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Shanghai, China
Islamic culture influences 21st century innovation Nakheel’s latest masterpiece, Nakheel Harbour & Tower, is a community like no other. This new community incorporates elements from great Islamic cities of the past. It will be the hub of culture, commerce and entertainment for all of Dubai. Connected by waterways and canals, this new icon will contain both the world’s only inner-city harbour as well as a tower over one Kilometer high. Unlike other tall buildings that have a single core, this tower will have four individual cores – a groundbreaking engineering feat inspired by Islamic patterns. To complement the remarkable height of this tower, a distinctive Islamic crescent-shaped podium encircles the base.
www.nakheelharbour.com
Lifestyle › profiles
It’s an Amphibious Life For Us Beirut, Lebanon
Photographer: Razan Ghazzawi
Described as ‘the first trilingual, amphibious comic magazine’, Samandal is the first publication in the Middle East that welcomes contributions from artists all over the world, particularly from across the region. It has achieved a great cult success in its city of origin, Beirut, as people begin to discover its conceptual methods of expression and storytelling through its bold illustrations and graphics. Speaking to team member Fadi [the fdz] BakiFdz, he sums up the Samandal experience in his own words and why it can best be described through the idea of an amphibian. “Samandal is the Arabic word for salamander. Salamanders are amphibious creatures that live between the land and water. Comics occupy a similar liminal space as a medium halfway between writing and drawing. Salamanders have also been known to be trilingual, just like our publication.” Unsatisfied with the current selection of O42
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publications circulating the local markets, Samandal was born out of the need for an alternative mode of creativity. Fuelled by a love of comics, yet frustrated with the lack of local comic content, a new creative powerhouse was formed and Samandal was brought into existence. As the fdz explains, “We were all fans that dabbled in our own ways with small strips here and there but found no cultural space for our work. Instead of trying to wedge ourselves into other peoples’ magazines we figured we’d start our own”. Claiming their favorite issue to always be ‘the next one’, the Samandal team has worked tirelessly to ensure that their publication succeeds at pushing new boundaries in cultural and social understanding. Of course, that does not mean that they have not come across their share of obstacles. “Distribution in the Arab world means heavy censorship. Samandal is targeted at mature readers
with contributions that address social, political and religious issues. This puts us on a collision course with censorship in a lot of countries and needs to be taken into consideration when expanding our distribution network.” Their profit planning paid off as the first issue of Samandal was privately distributed for free and is now almost impossible to track down. Fdz reminisces about peoples’ first reactions to the magazine “Hysteria. When we first put out 500 copies of issue zero as a test, we were plagued by visions of ourselves at 70 still wrapping our sandwiches with them. Within a month, however, they were all sold out. We soon realized that there is a ravenous appetite out there for something like this, and this momentum has carried us quite a distance from where we started. Today, even some of the founders don’t have a copy of that issue.” Although they may have battled with issues regarding content
“Samandal is the Arabic word for salamander. Salamanders are amphibious creatures that live between the land and water. Comics occupy a similar liminal space as a medium halfway between writing and drawing. Salamanders have also been known to be trilingual, just like our publication.”
and fears about the level of interest surrounding comics in the Middle East (“comics are considered child’s play”), the Samandal team have settled into the regional publication scene and have managed to carve a substantial name for themselves as a publication that is not afraid to blur the lines between comics, art, culture and commentary. As far as creative motivations go, team member fdz points out that there is a shared belief amongst its four-strong team that the effort and dedication placed into Samandal is a tribute to the talents that have inspired the members in the past. “We each nurse a modicum of fan idolatry for one artist or another writer which we’ve learned from and modeled ourselves after. Working on Samandal, however, provides us with the opportunity to give something back in return- to produce work and evolve and have a public space that it can be published in, where all comic book artists can strive
to compete with their inspirations.” The Samandal team has high hopes for the future. As well as producing even more issues of the magazine (surely this time they will produce enough for growing readership and still have some leftover for sandwiches), they are also currently on the lookout for international sponsorship to help take the magazine to the next level. Eventually, they hope to be able to unite a growing community of comic artists around the region through the formation of workshops, festivals and projects. For the Samandal team, its main aim is to continue to provide a creative and open platform for regional comic artists, eventually hoping to one day conquer the world by making everyone see their world through the eyes in a comic strip. It’s a venture that the Samandal team is one step closer to achieving. www.samandal.org O43
Lifestyle › Profiles
The Sound of the Underground Ramallah, Palestine
Photographer: Pieter BleuzĂŠ
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Whenever the country Palestine is mentioned in a conversation, the first thing that comes to everyone’s mind concerns the political turmoil that is taking place within the region. Sadly, with its ongoing state of conflict, attention on the troubled state rarely falls outside the boundaries of warfare and the reports of casualties and environmental loss. However, the reality of life away from the troubled streets is very different, especially with regards to the local arts and cultural scenes. People within the region have already developed and established numerous ways to get their voices and messages heard from the inside. Ramallah Underground is a prime example of the social change that has happened within Palestine. Started as an art collective by three personalities going by the titles Boikutt, Stormtrap and Aswatt, Ramallah Underground has generated immense success through the promotion and performance of their diverse musical sound, one that encompasses Arabic electronic beats, hip-hop and trip-hop. Speaking to collective member Aswatt, he sheds some light on the necessity for a concept such as Ramallah Underground. “It was born from the immediacy of musical experimentation and the need to give voice to a generation of Palestinians and Arabs who face a turbulent and uncertain political landscape.” Although Ramallah Underground (RU) group are known across Europe and even America, Aswatt claims it would not have been as successful had it not been for the convenience and efficiency of being able to reach out to audiences through the internet. “It started out as an idea for a website that promoted alternative arts emerging from Palestine as we felt a lot of talent and work with messages and real substance was being produced and was not being noticed. So we had different art forms like poetry, photography, painting as well as our music. We still have a portal for visual artists on our site and promote them heavily during shows, curate exhibitions for them, etc.” The members at RU are no strangers to demonstrating artistic diversity – this can be witnessed simply by taking in one of their live shows. Their shows have managed to win crowds over with their showcase of musical performance, heartfelt lyrics and visuals created by the visual artist Ruanne. When it comes to contemporary cross-over art in the Middle East, many are still unfamiliar with the concepts and ideas needed to create new, revolutionary methods in art. However, part of the reason behind RU was to be able to give audiences a break from the tried and tested norms and to give
the musical and creative boundaries of the Arab scenes a much needed push in a different direction. According to Aswatt, the time is right for such a change, “I think the Arab world is sick of all the ‘bubblegum’ art that is representing it around the world, so they love the idea of a group of artists who really just express what’s on their mind and work hard on perfecting their art form. Also, RU has no artistic constraints whatsoever, so we could be making hip-hop today, or ambient stuff tomorrow, we could be curating a visual portfolio for a magazine today or composing music/sound design for a film tomorrow – I really love the diversity of work we are involved in.” Aswatt feels that out of all the inspiration the group takes in from music, art and literature, the one factor they have garnered most of their ideas and inner strength from has been from within their own local space in Palestine itself. “While I get inspiration from a lot of different kinds of art, visual arts, music and literature, I think the most inspiring thing to our work has been the Palestinian situation and cause which is present not just in Palestine, but for Palestinians all over the world and their situations.” Whilst some might not necessarily see how a conflict-ridden country could generate forms of positive energy and creativity, many do not manage to see the passion and spirit that the land has cultivated in the new generation of Palestinians and how they are using this new time in their lives to try and make a difference in their own social and cultural environments. Aswatt has high hopes for RU in the future to continue and progress as an independent venue for experimentation and expression, especially with regards to new technologies making it accessible for many hidden talents to create their own material around the Middle East. However, he feels that before anything can take place, there needs to an increased recognition of Palestine within the Middle East as a potential platform for new and exciting artistic talent. “Palestine is already a big cultural venue when compared with other Arab countries. You can always find exhibitions, films, concerts happening all the time across over Palestine, but unfortunately the rest of the Arab world doesn’t know. There are many artists there that are far more known in European art scenes than in other Arab scenes. RU for example, is much more popular in Europe and the United States than in the Arab world.” We can only hope that the rest of the Arab world will begin to take note. www.ramallahunderground.com O45
Lifestyle › Profiles
Taking it all in Stride Istanbul, Turkey
Photographer: Idil Jans
Gonul Madra, from the top of her 24 years of age, has already braved a big path in the Turkish business world, and with such a sparkling personality, promises a lot more for the years to come. Brand development, Visual and Concept Design, Public Relations and working in the Creative Team at DDF Istanbul are only the tip of the iceberg for this enthusiastic and energetic young lady. She exudes an air of confidence and her already vast knowledge on the subject is startling. She built from the ground up, for a group of investors, the major luxury home goods store “Luxuria” in Istanbul which has exclusive reseller rights for brands like Valentino Home, Lalique, O46
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Davidoff, Cacharel Home and L’Objet. Setting a precedent for the generations to come, she is one of the youngest executives with such an impressive track record, influencing and inspiring young business executives to grab the bull by its horns and tackle the business world at a younger age. She believes that being submerged in the industry early guarantees knowledge and success. Gonul has been the subject of many articles, with her rare elegance, sheer positive energy and unique fashion sense. With a British education under her belt, having finished the St Martins school of Art & Design in London, she is currently working in the Creative team at DDF Advertising & Events Management, tackling many projects, one of which
is the internationally coveted Turkish Tourism account. Her agency had previously created a story tale ad for Turkey which had received worldwide recognition and praise, influencing directly the Turkish tourism influx whilst being played in major movie theaters all over the globe. DDF and Gonul are currently working hand in hand with the Istanbul Municipality and major Turkish news paper publications towards bringing the “Istanbul Design Week” in June 2009 to the public, which is one of the most awaited events of next year. Gonul finds that the role of women in the Turkish advertising and management industry is becoming more and more important, bringing a
“Young Middle Eastern Women are breaking through the Glass Ceiling with Talent and Dedication”
fresh type of creativity and a different perspective to the table, they have an invaluable place in the creation of the ads of tomorrow. Such determination can only pay off in the best of ways, creating equal grounds in the Middle East for all those who want to succeed in the very hype market of Advertising and Public Relations. In Istanbul, Gonul greatly enjoys relaxing at cafes like “The House Cafe” in Ortakoy, known for being one of the best breakfast eateries of the Turkish touristic capital, and “Konyali” in Kanyon - which also happens to be a brownbook favorite and “must try” for you. This young woman proves to us that it is possible to juggle work and fun with elegance and that once you put your mind to it, anything is possible. O47
Lifestyle › Profiles
Sarah Tabibzadeh & Arash Tanhai Tehran, Iran
Photographer: Golnar
Sarah Tabibzadeh Sarah Tabibzadeh was born in Teheran in December 1984. After completing her BA in Graphic Design from the Faculty of Fine Arts in Tehran, her caricatures and illustrations have been exhibited in several national and international exhibitions as well as in local and international publications. With a bold and captivating design style, her work can be seen adorning the streets of Tehran in the form of bags, t-shirts, buttons and even household objects such as mugs, cups and dishes. These mundane objects are instantly transformed as soon as a print of Sarah’s work is placed onto its surface. Sarah’s designs are completely self-produced – meaning everything from the production process to the scheduling of the printing process is entirely organized and handled by her. She even dabbles in a bit of retail by selling her own products. Her work is produced under a ‘Square’ (also known as Morabba’e in Farsi), a name and license that signify her independence in the arts and retail industry. Sarah is constantly looking for ways to develop her work by expanding her current portfolio of branded merchandise. At the moment, she is working away at her university thesis entitled ‘T-Shirt Curing’, which explores the processes O
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involved with designing illustrated t-shirts that translate positive meanings into visual messages. Sarah describes, “I’d like to change everything ordinary around us in meaningful ways that would be for our benefit. All the t-shirt illustrations are conceptual works; therefore I’d love it if every simple thing was to become conceptual”. Illustrating Lives Arash Tanhai Arash Tanhai has a strong academic career having initially graduated with a BA in Graphic Designs and recently receiving his BA in Cinema and Theatre from the Faculty of Fine Arts at the University of Tehran. He has taken part in several group exhibitions with several other painters and graphic artists and eventually held his first individual painting exhibition in 2003. As well as taking on board the role of art lecturer during and after his time at university, he has moderated poster exhibitions and is currently in the process of publishing a personal book of his work. He claims that one of the reasons why he has remained active in the field of graphic design and art is his contributions to his daily illustrative
notebook, fondly named the ‘sensual diary notebook’. He describes the depths of this particular drawing companion, “These are my friends! The people I see every day! The first thing I do after meeting a new person in my life and make friends with them is to make an illustration of their face in my personal notebook.” Recently, he describes his paintings to have developed a new mysterious and dream-like atmosphere, all explained by a simple fact – he is now painting women. “I paint women that I have seen anywhere. I develop this idea in my mind to paint her portrait and I simply remember it and paint it. They are not important or famous individuals; they are simply living and going about their lives around me.” His current work encompasses pieces with decorative spaces designed with the traditional Persian Nasta’ligh font. For Arash, this creates the idea of linking his tradition and his environment along with his personal beliefs and ideals, even the ones that might not necessarily exist, “I believe it’s more about illustrating the people that painting them, my work is going along with my dreams and concepts.” www.arashtanhai.multiply.com
Inaugural Exhibition A Survey of Contemporary Art Tuesday, November 4th, 2008
DALE CHIHULY HUNT SLONEM GARY KOMARIN LINA BINKELE TONY BERLANT A. RAHIM SHARIF FRED EVERSLEY ROBERT R. ZAKANITCH ERNST VAN LEYDEN BRUCE HELANDER JOHN TORREANO SAMER TABBAA NIZAR SABOUR ALEX DE FLUVIÀ RALF ONSO GSCHWEND EBRAHIM BU - SAAD MONTOYA & ORTIZ YURI GEVORGIAN MARC SIJAN PAUL AHO CURTIS KELLY DAVID HEWITT SUSAN P. COCHRAN
ALEX DE FLUVIË, ENCONTRES (2006), Mixed media on canvas, 180 x 180 cm
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Lifestyle › Profiles
Authentic 7ob: Reflections of Saudi Street Culture Jeddah, Saudi Arabia
Photographer: Sertac Tasdelen Saudi Arabia is a country that is not known for having open attitudes towards fashion. With staunch rules that enforce a strict conservative style of dress, many of those in the outside world would assume that the existence of a fashion industry within the country is one that would be inevitably doomed to fail, or worse, is actually completely non-existent. Surprisingly enough, Saudis are strong followers of fashion thanks to the presence of high retail demands from its rich local consumers. Saudi Arabia is known throughout the Arab region for its plethora of malls that are packed with international retail outlets. Recently, there has been an increase in local, independent designers and fashion businesses. The establishment of retail outlets such as Sid Concept is beginning to establish a niche market for fashionminded individuals looking to break away from the drone of mass-retail. For Saudi-based designer Hani Alireza, the change in the way that Saudis view the concept of fashion has definitely changed within the last five years. “The fashion scene does not look like what it was few years ago, as Saudis have increasingly become more eager to find a personal style and identity. There have been great examples of fashion brands to come out of Saudi Arabia with the emergence of designers who are inspired by contrasting influences.” Before his involvement with fashion, Hani was involved within the advertising industry and worked with renowned companies such as 3 Points Advertising in Saudi Arabia. He received the highly coveted Promax/BDA Award for his work as part of the Promo Team at MTV Arabia, a position he is currently holding today. Throughout his career, Hani eventually collaborated with Yasmeen Alsudairy and Majed Al Ghalayini to bring a new fashion brand, 7ob, to life. The 7ob project was based around a t-shirt collection inspired by the translation of contemporary Arab life into graphic design, an art movement that Hani holds in high regard. “7ob has always been closer to a graphic design project rather than fashion project. The format or medium of t-shirts has primarily been a vehicle for experimenting with Arabic graphics and visuals. 7ob is more of lifestyle concept brand and for us; t-shirts are just one format to manifest the idea.” Developing a label in Saudi is not a simple O5O
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process. Hani states that although the Saudi fashion scene may be full of creative talent, designers may encounter issues regarding the availability of different production techniques. “The fashion industry in terms of the production side is still underdeveloped. Even finding things like good quality basic t-shirts is very hard. We had to import plain t-shirts from factories abroad. We also had a difficult time in the printing process; most printing presses are interested in doing large quantity print jobs for promotional items in which quality is often overlooked, so we had to find a printing press and really push them to get the results and quality we wanted.” With Hani’s past experience, there were clearly no issues regarding the promotion and marketing of the 7ob line. Not interested in using the traditional means of advertising, the 7ob team developed an innovative and eye-catching approach of brand association through the inclusion of stickers and a mini-poster in the clothing’s packaging. These were meant to be used as a stencil for graffiti artists, or simply as a mode of street communication. These methods enabled the design team to market 7ob as something of an involved experience for its audiences to take charge and promote on their own terms. Inspired by the culture and attitudes within Arab cities, 7ob’s designs are a mixture of bright
pop-culture elements and local kitsch. With shirts that proclaim a series of local expressions, images or statements, Hani labels 7ob as “anti-fashion – they are to the fashion world what graffiti is to the art world.” The label has received numerous responses since its launch and Hani claims to take encouragement from all of those reactions, be it positive, or in some cases, negative. “Overall the response has been overwhelming. We have had amazing encouragement from people, but there has also been criticism from different people who think some of the designs are inappropriate because some of them have a rebellious edge. We have always approached this project as an experiment, and seeing the different reactions makes it all the more interesting. “ As far as future plans go, Hani claims that the 7ob label is past the ‘experimental’ stages of development. The team is currently working on the label’s second collection and hope to make headway into a wider market within the next few months. With the image of Saudi Arabia still shrouded in mystery to the outside world, we can only hope that we eventually get to witness a similar rising of talent behind the city’s limiting cultural walls. If the 7ob label is anything to go by, it’s safe to say that we can expect many things to materialize from within this region.
