Relevant bibliographies by topics / Artist-in-residence

Academic literature on the topic 'Artist-in-residence'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Artist-in-residence"

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Joseph, Allison. "Artist-in-Residence." Callaloo 19, no. 2 (1996): 451–52. http://dx.doi.org/10.1353/cal.1996.0064.

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Donahoo, Robert, and Eileen Teper Bender. "Joyce Carol Oates, Artist in Residence." American Literature 60, no. 1 (March 1988): 150. http://dx.doi.org/10.2307/2926428.

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McNamara, Tracy. "Uku Artist in residence 2021: Wi Taepa." Scope: Contemporary Research Topics (Art & Design), no. 23 (2022): 147–50. http://dx.doi.org/10.34074/scop.1023004.

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de Ali, Mariana Castro. "Artist in Residence: Mariana Castro de Ali." ReVision 30, no. 1 (January 1, 2008): 44–45. http://dx.doi.org/10.4298/revn.30.1/2.44-45.

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Gkartzios, Menelaos, and Julie Crawshaw. "Researching Rural Housing: With an Artist in Residence." Sociologia Ruralis 59, no. 4 (April 3, 2019): 589–611. http://dx.doi.org/10.1111/soru.12224.

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Shields, Alison Lea, Ingrid Mary Percy, and Teresa Vander Meer-Chassé. "Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program." Canadian Review of Art Education 48, no. 1 (December 11, 2021): 73–99. http://dx.doi.org/10.26443/crae.v48i1.96.

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Abstract: This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.
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Palamar, Ioana. "Iaşi Art Residency International Artist Residency Program. American Artist-In-Residence John Dillard." Review of Artistic Education 22, no. 1 (June 1, 2021): 253–57. http://dx.doi.org/10.2478/rae-2021-0031.

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Abstract Iași Art Residency is an artistic residency program that takes place in Iasi and involves the monthly invitation of an international visual artist, in order to materialize a specific art project related to the experience lived in the cultural space of Iasi. The program aims to connect the students of the Faculty of Visual Arts and Design within “George Enescu” National University of Arts in Iași with the invited artists, in order to exchange artistic experiences. This article will briefly present the activity of the American resident artist John Dillard whuch took place here, in Iasi, in January and February 2019.
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Kantner, Kathy Dobash, Jen Abraczinskas, and Brad Malloy. "An Art Teacher Can Become an Artist-In-Residence." Gifted Child Today 21, no. 5 (September 1998): 30–32. http://dx.doi.org/10.1177/107621759802100510.

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Gruden, Maida, and Mara Prohaska-Markovic. "Contextual practices within The Roommate Artist in Residence Project." Kultura, no. 147 (2015): 158–67. http://dx.doi.org/10.5937/kultura1547158g.

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Allen, Patricia B. "Artist-in-Residence: An Alternative to “Clinification” for Art Therapists." Art Therapy 9, no. 1 (January 1992): 22–29. http://dx.doi.org/10.1080/07421656.1992.10758933.

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Dissertations / Theses on the topic "Artist-in-residence"

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Menzies, Victoria Jane, and n/a. "Artist-in-Residence: A Catalyst to Deeper Learning in Middle Phase Schooling." Griffith University. School of Vocational, Technology and Arts Education, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20051130.101749.

