Qatar Morocco

‫المقدمة‬

INTRODUCTION 6 10 14 20 26

Welcome from Her Excellency Sheikha al-Mayassa bint Hamad bin Khalifa Al-Thani About this book Foreword by Tala Hadid The Concept: An interview with Fahad Al Obaidly The Curator: An interview with Gwendoline Farrelly

‫كلمة ترحيبية من سعادة الشيخة المياسة‬ ‫بنت حمد بن خليفة آل ثاني‬ ‫حول هذا الكتاب‬ ‫االفتتاحية بقلم تاال حديد‬ ‫ مقابلة مع فهد العبيدلي‬:‫المفهوم‬ ‫ مقابلة مع غويندولين فارلي‬:‫القّيمة‬ ّ

MOROCCO MAKERS 34 58 80 110 138

Amine El Gotaibi Sara Ouhaddou Amine Asselman Bouchra Boudoua Hamza Kadiri

‫فنانــو المغرب‬ ‫أمين الكطيبي‬ ‫سارة أوهادو‬ ‫أمين أسلمان‬ ‫بشرى بودوا‬ ‫حمزة القادري‬

34 58 80 110 138

‫فنانو قطر‬

QATAR MAKERS 166 178 190 202

‫مجدولين نصرهللا‬ ‫الُمفتاح‬ ُ ‫عبد الرحمن‬ ‫ريما أبو حسان‬ ‫ندى الخراشي‬

Majdulin Nasrallah Abdulrahman Al Muftah Reema Abu Hassan Nada Elkharashi

216

CRAFTING DESIGN FUTURES

238

PHOTOGRAPHERS

244 246

Photography credits Exhibition credits

ُ ‫ِ​ِحــرف تصميم‬ ‫الُمســتقبل‬

216

‫المصورون‬

238

‫حقوق الصور‬ ‫حقوق المعرض‬

244 246

166 178 190 202

6 10 14 20 26

‫المقدمة‬

INTRODUCTION 6 10 14 20 26

Welcome from Her Excellency Sheikha al-Mayassa bint Hamad bin Khalifa Al-Thani About this book Foreword by Tala Hadid The Concept: An interview with Fahad Al Obaidly The Curator: An interview with Gwendoline Farrelly

‫كلمة ترحيبية من سعادة الشيخة المياسة‬ ‫بنت حمد بن خليفة آل ثاني‬ ‫حول هذا الكتاب‬ ‫االفتتاحية بقلم تاال حديد‬ ‫ مقابلة مع فهد العبيدلي‬:‫المفهوم‬ ‫ مقابلة مع غويندولين فارلي‬:‫القّيمة‬ ّ

MOROCCO MAKERS 34 58 80 110 138

Amine El Gotaibi Sara Ouhaddou Amine Asselman Bouchra Boudoua Hamza Kadiri

‫فنانــو المغرب‬ ‫أمين الكطيبي‬ ‫سارة أوهادو‬ ‫أمين أسلمان‬ ‫بشرى بودوا‬ ‫حمزة القادري‬

34 58 80 110 138

‫فنانو قطر‬

QATAR MAKERS 166 178 190 202

‫مجدولين نصرهللا‬ ‫الُمفتاح‬ ُ ‫عبد الرحمن‬ ‫ريما أبو حسان‬ ‫ندى الخراشي‬

Majdulin Nasrallah Abdulrahman Al Muftah Reema Abu Hassan Nada Elkharashi

216

CRAFTING DESIGN FUTURES

238

PHOTOGRAPHERS

244 246

Photography credits Exhibition credits

ُ ‫ِ​ِحــرف تصميم‬ ‫الُمســتقبل‬

216

‫المصورون‬

238

‫حقوق الصور‬ ‫حقوق المعرض‬

244 246

166 178 190 202

6 10 14 20 26

≈1≈

Amine El Gotaibi Amine El Gotaibi (b.1983) was born in Fes and graduated from the National Institute of Fine Arts in Tetouan.

