UAE: A Story of Triumph and Tragedy – Adi Bitar, the Man who Wrote the UAE Constitution

Adi Al Bitar – Judge, Legal Advisor, Lawyer. Author of the UAE Constitution.

Adi Bitar was a brilliant Jordanian lawyer chosen to create the first laws.

Their names are rightly celebrated for the part they played in helping the Founding Fathers build the country we know today as the United Arab Emirates.

Figures such as Adnan Pachachi, the adviser to UAE Founding Father, the late Sheikh Zayed bin Sultan Al Nahyan, who became the first UN ambassador, Dr Abdul Makhlouf, architect of the modern city of Abu Dhabi, and Zaki Nusseibeh, who has had a long and distinguished career as cultural adviser to two Presidents and Minister of State.

But what of Adi Bitar, whose work after more than 50 years, still shapes the daily lives of everyone who lives here?

The author of the Constitution of the UAE, the enormity of his achievement is perhaps concealed by the modesty of his personality, but also the result of a life cut tragically short.

Even for group photographs, “my father would just walk away”, his son Omar Al Bitar says.

“He was a modest man and not the type of person to boast about what he had done. Even when other people took credit for his work, he didn’t mind.”

Yet thanks to Bitar, the seven desert emirates, once ruled largely by tribal convention and cultural traditions, became a modern nation of laws.

In the words that he penned, “Equality, social justice, safety, security and equal opportunities for all citizens shall be the pillars of the society.”

Yet he barely saw the UAE beyond its birth in 1971, dying of cancer just two years later at the age of 48. He is buried beside his 10-year-old son, Issa, struck down by leukaemia only three months earlier.

Early life and escape from Zionist bombing

Bitar was born in Jerusalem, on December 7, 1924. His father, Nasib Al Bitar, was a distinguished judge who had studied at Cairo’s Al Azar University and later served in the First World War as an officer in the Ottoman Empire, of which Palestine was then a region.

By the time of Bitar’s birth, Jerusalem was under the control of the British Mandate, and he was educated first at the multi-denominational Terra Sancta School and then at the Palestinian Institute of Law where he graduated with honours in 1942.

By then tensions were growing between the British authorities, Palestinian Arabs and Jewish settlers, whose number was increasing rapidly as they fled the aftermath of Hitler’s Germany at the end of the Second World War.

By now Bitar was gaining experience as a legal clerk and on the morning of July 22, 1946 found himself at the British administrative headquarters at the King David Hotel, overlooking Jerusalem’s Old City.

At 12.37pm, the Zionist terrorist group, Irgun, detonated a massive bomb in the hotel’s basement. Bitar escaped the blast largely unscathed, but as he went back into the building to rescue the injured, a large part of the south wing collapsed, burying him alive.

Most were convinced he had been killed, but Bitar’s brother insisted otherwise. Eventually Bitar was dug out alive but with serious injuries, including broken bones. He lived only because a table had sheltered him from the worst of the falling rubble.

Two years later the British Mandate was over, and the State of Israel declared. In the war that followed, Jerusalem’s Old City and the entire West Bank came under Jordanian control, and it was as a citizen of Jordan that Bitar gained his reputation as a lawyer.

His quick mind and keen intelligence lead to a senior appointment at the Attorney General’s office, where he worked until 1956. An appointment to Sudan followed, as a district judge, returning to Jerusalem three years later to set up a law practice.

Bitar’s life changed forever in 1964. Working for Sheikh Rashid bin Saeed Al Maktoum, the Ruler of Dubai, the British political agent for the Arabian Gulf approached the Jordanians.

They were looking for a legal adviser to the government of Dubai who could develop a framework of laws that would help the emirate’s development to a modern economy, including a civil legal system and courts.

Bitar’s name was put forward and accepted. He moved to Dubai and immediately set to work on laws and regulations that would govern everything from the banking system to the new Dubai International Airport, Port Rashid, the establishment of Jebel Ali, and even the decree that switched driving to the right-hand side of the road.

In 1965 Bitar was appointed Secretary General and legal adviser to the Trucial States Council, a forum at which the Rulers of the seven emirates would meet to discuss areas of mutual interest.

The post allowed other Rulers to know Bitar better, especially Sheikh Zayed, then Ruler of Abu Dhabi, and with Sheikh Rashid the major player in plans to create the Union of Arab Emirates.

The deciding moment came in February 1968, with a meeting between Sheikh Zayed and Sheikh Rashid in the desert at Seih Al Sedira, on the border of Abu Dhabi and Dubai.

A decision was made to create a new country from the seven emirates, and with it a number of practical decisions, including the pressing need to draft a constitution.

Bitar, a familiar and well-liked figure, was the obvious choice.

He worked long hours to complete the task, from his offices at the Government of Dubai and Trucial States Council, then later in the day from the quiet of his home in Dubai, using the dining room table.

