A Short video of collection of Raivaru from our AEC Documentary shoot to Baa Atoll

Baa Atoll Eydhafushi. Interview with former Atoll Chief Mr Abdul Rahzzaq.

AEC Documentary narrative board

About this presentation
Sometimes you have to ignore the brief, says renowned designer and artist Paula Scher. With a dry wit, Scher takes us behind-the-scenes on four landmark projects — from revamping MoMA’s identity to reinvigorating a Pittsburgh neighborhood through design — to illustrate how asking questions, pushing into uncharted territory, and doing something you’ve never done before leads to great work.

DUHA: forenoon a series of photographs inspired by the immediate existence between life and death.

In this series, ‘existence’ is explored by the transformation that light goes through: from the time it enters the camera, until it leaves behind the image that makes the history of its life. What is left, eventually, are the markings made by light on the back of the camera: an image that is the result of the life that light has lived, on its journey from the outside world, through the camera, to the eventual end of its existence.
In this context, an image is made equal or interpreted as the transformation that life takes, from conception till its known death.

In this photo series, I will explore the state of being alive, very simply, by replacing life with light

The home-made pinhole camera will act as a detrimental tool enabling the viewer to imagine the process. These images made with a pinhole camera gives a soft image, with a vivid color range.

The soft focused images evoke a sense of calm, enabling the eye to move over a large surface of the image.

The large scale of the image removes itself from being a photograph or a painting, instead transforming itself
more to an open field.

The work will be printed on cotton inkjet paper, and fixed with acid free inkjet print fixer. If treated properly, the print will have an estimated life of four generations.

The prints will be limited to six pieces, with one in possession of the artist.

The photographs will be mounted on acrylic plexiglass, preferably non-reflective.

8TH FLOOR PLAN LAYOUT

The photographs shown in this proposal are from Duha (forenoon), which was a 2009 series of large inkjet prints made with a pinhole camera and exhibited in New York.

The project began as a vague study of the Arab Israeli conflict, which then diverted itself towards religion and spirituality.

While working on this project, I stumbled upon dust through a freak of exposure. This allowed me to see the light’s process in an unexpected angle and opened a whole new avenue in exploration.

Towards the end, its final form took place as an exploration of existence using light and dust as its aesthetic components.

I intend to continue the Duha series for the interior of the Cyprea Building. I believe this is a rare opportunity for this body of work to be exhibited in a fine space, making them complement each other. Placed in a working environment, viewers will have a completely different interaction with the photographs to seeing them in a gallery. The inhabitants of Cyprea Building will have an opportunity to transcend the boundaries of their working environment into the softer surrealityof the photographs.

Conference Room

The proposed large scale photographs for these spaces will evoke a sense of calmness in the viewer. The proposed style of photographs will have a quality that makes them quiet and poetic. Mostly vague in subject matter and in the way its rendered by the camera, they offer a transcendent surface.

Directors Offices

Folding Screens
Folding screens will be made by printing images onto a translucent paper and mounted on thick plexiglass. The screen will be self-standing, at four feet from the floor. These screens can be used to partition office spaces to create a semi-private workspace.

The Cyprea Stairwell Exhibition Space

Stairwells

The ground level of the Cyprea allows an open interface with the street and acts as a continuity from it with a cafe and an open public space. The Building is organised as a series of vertically stacked individual office floors connected by a public lift and stairwell.

The proposal is to turn this otherwise utilitarian space into an independent exhibition space. With the facility of the cafe’ at the ground level and the open terrace at the top of the building, the southern wall is an ideal surface to curate the work of artists or corporate exhibitions. This space will be a great asset to the building as it will avoid stagnancy and keep the building ‘alive’.

Openings for art shows will create a social venue for the Cyprea community to interact outside work in an informative, creative setting. The terrace is an ideal space to have discussions and presentations of this sort. The stairwell and the terrace have the potential of being multifunctional spaces; if utilized well, these spaces can be made an exciting and useful space for everyone who use the building.

