01 02 03 04 05 06 07 08 09 10 11 12 13 Shopping 14 15 16 17 18 19 20 21 News 22 23 new shoots 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Architecture 42 43 44 45 46 47 48 49 50 Living 51 52 53 54 publisher : 55 56 57 City News Privilege 58 59 on behalf of Le Cercle Hitti 60 61 62 editor in chief : 63 64 Anastasia Nysten 65 66 67 managing editor : 68 69 70 Helen Assaf 71 72 73 editorial assistant 74 75 Susan Wilson 76 77 78 graphic design : 79 80 81 Peter Korneev 82 83 84 printer : 85 86 CHAMAS 87 88 www.3achamas.com 89 Design In Beirut 90 91 contributors : 92 93 Alia Fawaz 94 95 India Stoughton 96 97 Louis Parks 98 99 Lucy Knight 100 101 Miriam Dunn Art 102 Owen Adams 103 104 Susan Wilson 105 106 107 advertising : 108 109 110 sales@citynewsme.net 111 t: +961 3 852 899 112
, fresh design ideas and surroundings of lush greenery – this edition of Le Cercle is immersed in all the joys of springtime. What better time to see some of the world’s most dynamic new eco-architecture in its full glory? In this issue we explore the most amazing treehouses, as well as Stefano Boeri’s tree-clad urban highrise, and a villa enveloped in a cascading Thai forest. Delft blue and Dutch orange colors figure predominantly in the Andaz Amsterdam, where designer Marcel Wanders has melded his own panache in a respectful homage to past masters. We take stock of the true zeitgeist at Maison et Objet – the latest Paris expo concentrates on “vivant” (living) – and also B&B Italia’s strikingly minimalist award-winners in Cologne, Design Days Dubai and the rising stars brought into focus by Beirut’s superinnovative Starch boutique. Living isn’t living without some incredible scents, rooted in nature – and we explore the making of the deluxe Baobab candles that fill your home with exquisite fragrances. We also pay homage to the wondrous Togo and Michel Ducaroy, the creator of Ligne Roset’s most enduring furniture, 40 years on from the squishy modular seating’s conception. Are you sitting comfortably? Then we’ll begin.
PARK VIEW BUILDING, BOULEVARD DU PARC - BEIRUT T. +961 1 99 21 16 CHARLES MALEK AVE., ELLIPSE CENTER - ASHRAFIEH, LEBANON T. +961 1 20 00 01 W W W. W S A L A M O O N . C O M
the spring
wishlist
goes window shopping for some of this season’s must-have purchases.
Aquariusbottle
EggVase
Blown glass and metal
Marcel Wanders
H. 38 cm
Unglazed porcelain outside,
Vanessa Mitrani
white glazed inside Ø 9 cm x H. 14.5 Moooi
UpsideDown
DelftBlueNo.01
Christian Ghion
Marcel Wanders
Mouth-blown glass
Ceramic
Ø 30 x H. 29 cm
W. 18.5 x D. 11.3 x H. 41 cm
Ligne Roset
Moooi
BigBen Marcel Wanders Fiberglass with powder coated aluminum hands Ø 180 cm Moooi
accessories
LunaRossa
Nonrandom
Antonio Sironi
Bertjan Pot
Rusted surface, white lacquered
Fiberglass soaked in epoxy resin, powder
steel dome with LED lights
coated aluminum cap, reflector:
Ø 80 x H. 40 cm
shiny anodized aluminum
Ligne Roset
Ø 48 x H. 54 / Ø71 x H. 70 cm Moooi
Containerby Benjamin Hubert Matt enameled ceramic base and shade W. 16 x D. 32 x H. 40 cm Ligne Roset
Lugano Pierre Dubois & Alme-Cecil Light gray and white ceramic. White cotton lampshade H. 78 cm Roche Bobois
Lady Cedric Ragot Black, beige or brick-red lacquered tubular base. Double lampshade. H. 168cm Roche Bobois
Chiwawa Vincent Olm Set of 3 lamps with Epoxy black or white lacquered metal structure with touch dimmer. W.8 x D.13 x H.12 cm Ligne Roset
LIGHTING
Thibault Desombre
Nils
Base in natural solid ash, whitened
Didier Gomez
or with black or ash gray stain
Fabric or leather upholstery
W. 44 x D. 60 x H. 84 cm
Medium settee:
Ligne Roset
W. 186 x D. 102 x H. 62/64 cm Ligne Roset
Serpentine
Torii
Eleonore Nalet
Noe Duchaufour-Lawrance
Quilted ‘lumps’ interwoven
Structure in beech. Seat and armrests
with a delicate metal structure
in foam. Fully removable covers.
W. 78 x D.58 x H.74 cm
Armchair: W.68 x D. 55 x H.70
Ligne Roset
Footstool: W. 50 x D. 45 x H. 40 cm Ligne Roset
Folk
Gothic chair
Benjamin Graindorge
Studio Job
Structure, seat and back slats in black
Polyethylene
solid ash with a satin finish.
W. 44.5 x D. 46 x H. 90 cm
W.42 x D. 54.3 x H. 83 cm
Moooi
Ligne Roset
Elizabeth Nathan Yong Structure in black-stained ash. Cushions may be upholstered in different fabric. Settee: W. 126 x D. 103 x H. 95.5 cm Ligne Roset
SEATING
Aoyama
Teatime
Noe Duchaufour-Lawrance
Muller Wulff
Blue-colored toughened fused glass
Brilliant chromed structure.
W.112 x D. 81 x H. 37 cm
Exterior of top in sawn natural oak;
Ligne Roset
interior in satin pink lacquer. W. 57.7 x D. 64 x H. 35 cm Ligne Roset
Nemesis Ligne Roset Panels of particle board finished in natural or black-stained oak veneer. Base in epoxy lacquered steel with slightly grained finish. W. 174/292 x D. 100 x H. 74 cm Ligne Roset
Poppy Patterson Numero 111 Sawn natural oak veneer. Silk gray lacquered interior. W. 90 x H. 95 x H. 24.5 cm Ligne Roset
Itisy Philippine Lemaire Natural solid oak, sawn. Gray lacquered metal ball joints. Legs in solid oak. W. 110/186 x D. 110/54 x H. 75 cm Ligne Roset
Balls Bertjan Pot Oak veneer on honeycomb panel top, solid beech legs with powder coated steel fixings. W. 100 x D. 24o x H. 75 cm Moooi
SEATING
Altdeutsche Chest
Et Cetera
Studio Job
Pagnon & PelhaĂŽtre
Solid pine and pine veneer
Structure finish is white,
W. 135 x D. 50 x H. 190 cm
argile or elephant satin lacquer.