His son, Omar, would act as his father’s driver and assistant during this time, and remembers taking pages to be typed and then copied on a mimeograph machine, the precursor of photocopiers.

The finished document, with 152 articles, and in the words of the Government “establishing the basis of the UAE and the rights of citizens in ten areas” was completed in time for December 2, 1971.

Some elements were intended to be temporary, including Abu Dhabi as the capital, with provision for a new city at Karama on the Dubai border, but this was abandoned and the constitution finally made permanent in May, 1996.

For Bitar, the future seemed to be continuing his distinguish career in the service of the UAE as a senior adviser both to the UAE cabinet and the Prime Minister, at that time Sheikh Maktoum bin Rashid. It was not to be.

His youngest son, Issa, was diagnosed with leukaemia, with treatment in Lebanon, the UK and Dubai. It was during this period that Bitar told his family he needed to visit Britain, on a working trip to discuss the printing of UAE passports.

In fact Bitar was also unwell. In London, he arranged to see a consultant and was diagnosed with stage 4 liver cancer. At one point the treatment, at the American Hospital in Beirut and in Dubai, seemed to be achieving some results, but in January 1973, Issa died, his father at his side. He was 10.

Issa’s death seemed to break Bitar. His own health declined rapidly, and in March 1973 he also died, to be buried by his son’s side.

His wife and surviving children remained in the UAE, becoming citizens of the country Bitar had helped to create.

Of his surviving sons, Nasib, who died in 2011, was a documentary writer and senior figure at Dubai Television, where he was director of programming, and creator of Alarabiya Productions, where he created the series The Last Cavalier.

Omar Al Bitar rose to become a major general in the UAE Armed Forces, vice president of the Sorbonne University Abu Dhabi, then ambassador to China and vice president of the Emirates Diplomatic Academy.

Of his father, he says: “He was a man of vision, a man of ethics. He would discuss with you any matter. He had a depth of knowledge. He was a man of calibre and integrity.”

source/content: thenationalnews.com (edited)

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Adi Bitar with UAE Founding Father, the late Sheikh Zayed bin Sultan Al Nahyan. All photos courtesy of Omar Al Bitar

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JORDANIAN / Jerusalem (MANDATORY PALESTINE)

Yemeni Engineer Hashem Al-Ghaili Unveils Nuclear-Powered Flying Hotel that can Accommodate 5,000 Guests

The structure could remain airborne for years at a time.

Yemeni engineer Hashem Al-Ghaili has unveiled his vision for the future of travel, and it wouldn’t look out of place in a film about the apocalypse.

Al-Ghaili posted a video on YouTube proposing a giant nuclear-powered sky hotel named Sky Cruise, which could accommodate 5,000 passengers. Like an enormous, winged, futuristic-looking cruise liner, it would be fuelled by 20 electric engines, with a small nuclear reactor using “highly controlled fusion reaction to provide the sky hotel with unlimited energy”.

As such, the hotel would never run out of power and could remain suspended in the air for several years, “without ever touching the ground”. Both supplies and passengers would be delivered to the hotel via traditional commercial jets. All maintenance and repairs would also be conducted mid-air.

Suspended high above the clouds, the sky hotel would feature a large “panoramic hall”, offering 360-degree views of the skies. A lift would connect this space to the main entertainment deck, which would be home to shopping malls, sports centres, swimming pools, restaurants, bars, children’s playgrounds, theatres and cinemas. A separate section of the airborne hotel would be dedicated to events and business meetings, as well as wedding halls.

Incorporated into the design are balconies and viewing domes attached to each side of the structure, where guests could indulge in some high-level stargazing. “Its sleek design combines the features of a commercial plane, while offering the epitome of luxury,” Al-Ghaili’s video explains.

Sky Cruise would also eliminate disturbance from turbulence, with its navigation systems featuring a state-of-the-art command deck that uses artificial intelligence to predict turbulence minutes before it happens. The system would respond by creating anti-vibrations.

The hotel would also be home to an advanced medical facility to keep guests “safe, healthy and fit”.

The concept was originally created by Tony Holmsten and then reimagined and animated by Al-Ghaili. But it has been greeted with scepticism by commentators: “If physics and aerodynamics didn’t exist, then this vessel might actually be able to take off,” wrote one YouTube user.“

Hashem Al-Ghaili is a Yemeni molecular biotechnologist,  science communicator, director and producer. He is best known for his infographics and videos about scientific breakthroughs.

source/content: thenationalnews.com (edited)

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YouTube.com

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YEMEN

7th edition of ‘Cairo International Biennale of the Arabic Calligraphy Art’ 07- 20 June. A Simultaneous 3-day Seminar on ‘Pioneers and Renovators in 100 Years (1922 – 2022)’

Cairo witnessed the seventh edition of the Cairo International Biennale of the Arabic Calligraphy Art under the auspices of Minister of Culture Ines Abdel-Dayem at the premises of Cairo Opera House.