His solo exhibitions include Visite at the MCC Gallery, Marrakech (2022); Perspective of Seduction, Dar Moulay Ali, Marrakech (2019); Perspective of Sheep, Al Maqam, Tahannaout, Morocco (2018); and Attorab Al Watani (National Territory), Comptoir des Mines Galerie, Marrakech (2016). He has participated in the 1-54 Contemporary African Art Fair at Somerset House, London (2023); Spoken Lines, in collaboration with Beni Rugs, Salone del Mobile, Milan (2022); Miroir Collectif, Bank Al Maghrib Museum, Rabat (2019); and Contemporary Art of Morocco, Institut du monde arabe, Paris (2014–15).

‫أمين الكطيبي‬ ‫ تشمل معارضه‬.‫ في مدينة فاس وتخرج من المعهد الوطني للفنون الجميلة في تطوان‬1983 ‫ُوُ ِلَِدَ أمين الكطيبي عام‬ "‫ و"منظور األغنام‬،)2019( ‫ و"منظور اإلغراء" في دار موالي علي بمراكش‬،)2022( ‫ بمراكش‬MCC ‫ "زيارة" في معرض‬:‫الفردية‬ ‫ شارك‬.)2016( ‫ و"التراب الوطني" في معرض "كومتوار دي مين" بمراكش‬،)2018( ‫في دار المقام بمدينة تحناوت في المغرب‬ ‫ و"الخطوط المنطوقة" بالتعاون مع‬،)2023( ‫ في ساحة سومرست هاوس بلندن‬54-1 ‫في معرض الفن األفريقي المعاصر‬ ‫ و"الفن المغربي‬،)2019( ‫ و"مجموعة المرايا" في متحف بنك المغرب بالرباط‬،)2022( ‫"بني راغز" في صالون ديل موبيلي بميالنو‬ .)2015-2014( ‫المعاصر" في معهد العالم العربي بباريس‬

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Amine El Gotaibi Amine El Gotaibi (b.1983) was born in Fes and graduated from the National Institute of Fine Arts in Tetouan.

His solo exhibitions include Visite at the MCC Gallery, Marrakech (2022); Perspective of Seduction, Dar Moulay Ali, Marrakech (2019); Perspective of Sheep, Al Maqam, Tahannaout, Morocco (2018); and Attorab Al Watani (National Territory), Comptoir des Mines Galerie, Marrakech (2016). He has participated in the 1-54 Contemporary African Art Fair at Somerset House, London (2023); Spoken Lines, in collaboration with Beni Rugs, Salone del Mobile, Milan (2022); Miroir Collectif, Bank Al Maghrib Museum, Rabat (2019); and Contemporary Art of Morocco, Institut du monde arabe, Paris (2014–15).

‫أمين الكطيبي‬ ‫ تشمل معارضه‬.‫ في مدينة فاس وتخرج من المعهد الوطني للفنون الجميلة في تطوان‬1983 ‫ُوُ ِلَِدَ أمين الكطيبي عام‬ "‫ و"منظور األغنام‬،)2019( ‫ و"منظور اإلغراء" في دار موالي علي بمراكش‬،)2022( ‫ بمراكش‬MCC ‫ "زيارة" في معرض‬:‫الفردية‬ ‫ شارك‬.)2016( ‫ و"التراب الوطني" في معرض "كومتوار دي مين" بمراكش‬،)2018( ‫في دار المقام بمدينة تحناوت في المغرب‬ ‫ و"الخطوط المنطوقة" بالتعاون مع‬،)2023( ‫ في ساحة سومرست هاوس بلندن‬54-1 ‫في معرض الفن األفريقي المعاصر‬ ‫ و"الفن المغربي‬،)2019( ‫ و"مجموعة المرايا" في متحف بنك المغرب بالرباط‬،)2022( ‫"بني راغز" في صالون ديل موبيلي بميالنو‬ .)2015-2014( ‫المعاصر" في معهد العالم العربي بباريس‬

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A collaborative craft practice ≈2≈ “In 2018, I was flying back from Japan and I had a stopover in Qatar. I thought, OK, let’s do all the museums and see what I can take from them. This is how I work – I visit, collect and produce.”

