01 02 03 04 05 06 07 08 Architecture 09 10 11 12 13 14 15 16 17 18 19 20 21 22 Living 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Product design 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 In Beirut 61 62 63 64 65 66 Fashion 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 Art Art & Culture & Culture 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 Travel & Events Travel & Events 104 105 106 107 108
01 02 03 04 05 06 07 Architecture 08 09 10 11 12 13 14 15 16 17 18 19 20 21 Living 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Product design 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 In Beirut 60 61 62 63 64 65 Fashion 66 67 Publisher: 68 69 City News Privilege 70 on behalf of Le Cercle Hitti 71 72 73 Editor in Chief : 74 75 Anastasia Cassandra Nysten 76 77 78 Managing Editor: 79 80 Helen Assaf 81 82 83 Graphic Design: 84 Genia Kodash 85 Art & Culture 86 87 Printer: 88 89 RAIDY | www.raidy.com 90 91 92 Contributors: 93 94 Dan Bratman 95 96 Karah Byrns 97 Miriam Dunn 98 99 Derek Issacs 100 101 Maya Khourchid 102 Travel & Events 103 104 Advertising: 105 106 sales@citynewsme.net 107 108 t: +961 3 852 899
Spring is in bloom all around us and so for this issue of Le Cercle we’ve hand-picked an exclusive bouquet of creative talent and design.We meet Lebanese architect Youssef Tohme whose affinity with the surrounding environment is eloquently personified in his work, as well as get the lowdown on Leaf House which generates a synergy with its natural setting. Landscape architect Jeffrey Bale leads us down a garden path to a haven of contemplative escape, while designer Piers Atkinson brings his own original, sinful quality to fruit. Many of the heart notes of this issue’s ‘bouquet’ have a decidedly French essence. Taking our cue from the recent La France au Liban event, during which Lebanon paid homage to French business, we raise the flag for the crème de la crème from France’s shores. Via Parisian powerhouse design event Maison & Objet, we bring you the top 10 budding talents tipped for great things. Our eclectic French foray also takes in the black strokes of famed French artist Pierre Soulages and the memory filled fragrances of Cartier nose Mathilde Laurent, along with a jaunt in a historic chateau. For all this season’s freshest picks from the world of design, read on.
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Words by:
D e r e k
Images by:
I s s a c s
S t u d i o s e z z
ebanese architect Youssef Tohme questions man’s relationship with the world, reinterprets it, appropriates it and then adapts it. His projects respond to such questioning and assert themselves to the very themes that are central to Youssef Tohme Architects: the horizon, duality, nature and the void. It was during Tohme’s youth that his imagination appears to have been ignited. Spending vast amounts of his childhood swimming in the Mediterranean and immersed in nature, his sister described him as possessing a ‘dream-like’ character. “I adored nature; I adored the silence,” says Tohme. “I knew every part of the sea and land.” Tohme further built on his philosophical state after relocating to France to study at the University of Architecture L’Ecole D’Architecture Paris-Villemin. “I liked Paris. I discovered aspects of studying which were not accessible to me in Lebanon, such as discussions of theory and confronting
Left: T Project – The villa acts as one theatrical stage and opens towards the Beirut cityscape.
Right top: AD Project – Reflecting the French countryside in a totally modern concept.
Right bottom: T Project – Creating a sanctuary from the wild yet beautiful nature.
cultural differences,” he says. Reading was one aspect of Lebanese education that was accessible to Tohme, though one he avoided. But in Paris that too changed. “After my degree I took two years out to just read and read, free of university pressure.” On his return to Lebanon in 2004 Tohme worked in collaboration with ‘109 architectes’ on the project Campus de l‘innovation, de l’économie et du sport à Beyrouth (University of Saint Joseph) . January 2008 saw the opening of his office in Lebanon with an offshore office in Paris. Together with a team of young French and Lebanese architects, Tohme translated the deep theoretical and technical research he undertook into his projects. One such project, T Project, is a villa set in the natural beauty of the Rabieh mountainside. “Such a beautiful and natural sloping site calls for us to answer in a radical manner,” says Tohme. The villa acts as one theatrical stage whose total expanse is open towards the Beirut cityscape and,
Above: T Porject – The roof and slab planes work it in order to simultaneously create a terrace, pool, patio, garden and residential living space.
Architect Youssef Tohme
of course, the horizon. “All that I have spoken about in regards to themes is here in this project,” explains Tohme. The roof and slab planes work in order to simultaneously create a terrace, pool, patio, garden and residential living space. “Structurally, the pool and patio hold the house intact.” The villa’s 50m glass façade creates a duality against the wild yet beautiful nature that encompasses it. The marriage between villa and nature is further highlighted by its disappearance in parts between the rock landscapes on which it is situated. Colmar near Strasbourg, France is the site for Tohme’s AD project. This is where his total assimilation into French culture during his student years enabled him to design a project that exists within the strict French building rules. “I wanted to integrate into French society. I had no Lebanese friends. I learned French and really understood the difference between French
and Lebanese cultures.” The house itself mirrors that of similar properties within the area, in form at least. Its pitched roof and wall-beaming instill a European medieval grand, barn-like structure and also reflect mountains that form part of the horizon. The black and grey exterior walls reflect the trees and nature that surround it. But what initially seems like mirrors is in fact concrete mixed with a material which enables it to emit a slight sheen. The exterior walls themselves have been applied with a leaf design which gives the impression of a reflection of the surrounding area and almost camouflages the structure. Mosaic glass perforates the beams permitting light to pass through the building’s interior while interior gardens bring a new meaning to the saying ‘nature on your doorstep’. For more information go to www.yousseftohme.com
Wo rd s by : Miria m Dunn Archi t ect: AS. Archi tecture-Studio
man’s national treasures are set to be showcased under one roof in a new one-stop cultural center which is being built at the majestic entrance to the capital city. The aptly-named Muscat Cultural Centre will house the National Archives, the National Library, and the Oman National Theatre, in tranquil, spacious surroundings, created to provide the perfect setting for hosting events aimed at drawing in a diverse mix of visitors. The design of the new center is the brainchild of French company Architecture Studio (AS Architecture), which won the international competition organized by the Sultanate of Oman in 2008 to come up with a new home for Oman’s rich cultural heritage. But the new center, which boasts a stunning location between the sea and mountains, sets out to do much more
than simply house Oman’s artefacts and cultural activities. AS Architecture’s design aims to bring together the country’s tapestry of history, while also providing a modern, urban setting that ensures it is representative of today’s contemporary art and design scene. With its impressive entrance at the city gate, the new cultural center similarly sends out a powerful message that it is not only accessible to people from all walks of life, but is already an integral part of Muscat, from outside and within. Taking the form of a double matrix, linked by three inter-connecting buildings housing the archives, library and theater, the culture center’s mix of local stone and aluminum gives it a contemporary, vibrant feel. But its setting among palms and mineral columns also instantly makes it a haven for culture lovers, setting it apart from the busy ambience of the city.
