Design Pages

enhancing the creative industry

/yourAOK Design 6

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

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

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

Mubarak AlKabeer StreetDirwaza 51 Tower, KuwaitT. (965) [email protected] www.youraok.net

@yourAOKnetwork

@yourAOK

www.youraok.net

yourAOK team

editor- in-chiefmanaging director

communications directorinformation director

financial director pages talents curator

pages contents curator benchmark coordinator

benchmark graphic designerbenchmark marketing representative

sales representative

contributing correspondents

contributing firms

soha alsalehruba alsalehalia alazzehabdulaziz alkandarimohammed alroumi rawan kakishdalal al qattanshaikha alsahlighadeer al awadhidalal al loughaniigor zelcevic

nada debshawraa al mousawidana al nafisi mona al mukhaizeem

nada debslocal teesdesign / builddesign days dubaiarash g tehrani architectsheijman’s one

front cover page, editorial, & Al Shaheed Park Articlecourtesy of nelson garrido taken of Al Sha-heed Parkback cover page courtesy of hamad al saab

2015 /

AOK W.L.LPublishing [email protected] Customized Design by yourAOKPublished in Kuwait, Four Films Printing Press

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contents/winter 2015

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editorialeditor-in-chief / the evolution of architecture

designnada debs / smith creek pedestrian bridge /aiysha al sanebenchmark / youraok design days dubai 2015 / cyrill zammit go1 apartments / arash g tehranidesign entrepreneurs / mona al mukhaizeem from artworks to fashion / local teesalshaheed park / danafisi jewellery/ dana al nafisi global snapshots/ heijman’s one travel photography / hawra al mousawi

talentsbrush strokes/ aziz al mudhafmathematical concepts/ lulwah al homoudpop art/ hamad al saabstealing souls/ mohammed al kouhtic tac toe/ amira behbahani

front cover / nelson garridoback cover / hamad al saab

talentsyour professionweb designsustainabilityexhibitionreal estatelandscapeproduct designurbanisminterior designresearcharchitecturefashion design

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Most people, when discussing design, focus on aesthetics and the need for everyday items in our life to be visually appealing. It is time, however, for creatives to start honing their skills in tackling more pressing issues in our daily lives including medical demands, environmental challenges, technological advances and education. Design can be an essential ingredient to providing solutions for problems in a rapidly evolving and ever increasing population, through understanding important aspects of global problems and gaining a deeper knowledge of needs.

Designers have recently been pushing the boundaries of traditional thinking and status quo to provide us with better living solutions. Building our surroundings to meet the needs of populated cities, construction using sustainable building material and “smart cities” are all examples of how architects and designers are dealing with today’s challenges. Architects, designers, and builders all have to find ways to create living environments that use less energy and have a lighter footprint. In addition to such challenges, designers are also tackling social issues are studying ways in which our cities affect social living. Designers are now offering smaller living options within urban cities that force populations to build networks, and realize that design does matter in the creation of human connections.

Another design process that is recently gaining traction is the concept of Auralization, which is the technique of how our sound environment and its design impact daily life. Through the collaboration of designers, artists, architects, and other creatives we can now develop infrastructure, as well as buildings, facilities, and surrounding spaces with a deeper understanding of sound existence

New technologies are also being designed and developed for the education of future generation, as well as the promotion of emotional development and breaking the boundaries of cultural restriction across the globe. Educational tools are also being built with the purpose of empowering students and providing solutions to educating them on how to create business ventures and become successful entrepreneurs.Design is also playing a vital role in the evolution of medicine and medical advancements. Trends include wearable devices, smart implants, and products that enhance the lifestyle of people with illnesses such as diabetes.

It has been said that “Design is the human capacity to shape and make our environments in ways that satisfy our needs and give meaning to our lives”. With this in mind, we hope to see more designers, architect, and creative work on creating an easier and better world for future generations.

the visual appealeditorial

imagegreen studios

editor in chiefsoha alsaleh

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nada debsfrom japan to lebanon

Raised in Japan and residing around the world, Nada Debs’ Levantine spirit brought her back home to Beirut after a 40-year hiatus. Her multi-cultural background caught the appeal of the global design world, fusing Eastern tradition and minimalism. The brand is celebrating its 10th anniversary in 10 countries across 3 continents next year. Based in Beirut, NADA DEBS designs are represented in the USA, Canada, the UK, France, Germany, Jordan, the Arab Emirates and recently in Tunisia. Nada’s latest endeavor is #craftcool — a label created to designate hand-made, artisanal craft showing the value of Eastern craft, the spirituality behind it, and its cool and timeless aesthetic.

The ‘East & East’ concept is a celebration of Eastern craftsmanship through contemporary design, using both Arab heritage and tradition as a platform into modernity. The use of the multiple ‘Easts’, a homage to the vibrant medley of Eastern cultures that have influenced the designer’s personal story, is a harmonious translation of the minimalism ideals of the Far East and the contrasting warm patterns typical of Arabesque design made into classic, high quality interior pieces. The ‘Contemporary’ collection, an extension of the concept illustrates the blend of Western influence on Middle Eastern design; from the ‘form and function’ design ideals of the US to the refinement of European antiquated design. This clarity of concept provides the perfect canvas for designer Nada Debs to continually explore newer translations of Arab identity through the fusion of design disciplines, the experimental use of materials, adoption of international trends and most importantly, the preservation of local craftsmanship across the Middle East.

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text & diagramsnada debs

about

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“In today’s globalized world, Arabs are being infuenced by ever-changing lifestyles and my

designs aim to mirror these changes.”- nada debs

Launched in 2004 in Saifi Village Beirut, the NADA DEBS Gallery is a landmark for the contemporary expression of traditional Eastern craftsmanship. Home to the signature ‘East and East’ collection and the contemporary lines-a blend of the distinctive Eastern design philosophy with the designer’s Western influences-the Gallery is a must-visit destination for seasoned afficionados of quality and unique furniture pieces. Also available in the Gallery, are new and limited edition pieces inspired by evolving tastes of the modern-Arab and the designer’s interpretations of observed global and regional trends in furniture design. Launched intermittently these pieces showcase the diversity of designer Nada Debs’ inspirations, making them true collector’s items.

gallery

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smith creekpedestrian bridge design/build lab text & diagrams

aiysha alsane

ARchITEcTuRE

In my third year at Virginia Tech, I participated in design/buildLAB, an architecture design studio, where a group of 17 third-year architecture students designed and built the Smith Creek Pedestrian Bridge. The bridge is Phase II of Smith Creek Park in Clifton Forge, VA. In a collaborative effort, after lots of tugging and pulling, we managed to arrive at one design that is a result of all of 17 students’ work. Then, we built it. Beyond designing and building the project ourselves, the experience taught us how to raise funding for the project by means of grants and such. It taught us how to communicate with manufacturers both local and abroad to figure out some unconventional ways to build or unconventional details to resolve.