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The study sought to investigate the nature of learning that occurs in two different approaches (integrated and non-integrated) to an artist-in-residency program. The program was conducted in middle phase schooling, and adopted the principles of authentic learning. Two year five classes and their teachers participated in the study. The residency provided learning experiences that connected to the curriculum unit theme for one year five class (integrated), but not for the other year five class (non-integrated). These experiences were designed to relate to the learner's lived experiences and promote higher-order thinking processes. The study sought to explore the potential for visual arts residencies to foster more 'authentic' modes of learning. The study examined children's ability to transfer knowledge, gained through the visual and verbal analysis of images, by manipulating and integrating diverse information and ideas. Grounded Theory was deemed to be an appropriate research methodology for this study as it involves gathering data in field settings and applying inductive methods to analyze this data. Diverse data collection strategies were implemented including: teacher stories, interviews, student reflection, researcher observations and student artworks. LeximancerTM software was selected as an instrument for analyzing data. This software was considered appropriate as it fosters a descriptive and interpretive approach to analysis. The findings of the study indicated that children who participated in the integrated artist-in-school's curriculum program demonstrated more evidence of higher-order thinking processes than children who participated in the non-integrated program. The participants undertaking the integrated approach were able to establish relatively complex relationships between the central residency concepts, demonstrating an ability to use visual and verbal codes of communication to articulate their ideas, knowledge and experiences. A further important finding identified positive student behavioural outcomes, where the integrated residency approach appeared to connect group members as small supportive learning communities. The study also identified a transition in the teacher's perspectives on teaching and learning after participating in the integrated approach. This research project has significance both nationally and internationally by investigating current practices in artist-in-schools programs that both enhance and hinder educational outcomes. The study has significance to the broader educational community in terms of its focus on the role of visual arts specialist adjuncts in maximising learning outcomes. The findings of this study could provide insight into the interrelationship between visual arts and other curriculum areas to heighten student learning outcomes. The findings of the study illustrate how particular approaches to visual art in education can enhance children's learning and development. These insights can assist artists undertaking residencies in schools, and the teachers involved, to provide richer learning experiences. The findings provide ifirther evidence to support an approach that involves close collaboration between resident artists and educators. It is recommended that the residency learning experiences are connected to the children's lived experiences and that there is social support from teachers, parents and peers. It is also argued that for a residency to be considered 'authentic', the approach requires a number of essential and valuable attributes. These essential and valuable attributes have two tiers of application which coalesce to contribute to the efficacy of a school art residency.
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Menzies, Victoria Jane. "Artist-in-Residence: A Catalyst to Deeper Learning in Middle Phase Schooling." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365864.

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The study sought to investigate the nature of learning that occurs in two different approaches (integrated and non-integrated) to an artist-in-residency program. The program was conducted in middle phase schooling, and adopted the principles of authentic learning. Two year five classes and their teachers participated in the study. The residency provided learning experiences that connected to the curriculum unit theme for one year five class (integrated), but not for the other year five class (non-integrated). These experiences were designed to relate to the learner's lived experiences and promote higher-order thinking processes. The study sought to explore the potential for visual arts residencies to foster more 'authentic' modes of learning. The study examined children's ability to transfer knowledge, gained through the visual and verbal analysis of images, by manipulating and integrating diverse information and ideas. Grounded Theory was deemed to be an appropriate research methodology for this study as it involves gathering data in field settings and applying inductive methods to analyze this data. Diverse data collection strategies were implemented including: teacher stories, interviews, student reflection, researcher observations and student artworks. LeximancerTM software was selected as an instrument for analyzing data. This software was considered appropriate as it fosters a descriptive and interpretive approach to analysis. The findings of the study indicated that children who participated in the integrated artist-in-school's curriculum program demonstrated more evidence of higher-order thinking processes than children who participated in the non-integrated program. The participants undertaking the integrated approach were able to establish relatively complex relationships between the central residency concepts, demonstrating an ability to use visual and verbal codes of communication to articulate their ideas, knowledge and experiences. A further important finding identified positive student behavioural outcomes, where the integrated residency approach appeared to connect group members as small supportive learning communities. The study also identified a transition in the teacher's perspectives on teaching and learning after participating in the integrated approach. This research project has significance both nationally and internationally by investigating current practices in artist-in-schools programs that both enhance and hinder educational outcomes. The study has significance to the broader educational community in terms of its focus on the role of visual arts specialist adjuncts in maximising learning outcomes. The findings of this study could provide insight into the interrelationship between visual arts and other curriculum areas to heighten student learning outcomes. The findings of the study illustrate how particular approaches to visual art in education can enhance children's learning and development. These insights can assist artists undertaking residencies in schools, and the teachers involved, to provide richer learning experiences. The findings provide ifirther evidence to support an approach that involves close collaboration between resident artists and educators. It is recommended that the residency learning experiences are connected to the children's lived experiences and that there is social support from teachers, parents and peers. It is also argued that for a residency to be considered 'authentic', the approach requires a number of essential and valuable attributes. These essential and valuable attributes have two tiers of application which coalesce to contribute to the efficacy of a school art residency.
Thesis (Masters)
Master of Philosophy (MPhil)
School of Vocational, Technology and Arts Education
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Glauser, Andrea. "Verordnete Entgrenzung Kulturpolitik, Artist-in-Residence-Programme und die Praxis der Kunst." Bielefeld Transcript, 2009. http://d-nb.info/994331169/04.

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Tung, Wei Hsiu. "Art for social change : the role of artist-in-residence schemes in challenging Taiwanese identity." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272095.

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Meban, Margaret. "I'm doing what artists do!, a case study of an artist-in-residence program." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ42716.pdf.

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Huddy, Avril. "A contemporary model for dance artists in residence in secondary schools." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102338/4/Avril_Huddy_Thesis.pdf.