About 7ob
7ob is a project founded by Hani Alireza, Yasmeen Alsudairy, Majed Al Ghalayini. The Brand was launched on June 27th in the urban chic boutiques Life in Jeddah and Riyadh. The first collection had over 17 design for both men and women. The next collection will be available soon, and will available online as well as in stores around the region. www.life.com.sa www.7obdesign.com
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Lifestyle › Profiles
Medicinal Goals Origin: Sudan, Active: Abu Dhabi
Photographer: Maisam Darwish
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Out of all the professions to embark upon, working as a doctor is considered to be one of the more challenging, yet rewarding jobs in our society. As well as having to solve the seemingly endless amount of illnesses and conditions the human body encounters, doctors are also under immense pressure to constantly update their practice with the appropriate technologies needed to help them carry out their work in more efficient ways. Speaking to Hadeel Elseed, a university student who has recently graduated from the Khartoum College of Medical Sciences, being a doctor was a choice she made as soon as she finished high school. “I always wanted to play an effective role in peoples’ lives, be close to them and play a positive role in the society. I didn’t know what I wanted to be but I always had that target in my mind and that’s when I realized that medicine would help me accomplish that goal.” Working as a doctor requires a highly personal touch as the profession requires a lot of interaction with people who might be experiencing both physical and emotional trauma. When asked what her favorite aspect of working in medicine was, Hadeel replied “When I put a smile on a patients face. Medicine gives you the chance to communicate with people and get close to them and that’s what I really like doing.” With medicine being a highly established field, Hadeel found many inspirational figures that helped her enhance her knowledge about the subject, as well as offer her vital advice about going into her field of work. Whilst many of us take doctors for granted, we may not consider people in the health sector to be our common, ‘everyday’ role models. Hadeel has a different approach to this outlook and nominates some of the more important individuals that she has encountered since starting her degree, “Without any hesitancy I would tell you that it’s Professor Bushara Fadul, the Manager of Bashayer Hospital in Khartoum. He had an amazing personality and was patient and calm with all the medical students. I won’t forget to mention the smile he always had on his face and his willingness to help. My other idol is also professor Nasr-elddin Mahmoud, the Manager and Dean of Khartoum College of Medical Sciences. I’ve always admired his strong personality and leadership capabilities and how he took care of each and every one of the students as if they were his own son or daughter. I really wish that I could one day be like him.” Although Hadeel has graduated, she is currently awaiting the commencement of her internship; one that she hopes will take place in Sudan next January. She hopes to take away a greater sense of knowledge about medicine from her internship and to be able to learn from the experiences and skills of the senior doctors. We wish her all the best.
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Lifestyle › Profiles
Reem Youssef Damascus, Syria
Photographer: Omar Sanadiki
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“I am not after fame and dashing into celebrity, like many artists whose paintings turn into a commercial item for market satisfaction. This deprives the artist of the most important quality he should possess, which is freedom.
Her story as a designer began when as a child she felt the irresistible temptation to collect shells and stones she would come across here and there. She would then turn them into beautiful bracelets and necklaces that she proudly showed to her friends. This early hobby has lingered on, and she is still fond of collecting stones and transforming them into unique designs. After she graduated at the faculty of Fine Arts, Reem Yasuf took on painting in her private studio. Later she moved on to jewelry design, which she decided would be her real career, as it had been a life time passion and also because she felt it had a certain affinity to sculpture. Moreover, jewelry has an intimate relationship with women, and in a way is a symbol of femininity. Reem has not acquired her experience in this field as a result of an educational background, as there are no schools for teaching jewelry making in an academic way in Syria. She therefore, had to experiment by herself. Her first attempts were carvings of her works in wax. It was later that she started using precious materials such as gold, silver and diamonds. She constantly improved her techniques by exploring the possibilities described in specialized publications about design and materials handling. Reem had to overcome many obstacles at the beginning. Lack of awareness in her environment made it difficult for her people to distinguish between jewelry making as a craft necessitating a certain skill, and jewelry design as a creative art; she therefore, turned to foreign companies and concentrated her work with them much more than she did with the local market. In 2006 Reem Yasuf won the runner-up award of the World Gold Council. She had participated with a design inspired by silk fabric and the Damask Rose. The jewelry item was a golden silk like gold that is fastened to one side through a Damask rose. Reem could present herself as a jewelry designer to the world by visiting numerous jewelry exhibitions in different countries. This is how she was noticed by Turkish and Indian companies of international fame, such as Core, the Indian company to collaborate with her in the production of her designs, which realized much
success in international markets and most of all Gulf countries markets. When we asked Reem about the problems facing a jewelry designer in Syria she said: “In Syria no one protects the jewelry designer; any work he undertakes is a venture, if anyone should attribute your design to himself or reproduce it, there would be no one to protect it. The existence of a committee or an agency for the protection of designers’ property rights would be a significant support for the jewelry production sector, as it would increase the number of designers, and encourage those who have a passion for jewelry creation to further develop this sector”. And although being a jewelry designer is an important facet of her personality, it did not cause her to abandon painting and sculpture, which she still considers as the origin. Today she creates her own paintings, which gives her a great satisfaction; unlike many painters for whom painting has become a means of subsistence. Reem goes on describing herself and says: “I am not after fame and dashing into celebrity, like many artists whose paintings turn into a commercial item for market satisfaction. This deprives the artist of the most important quality he should possess, which is freedom. Today Reem has her own clientele who visit her studio where she produces specifically for them silver, gold and semi-precious stone jewelry. Some of them provide her with stones of particular shape or of particular emotional value to them, so that she sets them into beautifully designed jewelry transforming them into unique rings, bracelets, or necklaces. What Reem is working on today, is the creation of her private line where silver would be the main metal used, as it is her favorite material. She looks forward to creating silver jewelry she would desire to wear before any other woman does, to report her own expression, by which she means that absolute priority will be given to her own desire and love for every piece she creates. In this way she will preserve her freedom and will not lose it to the tyranny of market and commercial interests.
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Lifestyle › Trendy Outlet
Stoic Historical Architecture meets the quiet revolution of Contemporary Design Istanbul, Turkey
Autoban Gallery Preface: Ushered in by Autoban Gallery, quirky style and original ideas have arisen from well-rooted bohemia in the romantic, multi-faceted city of Istanbul. It is no wonder such a seductively mysterious city holds within in it a quiet but strong and utterly undeniable presence of modern art and burgeoning young talent. Writer: Rahel Aima Photographers: Seyhan Özdemir & Sefer Çaglar The French Romantic poet Alphonse De Lamartine once remarked that “if one had but a single glance to give to the world one should gaze on Istanbul”. And it isn’t hard to see why. Sprawled on the banks of the Bosphorus, and curling lazily around the Golden Horn, its cobbled streets are saturated with the history, culture and blood of the many civilizations it has seen come and go. In past incarnations it has served as the capital of various empires ranging from the Roman and Byzantine to the Ottoman. Today it is reinterpreted as the Turkish capital, is the third most populous city in the world and has been declared the European Capital of Culture for the year 2010. With a foot each in both Asia and Europe, its location has indeed come to constitute and important part of its identity. Perhaps the ultimate crossroads, it situates itself spatiotemporally between both old and new, and East and West, all the while retaining its own brand of magnetic timelessness. It has been nicknamed the “City on Seven Hills” – like Rome – and is more known for the breathtaking architecture of the mosques on each of these hills than its contemporary design scene. Yet in recent years a quiet design revolution has been taking place, with the creation of an annual Design Week in 2003, and the implementation of a National Design Council the following year. Every summer, as white exhibition tents mushroom on the lacily perforated Old Galata Bridge, it would be easy to assume that Istanbul’s design scene begins and ends there. While still in the bohemian Galata quarter, the locus of creativity can however be found in a 150 year old building with scenic views of the river and the historic Galata tower. Here you will find homegrown wunderkinds Autoban, a multidisciplinary interior and product O57
Lifestyle › Trendy Outlet
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design firm that have been taking the design world by storm. Industry bible Wallpaper lauded them as one of 2004’s best Young Designers, while the two next years saw them scoop up the Blueprint award for Best Newcomer, and a further Wallpaper award of Best Restaurant for the Müzedechanga restaurant they designed. Quickly established as media darlings, they opened their own gallery in the trendy Tünel district, and have recently brought out a new line in collaboration with leading wood design and manufacturers, De La Espada. Who then is behind Autoban? Founded in 2003, it is the brainchild of Seyhan Özdemir and Sefer Çaglar, who met as students at the city’s Mimar Sinan University Fine Arts Academy while studying to be an architect and interior designer, respectively. Discovering a shared passion and design aesthetic, they came together to found Autoban, a firm which has since grown to 16 employees. They are fuelled by the chaotic diversity of Istanbul, and cite a ‘joy for mixing the traditional with the contemporary’ as the inspiration that allows them to tap into the city’s kaleidoscopic cultural consciousness with such fluent ease. The firm’s name meanwhile comes from the infamous German Autobahn high-speed freeways without speed limits. Özdemir explains, “On the Autoban you always have to choose something. O6O
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Go this way or that. It’s like life”. Yet Autoban certainly know where they’re going, and like their namesake, seem to have no limits to either their creativity or their success. And indeed, their growth has been relatively speedy. They were first noticed for their ingenious Spider lamp, which they installed in an old Istanbulian patisserie. It was of course an instant success, leading to 150 orders of the product, and design projects ranging from hip boutiques and cafés to gourmet restaurants and a plethora of personal residences. With a bulb for a thorax and a skirt of shadowy filamentine legs, the lamp in question does provide an eerie approximation of a large spider crawling on the ceiling. They have since updated the original lamp with their Flying Spider, which presents a sculptural tangle of arms that’s equally as striking as its predecessor. And spiders aren’t the only many-legged creatures represented in their product line, which includes an arresting red Octopus chandelier and an angular Starfish table. This focus on the natural world further extends to the cheerful birdcage-like Pumkin stool and the walnut, leather and black glass of the Mushroom Family set of stools and coffee tables, which look as though they could have spontaneously emerged from the ground after a rainy night. Other products take visual notes from uprooted garden scrubs, slender legged deer,
woodpeckers perched on branches and even the slightly awkward grace of a flamingo. Fittingly, they describe their approach to project design as “an exploration of natural and raw materials in new contexts”, which can especially be seen in their penchant for various woods. It is perhaps best showcased in their Autoban Gallery, which was opened in 2006. Chicly nestled in the Tünel area, its elegant exterior belies the rather more industrial space inside, which provides a perfect contrast to the organic shapes of their products. Its exposed brick walls are cleanly whitewashed and the ceilings double-height, only slightly lowered by a crisp square-punched ceiling. Windows are meanwhile tidily arched, with an iron frame finished in a matte grey. These elements combine with the flooding natural light to bathe the space with an expansive feel of sophisticated airiness. A distinctly Turkish flair is provided in the floor, which has been lifted to reveal ornate tiles from another area. Further nostalgic throwbacks can be seen in many of the boxy chairs, which display influences ranging from the 30s, 40s and 50s to suburban park benches. Other products like the series of curvy Tulip lamps are made with ‘older’ alloys like brass, in order to hark back to “a world before high technology”. With an emphasis on functionality, much of it could be visually termed
as modern, yet theirs is more of an invitingly warm modernism, without the stark austerity that might otherwise be associated with this movement. Above all, Autoban’s quirkily eclectic designs can be characterized by their playful humor; these are designers that are definitely not afraid to experiment with associations. So it is that their Walking Man table stands on three pairs of trouser legs, while their Ladder Bookcase reinvents the shelving ladder that you might find leaning casually against library stacks so that it can itself house books. One of their chairs is cheekily made with only one arm, and Bergère sofa suggests a plummily upholstered piano. The traditional wooden Rahle stand that would normally carefully holds the Qur’an is meanwhile supersized to hold large sized books and magazines. It is further updated in the Book Lamp, which nonchalantly adds a pole camp to the centre of the stand, to provide the ultimate nightlight-meets-bookstand bedside table. The Rahle is not the only thing to get enlarged either, with the King lamp –a life sized chess piecebeing a particularly masterful example. Turkish coffeehouse chairs get their turn too in the stylishly comfortable Kahve chair, Even as Autoban expand their reach globally, then, they remain fiercely proud of their Turkish roots. The team dedicate themselves to supporting
local techniques and craftsmanship, maintaining that they lend their products a unique flavor. So it is that some of their products –especially the textilescan, as Çaglar notes, “only be manufactured here. We don’t want to lose that and have our products produced in China”. Indeed, it might be difficult to discuss Turkey today without alluding to its efforts to join the European Union. Yet for Autoban, it’s an “old and unfashionable story which has lost its excitement. These days most of the borders between Turkey and the rest of the world have disappeared”. So it is that Byzantium became New Rome, Constantinople, Stamboul and finally Istanbul. It is this same fluid plasticity and openness to reinvention that has made Autoban so noteworthy. Like the city itself, it mediate between old and new, East and West, natural and industrial to produce work that remains as timeless as it is aesthetically pleasing. Of their home, Özdemir and Çaglar conclude that they “believe it will never lose its importance and it (will play) a more important role in the future”. Whichever way Istanbul’s contemporary design scene develops, it is certain that Autoban will play an important role in it. www.autoban212.com
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Shout Five Green This is not like a regular blog where its creator shares his thoughts, updates about his life or comments on the daily issues of life. In fact, the creator has not even revealed his identity and treats this platform rather like a newspaper or journal which informs about events, launches and shares interesting tidbits from life. The site opens to a picture heavy page with no or few words. The composition is neat and colour scheme, fair. Whether it is the invention of a designer
About the Blog from the folks who brought you Dubai’s first urban lifetstle boutique; we now bring you a blog with all things Middle Eastern and Fashionable... or not You decide.
http://shout.fivegreen.com pillow with a pocket for tissue to serve those with a flu, the launch of slim chips, exhibition of artwork or a pair of high boots in fashion, the blogger definitely has a diverse style of sharing it. It would have definitely helped the brain behind this blog, if he had mentioned his contact details on the website. Thankfully, the search box is helpful. http://shout.fivegreen.com assures hours of happy picture surfing on.