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The lay-out has been designed so that the three main buildings edge the main square of the complex, which is earmarked to become a hub for cultural activities. A musharabieh canopy of perforated aluminum, inspired by Oman’s architectural history, adds to the tranquil setting and allows light to filter through inside. The clever mix of concrete and aluminum not only brings warmth to the setting, but also achieves
the designer’s aim of bringing a wealth of contrasts together. Old meets new, while busy city life harmonizes with peace and tranquility. Historical culture lives alongside contemporary theater, while ancient stone embraces shining aluminum. As Oman’s capital city’s latest project prepares to welcome its first visitors, the Muscat Cultural Center is proof that while our world is full of contradictions, they can enhance and enrich our lives, rather than solely complicate them.
A natural response to the raw qualities of the Australian landscape Words by:: Derek Issacs
he northern suburbs of Sydney, Australia reveal dramatic coastal settings where rugged native bush overlooks the Pacific Ocean. On such cascading terrain, London-based Undercurrent architects Didier Ryan and German Perez-Tavio were handed the task to utilize an existing site set within a residential garden and on which a disused garage sat. The brief was simple: to bring the area into use; to better engage the garden and to contrast the usual weatherboard beach house. Pushing the boundaries of convention, Undercurrent’s audacious approach resulted in Leaf House. Leaf House has utilized nature in every way possible and generates synergy with the natural setting. The building consists of a canopy roof draped over a stone podium and glass enclosed deck. The latter allows the property’s users to be inside and in-the-garden simultaneously, while its stem-like steel supports hold
Leaf House: a canopy roof draped over a stone podium and glass enclosed deck generates synergy with the natural setting.
aloft the green and copper-colored roof that reflects the surrounding foliage. The shedsRoll copper from which the roof is formed is further broken up by shifting geometry between layers, referencing background ocean patterns thus marrying environment and property even further. Mirroring nearby rock outcrops is the building’s sandstone base while design features help blend the construction into the landscape. The fluid quality of steel is echoed by the glass enclosure. Three retaining terraces define the podium base: an upper level entry, a partially submerged main deck and an excavated lower level, including enclosed private spaces shaping the terrain. On the main deck level, the interior is open to the garden. An enclosure of molded glass forms an undulating wall, softening views and reflections especially when illuminated at night. The glass, constructed from a single left and right hand mold, has sections from the mould flipped, rotated and inverted to get apparent variations from a repetitive
shape. Daylight filters through the porous roof canopy into open plan living, kitchen and dining areas, bordered by a balcony and sun deck. The lower level is excavated into the terrain, partially protruding from the hill to capture light and views. The structure also contains introspective rooms such as library, bedroom and private living area. Towards the ocean, the structure is bunched into a single load point, releasing panoramic views and freeing the perimeter. Uphill, it is stabilized by a spread of six inclined columns, driven to ground like rain. Entry at the upper level provides an elevated perspective in the midst of the canopy roof. In Leaf House’s construction, Undercurrent architects Didier Ryan and German PerezTavio have merged sensations and perceptions that react, naturally, with the environment. For more information go to www.undercurrent-architects.com
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01 02 03 04 05 06 07 Architecture 08 09 10 11 12 13 14 15 16 17 18 19 20 21 Living 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Product design 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 In Beirut 60 61 62 63 64 65 Fashion 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 Art & Culture 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 Travel & Events 103 104 105 106 107 108
Words by:
K a r a h
B y r n s
mooth lines of sumptuous simplicity echo the signature spirit of Dori Hitti’s trademark Europeanstyle design in the recently unveiled L’Hotel Bahrain. Hitti, the man behind the Beirut-based design studio Cercle Hitti Projects, boasts a generous portfolio of exemplary interior and architectural works that span a vast array of public and private spaces, from boutique commercial outlets and opulent residences all over the world to a luxurious 12-man yacht on the open sea. At L’Hotel, the meticulous Hitti translates his ever timeless yet contemporary touch into an elegant space
01 02 03 04 05 06 07 Architecture 08 09 10 11 12 13 14 15 16 17 18 19 20 21 Living 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Product design 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 In Beirut 60 61 62 63 64 65 Fashion 66 67 of bold tranquility 68 69 that welcomes the full 70 71 breadth of the senses. 72 Room interiors breathe 73 74 deeply through a gentle, 75 balanced purity that 76 77 conveys both warmth 78 79 and calm, while 80 shared spaces within 81 82 the hotel display 83 quiet, confident 84 85 grandeur. Whether Art & Culture 86 87 the visit to Bahrain 88 is for business or 89 90 pleasure, the full 91 range of amenities 92 93 and inherently 94 95 lavish ambiance 96 ensure that any 97 98 stay at L’Hotel 99 remains an 100 101 indulgence 102 Travel & Events 103 of the 104 highest 105 106 class. 107 108
Reading between the
lines Words by: Dan Bratman
ost of the actions of our daily life – human interaction, commerce, expressions of creativity and love – happen in interior spaces. Within the walls of our manmade structures – both imposing and humble – our lives unfold. And so it is the purpose of interior design to provide the stage for these events, a space to silently nurture the interactions of humanity. At its best, interior design serves to inspire these events to push the limits of human potential. The newly redesigned interior of the Missoni Hotel in Edinburgh, by Matteo Thun, shows how this can be done. Through the use of simple, elegant lines, subtle yet voluptuous curves and vibrating colors, Thun’s spaces are alive. And, like with living things, each line and curve has a purpose, a purpose to enable human comfort, functionality and sustainability. “We need less weight and more light,” says Thun and this ethic is evident in the rooms of the Missoni. He creates the impression of light through the lines of a modern Italian aesthetic and with the use of silver, white, and black while interposing bold jewel like colors and popping textile patterns. Textured fabrics and angular structures make the rooms of the Missoni a tactile experience. The bedding and curtains have an almost limitless variety of stripes and squares, each textile bearing
Facing page: Bar Missoni, where high fashion comes out to play.
This page: Missoni’s famed, brilliant use of color and fine textiles sets the tone for dining.
01 02 03 04 05 06 07 08 Architecture 09 10 11 12 13 14 15 16 17 18 19 20 21 22 Living 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Product design 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 the iconic Missoni label. The 59 clean angles and opulent colors 60 In Beirut 61 of the bathrooms, with soaps 62 like rubies lined at the sink, beg 63 64 to be touched, each faucet and 65 66 Fashion towel rack positioned for optimal 67 access. The beds with eclectic 68 69 patterned covers, plush and 70 71 beckoning, suggest of waking to 72 sunlit mornings of promise and 73 74 action. This is a place where life 75 happens. Not a place for sleep 76 77 between meetings but a place 78 79 for rejuvenation, where dreams 80 inspire ideas that become 81 82 creations, change. 83 Matteo 84 85 Thun, born in Bolzano, 86 Art & Culture 87 Italy, in 1952, was a co88 founder of the renowned 89 90 Memphis Group started 91 in 1981. The Memphis 92 93 group was a collective 94 95 of designers looking 96 to break free of the 97 98 traditions of European 99 architectural design. 100 101 Using bright colors 102 103 Travel & Events and iconoclastic 104 shapes, the 105 106 Memphis Group 107 brought humor 108
01 02 03 04 05 06 07 Architecture 08 09 10 11 12 13 14 15 16 17 18 19 20 21 Living 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Product design 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 In Beirut 60 61 62 63 64 65 Fashion 66 67 68 69 70 71 72 73 74 75 76 77 78 79 to their design and informed much of the 80 visual aesthetic of the Eighties. He went on 81 82 to form his own firm, Studio Matteo Thun in 83 Milan in 1984. Later, he became the creative 84 85 director of Swatch from 1990 to 1993. Thun Art & Culture 86 87 was inducted into the Interior Hall of Fame 88 in New York in December 2004 and is a 89 90 member of the Royal Association of British 91 Architects. “We need less needs and 92 93 more essential, economical, transparent 94 95 answers… an architecture of simple but 96 necessary gestures to serve a daily life…” 97 98 The words of Matteo Thun describe the 99 ethic under the experience, the value 100 101 of the vision, a vision come to fruition 102 Travel & Events 103 at the Missoni Hotel, Edinburgh. 104 The Missoni, a five 105 106 star hotel, is the first in a chain of 107 luxury hotels. The next is planned 108
This page: Dramatic use of color and bold patterning combine with luxury and comfort.