– SARA OUHADDOU Born in Draguignan, in the south of France, to Moroccan parents, Sara Ouhaddou studied applied arts before deciding to base herself in Morocco, where she spent all her childhood summers. Since then, she has pursued a series of almost anthropological experimentations in traditional Moroccan crafts, collaborating with artisans around the country to investigate not just techniques, but materials and their origins, methods of working and new business models.

“Mine is a classic Moroccan family of farmers, from Meknes, and when you farm you also craft. My aunts, my grandmother, they all would sew, weave and embroider. My uncles are shepherds and the wool comes from their sheep. I was exposed to this my whole childhood. My first artistic collaborations were with my family.”

Since 2013, Sara has been running workshops across Morocco with crafting communities most at risk from the effects of declining local culture. Each workshop constitutes a social, political, economic and geographical study. Working with these communities, she spends time with people to understand what they need and want to learn.

In Tetouan, she organised voluntary workshops at a local craft school where the purpose was traditionally to instruct girls in the embroidery of their bridal trousseau. Sara tasked the girls with embroidering a sweater, a T-shirt and other fashion items, working only in monochrome, and then to sell their finished pieces in the marketplace. In Marrakech, she explored the possibilities and limitations of firing local clay, crafting pieces so complex that the process took two years to perfect. One local ceramicist, who had joined Sara in her explorations, subsequently abandoned her former ways of production and set up her own atelier, where she now crafts unique pieces of her own design. For Sara, this is what success looks like: traditional artisans finding new ways of working autonomously and making a living from it. It is crafting as a means to emancipation.

The workshops are part of a two-way exchange: what Sara learns from the process she puts into her own art. The result is that every one of her pieces is a learning experience.

Work produced to date includes ceramics, jewellery, stained glass, tapestries, textiles and even new alphabets.

60

“I’m still an artist and I still want to make art.

But what I do doesn’t come out of time spent alone in my studio; it all comes from discussions I have with the craft community. Then they create their pieces and I create mine.”

In her brief stopover in Qatar, what caught Sara’s attention was not embroidery, textiles or ceramics, but the glassware displayed in the galleries of the Museum of Islamic Art. She bought a book about glass from Islamic lands from the museum shop and took it back to Morocco. It led her to wonder why, other than a handful of pieces in the archaeological museum in Rabat, there were so few examples of historic glassware to be found in Morocco and hardly any modern glassmakers. She decided to fill the absence with her own fiction. Like Damien Hirst and his invented Treasures from the Wreck of the Unbelievable – an exhibition of treasures from the fictional discovery of an ancient shipwreck – Sara set about researching and creating her own “historic” artefacts. In this case, it was a collection of fake old Moroccan glass bottles, inspired by genuine antique designs from around the Mediterranean region.

“Everything could have been made in the Mediterranean region during the Islamic era. I just changed the colours – I introduced pop colours to make everything more contemporary. The idea for me is always to bring craft into the modern world, not to stick to the past.”

All the pieces have been made in Marseille, France, where Sara’s research led her to a specialist skilled in crafting glassware in an antique Islamic style. Marseille also happens to have a research centre for glass where Sara was able to call on expert help. The bottles are mostly small – many are just 5cm in height and the biggest are around 20cm – and of a type that was used to hold so-called precious liquids, such as perfume and poison. Going forward, the intention is to transport the glassmaker from Marseilles to Morocco to teach the craft community and sow the seeds for a potential new Moroccan glassmaking industry.

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A collaborative craft practice ≈2≈ “In 2018, I was flying back from Japan and I had a stopover in Qatar. I thought, OK, let’s do all the museums and see what I can take from them. This is how I work – I visit, collect and produce.”

– SARA OUHADDOU Born in Draguignan, in the south of France, to Moroccan parents, Sara Ouhaddou studied applied arts before deciding to base herself in Morocco, where she spent all her childhood summers. Since then, she has pursued a series of almost anthropological experimentations in traditional Moroccan crafts, collaborating with artisans around the country to investigate not just techniques, but materials and their origins, methods of working and new business models.