Under the slogan ‘Pioneers and Renovators in 100 years (1922/2022)’, the biennale included a three-day seminar that ran from 6 to 9 June at El-Hanager Cinema that highlighted the most prominent figures of Arabic Calligraphy in Egypt and the Arab world as well as an art exhibition showcasing artistic gems of this Art from 125 countries represented by 15 artists at the Art Palace in the Cairo Opera House Complex that is running from 7 to 20 June.

This year’s biennale coincides with the announcement of Cairo as the Capital of Islamic Culture and only a few months after Arabic Calligraphy was added on the Representative List of Intangible Cultural Heritage of Humanity.  

Furthermore, the event established a new tradition of honouring artists and researchers for their achievements, and a side competition was held in the name of renowned Egyptian calligrapher Khedr El-Portsaidy — the founder of the Arabic Calligraphy Museum as well as the one who accredits and certifies Arabic calligraphers in Egypt.

In the opening session, Mohamed El-Baghdady — the general commissioner of the biennale — noted that this year marks the centenary jubilee of the establishment of Egypt’s first calligraphy school during the reign of king Fouad in 1922.

The session also included the presentation of a research paper written by Nahla Imam — country representative of Egypt at the 2003 Convention of Safeguarding the Intangible Heritage of UNESCO — who shared her experience in adding Arabic calligraphy knowledge, skills, and practice on UNESCO’s representative list of intangible cultural heritage in December 2021.

Mohamed Hassan Abu El-Khair — the first to innovate the ‘mashq’

The second day of sessions showcased the pioneers and renovators of such enchanting art.

The first paper was presented by researcher and calligrapher Mohamed El-Shafaai on passing down the practice of such art in Egypt, taking the family of Mohamed and Abdel-Aziz Abu El-Khair as an example, as the two are renowned Egyptian calligraphers that this year’s round was dedicated to.

He started off by revealing that the concept of passing down this form of art dates back to the pre-Islamic era, explaining that the initial idea behind Arabic calligraphy was transcription, and then the artistic element came later.

“During the pre-Islamic era, except for a small circle, very little knew how to write Arabic, and according to Abdalla Ibn Abbas, the first person to begin writing in Arabic in the tribe of Qureish was Harb Ibn Umaya — one of the masters of the tribe and the father of Sufian Ibn Harb.

The other key person in calligraphy art was El-Wazir Ibn Noqla, who was famous during the Abbasid Caliphate and inherited the art from his father El-Ali Ibn Hassan, explained El-Shafaai.

Mohamed Hassan Abu El-Khair was born in Cairo in 1921, he studied in Al-Azhar and then joined The School of Improving Calligraphy when he was only 17, where he was the top of his class and was taught by calligraphy masters such as Sheikh Fakhr El-Din, Sheikh Ali Badawi, and Mohamed Hosni El-Baba — the father of iconic Egyptian actress Soad Hosni to name but a few.

He excelled in El-Sulus and Reqaa calligraphy and soon became a professor of the art of calligraphy at Oum El-Qoura University in Mecca for 20 years.

“He was the first to innovate in the mashq (an educational manual technique) of the solos of Arabic calligraphy that are taught to fourth graders, where he started teaching students to write whole sentences from the beginning instead of focusing on letters with no context,” El-Shafaai added.

Abdel-Qader Al-Shihabi — the calligrapher of the Palestinian government

The second paper focused on Abdel-Qader Al-Shihabi — a Palestinian calligrapher — that was written by Farag Hussieny. Al-Shihabi is a renowned Palestinian calligrapher whose fame reached its peak during the first half of the 20th century and was known as the ‘calligrapher of the Palestinian government.’

“Born and raised in Jerusalem, Abdel-Qader Al-Shihabi comes from a long line of calligraphers that started off this art between the 12th and 14th year of the Hijri calendar, however, Al-Shihabi learned calligraphy in Istanbul at the hand of Mohamed Ezzat, the biggest artist. He was known for his suluth calligraphy, which decorates the walls of Al-Aqsa Mosque to date. He also spent all his life teaching calligraphy in Jerusalem and encouraging young artists to follow his passion,” explained Hussieny.

Abdalla Al Zohdi: the calligrapher of Al-Haramein Al-Sharifine 

The third paper covered the ‘calligrapher of Al-Haramein Al-Sharifine (The Two Holy Mosques) Abdalla Al-Zohdi and was written by Sami Saleh Abdel-Malak.

“Born in Nablus, Abdalla Al-Zohdi was born around 1251. His family moved to Istanbul, where he studied and excelled in calligraphy at a very early age. His artistic fame made him the official calligrapher of the Prophet’s Mosque in Medina, where his calligraphy adorns the walls and ceilings of the mosque till now,” the paper explained,

“During the reign of khedive Ismail, he was commissioned to write the calligraphy of the Keswa of the Kaaba and Mahmal. His implacable calligraphy was quite visible and stood out in the design of the keswa from that day onwards. He was known by his highly complex and geometric Sulus calligraphy.”

source/content: english.ahram.org.eg (headline edited)

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EGYPT

June 22nd – World Camel Day. Inside the Saudi vet hospital the size of Buckingham Palace making it the World’s Largest Hospital for Camels

 Al Salam Veterinary Hospital’s main business will be breeding a new generation of humped superstars.