It taught us how to draw construction documents and apply for permits. It taught us to weld steel, work wood, make jigs, build formwork, pour foundations, re-grade land, lay gravel, and so much more. It taught us how to turn raw material into architecture.

Considering the difficulties in group work and the strong convictions architects and architecture students have, we were successful in our collaboration, and we have grown as designers at an advantageously early stage in our education. Smith Creek Park won the international AZ Awards, published in AZURE Magazine’s July/August issue.

The project was selected as one of thirteen winners from 652 submissions of 36 countries. The jury included Ron Arad of Ron Arad Associates (London), Diego Burdi of Burdifilek (Toronto), Jamie Gray of Matter boutique (New York), Patricia Patkau of Patkau Architecture (Vancouver), and Charles Waldheim landscape architecture chair of Harvard University’s Graduate School of Design (Cambridge). Smith Creek Park also won the Popular Choice in Architizer A+ Awards. It won in the Architecture + Urban Transformation category for “revitalizing abandoned infrastructure, creating new public spaces out of neglected areas, and building new ways for the world’s citizens to live more densely within existing urban fabric.” Winners were announced at the Architizer A+ Awards Gala on May 15, 2014 in New York City during the city’s design week, NYCxDesign. On September 30, 2014, Smith Creek Park was announced as having earned the Virginia Society (VSAIA) Architecture Honor Award. It was recognized at the Visions for Architecture Annual Gala. The jury’s comment was, “The beautiful, sculptural forms relate strongly to the site and amplify the sound of the creek.” The Virginia Society is the branch of the American Institute of Architects (AIA) in the state of Virginia, representing architects in their profession. /

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benchmarkforumMENA’s only design entrepreneurshipforum

text & diagramsyouraokomar dababneh

Benchmark forum is the only design entrepreneurship forum in the Middle East & North Africa. Benchmark provides the opportunity for young designers and creatives to listen to professionals and their experiences at starting up design-related businesses.

Benchmark 2015, hosted in Kuwait, proved to be a success with the twelve speakers brought in from various places and backgrounds ranging from Zurich, Switzerland, to Amman, Jordan, Iran, and Dubai, UAE.

Designers and creatives (photographers, artists, etc) tend to have talent, and skill; but a lack in a strong business background. Due to this lack in a better understanding of marketing, finance, etc, Benchmark provides the audience the ability to bridge the gap between design and business; hence, aiding them in understanding how to create an efficient business out of their design skills.

The region is seeing a boom in design-related businesses; the reason that may be is we are growing to have a better understanding of the importance of design in business, and the importance of business in design. Which begs to question, would world-renowned companies such as Apple (a tech business with a zest for design) continue to gain a huge if their designs were not the sleek, elegant designs we covet?

For more info on Benchmark 2015: www.youraok.net

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“turn your passion into a profession”


Benchmark 2015 also hosted an Art Exhibition in which all proceeds for artworks sold were donated to various charities for Syrian Refugees.

The exhibition hosted over twenty artists from the Middle East & North Africa. The exhibition was the first exhibition to be held in collaboration with Interior Designer Loulwa Al Radhwan (@interiakw).

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charity exhibitionbenchmark 2015


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after four years of constant reinvention and evolution, the fourth edition of Design Days Dubai is hosting its most diverse yet show! Representing 20 countries through 44 exhibiting galleries, the showcased pieces will surprise our visitors and intrigue them. Additionally the world premiere of installations and the extensive public programme filled with workshops, talks and panel discussion will invite design enthusiasts to share knowledge with experts in the field. Here I select a few objects I am looking forward to seeing at this year’s edition.

exquisite productsdesign days dubai 2015

text & diagramscyril zammit

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PixEl TAblE /ilia Potemine presented by Gallery S. bensimon

Parisian based Gallery S. Bensimon will exhibit a range of new works including this Pixel Table by Italian of Russian origin designer Ilia Potemine. This table is constructed using brass and oak, geometric yet simple in its aesthetics.

AbySS TAblE / Duffy London presented by Cities Dubai

An instagram hit, this Abyss Table will surely stop visitors in their tracks. The marriage between glass and high-grade wood sourced from managed forests, the table is a conversation started. The depths of the ocean inspire the gradients of blue. This marks the first participation of Cities Dubai and what better way to make a debut.

brASS bOw TiE CHAir /Zhoujie Zhang presented by Gallery All

Beijing based Gallery ALL debuts at the fourth edition presenting new works by Chinese design Zhoujie Zhang. Zhoujie explored a more mathematical approach to the design of his series, but the end result is geometric and edgy without all the complications, which is enjoyable, as I always say “Complexity in its simplicity.”

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CHAriOT / DAviD/NiCOlAS presented by Artfactum Gallery.

After their successful first solo show in Beirut, Artfactum will present “Loulou/Houda” at the fair for the first time. This dynamic duo is on the rise and this series is a milestone in their bright career. This piece is made out of a black painted iron structure with polished brass, glass and leather upholstery. Collectively making it a chic practical product.

Copper Screen / Fay McCaul presented by

Crafts Council UK

Crafts Council is showcasing UK based talent for the third time at the fair, and for the 2015 edition they selected 8 designers amongst them Fay McCaul. Fay’s second year presentation will be with this Copper Screen where her intricate weaving techniques involve cotton with copper inserts.

Oil and vinegar set / Adi Toch presented by Galerie Sofie

lachaert

Oil and Vinegar set by Adi Toch presented by Galerie Sofie LachaertCaption: Galerie Sofie Lachaert returns to Design Days Dubai with new work by Adi Toch. This oil and vinegar set showcases that design is practical yet timeless. Made out of gold plated silver, it is truly a unique household item of design.