“Mine is a classic Moroccan family of farmers, from Meknes, and when you farm you also craft. My aunts, my grandmother, they all would sew, weave and embroider. My uncles are shepherds and the wool comes from their sheep. I was exposed to this my whole childhood. My first artistic collaborations were with my family.”

Since 2013, Sara has been running workshops across Morocco with crafting communities most at risk from the effects of declining local culture. Each workshop constitutes a social, political, economic and geographical study. Working with these communities, she spends time with people to understand what they need and want to learn.

In Tetouan, she organised voluntary workshops at a local craft school where the purpose was traditionally to instruct girls in the embroidery of their bridal trousseau. Sara tasked the girls with embroidering a sweater, a T-shirt and other fashion items, working only in monochrome, and then to sell their finished pieces in the marketplace. In Marrakech, she explored the possibilities and limitations of firing local clay, crafting pieces so complex that the process took two years to perfect. One local ceramicist, who had joined Sara in her explorations, subsequently abandoned her former ways of production and set up her own atelier, where she now crafts unique pieces of her own design. For Sara, this is what success looks like: traditional artisans finding new ways of working autonomously and making a living from it. It is crafting as a means to emancipation.

The workshops are part of a two-way exchange: what Sara learns from the process she puts into her own art. The result is that every one of her pieces is a learning experience.

Work produced to date includes ceramics, jewellery, stained glass, tapestries, textiles and even new alphabets.

60

“I’m still an artist and I still want to make art.

But what I do doesn’t come out of time spent alone in my studio; it all comes from discussions I have with the craft community. Then they create their pieces and I create mine.”

In her brief stopover in Qatar, what caught Sara’s attention was not embroidery, textiles or ceramics, but the glassware displayed in the galleries of the Museum of Islamic Art. She bought a book about glass from Islamic lands from the museum shop and took it back to Morocco. It led her to wonder why, other than a handful of pieces in the archaeological museum in Rabat, there were so few examples of historic glassware to be found in Morocco and hardly any modern glassmakers. She decided to fill the absence with her own fiction. Like Damien Hirst and his invented Treasures from the Wreck of the Unbelievable – an exhibition of treasures from the fictional discovery of an ancient shipwreck – Sara set about researching and creating her own “historic” artefacts. In this case, it was a collection of fake old Moroccan glass bottles, inspired by genuine antique designs from around the Mediterranean region.

“Everything could have been made in the Mediterranean region during the Islamic era. I just changed the colours – I introduced pop colours to make everything more contemporary. The idea for me is always to bring craft into the modern world, not to stick to the past.”

All the pieces have been made in Marseille, France, where Sara’s research led her to a specialist skilled in crafting glassware in an antique Islamic style. Marseille also happens to have a research centre for glass where Sara was able to call on expert help. The bottles are mostly small – many are just 5cm in height and the biggest are around 20cm – and of a type that was used to hold so-called precious liquids, such as perfume and poison. Going forward, the intention is to transport the glassmaker from Marseilles to Morocco to teach the craft community and sow the seeds for a potential new Moroccan glassmaking industry.

61

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Amine Asselman Amine Asselman (b.1989) studied at the Rabat School of Architecture and National Institute of Fine Arts of Tetouan, before completing a Master’s degree in Contemporary Art at the University of Vigo, Spain. He has participated in the exhibitions Arab Design Now, Doha, Qatar (2024); Maison de l’Artisan, Salone del Mobile, Milan (2023); STEREOTRIP Maroc, Stereolux, Nantes, France (2022); Novos Valores 2019/2020, Culturgal, Pontevedra, Spain (2021); De Maîtres à Disciples, Prestigia Gallery, Casablanca (2020); Open Links. Four Spanish-Moroccan Artists, Casa Árabe Madrid, Spain (2019); and Young Moroccan Artists, KfW DEG Bank, Cologne, Germany (2019). Private commissions include zellige panelling for the Four Seasons Resort Marrakech; the St Regis La Bahia Blanca Resort, Tamuda Bay, Morocco; and a swimming pool in Fes designed in collaboration with Aziza Chaouni Projects.

