian calligraffiti artist eLSeed

This past year, in her position as a Corporate Communications &

on the four underground tunnels on the Salwa Road, from January to

Marketing Specialist at Tanween, she rebranded the corporate identity

April this year, embellishing 52 large-scale murals with artistic graffiti

of QIQ to Tanween. She attended a consumer behavior course at the

themes inspired by anecdotes from Qatari culture and markers of Qatari

Marketing Forum in London to expand her knowledge of consumer

life. She recently joined Jazeera Children’s Channel as graphic designer.

behavior in the graphic design environment. She finally launched her fashion line, Daleen Alkhatib, in which she mixes elements of graphic and fashion design together through her cuts and folds concept. She has been working on this project since 2009. The line is based on intensive research and observation of both culture and environment.

50 — Issue 2

Miriam Madgy Greiss INTERIOR DESIGN '10

Currently works as event manager at Qatar Mice Development Institute. She was one of the junior interior designers that worked on the Portable Architecture in Qatar ‘Migrant Workers Housing – Proof of Concept’ project that recently entered into a commercial agreement.

Zeina Hamady GRAPHIC DESIGN '08

Graduated with an MFA in applied craft and design from the Pacific Northwest College of Art and Oregon College of Art and Craft, Portland, USA in 2013. She also participated in the university exhibition, Final Show with her work Bon Voyage, a collection, analysis, merging, and retelling of 13 stories about leaving home.

Engy Hashem GRAPHIC DESIGN '08

Recently won the Crossway Foundation's Create and Inspire 2013 Competition with a street art piece titled ’2-wheeling’ exploring Qatar's forms of public art away from the norms of graffiti and structural monuments. Her piece was exhibited alongside the works of other winners from Saudi Arabia, Qatar and the UAE in an exhibition titled 'Bye Bye Landan' held at the Crossway Foundation, London. She currently works as a graphic designer at Mathaf: Arab Museum of Modern Art.

Dania Khaled GRAPHIC DESIGN '07

Currently works as a communications & PR officer at Qatar Mobility Innovations Center (QMIC). In May 2013, QMIC launched a road safety initiative including an android mobile application called ”Salamtek“ that was designed by Dania. The app, designed with an Arabian inspired theme to embrace Qatar's cultural identity, can be downloaded and used worldwide.

Issue 2 — 51

A LU M N I AC H I E V E M E N T S

Illustration by Al Hussein Wanas

Mona Makhlouf

Hadeer Omar

GRAPHIC DESIGN '07

GRAPHIC DESIGN '10

Returned to Egypt after graduation and has been involved in a lot of

Co-curated the exhibition Trifold showcasing the modular origami

community campaigns and social projects as founder of 622misr, a

work by female security staff at Education City. She opened her own

non-profitable initiative to help revive Egyptian tourism. She is now a

design studio in 2012 in Egypt, worked on a project to brand the

team member of TEDxCairo, and team leader and designer of emshi

Orouba Mall in Alexandria, and also worked on pre-wedding videogra-

fe 7artak, an awareness campaign to instill driving behavior. She re-

phy and photography. She is presently working as a graphic designer

cently designed a 9-meter indoor wall with calligraphy for the Ameri-

at the Center of Research, Design and Entrepreneurship at VCUQatar,

can University in Cairo and is working her way through her master’s

collaborating on Qatar's national road safety campaign ‘One Second.’

degree in Design for Social Innovation.

Carla Mallari

Sali Qubrosi INTERIOR DESIGN '09

FASHION DESIGN '11

Designed the interiors of the Al Jasra boutique hotel in Souq Waqif

A freelance stylist, costume designer and production designer, styles

that opened early this year. After graduating from VCUQatar, Sali

editorials for magazines such as Glam, Isola, Harayer and Sur La Terre.

went on to do her master’s in interior and product design at the

During the year she assisted the stylists of hip-hop artists, Kanye

Academia Italiana, in Florence Italy and returned to Qatar after

West and Jay Z, and was on tour with them in Abu Dhabi, New York

her studies.

and Chicago. She designed and made costumes for the Doha Film Institute’s Hazawi short films program in January 2013 besides taking on assignments as costume and production designer for independent films and TV commercials. She currently runs Qatar’s first street-style blog called Nomad*, which she has been doing for nearly three years. In her spare time, she also models.

Sanaa Habibur Rahman GRAPHIC DESIGN '12

Worked on a National Cancer Awareness Campaign for the Supreme Council of Health in Qatar in December 2012. She designed a set of posters that raise awareness about the facts on cancer while simultaneously correcting and clarifying some of the myths that exist among the population of Qatar.

52 — Issue 2

A LU M N I AC H I E V E M E N T S

Rana Selo

Al Hussein Wanas

GRAPHIC DESIGN '09

DESIGN STUDIES '13

Worked with French Tunisian calligraffiti artist eLSeed on the four

Was one of the illustrators who worked on the Orality to Image: Tradi-

underground tunnels on the Salwa Road, from January to April this

tional Qatari Narratives and Visual Media UREP project that won the

year. Another project she worked on during the year was the World

third place at QNRF’s 5th UREP Competition in March 2013 after being

Jigsaw Puzzle for Makower Architects. She works at Imperial Training

selected as one of the top five projects out of 88 UREPs from post-

& Consultancy as creative officer creating and developing brands for

secondary institutions across Qatar. Al Hussein made the research

many organizations and agencies.

presentation at the awards. Al Hussein, who graduated with his BFA in graphic design in 2011 from VCUQatar, was also the recipient of the

Erica D. Virvo INTERIOR DESIGN '09

Is a young, passionate world traveler, whose studies in Qatar have

Virginia Fire Service Governor’s Awards Civilian Life Saving Award for saving the life of a wheelchair bound old woman and her dog from the inside of a burning house in Centerville, Virginia in 2013.

inspired her to explore the world. She has taught English in Thailand and South Korea which allowed her to pursue community development work, internationally. In 2011, Erica embarked on a 15-month journey working with farmers and schoolchildren in both the rural Caribbean island of Saint Vincent and Zambia. She is now studying Non-Profit Management in the USA.