to open in Kuwait later this year. Thun’s style combines an aliveness of color and shape, an experience of texture and feel with a functionality and efficiency to make its spaces eminently livable. Throughout history – from the vaulted ceilings of ancient cathedrals to the drawings of hunters on the walls of caves – interior spaces have sought to represent social structure and culture. The modern interior design of Matteo Thun seeks to represent and reflect but also to inspire, to create a new culture that is in parallel with the conservation of resources and a sustainable future. Through retrospect, we can see how design has represented our culture. Matteo Thun’s Missoni Hotel looks forward, seeking to create our future through design.
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Small is beautiful
Fresh from the kitchen of Wok W.o.k. at InterContinental Phoenicia Beirut, a recipe of bitesized beauty. Ingredients Assorted sliced fish including tuna, salmon, yellow tail, assorted sashimi content of salmon and tuna, and mixed maki. • 100g salmon • 80g tuna • 80g yellow tail • 500g cooked sushi rice • 2 sheets Nori dried seaweed • 10g wasabi • 30g pickled pink ginger • 200g cucumber • 1 tbsp Japanese mayonnaise • 1 avocado Method Arrange sliced fish, sushi and maki decoratively on a large serving plate. After decorated, garnish with carrots, cucumber & radish.
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Call us on +961 1 369100 or visit intercontinental.com
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A fast track to a rejuvenated you
TheDolderGrand Words by: : D e r e k I s s a c s Photos by: : P e t e r H e b e i s e n
Situation
Potential Detox
This may well be located in the hills above Zurich but if it’s beautifying you are after and need, then you’ll need to go subterranean. Below the space-age wing designed by English architect Sir Norman Foster is a lair of spa suites that vow to pummel the years away and turn saggy layers into a single taut film. And if size matters, then the spa’s 4,000m2 venue, shaped by European and Japanese influences, will certainly satisfy size queens everywhere.
Tired, worn out features are not the best accolade anyone can possess. Well that can all be washed away at the Dolder Grand. There wouldn’t be enough pages here to tell you about all the spa services on offer. One thing is for sure though, if it is an oasis of beauty you seek, then this spa will most certainly deliver. Immerse yourself in a sense of well-being and health and let the professionals do what this spa’s motto offers: “Classic Traditions with techno beat”.
It might not quite be as large as the 4,000m2 size venue, but the spa menu is extensive in the extreme for sure. With programs offering the traditional to the more modern there is something to suit all skin types and tones, even for the gentlemen. Caviar, gold and flowers form the ingredients for these evocative facial beauty treatments. Bath and body rituals will simply release the tensions of day-to-day living and give your senses a complete overhaul.
Facing page: The Dolder Grand Spa sunaburo
Above: The Chillout Room
Next page: A Spa Suite
Menu Beauty in Bloom by Kerstin Florian
Swiss Cellular Facial for Men by La Prairie
Pure Gold Radiance Facial by La Prairie
Caviar Firming Facial by La Prairie
Before your facial, this luxurious treatment includes a silky milk footbath. Soothing rose and neroli essences combined with acupressure massage moisturize and tone your skin.
Depending on your skin‘s needs, a detoxifying or soothing treatment for men. Instantly cleanses, energizes and conditions the skin. The treatment also helps to normalize skin behavior, prevent irritation and correct stressed skin
The Cellular Radiance Concentrate Serum enriched with pure gold visibly firms and tones the skin. The use of gentle, warm masks enhances the effectiveness of the serum, and the skin takes on a smoother, more radiant and more vibrant appearance.
This facial immediately makes your skin look firmer and more radiant, with a silky, smooth freshness. Caviar pearls, a face and eye massage, and the twophase caviar mask will imbue even the dullest complexion with an inner radiance. For more information go to www.thedoldergrand.com
01 02 03 04 05 06 07 08 Architecture 09 10 11 12 13 14 15 16 17 18 19 20 21 22 Living 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 Product design 44 45 46 47 48 49 50 51 52 Words by: K a r a h B y r n s 53 54 55 56 or many, gardens are simply a 57 58 decorative space that offsets 59 the beauty of a structure. For 60 In Beirut 61 Jeffrey Bale, gardens are a sanctuary 62 for offsetting the beauty of the mind. 63 64 Having traveled the world for 26 years, including 65 66 Fashion the Middle East, Bale brings touches from the 67 four corners of the earth back to what may be just 68 69 one corner of a deeply meditative and personal 70 71 enclave. Believing that the garden is a place of 72 underestimated worth as a haven of contemplative 73 74 escape from today’s busy lifestyle, Bale’s stunning 75 designs are as much works of art as they are catalysts 76 77 for unexpected shifts in consciousness. 78 79 “Sometimes I become a therapist... 80 even a marriage counselor,” Bale jokes, in reference 81 82 to his clients and the way that his designs interact with 83 their needs, perceptions, and desires. “I want my gardens 84 85 to change you when you sit in them, to make you notice 86 Art & Culture 87 things differently, to captivate you,” he says, explaining that 88 “landscape architecture is thought of as a decorative art, 89 90 but it’s much more profound than that. It explores our human 91 connection with nature.” Through the use of symbolic features, 92 93 contrasting colors and textures, soothing sounds, and sumptuous 94 95 scents, Bale creates spaces that play with the mind, inviting it to stop 96 and absorb the moment. In this pause, people often become more 97 98 connected to their own nature, to mother nature and, quite frequently, to 99 the person they are sharing the pleasure of the space with. 100 101 “Gardens are about pleasure,” Bale opines. “They should 102 103 Travel & Events be your manifestation of paradise... a personal paradise where you 104 can be transported to another place.” When he first graduated with a 105 106 degree in Landscape Architecture from the University of Oregon in 107 his home state, these opinions were confirmed by a long-awaited 108
SACRED
GROUND
Globe-trotting garden designer Jeffrey Bale unearths splendid forms of new age art
trip to the Alhambra in southern Spain, famous for its intricate, impressive Moorish architecture and gardens. There, Bale was overcome by a deep and lasting fondness for Islamic architecture, which respects the divine role of gardens for bridging nature and the human mind together. “There is no representation of people, which takes you out of your ego,” he muses. “And when you die, heaven is painted as a paradise, a perfect garden.” Looking at Bale’s work, shadows of reality fade and are replaced by surreal visions of beauty. Stairs become streams, stones become flowers, and colors shift with the passing of time. His highly intricate pebble mosaics designed with his client’s personality and style in mind breathe life and originality between blades of grass. It was one such colorful carpet mosaic that caught the attention of a friend of LebaneseAmerican actor Tony Chalhoub, who noticed that she was able to walk over the design in her stilettos as if she were walking over glass. Chalhoub employed Bale to conceive a concept for the garden of his Los Angeles home, with an end result in November 2009 that left the actor and his wife breathless. “Pebbles are natural stones, cut by nature,” Bale explains. “They carry their own energy, have their own story.” The world’s oldest pebble mosaics, located in Greece, are 4,000 years old – proof of the art form’s timelessness and ability to lend itself freely to anyone to leave a record of an era. “You don’t need money to make a mosaic composed of natural elements; you only need patience (to collect the stones)... and desire.” In his recent travels throughout the Middle East, Bale found inspiration in the temples of Baalbek and the streets of Istanbul, expressing awe over the enduring patches of ancient cedars in Lebanon and the long history that steeps the region in character and beauty. However, it was not the energy of the landscape that he was most taken by, but its inhabitants. “The people here are amazing; everyone talks to you, looks at you, interacts with you. They are present and engaging,” he enthuses. This warm observation highlights perhaps the most important point of Bale’s design – because it is also the energy of the people who inhabit and care for a garden that make it become such a dynamic place. It is the interweaving energies of life that mingle there that make this art form so sublime and appealing. In a world of fast-paced monotony, Bale himself describes the attraction of such spaces best, as pinnacles of man’s expression, related to nature: “It’s just magic; a garden can be infinitely magical.”