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Design › Architecture
Building Civilization Astana, Kazakhstan
Palace of Peace Preface: The Palace of Peace ushers in a new age of tolerance, peace, and reconciliation for the far too often dismissed country of Kazakhstan. As the subject of internationally viewed parodies which disregard the country’s enigma and potential, Kazakhstan counters prejudicial views through the fascinating new architectural rejuvenation of its marvelous capital. Writer: Rahel Aima Photographer: Foster & Partner Ask someone where to find the Pyramid of Reconciliation, and they are likely to point you in the direction of Egypt, or maybe even the Aztec and Mayan ruins in Central America. The gargantuan building in question can however be found in Astana, capital of Kazakhstan, where it is also known as the Palace of Peace. Designed by none other than the British architecture luminary Lord Foster, it is often considered one of the wonders of the modern world. But Kazakhstan, you ask? Despite its size – roughly equivalent to all of Western Europe - this former-USSR nation keeps a relatively low profile on the world scene. Today, it is best known not for its considerable oil, gas and mineral reserves but, rather dubiously, as home of fictitious TV reporter Borat Sagdiyev. His “Kazakhstan” is one where horses can vote, and national hobbies include disco dancing, misogyny, and antiSemitism. It’s fairly easy to see why this might be problematic. And indeed, the country’s postBorat image is of such national import that it featured on the agenda of the President’s 2006 talks with President Bush; in addition to being the focus of a multimillion-dollar ‘Heart of Eurasia’ PR campaign. Yet the building of the Palace of Peace reflects a monumental change – to both the city’s skyline, and the country’s international reputation. For O65
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The centre of the building connects to the different elements available. The building also has a retail spine with food and beverages section as well as car parking.
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Design › Architecture
01. A view outside the building 02. A side profile of the building. 03. A view within the building reflection the open space. 04. A grand conference area available for large events and meeting. 05. Another view within the massive building. 06. An auditorium, theatre style built for various use, such as speeches, theatre, plays ect.
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Ekibastuz Chapayev
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Astana
Kazakhstan KAZAKHESTAN
Emba Chelkar
“if you build it, they will come”, seems to be the name of President Nursultan Nazarbayev’s game. And come they certainly do, with tourists and investors alike all flocking to its sparsely scenic steppes in an almost Pied Piper-like fashion. After relocating the country’s capital to Astana, Nazarbayev commissioned renowned Japanese architect Kisho Kurokawa to completely redesign the city – a feat that is rumored to have been completed in a single day. Previous reincarnations have included the Cossack village Akmolo, and from the ‘60s, Tselinograd. Not unlike Brazil’s own created capital Brasilia, its fluid architecture thus showcases, and is infused with both the country’s heritage and its dreams for the future. So it is that the fantastical Baytarek tower is shaped as a poplar tree, holding the golden egg of a Samruk, the magical bird of happiness. Serving as a communications tower, it stands at 97 meters high, in commemoration of Astana’s 1997 status as the new capital of Kazakhstan. An observation deck offers a commanding view out over the new Astana; Nazarbayev’s vision realized. Perhaps unsurprisingly, it also features a marble altar with an oversized silvery imprint of Nazarbayev’s hand; Visitors are encouraged to place their hand in his larger one and to make a wish. Newlywed Astanians are said to touch it for good luck. The wish granting abilities of the plaque are uncertain, but it does trigger the playing of the Kazakh national anthem (the official version, not the one about ‘throwing Jews down wells’). Naarbayev’s far-reaching arm is also found on all bank notes over 200 tenges (around USD 1.5). It is then fitting that an architect of Foster’s caliber was called in to design this symbolic monument to religious reconciliation – specially built to host the 2006 Congress of Leaders of World and Traditional Religions. His firm is responsible for landmarks worldwide that range from Beijing’s new airport and London’s Gherkin tower to Saudi Arabia’s first skyscraper, the niblike Faisaliah Tower in Riyadh. Foster is no stranger to Astana either, with previous projects
Aksu
Karaganda Ayaguz
Dzhezkazgan Balkhash Lake Balkhash
Beyneuplaza, so named for its of faith and human equality.” including the Abu Dhabi Sea Aral clustered Standing alone on a manmade hill, the sister project in the UAE capital. A vertical matrix, it resembles both the bar graphs Palace of Peace initially presents an imposingly of the country’s petrodollar boom, and a steel and glassy monolithic pictureChu– like the mysterious obelisk Turkestan of Kubrick’s 2001: A Space Odyssey concrete Tetris game. transplanted to theKYRGYZSTAN barren Central Asian steppes. He has also designed the tent like Khan UZBEKISTAN C a spi an And indeed, said climate poses quite a design Shaytry Entertainment Centre, currently under Sea construction. Inspired by the traditional yurts problem, with Astana temperatures ranging from CHINA of the semi-nomadic Kazakhs farmers of old, 40°C in summer to -40°C in the depths of winter. TURKMENISTAN its soaring webbed structure will house a park, Insulation is not so much the issue as the yearly and expansion of the structure, which boating river and mini-golf and beach resorts, in contractionTAJIKISTAN addition to shopping and entertainment venues, in was assembled from prefabricated sections of an area larger than 10 football stadiums. Clearly, stone and steel. Yet with an estimated cost of IRAN Astana does nothing by halves, and the Palace £37 million designers Foster & Partners, and PAKISTAN Architecture have of Peace – located across the River Ihsim from Turkish architects Tabanlioglu managed to create a building where form merges Nazarbayev’s own palace - is no exception. AFGHANISTAN 200km purpose. There is indeed a well-developed cult of seamlessly with function and aesthetic INDIA And aesthetically appealing the Palace personality around Nazarbayev, with international opinions running the gamut from adulated head certainly is, with its impeccable steel diamond of state, to authoritarian-but-inoffensive to shaped latticework that criss-crosses the pale controlling dictator tolerated only because of his granite exterior almost like a ribbon board. Its nation’s vast hydrocarbon reserves. Architectural upper portion features a lovely stained glass apex developments in places like Beijing have, in by British artist Brian Clarke in the yellow and recent years sparked a debate among architects as turquoise of the Kazakhstan flag. It is especially to the ethics of working for regimes with dubious beautiful in sunlight, when its white dove motifs human rights record. Foster has himself added (symbolizing peace) flutter to life. The interior fuel to this fire in commenting that he rather of the 62m2 pyramid is organized around this enjoys certain aspects of working for an autocrat, central atrium which floods the building with even going so far as to dismiss British public light -from the topmost assembly chamber to the glass-ceilings of the opera house in its concrete criticism as “bureaucratic charades.” After hosting the very successful inaugural bowels. Traditional in its wood-paneled and redCongress of Leaders of World and Traditional upholstered horseshoe shape, the latter can seat up Religions in 2003, the Palace was built and to 1500 people. The assembly chamber, elegant consecrated as the permanent home of the in shades of cream and white, is meanwhile triennial event. So it is that Foster chose the further supported by four pillars, which are said pyramid shape for the building as one without any to symbolize the hands of peace. Modeled on the negative religious connotations. Unlike the semi- New York UN Security council, it will seat 200 permanent yurts, its tetrahedral shape alludes to delegates from the world’s main religious faiths pyramids around the world that have stood the at each congress. The floor below will host a test of time. Foster notes that “It is primarily research centre of world religions, replete with a a cultural centre - but because it will host a mammoth library. Rather than spoil the vertical continuity, peace congress of 18 religions, it becomes something else. It is about religion, peace and elevators take a leaf out of the Eiffel Tower’s co-existence,” a building that is “dedicated to book, with slanting lifts along the walls serving the renunciation of violence and the promotion as arterial connections. Upon exiting the lifts,
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“It is primarily a cultural centre - but because it will host a peace congress of 18 religions, it becomes something else. It is about religion, peace and co-existence,” a building that is “dedicated to the renunciation of violence and the promotion of faith and human equality.” visitors reach a reception space lined with the hanging foliage that has led Foster to dub it the ‘Hanging Gardens or Astana’. Dramatic staircases and winding ramps further serve to connect the different floors, which house office, museum and educational facilities as well as the national centre of the country’s many ethnic groups. While ethnic Kazakhs and Russians constitute most of the population at an estimated 60% and 26% respectively, Kazakhstan boasts a rich variety of other ethnic groups. The majorities are however highlighted in the country’s bilingual nature, with Kazakh as the ‘state’ language, and the universally understood Russian as the de facto ‘official’ and business language. These other groups include, Bashkirs, Tatars, Uzbeks and Uyghurs. Stalinist-era deportations of political opponents and Soviet minorities like Russian Germans meanwhile account for the significant number of Russians and Ukrainians. Indeed, Kazakhstan has played host to many of the bigger Soviet labor camps, as well as the USSR’s largest weapons test site in Semy. And despite Borat’s best allegations to the contrary; there even remains a small but strong Jewish community. The 1991 USSR independence however did see large waves of emigration, especially among Russians and Greeks. Today,
concerns about the country’s low population have interestingly led the country to count among the world leaders in international adoption rates. The religious makeup meanwhile shows an almost even 50:50 split between Muslims and Russian Orthodox, with a further 2% as Protestants. Other religions tend to be in the extreme minority, with rumors of Hare Krishna’s and Jehovah’s Witnesses being persecuted for their recruitment efforts. Yet with so many of the world’s conflicts today being rooted in religious and sectarian differences, Nazarbayev’s reconciliatory initiative can only be welcomed. As he informed Astana populace in 1999, “the heart of the nation now beats here”. Let’s hope that Kazakhstan’s future equally continues to beat to this tune of peace and progress. www.fosterandpartners.com
07. A grand conference area available for large events and meeting. 07 O7O
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Design › Inner Space
Shining Architecture Khartoum, Sudan
Burj Al Fateh Preface Dubai of Africa’ erects a symbol of wealth in a city depleted and packed with refugees. The attempted message is that of undiscovered potential which Khartoum is trying to communicate despite a bombardment of civil and human rights transgressions and global accusations of inhumanity flung at the unfortunate circumstances in the struggling city and country as a whole. The Burj Al Fateh is an ironic symbol as it calls to mind luxury, wealth, and a lifestyle of comfort while clashing undeniably with the slums which surround it. Writer: Rahel Aima Photographer: Burj Al Fateh
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Imagine a building, as gently rounded as it is sleek, steely and structured, plumply nestled between a sparkling metropolis and lapping blue water, with a cabin-like base and a soaring curvilinear sail. Its curvaceous façade is slatted in neutral grey, white and glass, while below it, bulldozers bustle chummily in the shade of stooping cranes. Sound familiar? It would be easy to mistake this architectural beauty for the statuesque Burj Al Arab, or the Yokohama The Grand hotel. Yet the panoramic views of this hotel look out not over the sea but instead, the Nile River, replete with the enmired mud homes of displaced refugees sinking into its squelchy riverbanks. And the building in question is not in Dubai or Yokohama, but instead is the Burj Al Fateh hotel in Khartoum, capital city of Sudan. Despite being the largest country in both Africa and the entire Arab World, Sudan is today primarily known for its laundry list of human rights abuses, from bloody civil wars and ethnic cleansing to refugee camps, a brewing border war with Chad, and of course the Darfur Crisis. Indeed there exists a certain incongruousness between Khartoum’s economic prowess and these various conflicts which some would say are exacerbated, if not underwritten by economic marginalization and a ferocious struggle for limited resources. Not unlike Dubai, this dusty city has in recent years witnessed a petrodollar fuelled boom with unprecedented growth, despite the stringent US economic sanctions which have been in place since 1997. These sanctions led US multinationals like Chevron to leave the country, a move that is believed to have done more damage to their bottom lines than to Sudan. A daily reminder of these sanctions does however exist in that credit cards are very rarely accepted, with transactions instead being conducted through cash or check. There are certainly heavy profits to be made here, yet for many European multinationals the feared PR backlash from investing in Sudan has thus far also kept them away. Even in these politically troubled times, however, Sudan has a friend in the People’s Republic of China, to which it imports close to 80% of its oil. Khartoum even has a school for the children of Chinese workers, and Chinese language classes for its Sudanese denizens. It is perhaps fitting then, that the Burj Al Fateh hotel finds itself next to the Chinese built Friendship Hall, while another hotel lobby features an 8-foot sign celebrating the “Evergreen Friendship between the peoples of Sudan and China”. And China is not the only significant investor, for billions of dollars are indeed flowing into Sudan every year from Arab, O74
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Indian and Malaysian quarters, with the UAE being the country’s fifth-largest investor. So it is that the US $190 million Burj Al Fateh was financed by Lafico, the Libyan Arab Foreign Investment Company, a firm that adamantly distances itself from the Libyan leader Al-Qaddafi. Despite this, the hotel has been nicknamed ‘Qaddafi’s Egg’ by local Khartoumites. Its opening on August 17th of this year was similarly presided over by none other than Sudanese president Omar Al-Bashir and Libyan Prime Minister Baghdadi Mahmudi, as well top executives from Cooperativa Muratori Cementisi di Ravenna, the Italian firm both designed and built the hotel. This took place a mere month after the International Criminal Court at The Hague accused Al-Bashir of genocide, crimes against humanity and war crimes. It is then unsurprising that CMC have faced much criticism for their participation in this 9-year turnkey project. Yet with successful deals around the world, CMC are no strangers to working in controversial situations, like the Chinese Yellow River Diversion Project that was completed in 2001. Other projects have included the El Salaam siphon under the Suez
Canal, the Addis Ababan UN Conference Centre in Ethiopia, the Taipei Ilan Expressway in Taiwan, and the Somba Water Supply Project in Malawi. This same global focus can be seen in the hotel, which requires cultural awareness training for its staff, and was built almost entirely from imported luxury materials. It has a French chef and Australian beef in its steakhouse, and is certainly built with a view to changing international perceptions of Khartoum. As its recent PR release noted, the “Burj Al Fateh hotel promises to be a landmark in Khartoum, a symbol of the future and a leader in the region”. Khartoum is known for its constant influx of refugees – both internally displaced and from conflicts in nearby cities like Uganda, Chad, Eritrea and Ethiopia. Recent years have however seen it re-imagined as a sort of “Dubai of Africa”, to which rapacious foreigners and migrants alike travel to in hopes of making a quick buck. Somewhat ironically, the overwhelming majority of hotel residents in the city are either foreign aid workers, or in the oil industry. Despite the relative on-the-ground safety of Khartoum, tourism is near negligible. And surprisingly, Khartoum as a city is not all that cheap, with skyrocketing rents and prices – raised
