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ARAFA CYNTHIA HAMADI


ARAFA CYNTHIA HAMADI Spatial and Graphic Designer

I studied Architecture at the University of Edinburgh. I have a broad range of skills in design, including spatial, technical, graphic and layout design. I strive to be interdisciplinary in my approach to design, and thus enjoy collaborative work. I also have experience working on a freelance basis.

Programme Skills Rhinoceros Grasshopper AutoCAD ArchiCAD Sketch-UP Revit Processing Illustrator InDesign Photoshop Microsoft Office

General Skills Report Writing Creative Writing Verbal Presentation Illustration Layout Design Curating (Websites) Curating (Exhibition) Website Building Digital Mapping Laser Cutting Wood Work Glass Work Metal Work


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Welcome


Nafasi Banner 1 (300 x 90 mm)

Meet the Team

Meet the Board

Davie Kitururu

Chairman of the Board

Artist Information Pack

Rebecca Corey Managing Director

rebecca@nafasiartspace.org

Asteria Malinzi Visual Arts Programmes Manager

asteria@nafasiartspace.org Hello! My name is Rebecca and I’m the Managing Director of Nafasi. I have a background in cultural anthropology and literature, and an interest in documentary filmmaking, writing, curating, and arts for social justice. Before Nafasi, I was director of the Tanzania Heritage Project and Sauti za Busara. My role at Nafasi is to be responsible for the overall management of Nafasi’s programmes and implementation of its strategic plan, vision and mission. Please don’t hesitate to come to me with your questions, comments, and ideas for making Nafasi a better place for artists and art lovers! Specifically, my role covers: - overall management - funding and financing - strategic and programme planning - artistic programming - board of trustees

Hi! My name is Asteria and I am the Visual Arts Programmes Manager. I am an artists specialising in fine art photography and have experience working as a gallery assistance in galleries in Nairobi and Cape Town. I have experience organising art exhibitions, art fairs, art auctions and creative writing experience which aid in general artist management. At Nafasi, I have the responsibility to organise and manage our visual arts programmes which include exhibitions, Chap Chap, Artist Hangouts, workshops, film screening and Artist in Residency. I also oversee the management of Nafasi’s two galleries and Nafasi ya Watoto. Please don’t hesitate to contact me for help or if you have any ideas on exhibitions, workshops, film screenings, Chap Chap and artist residencies.

Additional Teams

Wikiendi Live! - Aziza Ongala Kijiweni Cinema - Kijiweni Productions Graphic Design - Ruka Company

Sabrina Yegela

Davie Kitururu is a performing artist and arts educator. He is also the Artistic Director of Ngoma Afrika, an arts organisation based in Morogoro, Tanzania, which organises regular cultural shows and events for locals and visitors alike. While at the helm of Ngoma Afrika, Davie as organized an annual children’s art festival called Paukwa Children’s Art Festival, which has taken place since 2010 and reached thousands of young Tanzanians with the power of art as a tool for learning and self-expression.

sabrina.yegela@nafasiartspace.org

Sauda Simba

Business Development and Marketing Manager

Treasurer of the Board

Hi! My name is Sabrina and I’m the Business Development and Marketing Manager. I am an installation artist with a background in Economics and Studio Art. Before Nafasi I was with CRDB Bank Plc and prior to that I was a special studio art instructor at Dartmouth College. I have a keen interest in the role of the arts in education and social work, for Africa and the Diaspora. I’m also an amateur vegan cook with a passion for health and wellness. I’m here to help Nafasi become a sustainable creative hub with increased self-generated revenue, long-term strategic partnerships with businesses, patrons and donors, and an engaging and appealing public presence, in line with Nafasi’s Strategic (2016-20) plan.