‫أمين أسلمان‬

‫ والمعهد الوطني للفنون الجميلة في‬،‫) في مدرسة الرباط للهندسة المعمارية‬١٩٨٩ ‫درس أمين أسلمان (المولود في‬ ‫ شارك في معارض "أربعة فنانين‬.‫ إسبانيا‬،‫ وحصل على درجة الماجستير في الفن المعاصر في جامعة فيجو‬،‫تطوان‬ ،‫ كيه اف دبليو ديغ بانك‬،"‫)؛ و"شباب الفنانين المغاربة‬٢٠١٩( ‫ إسبانيا‬،‫إسبان ومغاربة" في البيت العربي في مدريد‬ ،"2020 /2019 ‫)؛ و"القيم الجديدة‬٢٠٢٠( ‫ الدار البيضاء‬،‫ بريستيجيا غاليري‬،"‫)؛ و"ومن المعلمين إلى التابعين‬٢٠١٩( ‫ ألمانيا‬،‫كولونيا‬ ،"‫)؛ "بيت الحرفيين‬٢٠٢٢( ‫ فرنسا‬،‫ نانت‬،‫ ستيريولوكس‬،"‫)؛ "ستيريو تريب ماروك‬٢٠٢١( ‫ إسبانيا‬،‫ بونتيفيدرا‬،‫كالتيرغال‬ ‫ تشمل التكليفات الخاصة ألواح الزليج‬.)٢٠٢٤( ‫ قطر‬،‫ الدوحة‬،"‫)؛ و"التصميم العربي اآلن‬٢٠٢٣( ‫ ميالنو‬،‫صالون ديل موبيلي‬ ‫ المغرب؛ وحمام سباحة في فاس صممه‬،‫ خليج تامودا‬،‫لمنتجع فور سيزونز مراكش؛ منتجع سانت ريجيس ال باهيا بالنكا‬ .‫بالتعاون مع المعمارية عزيزة الشاوني‬

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Amine Asselman Amine Asselman (b.1989) studied at the Rabat School of Architecture and National Institute of Fine Arts of Tetouan, before completing a Master’s degree in Contemporary Art at the University of Vigo, Spain. He has participated in the exhibitions Arab Design Now, Doha, Qatar (2024); Maison de l’Artisan, Salone del Mobile, Milan (2023); STEREOTRIP Maroc, Stereolux, Nantes, France (2022); Novos Valores 2019/2020, Culturgal, Pontevedra, Spain (2021); De Maîtres à Disciples, Prestigia Gallery, Casablanca (2020); Open Links. Four Spanish-Moroccan Artists, Casa Árabe Madrid, Spain (2019); and Young Moroccan Artists, KfW DEG Bank, Cologne, Germany (2019). Private commissions include zellige panelling for the Four Seasons Resort Marrakech; the St Regis La Bahia Blanca Resort, Tamuda Bay, Morocco; and a swimming pool in Fes designed in collaboration with Aziza Chaouni Projects.

