Architect Abeer Seikaly inspired by ‘silent’ designers of Bedouin tents 

Terroir Tent, Abeer Seikaly. (Supplied)
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Updated 09 September 2023
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Architect Abeer Seikaly inspired by ‘silent’ designers of Bedouin tents 

LONDON: Over the past five years, Jordanian Palestinian architect, artist and cultural producer Abeer Seikaly has been working closely with Bedouin women of the Howeitat tribe in Al-Jafr within Jordan’s Badia desert landscape to incorporate their knowledge of ancient styles of weaving into her designs. 

She has described the women as the “silent architects” behind “Beit Al-Sha’ar” — literally “House of Hair” or Bedouin tent — and regards the gradual loss of their traditional craftsmanship knowledge and heritage as a “waste of valuable economic potential.” 




Terroir Textiles Rolled for Transportation, Abeer Seikaly. (Supplied)

She used the yarns woven on their traditional ground looms to create a structure that has a modern aesthetic with clear cultural and historical ties to the region. The mobile pavilion, named “Terroir” which translates as “land” or “earth,” celebrates Bedouin heritage and lineage. It is rollable, easy to set up, dismantle and transport and ideal as a place for respite or community events. 

She noted: “Technologies of handcraft, merged with the digital processes of today, can bring fluidity to contemporary architectural and design practices. This combination can create intricate connections among systems and deepen our understanding of how material, geometry, and structural form interact and influence each other, as well as how they adapt to the environment.” 




Abeer finishing her Woven Textiles. (Supplied)

For Seikaly the link with her heritage goes deep. One of her most treasured possessions is a Bedouin rug handwoven by her great-grandmother which is characteristic — through its colors and pattern — of the town of Madaba in Jordan. 

 She explained to Arab News that increasingly she asks herself in relation to her work: “How do you use shelter as a catalyst in order to allow communities to thrive?” The project, she said, has been beneficial in terms of providing the women with a source of income and showing how ancient crafts and techniques can work within contemporary design. 




Seikaly’s great grandmother, Eideh-Shuwayhat. (Supplied)

Alongside her collaboration with the Bedouin collective, Seikaly is also continuing to work on an innovative refugee shelter. The lightweight structure is “able to withstand varying climatic conditions, integrate water collection, harness renewable energy  (the structure absorbs solar energy, transforming it into electric energy stored in special batteries) and allows for controlled ventilation, providing many of the comforts of a dignified contemporary life,” she said.  

She has just been granted a patent in the UK where many of the engineers she works with are based and has also applied for a patent in the US. 

She wants to bring fresh thinking to what is an increasingly severe global humanitarian crisis. The goal is to find approaches that work in harmony with natural resources, long-established ways of living and the industrialized world. 


Review: ‘Roofman’ Movie

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Review: ‘Roofman’ Movie

  • The film follows Jeff, a man on the run, living out of sight inside a Toys “R” Us store, and constantly improvising his survival

I went into “Roofman” with no expectations, and that turned out to be the best possible way to experience the 2025 comedy-drama based on a true story.

Gripping and unexpectedly moving, it is one of those rare character-driven stories that stays with you long after the credits roll.

Channing Tatum delivers what may well be the strongest performance of his career. Stripped of the bravado he is often known for, Tatum plays Jeffrey Manchester — a former US army veteran and struggling dad who turns to a life of crime — with a raw vulnerability that feels lived-in rather than performed.

His portrayal balances charm, desperation and weariness in a way that makes the character both flawed and sympathetic. It is the kind of performance that reminds you how effective he can be when handed a script that trusts stillness as much as spectacle.

The film follows Jeff, a man on the run, living out of sight inside a Toys “R” Us store, and constantly improvising his survival. Without giving anything away, “Roofman” unfolds as a tense cat-and-mouse story, but one that resists becoming purely a thriller.

The pacing is deliberate and assured, allowing moments of humor, warmth and connection to surface naturally amid the suspense.

What “Roofman” does exceptionally well is maintain an undercurrent of unease. Even in its lighter, more playful moments, there is a persistent sense of claustrophobia and impending doom.

The script understands that tension does not always rise from action; sometimes it is born simply from the fear of being seen. “Game of Thrones” actor Peter Dinklage’s flawless portrayal of the store’s stern and authoritarian manager sharpens that anxiety.

Kirsten Dunst brings a grounded, affecting presence to the story, offering moments of tenderness and emotional clarity that deepen its human core. Her character anchors Jeff’s world with something real to reach for.

Despite its thrills, “Roofman” is ultimately a reflective film that asks, without judgment, how people arrive at the decisions that shape their lives, and why some feel trapped into making the wrong ones.

Underrated and surprisingly heartfelt, “Roofman” is a reminder that some of the most compelling stories are about the resilience of hope even when the odds are stacked against you.