Moooi
Lacquered or oak veneer fronts. Various dimensional possibilities Ligne Roset
Element 005 Jaime Hayon Epp body upholstery in Divina Melange W. 72 x D. 28 x H. 40 cm Moooi
Alfred
Mangrove
NumĂŠro 111
Marco Fumagalli
Ash or natural oak. Divina acier.
Particle board structure in PMMA
Wood frame: W 52,
with tinted oak marquetry
Upholstery section W 74 x H. 170 cm
cladding, solid oak legs 4 door sideboard:
Ligne Roset
W. 220 x D. 50 x H. 73 cm Roche Bobois
Elements 006 Jaime Hayon Solid wood top, EPP base upholstered in Divina Melange storage space inside W. 50 x H. 45 cm Moooi
TABLES
Photo: Michel Gibert. Special thanks: Pierre Stéphane Dumas – www.bubbletree.fr; www.moaroom.com for Boskke Sky Planter; www.geror.com.
l’art de vivre by roche bobois
European Manufacture
Large 3-seat Blogger leather sofa, design R. Tapinassi & M. Manzoni. Cute Cut cocktail tables, design Cédric Ragot.
BEIRUT DOWNTOWN 33 rue Weygand Tel: +961 1 986 888/999 beirut@roche-bobois.com
See www.roche-bobois.com for collections, news and catalogues
Wo rds : Susa n W i l son
Le Cercle Hitti was Honored at the Lebanon Web Awards with its newly designed website winning the gold for the furniture category.
A
subsidiary of the pan-Arab Web Awards, the Lebanon Web Awards brings together and encourages the innovative spirit and skills of web designers in the country. Judged on its creativity, ease of use, content, aesthetics and interactivity, Le Cercle Hitti’s website rose to meet the challenge and was recognized with gold for its collaboration with Softimpact designs. Reflecting the high standards in design, innovation and style for which Le Cercle Hitti is renowned, the website can be viewed at www.cerclehitti.com
PUMPKIN armchair. Design: Pierre Paulin. Catalogue: www.ligne-roset.com
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W o r d s : S u s a n W i ls o n
B
&B Italia has come out triumphant as a winner in the renowned Interior Innovation Awards 2013 at this year’s Imm Cologne for two of its designs. The first, the Orione storage units and consoles, were designed by award-winning Italian furniture designer Antonio Citterio, and form part of Maxalto’s Orione Lux Collection. The second is the small armchair, Theo, designed by Belgian minimalist designer Vincent Van Duysen. Both designs will now be displayed prominently at a special installation of the Interior Innovation Award 2013, organized by the German Design Council.
EDWARD BARBER ET JAY OSGERBY CREATEURS NOW DESIGN A VIVRE Tobi Ishi ©B&B Italia
The brand also came out on top, winning the Interior Innovation Award – Selection for the Tobi Ishi table. Designed by one of this year’s designers of the year at Maison et Objet 2013 – British designers Edward Barber and Jay Osgerby – the design was honored for its special quality.
If you listen to your senses,
you’ll experience all that’s beautiful and exhilarating in this world. Rolf Benz MIO, where i feel good.
Design: Norbert Beck
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Maison et Objet
W o r d s : Owe n Ad a ms
POSSIBLY the world’s most astute barometer of design trends, the twice annual giant expo Maison et Objet returns to Paris with spring and summer’s theme: vivant - living.
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n many ways, the design tendency, evaluated by an observatory of experts, is a continuation, or a culmination perhaps, of the themes of ecology and nature identified last year. It’s a state of being where art imitates life, the result of “our dematerialized, virtual world… searching for a harmonious lifestyle that is more anchored in reality.” The analysts say: “We are rediscovering the primal force of original fodder.”
01_____ EDWARD BARBER and JAY OSGERBY CREATEURS, NOW DESIGN A VIVRE, Tab Lamp White, © DR
02_____ EDWARD BARBER and JAY OSGERBY CREATEURS, NOW DESIGN A VIVRE Poppins-DB, ©David Brook
03_____ EDWARD BARBER and JAY OSGERBY CREATEURS, NOW DESIGN A VIVRE PORTRAIT, ©Linda Browlee
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One of the three Maison et Objet’s NOW! Design à Vivre Designers of the Year were the British duo Edward Barber and Jay Osgerby. The industrial designers create on a diverse scale – from bespoke one-offs to mass-produced objects, such as a new twopound coin. “We’re actually making money,” marvels Barber. They were chosen to design the 2012 Olympic torch. The 8,000 perforations in the torch reflected the 8,000 people carrying it in an 8,000-mile relay. “We are interested in doing things that are more inclusive,” says Osgerby. They have a crazy dream to marry sculpture and architecture for a bridge stretching from Britain to France.
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JOSEPH DIRAND
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Maison et Objet’s interior designer of the year comes from the same city as the grand expo. Dirand is inspired by the changing Parisian skies which he watches from his lofty office. Architecture and design is in his blood – the son of an interiors photographer, he developed a fascination with Le Corbusier, the gardens of Versaille and India as a child. “I do not consider myself an inventor,” he says, “more a translator.” The materials are vital. “I started using marble with veins and suddenly I had opened the field to an incredible range of new living, poetic materials,” he enthuses.
01_____ JOSEPH DIRAND CREATEUR, SCENES_D_ INTERIEUR_Distrito_ Capital-© Adrien_Dirand
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02_____ JOSEPH_ DIRAND_CREATEUR_ SCENES_D_INTERIEUR_ Artcurial© Adrien_Dirand
03_____ JOSEPH_ DIRAND_CREATEUR_ SCENES_D_INTERIEUR_ Emilio_Pucci-©Adrien_ Dirand
04_____ JOSEPH_ DIRAND_CREATEUR_ SCENES_D_INTERIEUR_ Rick_Owens-©Adrien_ Dirand
05_____ JOSEPH_ DIRAND_CREATEUR_ SCENES_D_INTERIEUR_ PORTRAIT_©Adrien_ Dirand
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06_____ ODILE DECQ MACRO TERRASSE NUIT ©Roland Halbe
07_____ ODILE DECQ GUZZINI FOOD DESIGN bread basket 2010
08_____ ODILE DECQ CREATEUR MO ©ODBC LYON ext
09_____ ODILE DECQ CREATEUR MO Portrait ©markus deutschmann
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ODILE DECQ
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French architect Odile Decq is named as Maison et Objet’s Designer of the Year. Having reached such a pinnacle is a particular feat for a female designer. “I don’t know if imposing one’s creations is what is hardest for a woman,” she ponders. She lives up to her ideal of a woman who makes “things of great scale and great power” – her current projects include a museum in China and three wholly glass houses in Brittany, France – but is also a prolific sculptor, and has designed everything from lamps and doorknobs to silverware. “Through architecture you can express things that allow human beings to live well… Through art you can speak politically,” she muses.
