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// yourAOK events benchmark 2015 kuwait

// in this issue an adventure from interior design ayka designs dubai /28 `

web design with born interactive /38

A quarterly publication that spreads awareness on creatives works found on our online platform, while providing them with enhanced marketing opportunities throughout the region. The publication also showcases the latest products in the region from light fixtures to furniture.

Our second division is yourProfession which aids creative professionals in enhancing their creative output by providing them with workshops, forums, competitions, and seminars.

@yourAOK

@yourAOKnetwork

www.youraok.net

Mubarak AlKabeer Street Dirwaza 51 Tower, Kuwait T. (965) 22913.AOK info@youraok.net www.youraok.net

An Online networking platform customised in connecting talents, firms, and product suppliers in MENA while giving them the tools to market and improve upon their digital portfolios, sell their design products online, and find new job opportunities.

autumn /2014 decmber / january / february yourAOK team

editor- in-chief managing director communications director information director financial director pages talents curator pages contents curator benchmark coordinator benchmark graphic designer benchmark marketing representative sales representative

soha alsaleh ruba alsaleh alia alazzeh abdulaziz alkandari mohammed alroumi rawan kakish dalal al qattan shaikha alsahli ghadeer al awadhi dalal al loughani igor zelcevic

contributing correspondents

sarah al fraih cyril zammit hawraa al mousawi

contributing firms

AOK W.L.L Publishing House info@youraok.net A Customized Design by yourAOK Published in Kuwait, Four Films Printing Press

studio toggle .ps lab born interactive ayka designs marie laurent architecture brand creative forward thinking architecture creative space beirut green studios abidi & hakki the cool hunter

front cover page courtesy of shahand hesamiyan back cover page artist portrait: hazem harab

contents/ autumn 2014 11

talents your profession web design

12 16 22 28 34 38 44 50 54 56 60 64 68 72 74 82 84 89 90

sustainability exhibition real estate landscape product design urbanism interior design research architecture fashion design

96 98 106 112 116 120

editorial

editor-in-chief / the evolution of architecture

design

made in tunisia / vakay from austria to kuwait / studio toggle learning from gaza / sarah al fraih an adventure from interior design / ayka design stephen street kitchen / pslab a moment at born interactive / born interactive functionality & talent / marie laurent architecturure downtown design / madeenah / a true design process / brand creative forward thinking architecture / barcelona & GCC make designers not fashion / creative space beirut landscape design & technology / green studios design of the times / cyril zammit abandoned & reborn in jordan / abidi & hakki makkah vs makkah / AAVS norway’s passports / global snapshots the number one priority / the cool hunter travel photography / hawraa al mousawi

talents

front cover / shahand hesmaiyan back cover / we used to fly on water / hazem harab political artistry / khalid al baih modern boundaries / faij ahmed cactus / mohamed abusal

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EDITORIAL

the evolution of architecture

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SOHA ALSALEH

EDITORIAL

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the evolution of architecture editorial

Architecture, both as a field of study and as a profession, is rapidly evolving from its traditional sense to one that encompasses disciplines across many fields. The concept of the “old-school” architect is no longer encouraging to potential university students, for reasons that include increasing unemployment and reduction in salaries, which make success in the architecture field tougher as time goes by. In order for emerging architects to compete in today’s market, they are moving towards a more collaborative process and a new paradigm, which includes design, sustainability and a focus on social consciousness.

Today, projects are almost always built with sustainability in the forefront of priorities.

Utilizing local or recycled materials, and focusing on more efficient methods are significant facets of “new” architecturxe. Energy conservation, ecological design, and seeking innovations in technology and current practices are pushing the architecture field into a smarter and “greener” future. Architects who have a vested interest in finding design that enables sustainability are those who hold the future of the profession in their hands.

In reading a magazine recently, I have come across a concept that speaks of the ability to use energy and climate in building and design, which would have immense implications on the field of sustainable design. This concept focuses on taking these factors into consideration when first starting a project, instead of at its end. One architect who is heading such innovative thought, Sean Lally, views the entire design environment as an energy system.

Experimenting with this new-found theory at a design biennial in Turkey, Lally recently built a stage model to study how an environment defined by light and heat would change and affect how humans behave within it. In a recent interview, Lally states “A physical boundary, and how to perceive the boundary, that’s architecture. That’s what architecture is going to be like in twenty years.”

Architects are no longer only designers of buildings and infrastructure - they are the cornerstone of future sustainability and environmental consciousness. Within the current issue, this fundamental aspect will be even more apparent to our readers as we highlight upcoming architects in the Middle East whose innovative and sustainable designs are creating waves both regionally and globally.

editor in chief soha alsaleh image green studios

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product design

VAKAY

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VAKAY

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vakay made in tunisia product design

text text&&diagrams diagrams vakay vakay

- What is behind the name “VAKAY”? What does it mean?

VAKAY means “And the tree” in Vietnamese language because in the future, we intend to use other materials and not only wood.

We chose this language for its strong pronunciation and esthetical compositions.

- Why did you venture into this specific business?

Our love for fashion, design and business as multidisciplinary partners is the main reason that we decided to venture in making wooden eyewear.

- How did Vakay start as a concept?

VAKAY started from scratch, when I stumbled upon wooden sunglasses on the Internet. I fell in love with the concept. So I asked my friend Soulaimen Ghorbel, who is a designer and my partner now, to make wooden sunglasses for me. Our friends liked them so much and wanted some for their own. That was the “Aha” moment in which we decided to launch the business.

After that, Majdi Ghorbel joined us to for initial funding, as well as the development process. When we wanted to name our brand, Ashref Chichini ,our fourth partner, was there and he developed the concept of VAKAY. That’s how VAKAY was born.

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VAKAY

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- How difficult was it turning it into a viable business?

It was very difficult at the beginning to set up the production process and to align the quality we aimed for, as well as, to respond to the countless orders that we were receiving Technically we succeeded in creating some specific tools to make high-end products and to set up a strong commercial strategy.

- As a start-up from Tunis what are some of the challenges you face competing in an international market?

Thanks to the quality of our high-end products and their original designs, we are very competitive in the international market. In 2015, our brand will be present in different countries.

- What are the design methodologies you follow?

Our design philosophy is based on originality and the “wow� effect. Furthermore, our different designs are made in a way that everyone can find a frame that suits their face. We have some classic designs and some extravagant designs. We will definitely use other materials to make our product as different and original as possible.

- What would you say is the future of Vakay?

VAKAY will be one of the greatest brands in the eyewear industry and it will be present in numerous countries around the world.

International stars will be wearing VAKAY. - How did Vakay expand to date?

VAKAY is now expanding globally. In 2015 VAKAY will be present in France, Switzerland, Dubai, Morocco, Lebanon and eventually other countries.

- What advice would you give young designers and business owners in MENA? Young designers and business owners in MENA should believe in their dreams and set up their goals clearly, work hard and persevere. Changing the world and how things happen is not impossible. /

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INNOVATIVE DESIGN

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INNOVATIVE DESIGN

from austria to kuwait studio toggle

text & diagrams studio toggle

STUDIOTOGGLE is a young Architectural Practice based in Kuwait. The Practice was formed in 2011 in Vienna, Austria

by Architects Hend Almatrouk and Gijo Paul George, both graduates of the acclaimed University of Applied Arts, Vienna (dieAngewandte). STUDIOTOGGLE aims to combine digital form finding and engineering techniques with an ethical and sustainable architectural practice. The office specializes in finding logical design solutions using cutting edge technologies, be it in the fields of Architecture, Interior or Product Design.

Instead of developing a stylistic agenda, STUDIOTOGGLE prefers to approach the fundamental issues of Light, Proportion and Form based on their combined effect on the senses of each individual who occupies the said Space. Always striving towards achieving a purity of geometry and form, STUDIOTOGGLE is restrained in the use of functional ornamentation but does not eschew it.

Operating in Kuwait since 2012, Studio Toggle has completed two projects, while four more are under various stages of construction.

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architecture

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A simple rhythmic twist, by transposition of the vertices on either side of a finite axis gives dynamism to the facade of this apartment building in Salmiya, Kuwait. By using a restrained palette of natural brick and exposed concrete finish, the massing is further emphasized, giving the building its unique identity.

Studio Toggle was involved in the Exterior Design, Massing, and the design for the Lobby area and the surroundings.

Studio Toggle Architects were commissioned to create a total redesign for an about-tobe-constructed private residence, for which planning permissions were already obtained.

Rather than starting from scratch, which meant huge delays and cost overruns, we proposed a series of measured modifications, through which we achieved the goals of a completely new design, at the same time staying within the limits of the already obtained planning permits. The house occupies a corner plot in Al Salaam, which is more or less a newly developed residential area in Kuwait. Need for a balance between privacy and openness informed the design and so did climatic and environmental concerns.

The swimming pool takes the center stage and the house wraps around and opens up into it. The large glazed walls of the ground floor create a seamless effect between the ground floor spaces and the pool. The upper floor is slightly cantilevered to form overhangs above the glazed walls, minimizing the heat gain. This arrangement is reminiscent of the traditional courtyard houses which utilized a water feature to cool the passive air through evaporation. The simple white massing of the house is strategically ordered for optimum shading as well as reflection of the harsh desert sun. The two cantilevered square windows offer wrap around views as well acting as a cozy alcove floating above the pool. /

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learning from gaza

learning from gaza text & diagrams sarah al fraih

architecture re-occupied I began this article with the intention of writing about the usual topics governing the region’s architectural discourse, but as I considered the possibilities of public space and the housing crisis, something unexpected diverted my attention.

On July 8th 2014, the Israeli Defence Force launched ‘Operation Protective Edge’ in Gaza, and what followed within the next few weeks can only be described as a systematic act of annihilation that has rendered more than 2000 people dead and over 60,000 internally displaced.

(UNRWA, 2014) In an early address to the General Assembly, UN Secretary General Ban Ki Moon stated the following: ‘Do we have to continue like this: build, destroy, and build, and destroy? We will build again, but this must be the last time to rebuild.’

(The Guardian, 2014) I pondered the weight of this statement.