‫أمين أسلمان‬

‫ والمعهد الوطني للفنون الجميلة في‬،‫) في مدرسة الرباط للهندسة المعمارية‬١٩٨٩ ‫درس أمين أسلمان (المولود في‬ ‫ شارك في معارض "أربعة فنانين‬.‫ إسبانيا‬،‫ وحصل على درجة الماجستير في الفن المعاصر في جامعة فيجو‬،‫تطوان‬ ،‫ كيه اف دبليو ديغ بانك‬،"‫)؛ و"شباب الفنانين المغاربة‬٢٠١٩( ‫ إسبانيا‬،‫إسبان ومغاربة" في البيت العربي في مدريد‬ ،"2020 /2019 ‫)؛ و"القيم الجديدة‬٢٠٢٠( ‫ الدار البيضاء‬،‫ بريستيجيا غاليري‬،"‫)؛ و"ومن المعلمين إلى التابعين‬٢٠١٩( ‫ ألمانيا‬،‫كولونيا‬ ،"‫)؛ "بيت الحرفيين‬٢٠٢٢( ‫ فرنسا‬،‫ نانت‬،‫ ستيريولوكس‬،"‫)؛ "ستيريو تريب ماروك‬٢٠٢١( ‫ إسبانيا‬،‫ بونتيفيدرا‬،‫كالتيرغال‬ ‫ تشمل التكليفات الخاصة ألواح الزليج‬.)٢٠٢٤( ‫ قطر‬،‫ الدوحة‬،"‫)؛ و"التصميم العربي اآلن‬٢٠٢٣( ‫ ميالنو‬،‫صالون ديل موبيلي‬ ‫ المغرب؛ وحمام سباحة في فاس صممه‬،‫ خليج تامودا‬،‫لمنتجع فور سيزونز مراكش؛ منتجع سانت ريجيس ال باهيا بالنكا‬ .‫بالتعاون مع المعمارية عزيزة الشاوني‬

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Bouchra Boudoua Bouchra Boudoua (b.1988) was born in Casablanca and studied at the École Olivier-de-Serres, Paris, and Central Saint Martins College of Art and Design, London. She held her first solo exhibition of paintings and ceramics, I Remember a Land, at Loft Art Gallery, Casablanca, in October 2024. She has participated in the Abwab exhibition at Dubai Design Week (2017), Dubai Design Week (2018) and Morocco in Abu Dhabi (2018). She has collaborated with Marrakech hotels La Mamounia and El Fenn; Dior (making the crockery for 400 guests for a dinner at El Badi Palace, Marrakech, in 2020), The Conran Shop in London and Qatar Museums.

‫بشرى بودوا‬

Central Saint ‫ ومدرسة‬،‫ في الدار البيضاء ودرست في مدرسة أوليفييه دو سير في باريس‬١٩٨٨ ‫ُوُ ِلَِدَ ت بشرى بودوا عام‬ َ ً ُ‫"أتذَّكُر‬ ‫أرًضا" في قاعة لوفت بالدار البيضاء في‬ ‫ أقامت أول معرض فردي لها للوحات والخزف بعنوان‬.‫ في لندن‬Martins ‫ والمغرب في‬،)٢٠١٨( ‫ وأسبوع دبي للتصميم‬،)2017( ‫ شاركت في معرض "أبواب" ضمن أسبوع دبي للتصميم‬.)٢٠٢٤( ‫أكتوبر‬ ‫ ضيف لحفل عشاء في‬٤٠٠ ‫ تعاونت مع فنادق مراكش ال مامونيا وإل فين؛ وديور (صنعت أواني طعام تكفي‬.)٢٠١٨( ‫أبو ظبي‬ .‫)؛ ومتجر كونران في لندن؛ ومتاحف قطر‬٢٠٢٠ ‫قصر البادي بمراكش عام‬

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Bouchra Boudoua Bouchra Boudoua (b.1988) was born in Casablanca and studied at the École Olivier-de-Serres, Paris, and Central Saint Martins College of Art and Design, London. She held her first solo exhibition of paintings and ceramics, I Remember a Land, at Loft Art Gallery, Casablanca, in October 2024. She has participated in the Abwab exhibition at Dubai Design Week (2017), Dubai Design Week (2018) and Morocco in Abu Dhabi (2018). She has collaborated with Marrakech hotels La Mamounia and El Fenn; Dior (making the crockery for 400 guests for a dinner at El Badi Palace, Marrakech, in 2020), The Conran Shop in London and Qatar Museums.