Le Cercle explores Maison & Objet, the definitive home design fair in France’s capital and brings you the 10 hottest rising talents as chosen by Now! Design a Vivre. Maison et Objet's creator of the year is Philippe Starck
TRI3 waste bin.
A graduate of ENSCI, designer Constance Guisset is known for infusing her creations with a touch of magic that elevates them beyond their functional purpose, such as her Vertigo ceiling lamp that evokes the swirl of a woman’s dress, or her Funambule cutlery collection which, in its interlocking structural form, has been likened to a delicate insect hanging on a tree branch. With the Tri3, Guisset created a stacked waste bin with three pedals so that each compartment can be opened individually, thus simplifying the separation of garbage.
La RĂŞveuse
Double Jeu series of furniture for Coincasa, 2009.
Despite the name, 5.5 designers is the collective title of the work of four designers – Vincent Baranger, JeanSébastien Blanc, Anthony Lebossé and Claire Renard – who launched their design agency in 2003. Three years later, the talented quartet had managed to scoop the Grand Prix de la Création awarded by Paris City Council. Known for their conceptual rigor, their designs often embody simplicity and humor to create quirky yet accessible alternatives to everyday objects. In the Double Jeu series, this can be seen in items such as the two legged table which is supported by a light stand, bookstand or birdcage.
Les Citoyens
Confluences sofa for Ligne Roset, 2009.
A graduate of the esteemed Ecole Boulle in Paris, Philippe Nigro has collaborated with a host of highly respected brands such as Poltrona Frau, Artemide and Alias. In his work Nigro often places great emphasis on the theme of modularity and how furniture can be adapted to fit with contemporary lifestyles. As a result, many of his signature items introduce flexibility in terms of how they can be used. Confluences for Ligne Roset epitomizes this approach with its elements reminiscent of pieces of a jigsaw puzzle that can be fitted together in the style and format that best suits the owner.
Le pragmatique
Around storage unit in wood and lacquered steel covered with fabric, produced with financial support from VIA, 2008.
A graduate of both ESAD and ENSAD, Joachim Jirou-Najou has forged a reputation for creating furniture that is both eye-catching in color and shape while being flexible in its environment. During his time at ENSAD he developed Phi, a scalable bookcase, then later the PortĂŠe series, produced by the Parisian Gilles Peyroulet & Cie gallery, consisting of a blue bench, a red console, yellow and gray shelves, four storage units, and a black chair. The Around storage unit continues his love affair with bold colors and his ability to create contemporary, functional furniture.
Le poète
Bloc, from the Greyscales collection for Tools Galerie, 2007.
In 2006 Jean-François Dingjian and Eloi Chafaï joined creative forces to launch Normal Studio. Together, this duo of French designers has become known for a style that eschews the superfluous in favor of a pared down, timeless esthetic, creating objects that appear familiar and functional. Bloc, produced for Tools Galerie, is typical of this approach, with its clean lines and potential for use as a side table as well as seat.
Les essentiels
Narcisse Pond – Mirror, 2007.
After graduating from Ensci-Les Ateliers, Mathieu Lehanneur opened his design studio in 2001. Much of his work explores the scientific theme of the human body’s connection with its environment. Narcisse is a great example of this, whereby the pool appears to be a mirror until it is approached and begins to vibrate, intriguing the narcissistic element of its audience. In addition to his self produced works, Lehanneur has been engaged to design for a number of prestigious brands including Cartier, Issey Miyake and Paco Rabanne for whom he was art director in 2008.
Le scientifique
Cocotte in ceramic designed for Bosa. Special edition “Good Food" for Biennal of St Etienne, Italy, 2007.
Sam Baron is a ceramist with a long list of accolades including being the winner of the City of Paris award and the Tableware award from Elle Decor magazine. In addition, his work has graced many an international museum with its presence. His work as a freelance designer has seen him collaborate with high profile brands such as Louis Vuitton and Christofle, while he is also the director of the design department at Fabrica, Benetton’s communication research center in Treviso.
L’interprète
Cabat gris.
Despite only having graduated in 2009 from Lausanne’s Design Academy ECAL, Michel Charlot is hotly tipped for a great future in design. In 2007 he won a grant awarded by the Ikea Foundation, and in 2008 he was awarded the Grand Prize at the International Design Festival in Hyères. Subsequently he scooped a one-year internship at the prestigious Sèvres Manufacture during which time he explored the technique of turned porcelain. With many of his designs – bags being one recurring theme – a technical mastery is brought to erstwhile everyday objects.
Le technique
Glowing Glass for Veolia Eau, l’Eau à la bouche competition
A graduate of ENSCI, Marie Aurore is most inspired by manufacturing techniques, a statement visibly embodied in her thesis which focused on exploring sewing, embroidery, lace, macramé, among others, and integrating this into household objects such as shelves and a lamp. With financial support from VIA she developed a prototype for La Pliée , an aluminum sheet chair now produced by Ligne Roset. With her winning Glowing Glass design for a Veolia Eau competition she used innovation to create a drinking glass that is visible in the dark.
Marie Aurore Stiker La subtile
Nootan range produced in technical partnership with EDF R&D Design.
Three years after graduating from ENSCILes Ateliers in 2001, Gilles Belley opened his design studio. He went on to make his mark with a range of conceptual products that were inspired by the theme of energy consumption. Nootan, which transpired from his partnership with EDF R&D Design, continues this theme. The range of sockets, switches and skirting board covers incorporates a soft colored backlight that reminds consumers of the available energy being used. In addition to his design work, Gilles Belley lectures at the Ecole Supérieure d’Arts et Techniques and is director of studies at ENSCI-Les Ateliers.