Graduate Incubator Launched VCUQatar launched its graduate incubator – the first industry spon-

salary. As part of their commitment to the program, sponsors agree

sored design incubator in Qatar. It is part of VCUQatar’s Young Entre-

that a percentage of the graduate’s time can be spent on their per-

preneur Series (YES) and fosters collaboration between VCUQatar and

sonal development and training to enhance their education. Staff at

Qatar’s leading businesses to build an entrepreneurial ecosystem deliv-

VCUQatar’s Center for Research, Design and Entrepreneurship provide

ering real-world design challenges within the educational environment.

day-to-day project management, computer facilities and all other

Housed in the Center for Research, Design and Entrepreneurship, the graduate incubator is sponsored by companies that commission design services while helping to build local design capacity and sup-

office amenities. “Our aim is to build a culture around entrepreneurship,” explains Roger Griffiths, director of entrepreneurship at VCUQatar. “The graduate

porting education, often through their Corporate Social Responsibility

incubator will bring local businesses and aspiring young designers

(CSR) programs. One such industry partner is Maersk Oil Qatar. In

together to produce exceptional creative work and help graduates de-

the first agreement struck under the initiative, Maersk has provided

velop the skills they need to establish their own businesses in design.”

12-month sponsorships to graphic design graduates Haneen Al Sharif and Lama Abu Dheays to work on a variety of projects under Maersk’s Corporate Social Responsibility (CSR) program, which aligns with the Qatar National Vision 2030. The program provides a dedicated space for students and alumni

“Through this incubator and the Young Entrepreneur Series (YES) we want to support a generation of young designers who create a thriving, vibrant and sustainable design sector. We envisage a seamless transition for our students, from initial support as undergraduates, through our graduate incubator, to company registration. Throughout

to support and mentor their entrepreneurial ambitions. During

this period our graduates will have access to business and personal

their 12-month sponsorship, exceptional VCUQatar graduates who

development workshops and technical training provided by our

undertake a rigorous selection process to join the incubator receive

network of partner organizations, teaching faculty and external con-

mentorship, business planning guidance and technical training. Spon-

sultants,” adds Griffiths.

sors provide real world design projects and a competitive starting

Issue 2 — 53

FA C U LT Y & S TA F F Achievements

Throughout the year, faculty and staff publish in professional journals and public magazines and participate in conferences and exhibitions as guest speakers and designers. A few examples of these endeavors are listed below: Assistant Professor of Graphic Design, Law Alsobrook, presented ‘The Transnational Classroom: The Global Dynamics

ongoing series of photographs as well as co-

Conference. The project caught the attention

launching the new residency space

of the Qatar Museums Authority and Marco

“marra.tein.” During the summer he

is currently developing a new prototype to be

exhibited work at the Liverpool International Photography Festival as part of the group exhibition “I Exist in Some Way“ as well as at the Lichtenstein Center for the Arts as part of the group exhibition “Islam Contemporary.“

installed in Doha’s public spaces. Assistant Professor of MFA Design Studies, Paolo Cardini, presented a lecture on Open Design to the industrial design graduate students at Pratt Institute, Brooklyn NY and a talk titled “Open Design from Qatar

of Graphic Design Education’ with colleague

Assistant Professor of English, Robert Bianchi,

to Cuba“ at the World Maker Fair, Hall of

and assistant professor, Diane Mikhael, at

along with CNA-Qatar Instructor, Joseph

Science, Queens NY, in early September 2012.

AIGA Geographics: Design, Education and

Yang, was awarded a QR60,000 seed fund

During the year Paolo visited different

the Transnational Terrain Conference, Hawaii,

research grant for their research project

design weeks worldwide—Tokyo Designers

USA in December 2012.

entitled, “Exploring the Potentials of

week, DMY Berlin, San Francisco Design

Spatial Gesture-based Learning for Higher

Week, Los Angeles Design Festival—as part

Education“ in spring 2012. Robert also

of his investigation on “Product design's

Chair of Interior Design, Cherif Amor, secured one research grant ‘Impact of Fluorescent Lighting Color Correlated Temperature (CCT) on Neurodiverse Populations: A Comparative Analysis of Neural and Behavior Outcomes. Cherif published four papers: ‘Lighting Design Strategies Using an Evidence-Based Approach (PI)’ and ‘Exploring Neural

received funding for a VCUQatar faculty

New Aesthetic.“ He also presented a talk

research grant to complete his novel

titled “Design in Middle East“ at the DMY

entitled, 7abibi and to publish an academic

Berlin and another titled “Objects and us,

monograph based on his dissertation,

awareness in everyday design“ during the

“Arabic, English, or 3arabizi? Code and script choice within discussion forums on a Jordanbased website“.

Consapevolmente Festival, La Spezia, Italy in June 2013. Associate Dean for Research and Devel-

Correlates of the Sky View (Co-PI)’ for the

Borrowed City, a book by Marco Bruno,

opment, Peter Chomowicz, assisted an

Environmental Design Research Association

assistant professor of Foundation and

archaeological expedition to Kurdistan, Iraq

International Conference (EDRA);

his partners Simone Carena and Minji

in their inaugural excavation season in June

Kim, was published in South Korea by

2013. The project is run by The Johns Hopkins University.

‘Architecture, Interior Design and NeuroImaging: An Evidence-Based Approach (PI)’

Damdi in July 2013. Borrowed City delves

for the International Conference on Arts and

extensively into the uses of Seoul’s public

Humanities (ICAH), and ‘Neuro-Imaging and

spaces, documenting and analyzing a

Interior Design: Symbiosis between Design

diverse spectrum of typologies and acti-

and Brain Mapping’ for the Interior Design

vities through photographs, diagrams and

Educator Council (IDEC).

installations. The Shademobiles, a piece

George Awde, assistant professor of Painting and Printmaking, spent the summer in Beirut where he continued working on an

54 — Issue 2

designed by Marco offering an ironic view over the Qatari passion for automobiles, was successfully presented to the Made in Qatar exhibition held during the 2013 Tasmeen

Assistant Professors of Interior Design Matthew Holmes-Dallimore and Liam Colquhoun’s creative scholarship proposal, ‘Retail Without Walls: Kiosk Culture’, and Pecha Kucha proposal, “Retail without walls: Research project strategies, realizations, and pedagogical outcomes“ were both accepted and presented at the 2013 Interior Design

FACU LT Y & STA F F AC H I E V E M E N T S

Educators Council (IDEC) conference held in Indianapolis, Indiana in February. Radha Dalal, assistant professor of Art History, presented “Spaces of the Past: Nostalgia in The Murder on the Orient

‘Morphological Mapping of the Arab Spring

his thesis entitled, “Building a new model of

through an Ecological Lens’ at the Mutamor-

graduate incubation and commercial registra-

phosis conference hosted by the CIANT Inter-

tion in Qatar to encourage young Qataris to

national Center for Art and New Technology in

become future entrepreneurs“. At VCUQatar,

Prague, Czech Republic.

