The Rifat Chadirji Prize is the newest prize to be established as part of the Tamayouz Excellence Award program of championing and celebrating the best of Iraqi architecture.

The prize is named after Dr. Rifat Chadirji, the great Iraqi Architect whose influence and importance is far beyond built work. The award was be officially launched in January 2017, celebrating the 90th Birthday of the great architect. The Rifat Chadirji Prize is a thematic open international prize focuses on proposing designs responding to local challenges in Iraq. This prize aims to introduce Iraq and its challenges to the world and invite them to submit their ideas and to establish an uncompromising open source of ideas tackling social issues in Iraq through design.

Rio do Desejo / River of Desire is a feature film set along the banks of the Amazon River, where landscape, memory, and desire are inseparable. The river operates not only as a setting, but as a living structure—one that holds the characters' time, intimacy, and threat in equal measure.

The design process began with a speculative question: what if this film were, in some way, a horror film? Not horror in the literal sense, but as something tragic, latent, and embedded in place. The typographic direction draws inspiration from horror cinema, particularly from vernacular and regional expressions. Letterforms reference informal signage, hand-painted marks, and local graphic systems. This approach was my own way of imagining a horror that is rooted in the Amazonian landscape: humid, textured, sun-drenched, and quietly unsettling. Typography behaves as something slightly unstable—at times echoing the river’s shifting landscape, at others recalling the quiet gravity of a funeral notice.

AP&5E (Alex Pochat e os Cinco Elementos) were ready for a comeback. After the succesful independent realease of their first record, the band was back together for some time in the studio, crafting a second album that should capture the "new" songs that had been written over the many years ever since.

It is funny how time passes for independent artists working collectively. The creative output is what we agree to make: something that is, essentially, a testament of time. It survives as something that proves a possibility — that "art for art's sake" is a thing that can live in a metaphorical storage space, waiting for a time to be released. And whenever the time is here, it is like a work session and family reunion all wrapped up into one.

The design for the album cover tries to capture time as a dynamic, autonomous, graphical rendition of a clock through a coded program (it is also part of an ongoing fascination with time-keeping mechanisms).