01_____ Nourritures Premières by Elizabeth Leriche, GEKE WOUKERS_ vegetables, ©Geke Woukers
03_____ Nourritures Premières by Elizabeth Leriche, Baked Table, ©Andere Monjo
02_____ Nourritures Premières by Elizabeth Leriche, Spalsh, ©Jean Jacques PALLOT Milk Factory
04_____ Terra Cota by Talia Mukmel, © Talia Mukmel
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05_____ Nourritures Premières by Elizabeth Leriche , MGX by MATERIALISE dragonfly, © MGX by MATERIALISE
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W o r d s : I n d i a S t o u ght o n
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Now in its second year Design Days Dubai has already succeeded in forging its own identity amid a plethora of international art and design fairs, more of which seem to spring up each year. Fair director Cyril Zammit shares some secrets to the fair’s success. 01_____ Industry Gallery Tom Price Bronze Chair
02_____ Industry Gallery Antonio Pio Saracino Molecular Chair
03_____ Broached Commissions Chen Lu Dream Lantern 4
04_____ BC Trent Jansen Briggs Family Tea Service 2
05, 06_____ Carwan Marc Baroud_1
“M
iddle Eastern design is still the last virgin territory in the design world,” announces Cyril Zammit, director of the fledgling fair Design Days Dubai (DDD), which opened its doors to the public for the first time last year. “We all know American, Asian, European design, but not many people know about Middle Eastern design, so it gives us an extra plus.” Now in its second year, DDD is the only design fair in the world to showcase contemporary design from six continents. Like Art Dubai - also part of Dubai’s multifaceted Art Week, which takes place in late March every year - the fair has an international outlook, but retains a unique character of its own due to its regional slant, with nine of the galleries out of the 29 participating in 2013 hailing from the Middle East. Zammit prefaced this year’s edition by giving a lengthy series of talks with artists, collectors, galleries and press in
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01_____ Stilwerk Moto OV by sgrollvidal 2009
02_____ Stilwerk Oskar Zieta Plopp Standard copper family 2009
Lebanon, Saudi, Kuwait, Qatar, Dubai, Abu Dhabi, Berlin, Paris and London. “It’s important for us to have an understanding in the region about what we’re doing,” he explains, “because when we mention design, a lot of people are thinking about design as an end-of-line piece, more interior design... we don’t necessarily want to be seen as a furniture shop. Of course you’ll see pieces that are chairs and tables, and we have the functionality of design, but we are a very artistic aspect of it, which is like a new form of art.” Many galleries these days are blurring the lines more and more when it comes to what constitutes art and what constitutes design, but Zammit sees the distinction as something that ultimately stems from the buyer, rather than the artist. “I think it’s up to the person who says what they want to do with the piece,” he says. “Let’s say you take a chair... it depends how
03_____ Art factum gallery marilyn massoud rasha nawam buildings
you want to use it, if you want to use it like a decorative piece - almost like a sculpture or you decided to potentially use it... it’s up to you to do what you want with a piece you are buying.” Zammit has an egalitarian approach to the fair when it comes both to sellers and buyers, refusing to impose restrictions on who can participate, or to cater only to the ultra-rich. A range of pieces priced between 5,000 and half a million dollars makes DDD more accessible than many fairs for young collectors on a budget, while young galleries are also welcome to exhibit. “You never normally show in a fair if you’re less than three years old,” says Zammit. “For me it’s not necessary... if you’re a young gallery, you probably have less collection to show than a more established gallery, but if you’re good you’re good.”
LE CERCLE BEIRUT - AN NAHAR BLDG DOWNTOWN MARTYR SQUARE T.+961 1 971444 555 ZOUK HIGHWAY T. +961 9 217744/55
Concept and Styling Collage Studio. Photo Fabrizio Bergamo.
MAXALTO IS A B&B ITALIA BRAND. COLLECTION COORDINATED BY ANTONIO CITTERIO. INFO@BEBITALIA.COM WWW.MAXALTO.IT
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E’Terra, Ontario, Canada Lavender Labyrinth in the middle of the cedar forest Photographer Clay Dolan
Scenes of
green With land scarce and the environment under threat, a number of today’s designers are putting sustainability at the heart of their projects Words:
T
m i r i a m
d u n n
he difficult challenge countries face in finding a balance between protecting the environment and driving new development is one that often grabs the headlines, stirring up emotion among both green lobbyists and business leaders. Yet, while discussions rage on about how we can preserve the world’s natural beauty while encouraging economic growth and housing a growing population, a wave of developers are already flying the flag for sustainable development, ensuring projects fit perfectly into their surroundings and are eco-friendly, helping to bring a little of the countryside to the city.
The mountainous terrain of the Rockies certainly meant Voorsanger Architects had their work cut out for them when they took on the challenge of creating a sustainable project in Aspen at an elevation of 9,200 feet. Yet, the Wildcat Ridge Residence has proved to be a major success, offering its guests maximum views of the mountains while slotting in perfectly on the glorious landscape through the use of large expanses of exterior glass. The design includes a dramatic, folded plate roof, together with an immense moss rock wall that marks the division between the east and west wings of the building. By cleverly following the longitudinal parallel of the crest of the mountain, the design never competes with the scale of the mountains, but instead complements them. Guest bedrooms have an eastern orientation, with views of the receding mountain ranges. The decor includes exquisite black walnut finish for the floors, walls and ceilings, while the exterior uses local sandstone and stucco. Geo-thermal wells and a generator provide the house with sustainable energy, heating the driveways, pool and house during the cold winter months, while cooling the space during the summer.
