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The Pheran

Abeer Seikaly is a Palestinian architect & designer known for innovative disaster shelters like 'Weaving a Home.' Featured at MoMA, MAK, & Stedelijk, her work explores resilience and humanitarian design.

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Kashmir, once a land of multitudinous beauty, is now a valley beset by conflict, death and destruction. It is considered “the unfinished business of the end of Empire” and remains one of the oldest unresolved disputes in the world today. Witness to Paradise 2016 (the title drawn from Sanjay Kak’s photo-book of the same name) is a curatorial project presenting mediated reflections of a landscape that was once and now is Kashmir, through the work of two artists, an anthropologist and filmmaker: respectively, Nilima Sheikh, Praneet Soi, Abeer Gupta and Sanjay Kak.Sheikh’s paintings are personally woven imaginings that draw from accounts, texts, lore and the craft traditions of the region.For example, Another Chronicle of Loss and Shadows, Stains are informed by the poems of Kashmiri poet Aga Shahid Ali, while Sheikh’s extensive use of stencilwork alludes to the latticework typical of vernacular Kashmiri architecture. Her paintings are a multifaceted meditation on the nature of destroyed beauty, the necessity of memory, and the forms and adequacy of memorialisation.In Srinagar II, Soi explores the plurality of influences in Kashmir and the migratory nature of forms and images through the papier-mâché tiles. The slideshow of Sufi shrines and other images are an ongoing visual diary of Srinagar that Soi constantly updates.The wall drawings include excerpts from the Instrument of Accession (ceding Jammu and Kashmir to the Dominion of India in 1947) and a diagram referring to anamorphosis (a technique that causes an image to appear distorted unless seen from a particular location) from Leonardo da Vinci’s Codex Atlanticus, which serves as a metaphor for his body of work shown here.Gupta explores the material culture of Kashmir through the pheran – a garment that is used widely by men, women and children across class and religion in this region. He sees the pheran as a symbol of Kashmiri identity that has witnessed the political, social, cultural and aesthetic changes that have taken place in the area. Archival photographs from the collection of Mahatta & Co. Srinagar showcase the pheran in the context of daily life in Kashmir.Kak curates 30 photographs by five photojournalists – Meraj ud-Din, Javeed Shah, Altaf Qadri, Showkat Hussain Nanda and Syed Shahriyar Hussainy – to excavate photography as a key artistic practice that has emerged from 25 years of endemic conflict in the Kashmir valley. The Witness to Paradise project focuses on photographers who displace older photographic traditions, which were first spawned by colonialism, and later tourism. The established tropes around Kashmir–of a beautiful landscape sans people; of an innocent paradise; or at best, of a paradise beset by mindless violence–are conclusively reversed by this work.

Artist Biography

A Life Woven into Resilience: The Story of Abeer Seikaly

Born in 1989, Abeer Seikaly is a Palestinian architect whose work transcends the boundaries of traditional design, becoming a powerful statement on humanitarianism and adaptability. Her journey began in Amman, Jordan, where she cultivated a deep sensitivity to the needs of displaced communities—a perspective that would fundamentally shape her artistic vision. While initially working within established structures like Villa Moda in Kuwait during 2005, Seikaly’s creative spirit soon sought broader avenues for expression. This led to her direction of Jordan's first contemporary art fair in 2010, a pivotal moment that signaled her commitment to fostering cultural dialogue and innovation. However, it was her dedication to addressing the urgent challenges faced by refugees that truly defined her path as an artist and designer.

The Genesis of ‘Weaving a Home’

Seikaly's most celebrated creation, ‘Weaving a Home,’ emerged from a profound empathy for those seeking shelter in times of crisis. This isn’t merely a structure; it is a testament to human resilience and the power of thoughtful design. The concept revolves around a multi-use disaster shelter constructed from high-strength plastic tubing woven into dynamic sine waves. These forms aren't static—they expand and contract in response to environmental conditions, offering adaptable protection against varying weather patterns. Crucially, ‘Weaving a Home’ is designed for effortless disassembly and portability, allowing communities to relocate with ease. Beyond providing basic shelter, the structure incorporates ingenious systems for rainwater collection, vital for sanitation, and solar energy absorption, transforming it into a self-sufficient haven. The project embodies a holistic approach to disaster relief, prioritizing not just survival but also dignity and sustainability.

Influences and Artistic Development

Seikaly’s work isn't born in isolation; it draws inspiration from a rich tapestry of influences. Her Palestinian heritage undoubtedly instills a deep understanding of displacement and the enduring need for safe, secure environments. The principles of biomimicry—learning from nature’s designs—are evident in ‘Weaving a Home’s’ responsive forms and efficient resource management. Furthermore, her involvement with RISE- Jordan's Women's Everest Expedition in 2018 speaks to a broader fascination with human endurance and the ability to overcome seemingly insurmountable obstacles. This expedition wasn’t simply about conquering a mountain; it was a symbolic act of empowerment and resilience that mirrored the spirit she sought to instill in her designs. Her early experiences directing an art fair also fostered a keen awareness of contemporary aesthetics and the power of visual communication, allowing her to present complex humanitarian issues in accessible and engaging ways.

Recognition and Global Impact

The impact of ‘Weaving a Home’ has resonated far beyond Jordan's borders, garnering international acclaim and solidifying Seikaly’s position as a leading voice in humanitarian design. Her work has been showcased at prestigious institutions including the Museum of Modern Art (MoMA) in New York, the MAK – Austrian Museum for Applied Arts in Vienna, and the Stedelijk Museum in Amsterdam—platforms that amplify her message to a global audience. In 2013, she received the coveted Lexus Design Award, a testament to the project’s innovative approach and potential for real-world impact. This recognition not only validated her vision but also provided crucial resources for further development and implementation of ‘Weaving a Home.’ Seikaly's achievements extend beyond awards; they represent a paradigm shift in how we perceive disaster relief—moving away from temporary solutions towards sustainable, dignified structures that empower communities to rebuild their lives.

A Legacy of Hope

Abeer Seikaly’s historical significance lies not only in her groundbreaking design but also in her unwavering commitment to social justice and human dignity. She challenges conventional architectural practices by prioritizing the needs of vulnerable populations, demonstrating that design can be a powerful tool for positive change. Her work serves as an inspiration to architects and designers worldwide, encouraging them to consider the ethical implications of their creations and embrace innovative solutions to address pressing global issues. Seikaly’s legacy is one woven into the very fabric of resilience—a testament to the enduring power of human ingenuity and compassion. Her designs are not just shelters; they are beacons of hope, offering a glimpse of a future where everyone has access to safe, sustainable, and dignified living spaces.
abeer seikaly

abeer seikaly

1989 - , Jordan

Quick Facts

  • Artistic Movement Or Style: Humanitarian design
  • Date Of Birth: 1989
  • Full Name: Abeer Seikaly
  • Nationality: Palestinian
  • Notable Artworks:
    • Weaving a Home
    • The Pheran
  • Place Of Birth: Amman, Jordan