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This practice-based research inquiry investigated Artist in Residence projects being delivered in Australian Secondary Schools. Through an analysis of Artist in Residence programs and models of practice, dance creativity and creative processes, and two case studies from my own professional practice, I have created a contemporary model of practice for dance artists in residence in Secondary Schools and communities. It is anticipated that the findings from this research will provide insights into how best to promote rich creative experiences and sustainable arts practice within schools and their broader local communities, long after the conclusion of an arts project.
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Foster, Gayla Catherine. "The history of the Artist-in-Residence Program of the State Arts Council of Oklahoma /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Cockram, John. "Stars, bridges, cocoons and glass houses : an investigation of the fine art department's student artist in residence programme at the University of East London." Thesis, University of East London, 2004. http://roar.uel.ac.uk/3465/.

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This qualitative study explores the impact upon Fine Art students at the University of East London of community art practice via its student 'Artist in Residence Programme'. Evidence from successful course applicants showed expectations to be a heightened confidence and broadened understanding of the potential role in society for art and artist. Whilst this was often so, post-residency findings also demonstrated significant impact upon understanding of educational 'distance travelled'. Drawing on student, staff and host accounts it is argued that the programme is more than a cultural / philosophical mechanism for creative investigation beyond the studio through non-specialist interaction and collaboration; as important as this may be. Crucially, it is a mechanism for educational and pedagogical reflection; for 'critical distance' facilitating awareness of creative and cognitive development, teaching and learning and Fine Art educational process. Whilst it addresses Contextualist concerns of need, life and work [Eisner], it is very much an Essentialist art issue of 'subject'; how this is framed contextually and institutionally and also how it is personally constructed and critically evaluated in light of cultural and educational comparison: higher education is not synonymous with institution but a 'process' potentially taking place anywhere [Barnett]. Amongst the themes addressed is the impact upon student development of The Three C's [Confidence, Competence and Context]; 'space' and 'place' and Transferable Skills. Stages of student development are presented along with 'Transferable' and 'Transitional' models of student practice, differentiated by the extent and impact of collaboration, lay discourse and 'other' educational environments. On a meta-level, implications for Essentialist / Contextualist philosophy are reviewed. Creative practice 'beyond the studio' demonstrates how residencies often precipitate not only profound shifts in understanding towards creative 'modus operandi', but also towards educational process and teacher / learner relationships. Collectively, this incurs reflection upon the effect of 'lay' dialogue upon cognition and the 'cloth of identity'. This then connects with debate upon a 'vertical' didactic and 'lateral' dialectic within teaching, informed by issues of 'criticism', artist / tutor 'presence', 'absence' and 'collaboration'. Drawing findings together, there are implications for studio pedagogy in terms of judgement, meaning and cultural authority. In sum, this research suggests that for many students, a rounded Fine Art education cannot be obtained solely within the confines of 'institution' or through the sole authority of the 'Specialist' tutor / art practitioner.
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Rupp, Bettina. "Residências em arte contemporânea : espaço, tempo e interlocução." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/158018.

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Esta pesquisa analisa a residência artística pelo atravessamento de três conceitos principais: espaço, tempo e interlocução, vistos como aspectos fundamentais nos programas inseridos dentro do campo da arte contemporânea. Para tanto, foi previsto um percurso histórico que apresenta a sua formação, como sendo um lugar que oferece espaço e tempo para que o artista possa trabalhar de forma imersiva em seus projetos. Além da experiência do deslocamento do antigo ao novo contexto, as residências costumam propiciar diálogo entre os artistas durante suas estadias, promovendo, assim, uma rede de contatos. Como uma forma de entender também o objeto de estudo dentro da realidade brasileira, foram pesquisadas iniciativas no País. Resultante disso, percebeu-se a recorrência de um diferencial afinado com as reflexões da arte contemporânea e disponibilizado aos residentes: o acompanhamento crítico, realizado de forma sistemática por diferentes profissionais do campo da arte. A existência dessa prática apontou a necessidade de um aprofundamento nessa etapa da pesquisa, sendo consultados tanto artistas quanto críticos e curadores para levantar um conjunto de percepções individuais. As informações foram obtidas com o auxílio de entrevistas e enquetes qualitativas. Ainda, visando ampliar as discussões sobre a presença dessa atividade, os depoimentos foram confrontados com os conceitos de espaço, tempo e interlocução, apresentados por outros autores, entre eles, Gaston Bachelard, André Comte-Sponville e Maurice Blanchot. Por fim, foi possível concluir algumas considerações relevantes sobre a presença dessa atividade reflexiva nos programas de residência artística da atualidade.
This research analyzes the artistic residence through the crossing of three main concepts: space, time and interlocution, seen as fundamental aspects in the programs inserted within the field of contemporary art. For that, it was foreseen a historical course that presents its formation, as being a place that offers space and time for the artist to work of immersive mode in his projects. In addition to the experience of the displacement between the old and the new context, the residences usually provide dialogue among the artists during their stays, thus promoting a network of contacts. As a way of understanding also the object of study within the Brazilian reality, initiatives were researched in the Country. Resulting from this, it was noticed the recurrence of a differential attuned to the reflections of contemporary art was made available to residents: the critical support by different professionals in the field of art. The existence of this practice pointed to the necessity of a deepening in this stage of the research, being consulted as much artists as critics and curators to raise a set of individual perceptions. The information, was obtained with the aid of interviews and surveys. Aiming to broaden the discussions about the presence of this activity, the statements were confronted with the concepts of space, time and dialogue, presented by other authors, among them Gaston Bachelard, André Comte- Sponville and Maurice Blanchot. Finally, it was possible to conclude some relevant considerations about the presence of this reflexive activity in the programs of artistic residence of the present time.
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Larson, Christina F. "America Seen through the Work of Paul Sample." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427980908.

