Da’irah
Design: Kawther Al Saffar

Da’irah poses the question: what is authentic culture and what is superficial symbolism? The circle (Da’irah in Arabic) suggests a philosophical response to this question; indicating that nationalism, symbolism, and cultural iconography are only as valuable as the meaning we give them, “especially when human decisions are leading us to forced isolation from the localities we are so accustomed to.” The profile designs in the piece are sampled from gypsum extrusion factories in Kuwait where these generic 'Greco-Roman’ proles have been chosen by local craftsmen to meet the national demand for exotic ‘Western luxury’

Hamsa
Design: Talia Mukmel

Hands are a non-verbal means of communication. Hamsa references the Arabic word that means five, and relates to the five fingers of the hand. Hamsa can be used to convey interpersonal, intercultural and intergenerational messages. In many cultures, the hand serves as a symbol of physical contact, warning, protection, power, blessing or curse. This ancient palm-shaped amulet is used to protect and guard against the evil eye, It is known as one of the clear and common symbols between Judaism and Islam

Rujum
Design: Rona Meyuchas Koblenz

Rujum is a 'stone pile' or 'stone cairn' in Arabic as well as in modern Hebrew, symbolising balance, harmony and serenity. Rujum have been used from prehistoric to present times for abroad variety of purposes as landmarks, for burial mounds and walls. Rujum expresses the symbolic nature of the circle and an expression of eternity : “The circle is a symbol of equality. Every point in the circle is equidistant from its centre”. The Nabataeans would use Rujum for navigation along the Silk Road.
In the furniture piece Rujum, different heights are used to represent the urban nature of the Casbah, where the highest point at the top of the hill is used as a watchtower, symbolising a safe place

Objeu Closer Together
Design: Milia Maroun

Objeu-Closer Together is a play on words – Objet (French for ‘object’) and Jeu (French for ‘play’) “Coming from a region where conflict is the rule, division and separation is at the heart of the collective memory, this work represents a glimpse of hope. What appears to be a flat board, reveals, on gradually opening, an organic three-dimensional shape, a condition for it to stand”

The paradox, that when the openings are closed, the work collapses: “What separates us brings us together. In the past year, we have been separated like never before, and we witnessed events highlighting a divided world. A wall does not stand unless it has openings. In this statement, Objeu Closer Together, the concept of separation is being questioned.”

Knock Knock
Design: Aisha N. Al-Sowaidi

Knock Knock, was motivated by a desire to stay healthy physically and mentally within confines.
A multi-purpose piece, playful, it is a ping pong table that also rotates to create a room divider, a door to create a border - with a pattern alluding to a mashrabiya - an element characteristic of traditional architecture in the Islamic world. “We now rethink the space we live in. What are our priorities? What is important to have in a home? How can we feel better?”
The ping pong table provides entertainment and allows for socially distanced activity with peers. When there is no-one to knock at your door, in whichever city, Knock Knock will always remain present as an open door, representing both safety and entertainment”