In the wake of neighbourhoods that have been reduced to rubble; and when the very idea of ‘normal living’ is inconceivable, the paradox of the century emerges. Could the perpetual cycle of devastation in itself be the very key to Israel’s justified existence?

The atrocities that have afflicted the Gazan population cannot go unnoticed.

As families struggle to come to terms with the brutal loss of human lives, the built environment around them reveals an undeniable truth. They are battlefields not playgrounds; but playgrounds for battle. To use Foucault’s definition of ‘biopower’; this relates to the style of governance that extends political control over all major processes of life, mainly utilising technologies that regulate human social and biological processes. In a clear demonstration: Gaza with a population of 1.8 million people, it is one of the most densely populated strips of land; it lacks a proper physical or economic infrastructure to support it and relies indisputably on the external services of the Israeli state.

When examining the bio-political conditions of Gaza, the role of spatial practices, one can argue, can aid, counter or even perpetuate the on-going regional violence. If addressed, the necessity to critically condemn and enforce justice may find alternate grounds for validation.

In May of 2002, a map developed by the architect and activist Eyal Weizman for B’Tselem (an Israeli human rights organization), caused major controversy amongst the architectural community.

What the map highlighted was the accurate locations of Israeli settlements, as well as clearly defining all known plans for future expansion.

Despite being initially rejected, the map soon cemented its position within a worldwide debate on the ultimate relationship between politics and architecture. More than anything, the map signified the inherent violent nature of cartography and the role of planners and architects who are complicit in the propagation of urban warfare. (Zacks & Weizman, 2006) Traditionally, we can argue that the map in Israel has always been used as a tool to register the topographies of power more so than that of geographic boundaries.

The systematic mapping put in place as early as 1948, was used to rationalise Israel’s establishment, and to keep the Palestinians powerless against the colonialist tendencies of the new state.

Such tendencies can be seen in the physical properties of these maps: from the use of ‘Settlers’ and ‘Palestinians’ to differentiate and isolate the population, to the establishment of Hebraized versions of the original Arab town names. This was part of an ‘attempt to prevent future claims to these villages.’ And was supported by Israeli archaeologists who approved the names ‘not so much as a takeover of a title, but rather as a form of poetic justice that restored to ancient Israel its ancestral map.’ (Chomsky & Pappe, 2011, p. 62)

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The Israeli ‘border’, let us firstly clarify is a skewed construct that is based on biopolitical regulations rather than on any geographically established order.

On paper, the border ‘line’ used to delineate the edge condition of territorial agreements remains at best an abstract notion. The dimensions of the Israeli border fragments time and time again across both horizontal and vertical planes. Once placed within the context of such a dynamic force, the border can be understood through its colonial nature: as an elastic power that utilises various strategic devices to enforce Israel’s claim to land. The Green Line of 1949, Israel’s internationally recognised border is an example of such a construct. Firstly, it never appears on any official Israeli map per say, (nor do any of the military checkpoints or obstructions). Thus without a formalised ‘mark’ on paper, the Green Line in reality, pulls out and extends to incorporate new settlements that conveniently ‘appear’ along its path.

Architecture, Weizman therefore argues is constantly used as a weapon to inflict a ‘slow violence’ on occupied Palestine. The growing network of checkpoints, military zones and settler populations are examples of how Israel operates under a process of ‘separation and control’, an incriminating act that according to Weizman, began at the drawing board. These settlements are designed to weave through the fragile fabric of the Palestinian territories in a way that fragments and de-centres the Palestinian population. Such methods of horizontal territorial control were, and still are, a direct reaction to Palestinian urbanity, a perceived threat to the ambitions of Israeli expansion.

As isolated islands, held together by a series of Israeli bridges, roads and walls, negotiating passage across the terrain becomes a devised method of regulation; making the little pockets of Palestine vulnerable and easier to manage. This is key to occupying space, states Weizman; once the flow of movement is controlled then the rest is easy. So whilst the ‘Settlers’ are free to roam seamlessly through the landscape, the ‘Palestinians’ are slowed down, and funnelled through specific routes and valvelike checkpoints. (Al Jazeera, 2014).

learning from gaza

In addition, Weizman’s ‘Politics of Verticality’ references the control that Israel exerts across the opposite plane.

Here, subterranean resources, such as water as well as the airspace above are all under the direct jurisdiction of Israel; such is the case in Gaza. (Weizman, 2004) Since 1948 and despite the Oslo Accords, the disintegration of Palestinian territory has remained dependent on such geospatial and biopolitical mechanisms, exercised through stringent colonial command. Without an accurate map, Palestinians were always at a disadvantage during negotiations. Once both aerial surveillance and satellite imagery quickly assumed their positions as the most legitimate sources for assimilating cartographic information, the Palestinian cause, we may argue, was compromised from a relatively early stage. With Israel in full control of all airspace, occupation here adopted a different scope: that of access to necessary information.

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Gaza can clearly be a measure of this contention. For Israel, it was always necessary for the strip to operate as a foreign entity from the start. In 1948, both the Israelis and Egyptians restricted movement in and around Gaza; in 1994 a fence encircled it; by 2000 when the peace processed was declared dead it became a ghetto; and in 2005 the withdrawal of Israeli troops rendered the strip a fully militarized zone, only serving the interest of concentrating the Palestinians in one place. Thus the people of Gaza ‘vacillated in the last sixty years between being internees, hostages or prisoners in an impossible human space.’ (Chomsky & Pappe, 2011, p. 173) What the Oslo Accords really enabled was for Gaza to be formally adopted as a separate unit cut off from the rest of Palestine and the West Bank. Controlling the strip from the outside while carving the West Bank into manageable portions was considered the best solution to the ‘Palestinian Problem’ (Chomsky & Pappe, 2011, p. 175).

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In this sense, Palestinians could either be ‘inmates in the open prison of the West Bank or incarcerated in the maximum – security one of the Gaza Strip.’ (Chomsky & Pappe, 2011, p. 188) Israel’s interests therefore, lie in Gaza’s state of temporality. On the one hand, it is this very condition of temporality that allows the occupation to continue permanently, as Israel continues to take ‘security measure’ wherein the main purpose remains border expansion.

However, paradoxically, to preserve the ‘right to return’, Palestinians must retain refugee status as defined by the UN and therefore cannot build anything that reflects a state of permanence.

Furthermore, Israel despite being complicit in Gaza’s destruction also profits in its repeated re-construction. By law, Israel is exempt from all liabilities rising from damage caused to a resident of enemy territory during ‘combat action’ or ‘military operation’. Amendment No.8 to the Civil Wrongs Law (Liability of the State) exemplifies this.

sarah al fraih

To claim compensation, this law stipulates that Palestinians must file claims within 60 days of an alleged incident and that any claims must be brought forth by lawyers in Israel. Furthermore, a new law is being proposed in the Knesset, if passed Gaza will be re-classified as ‘enemy territory’ (Haaretz , 2014). This would mean that all future action taken against Gaza would be tolerated. Thus allowing Israel to act outside of international or state regulations, and administer further violence without reparations or reprimand.

Accordingly, Gaza can be best described as a ‘frontier’: ‘Against the geography of stable, static places, and the balance across linear and fixed sovereign borders, frontiers are deep, shifting, fragmented and elastic territories.’ (Weizman, 2007, p. 4). Gaza not only operates as a buffer zone, but it is also grounds for military and tactical experimentation. It is not so much an exercise of enclosure, in as much as it is an exercise in porosity and control of movement. This means that the use of force, (whether military, economic or political),

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that is then followed by a counter violent response, warrants the need for defensive power and the absence of law.

The perpetuation of violence, Weizman suggests, is a necessary condition for pacifying the ‘frontier state’; and the never-ending excursions into Gaza are a clear sign of this.

The ‘frontier condition’ of Gaza also draws to light the unseen nature of aggression. In peacetime, when Gaza is once again re-built as Ban Ki-Moon advocates, the problem persists through invisible mechanisms of control (such as the ‘politics of verticality’) that continue to operate seamlessly. (Weizman, 2004).

This is a slower process of deprivation, where basic requirements such as mobility, healthcare, food and energy are kept at a calculated minimum. As if the Gazans are only deserving of humanitarian aid, and not political or economic self-determination.

These strategies amount to nothing more than psychological experiments in power and authority. For, how can suffering here be clearly demonstrated and legitimized as a measure of occupation? With no ways to quantify loss as being directly proportional to Israel’s fluctuating territorial control, these injustices slip away unaccounted.

As discussed, control over Palestinian collective life has stemmed from the everpresent nature of Israel within and around the occupied territories. Occupation was not only about appropriating land, but also about controlling the stories inscribed about these lands.

Parallels here can be drawn with the events of 1948, an important year in the collective consciousness of both sides.

In the West, the events have always been perceived as a symmetrical war between two hostile enemies, rather than a series of atrocities inflicted by the Israeli forces in an asymmetrical conflict. For Israel it was a year of great achievement and heroism. For Palestine, it is known as the ‘Nakba’ or the ‘Catastrophe’ and would be the root of a Palestinian unity front.

Any admittance of the ‘Nakba’ is an automatic denial of Israel’s existence and ‘the mechanism of denial, therefore, was crucial, not only for defeating the counterclaims made by Palestinians in the peace process but, far more importantly, for disallowing any significant debate on the very essence and moral foundations of Zionism.’ (Chomsky & Pappe, 2011, p.

74) Thus by fragmenting the ‘Pre-Nakba’ narrative, the common experience was no longer there and the Palestinian narrative was effectively erased.

The Settlements themselves also serve as military outposts. As Weizman notes, they work individually and collectively as hilltop optical devices; panopticons that survey the area and secure access for armed intervention when necessary. Furthermore, the use of red roofs on settlement houses are designed for military aerial navigation through the landscape; here colour is applied as a means of differentiating between potential targets and settlers, between friends and enemies. (Al Jazeera, 2014)

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It was only in the early 1990’s, with the emergence of critical historiography that the Nakba was brought back to the forefront of any debate, which in turn legitimized the Palestinian narrative and initiated any consideration on the ‘right to return’.

