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Stateless Heritage / 2022

The project revolves around designing a collection of objects, enhancing Palestinian handicrafts by infusing the heritage with new graphic content, reflecting a contemporary interpretation of those crafts inspired by the research journey of the project.

Stateless Heritage is a collaborative collection of jars enhancing Palestinian handicrafts combining my skills as a designer with the skills and expertise of three Palestinian craftspeople practicing different traditional handicrafts: glassblowing, pottery, and embroidery.

Because of restrictions of access and movement of the craftspeople: The only state where these crafts can connect today is on the objects, through a map that connects between all those places, creating connections impossible in real life.  

The project gives me an opportunity to highlight the potential of contemporizing marginalized handicrafts. An important aspect of this project is it invites people to reflect on the meanings communicated through the collection and invites people to experience traditional crafts in an untraditional way.


Palestinian women carrying water jar / The choice of water jar was suitable for the different handcraft techniques, materials, and design process.
The Palestinian water jar carried by women

from the well to the house, a nourishing vessel, which was in daily use and existed in a tangible way in their lives.

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Library of jars / In order to visually and practically connect the different handcrafts, I looked for a shape from which I could make a consistent new language of different jars. I built a library of ancient water jars and simplified their shape with straight lines.
The design came from an understanding of the abilities of the artists and the attempt to express my design values in partnership with the craftspeople and their traditional working techniques: the design of the jars would be through layouts.


Topographic maps / Because of my complex identity I was able to visit many places with no access problem or restriction in movement. I chose to bring my geographical journey to the surface of the objects. I did this through topographic maps that I built and connected the three places I worked with: Jaffa, Jaba' and Dheisheh Refugee camp. The jars connect places and traditions that can not connect today: geographical connection, human connection, and traditional connection.


Collaboration with three artisans / Throughout the journey I was privileged to work with a number of people who welcomed me and patiently into their homes and workshops and allowed me to work alongside them despite the challenges.
Working together posed challenges for them and for me and allowed for meaningful learning about myself, about design and working together.

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