“I haven’t designed a treehouse since my childhood, let alone built a restaurant in one... now that it’s completed, I’m really proud of the way it’s turned out.” So said Peter Eising of Pacific Environment Architects, after designing the Yellow Treehouse project, which is located on a site north of Auckland. The Yellow Treehouse concept came about through a competition launched by advertising giant Yellow to build a working restaurant ten meters high in a redwood tree. Raised above an open meadow and meandering stream on the edge of the woods, the treehouse has a fairy-tale feel to it, which will delight diners. It exudes an affinity with nature, thanks to its timber-trussed, pod-like shape, which is wrapped organically around the trunk but never dominates its setting, giving off a welcome glow in the evening but remaining semi-camouflaged during the day. The finishing touch is a delightful ‘Juliet’ deck opposite the entrance, which offers amazing views down through the valley. Access is via a 60m tree-top walkway, which is described as an adventure in itself.
Planners have long recognized the merits of building upwards rather than outwards to avoid encroaching further on the countryside, but maintaining a green and scenic skyline while doing so has proved to be something of a challenge. The innovative Bosco Verticale towers, designed by Stefano Boeri Architects, not only address this issue but also introduce a means of promoting urban biodiversity, which could help ensure the environmental survival of modern cities. Translating as Vertical Forest and located in central Milan, Bosco Verticale takes the form of two residential tower blocks 80 and 112 meters tall, which also hold over 700 trees and thousands of plants and shrubs. The urban ecosystem is expected to create a vertical environment, which will eventually become home to birds and insects, helping to encourage the recolonization of the city by vegetation and by animal life. As well as providing a restful and relaxing home environment, the towers optimize, recuperate and produce energy, absorbing CO2 and dust particles, while generating oxygen.
What better way to ensure visitors are completely at one with their ambience than creating a residence that envelops and embraces its surroundings? Villa Amanzi, which is located in the exclusive Cape Sol on the West coast of Phuket, does exactly that. A stylish, yet relaxed getaway, the luxury villa has been built into the world-famous granite rock face along the north boundary, which serves as a unique and spectacular natural wall to the dwelling. Guests will certainly feel they’ve left the hustle and bustle of city life behind them, thanks to the winning combination of ultra-modern contemporary design, stunning ocean views and natural forest that covers the location’s Kamala headland. The villa boasts six en-suite bedrooms, all offering unobstructed panoramic sea views, while the lower level has a massage area and adjacent jacuzzi bath. A sloping tropical garden and 15m infinity-edge swimming pool are two additional delightful features, with the former providing a stairway down to the expansive sea.
Entrance surrounded by stone walls
Described in equal measure as an environmental eco travel destination, a private getaway, a wellness retreat, and a spiritual hideaway, E’Terra has clearly touched its many visitors in a variety of ways. Nestled amongst the white cedar trees of the Niagara Escarpment World Biosphere Reserve at the tip of the Bruce Peninsula, the luxury villa estate, which champions an environmental holistic design and prides itself on its small ecological footprint, has been crafted from salvage timbers and stone. The estate is set on 700 feet of Georgian Bay shoreline, offering visitors the luxury of an ancient coral reef, alongside the wonders of its plentiful wildlife, which come right up to the residence, and famous walking trails. Central to the concept of E’Terra is its mandate of mental, sensual, physical and spiritual wellness. The estate includes superb dining options, together with plenty of ways to relax, including a vast library, massages and holistic treatments, which are offered by local registered practitioners. Visitors will also love the seasonal salt water pool reservoir cloaked in waterfalls, which provides an alternative to the natural waters of Georgian Bay and owes its trapezoid shape to the glacial scour in which it was designed.
Photographer Clay Dolan
Words:
S u s a n
W i l s o n
V
ery few 70s cult pieces can be said to have stood the test of time, but Michel Ducaroy’s 1973 sofa design, the Togo, has done just that. A true bête de mode that this year celebrates 40 years as a style icon, the Togo was launched the same year as the launch of the brand Ligne Roset. It won the René-Gabriel Prize for
‘innovative and democratic furniture’ in 1973 and has gone on to be produced in a quantity of 1,280,000 pieces worldwide that have sold in 72 countries. Ducaroy’s vision for the Togo has unusual yet fitting origins for a piece so democratically designed, being described as, “A tube of toothpaste folded over on itself like a stovepipe and closed at both ends.” And
1 280 000 PIECES PRODUCED WORLDWIDE
TIMELESS ALLURE
A SEVENTIES CULT PIECE
GRAND PRIX DE L’APPM, 2004
RENÉ - GABRIEL PRIZE, 1973
“Since 1973, Togo has already wor ked its magic on two generations: t he t hird doesn’t have t o wait eit her ! ”
A BUTTONED SILHOUETTE
6 HOUR PRODUCTION TIME FOR A LARGE SETTEE IN LEATHER
CONSTRUCTED FROM 3 DIFFERENT DENSITIES OF FOAM
ALSO AVAILABLE IN A CHILDREN’S VERSION
CHOICE OF 899 COLORS OF FABRIC AND LEATHER
MADE FROM 8 DISTINCT CUT PIECES
“A tube of t oot hpaste folded over on itself Like a st ovepipe and closed at bot h ends.” Michel Ducar oy
so the Togo’s distinctive squished down signature look was born. Part of the Togo’s enduring appeal lies in its ability to be customized to suit every home. Not just in color, of which there are 899 choices in fabric and leather, but also in layout. The Togo comes in seven modules: large settee, small settee, settee with arms, fireside chair, mini-togo fireside chair, corner seat and footstool. Each of these modules can be used as independent
seating, or arranged together as corner seating, a U shape or indeed any layout you desire. These handcrafted modules – the upholstery process for the large settee takes four or six hours for fabric and leather respectively – allow the Togo to fit into any home and style, keeping the 40 year-old sofa timeless and universal.
Comfortably
supreme The Togo continues its reign of style W o r d s : O w e n A dams
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aking pride of place at the latest Maison et Objet was a 40-year-old design icon, a chaise updated in alcantara upholstery with a digital houndstooth pattern –an enduring classic of sublime desire, more than 1,280,000 sales down the road. The Togo represents a supremely comfortable revolution that has cradled successive generations. Michel Ducaroy first teamed up with walking sticks and chair manufacturers Ligne Roset in 1954, but it was in 1973 that he – and Ligne Roset - truly arrived with the Togo, an all-foam settee with quilted cover. The pleating formulated the pleasure principle – between three and five different densities of polyether producing the frame, allowing ergonomic shape and comfort - and the supreme modular seat cushions have adorned the living rooms of the elite ever since. Ducaroy was born into a family of designers, and loved to experiment with new materials since he struck out on his own in 1952. His fusion of savoir-faire with dynamically new industrial technology chimed with the Ligne Roset ethos.