A version of this article was first published in September 2020

Saudi Arabia is already known as a destination for camel beauty pageants. Now, it wants to be known for camel healthcare, too.

The country opened the world’s largest camel hospital in July 2020 and photographs show what daily life is like inside.

At 70,000 square metres, Al Salam Veterinary Hospital is about the size of Buckingham Palace and a little smaller than the island of Alcatraz.

The centre cost more than Dh134 million but camel racing and pageantry are sports for princes and sheikhs in which a single camel can fetch Dh10 million at the height of pageantry season.

The hospital lies in the interior Qassim region between Madinah and Riyadh, at the site of one of the world’s largest camel markets, and will serve camel owners in Kuwait and northern Saudi Arabia.

video

The nearest comparable clinics are about 1,000 kilometres away in other Gulf states. Travelling hundreds of kilometres and crossing borders is part of the racing and pageantry lifestyle but the coronavirus pandemic has made this impossible, even as local competitions continue.

Al Salam Veterinary Hospital can treat 144 camels, has stables for 400 racing camels and will employ up to 300 staff ready to meet a camel’s every need, from surgery to accommodation and blood testing.

Camels can be treated for infectious disease, injuries and chronic illness at the hospital, but its main business will be fertilisation.

The hospital has already conducted more than 500 embryo transfers, resulting in 350 successful pregnancies.

Vets plan to transfer 2,500 embryos next season, an ambitious amount by camel-breeding standards.

Embryo transfer has led to some of the biggest names in the world of camel racing.

A camel pregnancy lasts two years, which previously meant female racers could produce a few offspring only after retiring from the racetrack.

The advancement of camel surrogacy has meant prized female racers can now pass winning genes on to dozens of calves in one year.

This has transformed the world of racing and made some she-camels as renowned as studs.

Al Samha, from Abu Dhabi, is one such cow known for her prolific progeny.

The best-known breeding centres, such as the Advanced Scientific Group in Abu Dhabi, attract pedigree champs from around the Gulf.

Scientific advances continue to be made in camel fertilisation and breeding programmes.

The camel’s adaptation to the desert has led to a unique set of challenges in artificial insemination .

The animal is so good at conserving water that it produces only 3ml to 8ml of gel-like semen, a fraction compared with that of similarly sized animals such as horses. It freezes poorly.

It was only in 2018 that the first calves were born to females fertilised by frozen semen at Dubai Camel Breeding Centre.

Similar scientific breakthroughs at the Saudi hospital could change the very shape and size of future camels.

source/content: thenationalnews.com (headline edited)

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The new hospital has room for 4,000 camels.

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SAUDI ARABIA

Tunisian Start-Up ‘Kumulus Water’ Innovates, Creating a Drinking Water-Technology from Air. Collaborates with the NGO ‘WallahWeCan’ to Provide 570 School Students with Drinking Water from Thin Air

Tunisian start-up “Kumulus Water” has provided assistance to a school deprived of drinking water in Makhtar in the region of Siliana (north-west of Tunisia) through a technical solution “Kumulus 1”, designed to generate water from the ambient air.

It came to support its expertise in water technology, the efforts of the Tunisian NGO “WallahWeCan”, which campaigns for the improvement of living conditions of students in schools and educational environments in Tunisia, especially in disadvantaged areas.

Thanks to atmospheric water generators, each producing 20 to 30 litres of healthy drinking water per day, 570 students of the chosen school will now be able to benefit from a regular supply of drinking water.

Technically, the atmospheric water generator is a device designed to produce water from the ambient air. It sucks in the air and dusts it, then dehumidifies it by lowering its temperature to the dew point to create condensation. The condensed water in the machine then passes through four filters to remove impurities.

The smart machine can fit into a 1m3 cube and can be equipped with a solar pack, making it fully autonomous and independent, the startup says. “It offers mobile control options via a dashboard and an app designed by the six-person team at startup Kumulus Water. It also offers features that ensure water is delivered sustainably and economically,” its creators explain.

According to Kumulus Water, co-founded and led by Iheb Triki, there is 6 times more water in the air than in rivers. This water can be extracted by cooling the air below its dew point and exposing it to moisture absorbers or pressurizing it to make the water drinkable.

Kumulus was also installed at the Bayadha school (Delegation of Ghar Dimaou in the governorate of Jendouba).

According to Regional Commissioner of Education Rim Maaroufi, this is a project developed by a young Tunisian engineer and funded by the Orange Foundation in cooperation with the association “a child, smiles”.