by the presence of foreigners – making its cost of living comparable to that in Paris or London. This is reflected in the hotel, which takes decadent opulence and exclusivity as its motto. So it is that the majority of its rooms cost in the region of $400 to $1500, all the way up to over $3000 for its Presidential suite. Yet with an estimated 40% of Sudanese living in poverty, very few can afford the $70 steak, or even $5 for a simple cappuccino, never mind the exclusive gym membership that costs around $2250. And with the relative dearth of tourists, the Burj Al Fateh thus orients itself more towards the discerning business traveler, as well as the few but highly minted local elite. Each room thus features wireless access and stylishly elegant Italian design, in addition to breathtaking views over the Nile and the sleepy city around it. The commercial focus extends to the facilities on offer, especially the full service Business centre. Fully equipped with the latest technology, it also boasts extensive meeting and events facilities, from neat boardrooms to ornate banquet halls which can accommodate a range of events, from smaller business meetings to large gatherings and parties. It must however be noted that shuffley cafés serving O75
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‘special tea’ aside, Khartoum is largely dry town, where alcohol is not served. The city does however boast of several cuisine options, which the Burj Al Fateh only adds to with its array of restaurants and cafés. Many of these have locally inspired names, like the laidback Nile River Café in the lobby lounge, or the sartorial heights of the 17th floor Café Khartoum, which is fast establishing itself as a place to see and be seen. The Mugran Restaurant references the hotel’s location at the confluence of the Blue Nile and White Nile, locally known as AlMugran. Spacious yet secluded, the Omdurman restaurant meanwhile offers the pinnacle of comfort with its à la carte dining and plush private dining rooms. It is named for the Omdurman section of the tripartite Khartoum metropolis, which is divided into three areas by the Nile. It is only the ‘Le Grill’ steakhouse, with its French chef and prime Australian cuts, and the Asian restaurant on the 18th floor –making it the highest restaurant in Khartoum -that differ in this process. The latter is at that somewhat curiously named after the very humble rickshaw. The facilities are rounded out with the relaxing Sabatha Fitness Centre, which includes a beautiful Moroccan inspired hammam along with the expected massage rooms, gym, saunas, pool and Jacuzzi. For the more active-minded, there are also squash and tennis courts or beautiful landscaped gardens dotted with fountains to stroll about in. And for retail therapy there’s equally the adjacent Commercial Complex, or Mall of Libya spread over three floors which houses office space and over 40 posh boutiques. At this, Marketing Manager Wissam Khalek emphasizes the international high end nature of the brands, which were especially chosen, “catering to a certain client base”. It’s certainly a far cry from the crowded markets that constitute much of Khartoum’s retail fare. It may however only be in these city souks that the coveted thobes may be found. Made from several meters of cloth –chiffon, cotton or
Design › Inner Space
“We are proud to introduce this icononic building n Khartoum with deep commitment to establishing lasting relationships with our customers and business partners through support, service and the ability to deliver additional value.” Wissam Khalek, Director of Sales & Marketing silk – wound around the body, different styles of the garment are cunningly named after topical and controversial events or people in order to generate sales. So it is that you can ally with China in a Shanghai skirt, or the turbulent south with Salva Kiir sandals, named after the vice president and leader of the south. To remember the bitter civil war, you could don a Naivasha thobe, so named for the Kenyan town that held the peace negotiations, or even the flashy ‘Hummer’. You may want to round off your politically conscious ensemble with a quick spray of some Sahaf perfume, which nods to the former Iraqi information minister. Most
controversial than even ‘Chemical Ali’ however, is the newest thobe – dubbed the “Ocampo” for ICC prosecutor Luis-Moreno Ocampo, the man responsible for the charges, and possible future arrest warrant for president Al Bashir. While the effects of this future ruling remain to be seen, the thobes do function as a sartorial nod to cultural and political relevance. And having been recently immortalized with its very own eponymous thobe, it looks like the Burj Al Fateh is here to stay – in the hearts, minds, and pocketbooks of Sudanese the world over. www.burjalfateh.com O77
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Design › Residence
Making a Human Mark Amman, Jordan
Kattan House Preface The Kattan House is an Amman-based building that has been designed by renowned architect Jafar Tukan. Tukan is head of a team of architects working at Consolidated Consultants, a multi-faceted company that provides engineering, building and consulting services throughout the Middle East. Writer: Linah Tan Photographer: CCJO
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Operating since the 1960s, Consolidated Consultants (CC) has handled notable building projects such as the Karameh Dam, for which they received the Award of Excellence for its design in 1998. The CC group went into a new direction when they merged with Jafar Tukan and associates, who over the past three decades had built themselves a reputation for being one of the most sought-after architecture consulting firms across Jordan. This merge was a step in the right direction for the CC group and as a result, the company has received numerous accolades for its projects – the Award of Merit from the Association of Civil Engineers of New Zealand for the design and supervision of the Wadi Haddada Tunnel in Amman and the Engineering Excellence Award in 2004 by the American Council of Engineering Companies (ACEC) for the Aqaba Industrial Zone Project. Tukan’s design values are centered on producing outcomes that relate to the client’s needs and the level of trust that is instilled within him as a designer. Tukan believes these concepts have combined to help develop the prominent design of the Kattan House. The construction process of the house took 20 months to complete with miraculously, no hitches in the building period. Built upon a site with a mild slope, Tukan adapted this particular environmental feature to give the house an edge in its make-up by mixing up the different levels with a variety of designs and giving what Tukan refers to as a ‘dramatic’ feel. The main feature of the Kattan house is the use of the spaces both inside and outside the house. By allowing these to intertwine through the use of different surfaces and embellishments, the house retains a feel of fluidity that is not just restricted to one space. As Tukan describes, “I introduced the limestone finish of the exterior into the interior to create the continuity of the interior with the exterior, an aspect which reinforces the special continuity of the spaces.” Tukan describes the house as being influenced by the Via Dolorosa in Jerusalem, a location that is also the home country of the homeowners. “The buttresses that support the skylight are reminiscent of those in Via Dolorosa. The level variation was also carried into the garden landscaping which was also taken care of by the owners.” Tukan also highlights the influence of “the urban quality of the surrounding urban fabric and old Jerusalem.” What is also apparent about the Kattan House is the material used to create the interiors within the house. This happens to be one of Tukan’s favorite aspects of the Kattan house, “The skylight and the stone in the interior are my O8O
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favorite features. The matching of the interior and the landscaping levels makes all the interior spaces intimately linked with the garden.” The presence of light was also an important factor consider as Tukan wanted to make use of the natural sunlight. He also considered a number of external factors such as the changing seasons and how to maximize the effect of the house within those different environments. “The introduction of a skylight over the entrance hall allowed natural sunlight to flood the interior space in the daytime and the soft moonlight to filter into the house in moonlit nights. Rain and snow, bring additional moods to the interior.” The Kattan house is an example of Tukan’s extensive design portfolio as it utilizes a number of spaces – a characteristic that features predominately in his work. He also adds that the house was an ideal balance of ideas, budget and planning between the client and himself, something that he values highly before embarking on new projects. Another project that Tukan holds in high regard has been his work on the SOS Children’s Village in the village of Aqaba, Jordan. The village was completed in 1992 and provides enough homes for eight families and 72 homeless children. The goal of the project is to provide a secure and safe learning environment that helps children achieve social integration and financial independence within the future. Although the concept of the SOS Children’s Village may be different compared to Tukan’s
other commercial and residential work, he claims there was not much contrast, noting climate and landscape being determining factors within the planning of the village. “In principle there is no difference conceptually, however, the SOS Village project had additional environmental considerations that made the design process different. Aqaba is situated at the northern tip of the Red Sea – the northern end of the geological rift that extends along the Red Sea into Africa where it meets Upper Egypt. The pink granite rock strata from which the Pharaohs used in their temples extends north and ends in Aqaba. Similarly the vegetation of Aqaba belongs to the African eco-system. Therefore it was important to understand the differences and as a result, architecture in Aqaba differs from those found in Amman.” Taking inspiration from Aqaba’s landscape, the village’s foundations were carefully selected from a variety of materials that could be found from local sources. This enabled the house to be built without impacting the image of the local landscape, as well as providing a sustainable method for its construction. Tukan explains, “The traditional houses of Aqaba were built from granite stones without tooling but with a special basic coursing. We were inspired by this technique in our design for the buildings of the villages, which meant that the stone used was collected from the surrounding area at no cost whatsoever. The final product blends organically with the background of the Aqaba mountains.”
The village was designed with a strong environmental focus by using the earth’s elements as a form of energy or aesthetic design. Examples of this are the installation of wind catchers on the roof and wooden louver shutters. Tukan believes that environmentally-centered design is an important step designers should be taking into consideration within the future. “The whole world is becoming very aware of the issues of environmental balance, conservation of energy, use of solar heating, minimizing pollution generating, and so on. As a matter of fact, our firm has a department dedicated towards creating environment-related projects such as water harvesting and recycling, using solar energy for power generation, and pollution control measures. This balance in architecture is part of the growing global awareness of the importance of protecting our planet from the hazards of waste and ecological damage.” Currently, Tukan and the team at CC are working on a number of projects across Jordan, Palestine, North Africa and Angola. Their future projects continue to address a number of challenges such as economics, sociology, architecture and even logistical issues such as traffic and environment. They hope provide a number of solutions for all these issues in order to continue providing sustainable, effective and above all, aesthetically balanced environments for people to thrive within. www.ccjo.com
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Design › Art Collective
In Xanadu did Kubla Khan, a stately pleasure dome decree Beirut, Lebanon Xanadu Art
Preface In times where the 9/11 WTC attacks have made life trying for Arabs residing in USA, Zena El Khalil takes a laudable stride with Xanadu* to make way for budding Arab artists in the American city of New York.
Mongol ruler Kublai Khan’s descendants may bask in the glory of these lines that poet Samuel Taylor Coleridge wrote in the opulence of the Yuan dynasty’s summer capital Xanadu; but for Zena el Khalil xanadu* is an undying commitment to promote regional artists. Xanadu*, a non-profit initiative was started by Lebanese resident Zena – an artist with a Masters degree in fine arts – with an aim to work beyond the current art market, and provide a platform to aspiring artists through lectures, exhibitions, performances and publications. Tracing the birth of her venture, el Khalil
narrates, “xanadu* was born on the number 2 train, on our way back from the Botanical Gardens in Brooklyn, New York City, in 2001. My friend Imad Khachan and I were discussing the art scene in New York and the obstacles upcoming artists, particularly those from Arab countries face in exhibiting their work. The attack on the WTC towers had further closed doors on Arabs.” She continues, “But it wasn’t until 2003, that we decided that xanadu*, as a concept was ready to face the big city. The hope was that xanadu* could become a platform for Arab (and under-represented) artists to combat erroneous stereotypes that emerged from the wake of 9-11 and portray a positive side to all the negative allegations. We officially opened our exhibit space in November 2003.” For three years, xanadu* held monthly events like art exhibitions, poetry and music performances, publications, and even chess lessons. It became a point of convergence for artists, writers, poets, performers and chess players. In 2004, xanadu* moved to Lebanon where el Khalil focused on doing specific events and
Writer: Reem Fikri & Sapana Patil Photographer: Karen Kalou & Rachel Tabet
exhibitions in different locations and gallery spaces around Beirut. Events at Beirut included everything from one night ‘happenings’ (that took place at the Masrah Al Madina) to month long exhibitions. In 2006, xanadu* curated the ‘Shu Tabkha, Ya Mara?’ (What’s Cooking, Woman?) art exhibit in partnership with the International Museum of Women. That same year, xanadu* and local art powerhouse Espace SD co-curated ‘Nafas Beirut’, a testimony to artwork made during the July 06 war. In 2007, it launched its publication program to help young writers, poets and artists share their work with their peers in Lebanon. xanadu* has currently published one book of poetry by Hind Shoufani entitled ‘More Light Than Death Could Bear’ and the first three issues of the Samandal Comics Magazine. And, in 2008, xanadu* organized ‘8.8.8.’ – a first of its kind event in Beirut celebrating the collaboration of musical and visual experimentation. Local musicians played outdoors on a stage situated in the middle of a beautiful garden in an old abandoned Lebanese house. O85
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01 Artists drew and experimented with live visuals, inspired by the music. Animations and videos were projected on several screens throughout the outdoor venue. Video jockeys mixed images to sound. Quiz el Khalil about the atypical name and she replies, “xanadu* is indeed borrowed from Samuel Coleridge’s poem. The asterisk sign signifies ‘a beautiful place’. I hope our effort is perceived as a beautiful, fantastical and magical place, where people put down their guard, unlike hard-core theoretical environments that sometimes tend to alienate people. I think xanadu* helps to build bridges,” adding “We call xanadu* an ungallery because we do a lot more than what average O86
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galleries do. We are involved with literature and music as well as visual arts and never confine ourselves to traditional means. By using this term, I think it just adds to our xanduness… it implies that we are diverse and work beyond current boundaries and market needs.” But isn’t it difficult for a non-profit initiative to sustain for long in times of commercial and market driven world? “It all depends on how you define and measure success. The way I measure success is very simple; if an artist shows with us for the first time and then due to the exposure they had were able to continue showing their work in other venues, then I know we have succeeded,” she reflects.
“There is great talent in the Middle East, but unfortunately very little funding in Lebanon for the arts. It has been very difficult for young artists, writers and musicians to get started. My dream would be to expand the fund that I am currently working with to be able to exhibit more artists, publish more books and stage more concerts and events,” she concludes.
Zena el Khalil, born 1976 in London, has lived in Lagos, London, New York, and Beirut. Zena is an installation artist, a painter, curator and publisher and
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holds a MFA degree from the School of Visual Arts in New York. Her artwork centers on issues of war, love, family and religion and is a direct reflection of the time and space she lives in. el Khalil has been involved in a love/hate relationship with Beirut for the past decadeclearly evident in her work. el Khalil is also the co-founder and director of xanadu* <xanaduart.com>, an art space/collective based in Beirut with a small extension in New York city, dedicated to promoting young and/or underrepresented artists.