‫بشرى بودوا‬

Central Saint ‫ ومدرسة‬،‫ في الدار البيضاء ودرست في مدرسة أوليفييه دو سير في باريس‬١٩٨٨ ‫ُوُ ِلَِدَ ت بشرى بودوا عام‬ َ ً ُ‫"أتذَّكُر‬ ‫أرًضا" في قاعة لوفت بالدار البيضاء في‬ ‫ أقامت أول معرض فردي لها للوحات والخزف بعنوان‬.‫ في لندن‬Martins ‫ والمغرب في‬،)٢٠١٨( ‫ وأسبوع دبي للتصميم‬،)2017( ‫ شاركت في معرض "أبواب" ضمن أسبوع دبي للتصميم‬.)٢٠٢٤( ‫أكتوبر‬ ‫ ضيف لحفل عشاء في‬٤٠٠ ‫ تعاونت مع فنادق مراكش ال مامونيا وإل فين؛ وديور (صنعت أواني طعام تكفي‬.)٢٠١٨( ‫أبو ظبي‬ .‫)؛ ومتجر كونران في لندن؛ ومتاحف قطر‬٢٠٢٠ ‫قصر البادي بمراكش عام‬

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Nada Elkharashi Nada Elkharashi (b.1995) holds a Masters in Interdisciplinary Design Studies from VCUarts in Qatar. She was recognised with an Urban and Public Design Rossana Orlandi Guiltlessplastic award in 2022, was Young Balkan Designer 2022 winner, and a Qatar Museums public art winner for “Reuse, Recycle and Reduce”, also in 2022.

Her work has been exhibited internationally, including at the Rossana Orlandi Gallery in Milan, Salone del Mobile at Milan Design Week 2022, the Museum of Applied Arts in Serbia, Das Arabische Kulturhaus in Berlin and in several exhibitions in Qatar.

‫ندى الخراشي‬ ‫) حاصلة على درجة الماجستير في دراسات التصميم المتعددة التخصصات من فرع كلية الفنون‬1995 ‫ندى الخراشي (مواليد‬ ‫ كما فازت بجائزة "مصمم البلقان من‬،2022 "‫ وحصلت على جائزة "روسانا أورالندي‬.‫بجامعة فيرجينيا كومنولث في قطر‬ ‫ وقد ُ​ُعرضت أعمالها‬."‫ وكانت أحد َ​َمن فازوا بجائزة قطر للفن العام عن "إعادة االستخدام وإعادة التدوير والترشيد‬،"‫الشباب‬ ،2022 ‫ وصالون ديل موبيل في أسبوع تصميم ميالنو‬،‫ بما في ذلك معرض روسانا أورالندي في ميالنو‬،‫دولًّيًا في عدة أماكن‬ .‫ وفي عدة معارض في قطر‬،‫ البيت الثقافي العربي (الديوان) برلين‬،‫ومتحف الفنون التطبيقية في صربيا‬

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Nada Elkharashi Nada Elkharashi (b.1995) holds a Masters in Interdisciplinary Design Studies from VCUarts in Qatar. She was recognised with an Urban and Public Design Rossana Orlandi Guiltlessplastic award in 2022, was Young Balkan Designer 2022 winner, and a Qatar Museums public art winner for “Reuse, Recycle and Reduce”, also in 2022.

Her work has been exhibited internationally, including at the Rossana Orlandi Gallery in Milan, Salone del Mobile at Milan Design Week 2022, the Museum of Applied Arts in Serbia, Das Arabische Kulturhaus in Berlin and in several exhibitions in Qatar.

‫ندى الخراشي‬ ‫) حاصلة على درجة الماجستير في دراسات التصميم المتعددة التخصصات من فرع كلية الفنون‬1995 ‫ندى الخراشي (مواليد‬ ‫ كما فازت بجائزة "مصمم البلقان من‬،2022 "‫ وحصلت على جائزة "روسانا أورالندي‬.‫بجامعة فيرجينيا كومنولث في قطر‬ ‫ وقد ُ​ُعرضت أعمالها‬."‫ وكانت أحد َ​َمن فازوا بجائزة قطر للفن العام عن "إعادة االستخدام وإعادة التدوير والترشيد‬،"‫الشباب‬ ،2022 ‫ وصالون ديل موبيل في أسبوع تصميم ميالنو‬،‫ بما في ذلك معرض روسانا أورالندي في ميالنو‬،‫دولًّيًا في عدة أماكن‬ .‫ وفي عدة معارض في قطر‬،‫ البيت الثقافي العربي (الديوان) برلين‬،‫ومتحف الفنون التطبيقية في صربيا‬