Express and The Last Express” at the Video

Assistant Professor of History, Jörg Matthias

Game Cultures and the Future of Interactive

Determann, was one of two joint winners

Entertainment Conference hosted by Mans-

of the 2013 Leigh Douglas Memorial Prize for

field College, Oxford in July 2013. During the

the best PhD dissertation on a Middle Eastern

his office hosted the 3rd Working Group on Entrepreneurial Policy in Qatar. The working group is working towards a new model for graduate entrepreneurship that will legitimize the business activities of VCUQatar’s students and alumni across HBKU. The aim

summer, she also researched the Panorama

topic. The British Society for Middle Eastern

1453 History Museum in Istanbul and picto-

Studies (BRISMES) awarded him this prize for

rial satire related to the Khilafat Movement

his dissertation entitled “Globalization, the

at the British Library and other institutions

State, and Narrative Plurality: Historiography

Basma Hamdy, assistant professor of

in London.

in Saudi Arabia.“ The dissertation was com-

Graphic Design, participated as a panel

Assistant Professor of Foundation Nathan Davis’ design studio Arcadian Studio won a For Print Only award for an exhibition catalog they designed for David Peters called ‘Forever More Than Once’. The project will be published in the fall in an online archive, as well as a book entitled FPO Awards 2013. The same catalog also won an award from the Print Magazine's “Regional

member of the Arabic Graffiti Panel as part

Studies (SOAS), University of London, in 2012.

of the Festival Against Fatigue at the Heinrich

Jörg helped organize a three-day international

Boel Foundation in Berlin, and as guest speak-

workshop entitled “In Search of the King-

er at The Frie University in Berlin, Germany as

dom – Emerging Scholarship on Saudi Arabia:

part of the political science undergraduate

From the First Saudi State to the Present“ at

Arab Pop-Culture class in June 2012. She also

the Zentrum Moderner Orient and the Berlin

collaborated with the Center for Research,

Graduate School Muslim Cultures and Societ-

Design and Entrepreneurship at VCUQatar,

ies, Freie Universität Berlin, in June 2013.

and the Qatar Ministry of Interior on the

Assistant Professor of English, Robin Fetherston,

which will be published later this fall as well.

presented “Crossing the Atlantic in a Bucket:

Coordinator of MFA Design Studies, Diane Derr, presented the paper “Syncretic Narrative: Data in Flux“ at the XARTS conference, hosted by the University of the Aegean, Syros, Greece in July 2013. In April 2013, she presented a lecture titled “A Contrapuntal Reading of Data Journalism“ at Di-EGY Arts

in Qatar.

pleted at the School of Oriental and African

Design Annual,“ in the “Far West“ category

Assistant Professor and Media Technology

is to simplify the commercial registration law

Maersk Road Safety Campaign project. Assistant Professor for Graphic Design

Dickens’s Inspector and His Fat Forefinger

Levi Hammett and MFA student Maryam

Point to the New World“ at the Charles Dick-

Al Homaid produced an interactive video

ens Bicentennial at the Oxford and Cambridge

‘Cultural Camoflage: cultural patterns within

Club in London in December 2012. She also

hybrid societies’ during the Tasmeem Doha:

read her fiction story “Rough Growing” and

Hybrid Making 2013 Conference. Levi, along

served as a peer reviewer at Doe Branch Ink, a

with colleague Michael Hersrud, published an

writer’s seminar in Marshall, North Carolina, in

article ‘Decentralizing the classroom: Utiliz-

May, as part of a VCUQatar grant project.

Conference hosted by the German University

Director of Entrepreneurship, Roger Griffiths,

of Cairo and also exhibited “Distention“ at

successfully completed the first year of his

the Gezira Art Center in Cairo, Egypt. In No-

doctorate in Business Administration (DBA)

vember 2012, Diane presented a paper titled

with the Cardiff School of Art and Design with

ing network theory, collaborative teaching, and agile development to create a soft-structured learning environment’ in the Design Research Society 2012: Bangkok, Volume 02.

Issue 2 — 55

FACU LT Y & STA F F AC H I E V E M E N T S

Assistant Professor of Interior Design, Li Han,

in design history, “ABJAD” at the Faculty

presented a conference paper on hybridiza-

Exhibition during the Tasmeem Doha: Hybrid

Doha: Hybrid Making 2013 Conference with

tion and creativity at European Academy of

Making 2013 Conference with colleague and

colleague and professor Leland Hill. She also

professor Diane Mikhael. He also presented

co-organized the start-up of the Middle East

Design 2013 held at HDK, School of Design and Crafts University of Gothenburg. She

‘Interdisciplinary and Intercultural Collaboration

the Faculty Exhibition during the Tasmeem

Design Edu-cators Association (MEDEA) in

conducted some research which involves the

Projects’ at AIGA Geographics: Design, Educa-

Doha, Qatar in March 2013. Diane is also the

new equipment on 3D printing and immersive

tion and the Transnational Terrain Conference,

editor of the Tasmeem Journal, published as

projection and developed 20 hours of tutorials

Hawaii, USA in December 2012.

on computer modeling which can be incorporated to online teaching in the future.

Assistant Professor of Art History, Leah Long,

part of Bloomsbury Qatar’s QScience series of journals.

co-organized a multi-disciplinary workshop

Dr. Thomas Modeen, assistant professor of

Assistant Professor of Art History, Debra

exploring best practices for integrating

MFA Design Studies, did a presentation titled

Hanson, was awarded a US Capitol Historical

conservation and archaeology at the An-

Society Fellowship for June-July 2013 to con-

nual Meeting of the American Institute of

tinue her research on images of the American

Archaeology, held in Seattle in January 2013,

in the Context of Design and Architecture’ at

West in the U.S. Capitol. At the conclusion of

and also presented a paper called “Economic

the ‘Fablab Seoul’ in Seoul, Korea in May, 2013.