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Books on the topic "Artist-in-residence"

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Kincaid, James L. Artist-In-Residence: Aspen Guard Station, Artist-In-Residence Program. [Mancos, Colo.] (P.O. Box 330, Mancos 81328): Dolores/Mancos National District, 1994.

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Kincaid, James L. Artist-In-Residence: Aspen Guard Station, Artist-In-Residence Program. [Mancos, Colo.] (P.O. Box 330, Mancos 81328): Dolores/Mancos National District, 1994.

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Kincaid, James L. Artist-In-Residence: Aspen Guard Station, Artist-In-Residence Program. [Mancos, Colo.] (P.O. Box 330, Mancos 81328): Dolores/Mancos National District, 1994.

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Kincaid, James L. Artist-In-Residence: Aspen Guard Station, Artist-In-Residence Program. [Mancos, Colo.] (P.O. Box 330, Mancos 81328): Dolores/Mancos National District, 1994.

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Bender, Eileen Teper. Joyce Carol Oates, artist in residence. Bloomington: Indiana University Press, 1987.

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Bender, Eileen Teper. Joyce Carol Oates, artist in residence. Bloomington: Indiana University Press, 1987.

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Wray, Jenny. Jenny Wray: Artist in residence in The Other Space. Walsall: Walsall Museum & Art Gallery, 1992.

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Colley, Bernadette. The artist in residence program: An evaluative report. Concord, NH: New Hampshire State Council on the Arts, 1992.

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Galápagos. London: Calouste Gulbenkian Foundation, 2012.

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Souza, Al. Al Souza: The Gallery : international artist in residence programme. [St Peter Port]: [Guernsey College of Further Education], 1996.

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Book chapters on the topic "Artist-in-residence"

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Jeanneret, Neryl, Prue Wales, Kathryn Coleman, Marnee Watkins, and Andrew Swainston. "The Artist-in-Residence in Teacher Education: What is Sustainable?" In Visions of Sustainability for Arts Education, 31–43. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-6174-7_5.

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Ewing, Robyn Ann, and John Nicholas Saunders. "The School Drama Partnership: Beyond an Artist-in-Residence Program." In Education and Theatres, 149–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_10.

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Esposito, Donato. "Artist in Residence." In The Georgian London Town House. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501337321.ch-008.

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"Artist-in-Residence." In In Every Seam, 34–36. University of Pittsburgh Press, 2020. http://dx.doi.org/10.2307/j.ctvss407x.15.

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"3. Der global diffundierte »Artist in Residence«." In Verordnete Entgrenzung, 63–88. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839412442-003.

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"3. Der global diffundierte »Artist in Residence«." In Verordnete Entgrenzung, 63–88. transcript Verlag, 2009. http://dx.doi.org/10.1515/9783839412442-003.

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"PAIR: The Xerox PARC Artist-in-Residence Program." In Art and Innovation. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1390.003.0006.

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"The Xerox Palo Alto Research Center Artist-in-Residence Program Landscape." In Art and Innovation. The MIT Press, 1999. http://dx.doi.org/10.7551/mitpress/1390.003.0005.

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Munson, Kim A. "Comics, Community, and the ToonSeum: An Interview with Joe Wos." In Comic Art in Museums, 159–66. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0016.