In a statement to TAP, Maaroufi said that Bayadha School, where the Kumulus was installed, suffers from a lack of drinking water due to a lack of connection with the distribution network. Water tanks were installed in advance to provide drinking water to the students and teachers. The machine produces about 20 to 30 litres of drinking water per day.

In Tunisia as in many other countries in the world, access to drinking water is one of the most imminent threats facing humanity. According to the WHO, out of 7 billion people, 2.1 billion do not have satisfactory access to drinking water. The demand for water will increase further with the population growth and the increase in living standards.

In 2021, the co-founder of the Tunisian start-up Iheb Triki was selected by the prestigious Choiseul Institute as one of the 100 Young African Leaders.

Also, the start-up has been selected as the second-best impact investment opportunity in the prestigious competition (MBA Impact Investing Network & Training) “Turner MIINT 2022”.

The young Tunisian company managed to snatch second place among 40 start-ups from the best American business schools, having participated in the global competition Turner MIINT.

TunisianMonitorOnline.com (NejiMed) (edited)

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TUNISIA

Winners of 3rd edition ‘ICCROM – Sharjah Award for Good Practices in Cultural Heritage Conservation and Management in Arab Region 2021-22 Award’

H.H. Sheikh Dr. Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, attended on Thursday an honouring ceremony of the third cycle’s winners of the ICCROM-Sharjah Award for Good Practices in Cultural Heritage Conservation and Management in the Arab Region (2022-2021), and the second cycle of the ICCROM-Sharjah Award The Arab cultural heritage for young people, in the House of Wisdom.

The ceremony began with a speech delivered by Dr. Zaki Aslan, Regional Director of International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) in Sharjah.

Dr. Aslan mentioned the award’s goal to spread the notion of cultural and heritage preservation in the region within international standards through initiatives and events that help exchange knowledge and experience.

Then John Robbins, Chairman of the Executive Board of ICCROM, thanked the Ruler of Sharjah, for sponsoring this event and all other activities in the region.

H.H. the Ruler of Sharjah and the audience watched several visual films about the ICCROM-Sharjah Award and the winning projects.

H.H. honored the winners of the 3rd cycle of the ICCROM-Sharjah Award for Good Practices in Cultural Heritage Conservation and Management in the Arab Region; and the 2nd cycle of the Arab Cultural Heritage Award for the Young.

The grand prize for the 3rd cycle went to Beirut Assist Cultural Heritage (BACH), a project to recover the affected area following the 2020 blast in the Port of Beirut, Lebanon; and the rehabilitation and restoration of residential courtyards and historical buildings in the vicinity of Al Aqsa Mosque, Palestine.

In the Special Excellence category, four projects won: sheltering and protecting Hicham’s Palace’s mosaic floor, Palestine; Collart-Palmyre: a comprehensive project on the Baalsahamîn temple in Palmyra; the revitalization and conservation of the cultural heritage of Al Qarara Village in Gaza, Palestine; and the digital documentation of historical documents in Jerusalem, Palestine.

As for the 2nd cycle of the Award for the Young, the student Sarah Hassan Al Hosani, from the Al Amal School for the Deaf – United Arab Emirates, and the student Al Yasar Al Masry, from the Omar Bin Al Khattab College – Al-Makassed Islamic Charitable Association – Lebanon, won first place.

The student, Ghala Abdel Rahim Mahmoud Al Raheel, from Bayouda Al-Sharqiya Mixed Secondary School – Jordan, won first place in the photography category, while the first place in the folk dance category, Al Takadum School for Basic Education – Libya, won the old street dance, and Qasr Al-Hallabat Al-Gharbi Mixed Secondary School – Jordan won first place in the awareness film category for the movie “A Story of Joy from the Heart of the Badia”.

The honouring ceremony was attended by Sheikh Salem bin Abdulrahman Al Qasimi, Chairman of the Sharjah Ruler’s Office, Sheikh Mohammed bin Humaid bin Mohammed Al Qasimi, Chairman of Department Of Statistics and Community Development, Sheikha Alyazia bint Nahyan bin Mubarak Al Nahyan, Noura bint Mohammed Al Kaabi, Minister of Culture and Youth, and several senior officials, ambassadors and representatives cultural organisations.

source/content: wam.ae (edited)

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SHARJAH, UNITED ARAB EMIRATES(U.A.E) / JORDAN / LIBYA /LEBANON / PALESTINE / SYRIA

Qatar World Record: Doha’s Iconic Tower ‘The Torch Doha’ launches the ‘World’s Largest External 360 Degree Screen’ and sets a Guinness World Record

Torch Tower set the Guinness World Record for being the largest external 360 degree screen in the world.

Aspire Zone Foundation announced that it will officially launch the screen on June 6, 2022 between 7pm to 9pm. 