Today, and since the publication of the B’Tselem, map, the role of mapping as a practice has taken a new course and alternative modes of cartographic representation are being adopted that aid in re-defining the known narrative. In the case of the Nakba, an Israeli organisation Zochrot, Hebrew for ‘remembering’ (perhaps the only organisation that deals with the occupation since 1948), have launched the iNakba phone app. This is an interactive map and tourbased service, that attempts to locate the 400-500 Arab villages that were destroyed, depopulated, occupied or abandoned. By identifying and tracing the remnants of these lost Palestinian histories, the ‘fragments of stone wall, clumps of prickly pears that served as fences, or the neglected tombs of Muslim holy men’; Israelis and Palestinians alike may be better informed about a history that has been ‘obscured by enmity, propaganda and denial’ and essentially place it back on the ‘map’. (Black, 2014) Thus, if the map, legitimized and made credible, is taken as absolute truth, then all key players in the process should answer to these violations. However, and more importantly, as Zochrot demonstrate, the map is representational at best; and thus must be questioned and if necessary subverted using alternative collective means. Yet, whilst the struggle still lies between powers of relative and ultimate visibility, we now find that the methodologies of open-source networks, counter-cartography and crowdsourcing being used to re-assess the asymmetric conflict. Hence, tactics such as drone warfare and drop-warning missile systems (used by Israel in its ‘humanitarian war’ on Gaza) for example, are being examined by practices like Forensic Architects. This team of multidisciplinary researchers operate under the scope of design and spatial activism: interrogating physical ruins and presenting architecture as evidence in legal cases of human rights violations.

It was only in the early 1990’s, with the emergence of critical historiography that the Nakba was brought back to the forefront of any debate, which in turn legitimized the Palestinian narrative and initiated any consideration on the ‘right to return’.

Today, and since the publication of the B’Tselem, map, the role of mapping as a practice has taken a new course and alternative modes of cartographic representation are being adopted that aid in re-defining the known narrative. In the case of the Nakba, an Israeli organisation Zochrot,

learning from gaza

Hebrew for ‘remembering’ (perhaps the only organisation that deals with the occupation since 1948), have launched the iNakba phone app. This is an interactive map and tour-based service, that attempts to locate the 400-500 Arab villages that were destroyed, depopulated, occupied or abandoned. By identifying and tracing the remnants of these lost Palestinian histories, the ‘fragments of stone wall, clumps of prickly pears that served as fences, or the neglected tombs of Muslim holy men’; Israelis and Palestinians alike may be better informed about a history that has been ‘obscured by enmity, propaganda and denial’ and essentially place it back on the ‘map’. (Black, 2014) Thus, if the map, legitimized and made credible, is taken as absolute truth, then all key players in the process should answer to these violations. However, and more importantly, as Zochrot demonstrate, the map is representational at best; and thus must be questioned and if necessary subverted using alternative collective means. Yet, whilst the struggle still lies between powers of relative and ultimate visibility, we now find that the methodologies of open-source networks, counter-cartography and crowdsourcing being used to re-assess the asymmetric conflict. Hence, tactics such as drone warfare and drop-warning missile systems (used by Israel in its ‘humanitarian war’ on Gaza) for example, are being examined by practices like Forensic Architects.

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This team of multidisciplinary researchers operate under the scope of design and spatial activism: interrogating physical ruins and presenting architecture as evidence in legal cases of human rights violations.

To conclude, Israeli historian Pappe writes in an open letter: ‘This is 2014 — the destruction of Gaza is well documented.

This is not 1948 when Palestinians had to struggle hard to tell their story of horror; so many of the crimes Zionist committed then where hidden and never came to light, even until today. So my first and simple pledge is to record, inform and insist on the truth.’ (2014) Thus, by recording the mechanisms behind the shaping of conflict through detailed territorial analysis, exploring borders, settlement and land ownership and by looking at narrative from an individual through to a collective scale; a commentary based on renewed understanding can eventually better inform.

And while I never imagined finding myself writing about Gaza, for as they say, politics is best left for the politicians (and to some extent, I agree); when violence is employed through architecture, to insist on the truth as Pappe advocates, is to acknowledge its conceivable role as occupier. For, if we are to find any truth to its practice, architecture must ultimately rise to resist the abuses of its own power.

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fishing limit prohibited refugee camp no-go zone, buffer & wall

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INTERIOR DESIGN

ayka designs

AYKA DESIGN

text & diagrams ayka design

I have been an Interior designer for over twenty two years, ten of which have been in Dubai. I recently won the prestigious award of Best Interior Designer of the Year 2013 in the MENA region presented by Commercial Interior Design Magazine. I’ve been very fortunate in my career, as it has allowed me to work on some prestigious projects worldwide from The Grand Hyatt Tokyo, Hilton in Geneva to the Park Hyatt Maldives. Each project was always designed to be higlhly unique, so I was always involved with the bespoke designing of Furniture, lighting and rugs

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AYKA DESIGN

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After receiving the Design Award, I launched Ayka Design in January this year at Domotex in Germany which allowed me to follow my passion for designing handknotted rugs. I felt it was a time in my life that I wanted to go back to being more creative, to explore my own designs with more freedom. I’ve alwayscustom designed bespoke carpets for my own hotel projects so it was a natural choice, especially as I have worked a lot in India the last six years. It’s a personal journey that was a dream for a few years and I decided now is the right time.

When I’m designing rugs, its not about trying to create a pattern or a colour it’s about capturing memories and experiences from something I’ve seen or places I’ve been too.

These inspire me to explore new things in my design…. New Colours…New Techniques Celebration is a collection in hand spun silk inspired by a dinner party at a Parisian Party that I attended with close friends. The Design Collection is bold and modern with its colourful vibrant palette of rich blues, purples and gold.

My approach was to take elements such as Sparkle representing a decorative bracket and Etiquette as the tableware as bold objects creating them as a beautiful canvas.

I’ve recently launched my Spring Collection called Textures in New York in September and I am currently working on my new collections for 2015. Every year I design around five new collections. My approach is really not to follow Fashion trends in rugs, which allows me to think out of the box and to be bolder in my desigs. The Design Aesthetics differ in each collection as the design evolves around the subject, the color or even sometimes just textures. Our style is contemporary and bold but textures are always a key design element.

Our cilents are becoming worldwide but I sold my first rug here in the UAE so that was a very special moment.

I’m always drawn to see how people react to my designs and how it makes them feel….. whether they see my vision or not or even see their own. That interaction is the best feeling when they see what you felt as a designer.

For more info on AYKA DESIGNS, contact: kmevans@hotmail.com /

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stephen street kitchen, restaurant at BFI. text & diagrams .PSLABS.

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.PSLAB is a context-specific design and manufactory company that is invested in the production of sensory experiences. We are mostly known for our design and build lighting service – our international projects include custom-made technical and sculptural lighting objects in collaboration with renowned architects and designers. For each project, we make specific objects for specific contexts.

Founded in 2004 and headquartered in Beirut with offices in Stuttgart, Helsinki, Bologna and Singapore, .PSLAB has developed considerable expertise in its localized design and production facilities in Lebanon and its service operations overseas.

Currently, its 100+ workforce composed of creative, production and management professionals create the backbone of its servicesavvy setup.

For the British Film Institute’s new restaurant and lounge, Stephen Street Kitchen, designed in collaboration with Benugo and built by Softroom, .PSLAB sought to craft a lighting experience tantamount to the BFI’s legacy. The elegant, white-andbrass insertions, custom-designed and fabricated by .PSLAB, evoke the essential origins of cinema: the play of light and space. In concert with the space’s rugged concrete ceiling, raw hardwood floor, and streamlined furniture, .PSLAB’s lighting intervention shades and tones the mis en scene of this historic institution.

The fixtures on the columns in the BFI lounge, which feature both in the interior of the building and on the exterior façade, were produced using a craftsmanship developed by the .PSLAB design team, which follows a manual, recto/verso bending technique applied to corrugated brass sheets. The resulting cylinders are given a powder-coated exterior finish, while the natural brass interiors reflect a burnished glow. These pieces are finally hinge-mounted to the columns, providing the space with a modular aspect, allowing the light scheme to be subtly manipulated according to the desired mood.

The design of these cylinders is echoed in the large separators placed between the couch seating booths.

Utilizing a smaller-scale version of the column pieces, these table lamps are finished in brass and are outfitted with a custom black base, lending a touch of noir ambiance to the dining experience.

The corrugated drum finds a third iteration in the meeting room lighting, in which the cylinders are affixed directly to the ceiling in quadruplets.

The combined effect of .PSLAB’s three pieces in the space is one that compliments and extends the art of light that the BFI has made its mission to preserve. /

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a moment at Born Interactive beirut / dubai / riyadh

text & diagrams born interactive

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born interactive

web design

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360° interactive, agile and integrated experiences in web, mobile and social media

Date: Any Monday Morning Time: 8:30 AM Location: Born Interactive, a New Media agency throbbing in the heart of Beirut, Dubai and Riyadh Mission: Explore the Real World of Digital Today Walk in the hallways of Born Interactive and its lively colorful vibe will infect you within seconds.

Hitchcock’s wisdom displayed in a giant font on its bright colorful walls, pretty much defines the setting of Born Interactive: “Ideas come from everything”.

Born Interactive has a backbone of 70+ talented people spread within 8 organizational departments, each one of them equipped with a highcaliber skillset and ‘get-things-done’ attitude plugging them into a multidisciplinary eco-system full with positive energy and innovative ideas, forming a beehive of collective work.

Born Interactive has mastered their craft over a lifespan of 18 years in the digital industry, working with over 2000 clients from a wide array of industries and business sizes, providing them with a 360 degree Integrated Digital Approach to maintain strategic communication stability across all platforms including web, mobile, social media, SEO, SEM, and any other emerging digital trend

At Born Interactive, they follow a solid, fail-proof marketing process that divides the road to success into 4 key steps that insure: proper industry and market knowledge, efficient platform building, optimizing communication messages and properly measuring progress. They call it the Responsive Marketing approach.

One of the best things about spending a day at a digital marketing agency like BI is nothing stays the same for long. That makes a day sound like just a moment. A moment of making order out of disorder… Simply #AMomentAtBI.