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This chapter contains a 2018 interview conducted by art historian Kim A. Munson with Joe Wos, Mazetoons cartoonist, Charles Shultz Museum artist in residence, and founder of the ToonSeum in Pittsburgh (2007). This chapter discusses key exhibitions, running a non-profit Museum, community engagement, outreach to children, importance of geek culture, and speculation on the future of art museums. Image: ToonSeum superhero exhibit, Joe Wos with NCS mural at Overlook Bar, NY.
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Linstead, Stephen. "Seeing and Hearing in the Poetics and Cinematics of Process Research." In Doing Process Research in Organizations, 101–26. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192849632.003.0006.

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Abstract This chapter looks at approaches to the poetics and cinematics of research as a means of noticing differently. Research in organization studies, in common with social science more generally, tends to take notice of phenomena that fall within the framing of established paradigms, incrementally clarifying that which is already to some degree illuminated. This model of the researcher as scientist-in-residence needs to be complemented by that of the poet- or artist-in-residence if the challenges of seeing and hearing differently, and accessing a wider range of experience, are to be addressed. This chapter explores the potential of arts-based approaches for increasing researcher capacity to interrogate their own framing, beginning with examples from the romantic art of Caspar David Friedrichs and the modernist poetry of Wallace Stevens to illustrate poetic and aesthetic ‘moments’ in play. It then looks more closely at practical attempts to put poetry to work in social science research, and increase researcher awareness of neglected dimensions of experience using unfamiliar media and methods. This expands to consideration of two further moments, the ethical and political, and explores the integration of these moments in filmmaking using the example of an award-winning short documentary. These approaches are shown to extend existing creative methodologies such as ‘social poetics’ by being more dynamically processual in the exploitation of creative constraints, more fluid in dissolving disciplinary boundaries, and more capable of responding to material relations of interconnectivity beyond intersubjectivity.
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Conference papers on the topic "Artist-in-residence"

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Riker, Melissa. "PRF2022 Artist in Residence: THE RESEARCH OF A DANCE | CREATING "CAPACITY/OR: THE WORK OF CRACKLING"." In PRF2022—Progressive Failure of Brittle Rocks. Geological Society of America, 2022. http://dx.doi.org/10.1130/abs/2022pr-375971.

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Andersson, Mikael. "UNDERSTANDING STAKEHOLDERS AND FORCES INVOLVED IN AN ARTIST IN RESIDENCE PROGRAM FRAMED IN A WORK INTEGRATED LEARNING SETTING." In 16th International Technology, Education and Development Conference. IATED, 2022. http://dx.doi.org/10.21125/inted.2022.1648.

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Feliz, Nerea. "Temple in a House." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.4.

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In 2011, 15 families of the Burmese refugee community on Buffalo’s Westside collectively purchased a vacant house in Buffalo at 349 Plymouth Ave. They wanted to convert the house to a Buddhist temple and residence for three monks. ‘Temple in a House’ is an adaptive project designed in collaboration with local architect and artist Dennis Maher (University at Buffalo), which presented a significant challenge: that of trying to reconcile a very radical change of program, use, and cultural references. Beyond the project’s unique socio-economic characteristics pertaining to Buffalo, this project has global implications. Changing world demographics, as a result of different economic and migratory dynamics, are increasingly asking designers to negotiate complex cultural, social, religious, and economic systems.
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Oosterhuis, Kas. "Where Are We Now?" In International Conference on the 4th Game Set and Match (GSM4Q-2019). Qatar University Press, 2019. http://dx.doi.org/10.29117/gsm4q.2019.0025.

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After 16 years of leading the Hyperbody research group as professor of practice at the TU Delft, I wanted to do something completely different and looked at the Gulf region for further educational and professional activities. I was familiar with the region, having lectured in several countries of the Middle East and eventually having realized an office building in Abu Dhabi. My practice ONL [Oosterhuis_Lenard], which I run together with my wife and business partner visual artist Ilona Lenard, proposed a number of iconic architectural proposals for hotels and office towers, and was eventually awarded some prestigious commissions for master planning projects: the redevelopment of Manhal Palace, the residence of previous ruler Sheik Zayed in Abu Dhabi. Our continuous efforts to contribute to the building market in the UAE culminated in our realized design for Mr Abdullah Al Nasser, the LIWA tower in Abu Dhabi [2014]. I Joined the Department of Architecture and Urban Planning [DAUP] at Qatar University in September 2017.
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You might also be interested in the extended bibliographies on the topic 'Artist-in-residence' for particular source types:
Journal articles Dissertations / Theses Books
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