Situated at 300m high and with 360° panoramic views across the city, the Torch Doha is the result of comprehensive architectural, engineering and technical design, formerly shaped to represent a colossal torch for the duration of the 15th Asian Games in 2006 held its symbolic flame.

source/content: thepeninsulaqatar.com (edited)

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QATAR

Renad Al-Hussein, a Saudi Medical Student brings Hope to Deaf Drivers with Award-Winning Invention

Renad bint Musaed Al-Hussein .

A Saudi medical student has won a string of an international awards for an invention that opens up a new world for hearing impaired or deaf drivers by dramatically improving their safety behind the wheel.

Renad bint Musaed Al-Hussein, a student at the College of Medicine at King Saud University, developed special sensors that operate as soon as they detect sounds outside the vehicle.

Sound frequencies are sent to a device inside the car, which then identifies and displays a description, image and color of the sound source visually, alerting the driver to any possible risk.

Her innovation has won several global awards and medals, including best invention at the World Intellectual Property Organization Cup and a gold award in the international invention competition as part of the Korea International Youth Olympiad.

The awards honor outstanding inventors, creators and innovative firms from around the world.

Al-Hussein said that her invention will reduce the risks facing hearing impaired drivers and may also help to save lives.

“One of the things that prompted me to come up with this invention is that some countries prevent hearing impaired or deaf people from driving because they are unable to hear important sounds. This invention will contribute to reducing the risks they face,” she said.

The Saudi inventor said that her invention could allow more than 466 million deaf people worldwide to drive, while also improving road safety by protecting their lives and the lives of others.

source/content: arabnews.com (edited)

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Renad Al-Hussein said that her invention will improve road safety by protecting the lives of deaf drivers. (SPA)

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SAUDI ARABIA

Lebanese Designer Alexandra Hakim using Natural Resources to make Jewelry

Lebanese designer Alexandra Hakim has revealed her natural approach to her sustainable jewelry brand.

The mastermind behind the label Alexandra Hakim, told Arab News that she started the brand as a student, finding inspiration from materials in her studio such as sandpaper and matchsticks in ashtrays.

The jewelry maker tried to recreate the elements and turn them into wearable sparkly jewels to give each item a “different and completely unique touch.

She said: “I made my first collection at school based on matchsticks and I found beauty in the way that they are consumed every time in different ways. I took those fragile wooden pieces and I tried to transform them into earrings and create unique pieces of playful earrings and necklaces.”

Hakim also speaks to local workers in Lebanon to support different crafts.

“I have talked to fishermen, farmers, and different craftsmen about their work, and I try to integrate it into mine. So, for example, I would take any rubbish that a fisherman I met called Bob would find in his nets – because there is barely any fish left in the sea today. So, I made a collection based on that.

“I also used pearls to make the connection between the rubbish from the sea and the jewels,” she added.

Describing her brand as a mix of luxury and contemporary jewelry, Hakim said: “I feel like my brand is about inclusivity, sustainability. It’s about making jewelry that is good for the planet. It’s about limiting waste and making women and men feel empowered.”

One of her most recent collections, the “Good Karma Capsule,” was based on horoscopes.

“I asked people around me from different backgrounds and places if they wanted their portraits taken depending on their horoscopes. So, I found a Scorpio, a Gemini, and it all kind of came together.

“People felt so empowered wearing their horoscope and felt like the earrings were a lucky charm and a token of positivity,” she added.

www.alexandrahakim.co

source/content: arabnews.com

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BRITISH / SPAIN / LEBANESE

Man of Parts: Architect Mohamad Hafez Captures Syria in Miniature

Once a creator of skyscrapers, the artist and activist has scaled-down his work – but not his ambitions – to enshrine the calamity in his homeland using elaborate models

The sound of a muezzin exhorting Muslim worshippers to hurry to salvation is not one that could often have been heard within the former Regency church of Holy Trinity in the seaside resort of Brighton.

Right on cue, though, the distinctive chant echoes out, filling every nook and cranny of the 200-year-old building, from the galleries to the arched stained-glass windows and timber-clad chancel at either end.

It comes as Mohamad Hafez is recounting the day he fell under the spell of his birthplace, Damascus, having returned to it as a teenager after a 14-year absence.

“Walking down the old city streets looking at mosques right next to churches, and synagogues next to secular galleries and nude sculptures … I went there from a very conservative culture in Saudi Arabia,” Hafez, 37, tells The National.

“Seeing the bustling city life, with merchants and calls to prayer,” he says, pausing to smile at the perfectly timed adhan issuing out of a loudspeaker hidden in one of his artworks, “and bells ringing together with children playing and the car horns, it was very hard not to fall in love with this collective celebration of diversity.”

The recording of the busy streetscape is clearly audible even over the hustle and hammering of the team assembling Hafez’s ‘Journeys from an Absent Present to a Lost Past’ exhibition in the historic residence of the visual arts organisation Fabrica.

Art handlers wearing blue surgical gloves have already carefully opened the dozen or so timber shipping crates to decant the series of miniature dioramas of his native Syria now hanging on the walls.