Ducaroy died aged 84 in 2009, 20 years after receiving the ultimate French honor, the National Order of Merit. In his 32-year career with Ligne Roset he designed many other significant pieces, starting with the Adria in 1968, one of the first modular chairs shaped entirely with foam, then the Kashima, Marsala and Safi. But his name will always be synonymous with the 1973 Togo, the apex of modernism and the synthetic age. Unlike many other 1970s creations, post-modern condescension has never consigned the Togo to the kitsch-ironic drawer – and polyester remains queen of quilting. In 2007, Ligne Roset miniaturized its best-selling classic to create the Mini Togo for children, and shrunk the low-rise seating further for babies and toddlers. Togos for all ages come in an ever-expanding range of colors and designs, from the fireside chair for one, loveseat for two, to sofa/ settee with or without arms, corner seat and ottoman. Ducaroy remains the high priest of laidback leisuredom.
Photo: Michel Gibert. Special thanks: TASCHEN
European Manufacture
Correspondances storage system. Mah Jong modular sofa, dressed in fabrics, design Hans Hopfer. Domino rug, design for Roche Bobois.
BEIRUT DOWNTOWN 33 rue Weygand Tel: +961 1 986 888/999 beirut@roche-bobois.com
See www.roche-bobois.com for collections, news and catalogues
l’art de vivre by roche bobois
SIMPLICITY SOUNDS BETTER Geneva All-In-One Entertainment System
GENEVA SOUND IS “FURNITURE MUSIC” – A RENEWED FUSION OF HOME ENTERTAINMENT AND HOME DÉCOR THAT BRINGS TECHNOLOGY AND DESIGN FULL CIRCLE. -
Geneva reproduces recordings exactly as their Grammy and Oscar-winning creators intended. Great sound and design with no complications. SIZES: XS, S, M, L and XL MODEL FINISHES: Hand-lacquered wooden cabinets in Red, White, Black, or Walnut.
Visit LCH to experience Geneva sound products. SHOWROOM: LCH, Martyr Sq. Downtown. An Nahar Bldg. Beirut, Lebanon T: +961 1 971444/555 lecercle.bey@cerclehitti.com; www.cerclehitti.com Distributed by
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Changing rooms Feel like a spring revival? Check out Le Cercle’s stylish ideas for ways to ring the changes in your home.
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1_____ Felt by Delo Lindo for Ligne Roset
6_____ Contours by Didier Gomez for Ligne Roset
2_____ Desa by Pierre Charpin for Ligne Roset
7_____ Elysée settee by Pierre Paulin for Ligne Roset
3_____ Contours by Didier Gomez for Ligne Roset
8_____ Elysée pedestal table by Pierre Paulin for Ligne Roset
4_____ Bloom by Hiroshi Kawano for Ligne Roset
9_____ Trépied by Normal Studio for Ligne Roset
5_____ Felt by Delo Lindo for Ligne Roset
10_____ Mortaise by Yota Kakuda for Ligne Rose
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15_____ Mixte by Mauro Lipparini for Ligne Roset
12_____ Gavrinis by Pierre Paulin for Ligne Roset
16_____ Ami de Jean by Gabriela Chicherio for Ligne Roset LAMP
13_____ Ploum by Ronan & Erwan Bouroullec for Ligne Roset 14_____ Mobidec by Pierre Charpin for Ligne Roset
17_____ Folk by Benjamin Graindorge for Ligne Roset 18_____ CrĂŠneau by Elia Gilli for Ligne Roset
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6_____ Precious by Cédric Ragot for Roche Bobois 1_____ Icone by Cédric Ragot for Roche Bobois
4_____ Focus by Philippe Boux for Roche Bobois
2_____ Voiles by Maurice Barilone for Roche Bobois
5_____ Impresario by Roberto Tapinassi & Maurizio Manzoni for Roche Bobois
7_____ Reverb by Cédric Ragot for Roche Bobois 8_____ Monster chair by Marcel Wanders for Moooi Andaz Hotel - Netherlands, Amsterdam, design by Marcel Wanders, photography by Peer Lindgreen
3_____ Mangrove by Marco Fumagalli for Roche Bobois
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10_____ Cute cut by Cédric Ragot for Roche Bobois
11_____ Alster by Emmanuel Dietrich for Ligne Roset
13_____ Arobase by Cédric Ragot for Roche Bobois
12_____ Lantern by Mathias Hahn for Ligne Roset
14_____ Ponyo by Cédric Ragot for Roche Bobois
15_____ Waterline by Cédric Ragot for Roche Bobois
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A home For All Seasons Words: L o u i s Photos:
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e Cercle’s latest project by Dori Hitti, a stunning chalet in Faqra, provides the perfect example of the designer’s minimal style and attention to detail. Designed to make the most of Lebanon’s long summers as much as the stunning scenery we enjoy at this time of year, the chalet is a bespoke, year-round family home. The ground floor comprises a kitchen with hidden storage units, cleverly kept out sight behind detailed panels that open when pressure is applied; a wide living room featuring a five-meter long sofa, a television that turns into a mirror when turned off, and a stunning, narrow fireplace. The guest bathroom features a stand-alone
washbasin where the waterspout hangs from the ceiling to create a truly unique feature. A striking storage system for wine bottles starts at the floating bar and progresses onto the second floor, where Hitti envisages it being used to display books in the family room above. Made from metal with a dark finish, this ingenious system shadows the floating staircase leading to the second floor, providing subtle lighting and privacy for those heading upstairs. The family areas on the second floor are typical Dori Hitti, clean lines and clever use of space though further hidden storage units underline the modern, fresh feel of the residence. Private, yet also personal, the space includes a bedroom for two children, a master bedroom, bathroom and a communal area. Hidden by the snow, the outside decking area leads onto a landscaped garden, allowing the family to enjoy the stunning mountain views in the summer time. Exuding modern, clean lines throughout, this Faqra chalet embraces the very best of modern, minimalist design principles, while remaining a warm, family-oriented space.
