Textile Systemfor Experimental Research in Alternative Impact
The T-Serai is a portable palace for transcultural futures. Inspired by textile histories of the MENA region, the project involves participatory creation of modular tapestries made of recycled clothes. The tapestries can be used to personalise the standardised refugee shelters (T-Shelters), facilitating mobile storage and vertical gardening. They can also be used to set up tents for storytelling and other social gatherings animated through multi-sensory experiences. The different versions T-Serai tents are produced through creative collaborations across borders, involving diverse groups: from Syrian refugees in Jordan, to students in the USA, UAE, and Europe. Through the design of motifs, participants can record their personal stories. The multidirectional knowledge exchange between participants of different generations and backgrounds offers a possibility for connecting at the time of growing divides.
One T-Serai prototype is touring for exhibitions, pointing at the social and environmental cost of our consumer lifestyle. Another T-Serai prototype is commissioned in refugee camps in Jordan, probing a culturally sensitive approach to humanitarian intervention. Through the use of recycled clothes, the project explores how the surplus of global textile industry could benefit social revitalisation of threatened communities. Educational and creative workshops in refugee camps offer means for self-expression and self-determination, thereby also supporting the preservation of the refugees’ living culture. Through the deployment of tapestries in T-Shelters, individuals can influence and appropriate standardised solutions of humanitarian architecture to enact civic life. In so doing, the T-Serai challenges the economy and life as bios approach of the established humanitarian aid system by proposing a new paradigm: to position culture is an essential human need, vital actor of cultural resilience at times of conflict and crisis. .........................................................
Heat transfer studies: Natalie Bellefleur, Johnathan Kongoletos.
Fabrication: Azra Aksamija, Lyza Baum, Natalie Bellefleur, Joseph Burnhoe, Lillian Kology, Graham Yaeger.
T-Serai designs produced within Azra Aksamija’s course “Foundations in the Arts, Design, and Spatial Practices,” MIT Department of Architecture, Spring 2019 include: Cherie Miot Abbanat CI Component Instructor), Jaya Eyzaguirre and Yaara Yacoby (Teaching Assistants); Students: Zidane Abubakar, Lisbeth Acevedo Ogando, Erika Anderson, Alexander Boccon-Gibod, Landon Buckland, Jierui Fang, Alejandro Gonzalez-Placito, Alice Ho, Effie Jia, Seo Yeon Kwak, Daniel Landez, Christopher Larry, Yi Yang, Annie Zhang.
T-Serai Workshop at the American University of Sharjah produced in collaboration with Alya Alzaabi, Rebecca Beamer, Isabela Marchi Tavares De Melo.
T-Serai Workshops in Al Za’atari and Al Azraq Refugee Camps in Jordan conducted in collaboration with the Norwegian Refugee Council and CARE-Jordan.
Special thanks to: Ulrike Al-Khamis, Aksamija family, Zlatan Filipovic, Raafat Majzoub, Kevin McLellan, Dietmar Offenhuer
Institutional support: Sharjah Museums, the MIT School of Architecture and Planning.
The Diaspora Scroll is a growing textile book that deconstructs myths of nationalism and local traditions through the embroidery patterns, which depict personal histories of migration, and creation process, which facilitates transcultural exchange. The project takes the form through the sourcing, analyzing of textile art, design and techniques around the world, as well as through collaborative embroidery. Collaborating textile artists are invited to contribute to the project by sharing their perspectives, skills and insights. The installation creates a deconstruction of local national myths through historical embroidery loaned from local museums, as well as sound bites featuring various perspectives of textile historians, restaurateurs, and craftswomen.
Textiles represent the iconographic and ornamental expressions of their respective civilizations. Due to their portability, they also represent the geographic and historical paths by which the techniques and design employed in their creation have traveled from one civilization to another through time. The Diaspora Scroll project employs textile art as a resource to understand the historical cross-pollination between cultures and as a mode for creating cultural hybridity. In a world characterized by the rise of divisions over culture, class and identity, a better understanding of cultural fluidity is aimed at countering nationalism and fostering a dialogue across borders.
Thanks to: Emma De Ro and the team of Kunsthaus Graz.
The Lightweaver is a kinetic lighting sculpture, which was developed as a co-creation with the artists, engineers, and inventors from Boston, Amman, and the Al Azraq Refugee Camp in Jordan. The project represents both, a poetic and utilitarian response to everyday life problems in the refugee camp: it addresses the visual austerity of shelters through the design of lamps that function as an educational tool and means for cultural preservation and individual expression. The device employs light and a DIY pinwheel-driven machine to animate stories designed by their creators through a three-dimensional light weaving. The device can be used to personalize the interior spaces of the refugee camp shelters. The Lightweaver translates stories from textiles and calligraphy into a sensory play of light, aiming to preserve cultural memory and inspire hope.