‘Exploring the Idiosyncrasies of Buildware— Examining the Phenomenology of Digital Craft

her tenure, she presented a lecture on “Daniel

Rationality in the Quarries of Asia Minor” as

Thomas’ design ‘Cu3o’—an adaptable storage

Boone at the U.S. Capitol“ that aired on C-

an invited lecture at the Technology and So-

system that uses a set of, variously sized but

span 3, the American History Channel, and is

ciety Symposium at Trent University, Canada

proportionally matched, boxes with ‘hook &

currently posted and available for viewing on

in April, 2013.

their website at www.c-spanvideo.org/program/314322-1.

Assistant Professor of Graphic Design, Peter Martin, presented ‘Considering a

loop’ surface attachments—was featured in the inaugural issue of the ‘Pages’ magazine, published by AOK Publishing.

Michael Hersrud, assistant professor of

Disciplinary Basis of Designing Platforms

Graphic Design, collaborated with the Center

for Designing Change’ at the 7th Design

Simone Muscolino, launched The Moving

for Research, Design and Entrepreneurship at

Principles + Practices Conference in Chiba,

Postcard Project, an innovative endeavor

VCUQatar, and the Qatar Ministry of Interior

Japan in March, 2013. He also presented

that documents changing life in Doha

on the Maersk Road Safety Campaign project.

‘Handling a Coke Bottle: A Case Study

through a developing collection of video

He directed a film, ‘More Than Bricks and

of a Seminar Course’s Approach to Help

fragments. The project is structured around

Mortar: The Damongo Project’ which was

Contextualize a Foreign Graphic Design

three interconnected outcomes: a website,

presented at the Film Festival during Tasmeem

Program’ at AIGA Geographics: Design,

an interactive installation, the integration

Doha: Hybrid Making 2013 Conference. He

education and the transnational terrain

with the Doha Film Institute (DFI) mobile

also participated in the Faculty Exhibition at the

Conference, Hawaii, USA in December 2012.

application. In partnership with DFI and Qatar

Conference with his installation “awel el satr.“ Assistant Professor of Graphic Design,

Assistant Professor of Graphic Design, Diane Mikhael, exhibited six visual posters

Leland M. Hill, exhibited six visual posters ‘321

‘321 the dialog countdown between East

the dialog countdown between East and West

and West in design history, “ABJAD” at

56 — Issue 2

Assistant Professor of Foundation,

Museums Authority (QMA) the project was presented at IDAS Seoul and displayed at Al Riwaq in November 2012 and at the QMA headquarters. The installation was selected and exhibited at the Tasmeem Doha: Hybrid

FACU LT Y & STA F F AC H I E V E M E N T S

Making Faculty Exhibition, where it received

works featured in the recently published

excellent feedback and declaration of interest

book, Textiles: The Art of Mankind, Thames

been recently included in Bibliography of

from different institutions.

& Hudson Publications in December 2012.

Art and Architecture in the Islamic World

Two of the pieces were collaborations with

(Supplements to the Index Islamicus), Leiden:

VCUQatar students.

Brill Publishers, 2012.

Jesse Payne, assistant professor of Foundation, was voted Vice President of Inter-

Heather Bleaney, Pablo Garcia Suarez) have

national Development for the organization

Dr. Khaled Saoud, assistant professor of

Chair of Graphic Design, Muneera Spence,

Integrative Teaching International (ITI)

Physics, was chair of education, media,

co-organized the start-up of the Middle East Design Educators Association (MEDEA) in

in June 2013. He was invited to Nanyang

and outreach committee for the Arab

Technological University in August 2013 where

Nanotechnology Initiative in Cairo in

Doha, Qatar in March 2013. She exhibited

he presented a paper entitled “Creative

October 2012. He is also chair of the

“Experience: Knowing to Know, Handmade

Thinking“ as a part of a student lecture

scientific committee for the upcoming

Books and Drawings Based on Qatar“ at

series and a paper entitled “Teaching Art

Invention Nanotech Middle East Conference

the Faculty Exhibition which was part of

Today: Changing Tides“ as a part of a faculty

in November 2013. Khaled’s project with

the Tasmeem Doha: Hybrid Making 2013

research seminar. In addition to these two

Dr. Massimo Brenteno, from VCU Richmond

Conference. Muneera also participated as

presentations, he conducted a workshop

titled “Development of Mechanically Stable

session moderator and presenter at AIGA

entitled “TraDigital“ in which he demonstrate

Aerogels for Thermal Insulation“ was

Geographics: Design, Education and the

methods of combining traditional and

awarded an $881,000 National Priorities

Transnational Terrain Conference, Hawaii,

digital approaches to drawing. In April

Research Program (NPRP) grant and his

USA in December 2012

2013, Jesse participated in a panel entitled

project “Preservation of Cultural Heritage

“Interconnected Communities“ at the FATE (Foundations in Art: Theory and Education)

using Nanotechnology“ was awarded an Undergraduate Research Experience Program

Conference where he also presented a

grant by the Qatar National Research Fund

paper entitled “Facebook: Extending the

(QNRF) in May 2013.

Classroom.“

Assistant Professor of Art History,

Assistant Professor of Painting and Printmaking, Zach Stensen, had his artist book Pastimes acquired by Virginia Commonwealth University’s James Branch Cabell Library Special Collections in October 2012. In February 2013 he exhibited at Ohio

Love Comes Later, the first novel in English

Dr. Jochen Sokoly presented a lecture

State University in The Idea of North print

set in Qatar, written by Dr. Mohanalakshmi

entitled “The Suaire de St. Josse in the

portfolio. In Stavanger, Norway, Zach taught a lithography course at Grafisk Verksted print

Rajakumar, assistant professor in the LAS

Louvre: New Light on Samanid Textiles from

department, won the Best Indie Book Award

Khurasan”, at the Louvre Museum, Paris

studio (May 2013), and his artist collective

2013 in the Romance category.

in September 2012. He was also invited to

The Fylfot Fellows Correspondence Club had

chair one day of the conference “Ferozkoh:

a solo exhibition at Rogaland Kunstsenter’s

Tradition and Continuity in Afghan Art”

gallery, Trykk 17 (June 2013).