01 02 03 04 05 06 07 08 09 10 11 12 13 Shopping 14 15 16 17 18 19 20 21 News 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Architecture 42 43 44 45 46 47 48 49 50 Living 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 Words: L u c y K n i g h t 71 72 73 74 75 76 77 78 79 n the very center of 80 81 Amsterdam, on the site of a 82 former public library, now 83 84 stands the Andaz Amsterdam, 85 86 the latest addition to a global 87 88 hotel family. Located on the 89 Design In Beirut 90 Prinsengracht, a UNESCO World 91 Heritage listed ring of canals, the interiors 92 93 purposefully provide a reflection, not only 94 95 of the surrounding city as it currently 96 97 stands but also of its history. 98 99 The design for the interior 100 101 of the hotel was left in the hands of Art 102 famed and ubiquitous designer 103 104 Marcel Wanders, who has exhibited 105 106 at the Museum of Modern Art in 107 108 New York, and the V&A Museum in 109 110 London. Wanders is not only a 111 local but also an expert in sleek 112
Amsterdam Ahoy
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and modern portrayals of traditional designs. The theme of the hotel is travel and Wanders has tackled this through representations of the nautical, navigation and adventure. Taking such a neoteric approach has created a hotel not only with the vibe of an old city but with the sleekness of the 21st century. There are 117 artistically designed guestrooms and five suites, each containing a representation of Holland’s cultural heritage, with associations such as Dutch Delft Blue, tulips and the color orange, wallpaper in blues and white, avant-garde orange armchairs, and probably the most futuristic, the ‘Connected Polarity’ images appearing on each room’s back wall. For these images Wanders has taken two inanimate and
Above right: ANDAZ Lobby
RIGHT: ANDAZ Canal View King
ABOVE: ANDAZ Lounge
RIGHT: ANDAZ Observatory
unrelated objects that can be joined symmetrically with the three x’s of Amsterdam’s flag: a spoon and fish, a brush and fish, a vase and fish, all sitting contentedly side by side – a representation of creativity and tolerance. The crowning glory is the tribute to travel that can be found in the ancient navigation technique of following the stars in the hotel’s ‘Observatory’, which consists of an array of large, low-hung, lit baubles and chandeliers. Sumptuous blacks and grays, deep blues, velvets and glass, are all set to inspire a guest, whether in the bar, restaurant, lounge or just the lobby. The Andaz Amsterdam offers a unique experience and thus will delight the palate of even the most jaded and worldweary traveler searching for that elusive something different.
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Photo: Michel Gibert. Special thanks: Pots www.serax.com; TASCHEN
European Manufacture
Interview modular sofa, design Sacha Lakic. Features integrated USB port and position memory Features integrated USB port anddigitallycontrolled digitallycontrolled position memory feature for independent control of the seats and backrests. feature for independent control of the seats and backrests. Vador low tables (4 shown), design Carlo Zerbaro. BEIRUT DOWNTOWN 33 rue Weygand Tel: +961 1 986 888/999 beirut@roche-bobois.com
See www.roche-bobois.com for collections, news and catalogues
l’art de vivre by roche bobois
Baobab Collection The Making of Candles Words:
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ach and every one of Baobab’s candles is a unique creation. The handmade perfumed candles are the work of expert craftsmen who pour the hot colored wax into distinctive vases blown by glassworkers, and fashioned pristinely straight through cold cutting and hand polishing. The raw
materials of the candle are chosen to the highest of standards, with fragrances from a Grasse perfumery, mineral and non-oily wax, and wicks made of Egyptian cotton. The candles are available in a selection of five sizes – including the “Maxi Max” candle, a stunning 40 cm high and 10 kilo masterpiece that will produce its light and perfume for a thousand
hours. The wicks of the candles are placed in glass, colored glass and stainless steel holders with the hot wax poured into each. A wooden beam placed across the top of the candle holder then keeps the end of the wick out of the cooling wax. Once cooled, each container has a label placed on it, and a black ribbon tied around the holder, both by hand. To complement this minimalistic decoration, each candle is
then placed in the distinctive Baobab black box, designed by a Belgium craftsman and enclosed with buckram paper. With its origins in the African landscape of Tanzania back in 2002, Baobab since moved its base of production to Belgium in 2004, and, with almost a decade to its name, Baobab is now leading the way in the production of elegant, richly perfumed decorative candles.
Gravity Lamps An artful approach to lighting Words:
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esigned with nature’s forces in mind, Dori Hitti’s Gravity Lamps seem to teeter on the edge of possibility. Resembling a tower of boxes just about to collapse, the Gravity Lamps are as much a piece of sculpture as a source of light. Where the inspiration came from, Hitti isn’t quite sure, perhaps a set of boxes about to fall, perhaps the soaring, contemporary towers of the UAE, wherever the genesis lies, the result is a striking piece of art. Envisaged as a sculpture rather than a light, the Gravity Lamps are an
inspiring line, perfectly blending form and function and something Hitti is justifiably proud of. The idea that gravity holds the world together, yet also creates limits, limits that must always be tested, enabled the designer to create something truly unique. Available in three sizes and color combinations, from chrome to a dark, brushed steel and finally red, the pieces are a limited edition, and each one is signed and numbered. Sure to appeal to the art lover in all of us, the Gravity Lamps are at once eyecatching pieces of art and a contemporary lighting solution.
Designers of
substance STARCH unveils its new batch of homegrown creative talent Words:
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t’s a pioneering fashion/design project in Lebanon with a name that represents a white, odorless substance. However, Starch is anything but dull as it is arguably the single biggest supporter of emerging creative talent in the country, started by renowned fashion designer Rabih Kayrouz and Tala Hajjar five years ago, in collaboration with Solidere. For this 2013 fashion year the Starch foundation showcases some of the most promising new talent each with their signature style. The new candidates (they are rotated each year) are guided through the process of developing their collections as well as promoting them through communication and marketing while being given retail experience, thanks to the use of a store in the heart of Beirut’s vibrant art and culture district - Saifi Village. Like the name of the foundation, the designers behind it represent the qualities of the chemical substance it stands for: a hardening or
01 02 03 04 05 06 07 08 09 10 11 12 13 14 Shopping 15 16 17 18 19 20 21 22 News 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Architecture 43 44 45 46 47 48 49 50 51 Living 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 bonding component in the textile industry. 74 75 Metaphorically, the designers symbolize the 76 77 component parts and creative agents for the 78 79 burgeoning fashion and design industry in Lebanon. 80 81 This year the creative brat pack is led 82 by Stephanie Moussallem, a product designer by 83 84 profession, who helped re-design the boutique 85 86 giving it an industrial edge. She took inspiration 87 88 from a local beer factory (961). Using a large 89 90 Design In Beirut wall panel as the backdrop, she recreated the 91 same metal pipes as the brewery to protrude 92 93 from the life-size picture and continue 94 95 throughout the store doubling as railings for 96 97 the clothes.“I wanted to contradict the idea 98 99 of what a boutique should look like, but 100 101 while making it practical and aesthetic as 102 Art possible,” she explained. This design 103 104 philosophy is also apparent in her 105 106 beautiful collection of magnifying 107 108 glasses and marble and brass desks 109 110 produced for the store. 111 112
Bashar Assaf brings an eclectic range of ladies ready to wear that is inspired by geology. “I’m really interested in the metamorphism of rocks,” he tells us. This passion was developed into customized prints, giving his collection a somewhat sci-fi flair. Assaf, who also works as a stylist for production houses in Lebanon and Saudi Arabia, wants to focus more on prints next season and begin his first menswear collection.