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During the July â&#x20AC;&#x2DC;06 Israeli invasion on Lebanon, el Khalilâ&#x20AC;&#x2122;s blog, <beirutupdate.blogspot.com>, received international acclaim and was highly publicized on news portals such as CNN and the BBC. Excerpts were published in papers, including The Guardian and Der Spiegel Online Zena has exhibited her artwork internationally, working out of her studio overlooking the Mediterranean Sea in Beirut. On occasion her Jack Russell Terrier, Tampopo, has been known to accompany her to the studio. She is currently working on her first novel and her artwork can be viewed at <ziggydoodle.com>
04 01. 02. 04. Portraits of Lana MacIver, Ritta Baddoura, Youmna Saba & Fadi Tabbal performing at 8.8.8. Live Experimental Music and Visual Art Event set in the garden of an old Lebanese house. Beirut, Lebanon. Photo credits: RACHEL TABET 03. The performance Venue O87
Sharjah Ladies Club & brownbook | Partnership
Sharjah Ladies Club An exclusive health and leisure centre in the UAE with a range of facilities to rival the best in the Middle East, the Sharjah Ladies Club is a world of fitness and fun. Whether you have a family, a career or both, everyone needs private time and the Sharjah Ladies Club gives women this private world, a world of physical and mental enlightenment. Shaikha Bodour Bint Sultan Al Qasimi, VicePresident of the club, said its mission was to offer health and well-being, recreation and entertainment, social activities, sports and new skills. “Our mission is simple. To provide an exclusive retreat where women can relax and recharge in
Sharjah Ladies Club has undergone a dramatic transformation to become one of the most exclusive health and leisure centers in the UAE. With an emphasis on luxury treatments and five star service, the club has a range of facilities to rival the best in the Middle East.
idyllic surroundings,” she said. “A decision was taken to conduct extensive renovations and provide facilities that would be second to none. With a multi-million dollar investment, the club now proudly enjoys the standards of a five-star hotel.” Shaikha Bodour said: “In many ways the Sharjah Ladies Club is a microcosm of Sharjah itself. It is a place that uses its traditional values as a solid stepping stone into the future. The club is an exclusive retreat for women.” “We have always had an environment in which women felt comfortable. With the ladies club we have the kind of facilities expected by sophisticated
ladies in any other part of the developed world.” Shaikha Bodour said all the club’s facilities have been upgraded including the gymnasium, swimming pools, ice skating rink, tennis courts, nursery, art centre and beauty salon. The club celebrated its 25th anniversary last year, under the patronage of its Chairperson, Her Highness Shaikha Jawaher Bint Mohammad Al Qasimi, Wife of His Highness Dr. Shaikh Sultan Bin Mohammad Al Qasimi, Supreme Council Member and Ruler of Sharjah. As founder of the club and chairwoman of the Supreme Council for Family Affairs, Her Highness Sheikha Jawaher Bint Mohammed Al Qasimi, had
BENEFITS TO MEMBERS - Fitness Centre. - Leisure Pool (5 years old & above). - Beach (Closes half an hour after sun set). - Ice Skating Rink. - Sports Court (Basketball, Volleyball and external Tennis Court). - Playground area for children
Shaikha Bodour said all the club’s facilities have been upgraded including the gymnasium, swimming pools, ice skating rink, tennis courts, nursery, art centre and beauty salon.
a clear mission. Her aim was to create a centre which would serve the community and touch the lives of everyone in it. Over the years, Sharjah Ladies Club has increased the awareness of women; encouraged their participation in the shaping of society; boosted their confidence and independence and developed their talents over a diverse range of interests. The club’s mission included the pursuit of sports activities to help shape the youth of the country. A crowning moment came when the National Olympic Committee honored the Club with a “Diploma of Achievement” for providing Emarati women with the only comprehensive sports complex in the country. Swimming Pools, gym facilities, an Ice Rink – even
a Health Spa – were together on their doorstep for the first time in an all-woman environment. A nursery for their children provided security and peace of mind. Today, with a new name and new logo, Sharjah Ladies Club is once again at the forefront of change. A multi-million dollar investment program has created a major new attraction attuned to the needs of women in the 21st century. Health and wellbeing, recreation and entertainment, social activities, sports and individual skill development. All in an atmosphere of luxury and style. But one thing has remained unchanged. In accordance with its founding principles, Sharjah Ladies Club was, is – and will always remain – a much cherished place for women to be themselves.
A RT DU BA I 18 â&#x20AC;&#x201C; 2 1 M a rch 2 0 0 9
In Partnership with
w w w. a r t d u b a i . a e
Photographer: Jo Baaklini Models: Rami Naayem, Carine Yessayan, Karl Massabni Assistance: Thomas Trad, Ralph Msann, Cynthia Merhej Video: Dania Bdeir Location: Marina Dbayeh, Lebanon
Beirut in Blue Preface Seagull (a medium format camera) put in a 120 mm slide film, a few friends gathered to meet at Marina- Dbayyeh, Beirut. An experimental photo-shoot created by Jo Baaklini, a vintage look was developed, the clothes (all vintage from the models closet).
Blue spotted on Turquoise faded shades. Gold link chain Beaded shell necklace with pearl colored seashell in the centre. White cotton tank top Sea blue knee length waist skirt. Dusty brown suede ballerina shoes
Emerald green pencil dress Faux cheetah imprinted vinyl belt with gold buckle. Vintage gold watch Black suede ballerina shoes with gold bow Blue name tag bracelet
Carine Limited Edition white Ray Ban sunglasses Plastic beaded pearl necklace and bracelet 50â&#x20AC;&#x2122;s inspired red dress with white polkadots
Limited Edition white Ray Ban sunglasses Plastic beaded pearl necklace and bracelet 50â&#x20AC;&#x2122;s inspired red dress with white polkadots
Carine 70â&#x20AC;&#x2122;s inspired knee length white dress with metallic imprinted pearl polkadots Caramel shades Vintage gold watch Blue name tag bracelet Patent leather black ballerinas Pearl earrings stud Rami Y3 collared t-shirt White Cuban hat from Massimo Dutti White cargo pants from Armani Mules by YSL
Carine Strapless zebra pink silk + chiffon dress Vintage gold link chain Rami Pale yellow shirt from Polo by Ralph Lauren Light washed Diesel Jeans
Carine Yellow & navy blue flower imprinted silk blouse . Black boy shorts from Topshop . Black ballerinaâ&#x20AC;&#x2122;s with buckle from Topshop . Carmel Shades Karl Black cotton Armani fitted tee . Brown YSL belt . Light washed Diesel Jeans . Mules by YSL
Design › Products
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Nada Water
Manama, Bahrain
Nada means dew. Just as the dew droplets freshen our mornings, Nada water enriches our lives. Bottled in a rather conventionally modelled plastic container, Nada water is loaded with iron, fluoride, calcium, magnesium and other beneficial minerals essential to the health approved by World Health Organization and FDA. The manufacturers pay special attention to an environment friendly packaging of the water. They are the first Bottling Plant in the Arab Region to introduce the technology of Polyethylene Terephthalate, commonly known as P.E.T bottles for bottling Nada water. However, what sets it apart is its latest introduction of pollen, mint and orange blossom flavoured water. 1O6
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Tanuf Water
Muscat, Oman
Tanuf Water is collected from the foothills of blooming Jabal Akhdar mountains (Arabic for green mountain). The rain waters gush down various gorges and collect in a natural aquifer at the base of the mountains. It is bottled in regular cups by National Mineral Water Co. SAOG’s (NMWC), an Omani owned Public Limited Company, set up in 1978 with technical expertise from Evian, France – world leaders in the field of natural mineral water. The company maintains that it has invested heavily in latest technology for water treatment and its water has remained untouched by human. Rightly so, Tanuf water is a way of life for many in the region.
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Masafi Water Cups
Masafi, UAE
The water got its name from the Arabic word masafi which means pure water. It is sourced from the rich underground springs in the village of Masafi,a mountainous region in Ras Al Khaimah. The water is packed at a plant near the springs. Available in small cups and large cans, the containers designed by Team, Young and Rubicam are unique and have an appealing combination of colours. Its water is boasted to be pure and free of preservatives and artificial sweeteners. Masafi has recently added jasmine flavoured water to its existing band of strawberry, lemon, peach and mint-lemon flavoured water. It packs its flavoured water using hot fill technology. Masafi is also the first to introduce mineral and bottled water vending machines in the region.
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Evian Water
Bottled in UAE, France
This French brand of mineral water is more a style statement than mere natural mineral water. Portrayed as a high-end and pricey bottled water, Evian became popular among Hollywood celebrities. When it first entered the U.S. market in 1978, it was served in high-end restaurants, lounges, and hotels in New York City and throughout Hollywood. That is why, even a Middle Easterner drinking Evian is looked upon as hip and tasteful. Gathered from several sources near Ă&#x2030;vian-les-Bains, on the south shore of Lake Geneva, the classic 1 litre PET bottle (made from 25% rPET, recycled PET) of Evian natural spring water is all that is needed to feel revitalized and refreshed.
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Rowdatain Water
Kuwait City, Kuwait
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Sultan Water
Kuwait City, Kuwait
This mineral water comes in compact containers. Water is bottled in Ajman, UAE especially for the Sultan Center, Kuwait City in Kuwait.
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Arwa Water
Produced for Pepsi Co
Arwa means a feminine name in Arabic. It is part of Coca Cola Company, that offers more than 450 brands, over 2,800 beverage products in more than 200 countries. From diet and regular sparkling beverages to still beverages such as 100 percent fruit juices and fruit drinks, waters, sports and energy drinks, teas and coffees, and milk-and soy-based beverages, Coca Cola variety spans the globe.
Al-Rawdatain mineral water comes from Kuwaitâ&#x20AC;&#x2122;s deep ground, from a natural refinery, to provide you with the rare freshness and purity, thanks to its light balanced minerals. It is filled at the same source daily, from Al-Rawdatain field, situated in the North of Kuwait. The water is analyzed in many laboratories inside and outside Kuwait, to make sure of its safety and quality. It is filled in bottles made of PET, an environmentfriendly material, highly recommended for food products. Its ingredients conform to the approved international specifications, and it is advised for all the uses. 9
ABC Water
Kuwait City, Kuwait
For a big thirst or a big day at the office, ABC is what many turn to. This brand also extends the purity of natural mineral water in convenient containers. Although some consumers did criticise it for resemblance of its logo with that of Evian, ABC continues to be a favourite amongst many.
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Rayan
Doha,Qatar
Rayyan is unique because it is the only mineral water in Qatar with a natural source. The crystal natural mineral water is taken from 70 metres under the ground. This makes Rayyan Mineral Water rich in essential minerals. Rayyan Mineral Water Company manufactures its own bottles and packs water in them at a factory close to the site of water, far from any human or industrial pollution. The company was established in 1984 under the supervision of Evian. It is the market leader in Qatar with approximately 70% of the total market share. 1O7
Agenda â&#x20AC;ş Report
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brownbook magazine
Damascus 2008 Capital of Arab Culture
The inside scoop of what really happened?
Preface Damascus being the Capital of Arab Culture of year 2008, gave hope for Syrians to become the center of culture. The festival was promising and the young generation looked forward to it. Being the capital of culture, it assured to give a push to its young generation. But, the event wasnâ&#x20AC;&#x2122;t exactly as people expected. brownbook brings you the inside scope of what really happened and thoughts of the young generation of this promising event. Writer: Yara Shammaâ&#x20AC;&#x2122;a Photographer: Omar Sanadiki
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“The program of the festival was conceived so as to have an impact on local, Arab and international audiences. On a local level the festival is orientated mainly toward the youths. They are the new generation and the festival will help shape and prepare them to play an outstanding cultural role in the future”. The General Secretarial of the festival
In January 2007 the General Secretarial of the “Damascus, Arab Capital of Culture 2008” Celebration was founded through a presidential decree. This guaranteed its independent status as an agency not subordinated to any ministry or other official authority, and allowed for more facility in its operation by ensuring the necessary freedom for the development of its program unhampered by the shackles of routine. After one year of preparations the events of Damascus Arab Capital of Culture finally started amid the excitement of Syrian people who have been in a state of eager expectation for the surprises they had been repeatedly promised over that year. On the day of the public opening, which was held in the open air area of the Umayyids Square, more than a million people had gathered despite the cold weather, in order to see the inauguration ceremony, which the organizers had promised would be a grand one. The event, however, did not stand up to their expectations despite the efforts of the Festi Studio, the Italian company which organized the open air shows and the fireworks. Nevertheless, the show was not as impressive as the preparations had suggested. It was but an ordinary entertainment show, comparable to a “light meal”, not matching in importance the fact that Damascus had been elected Arab Capital of Culture, nor the funds allocated for this festival. After the official opening, the festival events started according to the schedule, which had been
planned months back, and which soon started to be altered. Sometimes the changes occurred one or two days before the event, and the responsible had to apologize to the audiences that had not been informed, and who had actually showed up at the theaters to attend the shows. Damascus Capital of Culture and Youth In its official statement the General Secretarial of the festival declared the following to be its objectives: “The program of the festival was conceived so as to have an impact on local, Arab and international audiences. On a local level the festival is orientated mainly toward the youths. They are the new generation and the festival will help shape and prepare them to play an outstanding cultural role in the future”. But to what extent did the General Secretarial succeed in keeping these promises? This is what we tried to find out by interviewing the youths themselves. Masa Beitar (University Student) I have not attended any activity in this festival as I spend most of the time on campus, where the festival program is not reported. In order to see the events we would have to visit the cultural centers, theatres, or the General Secretarial headquarters, and of course we cannot go when we have classes. I believe the General Secretarial should have 113
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The cultural project, even in countries like France, England and Germany, is in itself a source of anguish, and working on it is not easy. Today books and even newspapers are having a difficult time competing with internet, the easier way of accessing information, and which, unfortunately is only used as a means of entertainment by our youths. Michel Makdesi
distributed the festival program, or advertized the festival events in university campuses, or even in restaurants, clubs and similar places were young people usually go, if we really were their objective. As for the shows we were aware of, such as Ziyad Al Rahbani’s concert or that of Julia and others, we had a lot of difficulty trying to get their tickets, they were sold out the first day they were available for sale, and we lost the opportunity to attend. Saad Al Qasem (Critic and Professor, the Higher Institute for Cinema) described the lack of participation or orientation toward the local public by saying: “The Syrian element in the festival was comparable to an appetizer, where the main dish was foreign. From the very beginning the opening ceremony abridged Damascus into the Syrian ‘Arada, neglecting its history and glory for the sake of fireworks, balloons and European shows. The same was noticed for the shows later presented by the festival, the most costly being the European opera show, where Queen Zenobia was shown as if
she had belonged to the Baroque period. This show should have been presented by a one-hundredpercent Syrian cast, and we have the necessary skills for that.” Michel Makdesi, PhD (Researcher and Professor of Oriental Antiquities, Damascus University, Member of the Board of Directors of Damascus, Arab Capital of Culture). Attempting to explain the claim that the festival had failed to meet its objectives, he said: “As a whole we cannot affirm that there were numerous negative or positive aspects to the festival. There was certainly a lot of pressure upon the General Secretarial, we wished to present something better, but I believe that what was presented, in view of the present circumstances, was good. Syria as you know is experiencing a cultural breakdown, and is still heading down, and coaxing a youth into watching a play or reading a book has become more of a miraculous deed! The cultural project, even in countries like France, England and Germany, is in itself a source of
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anguish, and working on it is not easy. Today books and even newspapers are having a difficult time competing with internet, the easier way of accessing information, and which, unfortunately is only used as a means of entertainment by our youths. This is why working on the cultural project, even if it were for free, is more likely to meet failure than success especially in the Arab world. We cannot, however, deny the success of the festival in attracting the Syrian youths to some cultural aspects, for example the events and exhibitions hosted by the National Museum attracted a considerable number of young people. We were successful, even if only partially, in acquainting them with Syrian antiquities they had never thought of discovering. Salam Hassan (Winner of award for cartoon movies production in the Damascus Arab Capital of Culture Contest). “One important step taken by The General Secretarial was organizing a contest among young people in the area of cinema, theatre and cartoon movies. I participated together with my friends in this contest, and we were awarded prizes. These prizes consisted in the financing of our productions. However, the release of the money is subject to the work execution. In other word the money will be released in installments, each phase of the work we will finish will have to be approved by the General Secretarial who will accordingly release the money for the next phase. This award is not even tax exempted, and therefore we will not receive it in its entirety”.