Assistant Professor of Fashion Design, Della Reams, had three of her garments shown in “Fabricate“, the biennial Surface Design Association conference juried fashion show, in San Antonio, TX in June 2013. She had photographs of three of her

at the Museum of Islamic Art, Doha, in March 2013. Two exhibition catalogs that Jochen published during his tenure as gallery director at VCUQatar as well as other scholarly articles (with Susan Sinclair,

Along with professors Patty Paine and Michael Hersrud, Assistant Professor of English, Jesse Ulmer, co-edited The Donkey Lady and Other Tales from the Arabian Gulf, a collection of

Issue 2 — 57

FACU LT Y & STA F F AC H I E V E M E N T S

illustrated folk tales from the Arabian Gulf. He

February/March 2013, and became a qualified

a panel of educational professionals and

also authored the preface of the collection.

IDI administrator.

outcomes included: presentation at the

Jesse presented two conference papers, one

Assistant Professor of English, Diana Woodcock,

at Tasmeem Doha: Hybrid Making, titled

was awarded a 2013 Presidential Research

“Orality to Image: Traditional Qatari Narratives and Visual Media,“ in March 2013 and another one at the AIGA Design Educators conference in, Hawaii, USA in December 2012 titled “Synapse: Designer as Link.“ VCUQatar Dean Allyson Vanstone participated in two workshops at the Summer Institute for Intercultural Communications (SIIC), “Negotiating Conflict Across Worldviews” and “Dealing with Privilege: Thinking Clearly and Acting Effectively” held at Reed College, Portland, Oregon in July 2013. Along with Associate Dean of Academic Affairs John Guthmiller, Allyson participated in an Adhoc K-12 Visual Arts Curriculum development group in the spring of 2013, with representatives from the Qatar Supreme Education Council, Qatar Museums Authority, Qatar University and Qatar Academy with the goal to reintegrate of visual arts and design education in Qatar national school curriculum. Annette Wendling-Willeke, outreach and community class coordinator, showed her new paintings at the 3rd International Artists of Doha (IAD) Annual Exhibition in May 2013. 22 artists representing 13 nationalities showed work under the theme “Between Cultures”. Annette is a member of IAD’s leading and organizing committee and acted as the event coordinator for the 3rd IAD show. Annette also took part in the IDI (Intercultural Development Inventory) qualifying seminar in

58 — Issue 2

Quest Fund Award, Virginia Commonwealth University ($50,000), for her research project “Poetry’s Role in Promoting Environmental

international conference, online publication of abstract and paper publication in the conference proceedings. Director of the Liberal Arts & Sciences program, Byrad Yyelland, chaired the

Justice.” Her fourth chapbook, Tamed by

Tasmeem Workshop Committee for

the Desert, was a finalist in Finishing Line

Tasmeem Doha 2013 in March. In June he

Press’s Open Chapbook Competition (2012)

presented, “Systemic Distrust: Precipitating

and selected for publication in October,

Factor and Hindrance in Organizational

2013 and she received a first prize in the

Culture Change,” at The Asian Conference

20th Annual Artists Embassy International's

on the Social Sciences in Osaka. He also

Dancing Poetry Contest (2013) for “Persian

conducted research in Japan for an NPRP

Nightingale.“Diana had two articles

project, “The Art Souq: A Plan for Developing

published: “Tapping into Poetry’s Potential

an Artists’ Studio Complex in Qatar.” During

to Bring Us Back Home to Earth” in The

the summer months, Byrad continued

International Journal of Social Sustainability

this research in Canada, America and

in Economic, Social and Cultural Context, Vol.

Brazil, where he also worked on a video

8, 2013 CGPublisher; and “Children Inhabiting

documentary, “Living in the Above”.

Environmental Literature: Our Last Hope for Saving the Planet?“ in Inis: The Children’s Books Magazine, Children’s Books Ireland, 2012. Assistant Professor of Interior Design, Kevin Woolley, presented a professional workshop entitled “Learn English! Implications for Arabic Learners in a Global Society“ for English teachers and educators at the 2013 Qatar TESOL conference that dealt with cultural themes, globalization, and 21st century learning skills for secondary English language learners. Kevin also presented the research paper “Hybrid Design Studios: Classrooms of the Future“ at the 2012 International Conference: The Future of Education. The paper was peer reviewed by

FACU LT Y & STA F F AC H I E V E M E N T S

Two Guggenheim Fellowships to VCUarts Faculty For the second time in two years, a pair of VCUarts faculty has been awarded Guggenheim Fellowships. Congratulations to Sonali Gulati, associate professor in the Department of Photography and Film, and Siemon Allen, assistant professor in Sculpture + Extended Media, on this prestigious award. Eleven VCUarts Guggenheim Fellows in eleven years! “I speak for the entire School of the Arts when I say how proud we are to have two of our faculty reach one of the most prestigious markers of success in their fields,” said Joseph Seipel, dean of VCU School of the

Arts, Richmond. “The filmmaker Sonali Gulati and artist Siemon Allen, through their research and creative expression, are emblematic of the quality and high expectations of the School of the Arts.” Gulati is a filmmaker and educator who grew up in New Delhi, India, and has made films that have screened at more than 300 film festivals worldwide. Allen, a South African artist, documents South African historical artifacts and explores issues of identity and branding. Other VCUarts faculty and alumni who have received Guggenheim Fellowships since 2002 include Brian Ulrich, Assistant Professor of Photography (2009); Elizabeth King, Professor of Sculpture (2002); Teresita Fernández (2003) and Bonnie Collura (2005), both alumni of the Sculp01 02

Siemon Allen with an installation of 5000 digital images of record labels from his archive of South African audio Sonali Gulati

ture Department; Hilary Wilder, Assistant Professor in the Department of Painting + Printmaking (2006); Michael Jones McKean, Assistant Professor of Sculpture (2010); Corin Hewitt, Assistant Professor of Sculpture (2011); Stephen Vitiello, Associate Professor of Kinetic Imaging (2011); and our new Chair of Painting + Printmaking, Arnold J. Kemp (2012).