Perhaps the most experienced of the crew is Sevag Dilsizian, having worked in jewelry making for two decades. He launched his first collection of unisex statement rings titled DAS, which means “to give” in his native Armenian. The rings are all made with brass as the main metal then mixed with gold and black rhodium. Each ring comes with a name and a small story, making the bearer feel special with the poetic themes and intricate handcrafted designs. Striking with the strongest commercial appeal is Hussein Bazaza’s first ever collection, which features plenty of elaborate pieces in dramatic cuts using velvet, knit crochet and even brocade in rich colors. Bazaza also teaches the craft at ESMOD – the country’s leading fashion school. Another designer also with Armenian heritage is Celine Der Torossian who could easily pass for a model. She produced a successful fashion installation and collection launched at the SMO gallery last year. For her first Starch collection, she drew upon art deco and geometrical references and created shapes from neoprene fabric (commonly used for Scuba gear) pressed onto various beautifully tailored black jersey wardrobe separates. Clearly the members of the Starch team bring their unique stories with their dazzling creations. To view this design team’s Spring/Summer 2013 and second collection, visit STARCH boutique located at 1051 Quartiers des Arts, Saifi Village (www.starchfoundation.org).
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Joanna’s Table Words:
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he brainchild of friends Dalia Dogmoch and Racil Chalhoub, the concept boutique was designed to feel like home. The successful venture in Beirut provided the launching pad for the Kitsch Cupcake bakery in Dubai, expanding the concept beyond Lebanon. Here in Beirut Kitsch is definitely a place to visit, not just to explore all they have to offer in terms of fashion but also for delicious home-cooked fare. Breakfast, brunch, lunch, tea, coffee, cakes and an early dinner are all on offer at Joanna’s Table in the Kitsch boutique. The restyled space, with bright white tables, was designed by the talented Joanna Debbas, to provide a light and comfortable space for people to sit and enjoy her delicious home cooking.
Still the place to come for a cupcake – the Nutella cupcakes are a particular favorite – Joanna also provides delicious traditional Lebanese foods, along with pastas, burgers, seafood and more in a constantly updating and refreshed menu. Her mantra: always use the freshest ingredients. She even sells healthy snacks, dried fruit and herbs, and has recently collaborated with Chef Karim Haidar and Boutique Wineries of Lebanon creating a special menu for meat and seafood lovers at the Kitsch Boutique. To keep abreast of the delicious food on offer and the special menus, follow the updates on www.facebook.com/ KitschConceptStore, and make sure to head down to Joanna’s Table for whatever tickles your fancy.
PlanBEY a must-see in Mar Mikhael is Plan BEY, Beirut’s counter to the rise of mass production in artistic work.
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lan BEY produces publications and objects in limited runs through its work with local artists, designers and artisans. These works, created primarily by Beirut or Berlin-based artists - where they have a sister boutique called B/B Multiples - are produced in ways that would be too expensive for large scale manufacturers, and are sold exclusively in the boutique. Working with various handprinting techniques - such as manual press printing with photo-engraved plates, silkscreen and wooden stamps - the boutique is one of the few places in Beirut where you will come across such artisanal production. Equally impressive, they also employ various hand-binding techniques on their ‘Pictogram’ line and other artist publications. These manual techniques, in limited runs, produce end products that are
more personal and artistic in keeping with Plan BEY’s philosophy. An on-going project “Les Tiroirs des Photographes” comprises the work of young professional and amateur photographers, creating the chance for these artists to engage with the public in a limited run of one-off images. This is complemented by Astray, which was launched in September last year, featuring work from more established photographers in Beirut, Berlin and Copenhagen – the latter being the location of another sister boutique, Korridor No. 33 – which is available at each of the boutiques. A chance to immerse yourself in a cultural concept boutique in the heart of Beirut, Plan BEY is a place not to miss. Find out more at www.plan-bey.com
PrussianBlue
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ocated in Mar Mikhael, Prussian Blue, a natural beauty product boutique, will be one year old this March. Gorgeously designed in part by owner Yasmine Ghandour, the boutique houses products from Lebanon and around the world with local organic soaps Ambrah and Scotland’s Arran Aromatics just a few of the brands represented. All its beauty items are natural with most of their brands organic and every beauty product stocked in the boutique - from Lebanon, France, Jordan, Scotland and Denmark - free from animal testing. Not to worry though, Prussian Blue has tested each and every product on family and “they seem fine.”
Every beauty product you could desire for the body and face is available at the boutique: creams, scrubs, salts, masks, serums, shower gels, soaps, hand wash, hand cream, mud masks, body milk, oils, sun cream, contour des yeux and more. It is also a great place to visit if you are looking for a gift for that special someone, with ceramic plates and baskets that can be filled with whatever you desire or gift cards for those not quite brave enough to pick out beauty products themselves. Open Monday to Friday, 10am to 7pm and Saturday from 11am to 7pm, the boutique will soon be moving online at www. prussianblueshop.com. In the meantime get down to Ashrafieh and enjoy perusing all this charming boutique has to offer in person.
W o r d s : Susan Wilson
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orn in Al Ghazieh, Chafa Ghaddar studied Visual Arts at ALBA before embarking on a freelance career in wall painting. Her most recent work, Spectrum, was exhibited during Exposure 2012 at the Beirut Art Center from November 15, 2012 to January 23, 2013. The city of Beirut and her childhood home form the focus of Ghaddar’s work. During her years of study at ALBA, Ghaddar moved from a focus in painting to the discovery of photography, though as she says of herself, “I cannot say I am only a photographer nor only a painter, I’m a fine artist that works with both mediums.” In February last year she attended an intensive course on fresco and traditional painting techniques in Florence, prior to the creation of her own fresco in Beirut Art Center’s recent exhibition.