L'écologique
01 02 03 04 05 06 07 Architecture 08 09 10 11 12 13 14 15 16 17 18 19 20 21 Living 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Product design 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 In Beirut 60 61 62 63 64 65 Fashion 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 Art & Culture 86 87 88 89 90 91 92 93 94 95 96 97 Left: LSA Fleur de Sel collection 98 99 featuring storage jars with wooden 100 lids and tight closing silicon ring. 101 Available from Le Cercle Hitti. 102 Travel & Events 103 104 105 Above: LSA Ergonomic 106 porcelain collection, available 107 from Le Cercle Hitti. 108
Imaginative and contemporary styling for the home has always been the focus at LSA International.
01 02 03 04 05 06 07 Architecture 08 09 10 11 12 13 14 15 16 17 18 19 20 21 Living 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Product design 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 In Beirut 60 61 62 63 64 65 Fashion 66 67 68 69 70 71 72 73 74 75 76 77 y mother, who 78 79 always loved 80 house linen, 81 82 came up with the idea of 83 helping talented Lebanese 84 85 women who needed to work Art & Culture 86 87 during the war,” explained 88 Youmna Jureidini. In 89 90 1986 her mother, Josette 91 Dahdah, began designing 92 93 home accessories such 94 95 as tablecloths and had 96 them embroidered 97 98 by local women she 99 commissioned who 100 101 were in need of the 102 Travel & Events 103 added income. The 104 creative enterprise 105 106 was named Filigrane, 107 after a fabric used in 108
“M
embroidery. “The original thing about Filigrane is the combination of a social-development project and business,” elaborated Jureidini, now a part of the team. As renowned design houses such as Dior, Ricci and Porthault began collaborating with the burgeoning business, it took off. Today it is still going strong and Filigrane designs are currently stocked at the Dubai branches of prestigious international department stores Harvey Nichols and Bloomingdales, as well as the ABC in Jordan. The core of the concept is, however, in the Achrafieh district of Beirut, where the Filigrane boutique recently opened on
Monot Street. Here the trademark embroidered house linens, place mats, tablecloths and baby blankets are showcased. Creative and cultural workshops debuted at Filigrane in February. Several times a month the Monot outlet is turned over to daytime handicraft workshops, where participants design and paint home accessories such as wooden trays or ceramic coffee cups. Dining etiquette classes are offered three evenings per week and as Filigrane continues to grow with the times, several other workshops are planned, such as mosaics, silk painting, and floral arrangement.
H
ussein Hadid’s Kitchen in the Mousseitbeh area of Beirut, is his headquarters. It is here that he creates his menus, tests out new culinary concepts, and gives the occasional cooking lesson. The Kitchen is also where many dinners catered by Hadid are hosted. The innovative chef has garnered quite a following within the circles of haute-living Lebanese. While this is partly to do with the quality of his offerings, having re-defined the concept of private catering in the country certainly plays a significant role. Hadid melds the role of a private chef with the professionalism of a caterer, serving private parties either in the Kitchen or in the comfort of his clientele’s own homes. However, more traditional catering services are also provided and so clients interested in hosting larger events
at pre-booked venues do not have to forgo serving a customized menu by Hadid. Although Hadid enjoys cooking diverse styles from Turkish to Thai, his self-professed areas of expertise are French and Italian. The former was learned at French Culinary Institute in New York, while the latter was acquired by working at the San Domenico restaurant in the same city. Following this 20-year excursion to North America, Hadid returned to Lebanon in 1998 and decided on creating his present day culinary institution, in lieu of returning to work at a restaurant. “Here in my own business I can express myself. I am in total control,” he explained, and this is a formula that has certainly been successful.
gou F
our years ago Gou premiered as a trendy fine food outlet in a corner of the ABC shopping mall in Achrafieh. Today the concept has been tweaked, refined, and reopened as a fullfledged gourmet eatery and destination boutique at a new location. Its current address on St. Nicholas in the same chic area was carefully selected by founder Patricia Kibbe, set on a space that stayed true to the brand’s concept, offering customers a charming backdrop to enjoy the refined range of culinary offerings. A seamless combination of a restaurant, patisserie and a ‘Salon de
Thé’ emphasis on tea, the concept behind Gou is to offer a novel experience of taste discovery and elegant indulgence through a menu that is based on premium ingredients. “I have always been fascinated by the enchanting world of food, by the alchemy of its ingredients...This ongoing fascination lured me into taking cooking classes across Europe to enrich my food knowledge and satisfy my curiosity,” explained Kibbe. Working under several renowned chefs that used only the finest quality of food ingredients, she was inspired to create a concept that used this same superior culinary palette. Born out of this dedication, the concept and mandate soon followed; “We travel the world to bring you innovative specialty food products. Collections to conjure gourmet discoveries, culinary excursions and sensory revelations, tempting menus and patisserie creations to delight you. Gou is a voyage to the source of inspiration, it is an escape to the heart of indulgence.”
W
ith the opening of the Vintage Story boutique last July, high-end vintage clothing and accessories finally found their way into Beirut. Although vintage has been du moment from London to New York for years, it has yet to cultivate an en masse local following. After all, Beirut is hardly a city that approves of resurrecting last season’s clothing – let alone parading items from decade old collections that have a tendency to be second-hand. Yet by combining a tasteful selection of vintage designer pieces with an in-house fashion line and an entirely luxurious retail space, Vintage Story plays to the fashionconscious city perfectly. Here, Diane Von Furstenberg wrap dresses circa 1970 hang casually beside pristine evening gowns and designer bags from long-gone collections sit across from a display of freshly
01 02 03 04 05 06 07 08 Architecture 09 10 11 12 13 14 15 16 17 18 19 20 21 22 Living 23 24 25 26 27 28 29 30 31 32 33 34 fashioned 35 tops. 36 37 “Vintage 38 Story is a 39 40 concept 41 42 store, the 43 Product design first vintage 44 45 store in the 46 Middle East, 47 48 and a place for 49 50 my exclusive 51 designs,” 52 53 explains owner 54 and creator 55 56 Yasmine Borro, 57 58 who has been 59 partial to 60 In Beirut 61 vintage since 62 adolescence. 63 64 Having 65 66 Fashion studied 67 fashion in 68 69 Belgium and 70 71 then France 72 – where she 73 74 completed 75 her Master’s degree – and then 76 77 worked as a designer, the 2578 79 year old entrepreneur taps into 80 her European connection and 81 82 sources her vintage pieces 83 from across Berlin, Brussels, 84 85 Paris and London. 86 Art & Culture 87 “I have people 88 who do not care about 89 90 used or not, and I have 91 people who do care. It's 92 93 interesting because I 94 95 also have vintage pieces 96 that aren’t used, but 97 98 Lebanese need time 99 to understand it as it 100 101 is in Europe because 102 103 Travel & Events it's something 104 new for them,” 105 106 says Borro. 107 108
The
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t times a surreal notion of the senses presents itself: ‘this tastes what such a thing smells like, or feels like’, and viceversa. The thought process grinds to a halt as the exact meaning and consequence are pondered. But for king of jewellers Cartier, this paradoxical perception is the very basis of a recently launched collection of fragrances. Cartier has signed the masculine and feminine High Perfumery collection Les Heures de Parfum. Its inspiration is moments in time, and Roman numerals one to thirteen engraved on the bottle indicate each hour, with thirteen representing 13 Rue de la Paix, Paris, the location of the Cartier
boutique. The first quintet has debuted and is presented in a red outer box characteristic of Cartier and identifies individual personalities while simultaneously highlighting human emotion, every hour, on the hour. Presented in non-chronological order, further fragrances from the collection are to be released every two years. The scents have been developed by renowned Cartier perfumer, Mathilde Laurent, referred to as ‘the Nose’. To say she has a keen sense of smell would be a gross understatement. Aromas from her childhood – her grandmother’s homemade toasts, the perfumes of passing ladies, the aroma of fruits – cling to Laurent’s memory forming images and shapes in her mind.
