To me, a designer is much more than a maker, or a producer of artifacts. I see design as a powerful force that intentionally produces change in the world. It makes sense for design to be participatory and combinatorial; relevance is achieved through documenting the present and excavating the past. Collaboration is not only more efficient and productive, it’s also a mechanism of validation, a process of refinement and a laboratory of innovation. Curation is not collecting, it is the ability to tie disparate elements together, recognizing patterns and connections, presenting them in a new context to expose and highlight historical, social or political issues. Curating, researching, writing and producing are all components of design.  




“Walls of Freedom Street Art of the Egyptian Revolution.” (with Don Karl), Berlin: From Here To Fame, March 2014. 

[FORTHCOMING] “Design in Qatar.” (with Denielle Emans) in The Encyclopedia of Asian Design, Volume 3, Bloomsbury Publishing, 2016

[FORTHCOMING] “A Language of Resistance: The Subversion of the Arabic Script.” in Aesthetics of Resistance edited by Sarah H. Awad and Brady Wagoner, Palgrave Macmillan, 2017


[FORTHCOMING] “Design Competencies in Collaboration (DESCO)” (with Denielle Emans) in FORMakademisk, Special Issue, 2016

“Walls of Freedom: Process & Methodologies.” Street Art & Urban Creativity Scientific Journal”, No. 1, December 2015. 

“Graffiti of the Egyptian Revolution.” Al-Malaf Al-Masry, Al-Ahram Center for Political and Strategic Studies, Edited by Dina Shehata, July 2015: 21-24.

“WonderBox: Storytelling and Emerging Technologies” (with Denielle Emans), Proceedings of LearnxDesign, the 3rd International Conference for Design Education Researchers, Edited by Robin VandeZande, Erik Bohemia, Ingvild Digranes. No.2. (604–622), Chicago, IL, June 28–30, 2015. 

“Suspending Freedom: Image Politics and Propaganda in Egypt.” Seismopolite, Journal of Art and Politics. No. 8, December 2014.