Ghaddar, who is “extremely fascinated by the fresco technique,” sees it as a homage or extension of some of the first acts of artistic discovery. “The very first humans used raw natural color pigments,” says Ghaddar, explaining her fascination with the technique’s anthropological history and her own effort to project it onto contemporary times. It is also a process. It took Ghaddar nine days to execute this 80 square meter fresco, and she worked at it from seven in the morning to almost midnight every day. The fresco technique involves a mural painting on freshly laid lime plaster which acts as a vehicle for the pigments. In Ghaddar’s case she used mineral charcoal and ashes to evoke the memory of the fire that raged through her childhood home back in 1985, and red and black iron powders to echo the erosion. The mix of the wet mortar and the air that dries the pigments in turn produces the scent of mould.
That process is part of what led Ghaddar to utilize the buon fresco technique in her latest work. Her concept, this strive to regenerate and capture the fleeting reality of her home in the face of ongoing degradation, is well suited to the nature of the fresco process. Speaking on fresco Ghaddar says, “I believe it is a very organic or living material … something that lives with the space in a very engaged way … everything ages with time and is [subject] to degradation but the fresco is a process while it’s being built until the final, the end of an execution, it’s a process that keeps living and creating itself constantly.” Her fresco in Spectrum represents the ongoing degradation and shifting reality of her childhood home but the concept behind it is one Ghaddar intends to invoke across the city of Beirut, transcribing it onto a bigger scale and wider audience.
Shooting the and other artistic absurdities Words: :
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Nadim Karam’s solo show at Ayyam’s new London gallery explored the absurdities of life, love and war.
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ebanese painter, sculptor and urban artist Nadim Karam has been making waves worldwide with his sculptural urban art for decades. It is no surprise then that Ayyam Gallery chose Karam to represent art from the region during Ayyam’s inaugural exhibition in London, its first location outside the Middle East. In many ways Ayyam and Karam seem made for each other. “Ayyam is pushing the limit like I do,” says Karam, with a laugh. “The more I do challenging things the more I find that they’re doing the same... it’s by both of us pushing in different directions that we’re able to strengthen and move forward.” For Ayyam’s grand opening Karam put together a collection of his whimsical, child-like paintings, in which cheerful colors and simple, outlined shapes are contrasted with adult themes such as
war and death. “I’m trying to show the way I grew in the region,” the artist explains. “I see lots of things happening around me - war and other things - as being absurd. They just repeat themselves - we are not able to get beyond them.” The resulting paintings are engagingly surreal, stimulating the viewer’s imagination. “Hold Your Tears” shows a genderless white figure in front of a featureless khaki background. On his hairless head a tiny black elephant - a recurring motif in Karam’s work for many years now - is perched precariously, as though about to slide off. From his eyes two enormous protrusions, like sacks full of grain, extend forward on narrow stalks before ballooning out and down. One impossibly long arm holds these expansive teardrops aloft, just above the ground. Another piece, “Planting the Dream,” explores the absurdity of war, as a
hunched figure extends one arm to pick a bunch of flowers, oblivious to the tank driving relentlessly up his long, white limb, its gun emitting a blast of smoke into his face. “The title of the exhibition is ‘Shooting the Cloud,’” Karam explains. “If you try to shoot a cloud what do you get? The bullet goes through - you can’t break our dreams.... Whatever the trials, I think that the dream will continue - especially through creative people like myself and others around us in the region.” The opening, on January 24, was a resounding success, attracting over 700 visitors who formed a queue extending along New Bond Street as they waited for their chance to see Karam’s work. With overwhelmingly positive reviews in the British and international press, both Ayyam and Karam seem to have made their mark on the UK art scene within the space of a few hours.
The art of
philanthropy Words:
L u cy
K night
From Brussels the Boghossian Foundation reaches out to the world
F opposite: Cecchini
above: Jean Boghossian
or those familiar with the world of fine jewelry, the Boghossian name is a classic. Lebanese jewelers of Armenian descent, their family has a story to tell that many can relate to. Having left Armenia after the genocide of 1915, for Lebanon, and then, due to civil war there having to move to the next welcoming city, they found themselves in Brussels. The family has continued to thrive in the jewelry business and with a heritage cultivated through migration and struggle, it seems to have been a natural progression for the Boghossians to give aid to those in need. It was the 1988 earthquake that devastated parts of Armenia which acted as the catalyst for their extensive humanitarian work in Armenia, Lebanon and Syria - in 1992 the father Robert and his two sons
01 02 03 04 05 06 07 08 09 10 11 12 13 14 Shopping 15 16 17 18 19 20 21 22 News 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Architecture 43 44 45 46 47 48 49 50 51 Living 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 Jean and Albert, created the Boghossian 76 77 Foundation. 78 79 Based in the 1930s Villa 80 81 Empain in Brussels, since 2006, the 82 foundation has, through a series of 83 84 projects, both practical - portable 85 86 water projects for isolated villages, 87 88 renovation of Yerevan’s only 89 90 Design In Beirut remaining public park - and 91 aesthetic - art and design prizes, 92 93 exhibitions and lectures - worked 94 95 to contribute to the artistic and 96 97 cultural dialogue between East 98 99 and West through activities, in 100 101 Belgium and abroad. 102 Art  The focus on art 103 104 is also not just confined to 105 106 the projects or the jewelry 107 108 making - Jean Boghossian 109 110 has been practising his 111 craft for nearly 30 years, 112
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and for the last three has been working on a concept using fire. Already exhibited in Beirut, South Korea and Brussels, Boghossian was inspired by the element, a key tool in the jewelry making process. “I’m captivated by the way fire can change the colors, shape and material of an object,” he says. “You just have to take a welding torch and you’ll get so many complex results.” Using art to improve the world, as well as create his own, Boghossian is now in preparation for his next exhibit – having previously treated canvasses and paper with flames, he will now be using the same techniques on books.
As is described in the mission of the Boghossian Foundation, art is a universal language, going beyond boundaries. “It opens ways of communication that have no aggression,” says Boghossian. “A link between East and West that is not impeded by religion and politics.” For more information on the work of the Boghossian Foundation, visit their website www.villaempain.com Jean Boghossian will be exhibiting at the Bibliotheca Wittockiana: Museum of Book Bindings and Book Arts, in Brussels, 20 June to September 2013.