Armour Chair by Fiona barratt Campbell presented by FbC london Privé

FBC London Prive debuts in the Middle East with its first limited edition series of objects. Showcasing the high craftsmanship and roughness of Fiona Barrat Campbell’s hometown. This Armour Chair is a delicate marriage of hand casted bronze and suede upholstery, and the result is beautiful.

G01 apartmentsarash g. tehrani architectsgohardasht / karaj

text & diagramsarash g. tehrani architects

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Arash G Tehrani, is a young Iranian Architect, who has worked as a Design Architect on many projects in his short professional career. In addition to working on personal projects since 2008, and participating in competitions, he has designed a different variety of projects in size and type, for several architectural firms as the design architect. His practice of architecture includes many types of projects, ranging from small monumental projects to Cultural, Sport Complexes, Residential complexes and also Concept projects.

He is experienced in music, abstract painting, and Photography, as a result of which he has achieved some architecture photography awards and honors.

His projects were recognized and published worldwide and translated in different languages.

The apartment is located in Gohardasht, Karaj; which it is an old and famous part of Karaj, best known for villas with pool and streets with trees. As it could be seen, living in Gohardasht used to be associated with a natural extroversion which was tied to Iranian introversion living. Tranquil life, strong neighborhood relationship, energetic evenings and live weekends, were the most aspects of this city, till constructors started to ruin villas and build apartments.

While the population is rising by non-locals migrating to live in famous Gohardasht, looking around the city, you could find less villas and more apartments with rarely no care for live Gohardashat living, most apartments have solid mold with decorated faces, reminding Decorated Sheds!

The architect tried to rehabilitate the spirit of neighborhood and natural extroversion living. Unlike what could be seen as the city landscape, the apartment face and the internal spaces are combined, due to encourage the residents to live more extroversion. All the balconies are designed among to internal space of each unit.


Ideas and concepts /

Persian Miniature / The tales and landscapes are painted with no natural perspective rule and so the Time and Space are free and limitless. This gives the space (of the painting), a vertical Surreal Hierarchy; in which, Illustrated image of Persian garden in the paintings, could remind the vertical gardens of mystical Persia and the ancient Mesopotamia, which were perfectly used in Pasargad’s “Pardis”, Babylon and even Islamic era Persian gardens all over Iran and parts of India.

Cypress and balcony / There are 7 Cypress trees in the front face, 6 one each for one balcony and one on the sidewalk. Each tree is rising through next level’s ceiling, in fact the residents are growing the tree which their neighbor is using, and all of them are growing the first one on the sidewalk. This brings life to balconies, reminding suspension gardens.

qods mosquetehran / iran architect: Arash G TehraniProject team: Naghsh Urang Pars Consulting Engineers.Location: Darya Blv. Tehran, Iran.type: Religious Status: Concept proposalclient: Tehran Municipality, region 2.arch Visualizer: Pooria Abasi


about:Not like the different forms that we know from churches, or temples; and the reformed morph of these buildings which allow a concrete cube with a cross to be well accepted as a church; not many changes in the form of “mosques” are accepted, specially in central Muslim regions. However many practitioners found no reference of any specific formula for mosque architecture in religious texts, not only the people still recognize a mosque with a traditional architecture and also a dome and minaret, some non-traditional practices showed unpleasant reactions. This project is a practice of Attribute-oriented Architecture to design a mosque with new day architecture, but also to have the spirit of the known one. The architect did not remove the functional elements, but the designed mosque is the decoded aspect of a traditional mosque, and its meanings.

Design Intentions:The aim of this project is to propose a design concept to renovate and Improvement of a mosque in one of most crowded crossroads of Tehran, “Qods Mosque”. The current situation of the mosque has a confounded landscape with several wrongly installed objects. The Mosque is consisted of a tent-shaped building and an unfinished minaret. The client (Tehran municipality) needed to remove the non-Islamic face of a pyramid mosque and also to renovate the urban landscape. The design, proposed a semi-transparent urban façade, which could cover the mosque but not to delete or fully cover the mosque, as client had suggested. This façade which is an extensible Islamic pattern, would make skyline of a mosque with a dome, gate, porch and a minaret, which the façade could be used as a multipurpose traditional porch. The minaret is also a decoded architectural object of a traditional minaret, which used the Islamic concepts of a minaret into separate codes.This design is also a practice of attribute-oriented architecture, which is a research by the designer.


urban façade

Semi-transparent PorchThe facade is generated out of random extension of a Persian Islamic pattern to form a multi-functional contemporary porch. Base pattern is taken from an artwork by late “Mahmoud Maheronnaghsh”, an Iranian traditional Architect and researcher. Porches could be seen in every city and building in historic Iran. These porches; are one of the most important parts of the historic Persian mosques called “Ravagh”. As the porches all around the world could provide; they are place for public service. This facade could also provide temporary book shows, be a place for religious ceremonies or even a shelter for an old woman to rest in the shadow during a day walk.

minaretThe minaret is created by 3 cubes with different axis. These cubes are an extrusion of 3 squares of a dodecahedron Islamic pattern (star). The pattern was decoded to 3 squares, and each were rotated to a specific axis, to creating functions of the cubes. First cube represent the “Light” in Islam and the “fire” on the top of the minarets. As long as mosques use chained lamps to decorate minarets in the nights, this cube could be used as urban LCD itself .This cube is directed to the residential zone of the Darya Blv. Second cube is the Muezzin’s place; it could place sounding systems, for as we know no one would say live Azaan. One side of this cube has a small window-port which is in axis with Qibla, and the other side is directed to Darya crossroad. Azaan is taken from Qibla and singed for the people. The third cube has cardinal directions, which could remind The Call, which was one the most important functions of Al-masjed Al-nabawi.

constructionAll parts of the façade is prefabricated in the factory. There are 3 types of tiles with same size; 1-including Ali pattern, 2- surfaced tile and 3- rings only. The main structure would be installed in the place, using prefabricated steel. Then tiles would be installed on their place. The material for the inner tile surfaces is transparent concert.

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design entrepreneursmona al mukhaizeem text & diagrams

mona al mukhaizeem

mona aL-mukhaIzeem is the co-founder and Managing Partner of Sirdab Lab, an accelerator program and co-working space. She is also the co-founder of ArabBusinessReview.com, a website offering content on business practices and trends specific to the Middle East.