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web design

born interactive

Daw’an Mud Brick Architecture Foundation www.dawanarchitecturefoundation.org

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born interactive

www.esa.edu.lb/

Established in 1996, ESA is a Business School dedicated to the education of executives and managers in Lebanon and the Middle East.

This responsive design website is in English and French managed by our powerful CMS: SKWID. Users can also use the virtual tour to check the campus.

Mozart Chahine www.mozartchahine.com Mozart Chahine is the biggest Musical Institution in Lebanon and the Middle East.

As part of its new marketing strategy and corporate identity revamp, Born Interactive worked on the design and development of the new Mozart Chahine website.

www.shadowpp.com Shadow Professional Photography (SPP) is a dominant Photography, Videography and Creative Production services company established in 2002.

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The Daw’an Mud Brick Architecture Foundation was established in 2007 to consolidate and rehabilitate the urban heritage and architecture of Hadramut for the future. The website highlights the projects undertaken by the Foundation, events planned and organized on the subject, and contains a gallery of captivating photographs among other information.

ESA Business School

Shadow Professional Photography

web design

With a modern and dynamic look and feel, a Parallax scroller was integrated in the Home Page design to portray the music energy and show its vital effect.

The website gives users the opportunity to access a range of Mozart Chahine products and services while giving the opportunity to subscribe to its Newsletter, powered by BI CMS 4.0 to keep the music fanatics updated with the latest news and event.

Hospitality Development Company www.hdc-global.com HDC is specialized in owning, developing and managing worldclass hospitality projects

CMO www.Paycmo.com CMO is a mobile payment app recently launched by CSC Bank in Lebanon. Born Interactive worked on a digital solution to efficiently promote the app through a Website and Animated Video.

We worked on creating a conceptual story in order to present the app’s user experience in the friendliest manner. The spirit of the story is well portrayed in the Website Navigation and the animated video we created, that takes the user on a “Day with CMO” journey. In just a couple of minutes people are exposed to all the app features in usability in a fun and colorful way.

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web design

born interactive

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web design

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selected mobile apps designed by born interactive

Rudaw Media Network Born Interactive helped establish the digital presence for Rudaw Media Network; a leading Kurdish TV located in Erbil-Kurdistan, by designing and developing all of Rudaw’s online collateral, from a highly interactive website to a mobile portal, mobile and tablet apps (for iOS, Android, Windows and Blackberry) a cross-platform Desktop Alerter, all developed in 5 languages offering a highly ergonomic and interactive user experience including TV and Radio streaming.

The portal is powered by SKWID CMS enabling the administrators to manage the contents on multiple platforms, Web and mobile.

Bahri Hijri Calendar Bahri Hijri Calendar app allows users to view current Gregorian/ hijri dates, navigate by day, week, month, year, add your notes and important dates, view the Qiblah location and more —all at the tip of your fingers. It was designed to be both beautiful and smart, saving you time and eliminating hassles.

Roger Moukarzel Roger Moukarzel is an internationally published documentary and fashion photographer. This app, designed and developed by Born Interactive for IOS mobile devices showcases Roger’s photo portfolio classified into categories and gives app users the option to share photos and add them to their favorites

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ARCHITECTURE

marie laurent architecture

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the search for functionality & talent marie laurent architecture text & diagrams marie laurent architecture

Marie Laurent Architecture is an architectural practice based in Dubai. It was founded by Marie Laurent, also director of Project A . Marie Laurent has realized several projects in the United Arabic Emirates, within the dynamic environment of the Emirates and their will to develop extraordinary architectural concepts with the understanding of tradition.

Marie Laurent Architecture functions under the strict rules of environmental awareness, quality and clarity. Architecture should be beautiful, should be sure, should be simple and should be safe. Fashion is irrelevant, the search of talent and functionality is adamant.

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marie laurent architecture

ARCHITECTURE

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ARCHITECTURE

marie laurent architecture

penthouse 59 We went back to Shell and Core to deliver this project with its maximum potential!

This 7 500 /ft2 penthouse with an exceptional view over the palm, the marina and the desert was completely opened up to bring the outside inside.

From a standard 5 bedrooms layout, we transformed this typical residential space in a unique 2 bedrooms penthouse where less is really more!

Each room has several perspective views on the outside and brings natural lights from sunrise in the bedrooms to sunset over the sea in the living room.

The loft approach on this project pushed all walls and ceiling heights to their maximum, having concrete structural beams on display.

The core of the penthouse is for the maintenance, while all around, and becomes an entertaining area.

From the first living room, dining area, kitchen and family room, you are discovering more and more views as all are in one space surrounded by windows to their maximum height.

We believe that lux is space, and gave plenty of that in this project!

Materials and color scheme where as well carefully chosen to bring texture and homey feeling. Large planks of oak are running through the space and the 3 doors only in the apartment have selected primary colors marking each area with character.

Luxurious white marble and Solid Oak Bathrooms overlooking the marina and desert view and an open kitchen suitable for professional chefs.

A contemporary and minimalist approach that gave this unique penthouse it s full potential.

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marie laurent architecture

ARCHITECTURE

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ARCHITECTURE

marie laurent architecture

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marie laurent architecture

ARCHITECTURE

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sprungli cafe For the first time, the Sprungli institution is opening outside Switzerland.

We wanted to recreate the feel of the original Sprungli on the Paradeplatz in Zurich, with a modern twist more suitable for its middle east high-end clients.

The project is based on strict lines, strict function and strict atmosphere to represent the meticulousness and thoroughness in the production and presentation of these exquisite chocolates.

You have a feel of Europe as you approach the cafe, with black awnings framing the entrance. Sprungli retail and cafe really stands out as we hope a new institution for Dubai sweets lovers.

We kept the dark wood scheme as the original cafe, with large displays and mirror perspectives in the display shelves. A darker scheme in contrast with the mall that immerse you in a modern yet very cozy atmosphere.

A large central counter displays all varieties of sweets and let it become the center of attention while seating areas along gives you the feel of the brasserie. /

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product design

downtown design

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downtown design

product design

downtown design dubai

text & diagrams downtown design

Combining traditional Bohemian glassmaking with cutting edge technology and the innovative design of world-renowned designers LASVIT will debut at Downtown Design Dubai with the kinetic sculpture Alice and a new lighting collection. It presents LASVIT´s cooperation with renowned fashion designer Blanka Matragi and design star Maxim Velčovský.

LASVIT premieres at Downtown Design Dubai with a unique kinetic sculpture Alice, designed by Petra Krausová. The kinetic bloom conducts the dance of light as it reflects and refracts on its surface. LASVIT will also present another sophisticated artworks such as Couture – a flawlessly crafted glass sculpture by fashion designer Blanka Matragi, finding its inspiration in a layered skirt, Frozen – by Czech design star Maxim Velčovský.

The collection reflects the contemporary creativity LASVIT is known for, and fully illustrates the company’s mission: to transform glass into breathtaking experience in light and design

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downtown design

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downtown design

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alice / designed by petra krausová The inspiration behind the Alice sculpture was a search for commonality in glass and nature. Glass, as in nature, is organic and unpredictable, where each leaf and tree is unique. Bringing these unique optical properties of glass to the sculpture evokes an experience underpinned by its name, a sense of Alice in Wonderland. Alice is a kinetic bloom, its traces to flowers equally fragile, original and unique. Since ancient times, flowers symbolized peace and love, values as fragile as the flowers themselves and an undeniable property of glass.

couture / designed by blanka matragi On the occasion of the Downtown Design Dubai 2014 exhibition, LASVIT will present the flawlessly crafted “Couture” glass sculpture by fashion designer Blanka Matragi for the first time. Inspiration for this sophisticated work of art was a layered skirt. This breathtaking glass sculpture wonderfully combines glassmaking craftsmanship and the extraordinary design with precise rendering.

LASVIT debuts at Downtown Design Dubai 2014 with the unique “Couture” glass sculpture by famous fashion designer Blanka Matragi. “Couture” is an apt name for Blanka Matragi’s sculpture as it borrows its shape from the female form with a layered skirt fitted around the hips and tapering toward the frills. It is hand-made with the precision of filigree. The entirety of the perfectly shaped sculpture showcases incredibly intricate handwork, not unlike Blanka Matragi’s fashion designs.

Who lives here?

How long have you been working here?

Look! Pigeons!!

Why is this building up for demolition?

What is the oldest building on this street?

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Why is this shop abandoned?

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WALK

‫ﺗﺠﻮل‬

COLLECT

SHARE

‫اﺟﻤﻊ‬

‫ﺷﺎرك‬

.‫ﻟﺪى اﻟﻜﻮﻳﺖ ﺛﺮوة ﻣﻦ اﻟﺤﻜﺎﻳﺎت‬ .‫ﺗﺘﻨﻔﺴﻬﺎ ﺟﺪران و ﻃﺮﻗﺎت اﻟﻤﺪﻳﻨﺔ اﻟﻌﺎﻣﺮة و اﻟﻤﻬﺠﻮرة‬ ‫ﺗﺴﺘﺸﻒ 'ﻣﺪﻳﻨﺔ' ﻫﺬه اﻟﺤﻜﺎﻳﺎت و ﺗﺴﺘﻜﺸﻒ ﻗﻴﻤﺘﻬﺎ‬ .‫اﻟﺜﻘﺎﻓﻴﺔ‬ ‫'ﻣﺪﻳﻨﺔ' ﻣﺆﺳﺴﺔ ﺛﻘﺎﻓﻴﺔ ﺗﺪرس اﻟﺒﻨﻴﺔ اﻟﺤﻀﺮﻳﺔ ﻓﻲ اﻟﻜﻮﻳﺖ‬ .‫ﻣﻦ ﺧﻼل ﺟﻮﻻت ﺛﻘﺎﻓﻴﺔ و ﻣﻮﻗﻊ إﻟﻜﺘﺮوﻧﻲ ﺗﻔﺎﻋﻠﻲ‬ ‫ﻳﺘﻀﻤﻦ اﻟﻤﻮﺳﻢ اﻟﺜﻘﺎﻓﻲ ﺟﻮﻻت ﻓﻲ اﻟﻤﺪﻳﻨﺔ و ﻣﺒﺎدرات‬ .‫ﺗﺸﺎرﻛﻴﺔ ﺗﺆاﻟﻒ اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﻤﺪﻳﻨﺔ و ﺳﻜﺎﻧﻬﺎ‬ .‫ﺗﺪﻋﻮك »ﻣﺪﻳﻨﺔ« ﻟﺮواﻳﺔ ﺣﻜﺎﻳﺘﻚ ﻋﻦ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻌﺎﺻﺮة‬

Kuwait has a wealth of stories to tell.