The cross-disciplinary course developed around this project includes lessons in cultural history, textile weaving, calligraphy, basics of mechanical and electrical engineering. The course is investigating the role of art, design, and technology as a means for the sensory enrichment of the refugee shelters and as a medium to dignify stateless people within conditions of limited resources, war and trauma. The Lightweaver proposes a way of rethinking the shelter beyond its functionality as a physical protection: by creating immersive cultural environments within refugee camps, the project aims to provide means for psycho-social aid, cultural preservation, job creation and education through play and knowledge exchange across borders.
Phase I prototypes developed by: Azra Aksamija, Allison James, Joshua Jest, Lillian Kology, Xinyi Ma, Melina Philippou.
Phase II prototypes developed and documented in Al Azraq camp by: Azra Aksamija, Hussain Al-Abdullah, Hatem Al-Balkhy, Omar Al-Darwish, Mo’ayad Al-Eid, Wa’el Al-Faraj, Sufyan Al-Ghoutany, Nasina Haidar Al-Mansour, Jar Al-Naby Abazaid, Mohammad Assaf, Jehad Assaf, Mohammad Ghassan, Mustafa Hamadah, Hanaa Hasan, Rawan Hussein, Abdulkarim Ihsan, Ahmad Khalaf, Lillian Kology, Zeid Madi, Manisha Mohan, Nabil Sayfayn, with the support of CARE Jordan. Documentation by Al Azraq Journal team: Hussain Al-Abdullah, Jamil Hameidy, Yassin Al-Yassin, Mohammad Al-Qo’airy, Mohammad Al-Mez’al.
Phase III prototypes developed and documented by: Lisbeth Acevedo Ogando, Azra Aksamija, Seth Avecilla, Lily Bailey, Pedro Cardoso Zylbersztajn, Baian Chen, Gabriel Fields, Beatriz Gonzalez, Kevin Gonzales, Marlo Johnson, Lillian Kology, Shannon Miller, Ankita Reddy, Pooja Reddy, Rikhav Shah.
Phase IV prototypes will be developed at GJU with Al Azraq camp residents and GJU students, along with Omar Al-Darwish and Zeid Madi.
Project video filmed by Al Azraq journal team: Hussain Al-Abdullah, Jamil Hameidy, Yassin Al-Yassin, Mohammad Al-Qo’airy, Mohammad Al-Mez’al. Video 1 edited at MIT by: Zacharia Jama. Video 2 edited at GJU by: Zedi Madi, Zaid Qarout.
The project is produced with the generous support by: MIT Future Heritage Lab; CAST Mellon Faculty Grant; MIT Arab World Program; MISTI Global Seed Funds Program and CARE Jordan.
Code of Ethics?
The Code of Ethics? is an online platform established by the Future Heritage Lab to investigate the ethics of cultural interventions in the humanitarian context. This platform offers a shared channel for dissemination of critical questions and ethical dilemmas across cultural and disciplinary borders. The questions are collected through workshops and input from refugees and practitioners in the fields of art, architecture, design, urban planning, historic preservation, social entrepreneurship, education, and technology.
The Memory Matrix is an ephemeral monument aimed at preserving cultural memory in the context of war destruction. The project employs new fabrication techniques and multidisciplinary collaborations that result in site-specific temporary installations in public spaces. The Matrix is composed of twenty thousand fluorescent Plexiglas elements, or “pixels,” that depict vanished monuments across the world (Syria, Egypt, Jordan, Palestine, United States, Philippines, and beyond). These pixels are created through workshops in which participants sketch, discuss, digitize, and laser cut destroyed architecture of significance to their community. The larger matrix of pixels reveals an anamorphic image of a recently destroyed monument, made visible through movement of light and wind. Beyond its archival character, the project aims to advance and promote peaceful coexistence by enhancing an understanding of the world’s cultural heritage. To date, the project has traveled to Boston, Amman, Ramallah, Dallas, and Manila, engaging more than seven hundred participants.
Production 2016-2017. Previous collaborations: Cairo Maker Faire I International Art Academy Palestine, Amman Design Week, Syrian refugees in Jordan, London Biennale – Manila Pollination, ArtSciLab at UT Dallas.
CULTURUNNERS is an artistic expedition in search of empathy between cultures. International artists and curators are embarking on road trips to explore, communicate and archive interconnected cultural histories between the Middle East and the United States. Coauthored and initiated by Azra Akšamija and Stephen Stapleton – artists who have spent a decade traveling from UK over Yemen to Saudi Arabia, and from the Balkans over Central Europe to United States – CULTURUNNERS takes shape through physical journeys and artistic creations. The transformation of the CULTURUNNERS’ RV into a mobile studio was produced by Azra Akšamija. In October 2014, the MIT Program in Art , Culture and Technology hosted a three-day storytelling symposium, creative workshop, and exhibition at the MIT Program in Art, Culture, and Technology (ACT). In March 2015, Akšamija curated the CULTURUNNERS exhibit at the Armory Show in New York as a special project. These events were produced in collaboration with Edge of Arabia and Art Jameel. Participants included international artists, designers, filmmakers, scientists, curators, and scholars who came together to share technologies and applications for transcultural exchange. Their practices inspire novel approaches toward cultural links specific to the United States and the Middle East. Today, the CULTURUNNERS continues as an independent platform for cultural production, hosting artists' travels, exhibitions, talks and exchanges across the Unites States.