Sauda Simba is the Managing Director of Trinity Promotions Limited, a Multi Media Communications Agency. Prior to founding the firm, she worked at Tanzania Breweries Limited, Barrick Gold Tanzania, and in DRC at Africo Resources. Ms Simba also has several years experience as a news anchor with Independent Television Tanzania. She has worked as the coordinator for the Danish Cultural programs and as program manager at the Museum and House of Culture. Ms. Simba has written several children’s books, acted in a number of productions and released 2 music CDS. Ms. Simba is a member of the Ministerial Advisory Board for the Tanzania Forest Services, the Swedish Friends of the House of Culture, and is Chairperson for Femina Hip.

Professor Elias Jengo Member

Professor Elias Eliezar Jengo trained as an art educator at Makerere University and at Kent State University, before completing his postgraduate education in the field of Educational Technology at Sir George Williams University (now Concordia) in Montreal, Canada. He taught at the University of Dar es Salaam from 1969 until his retirement in 1996. He has since been teaching drawing, painting, contemporary African art history, and world history of art on a part time basis. He is also a writer and a practicing painter who has exhibited at home and abroad. Professor Jengo was awarded the prestigious Fulbright Fellowship as a Scholar in Residence at the Stark College campus of the Kent State University from September 2004 to June 2005, and has served as Chairman of the East Africa Art Biennale Association since 2003.

Please don’t hesitate to come to me with any questions, concerns, advice, “What The Health” documentary reviews, and any other topics including: - Event/Venue rentals - Marketing for personal/Nafasi partnered Art events - Rent - any other queries

Support Team Grounds Cleaning

- Lazaro Samuel - Irene Haul

Nafasi Artist Information Pack

Art Space Strategy 2016-2020

We believe that fostering creative and artistic expression and making art accessible to all has a vital role to play in the nation’s progress. The UN Creative Economy Report 2010 highlights the potential of the creative industries to be a driving force for innovation, creating opportunities, diversifying the labour market and contributing to employment, while leaving room for cultural diversity and human expression. The sector has proven successful in creating jobs and engaging vulnerable groups e.g. street children, in productive work, giving them a sense of purpose and tools for earning a living. But in Tanzania, as in many African countries, the cultural business is fragmented. Our work provides local employment; gives artists a vibrant place to create, learn, and exchange; and offers an extensive programme of free and inclusive events for all. Here we set out our plan to continue our work and become sustainable over time

Nafasi Strategic Plan (2016-2020)

Graphic Design Nafasi Art Space, Tanzania

Beneficiaries

Executive Summary

Nafasi Artist Members

We believe in 1

Artistic integrity and independence

2

Exchange and open dialogue

3

Social transformation through art

4

Artist-centred ethos

The primary beneficiaries are the artists who work here. Members enjoy priority at exhibitions, select the board, have monthly meetings and participate/vote at the Annual General Meeting where the overall direction of the organisation is set.

Artists in Residence (AiR)

The visiting and outgoing AiRs work, train, teach and network at Nafasi or abroad. They play an important role in increasing knowledge exchange and connecting Nafasi and Nafasi artists to wider art movements.

Arts and Arts Management Students

We work directly with art departments at local universities to provide students with opportunities to learn and experience hands-on training at Nafasi.

Creative Sector Professionals

Nafasi employs six staff, while up to 75 people work directly or indirectly around events happening several times per month, including light and sound engineers, trainors, caterers, security, taxis, etc.

Partner Cultural Centres

Exchange between centres on visual and performing arts will make the entire cultural sector stronger. We work with art and culture organisations locally, regionally, and internationally to exchange ideas, and build collaboration.

Local Community and General Public

Our target audience is the local community, who are welcomed to all of Nafasi’s public events, which are free of charge and accessible to all. The general public is exposed to new concepts and ideas through art and challenged to confront social issues raised by Nafasi’s exhibitions and events.


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Nafasi T-Shirt Design Nafasi Banner 2 (2100 x 870 mm)


Logo Design GoWonder - Women Travel, Remote Worked on GoWonder’s logo design, from concept to realisation, as well as producing working files for future modification.