“I believe that what was presented, in view of the present circumstances, was good. Syria as you know is experiencing a cultural breakdown, and is still heading down, and coaxing a youth into watching a play or reading a book has become more of a miraculous deed”. Michel Makdesi 1
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5 1. Michel Makdesi, PhD (Researcher and Professor of Oriental Antiquities, Damascus University, Member of the Board of Directors of Damascus, Arab Capital of Culture). 2. Al Adem Palace, Musical Performance by Nature Pioneer. Performed for charity. 3. Mehyar Mustafa Ali: Artist and sculpter. 4. One of the performers of ‘Ali Bay back show’ in Khan As’ad Basha. A story of an 5. Damascus Arab Culture logo, during Independance day a performance was held.
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“I believe that a contest like this should have been organized regardless of the Damascus Arab Capital of Culture. Encouraging young people should not be limited to events and special occasions”. Yasmeen Fanari
5. Yasmeen Fanari & Salam Hassan, one of the Award winners of the Damascus Arab Capital of Culture. 118
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Yasmin Fenri (awarded for her cartoon movie production) As for Yasmin Fenri, she added: “I believe that a contest like this should have been organized regardless of the Damascus Arab Capital of Culture. Encouraging young people should not be limited to events and special occasions”. About the festival having achieved its goals by changing young people’s views about culture, Yasmin says: We Syrian people are not used to such cultural events, and this is proved by the fact that the musical concerts were much more attended than art exhibitions and theatre plays, which we did not even hear about. Changing the youths’ perception of culture will not happen through festivals and concerts, this is a much deeper issue. I think that were the huge sums and astronomical figures that were spent on some of these events and on the opening show had been invested in the creation of high standard cultural centers for young people on the lookout for culture and for a place to house their ambitions and creations, it would have been much better.
One of the things I noticed in this festival was that the advertizing, media, and financial focus were on musical shows, as if culture was limited to music and songs. It cannot be denied that many a famous artist was there, but a similar care should have been given to theatre and cinema. The cinema for example was absent from the festival, whereas this event should have been a perpetual cinema festival. The Damascus, Arab Capital for Culture Festival should have been better exploited for tourism ends. This would have happened with a better publicity campaign and a one starting earlier in time, like that of Jerusalem, Arab Capital of Culture. Each time I surf the net I come across advertisements about the events that will be hosted, and we all know the particular situation of Jerusalem and how difficult it would be to organize a festival under the Israeli occupation.” In the same context Salam added: “I have not detected a big difference resulting from the festival, and I have been following the cultural activities in the past years. The normal thing would be to have the activities we are having today every year like in Beirut where several festivals are organized every year matching or even exceeding the Damascus, Arab Capital of Culture Festival in level. Maybe what was different this year was the young people’s reaction toward culture, maybe as a fashionable trend, or out of a “following the crowd” attitude, and therefore, some young people attended the events in imitation of others. Damascus absence from Damascus, Arab Capital of Culture: Despite the events and public activities that took place in Damascus, the inhabitants of this city did not feel part of the festivities. Some of them think it was due to lack of real involvement of the people, who turned into passive observers of imported shows, some of which were deprived of interest or even alien to them. Among the activities of the Damascus, Arab Capital of Culture was the renewed publication of a series of books on Damascus for their revival. However, the General Secretarial attempt to reduce costs resulted in the poor quality of material and design, as well as a lack of publicity for these books, which has resulted in their stagnation in bookshops and publishing houses, attracting only a small minority of interested readers. www.damascus.org.sy 119
Agenda › Affairs
Never-Part
Photographer: Tarek Al Ghoussein
Brussels, Belgium
Histories of Palestine Curator Jack Persekian beautifully brings out the story of 12 Palestinian artists and the one creation they value most, at this art exhibition, which is part of the on-going Bozar’s Palestine Festival at Brussels. Persekian digs into the lives of these artists and explores what holds their creation so close to them and so inseparable from them. And in the course, come out some heartrending, soulful accounts of artists who have lived difficult lives as displaced residents of Palestine. This exhibition is a representation of the artists’ deep personal expression of their experiences living through Israeli occupation and exile. For instance, Emily Jacir, a Palestinian-
American artist, filmmaker and university lecturer, who stays in Ramallah and New York City has a rather emotional story behind being possessive about a sculpture she happened to create. Apparently, it is a dibba jar which her grandmother would gift to her every time she visited her. However, after her grandmother passed away, Emily decided to pad the jar with tape just as her grandmother did to ensure its safety during travel. A frantic Emily coiled layers of tapes until it became a sculpture, she holds so dearly to herself that she refused to exhibit it at the event. Other Palestinian artists whose experiences have been accounted are Jumana Abboud, Tarek AlGhoussein Sobhi al-Zubaidi, Ayreen Anastas, Asad
Azi, Mona Hatoum, Janah Hilwé, Vera Tamari (in collaboration with Tania, Nasir and Vladimir Tamari), Sliman Mansour, Marwan Rechmaoui and Nida Sinnokrot. Never-Part, Histories of Palestine opened on October 19, 2008 and will run through until January 11, 2009 at Centre for Fine Arts, Brussels. The festival runs alongside cinema, theatre, dance, literature, music and architectural events at Bazor. Masarat Palestine Festival, the even bigger festival will run in and around Brussels until mid-January. www.bozar.be
Tarek Al Ghoussein Art Statement: In 2005, I wanted to use some cement bags in my installation of the Untitled B series at the Sharjah Biennial. The B Series was in response to the disturbing news of Palestinians selling cement to Israelis in the construction of the ‘defense wall’ in Palestine. I wanted some of those bags and although my friend Rula Halawani’s did manage to find them, it was a challenge to send them to me. Rula agreed to carry the bags to Spain where our works were to be on display at an art exhibition. But I could not travel. I then requested Lara Khaldi to get me the bags. The ‘package’ had an Israeli airport sticker on it. I had never seen one of these stickers. I have never been to Palestine myself. Somehow the package became precious. I have yet to open it. Perhaps that is as absurd as the package itself.
Tarek Al Ghoussein Bagged and Tagged Cement Sacks, Ramallah, Palestine 2005 Plastic package, tape and Israeli stamp. 55 cm (length) x 23 cm (width), 13 cm (height) 123
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Libya: “A Country that Wears its Traditions Well” Writer: Omayyah Omar Photographer: Maisam Darwish & Maher Busedra
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The sun sets in the horizon, in its magical surroundings of red and orange skies, as stars are already visible in the distance. The damp humidity of the sea shore mixes well with the warmth of the Mediterranean evening, the smell of the land and sea rise up to fill the atmosphere with something so mystical, so magical, about Tripoli’s spirit. This might seem extravagant to many, but is exactly that kind of place. The Lay of the Land The Old Medina – or the Old City – comprises the original parameters of Tripoli, or Oea as it was originally called. There has been a settlement where Tripoli is today for nearly 2600 years, since the Phoenicians took it up as a resting point on during their sea journeys in the Mediterranean. The older quarters is now part of the walled-up Arabic traditional souks, crafts workshops and shaded narrow walks, where the sound of the hammer of the silversmith echoes in the alleys, and the smell
of spice and café aromas mingles in the air. Tripoli has long since become a delightful getaway for an increasing number of tourists and archaeologists. It boasts an irresistible mixture of past Arabia, and present modernity; the latest gadgets can be spotted everywhere juxtaposed by the seldom spotted old woman balancing a bundle atop of her head. The rich history which envelops almost all that meets your eye in Tripoli is astounding, the result of 2600 years of successive rule by the Phoenicians, Greeks, Romans, Arabs, and Ottomans respectively. The Italian occupation, which came about in 1911 and caused some of the most horrific and painful episodes of history, laid out the most recent of historic extensions to the city, just outside the Eastern walls of the Old Medina, furnishing the land with fashionable apartment buildings and a long colonnaded promenade. Beyond that lays the Green Square, the meeting point of the Old Medina and the Italian quartiers, and the city’s center, popular with traditional-style cafes. If you
allow yourself to be lost in the narrow alleyways, you might truly begin to capture the essence of the city’s history of resistance and pride, and its long complicated and yet ever giving blend of cultures. Libya The fourth largest country in Africa, Libya boats the highest GDP per capita in the continent. Its geographical situation made a certain meeting place for Eastern and Western civilizations alike. Its history is marked by the presence of contradictory, often competing, cultures and ideologies. It has gone through eras of Roman greatness, Islamic conquests, Ottoman rule, Italian occupation, national resistance, international UN embargo - the latter marked Libya of the late 1980’s with financial difficulties. The stiffened relations with the west starting thawing slowly since 1998, and continue to advance: emerging Libya began reintroducing itself as the next must-see cultural hot-spot. Libya’s population, a heartily intertwining of 127
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Yousif Habil A 26 year old Libyan, and a firm believer in the irreplaceable role of Libya’s ‘street society’. He spent his life between Libya and UAE, where he graduated from The American University of Sharjah in 2007. He is currently working in Abu Dhabi’s Islamic bank. The image of Libya as it is seen today is the result of a complex blend of elements, according to Yousif. The political difficulties it has endured over the past few decades reached a peak with the Lockerbie incident in 1988 which induced a long political and financial hibernation on Libya. Following more than a decade of frozen international relations, Libya was finally let in from the cold. Yet the implications that this isolation left on its youth, finances, and culture are invaluable commodities to its experience. For example, amidst the tradeban Libya was forced to transcend the ‘consumerculture’ in favor of providing its own necessity products, from “candy to cars”. In an increasingly hostile world, very intolerant of certain aspects of difference, Libya had been quietly keeping its traditions alive. By the time the sanctions were lifted, Libyans had created within themselves a hunger for exploring and mixing with the outside world, which had previously been forbidden in a sense. Yousif remarks that this “hunger” led many young Libyans who had gone through rough times to, “venture and explore, and eventually manage to establish world renowned corporations and have a truly unique experience. It is really amazing”. “Really amazing” here is referring to the determination and curiosity to create a remarkable success from within a politically-challenging reality. Nowadays, Libya’s international relations is going from good to better, as the international community resumes its relations with it normally. It has also resumed normal relations with the UN, and American citizens have been permitted to travel to Libya once more since 2004, and all is right with the world. According to Yousif, an Ideal Libya would be first and foremost a country which keeps hold of its Islamic traditions and cultural values. Characteristics which would add a great deal to 128
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“Libya’s political, financial and social mixture provides its youth with an experience that, in a sense, is completely unique.” – Y. H.
Libya’s cultural wealth stem from the establishment of a multi-cultural society, which in its turn leads to a unique kind of international social order that is extremely tolerant of the “other”, no matter who or what that entails. The ideal environment in that sense stands out as a highly advanced intellectual, financial and technological one, all the while skillfully preserving a solid sense of identity which stems out of its unique blend of traditions and history. One of the many aspects of Libyan society that makes it unique to Yousif is its “street society’, a local mine of information that makes up an important piece of the youth’s sub-cultural. This mixture of street-smarts and international experience gave the magic potion, of unknown quantities to many young Libyans who found they were representing a society that is known very little in a westernized world dominated by information and popular-culture in which almost all is dictated, from music and clothes to work and education. Yet it can be very hard to conform to intellectuality without putting traditions at jeopardy, after all where
do you draw the line? For Yousif it is the mixture of experience in Libya and in Dubai which created his personal experience as it stands today: “the mixture of multi-culture from Libya and Dubai”. It seems it is all up to personal judgment to realize the point at which you have to seize to conform, in order to preserve a culture in an age in which cultures are blending, and lines that once divided and preserved cultures are being smudged, Yousif finds that “being a professional with strong values can mold the stereotypes about the Libyan people and their lives … many people are very curious about Libya and how people live there and so it becomes a very good starting point for making friends and ‘breaking the ice’ as it were”. It seems to me that the true challenge lying ahead the youth in Libya, as well as many other Arab states, is to safeguard against letting their culture slip away unnoticed- after all an Arab society that loses its ideological and cultural value in the process of modernization is similar to getting a makeover with an ugly finishing gloss. 129
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Arabs and Berbers, is only about 6 million, 33% of whom are under the age of 13. Most of the population is concentrated in the North, within 30 miles of the coastal line. However, the desert remains inhabited with the Twareq, a chain of indigenous desert-tribes spreading through the deserts of the Maghreb countries, i.e. Libya, Tunisia, Algeria and Morocco. Trab’lus Al-Gharb - Getting there As with most things in today’s culture – in which we like to think that we have surpassed the fight-orflight principle response-, the emphasis is rightfully placed on the “how” of things. One extravagant method of getting to Tripoli has emerged lately: on top of the deck of a yacht or touristic boat that sails from the Maltese shore directly to Tripoli. These are becoming increasingly common, and are increasingly popular with European tourists heading to Libya via European harbors, the majority of whom are French and Italian.