She has an MBA from Hult International Business School, San Francisco and a BSc in Industrial Engineering from Kuwait University.

Mona worked in Transaction Advisory Services at Ernst & Young and as an Investment Manager at Global Investment House. In 2012, she helped launch Alchemist Accelerator, a venture-backed business incubator in Silicon Valley, and was a consultant at Naxuri Capital, a seed fund investing firm. Her wide-ranging experience makes her an authority on seed fund investing, private equity and venture capital.Mona is an advisor at Ahead of the Fashion, an accelerator program for technology start-ups in the consumer, fashion, and retail industries, and at TechWadi, and an organizer of StartupQ8 and Startup Weekend Kuwait. In 2014, TechWadi selected her as one of their Top 100 Mentors.

Is a person’s common sense inversely related to their attention to detail or their stress level? Have you ever met a financial guru whose complex financial model simply didn’t make sense or take into account questions that start with “What if…”? Well if you haven’t, just take a walk along Wall Street and you will meet plenty of them. You will also find entrepreneurs with PhDs in computer science or engineering struggling to raise capital for their disruptive new technology—of course everyone believes their product is one of a kind and will change the world. However, there are plenty of breakthrough innovations out there that never get enough VC attention because the masterminds behind them fail to clearly define their business. The reason for this could be that they were paying too much attention to the details and completely missing the big picture. The trick is finding the right balance between attention to detail and the big picture.

While I was working on my MBA in San Francisco I attended a lot of entrepreneurship and pitching events. I sat through hundreds of 2-3 minute pitches and I couldn’t help but notice that there was no shortage of brilliant entrepreneurs with astonishing backgrounds and who were very passionate about what they did. Yet when it came to pitching their ideas they underperformed. At the time, the sole purpose of my attendance was out of curiosity and to see if I could observe and detect—with an outsider’s eye—any generic patterns, and I did.

At the end of each pitch the judging panel or the investors would ask (sometimes complex) questions and allow the entrepreneur very little time to answer, often leaving them under tremendous pressure to give succinct, convincing, and well-articulated answers while maintaining the right attitude… and their poise.

I wrote down all the questions that were asked and the answers that were provided, both loved and hated. I also added other potential questions that I found through research to create a “FAQ Checklist.” I believe that this list could prove to be very helpful to entrepreneurs in their preparation for the big pitch day. Can you describe what you do in a Twitter post of 140 characters or less?What is your breakthrough innovation or the problem that you are trying to solve?What are the fundamental assumptions of your business?Where would the revenue come from? (Especially for seed)What is your product’s price point? And how did you come up with it?What is the market size for your product?Have you gaind market traction? And what is your sustaimability strategy?Who are your existing competitiors?What is your competitive advantage? (i.w could your business model be easily replicated at a lower cost?)Why hasnt company X already come up with your product? (e.g. if you are pitching a travel app why havent Expedia done this already?)If company X has somethig very similar to your product, how is yours different? What is your differentiator?Is it the right time for your product?Are you considering / do you have strategic partners?What risks does your product have? And your contingency plans?What is the amount your looking to raise? And how will you spend it?What milestones have you achieved so far?Is this your first start-up? Tell us more about why you failed or how you succeeded?

The big question still remains, what would make investors take out their checkbooks and write a check to a specific company? It ultimately boils down to whether they really believe in the idea and fall in love with it and the entrepreneur behind it.

The above checklist is one tool that would help prepare entrepreneurs for selling their ideas and also give them a 3D view of their business, which would enable them to locate and fix any blind spots they may have otherwise missed before pitching to others. However, making investors fall in love is the tricky part because—as we all know—there has to be a natural chemistry. But even if there isn’t, that doesn’t mean that you still can’t give it a try.

ready or not, here comes the pitch!

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from artworks tofashionlocal tees / kuwait text & diagrams

local tees

Established in 2011, Local Tees is the result of an original idea created by three friends who began with the clear vision of creating high-end, limited edition t-shirts.

We restrict each piece of artwork on these tees to limited editions of only 50, each with an edition number, ensuring no reprints, and print them on a specially chosen, high-quality fabric.

We decided to build an international network by collaborating with exceptionally talented, groundbreaking artists who create inspiring artwork from all over the world.

Many of the artists, graphic designers, illustrators, and photographers who create the images on t-shirts, also have other artworks and design works for sale on our online store.

All of them express Local Tees’ exciting new vision. If you’re an artist, a designer, or both and your work fits in with this vision we’d like to see examples of your work – submit it, exhibit it, and watch it circulate globally.

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/exclusive feature

alshaheed park /kuwait

photographyNelson Garrido


project credits april 2013- nov 2014client: Kuwait Al Diwan Al Amiri, Eng. Haifa Al Muhanna (Project Engineer)General contractor: Kharafi National, ENg Jacob Kurian (Project Construction Manager)

Lead consultant: Eng. Khaled Al Fouzan, The Associated Engineering Partnership(TAEP)architecture and Landscape consultants: Ricardo Camacho + Stroop|Landscape and Urbanism (Portugal)Lead Designers: Ricardo Camacho (Architecture) + Sara Machado (Landscape)Interior Design: Sara Saragoca

Design team collaborators: Frederico Barosa, Sarah Behbehani, Abdulaziz AlKandari, Rita Tadi, Fernando Martins, Nuno Sequeira, Hugo Ferreira, Graca Vaz, Miguel Costa, Yousef Abdulaal;

Structural Design: Al Farooqi Engineering Consultants Bureau (Kuwait, Serbia) + R5 Engenharia (Portugal)meP Design: Kharafi National, Eng Magdy Mohamed (MEP Design Coordination)