These stories run deep through the city and are embedded in its architecture and urban fabric.

Madeenah is a web-based social platform engaged in curating Cultural Walking Tours and delivering spatial studies.

The Cultural Season inlcudes Madeenah organised city walks as well as other collaborative initiatives that engage with the city.

Madeenah invites you to walk, observe and share your own narrative on the contemporary city.

www.madeenah.co | info@madenah.co @madeenahkw | #madeenahkw

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brand creative

Interior design

a true design process brand creative

text & diagrams brand creative

In just under four years, interior design and branding agency, Brand Creative, has established itself in the market as the “go to” agency for strategically branded interiors specialising in the retail, hospitality and entertainment sectors in the UAE, GCC and internationally. Brand Creative was established in 2011 by married duo Carla Conte and Mohammed El Hijazi and has a core team of nearly 15 talented and knowledgeable artists with backgrounds in strategy, architecture, civil engineering, interior design, and graphic design. With a head office in Dubai and a newly opened branch office in India, the agency is experiencing a growth period which is a direct result of hard work, talent and passion.

Brand Creative’s design work provides retailers, restauranteurs, spas, hotels and business owners with unique, creative solutions that have a positive effect on sales and brand awareness while keeping style, art and an effortless “cool” vibe at the forefront of each vision.

Brand Creative’s design work provides retailers, restauranteurs, spas, hotels and business owners with unique, creative solutions that have a positive effect on sales and brand awareness while keeping style, art and an effortless “cool” vibe at the forefront of each vision.

When asked what sets Brand Creative apart, Mohammed explains: “When we sit with our clients and discuss their competition and their aspirations they often compare themselves to other local brands. Although this is important we stress that it is essential for every brand to study upcoming international trends and to stop benchmarking themselves to what’s currently “best” in the region. The GCC has a sophisticated demographic (both local and expat of a certain age group) that are well-educated, travelled and stylish consumers. Most importantly, not only can they can afford the best but they expect it. Our approach to design incorporates a strategic research stage where we study each client’s market and positioning before ever offering any visual concepts. We are able to provide quantifiable reasoning to our designs and balance being commercial viability with dynamic aesthetics. We deem a design as being successful only once we know that our concept is either positively affecting sales or increasing the brand’s awareness.

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interior design

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brand creative Creative Director Carla Conte says, “Our ability to connect with consumers on an emotional level is the driving force behind our success.”

She explains, “ We guide our clients through a true design process and share with them the trade secrets learned from top international retailers. We understand how to brand spaces, and imbue them with a personality of their own. It’s not just about what colour the walls are or which lighting to use. We know what makes consumers want to enter space, how to create an experience that’s in line with what’s on offer and ultimately how to encourage consumers to spend time in the environment we create”.

Since its launch, Brand Creative has built up an impressive portfolio of clients and projects, from the IIDA Retail Award winning new look of Bin Sina Pharmacy at Mall of the Emirates for Al Khayyat Investments, positioning the brand as a leading derma-cosmetic provider that captures the attention of females shoppers; to full branding and interior design for Nar – a eclectic, fusion shisha lounge and restaurant with edgy-chic aesthetics that has recently been awarded a Golden A’ Design Award in Italy. One of their largest projects to date is the full interiors and branding for The Avenues Mall in Baushar, Oman for Lulu Group International set to open in Spring 2015.

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Brand Creative was also awarded Honourable Mention in Chain Store Age’s 2014 Specialty Retail category for Maybury – a fresh food market newcomer to the region that approaches it’s interiors from a highly stylish and upmarket sensibility.

Other accolades include shortlistings in the Commercial Interior Design (CID) Awards for Sisters Beauty Lounge at St. Regis, Abu Dhabi and Hamac Beachwear in Dubai Marina’s The Beach. Carla was also named in CID’s Hot 50 List in December as one of the most active and influential interior designers of the Middle East.

When asked about the future, the duo states “We are going to try our own hand at the retail market by developing a furniture and accessories line that is not only sustainable and supportive of a particular developing country but stylish and affordable too. We figure we have enough of the tools and experience with not only retail but also designing custom furniture and the combination of these two specialties could yield great results.

Brand Creative will always be our main focus and we look forward to meeting new and exciting clients who are poised to succeed and want to engage with a design agency that will inspire them. We would love to see Brand Creative open official branch offices in both Toronto and Casablanca – this way we can spend time doing what we love most but also enjoy our families back home. I don’t think we’ll ever live what most people deem a “normal” life and quite frankly we’re not only at peace with that – we look forward to it! /

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sustainability

forward thinking architecture

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forward +hinking architecture from barcelona to the GCC

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forward thinking architecture

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“We were inspired by the desert Oasis morphology to use as a reference for the project green transformation in time...”

text & diagrams forward thinking architecture

FORWARD THINKING ARCHITECTURE is a multidisciplinary office located in Barcelona , which develops projects of architecture, urban design, landscape studies and Initiatives based on a fresh look at design issues using Strategic Thinking (T) , always considering a holistic vision of the project.

We are immersed in a changing world, where new ideas, surprises and unexpected juxtapositions are emerging on a daily basis. This is the reason why we believe in exploring within a LAB format different ways of approaching diverse problems that we transform into real project opportunities. We believe in asking the right questions in order to provide clients with effective answers.

O A X I S: a project inspired by the sun and the desert Oasis formations. The project as a new link between the desert, renewable energies and water-saving hydroponic agriculture in direct connection to the Arabian Peninsula nearby cities.

The Arabian Desert: Being a region sitting in the so-called Sun Belt, this vast rainless region boasts with energy resources, a strategic position for OAXIS project. It encompasses almost the entire Arabian Peninsula, blanketing the area in sandy terrain and seasonal winds.

Encompassing over 1,447,7955 square miles (2,330,000 sq km), the Arabian Desert contains Rub’al-Khali, one of the world’s largest continuous bodies of sand in the world.

As a geographic area, the Arabian Peninsula is often considered impassable, due to extremely dry environment and scarcity of visible vegetation. Despite the inhospitable terrain, however, the Arabian Desert has served throughout history as a commercial passageway between the Middle East and North Africa.

While it appears inhospitable and barren at first glance, it has proven to be a valuable source for natural resources, including oil, natural gas, phosphates, and sulfur. It also covers a vast reserve of underground groundwater, trapped beneath the sands since the Pleistocene Age, which has in recent years been tapped and used for irrigation in the region. Home to human populations for over 3,000 years, the earliest inhabitants of the region were the Bedouin, a nomadic civilization that used the lands of the Arabian Desert as a breeding ground for camels.

“With an Arid land region , a fast growing population, rapid urbanization, with the coming Dubai Expo 2020 or Qatar’s World Cup 2022, with massive food imports of more than 90% in the GCC, scarce water and plenty of Sun energy resources, we believe OAXIS project fits in this Arabian Peninsula context and can be applied in many others whith similar environmental and physical conditions.We have to respond now to the challenge, in order to help ensure future food security in the region

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sustainability

forward thinking architecture

As designers and technicians, we shouldn’t talk about design, processes or sustainability as isolated matters. What is interesting about a new design or building is the potential and possibilities it creates in order to improve human life. The proposal addresses food production and consumption, it deals with cities self-sufficiency and connectivity , with the relationships between architecture and food insecurity within an ecosystemic vision.

People, nature, design and technology are combined in order to serve an specific function: produce fresh and quality local food with water saving technologies which can help reduce massive food imports in the Arabian Peninsula cities while creating a new attractive linear environmental HUB for farming technology research, pedagogical use and also open to locals and visitors.

The ideas behind solar energy plants or Hydroponic agricultural systems are not new to the region , actually there are already several hydroponic farms and plenty of Solar plants around the area. What we believe is interesting about the O A X I S project is the effect it can produce by “fusing” these existing technologies.

Having said this, the proposal is not about inventing a new Hydroponic or Photovoltaic system, it is about using Strategic Thinking in order to fuse these existing technologies with the desert elements in order to create a new selfsufficient prototype, one that can help reduce food insecurity, massive imports and create more possibilities for human life.

“We were inspired by the desert Oasis morphology and use it as a reference for the project green transformation in time, but our objective is not to compete with nature and its amazing processes or with existing Oasis such as Al-Hasa. What we propose is a safe and controlled hydroponic facility based on a modular linear pattern, a city new “green A X I S”, which incorporates some of the qualities of a desert Oasis. It will produce Solar energy to become self-sufficient and capable of running an underground transportation system that deliver the crops directly to the cities, shortening long distance food transportation (imports) and therefore reducing CO2 emissions”

What if we could combine all these amount of solar hours, the desert elements and existing hydroponic technology in order to produce local sustainable agriculture to help reduce food imports?

The OAXIS project facilities incorporate a prefabricated modular structure which uses recycled steel, which can be easily expandable to increase the footprint area if required (Solar plant and building construction). The project use local passive strategies to control the building’s environment and it also produces its own energy via a series of high-efficiency photovoltaic panels mounted on the roof-top, acting as a linear solar plant. The clean energy produced will be used for the buildings own consumption and for artificial LED lightning, but most notably, for running the underground conveyor belt system which will transport the produced hydroponic crop trays directly to the nearby city logistic station (minimum distance transport just inside the city area) . All the overproduced peak time energy will go to the city electric grid. The envisioned hydroponic farming system will significantly reduce irrigation requirements (by up to 80%) by controlling (and recycling) the water used, with less fertilizers, pesticides and a rapid growth year-round cycle (,in order to have efficient crop production. Part of the recycled water will be used for the exterior “Oasis” green transformation over time. OAXIS will install on top of the physical facility a computerized systems to control the environmental conditions and the conveyor belt crop transportation system.