Yarn·dez·vous is a wearable quilt featuring textiles from the MENA region and the United States. Hexagons and star-shaped modules of the quilt can be transformed into individual letterman’s jackets and vice versa: the jackets unzip flat into geometric elements that form the larger quilt. The name of the project is a hybrid of the words yarn and rendezvous. Yarn refers both to a thread used for making fabrics and to storytelling, whereas rendezvous refers to the encounter that the jackets of this project allow. Project participants were asked to bring textiles from the location of their residence, which were then combined with textiles from Boston as the base material for the jackets and the quilt. The project is in the state of an ongoing transformation and customization into increasing the quilt modules to more variations of culturally signifying clothes—such as tunics, kaftans, abayas, dresses, and shirts—inspired from the East and the West.
Produced 2014-2015. Collaborators: Culturunners, Edge of Arabia & Art Jameel, Armory Show, Kunsthalle Mulhouse
Monument in Waiting
The Monument in Waiting is a carpet that depicts the collective testimony of the “ethnic cleansing” in Bosnia-Herzegovina carried out by nationalist extremists during the war of 1992–95. The pattern of this handwoven kilim depicts stories about the systematic destruction of Islamic cultural heritage during the war, and it points at the transformation of the Bosniaks’ religious, ethnic, and national identities today as a result of the loss of cultural memory. The historical and archival research for this piece includes more than 250 mosques that were deliberately targeted by nationalist extremists. These data, as well as interviews with various individuals engaged in the current mosque building-and-rebuilding process, were visualized as kilim symbols. Locally found patterns and symbols were thereby converted into signifiers of political and military aggression that threatened collectivity, providing a multitude of perspectives. The carpet was woven by women who survived concentration camps, and the process of weaving represents a form of healing after trauma. Acknowledging that the International Criminal Tribunal for the former Yugoslavia (ICTY) has recognized the destruction of religious architecture as evidence of a targeted annihilation of Bosnian coexistence, this kilim is left unfinished so that more stories could be added toward a full recognition of the genocide with cultural means, in which case the piece would actualize its function as a monument.
Collaborators: Sarajevo Winter Festival, STILL-A Association for the Preservation of the Bosnian Kilim, Stroom The Hague, The Ismaili Center Toronto, Giorgio Cini Foundation Venice
The project Journeyman Years (Wanderjahre) speaks to cultural and political dimensions of labor migration focusing on the case of Turkish migrants in Germany. The construction helmet refers to the heavy labor of early Turkish migrant workers who were invited to Germany as gastarbeiters (guest workers) because of the acute labor shortage during the economic boom in the 1960s and 1970s. These migrant workers brought cultural traditions with them, as indicated by the sixteenth-century Iznik pottery decoration on the helmet. The choice of porcelain as the material for the helmet refers to changing cultural patterns over the course of history but also to the fragility of the expatriates’ migratory experience. Highlighting the migrant worker immigrants’ role as transmitters of cultural influences, knowledge, and skills, the project seeks to destabilize the misconstrued and essentialist perceptions of gastarbeiters’ identity, linking it to contemporary global politics of migrant labor and exploitation.
Collaborators:New Hamburg Gallery” in Hamburg Veddel by Adnan Softić, Deutsches SchauSpielHaus, Ceramic painting: Nurgün Yavuz. Production help: Mahir M. Yavuz. Ceramic Craftsman: Selim Yazıcı. Assistant Designer: Ayşegül Aras.
Unity - Textile Muqarnas
“Unity” is a textile structure based on Islamic muqarnas (stalactite-like decorative three-dimensional elements found in Islamic monuments). The structure was designed for the neo-Gothic archway, the entrance to the exhibition “Interior View South-East: Investigations of Islamic Spaces” at the Architecture Forum Upper-Austria in Linz, Austria. The modular structure of the muqarnas has transformed and sewn together into a complex whole — unity of forms –that aims to signalize the need for a new aesthetic of “Islam in the West” characterized by a formal experimentation and enrichment though cultural interactions.
Collaborators: Designed by Azra Akšamija and Joel Lamere, Unity, 2012 and produced with a group of MIT undergraduate and graduate students and alumni: Juanita Ballesteros, Angela Chu, Daniela Covarrubias, Tara Ebsworth, Emily Tow, and Jegan Vincent de Paul. Other collaborators include Indira Adilović, Azra, Munira und Ibrahim Akšamija, Ewald Elmecker, Katharina Anna Loidl, with the generous support by the Council for the Arts at MIT.