Getting the Most of Your ‘Trab’lus’ Experience The list of must-do’s is headed by some designated time of exploration of the Old Medina Souks, which can offer a memorable cultural experience. Bargaining is expected – and smart to 13O
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do! – so be ready to improvise on tactics! You can get pretty good pieces of Libyan memorabilia of indigenous culture. Another good bet for a full-rounded cultural experience is the National Museum which houses a collection of era-specific artifacts ranging from the ancient Phoenicians to modern PostRevolutionary era. The next thing not to miss is a visit to as many archaeological sites – mostly Greek and Roman – as you can fit into your time: there are many within the walls of Tripoli as well as surrounding it. Some of the most famous and astounding sites are the cityruins of Roman Sabratha and Leptis Magna, both on the Northern coast and relatively close to Tripoli. In Sabratha stands the site of one of the grandest Roman theatres of all time; in Leptis Magna is the awe-inspiring arch of the Roman emperor Lucius Septimius Severus(146-211 AD). If spending time exploring nature is what rocks your boat then you should definitely head to the Urbai Desert: with its dunes snaking on for miles on end, which also holds within it a world-famous extension of salty, palm-ringed oases. Last but not least, a vacation in Libya is not complete without the fool-proof day at the beach. With about 2,000 kilometers of extended Beaches, finding a “good spot” can hardly be a challenge. Whether it is for mere relaxing under the sun, or water sports and yachting, the beach offers it all. The Art of Dining Out You can easily walk into any restaurant and find a mix of freshly crisp Syrian veggies, delicious Western cuisine, and Lebanese food specialties. The unknowing tourists may think it hard to find an “invitingly-good” traditional restaurant, a conundrum that you can easily maneuver around
with a little prior research. The local cuisine specializes in seafood, and is famous for fishcouscous and stuffed lobster. The Saraya Restaurant stands out for its excellent location on the Green Square; another is Al-Morgan Restaurant, which is next to Algiers Mosque, near 1st of September Street; and a third is Al-Sakhra restaurant on Gargarash Road, notable for its live entertainment. These restaurant offer food ranging to excellence in local cuisine, and enjoy a rustic atmosphere for the lovers of traditional locales. Youth of Libya The youth of Libya have a culture of equal indulgence in work and play. You can spend the warm evenings in the popular sidewalk cafes lining the streets around the Green Square. Libyan Arabic culture has been especially preserved, keeping a highly idiosyncratic culture of ‘shyly’ hidden history, which has proven irresistible to many westerners over the past few years, who have flooded into Libya primarily to discover its history and culture. The present generation of twenty-year-olds in Libya have grown up with ideals such as “Partners not Wage Workers” and “No Democracy Without Popular Congress”, defining their relationship and view of authority in particular and the world in general. Youth in Libya boast a high sense of pride in identity and culture, and a definite sense of belonging. The central cities of Tripoli and BenGhazi offer a vibrant cultural scene made up of historic museums, art galleries, interest exhibitions and conferences, all of which are present, it seems, to promote and explore a sense of identity and furthered culture. The country culture has recently been introduced
in more than one way to the world: with cultural celebrity figures such as painter S. Al-Ghadafi, and fashion designer Rabia Ben Bakraa, both of whom have intrigued outer infatuation with a culture that, till of late, was cloaked with mysterious allure. Hopes, obstacles and dreams While Libya has a great heritage to grow from, and is consistently getting improvement, issues such as higher education –especially for womenstill sparks a lively and passionate debate amidst its social classes. Beyond and surpassing the ranks of students comes also another worry, that of fighting unemployment. A 2006 estimate puts the rates of unemployment at 25% of workable force, most of whom are in their mid to late twenties, i.e. recent graduates. One critical explanation of how this could be in a country with such a high GDP per capita is that the local worker often shuns many jobs that seem socially “looked-down upon”. An even more intriguing debate is the one concerning the youth’s own cultural awareness, their responsibilities, do’s and don’t’s and other social issues. One recent move in Libya was spreading awareness and protection from the country’s leading cause of death, car accidents, which are mostly due to speeding. Yet beyond all this, things seem to be looking up for many of the issues involved. The business sector is at an all-time rise, with long anticipated offers of job opportunities on the rise. With life’s hard up’s and down’s, it is easy to see how the city’s inhabitants can find comfort. Imagining a walk down the dark quiet alleys of the Old Medina at midnight, or a stroll on the beach enjoying the sea’s cool breeze – it seems impossible for me to decide which would be my favorite place to linger. 131
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Travelling towards discovery Arabs in Barcelona
Preface Noor Issa is not known for hanging around for a very long time. As the art director for Amman-based magazine SKIN, she possesses a hungry appetite for travel and constantly finds herself in a state of transition between her journeys around the world and the creative and inspirational journeys that she embarks upon when creating her work. Speaking to Noor about the role that travel plays in her life, she claims it is a necessity that allows her to explore ideas and concepts she might not always encounter in her everyday life. “Travel removes me from the norm and the routine that I constantly swirl within. It takes me away from the typicality that I usually avoid.” 131
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Travelling has become an important trigger within Noor’s creative process, one that involves the influence of different atmospheres and cultural environments. “I’m always seeking new visions, fresh ideas and inspirations in everything around me. I get exposed to new cultures, traditions and lifestyles, knowing that I’m always at liberty to adopt what calls out to me and grabs me. I derive a lot of energy from the people I meet, speaking different languages, music, art, history, new styles and even new roads. I lose myself entirely to the place that I’m in.” From looking through the pages of SKIN magazine, it’s apparent that travelling has given Noor a newfound imaginative energy as she selects and organizes SKIN’s diverse and eclectic collection of fashion, art and cultural content. For a magazine that claims to ‘bridge the cultural gap’ between the east and west, it is apparent that international inspirations and ideas
have been a strong focus within SKIN’s agenda. The magazine aims to incorporate a wide array of international styles and trends in order to stay relevant, current and engaging for its extensive readership. Noor describes, “It is like our monthly journal of the coolest things that happen around us. When I travel, I always look for local magazines to understand where they are in terms of visuals, layouts and topics. Travel makes me think of new fresh ideas to bring to the table and updates me on what is happening in the arts world.” One of the more recent destinations that Noor has crossed off her map was a trip to one of Europe’s popular cultural backdrops – Barcelona. Although initially planned as a stop-over for Noor on the way to Portugal for the highly coveted Boom Festival, this particular trip to her ‘dream city’ resulted in 11 days of art, street culture and memorable encounters with the city’s eclectic locals.
“Any trip is a good trip, as long as I am out of my routine and trying to discover a new way of living. Even my worst experiences when I look back at them turn out to be good. You have to pass through all kinds of different experiences to appreciate the good ones.”
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“I have been to all the main art museums Barcelona has to offer from Gaudi’s park and his work on the Sagrada Família, to Miro, Picasso, and Dali’s museum. I even got to chill in Gaudi’s house – I took my shoes off and walked bare foot to feel the tiles. I really made myself feel at home. It was a dream come true. The presence of Gaudi’s remarkable works of architecture all around the city makes Barcelona an art exhibition in itself.” 138
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What initially struck Noor the most about Barcelona was the aesthetic soul she discovered in the city. “Barcelona becomes a graphitized city on Sundays. As all the shops close their shutters to take a day off, the city turns into another piece of modern art. You can see the influence of old artists on the new modern ones. All the pictures that I took were in the streets while I was discovering my way to go to the museums. I was amazed by the smallest things drawn on the sides of the streets. Funk can be found in all their details.” The main purpose of Noor’s trip was to explore the myriad of museums and galleries that have helped build Barcelona’s reputation as a city of art. The city boasts an impressive list of galleries, with each one possessing even more impressive collections of work by prominent artists such as Miró, Picasso and Gaudí. Whatever your artistic preference, there is bound to be a gallery in the city that will cater to your interests, be it Baroque and Gothic art to more modern movements of art such as video and photography. No trip to Barcelona is complete without visiting the Museu Nacional d’Art de Catalunya – also known as the National Art Museum of Catalonia. Originally built in 1929, it houses an extensive collection of art that spans different periods and even different technologies. Housed in the historic Palau Nacional building, Noor wasted no time in exploring this famous Barcelona monument. “The national art museum is an insane place to be in. I got really tired at the end of it as there were more than 4,000 pieces to see and more than a thousand pictures to take. We were really lucky to see Duchamp, Man ray and Picabia’s exhibition.” Another Barcelona attraction would be the influence of the decorative artist Anton Gaudí. A lot of Gaudí’s work can be simply viewed by taking a walk through the streets of the city – many of his architectural and design works can still dominates the local landscape. “I have been to all the main art museums Barcelona has to offer from Gaudi’s park and his work on the Sagrada Família, to Miro, Picasso, and Dali’s museum. I even got to chill in 141
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“We spent 8 hours a day every day in art museums, art shows, concerts and live performances”
Gaudi’s house – I took my shoes off and walked bare foot to feel the tiles. I really made myself feel at home. It was a dream come true. The presence of Gaudi’s remarkable works of architecture all around the city makes Barcelona an art exhibition in itself.” In addition to her extensive itinerary of sightseeing (“We spent 8 hours a day every day in art museums, art shows, concerts and live performances”), Noor also remembers the warmth and sincerity that the people in the city exuded and how easy it was to engage with the different talents that thrive in the city. “When the sun started setting, the Capoeira people came out and we got to see the Brazilian guys and girls dancing to the beat. The beat was coming from 8 people who stand on the side to sing and play different instruments. On our
way back from the park after we said our good byes, four guys stop us to ask us if we know about the beach festival. One thing led to another and we discovered we were talking to the graffiti artists of the band Ojos de Brujo (a crossover hip-hop band from Barcelona).” Noor’s Barcelona expedition proved to be successful upon returning to her role at SKIN magazine. Having spent time familiarizing with such a multicultural and thriving city, Noor had no issues channeling her experiences back into the canvas of SKIN magazine’s artistic vision. “As I took 17 days off to go to Barcelona, I had five days to finish putting Skin together when I got back. I was all juiced up that I had no problem creating complicated, yet not so typical ideas. Even my color palette had changed. It was then I discovered that
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when finishing the magazine, time is not a problem but instead, being inspired is the thing to seek for.” With such a vibrant outlook on life, Noor hopes to continue on many of these expeditions in order to develop her heightened understanding of design and art, one that could only be achieved through periods of self-discovery and a strong desire to constantly explore our ever-changing cultural scenes. This is something that Noor hopes to implement into her future work with SKIN magazine, as well as into a side project with Adnodesigns, a Toronto-based design company set up by Noor and her partner Abeer Zoumout which is expected to be re-launched with a new website this December. Judging by the success of SKIN magazine and its approach in broadcasting emerging global trends and movements, it is clear that Noor is well on her way on the road to discovery, regardless of any obstacles or distractions that may come her way. “Any trip is a good trip, as long as I am out of my routine and trying to discover a new way of living. Even my worst experiences when I look back at them turn out to be good. You have to pass through all kinds of different experiences to appreciate the good ones.” www.skin-online.com 144
Travel › highstreet
Illustrator: Manabu Ozawa
Achrafieh - Beirut Located on a hill in the Eastern part of Beirut alongside the shore, it is one of the oldest areas in Beirut. Achrafiyeh (pronounced in English as Ashrafiyeh) has become a prime location for tourists and investment, with its winding narrow roads, this district has become the ‘it’ place for young professionals.
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Must See
La K Design
B018
Escalier de Saint Nicolas; translated in English to staircase of Saint Nicolas. It is the Middle East’s longest staircase, located between Rue Sursock and Rue Gouraud in Achrafieh. Open-air exhibitions are held twice a year on its 125 steps showcasing local as well as international work.
Inspired by a blend of Arabian and European touch, it is dedicated to offer affordable luxury. The spirit of the designs merges vibrant colours and fabrics, creating “des pieces d’art uniques.” La K items may be tailor made to fit the customer’s vision of the design, by manipulating colour and fabric, valuing the customer’s taste to our creation. *La K design* is exclusively found in the La K Boutique. This niche boutique offers an experience filled with dentelle impressions: The Signature of *La K design*. Sparkling discoveries can also be found in the boutique. Rue Abdel Wahab, Ashrafieh
BO18 Classic combines music from the 90’s with a set of jazz, funk as well as Arabic music played by owner and resident DJ Nagi Gebran. The interior wall is covered with metallic chains and this theme is maintained throughout the club. The place gets crowded and dancing gets dirty so expect queues to get in and a pumped up atmosphere inside. 01 650606. Sodeco Square, Achrafieh. Mon-Sun 7pm-2.30am. Bar food served.
Art Nicolas Sursock Museum a contemporary art museum located on Sursock Street, Achrafieh. The building itself is a perfect example of the typical 18th century Lebanese palace. The museum showcases Lebanese and International art, which remain permanently displayed in the intricately preserved interior. 01 201892. Mon-Sat 8.30am-2pm. Closed Sun. FREE entrance.
Sô Sô merges Asian and European cuisine and is considered one of the best restaurants to offer a combo of Asian and European dishes. The sushi belt is particularly popular and the fish is fresh and well prepared. Recommended dishes: T-Bone USDA steak and the chocolate fondant. Saint Nicholas Street. 01 336644
Bars Zinc (DJ Bar and Lounge) is the perfect place to get you going before a night out. The atmosphere mixes hip hop, jazz, trance and commercial. Located in an old house with three comfortable lounge areas, Zinc never goes out of fashion. Expect to mingle with trendy young professionals and as the night goes on. 01 612612. Seif Eddine Al Khatib Street, Achrafieh. Mon-Sat 8.30pm-2am; Drinks LL9,000-LL14,000. Food served.
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Travel › Destinations
Destinations New Years Eve 2008 - 2009
961 Beer - Beirut Beirut is the one destination no social animal can miss to visit. With its overcrowded scene of pubs, bars and nightspots, 961 Beer does stand out and how! It is Beirut’s first micro-brewery. It features a variety of beers and very good Lebanese fusion food. Patrons describe it as something dedicated to the cult of beer and to have quenched the thirsty gap in beer seeking guests’ market. Born under siege during the 2006 July war on Lebanon, 961 Beer is touted to be a good spot for Sunday brunch with jazz music. Near EDL, Gemmayzé +961-1 567899 www.961beer.com 148
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New Asia Bar - Dubai New Asia Bar is emerging to be the new hideout for Dubai’s high-spirited. Located in the pyramidal shaped Raffles Dubai, New Asia Bar serves an exhaustive 110 cocktails, including its signature creation Dubai Sling. Its décor is sophisticated and service impeccable. It exudes vibrancy and energy of modern Asia. Plus, it offers breathtaking views of Dubai’s skyline. It is perfect for chilling out over lounge music, provided by the resident and guest DJs. No wonder, New Asia Bar is proving to be a glamorous new addition to the perceptive local bar scene and the ultimate spot to party in style. www.raffles.com
5Kat - Istanbul 5Kat, (fifth floor in Turkish) offers a breathtaking view of the historic Sultanahmet and the modern Bosphorus Bridge. The restaurant turns itself into a bar and private lounge after hours and is believed to be rather addictive. It organises parties with celebrities and DJs. Famous guests who have featured at these evenings include Turkan Soray, Halil Ergun, Murathan Mungan, Hale Soygazi, Atilla Dorsay, Yilmaz Erdogan, Toprak Sergen and Beyaz. It also arranges special nights on a monthly basis for singles, apart from ‘love numbers night’ and ‘special food nights’ which allows guests to indulge in lesser known delicious cuisines from their ‘international’ menu. www.5kat.com
High Heels - Cairo High Heels is definitely one of Cairo’s most cherished hangouts. This terrace rendezvous, adjacent to Nile Hilton is difficult to be categorised into a restaurant, club or bar. Though it offers all of these services and is excellent at that. Its seating is arranged on two levels, with the bar area being slightly higher. Panoramic views of the city and Nile from High Heels are unbeatable. Its a worthwhile experience to enjoy a drink on cool summer nights and chilling winter nights. The variety of music and food on offer will ensure you do not return disappointed.
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Recap â&#x20AC;ş 2008
Recap brownbook
2008
Preface Looking back over the last year, brownbook has broken barriers in journalism; featuring the remotest areas in the Middle-East that have been long forgotten but still in our hearts. As well as the trends that have influenced our style and mannerisms; the next generation of designers, architects, philosophers, carpenters, students, artists as well as fashion designers who are truly making a difference in our everevolving lifestyle. Looking back, letâ&#x20AC;&#x2122;s recap on the headlines that have brought controversy all the way to our office. Photographer: Sertac Tasdelen 153
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Issue 11 September . October
Ramadan Issue
One month in the year all the Middle East stops and takes time to reflect on all compartments of life. Some take this season in spirit and religion, some as a sign of family closeness and most take it as a challenging change in their daily routine. In recent years, Ramadan and Eid have shifted from its religious ideology to a seasonal culture (similar to Christmas & Easter in the West or Shunbun-no-hi in the East) which has become a commercial outlet for many organizations and entities. With businesses only picking up pace post sunset, the whole region has reshuffled to equip for this exciting change. Not only do businesses change, but the whole psyche of people in the region change. Working hours are less, staying up late is a must, food is all around and social gathering is Ramadanâ&#x20AC;&#x2122;s strength. 154
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This cultural change in Ramadan not only has made the season one to look forward to, but has made the Ramadan cool and trendy. People of Muslim or non Muslim faiths join into the season and get a chance to experience this unique challenge. brownbook has ventured throughout the region to explore how Ramadan is in different cities in the region such as Izmir, Casablanca, Dubai, Damascus, Cairo, Ramallah and other cities. We also look at regional fashion and trend settings in the Middle East, as well as other subjects focusing on Ramadan & Eid around the Middle East. In this issue, we have created a photo-shoot that we always wanted to achieve, modern women in Dubai and how they dress up and look. With the help of Sertac Tasdelen, the photographer, Hamda Al Gemzi, the stylist and Tashkeel for the studio,
we were criticized for the photo-shoot as people did not believe it was more of an offense rather than a fashion statement, we believe that since our readers are international have the typical stereotype of the abaya and kandora, we wanted to portray the abaya in a fun, colorful yet stylish purpose meaning. Another article that was a successful coverage was Arabs Los Angeles, with the help of our representatives in the US, Monica Nouwens and Stephen J Phillips, interviewed Arabs in the states and how they live their lives while having a career or trying to get a degree in design. A lot of our readers related to the article as a lot of them studied and got a lot of the states, education, lifestyle, thoughts, etc. We wanted to portray how Middle Easterners are in constant look for education.