We asked ourselves:

Why not help reduce long distance shipping and transportation of crops (imports) and its environmental effects by creating a project that can locally produce the crops and deliver them directly to the city by means of clean energy powered conveyor belts systems?We already have the elements and the technologies, lets combine them!

A comprehensive renewable energy strategy: For the underground linear conveyor belt system powering, we propose to use an scalable technology of high-efficiency and self-cleaning solar panels facing South located on the buildings roof-tops, in order to generate and supply the electricity required to run the system.

The clean energy produced will also be used to supply the O A X I S facilities and the energy overproduction will be redirected to the nearby city electric grid. Since the project is a linear and a modular one which can be expanded according to the desired or required length , it was important for us to incorporate this high efficiency solar technologies, since this kind of panels will allow us to consume a smaller building footprint and produce the same amount of electricity as larger area installations. All the installation, labor and wiring required will be proportionate to the serviced linear area.

Where does the OAXIS energy come from?

Roof-mounted Photovoltaic’s (Preliminary data, minimizing demands and consumption) : 131 kWh/ sqm annually - roof area In a 1km long linear distribution (equivalent to 10 Types of crops proposed (fresh vegetables ,herbs OAXIS modules)= and fruits) : 1 linear Kilometer of OAXIS = 18 610 sqm X 131 kWh/sqm = 2 437 910 kWh/ annually ( electric Potatoes, Thyme, Lettuce, Basil, Tomatoes, annual output) Strawberries, Rocket, Bell Pepper, Cherry Tomatoes Combining the local elements and the existing Displaces approximately 2,100 tons of carbon technology: dioxide annually

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The solar availability is at its highest from May to august, ranging the insolation from 224 kwh/ sqm to 237 kwh/sqm O A X I S as the city’s new “Oasis ecosystem” / Green growing pattern: The project is envisioned to become a sustainable ecosystem which functions with maximum environmental efficiency and incorporates distinctive flora and species of the region in order to create a new destination in the city. Thus, O A X I S will become a true Biodiversity and educational HUB for the people , showcasing the desert environments and those habitats endangered from climate change. The project will address the function of water as a structuring and precious element and its value in connection with social, cultural, health and wellness-related.

This will be evident in the use of Hydroponic technology, a water-saving system, which grow crops with less water and fits perfectly in the desert, where the transparent fluid is limited and the intense heat prevents many plants from growing. All the recycled water coming from the hydroponic farming technology will be used for irrigation of the exterior vegetation, allowing plants and biodiversity to expand around the facilities. /

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fashion design

creative space beirut

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creative space beirut

fashion design

make designers not fashion creative space beirut

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text & diagrams creative space beirut

Creative Space Beirut (CSB) is a non-profit school for fashion design. Since 2011, the innovative program has been dedicated to fostering the talent of young aspiring designers who lack the resources to pursue a creative education at increasingly costly institutions. The CSB team and its supporters believe in the power of creative education to break social and economic barriers and fight inequality.

CSB aims to make the design world accessible to those with vision, flair and the driving impulse to create. It runs as a 3 year program built on a progressive model which encourages creative freedom and peer to peer exchange. A diverse roster of professional artists and designers donate their time to teach various courses, forming an enriched and dynamic curriculum. At the end of each year, the students produce garments that are showcased and sold in a public exhibition 100% of the proceeds generated by sales are reinvested in the program to help ensure the students’ continued education.

The fashion school’s talented students come from diverse backgrounds. They commute to CSB from all corners of Lebanon, including Palestinian refugee camps, the southern city of Saida and the Armenian quarter of Bourj Hammoud.

CSB’s growth is made possible through a rigorous fundraising strategy which includes the support of generous individual sponsors in student based scholarships, as well as local and international partnerships. Mood fabric store and fashion designers Urban Zen (Donna Karan), Derek Lam and Diane Von Furstenberg continue to donate large amounts of textiles. In addition, Parsons The New School for Design continues to support the initiative by sending faculty members as guest teachers. .

This October, Creative Space Beirut, in collaboration with Pretty Little Things and CAP Kuwait made their regional debut with ‘Make Designers Not Clothes’, a multi-faceted exhibition portraying CSB’s journey thus far and presenting the various results of this year’s hard work.

The free fashion school showcased their fifth collection, inspired by ‘Surrealism’ and designed and executed entirely by the student designers. The one of a kind pieces were created throughout the academic year in a variety of courses and workshops lead by a spirited team of teachers and mentors.

The turnout was heartening, and the support inspiring as upwards of 200 people attended the two day exhibition.

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fashion design

creative space beirut

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creative space beirut

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landscape design

green studios

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green studios

landscape design

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green studios landscape design & technology platform text & diagrams green studios

Founded in 2009 by 4 friends -Oliver wehbe, Zeina kronfol, Jamil Corbani and Marc Abi Haila- Green Studios is a landscape design and technology platform specialized in hydroponics applied on green walls and green roofs. It is currently installing Green walls and roof gardens in Beirut, Cairo, Dubai and the Arab world.

Green Studios fuses landscape architecture with cutting edgetechnology into one thinking process to create new green solutions for urban contexts.

This new approach to landscaping relies on a proprietary flexible hydroponic skin that hosts plants and allow them to thrive in places where greenery was once thought impossible.

Our work involves extensive research, trials and sampling at our Beirut located workshop, where we constantly test concepts and products related to our technology.

Under patents in Lebanon and the U.S., our Green skin technology has the added advantage of being engineered to work in the extreme climate ranges of the Middle East, from the arid climates of the Gulf to the subtropical, and Mediterranean microclimates of Lebanon, making it perfect for use anywhere in the world. Linked to a smart system, our Green skin constantly learns by collecting and analyzing scientific data remotely.

Working with real estate developers, architects and contractors, Green Studios seeks to change the application of greenery in tomorrow’s cities and influence the fields of landscape architecture and urban farming. /

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landscape design

In today’s overcrowded cities, with their lack of open, horizontal spaces, the only logical manifestation of greenery is on façades and rooftops.

That’s why we at Green Studios focus our skills and energy on developing and patenting ideas that are part of a new chapter in landscaping, we call mutated landscapes.

Mutated Landscapes can take a myriad of forms. Our interventions can be in the shape of living benches or rocks, floating gardens, planted sunshades or most importantly, can allow façades and roofs of building to become alive.

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Design of the Times

Cyril zammit

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design of the times text & diagrams Cyril Zammit, Fair Director of Design Days Dubai reflects on just how far the region has come in embracing collectible design since 2012

I can scarcely believe it has been less than four years since the very first Design Days Dubai, held annually in Emaar’s Downtown Dubai. It is always a challenge to trailblaze new disciplines, ideas and concepts and at Design Days Dubai that first year, I don’t think people knew what to expect and were possibly a little confused – was it a furniture show or was it a design exhibition?

How could a simple piece of furniture command such a high price tag? Many visitors didn’t realise that our furniture and objects were even for sale. As we start to prepare for our fourth fair in March 2015, I am proud of how we have evolved, both as a team and culturally as a city, in such a relatively short time.

The fair, and the initiatives that have sprung up through it, have played a significant part in that evolution through a process of education and understanding of design. Our ability to showcase galleries from such diverse geographic locations - Algeria, Australia, Mexico, China, Brazil, Taiwan - for the first time, bring a truly global impression of the design world to our city.

Throughout the fair, daily workshops supported by Dubai Culture and Arts Authority (Dubai Culture) and Dubai Design District (d3) and hosted by design professionals help widen the public understanding of the design process and talks with leading figures of design, live performances and installations all play their part in imparting the spirit of collectible design to those with a thirst for more knowledge.

The fair is something of an education for the galleries too.

Many of our visitors are unfamiliar with big design names and those representing them, so our visiting galleries need to work hard. The galleries will only bring a designer’s work they have invested in on many levels – so it is an opportunity to transfer in-depth knowledge to a fresh customer base. They are required to become storytellers and speak exhaustively about the design process and craftsmanship that has gone into each piece so it is not ‘just a chair’ or ‘just a mirror’ that happens to cost Euros 35,000. I’m also impressed by the fact that our visitors aren’t afraid to ask questions whereas in more developed markets they may feel self-conscious at showing a lack of knowledge. To help, we provide each of our galleries with an Arabic-speaking intern to translate each piece’s journey to any visitors expressing an interest.

I feel we have adapted our range of exhibitors to suit the market now. There is a perception in the West that only collectors go to fairs, but we have visitors who will just come to buy one work because they emotionally connect with the rare and different shape of a piece of furniture or an objet and may never turn into a collector. Similarly, we have visitors who turn into avid collectors – but always I say only buy for the sake of love, not just investment.

Bespoke design is also a concept that the region is becoming more familiar with since the inception of the fair. All of our

designers only produce limited edition collections usually between eight and 12 pieces. But visitors are now understanding that if you see a piece and it is not quite what you want, it can be commissioned then tailor-made for an individual, a company – or even a city. For a bespoke chair or table, the cost is comparable with those in high-end furniture stores.

So what can visitors to Design Days Dubai expect in 2015?

We are constantly working to bring fresh design to the fair and are delighted to be showing works by designers from Taiwan and China for the very first time. Designer Zaha Hadid will be represented three times: David Gill Galleries from UK who will bring a collection of Hadid’s tables; Wiener Silber Manufactur from Austria with a regional premier of the designer’s stunning silver vases and the incredible vortexx light produced by Sawaya & Moroni and presented at the fair by Zumtobel. The Middle East’s leading designer Nada Debs will be celebrating 10 years of her work and we’re also working with the UK’s Craft Council who has selected eight talented young artisans to showcase their work.

We are also proud to be the launch platform for Emirati designer Aljoud Lootah who will unveil her very first collection of limited edition furniture pieces in March. For the last three years we have witnessed her path into the design world and are delighted Aljoud has chosen her hometown of Dubai to premier her work.