“Each and every one of these fragrances is pictured in my mind. I remember my summer vacations in Corsica at my other grandmother’s house; the fragrance of the earth combined with the heat and light is a great sensation.” The ability to retain and translate aromas led Laurent to France’s only perfumery school, ISIPCA – Institut supérieur international du parfum, de la cosmétique et de l’aromatique alimentaire. Unhesitating in tackling a hazardous inventory of traditional and unconventional scents, she recorded her impressions of raw materials in a notebook noting down fragrances that revealed the human aspect such as sandalwood, cumin and amber. Such a journey led her notably to one
of the oldest perfume houses in the world, Guerlain. Favouring the imagination and elegance of intuitive, brand-new and contemporary olfactory (sense of smell) compositions, aligned with true attention to quality and high standards brought her to the attention of Cartier. “When I create a fragrance, I never forget that it will be the favourite scent of the wearer. This scent will represent that person in her absence; it will be her olfactory ghost.” Expressing the inspiration behind Les Heures de Parfum is no easy task. “To describe and explain it to other people,” says Laurent, “it (the inspiration) has to be tasted, touched and visualised. So it is a bit of a paradox.” Laurent likens the
description of the collection’s inspiration to that of describing a song. “You can say a song has a lot of rhythm, guitars, etc. The only difference is that music has a lot more vocabulary to describe it than perfume.” Laurent articulates toneddown smells (odeurs sourdes), sharp smells (odeurs aigues), soft or mild smells (odeurs douces), lime-taste smells (odeurs goût de citron). At times, objects are referred to, and memories or moments of the day such as ‘a smell reflecting the end of the day’. All of which translates to the vocabulary of essence. “Creating a perfume is like making a movie. The scenario is the idea of the scent. The actors are the ingredients and I am in charge of making them play the scene.”
The first five fragrances of Les Heures de Parfum I L’Heure Promise ‘a moment of possibility’ and featuring petit grain, fresh herbs, iris, sandalwood and musk.
VI L’Heure Brilliante ‘highenergy nightlife and neon effervescence’ which includes notes of lemon, flaxseed, gin notes and aldehydes.
X L’Heure Folle inspired by Cartier’s Tutti Frutti jewellery collection, with notes that include redcurrant, pink peppercorn, grenadine, blueberry, blackcurrant, blackberry, violet, leafy notes, ivy, boxwood, shiso, aldehydes and polygonum.
XII L’Heure Mystérieuse includes notes of jasmine, patchouli, elemi gum, coriander, incense, frankincense and juniper.
XIII La Treizième Heure is described by Laurent as ‘olfactive trickery, like a crime with premeditation’. The notes include leather, maté, birch, narcissus, bergamot, patchouli and vanilla.
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Feeling
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cross Europe in the mid 1980s, no hormonallychallenged teenager’s bedroom was complete without any number of air-brushed art posters pinned to the wall. Often featuring makeup clad heroines in suggestive fruit themes, they came to define a generation’s latent sexuality. In ‘Sex on the Brain’, Piers Atkinson’s spring/summer 2010 collection, inspiration is derived from these same posters but then laced heavily with the British designer’s trademark quirky humor. Glossy cherries and ripe bananas are revisited but also joined by pearls, leather, and steel studs in a variety of pillboxes, berets, bowlers, and hairpieces. As the title of the collection indicates, this is headwear for the less than innocent. From the whimsical naughtiness of cherries, Atkinson departs on a journey of ever more erotic depths, including fetish masks and moustached veils. In a nod to the ubiquitous celebrity culture of today, there is even a Paparazzi hat with an identityconcealing visor, described as “perfect for that flash-bulb defying, morning-after taxi”.
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The game of seduction With Parfums Nina Ricci’s latest perfume for women, Ricci Ricci, a new urban heroine has emerged. Bold and playful, sure of her powers of seduction and her femininity, Paris lays as her playground before her. In this poetic world of glamour and fantasy, Ricci Ricci’s presence is destined to make the world around her more beautiful.
Timeless elegance In homage to the rich life and legacy of ‘Coco’ Chanel, Chanel has launched Rouge Coco, a new lightweight lip color. This smooth formula glides on easily and features a Hydratendre complex to help soften, soothe and condition lips for a plumper, smoother and healthier-looking appearance. The line comes in a range of wearable shades, from matte to pearl to soft shimmer, all of which capture the timeless elegance with which Coco Chanel built an empire.
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Bliss from a r窶ピe The Diorose rose is made of hand-painted enameled porcelain flowers and lies on embroidered velvet ribbons. Queen amongst flowers, the rose has always bloomed throughout Dior collections either as embroidery or print. A ﾂｫDiorﾂｻ rose was even dedicated to Christian Dior.
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Glamour, naturally From its barnyard setting to models wearing clogs, Chanel’s spring/summer collection brought a rush of fresh, country air to the Paris catwalks. With stiff A-line skirts and thighskimming babydoll dresses though, this chic romp in the hay turned the rural into a raunchy and refined affair.
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With considerable grace and a touch of humor, Alber Elbaz has chosen to celebrate LANVIN’s 120th anniversary by honoring mothers and daughters. This is an intentional tribute to the brand’s founder, Jeanne Lanvin, who, as the mother-daughter logo of the house reflects, rose to success with the collections dedicated to her daughter Marguerite and her famous mother-daughter outfits. The anniversary will first of all be fêted via the famous collection of limitededition porcelain figurines which is being produced for the third year running. This season it will represent seven mother and daughter groups in festive poses – in one a mother is lovingly tying up her daughter’s hair with a red ribbon. In addition, an anniversary line of LANVIN items will be on sale in boutiques this season, including T-shirts and shopping bags embroidered with hearts and other special motifs. Happy Birthday LANVIN!