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‫المحِّرر العام‬ ‫ِ‬ ‫ويتني روبنسون‬ ‫محِّرر المشروع‬ ‫ِ‬ ‫أندرو همفريز‬ ‫مدير اإلبداع‬ ‫تيس سافينا‬

‫تود ‪ Cultureshock‬أن تشكر‪:‬‬ ‫فيصل هامان أداما‪ ،‬ولمياء بلغيتي‪ ،‬وغادى فرفور‪ ،‬وغويندولين‬ ‫فارلي‪ ،‬وايمي الكطيبي‪ ،‬وهاري مارلو‪ ،‬وغابرييال ماتوسيك‪ ،‬وإيفا‬ ‫ميسيوكونيتيه‪ ،‬وعبد الرحمن المفتاح‪ ،‬ودنيز ناظم‪-‬إنغلوند‪ ،‬وفهد‬ ‫العبيدلي‪ ،‬وريتشيل بوتس‪ ،‬وسيفا ساغالم‪ ،‬وأوليفيا سنايجي‪ ،‬وسارة‬ ‫ستريكالند‪ ،‬وشارلوت يومانز‪.‬‬

‫المصمم (العربي)‬ ‫هناء دوسري‬ ‫مدير اإلنتاج‬ ‫نيكوال فانستون‬ ‫إنتاج التصوير الفوتوغرافي (المغرب)‬ ‫سالي غالي‬ ‫محررو النسخة قبل الطبع‬ ‫أليسون ستيرجون‪ ،‬ميشيل كوربس‪،‬‬ ‫رو إلفبيرغ‪ ،‬سوزي وونگ‬ ‫الرئيس التنفيذي للعمليات‪ ،‬كلتشر شوك‬ ‫باتريك كيلي‬ ‫الناشر والرئيس التنفيذي‪ ،‬كلتشر شوك‬ ‫فيل أليسون‬ ‫الترجمة‬ ‫ويبسترز انترناشيونال‬ ‫المراجعة العامة والتدقيق اللغوي‬ ‫د‪ .‬سليمان العميرات‬ ‫المطبعة‬ ‫بيوربرينت‪ ،‬المملكة المتحدة‬

‫تم النشر بتكليف عن سعادة الشيخة المياسة بنت حمد بن خليفة آل ثاني من ِ​ِقبل ‪.Cultureshock‬‬ ‫© سعادة الشيخة المياسة بنت حمد بن خليفة آل ثاني‪.٢٠٢٥ ،‬‬ ‫‪Cultureshock‬‬ ‫‪27b Tradescant Road‬‬ ‫‪London SW8 1XD‬‬ ‫‪www.cultureshock.com‬‬

‫جميع الحقوق محفوظة‪ .‬ال يجوز إعادة إنتاج هذه الطبعة أو‬ ‫نسخها أو نقلها بأي شكل دون إذن سابق من المؤِّلِف‪.‬‬ ‫رقم اإليداع الدولي‪8-6-5305837-1-879 :‬‬

‫إخالء المسؤولية‪ :‬لقد بذلنا قصارى جهدنا لضمان صحة الحقائق والمصادر وقت الطباعة‪ ،‬كما تم الحصول على‬ ‫جميع الحقوق الالزمة‪ .‬جميع النصوص هي آراء شخصية تستند إلى مالحظات المؤلف وخبراته‪ .‬وأي خطأ أو سهو‬ ‫سيتم تصحيحه في الطبعات المستقبلية‪.‬‬ ‫‪International Distribution‬‬ ‫‪ACC Art Books‬‬ ‫‪Woodbridge IP12 4SD‬‬ ‫‪www.accartbooks.com‬‬

‫قتَبس من تصميم لسارة أوهادو‪ ،‬وظهر الكتاب من تصميم لمجدولين نصرهللا‪.‬‬ ‫الغالف ُ​ُم َ‬