Irrigation Design: Eng. Pedro Nobre Correia Geodesenho (Portugal)civil Landscape: Eng. Benjamim Silva ProGolf (Brazil)acoustics and thermal: Psicometro (Portugal)external Lighting: Atelier33 Architectural Lighting Design Beirut (Lebanon)facade Designer: Alico Projects Department (Kuwait)Green roof Design: ZinCo GmbH (Germany)Identity and Project communication: Ze Pedro Font Amado (Wang Design)environmental consultant: Ali Al-Dousari ( Kuwait Institute for Scientific Research )environmental consultant: Fahed Shuaibi (Amiri Diwan Consultant)


p r o j e c t description and contextThis reconversion of a formal garden by Kuwait Amiri Diwan built in the early 1960’s, to celebrate the city’s modernization, and named as “Shaheed Garden” after Saddam’s Invasion in memory of the war martyrs, will definitely top the categories of urban park and city reconversion this year in all MENA region. To be officially inaugurated by the Emir of Kuwait during the National and Liberation days (February 25th and 26th) the project is expected to be the main feature of this year festivities with an awarded 9million EUR contract for fireworks and media spectacle.The 20Ha urban park contains two museums, large underground car park and other facilities as the 12000m3 artificial lake hiding a telescopic pole with 30m for the national flag raise and a visitor center for the Emir official receptions to foreign state representatives.The Lead local Consultant TAEP teamed up with Portuguese architects and landscape designers on the competition-winning redesign. Their reconversion of the Kuwait Green Belt included the integration of several buildings in the existing garden and the selection of a native vegetation scheme that could respond to water consumption restrictions, the harsh environmental conditions and urban maintenance practices. The project was developed and implemented in a record time of 22 months.


project facts Design/Build contract for 180,000 square meters Park comprising 45,000 sqm of building area, Habitat Museum, Memorial Museum, Visitor Center, Administration&Management Oficces, Mosque, Celebration Gate, Old City Gate, Amphitheater and Underground Parking for 900 cars.

Details per built element:1. Kuwait Martyrs Museum(Memorial Museum), 6500sqm, plus Permanent Exhibition Wars of Kuwait: Content Design Coordination and Exhibition Design Implementation with others;2. Kuwait Habitat Museum, 4500sqm, plus Permanent Exhibition Land of Kuwait: Content Design Coordination and Exhibition Design Implementation with others;3. Visitor Center, 3200sqm of Restaurant, Cafeteria, Multipurpose Hall and Gift Shop.4. Administration Building, 2100sqm Ofces and Workshops, including all central control equipments and mechanical facilities.5. Underground Car Park (900pl) 37600sqm, including 18000sqm Roof Garden, 6. Kuwait Birds Aviary, Cage in tensile Steel mesh 10m height, 1250m2 7. Mosque, 350m2,8. Celebration Gate, 1250m2 of Reception Hall, Park ticket and Broadcast facilities for Tv and radio live stream emissions, including 600sqm Green Wall, 9. Old City Gate Conservation and Renovation, 1800m210. Open Air Amphitheater, 10800m2 including water features and outdoor giant screen, 11. Lake with 7000m3 of Water capacity for irrigation including a 45m spam bridge in reinforced concrete, 12. Memorial Walls Garden, 6800m2 of stepped garden with handmade tile cladding,

The permission of the Municipal Council was clear regarding the built program, reclaiming the argument that no single building could be erected from the Green Belt grounds, therefore, all proposed buildings are submerged under planted soil.The possibility of introducing extensive green roofs (35000m2) for larger areas in Kuwait will become a challenge similar to the use of concrete and steel structure for the construction of the Shuwaik Power Station and Desalinization Plant in 1953, frst modern structures built in Kuwait. The Glass curtains are reduced to minimum areas and always shaded or with double curtain solutions, as channeled glass curtain for Memorial Museum.


words from the architect & landscape designersAfter the concerns raised by the Martyrs’ Bureau regarding the integrity of the park during the last years, the Emir Office (Kuwait Amiri Diwan) reclaimed, in 2012, the use of the Al Shaheed Park for national celebrations and festivals under the memory of war martyrs. The monument to celebrate the “golden jubilee of Kuwait Constitution” was the first action towards the reconversion, followed by a broad program of public buildings, including two Museums, Car Park, Visitor Centre, a lake, Mosque and an Aviary for the old Park. The re-design process was determined and strongly affected by the precedent strategic value of this unfinished project, mainly through the instrumental understanding of Peter and Alison Smithson’s proposal for the same area years before (1969-75).

The landscape proposal uses an existing grid, made of underground services and existing trees, that will distribute all the programmatic outdoor and indoor events – the buildings – that will be then converted into mounds due to a consideration of the acoustic studies – the noise protection - and the visual impact of the surrounding. At a larger degree this grid will be a medium climate mitigating wind, noise, dust and sun orientation. It generates a referential that is able to recognize the existing Park limits and trees, underground services, the Constitution Monument and Mecca orientation, as well as providing connections between all proposed elements through three pathways – the Emir path, visitors path and jogging track. The volume of soil, its transport and storage, innate to the artificial lake and underground car park (program requirements), identified the opportunities to transcend the norm and provide the architectural resources to design the buildings’ fundamental elements. The permission of the Municipal Council was clear regarding the built program, reclaiming the argument that no single building could be erected from the Green Belt grounds, therefore, all proposed buildings are submerged under planted soil. The possibility of introducing extensive green roofs for larger areas in Kuwait will become a challenge similar to the use of concrete and steel structure for the construction of the Shuwaik Power Station and Desalinization Plant in 1953, first modern structures built in Kuwait.

The Habitat Museum, ‘Mathaf AlMawten’ in arabic, is a long sand dune planted with native plants that moves into proximity with the garden paths and covers the exhibition galleries, library, laboratory, offices, cafeteria, bookshop and a children learning centre. From the underground car park green roof, the soil drops under the ground to access the museum’s lower level, buried with single structure vacant frames towards the saline depression and desert canyon. The old Al Shaheed Park’s dominant elements, the fountain and amphitheater, were replaced by the twelve thousand cubic meter lake. The water capacity of the lake will determine a limit to the vegetation and plantation capacity of this reconversion responding to the Amiri Diwan’s request for irrigation water autonomy. The landscape architect was from the early moments interested in understating continuity and unity along with the native landscape of the country. The soil movement was there instrumental to recreate along the park a section of Kuwait’s landscape, from the desert plateau and springs in the north to the oasis of the south, including saline depressions and Acacia woodlands. Flanking the new lake, both the Visitors Centre and the Administration Building, are tentative translations of the courtyard building type. In the Visitors Centre, the ground is lowered -80cm under the garden level, and opened in two directions allowing the cross ventilation of air and its cooling movement through the building when connected to the internal patio. The programmatic instability of this building during the design stage generated a series of additions around the core, almost as an old town villa with its later additions. The mass resulting out of this process will define the constitution of the mound in its topography and volume - the soil is covering all annexes.