Issue 10 July . August
Ten upcoming trends in the Middle East. The theme was ten trends in the Middle East, the development of lifestyle, design, art, travel and agenda. An article Exploring Universities and students lives in Tehran is a subject rarely explored by the general media and we wanted to go behind the scenes and see what life is about. One of the most influential universities for activism and development is no other than Sharif University of Technology. Dating back to 1965, the founderâ&#x20AC;&#x2122;s mission was to create an Iranian MIT (Massachusetts University of Technology). Today the University is a key attraction not only for academics and students, but for movements in culture, engineering, industrial and other urban careers in the development field. With SUTA (Sharif University of Technology Association) an NGO registered in California, endorsing and enhancing the quality of Life and education for their students, we recognize the potential of its students to lift Iran and take it to the next level. The following are students offering their perspective and experience within the SUTA community. Writer: Amin Torabi Photographer: Hamed Saber Another article was successful was the travel photo-shoot, as we asked our favorite illustrators, www.delica.it, to portray a couple traveling from Dubai to Marrakesh. It was a fun piece, as we looked for branded cloths and wanted to implement them as an illustration, it gave a different feel to the magazine and our readers were looking forward for another one.
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brownbook magazine
Issue 9 May . June
Urban Art Art in the Middle East was always a field that needed attention and awareness from connoisseurs of the subject. The response to this issue was profound as it was brownbook’s first dedicated art issue. To help celebrate the success of the issue, brownbook decided to create an urban artist event that showcases the artists featured in the magazine and display their talents and work for all to see, such as, MoFa, Lamya Alsudairi, Haif Kahraman, Lateefa bint Maktoum & Abjeez. The event was a platform to profile the artists that are truly making a difference and have achieved so much during their short careers. Art is a well known term, a widely understood term, and this issue was dedicated to the artists that show wide array of talents such as illustration, fashion design, fine art, photography, and documentaries. Another article featured in Issue 9, was Beirut’s aftermath, a topic that has been ever-present in the news. brownbook decided to discuss specifically the young generation and how the war of 2006 affected them and where they will go in the future after rebuilding their lives. Omar Sanadiki, our Damascus representative crossed borders for this feature, and interviewed much of the young generation who spoke about their ambitions and their love for Beirut.
Issue 7 January . February
1st Anniversarry issue It is surprising how much you could accomplish in this world in just a year; a proud year for us here at brownbook as well as the Middle East. Establishing the first pan Arab magazine that offers a new angle towards journalism has not been easy, but has definitely been worth it. Living up to brownbook’s mantra “an urban guide to the middle east” made us push some major boundaries and compose articles never written before. With at least thirty five active participants from writers to photographers keeping us updated on what the region is advocating. brownbook started out as an idea from small warehouse based in an industrial part of Dubai. Before even launching the idea, there were at least a dozen or more questions.
Issue 8 March . April
Developing Trends P.S Lab article To the Beirut experimental design firm PSLab, lighting is everything. Light has turned into their livelihood, their business, and above all, their art. PSLab have made it their mission to push the limits of lighting to the brink, working tirelessly to transform light into multifaceted objects of use and appearance. Regionally, PSLab projects can be seen throughout the Middle East. Examples of their projects include fixtures at the headquarters of Elie Saab couture and projects at the Beirut Gate development and the Burj Dubai Business Hub. The team has also worked on projects for a number of private residences across Europe, Asia and the Middle East. www.pslab.net Fashion police article: You may not have found some of these women at the very frontlines of the recent wave of protests in Shiraz that brought out over 2000 students. Nevertheless, there’s definitely an element of rebellion being channeled, perhaps best seen in the Mohawk-like khorusi (‘rooster’) gelled hairstyles of young men. Eveningwear however tends to be more Versace than Vivienne Westwood with nearrococo embellishment and hyper glamour being the norm. There’s no bodycon to be found here though as the pieces shops stock tend to be longer and offer more coverage – both to keep in with local mores and to keep their own businesses from being shut down. This also allows many more women to stay stylish without having to risk their careers or their family lives.
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du & brownbook | Partnership
du and RIM launch new BlackBerry smartphones and solutions at GITEX 2008 Dubai, UAE and Waterloo, On., Canada 19 October 2008: du, the new integrated telecom operator in the United Arab Emirates (UAE), and Research In
www.du.ae
Motion (RIM) (Nasdaq: RIMM; TSX: RIM) today launched the BlackBerry® Bold™ smartphone at GITEX 2008 in Dubai in addition to announcing the availability of BlackBerry® Professional Software and several new models and colours, including the BlackBerry® Curve™ 8320 smartphone in gold, the BlackBerry® Pearl™ 8110 smartphone in pink and blue and the BlackBerry® Pearl™ 8120 in titanium. Based on its distribution agreement with RIM, Alcatel-Lucent leveraged its strong local presence
in the region and provided du with the end-to-end implementation, integration, launch and support services for delivering the BlackBerry solution to the UAE market. Today’s launch of several new BlackBerry products is an additional proof point of Alcatel-Lucent’s strong local presence and relationship with du. The BlackBerry Bold smartphone from du is a ‘must have’ for business professionals and power users, providing unprecedented functionality and performance in an intuitive smartphone that supports
tri-band HSDPA high-speed networks around the world and comes with a rich set of multimedia capabilities and integrated GPS and Wi-Fi®. Featuring a lustrous black exterior, satin chrome finished frame and stylish leatherette backplate together with a stunning display, sophisticated user interface and a newly designed hybrid EnglishArabic QWERTY keyboard, the BlackBerry Bold is a symbol of both accomplishment and aspiration. With GPS support for BlackBerry® Maps and other location-based applications and services, as well as improved rendering capabilities, faster download speeds and the ability to support simultaneous voice and data, the BlackBerry Bold smartphone has it all. “With the launch of the BlackBerry Bold smartphone, we are providing our customers, who value high-end design and are passionate about the latest technology, with a state-of-the-art smartphone they can use to stay on top of information and keep connected to the people that matter most,” remarked
Farid Faraidooni, EVP Commercial, du. “The new BlackBerry Bold represents a tremendous step forward in business-grade smartphones and lives up to its name with incredible speed, power and functionality, all wrapped in a stylish and stunning design,” commented Mark Guibert, Vice President of Corporate Marketing, RIM. In addition to the launch of the BlackBerry Bold, du is also launching: - The BlackBerry Curve 8320 smartphone in a gold colored finish – this enhanced version of the BlackBerry® Curve™ 8300 smartphone now comes with an hybrid English-Arabic keyboard and Wi-Fi support - The BlackBerry Pearl 8110 smartphone in pink and blue with built in GPS - The BlackBerry Pearl 8120 smartphone in a titanium colored finish with Wi-Fi support In addition du has announced the availability of
The Facts du was recognized as the ‘Best Brand’ for its innovative branding and outstanding success at the Telecom World Awards Middle East 2007
BlackBerry Professional Software, a new wireless solution for small and medium-sized organisations. BlackBerry Professional Software is based on the core functionality of the best-in-class BlackBerry® Enterprise Server software, but it is streamlined and tailored to meet the needs of smaller organisations with up to 30 wireless users.. Farid Faraidooni, EVP Commercial, du said “For our small and medium sized customers, BlackBerry Professional Software from du is a particularly compelling proposition. BlackBerry Professional Software from du offers significant advantages in productivity, management and security, in a cost-effective package that can be installed on an existing email server”. The BlackBerry Bold smartphone and other BlackBerry products and services are available through 23 du shops in the UAE or online at www.du.ae
Culture › Architecture
Preface:
Oman International bank - Muscat
The Middle East is flowing with culture; we wanted to explore our heritage through the means of architecture in the region. Exploring broken down structures renovated with faux plaster to combine the edifice’s history with modern architecture, brownbook explores the buildings that have been taught to us by previous generations and brought culture into our lives
Marriott Hotel - Cairo Khedive Ismail built this palace that has now been transformed into the Marriott in the historical city of Cairo, Egypt. His aim was to impress and amaze Empress Eugenie who was on her way to Cairo for an inauguration. In 1863, Ismail had engaged the services of German architect Julius Franz (later Franz Bey) to design the palace that was completed in 1868, with the help of Abdin Palace designer De Curel Del Rosso. The interior of the palace was to include the most luxurious fittings that could be imported from Paris at the time. French landscape architect Barrillet Deschamps was encouraged 16O
brownbook magazine
to transform the entire island into a formal park, incorporating the existing palace and kiosk of Mohamed-Aly into the gardens. The U-shaped salamlek combined baroque European style with traditional Islamic decorative motifs and architectural features, using “high rectangular windows and corniches of the Renaissance period beside Islamic horseshoe arches”. All of the arches, of cast iron, were produced in Germany and assembled in Cairo by German workers brought to Egypt expressly for that purpose.
Designed by Huckle and Partners in 1993, the Oman International Bank building has been recognized as one of the city’s main landmarks. Oman International Bank (OIB) was established in 1984 and is the strongest capitalized bank in the Sultanate. The flagship building in the heart of the city the bank is immediately noticeable with its gold plated door and colossal size.
Bastakiya - Dubai With all of the frenzied development taking place in Dubai, it has been feared that the city will lose its original space and identity. To counteract this, a lot of attention has been given to the ‘heritage’ sites that still exist in the city. People are realizing that places such as the famed Bastakiya area are a necessary feature for the city, proving that underneath its architectural armor, there is still an original soul. Like most historic buildings in Dubai, the majority of structures in the Bastikiya
Al Tayibat Museum Jeddah Considered to be the first of its kind in the Middle East, Al Tayibat City Museum for International Civilizations is in a league of its own. Open 12 hours a day the museum receives an average of 2.000 visitors a day comprised of locals, students and tourists. Looking back on the last 2.500.000 of Aranian history in the area it delves into several areas of knowledge. There are wings specializing in every possible field of interest. Some of those areas are heritage craftsmanship featuring pottery engraved plates, design of
clay, tin inscription, and dried flowers, elements of Arabia scripts such as kofi and diwani, talnet labs where scholars can expand their knowledge in areas such as earth science, animals, medicine, carpentry, astronomy or modern languages. If none of those are quite what you are looking for visitors can also check out the Khan Al Khalili section which features materials needed for the study of Islam.
Bait Bows - Sana’a One of the hidden gems in Sana’a is Bait Bows, a village perched on a hillside overlooking part of the city in the Nahdein area about 20 minutes from downtown. The two separate villages in one give visitors a chance to see how Jews and Arabs once lived together. The view of how Jews were treated in Yemen historically is mixed (depending on your sources), but Bait Bows truly was a rare place in regards to this.
area have been restored to their original design. Surrounding the narrow roadways are the famous Arabian wind tower houses that date as far back as the early 19th century. Traders from Iran were the first to set foot in the area; naming it after the place they had originated from - the Bastak region. Today, these houses create a quiet and soothing atmosphere, still colored in their neutral shades of coral and clay. They are a stark juxtaposition against the towering modern skyline overlooking from the other side of the Creek.
Presently, the upper part of Bait Bows is uninhabited offering a serene walk through the old houses and an upclose look at the difference in architectural style compared to that of Sana’a proper. The area in front of the village gate is a perfect place for a quiet picnic in the shade of an ancient tree, overlooking the town’s water cistern. To get to the upper part, visitors should be prepared for a short walk up hill.
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Conclusion › urban guide
Manama - Bahrain
Urban Guide Manama is one of the region’s upcoming destination. With an influx of international and regional visitors to the city, Manama is trying to lead by having a strong infrastructure for growth and development. As most regional cities, construction is eveywhere. The city currently houses major events and has become an important regional hub for all industries and events. This has made Manama even more valuable and integral to the global and social economy.
Samahij
Al Hadd Barbar Al Budayy Al Qurayyah Madinat Isa Ali
Al Jasrafi
Al Malikiyah
Marquban Ash Rifa ash Shamali
Karzakkan
Sightseeing
Sheikh Isa’s house, in the old town of Muharraq, was once the home of the Amir’s greatgrandfather. Sheikh Isa Bin Ali Al Khalifa. It provides a fine example of local architecture, complete with wind tower, wall carving and lattice work, and its representative of traditional 19th century
Al Jufayr
Sar
Jiddah
Umm an Na’ san
Sheikh Isa House
MANAMA
Persian Gulf
Ar Rifa ash Sharqi
Dar Kulayb
Halat Umm al Bayd
Awali Askar
Az Zallaq
Gulf of Bahrain
Al Wasmiyah
BAHRAIN
Gulf of Bahrain Jaww Ad Dur
Curry Country
Dining
Al Mamtalah Ar Rumaythah
A concept restaurant - serving curries from all over Asia: India, Thailand, Indonesia, Sri Lanka and many more. Considering its high service and food qualirt, this eatery is a popular destination especially at lunchtime - prices are also very reasonable Located in Al Juffair area near the navy base - +973 17 537 555
Seef Mall
Shopping
Bahrain biggest shopping mall was opened in 1997. The mall is located in the heart of Manama, The mall is equipped to accommodate to the different needs of families, tourists or experienced shoppers. With a unique blend og high-end brands, state of the art electronic stores, food courts and entertainment options. www.seef.net
The Lost Paradice Escape The parl’s focus is on top-quality and cutting edge design and facilities, with a twist - each aspect of the park is based on the history of the Dilmun period, reflected by unique stone architecture. Over 14 slides and attractions for guests to enjoy - spa pools, interactive children’s wet play area and family raft ride to name a few. Located next to a resort hotel, with easy access to the major shopping comlexes.
La Fontain
Places
La Fontain, a five thousand square meter chef d’oeuvre, which is a piece of art by itself, holds various contemporary art events, giving Manama on of its most unique art galleries. La Fontaine also has an elaborate spa, that has been meticullously designed to offer the best to its customers. An addition to Pilates/ Dance center. 92 Hoora Avenue - +973 17230123 162
brownbook magazine
Manama, Bahrain
Retrace
your footsteps through an experiential journey
;nf[h_[dY[ 9h[[ai_Z[ MWba Explore JhWZ_j_edWb Iekgi Discover hidden treasures Re-connect with your spiritual side Retreat from the hustle and bustle of the city This is a place where the simple act of walking along the creek can be enjoyed as a nourishing and healthy retreat from the hustle and bustle of the city. An important connecting pathway between the Bastakiya Quarter and the adjacent green open space of Al Seef. One can find treasures in the traditional souq and an element of discovery thanks to the abra stations within walking distance of the souqs. Or one can find a spiritual connection at the places of worship within close proximity of the Ruler’s Court. Old Souq Walk is a vibrant anchor point; facilitating growth and diversity, enabling visitors to take an experiential journey between Al Shindagha and Al Seef. Creekfront. A Future Proud of its Past ;dZehi[Z Xo j^[ :kXW_ 9kbjkh[ WdZ 7hji 7kj^eh_jo 800-J>; 9H;;A mmm$Yh[[a\hedj$W[