From the United States, a great line up of three new galleries will make their Middle Eastern Debut: Todd Merrill, Chamber NYC and The NWBLK. We have also the chance to welcome for the first time Gallery FUMI, Fiona Barratt Campbell, both from the UK and Galerie Silbereis from Paris. In another regional first, Van Cleef & Arpels will bring their dazzling new collection entitled Pierres de Caractère – Variations paying homage to the dazzling colour and quality of some truly exceptional stones

New also for Design Days Dubai 2015 is the Audi Lounge, a stylish and exclusive venue where collectors can relax between seminars or enriching journeys around the many global galleries.

We’ll also feature The Game, a pop-up design store from Belgium offering witty and affordable design pieces for home and lifestyle for sale. During the week of the fair, the very first phase of the 21 million square foot, Dubai Design District (d3) will also open its doors. Its vision is to give those connected with all aspects of the design industry an area of the city in which to live, to work, to create surrounded by like minds. It is indeed – quite literally concrete evidence, if it were needed, of quite how far design in this part of the world has come.

Cyril Zammit will be speaking at the Benchmark Design Entrepreneurship Forum in Kuwait on 17th January as part of Design Stories, a regional roadshow aimed at promoting design and spark discussions with designers.

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abandoned & reborn in jordan text & diagrams abidi & hakki dmwphoto.com laith majali

about abidi & hakki [abidi] is an international award winning 3D Artist with a degree in Architecture that has journeyed him to find his passion in Interior / Spatial Architecture. A greater passion is found in his zeal for Concept Design, a spark evident in each project adding further uniqueness to individuality. He brings the dynamism, balance, impeccable visual actualization, maturity, spatial composition, clean cut and high end design to his half of the confident table; [hakki] on the complete opposite side of the table, is a fun loving all-over-the-place 2D designer.

Starting off her education in what she called Archi’torture’ gave just the perfect foot to float her off to finish a degree in Graphic Design.

Her working experience allowed her to find her passion in being a well-rounded branding specialist. She also holds her self-appointed title “Princess Die-cut” for her manifold packaging designs.

She brings the colour, the identity, the definite out-of-the-box creativity, the personal client experience and entertaining design touches that are so original they make others want to steal, copy and try to paste.

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firewood oven & grill

An Old Blacksmith’s Workshop, abandoned and turned down by time, only to be given birth again many years later as a FireWood Oven and grill restaurant.

Built almost entirely from reclaimed materials, FoodSmith restaurant in TajMall - Amman reflects what can be achieved when given the freedom to design without much client intervention.

For this project, we’ve designed everything from Concept, to interior and Brand.

Hats off to our favourite client to date!

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de soto Coffee | Wine | Book bar in Talabay - Aqaba Jordan a project by Abidi‫و‬Hakki DeSoto, inspired by the Spanish traveler is a coffee, book and wine bar located in the marina of Aqaba in the south of Jordan. It celebrates the renowned Spanish traveler Hernando DeSoto.

As a consequence its architecture and branding depicts a mini biography of his travels. Lucidly evident through the iceberg of branding, the logo is an emblematic sketch symbolic of DeSoto’s features, as his beard swirls into a relevant composition of design representative sea waves.

On a larger scale the interior experience is wholesome to the concept, one is immediately engulfed by the unbound woodwork that orients a seamless flow accompanied by graphically tailored wall murals.

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ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE VISITING SCHOOL AFRICA & THE MIDDLE EAST MAKKAH VS. MAKKAH

MAKKAH VS MAKKAH 2 - 1 2 F E B RUA RY 2 0 1 5

The AA Visiting School Jeddah, will explore the holy city of Makkah beyond the boundaries of the holy mosque. We will dig deep into the heart of the city drawing both its visible and invisible aspects. We will work collectively to gather information and represent our findings, and using conversations with the locals and site excursions we will rediscover the Makkah that has always been there. Join us on our journey as we rediscover the city and speculate on what the future may hold.

The AA Visiting School Jeddah is open to current architecture and design students, phd candidates and young professionals.

Application online and further information can be found on our website

‫' بدورة‬aa doJolooh S Aiit si AA' ‫ستقىو‬ ‫ بًا في ذنك يا‬،‫نعًم بحث شايم نًدينت يكت انًكريت‬ ً‫ سىف نتعرف عه‬.‫هى خارج حدود انحرو انًكي‬ ‫انتعًق‬ ‫خالل‬ ‫ين‬ ‫كًستكشفين‬ ‫انًدينت‬ ‫ انضًىا يعنا في رحهتنا نهنظر‬.‫في روحانيت انًنطقت‬ .‫في اكتشاف يستقبم انًدينت انًقدست‬ ‫' تستقبم كم‬doJolooh S Aiit si AA aa' ‫دورة‬ ‫ين طالب وطانباث انهندست انًعًاريت وين يهىي فن‬ .‫انتصًيى‬ ً‫نهتسجيم ونالطالع عهً انًسيد ين انًعهىياث يرج‬ .‫زيارة يىقعنا االنكتروني‬

jeddah.aaschool.ac.uk

Architectural Association, 36 Bedford Square, London WC1B 3ES T +44 (0)20 7887 4000 F +44 (0)20 7414 0782. Architectural Association (Inc) Registered Charity No 311083. Company Limited by Guarantee.

The AA Visiting School is a worldwide network of design workshops and other programmes organised by the Architectural Association School of Architecture. To obtain further informa-

or register for the programme please go to www.aaschool. ac.uk/visitingschool or contact the Visiting School Director, Chris Pierce, visitingschool@aaschool.ac.uk

Scholarships: A small number of partial scholarships are available.

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text ruba q alsaleh images neue design studio

norway’s passports innovation in design

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Taking passport design to a whole new level, Neue Design Studio out of Norway has recently won a design competition to redesign Norway’s passports.

Travel documents are generally boring and dull; however, the design company with the winning entry out of Oslo has taken the passport designs to a whole new level. The design at first sight proves to be minimalistic and truly beautiful - reflecting the nation’s identity as everyone knows it.

The design portrays Norway’s scenery in dark and light pastel colors with the national crest stamped in gold. On a completely different level, when the landscape images are shown under Ultraviolet light, they portray the gorgeous northern lights that are so commonly seen in Norway’s skies.

As the design firm mentions ““All Norwegians are so connected to nature, it’s a very strong part of our history and defines us as a country,” says Gørill Kvamme of Neue, who explains that the minimal concept came from seeking to find the “essence of something”.

“It represents the vast variety of nature and landscapes you find in Norway … which makes it relevant to all of us whether you have always lived there or just received your citizenship.”

The design has taken everyone by awe, including the design jury, where they mention “It both illustrates the Norwegian identity and makes sure the passport will be viewed as document of high value,” they said. “The design is attractive and stylish, the colours are subtle and the abstraction of the landscapes are exciting. Aesthetically, the landscape motifs have been given a distinctive look.

The jury appreciates the simplicity of the solution.””

Neue’s next step is quite complicated, where they are required to work with the National Police Directorate to find a way to balance the intricate design and design concept, with security measures required for all passports and their technical specifications and requirements. /

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The Elephant Building; / Bangkok, Thailand

text the cool hunter image the telegraph

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the number one priority the cool hunter We see so often the sad sight of yet another mediocre building going up. We see city councils approving mediocre design and we see cities looking uglier because of it. We see property developers rushing to get their building up, wanting to make a quick sale and profit, and not really caring or thinking about the aesthetics of the building. Does the building enhance the surrounding area or make it worse? Will the building still look great 10, 15 or 20 years from now? Will it become an iconic landmark and a beloved site, or will it become a dated gimmick? What will the resale value be down the track? Will anyone want to live in or buy property like it? Property developers — and city councils — need to wake up and realize their influence on the cityscape and take that role seriously. This is the case not just for residential development — the same applies to office buildings, hotels and all public buildings in general. As a developer and as a city council, do you want to be known as an organization that values and understands design and creates iconic developments? Or will you be known as the ones who created eyesores, or worse, caused a devaluation of an entire area or neighborhood? The aesthetic of a building should be the Number One priority. There is not much point in creating and promoting beautiful interiors when the exterior tells a different story. The whole building should tell a cohesive story.

Led by founder Bill Tikos, The Cool Hunter celebrates creativity in all of its modern manifestations. Since its inception in 2004 The Cool Hunter has become the world's most-read culture and design site, a leading authority on all things creative and a truly global hub for what's cool, thoughtful, innovative and original. We value global relevance, not trends, channeling our discoveries to our worldwide audience. www.thecoolhunter.net

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Hawra M. AlMousawi studied architecture in Kuwait University and got her degree in June 2009. She later joined the Kuwait Fund for Arab and Economic Development training program for architects and engineers. Ranging from various design & management experiences, Hawra has taken to photography as a hobby in which she excelled at it as an interest, during her internships from Boston to Kuwait.

I was passionate about photography since I was a kid; I used to enjoy collecting cameras and taking pictures with no specific interest in any certain field, but I was fond of everything; nature, architecture and people. And then when I was in my fourth year of Architecture, I had a photography class for which I got my DSLR camera, and learned the basic steps of photography for the very first time in my life. This was the starting point for me to practice photography more professionally; I started to understand it better and enjoy it more than before.

Although it’s an occasional hobby, I still want to improve myself in this field by looking at different photographers and learning from them.

For me, photography is a method to observe the world, not only through my eyes, but from my heart as well. Before, I used to be generic in the way I observe the world, but now with my camera, I like to pay attention to the small details, and try to catch the perfect moment.

I can’t call myself a photographer, but an architect who is passionate about photography. I agree with the quote that says “A picture is worth a thousand words”, it is true, as sometimes you can express your thoughts through a picture better than saying it. Some people argue that human factor is the most essential part in giving life to the picture, but I also believe in empty places, every place has a story to tell, the picture sometimes works as a media that tells you this story.

text & diagrams hawra m. almousawi

Besides this, I’m also very passionate about travelling, which I can consider as the number one hobby for me by far.

Exploring new places, getting to know new people and learning about different cultures are the things that make me want to keep travelling and exploring. And since I studied architecture, I’m always curious to visit the most significant architectural landmarks wherever I go. Therefore, when these three come together they make the best combination; the love of photography, traveling, and chasing architectural masterpieces.