Issue 2 — 59

A D E S T I N AT I O N Fo r D i a l o g u e

2012–2013 Exhibitions & Lecture Series Throughout the year, VCUQatar hosts a diverse program of exhibitions and lectures that are open to the general public. The Gallery at VCUQatar encourages the appreciation and understanding of art and design and its role in society through collaborations with other galleries worldwide and local art groups. The Gallery stimulates active learning about the creative process through dialogue among communities of students, faculty, artists, scholars and the wider public.

01 OFFF artistic director, curator and founder Hector Ayuso Ros 02 Matt Ward 03 Droog Studio ”Chest of Drawers” 04 Equilibrium featuring works by Irish sculptor John O’Connor 05 WeMadeThis.Es exhibition 06 Ellen Lupton 07 Interconnections by Mariana Heilmann

60 — Issue 2

The Gallery started off the year with ‘Equilibrium’ featuring works by Irish sculptor John O’Connor, renowned for his unique sculptural works for public spaces in Ireland. TThe ‘UP Factory by Droog Design’ was the second exhibition the gallery hosted. It showcased Droog’s upcycled products and introduced a new economic model for bringing dead stock back into circulation through re-design. ‘Interconnections’ by Mariana Heilmann, focused on her creations from manipulating end of life materials (recycled materials) in methods that result in unexpectedly beautiful works. The exhibition coincided with the United Nations Climate Change Conference COP18 held in Doha. ‘We Made This. Es,’ a panorama of creativity and talent, allowed an in depth look at an all new generation of Spanish visual creators. The exhibition was curated by Héctor Ayuso. VCUQatar’s Crossing Boundaries Lecture Series reflects the cross-disciplinary nature of the featured speakers who are representatives of excellence in creative and innovative thinking. The 2012–2013 speakers included Renny Ramakers, co-founder and director of Droog Design, who in 2012 Newsweek named one of the “150 Women Who Shake the World;” designer and technology researcher Matt Ward; OFFF, with artistic director, curator and founder Hector Ayuso Ros and partner and executive director Pep Salazar Garcia; and writer and graphic designer Ellen Lupton who is also senior curator of Contemporary Design at the Smithsonian's Cooper-Hewitt, National Design Museum in New York City. The departments at VCUQatar also hosted artists Koichi Yamamoto, Shaurya Kumar, Tim Phillips, Bryan Jabs & Sean Kuhnke, Michael Perrone, Katie Vida, Susan White and architect, urban designer and educator Dr. Sherif M. El-Wageeh.

Issue 2 — 61

A D E ST I N AT I O N F O R D I A LO G U E

Power of Images with Reza In partnership with the World Innovation Summit for Education (WISE) HOPE exhibition, VCUQatar presented ‘The Power of Images’—a lecture and debate with National Geographic photographer Reza. One of the best-known photojournalists on the international scene, Reza has crisscrossed more than 100 countries, photographing conflicts, revolutions and human catastrophes. His eyewitness testimony has been distributed through international media (including National Geographic, Time, Stern, Newsweek, El Pais, Paris-Match, Géo), and in books, exhibitions and documentaries by his own agency, Webistan, created in 1992. The HOPE exhibition was a retrospective of 30 years of these visual narratives that, in the photographer’s words, “reveal the invisible boundaries where joy verges on despair, where conflict meets indulgence, but where life always triumphs.” HOPE presented 80 photographs— including several created exclusively for the WISE publication Learning a Living: Radical Innovation in Education for Work. The Hope exhibition ran from 8 November until 18 December at the Sheraton Park Corniche in Doha.

62 — Issue 2

A D E ST I N AT I O N F O R D I A LO G U E

Lisa Freiman Director, VCU Institute for Contemporary Art We are excited to introduce Dr. Lisa Freiman as the director of the forthcoming VCU Institute for Contemporary Art, Richmond, VA,USA. Freiman is an internationally recognized curator and leader in the contemporary art field. During her ten years at the Indianapolis Museum of Art (IMA), she transformed the experience of contemporary art in Indianapolis. Freiman created a widely renowned contemporary art program that has become an influential model for museums. During her tenure, she also helped raise more than $10 million to support contemporary exhibitions, programs, collection development, scholarship, and other initiatives at the IMA. In 2011, she served as commissioner of the U.S. Pavilion in the 54th International Art Exhibition, la Biennale di Venezia, presenting six newly commissioned, site-responsive works by Puerto Rico-based artists Allora & Calzadilla, the first collaborative to be presented at the Pavilion. Freiman has moved into her Pollak Building office and is busy meeting people and learning about Richmond. The Steven Holl-designed VCU ICA, which will be located at the intersection of Belvidere and Broad Streets in Richmond and is slated to open in late 2015, will bring cutting-edge contemporary art exhibitions, including performance and design, to the VCU campus and city.

About the ICA The Virginia Commonwealth University Institute for Contemporary art (ICA) will be the newest institute for contemporary arts and design in the United States. Unlike a museum with a permanent collection, the ICA will be dedicated to flexible and responsive exhibitions and performances that examine art, design and performance from multiple interdisciplinary perspectives. It will be a new environment for artists to explore the most crucial issues of our time. This dynamic institution, designed by one of the worldâ&#x20AC;&#x2122;s most important living architects, Steven Holl, will engage local, national, and international communities through dynamic and challenging exhibitions, programs, and special projects that encourage critical thinking about the world we inhabit. Associated with the number one public art school in the country and set within a comprehensive major urban, public research university, the ICA will be the linchpin of a vibrant arts district in Richmond that links VCUâ&#x20AC;&#x2122;s campuses, serves as a gateway to the city, and provides opportunities for people to investigate the central issues of our time. It is a major initiative for VCU that will enhance the creativity of the entire university and serve as a resource for the city of Richmond and beyond.

