Definition of Mirˉzam : is an architectural element found in the indigenous architecture of Kuwait. Made of metal; a rare material at the time, its purpose is to drain rain water out from the vulnerable mud houses in order to keep it intact. Many folkloric stories and songs surround this particular part of the Kuwaiti house making it an imperative part of what and who we are.

The same way that this small yet effective element gathers water, the MiMa initiative is to be a melting pot of different people with different disciplines and backgrounds enabling them to meet, mingle and exchange ideas to overlap and create a newer base to argue, discuss and juxtapose upon issues that affect us through a focus on different mediums of art and design.

1. Articulate a thematic design brief that has a temporal and ephemeral character. (Seasonal exhibitions)

2. This is not a competition. Contributors will be preselected and invited to work in collaboration with MiMa considering the theme of the brief formulated.

3. Showcase and Juxtapose interdisciplinary professions to create a new outcome.

4. Promote culture of criticism through curating public discussions as part of the exhibited work.

5. Create “pretty things” – Naïve on the surface yet solid in its core.

6. End. Short-lived. Next.

An Architect and a digital artist, who has an interest in local culture and folklore, both visual and oral; patterns, geometry and materials. Graduated from the Architectural Association in London and after practicing there for a year, he returned to establish
MiMa (Mirzam Manifesto) with Anas Al-Omaim. Jassim’s is also the owner of  bab.nimnim, an architectural design studio, concentrating on enhancing small interior spaces while paying attention to intricate details. Jassim’s future ventures include solo art exhibitions, product design and culinary collaborations.

Anas is the other creative half of MiMa. He is currently doing his PhD in Architecture at the University of California Los Angeles – CA, USA. After graduating from Kuwait University, he enrolled in a training program for fresh graduates at the Kuwait Fund for Arab Economic Development. He then pursued his graduate studies at Columbia University, Graduate School Of Architecture, Planning and Preservation in Architecture and Urban Design. Anas worked in several architectural firms in London and New York. Anas’s outlook on design is very similar to that of Jassim’s where pattern and the iconography of Arabic calligraphy are the basis behind their concepts of the aesthetic of the 2D against the 3D. He believes that art and architecture today cannot exist without their theory.