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O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

Above:Potential spots for the pods according to both tidal maps and main transportation routes

Design inspired nature Nature inspired Design

Competition Project: A STUDY OF THE LAGOS LAGOON WITH BIO-STRUCTURAL SOLUTIONS plastiqHaus, UK Part of team working on cartographies mapping out pollution and the unique edge conditions in the Lagos Lagoon, Nigeria, with a particular focus on the floating settlement of Makoko. We also studies the structural forms of the water hyacinth and pistia through photography and digital reconstruction. These maps and sketch studies inform a Biorededial Design solution for the Jacques Rougerie Foundation Competion that was carried out by the rest of the team.

Water Hycinth 3D model

Pistia 3D model


Tectonics of the Immaterial: MUSEUM OF RUST Isle of Skye, Scotland Three programmes (a data centre, storage and the museum proper) are arranged along the horizontal and vertical plane to create a design that takes advantage of the views offered by the cliff-top site. The ground floor level provides offices and storage spaces for the museum. Spanning the vertical plane of the main building, the data-center inhabits a central space that is only accessible to those that work with the servers it holds, otherwise will not be frequently inhabited. Visitors will enter the building via the front steps or elevator, which are on the South face of the building. This will then lead them into the reception area, followed by the data center void surrounded a single-glazed curtain wall onto which information will be projected. The visitor can then carry on into the cafe and exhibition spaces, which make use double-glazed curtain walls of for maximum daylight.

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO


PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO Housing Project: PORTFOLIO PORTFOLIO PORTFOLIO MEADOW LANE HOUSING PORTFOLIO PORTFOLIO Edinburgh, Scotland PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO The design of the building allows for a sense of privacy yet still opening up PORTFOLIO PORTFOLIO PORTFOLIO the flats in a way that gives a sense of PORTFOLIO PORTFOLIO PORTFOLIO community. Three typologies of flats PORTFOLIO PORTFOLIO PORTFOLIO are present: small families, couples PORTFOLIO PORTFOLIO PORTFOLIO and students. By situating a cafe on PORTFOLIO site, aPORTFOLIO community hubPORTFOLIO is created for not only the residentsPORTFOLIO but also their PORTFOLIO PORTFOLIO neighbours. PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO


Prototyping Realities: MACRO MUNDUS Edinburgh, UK (group project) A device-led project that aims to create awareness of the macro-life inhabiting the city of Edinburgh. Using time-lapse photography, we collected information about the movement of people within the city-space. This was compared to the growth of moss on the walls of Edinburgh’s most historical tenement buildings, which was observed through a series of studio-built devices. Through prototyping, we produced a device that encourages interaction between inhabitants of the urban space with the various moss species, and through the incorporation of a water system, creates a benefitial, layered relationship.

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO


PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO Library Project: PORTFOLIO PORTFOLIO PORTFOLIO BIBLIOTECA EN MADRID PORTFOLIO PORTFOLIO PORTFOLIO Madrid, Spain PORTFOLIO PORTFOLIO PORTFOLIO This PORTFOLIO project demanded complete PORTFOLIO PORTFOLIO control yet an ability to freely explore PORTFOLIO PORTFOLIO PORTFOLIO conceptual design within an initially PORTFOLIO PORTFOLIO PORTFOLIO unknown site. This design is a direct PORTFOLIO PORTFOLIO PORTFOLIO response to the light environment of PORTFOLIO PORTFOLIO PORTFOLIO the area, creating a symbolic barrier between the loud, haphazard world PORTFOLIO PORTFOLIO PORTFOLIO outside and the quiet, intellectual PORTFOLIO PORTFOLIO PORTFOLIO space inside. The mesh also creates PORTFOLIO PORTFOLIO PORTFOLIO a veiled circulation space for the PORTFOLIO PORTFOLIO PORTFOLIO library-users. PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

Expanded Aluminium, 3/30mm, wihth weather proof membrane

Arafa Cynthia Hamadi Portfolio  

A selection of graphic and spatial design work.

Arafa Cynthia Hamadi Portfolio  

A selection of graphic and spatial design work.

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