On the opposite end of the garden, towards the old Sha’ab Gate, the museum of war martyrs reclaims the “architectural language of protection: at the ground level of providing an ‘oasis’ of shade in the city” ingrained in Kuwait building culture since Peter and Alison brought it in the discipline contemporary agenda with the 1970 “demonstration mat-building” for the Kuwait Ministries Offices.

The new museum is defined by a free roof on top of pilotis “plan drawn through the regularity of the trunks in a grove of date palms” that contain the different programmatic dimensions of the building divided in pavilions, from the exhibition gallery to the cafeteria, offices and research centre. Under the slab the pilotis expand outside the building as the trunks of a new palms grove that will lead you to the city’s old wall gate through an under-passage built during ‘those years of war’35. The limit of the palms grove is defined by a system of retaining “rampart gardens” cladded, not in Persian- type tiles, but with Portuguese

three dimensional tiles that move sufficiently often into proximity with the geometry of the site limits allowing a number of pedestrian paths. These retaining elements when defining the internal faces of the building contain toilets, prayer rooms and other service facilities that are shared between the use of the museum and the surrounding garden. “The ‘faces’ to” these ‘gallerias’ that define also the building circulation “have glass walls which are self shaded and cooled by transverse air movement”.

At the lowest and coolest point of the garden the visitor will be guided through the underpass towards an amphitheater, the old city gate “maidan”, where the walls are still rampart gardens with tiles, and the chairs are portable for occasional encounters or major performances. The audience sits between the lower stage, protected from the sun and surrounding roads’ noise, and the higher platform where the old gate stands in front of Sour Street. At the lower level the next tunnel towards the south indicates the possibility to connect with a further extension of the Amiri Diwan reconversion plans, a the sort of “Sports Maidan”, a multipurpose field that can function as a teaser to engage the young population in sports and entrepreneurship.

The Al Shaheed Park reconversion scheme shares with the 1969 proposal the statement delivered by A+P Smithson in the Venice 1982 Biennale: “the post 1951 city is devoid of historic place; a system of elevated walkways offered ‘a place to go’ in Kuwait: (...) these would be definite places to visit”, but it does not confine on a single assumption, limited scope or tactical intervention. Instead, the multiplicity of public building programs and its relation with the city’s multiple dimensions have the potential to affect a larger strategic conception of the project as a whole. Each of the building programs inserted in this Park reconversion must be read as a carefully staged plan of action with precise formal and social objectives. These are components of a comprehensive project of the Amiri Diwan to instigate the participation of national citizens in the city’s public space beyond the private owned shopping malls ‘gallerias’. Today, this larger conception informs the Emir Office’s practice and social policies.

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danafisijewellery design/ kuwait text & diagrams

dana al nafisi

DANAFISI was born in 2007 out of a passion for luxurious jewelry, uncompromising craftsmanship, and a simple and elegant vision.The brand had local beginnings, with designer, Dana Al-Nafisi, participating in solo and group exhibitions to present her pieces, which quickly captured the attention of local clientele. In 2011, Dana set her sights internationally, participating in Eclat de Mode (Paris) that same year followed by the International Jewelry Show (London) in 2012.

The resultant exposure led to an invitation to show her pieces at the Golden Globes (Los Angeles, USA) in 2013. The same year saw her pieces featured at Harrods where they remain available. 2014 has seen further exposure of the brand when it was selected and featured in The Rolls-Royce Enthusiasts’ Club Yearbook 2014. The accompanying launch event took place in London.

In May, DANAFISI was chosen to be worn by several celebrities atthe 67th annual Cannes Film Festival. In addition, Lambert Wilson, Master of Ceremonies at the festival, opted to wear DANAFISI cufflinks. The success at Cannes was followed by participation in the JCK Las Vegas 2014 jewelry show.

Philosophy:In each collection and with each piece, DANAFISI aims to transport you to the very source of inspiration. Whether stemming from the whimsical or the historical, each collection aims to tell a story, with the individual pieces capturing the myriad emotions within the tale. With DANAFISI the wearer is able to live these stories.

The designer sources the highest quality materials, from rich gold to precious gems, and utilizes cutting edge techniques to create exquisitely-crafted jewelry.

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heijman’sone

a moveable home for one

global snapshots

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a moVaBLe home for one

Young professionals want to leave their student years behind them and are eager to start their lives in their own ‘real’ house. The challenge? Finding a place that meet their demands: affordable, qualitative, complete and beautiful. To help this growing generation

get a place of their own, Heijmans developed the Heijmans ONE, a movable home for single households. The Heijmans ONE is connected to the existing infrastructure for water, sewage and partly electricity. We are working on making

these houses self-supporting. This includes testing out Aerspire solar panels, which are integrated into the roof.

about heijman’s

ONEDereLIct areaS Besides helping out this generation, the Heijmans ONE solves the social issue of dreary empty urban sites. Almost every city has hidden, fenced off spots where nothing has happened for years. By placing the ONE in these areas, they are ‘brought to life’. ‘BuILt’ In one Day No long waiting lists. The pre-fabricated Heijmans ONE is easily transported and can be placed in just one day.

rent/enDurance The rent is an estimated 700/800 euro’s per month, which is just above the social rent in the Netherlands (699 euro). Private rent starts at 900/1,000 euro’s per month. We are calculating five years for an average lease period. However, that also depends on the municipality and owners of the land.