Issue 2 â&#x20AC;&#x201D; 63

FOSTERING Co m m u n i t y In v o l v e m e n t

Portfolio Development Courses & Children’s Programs The goal of academics at VCUQatar is to deal with every step of a stu-

VCUQatar also partnered with Msheireb Art Center to offer a series

dent’s progress through our programs, from the moment one becomes

of art classes to children with a broad variety of challenges including

a prospective student to the time that he or she has graduated into

behavioral issues, or physical or mental challenges, from the Tamakon

the ranks of VCU alumni. The community programs for children and

School for Special Needs Children. 13 Qatari and 13 international stu-

the portfolio development classes offered through Student Affairs and

dents participated, in the first series and eight Qatari and eight inter-

taught by VCU faculty are important steps in this direction. They give

national students participated in the second series in June. VCUQatar

older students the invaluable opportunity to sharpen their portfolios

partnered with Hope Educational Trust in a series of workshops and

and get a taste of university life, while the younger children explore and

exhibitions with and by the artists with no hands and no feet. Students

learn about art materials and design techniques and have an apprecia-

met the artists and were able to experience painting by mouth, feet

tion and understanding of art and design in a fun and creative way.

or alternate hand. Student leaders curated the exhibition at the HBKU

VCUQatar offered four in depth non-credit portfolio development courses in Fall 2012 to 64 high school students. The university also offered a two-week holiday program in art and craft classes to 28 girls between the ages of 10 and 14. In the summer, VCUQatar offered community programs to 80 K–12 level students taught by VCU Richmond’s art educators along with VCUQatar faculty. The Design Intensive course was geared for students aged 16 and above, and Creative Discovery targeted students aged 13–15, introducing them to art and design through classes in drawing, painting, digital media as well as creativity exercises, and group activities. VCUQatar also offered opportunities for younger students, hosting week-long classes—Art Exploration for eight to 12 year olds for the third year, and Art Fun for students aged four to seven for the second year.

64 — Issue 2

Student Center Art gallery.

FO ST E R I N G C O M M U N I T Y I N VO LV E M E N T

Advancing Art Education VCUQatar collaborated with the Supreme Education Council, Qatar Museums Authority, Qatar University and Qatar Academy for the initiation of a pilot program to reintroduce art as part of the curriculum for K-12 students. VCUQatar offered educators from Qatar’s independent schools a whole week of intense workshops with VCU’s art educators from Richmond who had just wrapped up the summer program for K-12 students. The pilot program—initiated by HH Sheikha Jawaher bint Hamad bin Suhaim Al Thani and HE Sheikha Al Mayassa bint Hamad Al-Thani, Chairperson of the Board of Trustees, Qatar Museums Authority—will be introduced to grade three and four students at the independent schools as a 40 minute art class once a week.

Artist Mariana Heilmann teaching a community class

Community Classes As part of VCUQatar’s mission to provide educational experiences in art and design, and cultural opportunities to the various communities of Qatar, VCUQatar offers classes to the community each spring and fall. Our faculty and alumni are committed to participating in these classes. This year 625 community members participated in over 80 four to eight week-long Community Class programs that included areas such as photography and film, drawing and painting, crafts, fashion, interior and graphic design, and computer aided design. The university collaborated with the Social Development Center to provide art and design skills training and conceptual development to underprivileged Qatari women. The program offered in June 2013 consisted of a skill building module including collage making, drawing, and coloring. Students could choose between two main subjects —jewelry making or product design. Group one first attended a clay jewelry making workshop, and then a non-traditional jewelry making workshop. Group two created lamps in an object transformation session as well as frames, bags and envelopes using paper quilling techniques. The 20 Qatari female participants showcased their work in an exhibition at VCUQatar to representatives of the Social Ministry, VCUQatar and family and friends.

Issue 2 — 65

CLASS OF 2 013

66 — Issue 2

C L A SS O F 2013

Commencement 2013

Virginia Commonwealth University in Qatar held its 2013 Commencement Ceremony on 6 May at the Education City Student Center, conferring 39 Bachelor of Fine Arts degrees in fashion, graphic, interior design and painting and printmaking, and five Master of Fine Arts degrees in design studies. The 12th Commencement brought the number of VCUQatar alumni to 409. “There is much that you can do to contribute to the Qatar National Vision 2030,” said VCUQatar Dean Allyson Vanstone in her message to the graduating students. “You are prepared to succeed in a global society increasingly defined by communication and design. You are empowered to make a difference in your community, culture, and economy. You are the pioneers of a future that can influence change on any scale. You will make the world a better place, more capable, efficient, generous and inclusive,” she added. VCU President Dr. Michael Rao addressed the graduating students during the ceremony. “At VCU, we ask our graduates to be leaders in their disciplines and in their communities, to be job creators and not simply job takers. We ask every alumnus and alumna, whether they studied art or engineering, whether they are from the MidAtlantic or the Middle East, to use their education not simply to forge ahead but to forge a path for others. In other words, your education will help you get a job, help diversify your nation’s economy, and help you create opportunities for others. That’s a powerful thing. And that’s because you are part of a research university where innovation means empowering the human capacity,” said President Rao. Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, chairperson, Qatar Museums Authority Board of Trustees, delivered the commencement address to the 44 graduates. “As a civil servant, I have been honored to continue the work of our ancestors in connecting the past with the present, while building new cultural bridges between East and West,” she said. “Today, it brings me great pleasure to celebrate an important milestone in that journey, a milestone I think of as ‘Made in Qatar’—a celebration of 44 Doha-educated graduates in the Fine Arts! Made in VCUQatar confirms that our community is driving our nation to new cultural frontiers. We are not only translating ideas, but also making them right here, right now,” she added. During the ceremony Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani was conferred with the Honorary Doctor of Humane Letters, VCU’s highest form of recognition. President Rao was joined by Dr. Beverly Warren, provost and vice president for Academic Affairs at VCU in the presentation while Rector Dr. John C. Doswell II and VCUQatar Dean Allyson Vanstone performed the hooding ceremony.

Convocation 2012 Hamad bin Khalifa University’s (HBKU) Senior Convocation took

Qatar Foundation Chairperson Her Highness Sheikha Moza bint

place on 7 May, 2013 at the Qatar National Convention Centre. Dur-

Nasser and President of HBKU His Excellency Dr. Abdulla bin Ali

ing the Convocation, 437 students from Virginia Commonwealth

Al-Thani, were joined by university presidents, deans and

University in Qatar, Weill Cornell Medical College in Qatar, Texas

faculty members in celebrating the success of QF’s latest

A&M University at Qatar, Carnegie Mellon University in Qatar,

graduates. Her Highness Sheikha Moza bint Nasser addressed

Georgetown University—School of Foreign Service in Qatar, Qatar

the graduating class.

Faculty of Islamic Studies, HEC Paris in Qatar and Northwestern University in Qatar were honored in front of family and friends.