Travelling for me is the greatest joy, and the main source of inspiration; it widens my imagination, and makes me look at life from a different perspective. Whenever I plan a new trip, I start my research about the place I’m heading to, and what not to miss; my camera of course is my best friend while travelling. My travels are just like my photography; random with no destination; I like to go everywhere, capture everything.

Photography is an essential part of any trip; it helps me to freeze the moments that caught my eyes, and touched my soul. Not only that, but it also make me look at the buildings and places from multiple different angles.

From my personal point of view, photography, design, and travelling work together very well; travelling gives you the chance to explore new places, experience different cities; the way they are formed, their architectural style, and their lifestyle, and photography is the means through which you document these experiences and share them with the world. /

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talents shahand hesamiyan // front cover hazem harab // back cover khalid al baih faig ahmed mohamed abusal

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shahand hesamiyan khalvat

/Sahand Hesamiyan / The Third Line

Sahand Hesamiyan was born in Tehran in 1977 and graduated from Tehran University with a BFA in Sculpture in 2007.

Sahand has exhibited in a number of group shows in Iran, UK, USA, Italy, Mexico and Saudi Arabia since 1999; Solo exhibitions include those held at Ave Gallery, Tehran, Aun Gallery, Tehran and Project Space presentation at The Third Line, Dubai.

He has also participated in six Biennials and Symposiums in Tehran from 2005 to 2014. Sahand recently won the first prize at the Padide International Symposium of Contemporary Iranian Sculpture (2014), a finalist for the Magic of Persia Contemporary Art Prize, and a nominee for the Biennial Tem Prize of the 4th Contemporary Iranian Sculpture Biennial and has received awards for the 1st Tehran Steel Sculpture Symposium (1st), 1st Tehran International Sculpture Symposium (3rd), Fajr e Noor Exhibition (1st) and was the winner of the Municipality Prize of the 4th Contemporary Iranian Sculpture Biennial. He also participated in the 1st Sculpture Biennial for Urban Space in Tehran (2008). Sahand’s works are included in Delfina Entrecanales Collection, The Samawi Collection and MAC Collection and numerous private collections.

Sahand is a member of the managing board of the 6th Tehran Contemporary Sculpture Sahand Hesamiyan, Khalvat (paper maquette), 2014, cardboard, cyanoacrylate adhesive, 100 x 60 x 60cm Biennial.

He currently lives and works in Tehran.

text & diagrams The Third Line Shahand Hesmaiyan

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The Third Line is pleased to present Khalvat, Sahand Hesamiyan’s first solo show in the UAE. Sahand’s practice primarily explores contemporary sculptural directions, which take cue from Islamic architecture and present ancient concepts of transcendence in a modern context. In continuation of his practice, Khalvat continues to analyze the relationship between Iranian architecture and its metaphysical symbolism.

Traditional Iranian Islamic architecture is introverted, enclosed and recondite. The final creation is inaccessible, and can’t be appreciated completely at a glance or discovered in the initial survey. Intricate ornamental details, superfluity of architectural elements and richness of colors and shades make external envelopment impenetrable for a person to understand the structure within. Preserved with mystery and grandiosity, traditional Iranian architecture is almost inscrutable.

The task set by the artist is to search for the truth, which in Sufi tradition should be found in a clear form. In that sense, layers are peeled apart, opening to the viewer an ability to discover meaning, spirit and the core. Khalvat is a result of comprehensive research in attempting to find a coherent structure in Iranian architecture, and with it a cultural framework itself.

Sahand Hesamiyan / Khalvat (paper maquette),

The show is based around, and named after, the main sculpture Khalvat – a Persian word that translates to a hidden, private sanctum. Linking science and geometry to the abstract nature of spirituality, it is a reflective attempt to discover the esoteric nature of Iranian culture through the dissection of its architectural forms. Khalvat adopts the traditional triangular form of Rasmi, with the artist exposing through the superficial layers of the structure to offer a look towards the inward and sacred, by juxtaposing the external embellished Iranian architecture with its abandoned equivalent, transparent and accessible in its carcass form.

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text & diagrams hazem harab Athr Gallery ©

hazem harab

In this context, my thought is to shed light on the human aspect of the “invisible travel” concept or the secret mobility from and to one’s country of origin under the cover of an oppressing darkness and narrowness spreading into these human passageways in which I travel through my eyes, focusing on the symbolic dimension conveyed to the viewer and aiming at turning individual narrative into a collective participation with which one could interact. I also try to transform it into live images that depict the essence of forbidden travel, done in total secrecy, bringing to mind the importance of the right to travel among all human rights.

This right ought to be naturally and openly enjoyed because it is the expression of a borders, gates and points crossing process.

/hazem harab

Since the year 2000 until now, some families in the Gaza Strip have adopted the profession of tunnel-­‐ digging on the borders with Egypt. This profession is considered to be a quest for life by the people of the besieged Gaza Strip. As a result, *necessity knows no law* but it is also a way paved with danger, as everything comes with a price. This is a new profession that was previously unfamiliar to people living in the Gaza Strip. However, given the current circumstances, it has become an alternative, and a multi-­‐ purpose, multi-­‐ intentioned and fundamental way of life, providing inhabitants in the Gaza Strip with humanitarian and basic needs such as medical treatment, food and goods…It represents, on the other hand, a new tool to break the suffocating isolation that is imposed, humanly and economically, on the Gaza Strip. It also reflects their claim and the urgent need to gain the right to freedom of movement and to travel as a fundamental and human right to Palestinian citizens who should be enjoying it as legislated by the Human Rights Organization.

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Consequently, I have chosen 10 identical copies representing a recurrent element which is a life-­‐size travel suitcase, made of white steel, horizontally lined up and stuck one to another. They are fixed to the showroom’s floor with a hollow and dark internal depth, conveying the loneliness and the terrible cold that engulf those narrow and unsafe passages. They also symbolize a reconstruction in the void of my concept in its form, composition and new substance; the concept that I saw fit for the shape of this tunny and a symbolic perception about the idea of unseen traveling and its tools.

In response to historical issues that tackle the past of Palestine which was culturally and economically developed since the year 1930, I will add to my work and introduction of this “Absent presence”, along with the narrative by presenting an archival photography from the year 1930 showing an amphibious aircraft in the city of Acre, with a silkscreen print on which one could read used to fly on water”, in order to link the past to the present, to show the contradiction between yesterday and today’s history and to reformulate it in the perspective of the eternal questions on what lies behind memory.

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political artistry khalid al baih text & diagrams khalid al baih bio Khalid Albaih is a Sudanese cartoonist living in Doha, Qatar. His stark, politicallycharged images rose to prominence during the early stages of the Arab Spring protests.

Posting his work in the public domain through social media, Albaih quickly became an artist from the revolution, his work being shared online across Arabia and around the world. His cartoons were made into stencils to be reproduced on walls in Beirut and Cairo.

His work was and is used by revolutionary groups in his native Sudan, and by political activists in Yemen, Tunis, Syria. Albaih has been profiled by Aljazzera, BBC and the New York Times.

He has also published his work in the Atlantic and Frankfurter Allgemeine Zeitung.

Alongside worldwide attention and major publications, Albaih has staged major exhibitions of his work, most recently at the Edge of Arabia Crossway Foundation in London .

Khalid is constantly publishing new works on his Facebook page Khartoon! (a play on Khartoom, the Sudanese capital) for all to consider, use, and share. Follow him @ khalidalbaihÂ

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modern boundaries

modern boundaries faig ahmed

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text & diagrams faig ahmed

Faig Ahmed graduated from the Sculpture faculty at the Azerbaijan State Academy of Fine Art in Baku in 2004. Since 2003, he has been working with various media, including painting, video and installation. Currently, he is studying the artistic qualities of Azerbaijani traditional rugs – he disassembles their conventional structure and randomly rearranges the resulting components of the traditional composition then combines these fragments with contemporary sculptural forms.

Our opinions and decisions are a result of influences from our childhood. If we could know all the details of someone’s life we could easily have predicted their reactions and choices. Tradition is the main factor creating society as a self regulated system.

Changes in the non-written rule happen under influence of global modern culture.

The carpet is a symbol of invincible tradition of the East, it’s a visualization of an undestroyable icon.

Slight changes in the form of a carpet dramatically change it’s structure, maybe making it more suitable for the modern life. The Eastern culture is very obvious visually. I cover it in minimalistic forms, destroying the stereotypes of the tradition and creating new modern boundaries.

A man can widen the borders and change them but no one has ever dared to break our spirit.

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cactus mohamed abusal

cactus

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text & diagrams mohamed abusal

“Cactus” my long study of art for the pasts ten years; a strong plant that most people here have planted and owned, maybe for its low maintenance requirements of care and water. The Cactus captures my attention and inspires me in my art projects.

I draw its configurations, photograph it and make video and installations. I present here two art works belonging to expression abstract style, with harmony and musical color group. In this art series, I am lookimg to reshape the cactus from a plant to a figurative style in finding the relation between human and plant.

Biography: Mohamed Abusal (b. 1976, Gaza) artistic projects are daring, critical and scathing comments on what is deemed permissible in terms of technology and civilization in Gaza today. His “Metro in Gaza” (2012) proposes a network of seven metro lines to connect the different areas of Gaza Strip. He made an illuminated metro sign and set it off to fix and photograph it wherever he imagines the metro stations should be. His “Shambar” (2013) is on the alternative and creative light solutions created or lived by people in Gaza as a result of the continuous disconnection of electricity. Shown at Al-Mamal Foundation in Jerusalem, and the French Institute in Gaza, Ramallah, and Nablus, the work exists in photographic and painting series. Abusal exhibited extensively around the world over the last decade, notably in France, where he has had several solo exhibitions, in addition to the US, UK, Australia, and Dubai. In 2005 he was awarded the Charles Aspry Prize for Contemporary Art. He is a founding member of “Eltiqa”, a an active group of contemporary artists that came together in 2002.

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// in this issue hazem harab featured / 106