Each box was stencilled with FRAGILE in black lettering but the romantic snippets of memories and sounds of a bygone era contained within Framed Nostalgia #3 might arguably have warranted a more strongly worded warning.

It occupies an extra special place in the heart of Hafez — and that of his new wife, Luisa. “That’s the only piece I don’t own,” he says. “It’s owned by her, and I told the guys that if they damage it, they ruin my marriage. Anything else is fair game.”

His immersive process involves the study of photographs of Damascus from before and during the civil war, dimming the lights, brewing Arabic coffee, burning bakhour and incense, and putting on acoustic Middle Eastern music.

What emerges from the induced sentimental state as if, as Hafez puts it, he were a 3D printer are scenes of urban fabric that draw on his training as a corporate architect but come with a political charge.

“I really don’t remember much of the detail, how it comes together,” he says. “It’s a weird feeling. What I enjoy most is that I am discovering this detail as though I am a spectator seeing it for the first time, and that’s very, very fulfilling.”

Frustrated at prevailing narratives, Hafez took a sabbatical from architecture three years ago to focus fully on using his mix of street art, sculpture and activism to respond to thorny issues such as the atrocities in the ongoing conflict or dehumanisation of refugees.

“It is my foot in the door,” he says. “The more the sabbatical continues, the more I’m realising the urgency of the message and sense of agency because there are thousands of architects who can build skyscrapers , thousands.

“But how many of them are Syrian, Arab, Middle Eastern, practising Muslims, raised in Saudi Arabia, educated in the Midwest of the United States, and can talk the talk that will build bridges between people?”

Hafez says the crisis in his homeland has caused a spiritual awakening within him. Which may explain what he was doing on a three-week retreat in Malaysia when he heard news of a concert being held nearby in the capital by the ensemble Al Firdaus that he often listens to in his art studio while working.

Particularly captivated by the cellist Luisa Gutierrez, it wasn’t long before Hafez engineered a visit by Al Firdaus to Yale University, in New Haven, Connecticut, where he is a Silliman College Fellow.

He hosted the ensemble for dinner and invited them to his studio crammed full of paraphernalia, shelves and bins overflowing with scaled-down furniture and toys, dried plants and jewellery, Christmas ornaments and shells, electrical appliance innards and paints.

There, Hafez engaged all the musicians in conversation except for Luisa, who, overwhelmed by the atmosphere, was sitting on a chair staring at the artist’s latest labour of love — Framed Nostalgia #3 — and listening to the evocative audio with tears in her eyes.

“I think what happened is that she clicked into the street scene,” he says. “It’s common for people to come out crying from my exhibitions. Well, fast forward and that became her dowry for our wedding last year.”

Though Hafez was born in Syria, his own tale deviated early on when the family moved to a military compound in Al-Kharj in central Saudi Arabia, where he spent many happy hours supervising the construction of buildings out of whatever he and his playmates could lay their hands on.

Other than the lengthy commute to the elite Najd National School by bus 100 kilometres away in Riyadh, Mohamad never ventured outside the base where his father was head surgeon in the attached hospital.

“There was no need. It was a protected bubble in all respects, and really gave me a true childhood like building forts using found objects. I would boss my friends around, saying ‘No, no, this way, let’s put a window here, you see?’ Twenty years later, I’m going ‘You idiot, you’ve been doing architecture since you were 6 years old.’”

Hafez returned to his birthplace intermittently for holidays that were mostly whiled away in swimming pools, and only properly at the age of 15 when his father took early retirement.

Presided over by his sociable mother, the household became a “cultural salon” that inspired his latest architectural endeavour, Pistachio Cafe , below his studio on the northern shore of Long Island Sound.

It offers the experience of being hosted in what his domicile might have been like, transporting customers with mosaic tables and vintage radios, and bounty made by refugee chefs and cooks such as “the lady who makes shawarma for me from her kitchen at home”.

He is as entranced now with the world’s oldest continuously inhabited city as he was back then when his teenage self would wander its souqs and alleyways with sketch book in hand at any available opportunity.

But for a pupil hitherto accustomed to rubbing shoulders with the upper echelons of Saudi Arabian society, the move to a public school with military uniform and regular training exercises was shocking.

Consequently, Hafez has a deep connection to the words he has spray painted across a vast swathe of black plastic sheeting stretched around several pillars in his exhibition for the Brighton Festival.

This section of “Journeys” replicates the sense of exile felt by those in the refugee and migrant encampment known as the Calais Jungle. Above an evocative stanza borrowed from the Nairobi-born, Somali-British poet Warsan Shire  — “No one leaves home unless home is the mouth of a shark” — he has put: I AM JUST A NUMBER.

“I think the whole experience at that school was so traumatic,” he recalls. “I had lost myself. No one cared about ‘What do you want to be?’ I think it’s a big part of me, who I am and why I like working with a lot of universities and high school kids, just to push that fire inside them and make them believe in their intuition.”