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text & diagrams hawra m. almousawi

Saint Petersburg

There are many reasons behind choosing a destination/ city; these reasons can either be natural or manmade or both together. What makes Saint Petersburg a major European cultural center and the cultural capital of Russia is the city’s rich history as well as its marvelous architecture, with the fascinating skyline filled with picturesque domes. Each corner of the city speaks about hundreds of historical and political events. Saint Petersburg witnessed a number of different periods; each one of them left a stamp, which therefore affected city planning, art and architecture. When I visited Saint Petersburg, I could easily recognize the differences in architectural styles. The colorful Tsars’ period’s architecture versus the dull Soviet period’s architecture can still be witnessed.It’s not only about architectural styles, but the urban planning and the way the water canals, bridges and streets are all interconnected together creating the complicated yet very charming fabric of the city. Out of this blend, emerge a number of architectural landmarks; each one of them is statement by its own, along with the fascinating landscaping around each one of them, and the beautiful interior design rich of significant details. Peterhof PalaceA compound of a series of palaces and gardens, and it’s one of the most significant architectural sites in Saint Petersburg which was designed after Versailles of France. Its not only about the architecture of the place, its about the great blend of everything; architecture, art, interior design, landscaping. Once you enter the place so many things will catch your eye. The great details of the interior spaces, the harmony of the colors and exterior design, and the way the architectural and landscape languages work together very well, where each one of them adds more power to the other. Although it went under difficult circumstances like the “Leningrad Siege” which was held by the German Army, the renovations were done properly to keep the essence; you can still feel the spirit of the place with the complex design and details with the very simple yet powerful colors.

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lulwah al homoud // back coverhamad al saab

aziz al mudhaf // front cover

mohammed al kouhamira behbahani

artists

exclusive feature from Benchmark 2015

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text & diagramsaziz al mudhaf

azIz aL muDhaf’S work is characterised by the use of strong, motion-driven brushstrokes which, the artist applies generously to the canvas with a keen eye on composition and textural integration. The figures that come through in his paintings are more or less androgynous, undifferentiated beings, dissociated from a particular background. They act as a catalyst for raw emotions to emerge through splashes of vivid color. His first introduction to the art world was at Opera Gallery Dubai in 2009, as part of an exhibition showcasing young talents in Kuwait. Following the success of his first showing, Al Mudhaf continued to experiment and develop a series of paintings, using techniques that strayed further away from his earlier work. His first solo exhibition was held in late 2010 with a collection of 11 large-scale expressionist portraits. Al Mudhaf graduated from the American University of Kuwait in 2011 with a BFA in Graphic Design. His latest participations were presented in the three previous JAMM contemporary art auctions, as well as a number of group exhibitions. Al Mudhaf’s latest work is presented in a series of marbled abstract paintings. Al Mudhaf was born in 1990, and currently works and lives in Kuwait.

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Exhibitions / 2014 - Contemporary Art Platform (CAP), Kuwait2013 - JAMM 4th Contemporary Art Auction, Kuwait2013 - Harvey Nichols Kuwait2012 - JAMM 3rd Contemporary Art Auction2011 - Contemporary Art Platform (CAP), Kuwait2011 - JAMM 2nd Contemporary Art Auction2010 - 4 Gallery, Kuwait (Solo Exhibition)2009 - Cercle Francophone de Koweit, Kuwait2009 - Opera Gallery, Dubai

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The first Saudi to acclaim MA from Central Saint Martins College of Art and Design, London. Area of research, Arabic calligraphy and Islamic geometry.Artist, designer, curator and Founder of Cube Arts.

Developed a personal approach emerging calligraphy and geometry and based her early work on a mathematical concep.

Designer of many logos including The Saudi Arabian pavilion Logo and designer of 118 calligraphic wall panels inside The Saudi Pavilion, World Expo, Shanghai 2010

4 times in Sotheby’s, Christies, Bonham’s auctions and all pieces are sold.

Exhibited around the world in China, Korea, New York, London, Paris, Germany, Switzerland, Saudi Arabia, Dubai, Bahrain and Beirut.

Artwork was exhibited and owned by international museums.The only artist from the Middle East in the inauguration exhibition that included 36 renowned international artists at Jeju Museum of Modern Art, Korea

Was Invited and participated in the celebration of 300 years anniversary of Meisen with international contemporary artists in Germany.

Worked with British Museum 2007 to introduce Arabic/Islamic art and design to British GCSE students.

Curator of international exhibitions since 1999, including Master Stokes, London 2003 at October Gallery. The first Edge of Arabia 2008, London Brunei Gallery. Nabatt: a sense of being, Duolun Museum, Shanghai 2010 and Beirut 2010.

Founder of Cube Arts in London and Dubai, an initiative for cultural exchange programs and to promote art from the region internationally

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text & diagramsLulwah Al Homoud

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Ever since the old ages, through the industrial revolution until the digital era, the human race has always been concerned with improving the means of communication, for the

better understanding of one another.

The objective and motive of better communication was, and still is, conveying messages, documenting the events, the achievements and failures of mankind at a certain time or era,

making them available for the coming generations.Therefore, we can observe the progress from paintings and drawings and carvings on walls and buildings, to manuscripts and written letters sent by homing pigeons, then

pictures and telegraphs followed closely by voice transmission technologies. Following this, the dramatic evolution in the world of audio-visual broadcasting, from large bulky

boxes, to flat screens, until the present day where a click of a button or a gentle touch on a smartphone screen allows you to connect with someone thousands of miles away.

The evolution of modern technology continues to reshape the way we communicate, ironically the more advanced we become, the less we are actually communicating with one

another.

The artist Hamad Al Saab (born in Kuwait, 1972) focuses on human communication through his “Pop Art” paintings, portraying celebrities from the Golden Era – as they say - in the MENA region, to anonymous figures and people, those whom we meet on daily

basis dressed in the traditional clothing deeply engaged to those cell phones in their hands, and iPods connected to large headsets, plugged in their ears, depriving them of

the essence and true meaning of the word “communication”.

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In his artwork, hamad employs icons and motifs that resemble communication; it could be calligraphy and poetry, to famous songs, and traditional proverbs or sometimes devices like mobiles phones.the artist believes that these modern technologies and communication devices are not the reason behind the gap and miscommunication among people; however, it is the misuse and abuse of these tools. the main reason why people buy these technologies is for the sake of the possession and ownership of them and as an attempt to fit in the modern community, not for their main purpose, which is proper and clear communication.this unfortunate reality that we are living by it today without realizing it is demonstrated and reflected in an inconsistent manner through the artist’s work. the vibrant portraits, mixed with shining Swarovski crystals and beads hand-knitted in a certain direction, are confronted by a lot of sorrow embedded in the portrayed characters; while the intense bright colours and meticulously scattered details strive to cast hope in every painting.

In January 2014, hamad took his work to a deeper level where he shifted his subject from the interpersonal relationship and the way people communicate, to raising the neglected issue of intrapersonal relationship. In his show titled “behind closed doors”, the artist shed light on the secrets every one of us holds within. he also demonstrated the 5 phases of grief: denial, anger, bargaining, depression and eventually, acceptance.