Issue 2 — 67

C L A SS O F 2013

HBKU President’s Award Graphic Design graduate, Leila Natsheh, was one of six exceptional students granted a Hamad bin Khalifa University President’s Award in May in recognition of academic excellence and a commitment to making a difference on both campus and within the wider community. The six winners from HBKU partner universities were honored for their exceptional academic, service leadership and professional achievements during a celebratory ceremony that was held at Qatar National Convention Centre. His Excellency Dr. Abdulla bin Ali Al-Thani, president of HBKU and vice president of education at Qatar Foundation said, “It was not only their academic achievement that we looked at—we looked at many things, among them their participation on campus and in community development initiatives, their research efforts and what they would like to do in the future. We sought to find all-rounded students, and I am looking forward to them becoming productive members of our community.” “Winning the HBKU President's Award made me most happy for VCUQatar, for being able to educate its design students to attain the level of importance of doctors and engineers at Education City. I am also especially glad that the community in this region is finally beginning to understand what design is, and its essential role in our everyday life. It is just really nice I think, for us designers, to finally be recognized,” said Leila.

68 — Issue 2

C L A SS O F 2013

BFA & MFA Exhibition 2013 & Annual Fashion Show ‘BFA & MFA Exhibition,’ the annual exhibition of VCUQatar’s BFA and MFA graduating artists and designers opened with a reception on 5 May 2013. Featuring a wide range of work that represented the culmination of the techniques and concepts developed throughout their experience at VCUQatar, the exhibition invited visitors to discover the departmental exhibition zones in the Saffron Hall and Gallery. VCUQatar’s fourteenth annual fashion show, Fingerprint, hosted this year at The Gate Mall, showcased the work of four graduating seniors whose thesis collections consisted of a minimum of 10 day to evening looks featuring a range of components that reinforced the individual vision, creativity and styles of the young designers. “Graduation is of course a hugely exciting time for our students, and a culmination of their experience at VCUQatar,” said Caitlín Doherty, exhibitions and speaker curator at VCUQatar. “It is particularly exciting, therefore, that the BFA and MFA Exhibition forms part of these celebrations because it provides an opportunity, really for the first time, to bring together all of our graduating students, from across all design disciplines, and showcase their creative achievements. For most, this is the first time that they have formally exhibited, not as students, but rather as designers, and so this is a wonderful opportunity for family, friends, and the general public to see their work, but also for industry representatives to see the work of emerging talent here in Qatar.”

Issue 2 — 69

01 02 03 04 05 06 04

70 — Issue 2

Graphic Design senior Farah Al-Taweel Esra Kazem’s Beyond the Stated Function: Showcasing, through everyday objects, social obstacles imposed on Qatari female youth Interior Design senior Imen Ibalas’ Crossing Fingers A piece from Aisha Al-Sowaidi’s Finding History in The Future Works from Al Hussein Wanas’ Narrowing the Gap Between Imaginary & Real Artifacts: A Process for Making & Filming Diegetic Prototypes Graphic Design senior Chaiun Chung

02 03

01 02 03

A garment from the Patterns collection designed by Aisha Al-Naemi A garment from fashion design senior Sultana Jesmine’s ‘Deviant Minimalist’ collection Detail of installation by Leila Natsheh

Issue 2 — 71

THANK YOU VCUQatar’s remarkable achievements would not have been possible without the generosity of our donors who contributed their time, talents and gifts to make the University the success it is today. It is this thoughtfulness that will allow VCUQatar to continue on its journey of creativity and innovation.

S C H O L A R S H I P S & G I F T S 201 3 A R A B E N G I N E E R I N G B U R E AU D O H A I N SU R A N CE CO M PA N Y MAERSK OIL M ATE R I A L S CI E N CE CE NTR E Q ATA R Q ATA R 2022 SU PR E M E CO M M IT TE E SA R A H A B D U LG H A N I SA L A M S TU D I O & S TO R E S

M E M B E R S O F T H E J O I N T A D V I S O R Y B O A R D 201 2– 201 3 CO - CH A I R D R. DAVI D PR I O R PROVO S T & E XECUTIVE VP, H A M A D B I N K H A LI FA U N IVE R S IT Y CO - CH A I R D R. B E VE R LY WA R R E N PROVO S T & VI CE PR E S I D E NT FO R AC A D E M I C A FFA I R S, VCU

MEMBERS JAY CO O GA N PR E S I D E NT, M I N N E A P O LI S CO LLEG E O F A RT & D E S I G N D R. A H M E D H A S N A H VI CE PR E S I D E NT FO R PA RTN E R S H I P S & PE R FO R M A N CE , H B KU SA M U E L H O I PR E S I D E NT, OTI S CO LLEG E O F A RT & D E S I G N J E FFR E Y N E S I N PROVO S T, S CH O O L O F VI SUA L A RT S DAVI D RO S S G E N E R A L CO U N S E L , (R E TI R E D) VCU J O S E PH S E I PE L D E A N, S CH O O L O F TH E A RT S, VCU D R. J E LE N A TR KU L JA D I R EC TO R O F E D U C ATI O N, Q ATA R M U S EU M S AUTH O R IT Y

E X- O F F I C I O M E M B E R S H.E. D R. A B D U LL A A L TH A N I PR E S I D E NT, H A M A D B I N K H A LI FA U N IVE R S IT Y A LLYS O N VA N S TO N E D E A N, VCU Q ATA R

This publication is printed on FSC approved Arjowiggins Rives Sensation

72 — Issue 2

CONTEXT CREDITS

©Virginia Commonwealth University in Qatar The VCUQatar Magazine is published annually by the Office of Communications. We welcome your comments. Please send them to mckaan@vcu.edu

E D ITO R Meike Kaan WR ITE R Priya Lorraine Dominica D’Souza DESIGN Haya Sayel Daher Jordan Gushwa Sara Shaaban PH OTO G R APHY Pritham D’Souza Markus Elblaus Sarah Lauck Leila Natsheh CO NTR IB UTO R S Marco Bruno Patricia Duignan Rhys Himsworth Dr. Thomas Modeen Patty Paine Jesse Ulmer Michael Wirtz CO PY E D ITO R S Robert Bianchi Ashley Burton Robin Fetherston Mohanalakshmi Rajakumar Jesse Ulmer TR AN S L ATO R S Adel Jamal Awad Nadya Abu Dayeh

Issue 2 — 73