Ibrahim is a Palestinian architect based in Jerusalem.
"Each of the designs developed in the create shops are representing the situation of the people in the West Bank, Gaza or Jerusalem. They deal with the wall, the checkpoints, the violence, the closed borders and so on and at the same time they express our pride to be from Palestine. Through DDFP, we are encouraged to do more to show to the world the current atrocious situation.
It may be true that the revenue side is still under construction, but I find it more important that we create a symbolic economy. When people from all over the world are buying and using our objects, we enable them to make a comment on our case and we allow them to join the resistance. Money well invested, if you ask me.
By participating in DDFP I really challenged myself and I improved my thinking. I expanded my field of expertise and I created things that I never thought possible. To me, it was especially an imaginative development."(From Kurt Vanbelleghem interview, Can one really benefit from a social design project, or is it just another spin at the wheel?)
Mohamed is an artist and designer born in Gaza in 1983, working in art and crafts especially manuscripts and woodwork. and also running art workshops with the kids. Interested in producing art pieces of used materials and turn them into useful and meaningful pieces.
Martin Petrelli is an Italian designer and documentarian who has spent most of her life in flux, moving from one country to another. In her travels, she has developed a keen eye for collecting, recording and archiving. In collaboration with Donna Verheijden she filmed a documentary, The House of the Eyes, in the West Bank during the fist Palestinian Art biennale which also coincided with the latest attacks in Gaza.
David Juan Ortiz is Spanish designer who studied at the in the Think Tank for Visual Strategies masters program of the Sandberg Institute. He works with video and publications. Currently, he is living and working between Amsterdam and Beirut.
Mohammad Saleh is currently a Jerusalem based ecological space designer and green activist. He has a degree in Psychology, and another in Musicology. He has been engaged in the cultural and art sector of Palestine for several years, working at the Palestinian Art Court, followed by works in visual production related to Palestinian life. In recent years Mohammed has been leading an ecological and sustainable life and since 2015 he has been professionally designing sustainable and green spaces.
"Since the very first moment of us working together, I have been learning about my country in a totally different, positive and hopeful way. Living and working in Palestine is constantly being confronted with a harsh reality and a negative context. DDFP brings something positive out of a negative thing. The problems, the occupation and the constant present violent atmosphere are used as sources for inspiration. Now we can spread our stories using creative, productive and positive thinking.
The market is indeed flooded with products from China and Israel, and because easy consumerism is more appealing, most people don’t think that they can actually do what they want themselves. Our artisans are also caught up in this pattern of consumerism and tend to only produce what the market wants, over and over again.
To me the beauty of DDFP lies in the fact that in a very perceptive way they managed to harvest the resources that were already here in my country. They looked at the existing networks; they looked for people who already had their own ideas and for artisans with amazing abilities. This meant that they didn’t have to train people, neither to educate designers or to make design. They only needed to say that collaborating was important and that it was possible. They did make all of the participating local designers look totally different at these crafts studios. Before, when we past by an artisans’ shop, we perceived it as exotic and on rare occasions we would take a photo of it. But the idea never came to our mind to show any interest in what that man was doing. Let alone that we could imagine a possible collaboration.
There is indeed the potential for DDFP to become an important economical factor, but this is not the case yet. We will definitely need a couple of more years before we will be able to start investing in local productions from the profits that we can make from the sales. For the moment this is our Achilles heel. We often lack the funds to pay for new productions, so we need to look for investment money in different ways, which can be quite challenging.
Our identity is not defined in a positive way. We are getting constantly accused and we are seen as a bad nation. By joining DDFP, I found a unique opportunity to tell my own story and to make an object that performs that story. So when people are buying it, they indicate that they believe in your story. This empowers the feeling that I, that we can. That it is possible."(From Kurt Vanbelleghem interview, Can one really benefit from a social design project, or is it just another spin at the wheel?)
Shaimaa Hassanein is an artist and designer from Gaza, graduate of the Faculty of Fine Arts in 2016, interested in drawing portraiture and Model, work with children and youth in art and murals painting workshops.
Hein van Duppen is a Dutch designer currently enrolled in the Studio for Immediate space master program at the Sandberg Institute in Amsterdam. His work explores the intersections of design, architecture and urban planning.
Majd Abdel Hamid is a Palestinian visual artist based in Ramallah. He hopes Disarming Design’s collaborations will give Palestinian visual heritage a tool to reflect its deeper current realities. ‘It’s something we don’t have within the Palestinian community, design as a discourse. People mainly develop things on their own here. We’re kind of in a static limbo, we’re stuck with symbols, we’re stuck with the Palestinian map, we’re stuck with Handala… This is an opportunity to actually recreate something and have our own form of deconstructionism, not for the sake of deconstruction itself, but rather to rethink our national symbols and our visual narrative." Majd was the coordinator of Disarming Design in 2012 and 2013.