Despite the fact that those stages are usually kept behind closed doors, they are constantly calling us to open up, face and defeat the grief and pain we hold on to, so that we can send it to the light and move on with our lives.the presence of children in hamad’s work is by no means a coincidence or a random decision. In his opinion, they are either the future and hope for a better tomorrow or existing scenarios from our reality.children today became deeply immersed in the digital world and video games that require a solitary ability , over the group and social activities has lead this new generation to become increasingly isolated and violence-oriented, especially when someone tries to breach their inner closed circle which represents a safe haven for them.Hamad believes that art can be a very effective tool to draw everyone’s attention to this serious problem we are facing of poor communication, and its impact on the society. the lack of a direct and personal communication creates those misunderstandings between people, societies, different cultures, regimes and even ourselves.

the modern technology that man have developed with the intention of bringing us closer, and making communication and interaction easier had become pretty much the main tool to alienate people, and estrange them.the artist’s work pinpoints the problem and leaves a space for the audience to interact with the issue according to their own perception. this allows the perceiver to make changes for society’s sake, which in turn will influence future generations. hopefully as a result of this, everyone will realize that modern technology is merely a tool, not a desire that will affect or alter our lives.



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Born in 1984 Mohammed AlKouh lives and works in Kuwait. Fascinated by all forms of art, AlKouh is a self-taught artist who explores different types of it since childhood and participated in many shows at an early stage of his life. After graduation from College of Business Administration – Kuwait University with BA in Business Administration & Marketing, AlKouh took his passion in art and exploration into a new level; he started working on projects with deeper meanings based on research and touched by the untold true stories from society, The visual language of the past became his method to cascade his findings.

In 2012, AlKouh created ‘Kalimat’ series a mix media project utilizing vintage newspapers, calligraphy and paints to share heartbreaking true love stories hidden in the boundary layers of society.

“I discovered the power of words; it’s amazing how a single word can change us completely! I started to tell stories via this method, vintage newspapers became my platform. As work develops, words and peoples merged together to create a unified form that surprised me how similar both can be!” Amazed by the golden era in all its details from buildings to people, Al Kouh found in the old dying techniques of photography a method to capture any remaining’s of the past or recreate scene’s that only exists in his memory, aiming to protect them from being forgotten, lost or erased from memories.

“As a child I was captivated with idea of “Stealing Souls and Keeping Them in Negatives”, I began to photograph everything I wish not to lose, Photography became my way to steal my favorite moments in life and keep them in my closet”

text & diagramsMohammed Al Kouh

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What inspired you to go into photography?I don’t think you get inspired to go into photography or another form of Art, You get inspired to create Art. I experimented many forms of it until I found my voice in photography, In Analog photography to be specific. I’m captivated by the idea of stealing souls and keeping them in negatives. What has your biggest challenge been to date with your artistic direction?For me I don’t think of it as a challenge. Art is the language that artists speak, by creating artworks the artist is trying to tell you something where he might express a feeling that he lived or he tries to tell you a story maybe. I believe that the artistic direction will come naturally by continuously creating art. It is not something that you can decide actually it comes from within by doing the things you feel is right.

What inspires your creative direction?I am an emotional nostalgic person. The past moves me and I am very attached to my memories. I panicked when I realized that I am starting to forget some of them, where some details started to fade away. If there is one thing in this life that I can’t handle its the idea of “Loss”. I cannot imagine losing the people I love. Once I think about it each cell in my body becomes sick in a way that I cannot explain. I needed something to comfort me and that is when I started to recreate my memories with them.The visual language of the past became my method by creating this contrast between past and present where both are fading away. The past is the current present, it is this fraction of a second that we don’t feel passing. In a way we are living in a moving past. Sometimes I feel that in an ongoing process of creating a staged photo album of or a visual memories of my life. What have your best achievments been to date?I don’t feel it is an achievment as much as a journey or growing up maybe. I have a lot of support from an audience who appreciate what I do, understand it, and believe in me. I exhibited my work in Kuwait, Dubai, London and Budapest. My 1st Solo exhibition was Last may in CAP Kuwait. My work has been recently acquired by the “Tropen Museum” in Amsterdam to be the First Artist from Kuwait and the Gulf in their permanent collection. Where do you see yourself going next as a photographer? I am just a person who has something to say and a need to create. That is why I don’t see myself as a photographer. In the future I hope to be a good representative of my family and my country in an international level. Kuwait gave us so much and it is time to give back. Kuwait has so much to offer and Kuwaitis are independent, hard workers and so talented and they deserve to be seen and for their talent to be appreciated widely and I see no reason why this should not happen.



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tic tac toeamira behbahani

Amira Behbehani a Kuwaiti self taught artist who began painting in 2001-2003 and participated in various international and local art exhibitions. In 2011 got involved in an international peace organization called PEACE ONE DAY and marked Kuwait the first Arab country to celebrate peace on the 21 September 2012, and in 2013 was appointed as the peace ambassador for WPMP (Peace Project Marker Project) in Kuwait.

Tic-tac-toe, a forgotten childhood obsession, finds its way back with new players. Irrespective of place or culture, we all battle with dualities – the different roles we choose to take on, the words we borrow, the ideas we champion, simultaneously shroud and strip us. This series is audacious. Lines are drawn, decisions made and sides taken. Daily, we inhabit so many worlds, real or created, tangible or intangible – part of all but so often committed to none. Here, there is no prevarication, no obfuscation. We lose or we win – there is no other way. Unlike brushwork, stenciling is resolute. The imprint on paper is predetermined. While there is an inherent tenacity to this technique, there is a surreptitious freedom of choice, of where you choose to make your mark and that makes all the difference The imprint of the geometric lines of Islamic motifs while angular and repetitive, are offset by the softness of their vegetal patterns. Are they aesthetically constraining in their repetition or freeing in the fluidity of their form? They are to one what they are not to the other. Caught somewhere between the obligations of social and spiritual performances is the I that maneuvers these spaces and plays these games. We shed identities sometimes shamelessly, often reluctantly, but in the final analysis we are confronted with a battle that is intensely personal. We infuse symbols with our own truths. They will either save us or sear us.

text & diagramsamira behbahaniaryana khan

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