Words by: Derek Issacs
01
he environment in which Three 02 03 Studios art space is set is typical 04 05 of 21st century Beirut. Housed in an 06 early 20th century traditional, low-storey 07 08 Architecture dwelling, the studio is just feet away from the 09 10 rear of a mundane skyscraper still under construction. 11 The noise, itself intrusive, is matched in intensity by the 12 13 studio’s visual aspect which would be difficult to describe 14 as nothing more than a building site. That is, unless 15 16 of course, you happened to be London-based artists 17 18 Nathaniel Rackowe and Rana Begum. 19 “You can find corners of interest or 20 21 beauty, or whatever you want to call it, amongst all this,” 22 Living explains Rackowe staring out of the studio’s bay window. 23 24 “Like the green netting that hangs from the scaffolding. 25 26 It is like huge drapes, curtains; it helps soften the hard 27 structure. Perhaps I am weird. But I find it interesting.” 28 29 The two artists are over on a residency 30 exchange from the Delfina Foundation in London’s 31 32 Victoria. The foundation specialises in sending artists 33 34 to North Africa and the Middle East and, in turn, taking 35 artists from those regions and flying them to London to 36 37 set up residencies there. “It’s a cross exchange. Creating 38 dialogues between what is going on in the Middle East 39 40 and in London and the UK,” says Rackowe. 41 42 Rackowe manages to capture beauty 43 Product design among the horrific, transforming it into something 44 45 aesthetic. A blue tarpaulin sheet strewn across a void in 46 a building under construction is altered by the light that 47 48 seeps through it. “Ugly urban structures can be shifted into 49 50 something else,” he explains, “Going from being ignored 51 to something that can be beautiful. But that beauty can be 52 53 instantly taken away.” Exploring Beirut, Rackowe searches 54 for that elusive visual beauty in places usually unassociated 55 56 with such a concept. Building sites are his favourite 57 58 stamping ground. And Beirut has its fair share. 59 Once back in London, Rackowe will bring 60 In Beirut 61 together his personal visual interpretations of Lebanon’s 62 capital. “I have got some ideas which will develop into 63 64 final pieces.” One piece of structure has caught his 65 66 Fashion imagination; the barriers erected around construction 67 sites city-wide. “They make me think of the processes of 68 69 renewal in the city. They become a signifier of what is 70 71 going on in the city.” Back in the UK, Rackowe hopes to 72 present the barriers as a sculptural object and add subtle 73 74 clues for the viewers, such as the material used, to give an 75 indication of what it is supposed to be or do. 76 77 Rana Begum also searches for shifting 78 79 situations throughout the city. “You see an orange 80 (rubbish) bin placed in front of a purple door. The first 81 82 reaction is that it is foul. Walk a few steps past it and from 83 the corner of your eye it all comes together. Perhaps it 84 85 is the way the light falls on it, but the form and colour 86 Art & Culture 87 shift the composition into something other than it was 88 originally.” Such an idea is prevalent in Begum’s art. The 89 90 work itself does not move. The viewer has to move and 91 becomes part of the work in doing so, as the colours shift. 92 93 Begum and Rackowe are both inspired 94 95 by similar things. “We have similar starting points,” says 96 Rackowe. “But the way that we work takes us in different 97 98 directions. 99 Rana Begum and Nathaniel Rackowe 100 101 will exhibit their interpretations of Beirut in February 102 103 Travel & Events and March 2010 respectively at the Delfina Foundation, 104 Victoria London. 105 For more information go to www.delfinafoundation.com
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hink of the color green. Then close your eyes. Go ahead, just for a second. What does it feel like? Gently sloping hills of grass, cool, gentle breezes? What is it like for you? Ok, now try red. Sharp, explosive, fast? Colors can be warm or cool, suggest texture, or mood. Each color evokes its own distinct feelings, memories, images, emotions. They are the soundless language of our visual world. Christoph Brach and Daniera ter Haar are in love with color.
They are like mad scientists brewing concoctions and potions in their lab—beakers and bottles, juicers and powders strewn in mid inspiration. Their studio, Raw Color, is full of objects of every hue waiting to be the source of their next project. Recently taken by the brilliant and subtle colors occurring in nature, Christoph and Daniera wondered how these could be harnessed. The result is 100%Juice, an exploration and deconstruction of vegetables, distilling them down to their visual essence. After experimenting with
different methods of extracting the juice of everything from beets and pumpkins to cabbage and peppers, Raw Color has categorized these colors into a kind of visual vocabulary. A sample of each has been organized onto cards bringing the brilliance of each vegetable into a direct and usable medium – but how to use them? Realizing the “inks” from the beet, pumpkin, and cabbage seemed to coincide with the primary printing colors of cyan, magenta and yellow, they decided to fill the cartridges
of a Canon printer and stand back. The results are hypnotic, beautiful. Irregular ink flow due to the textures of the juices created circles and stripes fading and reemerging into and from their white backgrounds. The effect brings the viewer through a chromatic ride. Some appear to be moving, evoking an entropy of color, a disappearing trick. Cool blues drift into white creating a palpable sense of loss. Lines and circles of purple and yellow merge like multiple converging sunsets as seen from some
strange planet. Emboldened by their success, they pushed further. Creating a poster partially covered in a special fiber in the shape of a predetermined design, they fed the juice of a beetroot through a hose attached to the top. Allowing the juice to slowly infuse the poster, the design emerges, growing before the eyes of the viewer. Raw Color is an eponymous celebration. There is a fascination with the colors themselves but also with an exploration of the visceral effect they
can have on the viewer, the stories they tell. With the belief that nothing is impossible, they forge ahead, fearless and emboldened by their passion. For example, in their latest project, Exposures, Raw Color is exploring the formation of textiles and color from pure light. There seems to be no end to their desire to make a world of color. Now think of a world with no color. Close your eyes. Don’t worry; Christoph Brach and Daniera ter Haar are here to make sure that will never happen.
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e h t g n f i r o o l p x E h r a a K
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©Adagp, Paris2009
1____Pierre Soulages Peinture 146 x 114 cm, 1950 Oil on canvas Coll. Centre Pompidou, Musée National d’Art Moderne Diffusion RMN © Adagp, Paris 2009
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ince he was a boy, Pierre Soulages had an affinity for black. Seeing things differently at an early age, he once responded to a teacher who questioned him on the subject of his black drawing that it was, quite obviously, “snow”. Born in 1919 in the south of France and considered to be the country’s greatest living artist, Soulages held center stage at the Centre Pompidou in Paris until March this year, where his paintings are being featured in an exhibition that spans 63 years of his work, represented by more than 100 spellbinding compositions, many of which fall into the “outrenoir” phase of his robust career. Of his most recent works, several polyptychs hang in suspension. Often called the most internationally celebrated French artist after Matisse, Soulages was the first living artist invited to display his work at the State Hermitage Museum of St. Petersburg in 2001, and has received numerous awards from around the globe. In 2006, a composition he completed in 1959 fetched 1.2 million euros at Sotheby’s. Whether evaluated by price or by intellectual fiber, the allure of his work continues to attract the masses, decade after decade. Marking the beginning of a legacy in abstract art, Soulages began painting when he was just in his teens after World War II, and by 1947 had already begun showing a few of his works. While his contemporaries like Hans Hartung and Francis Picabia explored the primary colors
2____Pierre Soulages Brou de noix sur papier 65 x 50 cm, 1948 Walnut stain on paper Coll. Centre Pompidou, Musée National d’Art Moderne Diffusion RMN © Adagp, Paris 2009
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of red, blue and yellow, Soulages ventured instead into a darker domain with a deep walnut brown furniture stain. With it, he created geometric designs on both paper and canvas, playing with abstraction. He also experimented with tar, applying the thick black, acrid-smelling substance to a surface of remarkable contrast, pure and transparent glass. The Venice Biennale included his work when he was just 33, and by 35 he had succeeded in holding his first solo New York exhibition. Flirting with forms inspired by Romanesque architecture and Celtic monuments, Soulages added East Asian calligraphy to his growing list of diverse influences, following a pivotal trip to Japan in 1958. A fondness for the use of black began to stand out even more strongly in many of his works, and 1979 marked the dawning of the painter’s “outrenoir”, or ultra black, period. In this period that consumed three decades, Soulages interprets the interaction of darkness and light on gargantuan canvases through the use of heavy paint, texture, and room lighting. The textures he creates with a wide array of creative utensils (some of which he invents himself) tease the light in a way that cannot be captured by any photograph; the exchange between light and dark on a Soulages canvas is something only the naked eye can experience. “You have to look at the painting, appreciating the light reflected on the black surface. It is essential. If you only
3____Pierre Soulages Peinture 260 x 202 cm, 19 juin 1963 Oil on canvas Coll. Centre Pompidou, Musée National d’Art Moderne Diffusion RMN © Adagp, Paris 2009
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see blackness, then it’s because you’re not looking at the canvas,” Soulages once said. Hinting at an even more profound basis for contemplating the color black, Soulages’ work recalls existential themes of dark and light. “Why did people in prehistoric times draw in black inside dark black caves when they could’ve used chalk?“ Soulages asks, suggesting a more esoteric connection between the human soul and his color of choice. Using acrylics, oils, and inks, Soulages’ well-balanced, bulky and untitled paintings resurrect the shadows and bring black to life, exposing the nuances of its changeable, often overlooked character. On canvas or on paper, Soulages lifts a veil on the vast myriad of complexities that lie beneath a color as deep as the darkness. To illustrate his point, he often refers to a large black canvas in his studio facing the Mediterranean sea that changes with the weather outside. “I have even seen it turn blue,” he confides. As for what others perceive when appreciating his life’s work, the prolific painter, who is still painting at the age of 90, remains steadfast in his conviction to reveal not only the nature of black, but to also give viewers a chance to look more deeply within their own inner nature: “Call it meditation, call it whatever you like. I paint first for me. But a painting is not alive except for when it is viewed by others. And only if, in looking at it, they invest themselves emotionally in it.”