The result was that he undertook a course in electrical engineering at Damascus University before following his older siblings to study in the United States when it finally dawned that “every inch of my body was meant to be an architect”.

Hafez would go on to celebrate his first skyscraper at the precocious age of 30, becoming project head designer on an ambitious 48-storey glass and steel office tower in downtown Houston, Texas.

But throughout his studies, a single-entry visa precluded him from visiting Syria because of a travel ban imposed on the citizens of 27 countries after the 9/11 attacks, and later came the Arab uprisings.

Surrounded by the cornfields of Iowa, a homesick Hafez lapsed into depression and was wrought by anxiety. His way of dealing with it, as he explains in ‘A Broken House, the Jimmy Goldblum documentary about his life shortlisted for this year’s Oscars, was deciding that if he couldn’t go home then why not make home?

By night, for a long time, he modelled the destruction of Syria as a sanity-saving outlet to be able to get up and build glistening edifices in his day job with colleagues complaining about the coffee being cold. “‘This is your dilemma right now?’,” Hafez remembers thinking.

It is little wonder that he quotes with conviction the observation of Cesar Cruz, Dean of the Secondary Schools Programme at Harvard, that art should comfort the disturbed and disturb the comfortable.

“With skyscrapers, we design every last detail until the cows come home years before the building sees the light of day. With these,” he gestures around the gallery, “I can break free in my artistic expression. I don’t plan. I work on six or seven pieces at a time so as not to commit too much memory to any one piece, jumping from one to another.”

His store of memories of home is precious and finite. There is no portrait of the four siblings and parents together since 1999, the last time they were all under the same roof. He has been back to Damascus only once, just before the war began in earnest in 2011, when his architectural firm sent Hafez to pitch a project in neighbouring Lebanon.

There has been no other chance to experience the everyday occurrences or family occasions — the funeral of his beloved grandmother, the marriage of a sister, the births that made him an uncle — he has had to miss or risk enforced military service.

Yet, sustained by an inner peace, Hafez conveys hope in person and through the use of verses from the Quran in his art that are intended to counsel patience and raise spirits in dark times.

When asked to translate a particular bit of Arabic script he has incorporated into a scene, he looks gleeful. “Happiness Bakery this way 200 metres,” he explains, laughing. “People have no qualms whatsoever spray painting on a 2,000-year-old wall, putting the advertisement for their shop on a Roman column!”

The humour abounds with graffiti elsewhere saying “I love you”, “Where’s Dad?” and then there’s one in English. Again, it sets Hafez off. “It’s supposed to be ‘No parking’ but with the Arabic accent I’m making fun of our people with ‘No barking please’.”

Accents offer an endless source of amusement to him. One of the consequences of his childhood in the military compound in Saudi Arabia was picking up a multitude of Arabic dialects that Hafez employs on his travels.

“I engage people with their own native dialect, and they go, ‘Whoa, whoa, who are you?’ I love messing with Arabs because nobody can tell that I am Arab. I’m this weird object … I have this curly artist’s moustache, I have a beard, and a little [pony]tail. Then I wear a fancy shirt or a Malaysian garment, and they’re like, ‘Is he Italian? Pakistani? Bosnian? No, he’s Iranian.’”

As a master of misdirection, he concedes that he likes to sneak up on people in the same way that crises do. Audiences are lured in by the beauty of his work, such as Tower of Dreams that features intricate mosaics and floats above a tapestried rug, until the “hot moment when they realise that it looks like an RPG shooting people’s lives and memories into an abyss”.

Perhaps it is the habit of a lifelong outsider but he is also, be warned, a consummate eavesdropper, honing the skill during that side trip to Damascus from Lebanon 12 years ago.

Like a sponge, Hafez took to the streets once again, using his phone to record taxi journeys, calls to prayer, the chattering of locals in cafes that would eventually end up as the multimedia embedded in his works.

“My favourite, favourite, favourite part in everything I do is when I’m a fly on the wall,” he says. “If nobody recognises me around my exhibits, I can just eavesdrop to see how people are reacting. Or you’ll find me in Pistachio Cafe mopping floors, sweeping, putting myself at the service of people, and I observe them enjoying my product, my architectural creation.”

He ends the interview with a short guided tour of his dioramas, pointing out a pleasing crackle or patina here or some rust that has developed there, then stopping at a surveillance camera poking out of one of the facades.

“That’s Big Daddy watching always,” Hafez notes, without the slightest hint of recognition that it would be fair to say much the same of him.

‘Journeys from an Absent Present to a Lost Past’ by Mohamad Hafez is at Fabrica, Brighton, until May 29

http://www.mohamadhafez.com/

source/content : thenationalnews.com (edited)

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It has become an obsession in ‘undoubtedly xenophobic, divided times’ for Mohamad Hafez to use his mix of street art, sculpture and activism as a response to thorny issues such as the atrocities of the conflict in Syria or the dehumanisation of refugees. Photo: Fabrica

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AMERICAN / SYRIA