My work was an exploration of Human Anatomy, Islamic Art/ Music & struggles

The participants include 10 artists from Surrey Institute of Art & Design/ some work they were experimenting for their final exhibition. The Exhibition was curated by 291 Gallery Shoreditch, London.

Works included Photography, multimedia, video installation, sculpture, etc.

Process included experimenting with different mediums to recreate human form, structure, being not unlike Frankenstein, but with fewer resources, with less scientific intent, but more for the sake of giving life to a piece of Artwork.

Handicap International began its activities in the Maldives following the Tsunami of December 26, 2004. In 2007 the organisation launched a project to support those promoting the social participation and autonomy of people with disabilities in various fields: social and sports activities, work, education, language, access to information and awareness raising on the issue of disability. The following testimonies give an insight into life in the Maldives for people with disabilities.

HANDICAP INTERNATIONAL

Written by Ifham Niyaz for Handicap International
Concept, Design, Photography & Layout by mooinc

Download PDF versions

A photographic compilation of glimpses of one of the Nothern Islands of The Maldives; Haa Alif Atoll Ihavandhoo in 2011.

The beautiful Island’s more than 300 year old coral stone mosque, cemetery, revered mausoleum, roads, vernacular buildings, beautiful people are captured with their “essence”.

During my visit to the Island, the song, Kun Faya Kun — its words — cleansed my soul in the graceful light of Almighty Allah and guided my heart to Him, like a Sufi Dervish’s in a Sema.

www.laafenn.wordpress.com

CFBS ( CHILD FRIENDLY SCHOOL)

Communication Plan

To achieve the communication strategy as outlined above, a communication plan is developed to coordinate and integrate the communication tools that would be developed as part of the overall campaign that would maximize the impact on and participation of target audience and stakeholders involved in the implementation.

Different activities within the communication plan will be developed and phased using the core concepts of friendliness, which includes involving, sharing, interacting and collaboration, within a cohesive and seamless, programs or phases, which could be self sustained and continual. as shown in figure below each phase will encompass a particular and play a distinctive purpose and role in achieving the overall communication strategy.

PHASE 1: Involving & Identifying

Objective
To enable the local stakeholder within the education system to take the lead and be empowered to get involved and participate in a mutually and individually beneficial manner by identifying activities, instances and issues within the context of implementing a friendly environment in school.
Target group.
This particular phase will be locally confined within the school and island community level, hence enabling greater involvement and empowerment within the core group at the initial level, which is essential in acquiring acceptance at the level where CFS will have to be implemented.

Communication Criteria

Medium: Newsletter

The newsletter will be designed structurally to incorporate the involvement each of the target stakeholder groups. Within this particular phase, each stakeholder group within the school, and government will have a dedicated section within the newsletter structure, to enable them put across their views, issues, opinions & activities in regards to the school, and as a platform for the 5 dimension of CFBS to be incorporated.Each school will have the standardized newsletter template, which they will be able to customize
to incorporate their schools identity and name.

Design Structure.
The newsletter will be designed structurally to incorporate the involvement each of the target stakeholder groups. Within this particular phase, each stakeholder group within the school, and government will have a dedicated section within the newsletter structure, to enable them put across their views, issues, opinions & activities in regards to the school, and as a platform for the 5 dimension of CFS to be incorporated.

Each school will have the standardized newsletter template, which they will be able to customize to incorporate their schools identity and name.

The standardized structure will include these 6 sections:

School Level Sections

External: Regional Level Supliment

Ministry Supplement

NEWSLETTER SCHOOL LEVEL IDENTITY | NAME

NEWSLETTER SCHOOL LEVEL

NEWSLETTER SCHOOL LEVEL SECTIONS

NEWSLETTER FLEXIBILITY

NEWSLETTER REGIONAL

NEWSLETTER SECTIONS BASED ON DIMENSIONS

NEWSLETTER SCHOOL NOTICE BOARD

MASS MEDIA IDENTITY

YOUTUBE

Newsletter Teams Feedback

CFBS Advocacy Campaign (Part 1) Research & Master Planning

CFBS Advocacy Campaign (Part 2) Communication Identity