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When Castle is King
ravel just three hours southwest of Paris and visitors are transported to some of the most glorious countryside France has to offer. The Loire Valley, a listed World Heritage site, is famed for the Renaissance chateaux that line the River Loire and its tributaries. Throughout the region magical silhouettes create an incredible backdrop to the French countryside and appear to create an epicenter of medieval castles. Chateau de La Celle-Guenand is one such castle. Its origins can be traced back directly to the 10th century when it began life as a monastery before being fortified as a defender of the realm in the 12th century. Rebuilt in the 15th century, modified in the 18th century, and with further additions in the 19th century, Chateau de La Celle-Guenand in the 21st century once again has been refurbished. The chateau’s previous custodians cut a tapestry that is rich and steeped in true royal glory. The first known lord of the chateau was Antoine de Guenand, cited in 1422, who became Captain-Governor of Loches in 1441, under Charles VII. Pierre de Guenand, Antoine›s son, then went on to inherit the estate in 1487 when he was Grand Chamberlain to King Charles VIII. Perhaps not quite from royal stock, but hailing from a monarchy at least, the United Kingdom in this case, Stephen Palluel is now the 21st century custodian of Chateau de La Celle-Guenand. Making the castle his home, along with his partner and two dogs, it now duals as a chambres d›hôtes, or guest house and attracts guests on an international scale.
Prior to being purchased, the castle’s vacancy tag was short. Superficially, updating was a necessity considering its present use, though structurally speaking the castle was sound. Palluel’s idea of transforming the castle into a chambres d›hôtes has led to the upgrading of the plumbing, the electrics and the castle’s interior decoration. Sympathetic to the castle’s character and texture, local second-generation artisans, whose fathers also worked on the castle’s upkeep for the previous owners, were hired for their expertise and knowledge. Within the castle itself, guests are greeted by three large charming bedrooms, all with en-suite bathrooms. Each bedroom is fully equipped and benefits from the calmness of the countryside which surrounds the chateau. Within the grounds further accommodation awaits. Four charming and delightful gites – selfcontained apartments – have been painstakingly restored without damage to their medieval character. Sweeping panoramic views span countryside as far as the eye can see. The grounds of the chateau are picturesque and park-like. Ornamental trees punctuate wide expanses of manicured lawns and a 400 year Cedar of Lebanon seemingly guards what appears to be a piece of Eden. Chateau de La Celle-Guenand itself is well positioned on the side of a small hill, where since time immemorial it has supervised the valley and the quintessentially French country village nestled within it. For further information and bookings go to www.chateaucelleguenand.com
paris The capital of chic Words by:
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Ah Paris, the city of musical comedies, modern-art exhibitions, budding museums, creative boutiques, and unique restaurants serving everything from organic cuisine to fusion food. Paris has never stopped reinventing itself to surprise, charm, cultivate, and inspire you like no other destination can. Volver.pdf
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DesignHotel
KUBE The classy façade belies a high-tech interior bursting with innovation, including the “Ice Kube by Grey Goose”, the French capital’s first ice bar. Public spaces are dominated by themes of coolness and transparency while guestrooms exude an inviting ambiance of privacy and comfort. 1 Passage Ruelle 75018 Paris 00 33 1 42 05 20 00
The Marais district Discovering the Marais quarter starts with a visit to the Picasso Museum to avoid the crowds and take time to admire this vast art collection. Stroll to the nearby Place des Vosges and its arch-filled buildings. Have a coffee at Ma Bourgogne at 19 Place Des Vosges then visit the house of Victor Hugo that leads to the Rue Saint Antoine, where you can turn right and continue until the Bastille. Spend the afternoon in this neighborhood, including the hip shopping street Rue du Faubourg Saint Antoine. Seek out the Baron Rouge to relax over a glass of wine or a light meal.
Culture
Palais de Tokyo Since opening, the Palais de Tokyo art center has dedicated itself to bringing audiences the best of contemporary creativity. From February 19-May 16, the Pergola exhibition will be showcasing work by Valentin Carron, Charlotte Posenenske, and Raphael Zarka, as well as special projects by Serge Spitzer and Laith Al-Amiri. 13 Avenue du President Wilson Open daily except Mondays from midday to midnight.
Restaurantdesign Bon
In September 2008, Bon was relaunched with an entirely new décor by Philippe Starck as well as a new menu designed by chef Yannick Papin full of Asian inspiration and international influences. More than one visit is required if you want to really appreciate the four different and original settings created by Starck: lunch or dinner can be served in the vinothèque, the fireplace room, the boudoir, or the library (where you will be literally surrounded by books). The originality of the new design extends into the comfortable area designed for exclusively smokers.
Volver.pdf
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25 rue de la Pompe 75116 Paris Tel: 00 33 1 40 72 7000
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Designshopping
Addresses for fashionistas Boutiques American Retro
Ambre Babzoe
A-POC SPACE
8 Rue des Abbesses, 18è 10 Rue du Vieux Colombier, 6è.
14 Rue de Turenne, 4ème Tel: 01 42 77 01 14
47, Rue des Francs – Bourgeois, 75004 Tel: 01 44 54 07 05
China Lane
Manoush
Galerie Kreo
10 Rue du Jour / 75002 Tel : 01 40 26 56 15
75 Rue Vieille du Temple Paris 3è 12 rue du jour Paris 2
22, Rue Duchefdelaville, 75013 Tel: 0033 1 53 60 18 42.
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