Time travel

The renovation of the Niemeyer Guest House in Tripoli, Lebanon sees the building take on a reversible design

WORDS BY AIDAN IMANOVA

© East Architecture Studio

One of the recipients of this year’s Aga Khan Award for Architecture is Beirut-based collective practice East Architecture Studio’s reversible renovation of the Niemeyer Guest House – designed by the late Brazilian modernist architect Oscar Niemeyer. The building stands at the entrance of his Rachid Karami International Fair, which he designed between 1964 and 1975 in Tripoli – and which has remained incomplete and derelict since its construction was halted due to the Lebanese Civil War. Considered to be one of the finest examples of modernist architecture in the Middle East, the 10-hectare masterplan had been the subject of grandiose schemes and unimagined competitions, while this current renovation of one of its structures is being praised by the jury as “an inspiring tale of architecture’s capacity for repair, at a time of dizzying, entangled crisis around the world, and in Lebanon in particular, as the country faces unprecedented political, socio-economic and environmental collapse.”

Tripoli is one of the oldest port-cities of the Mediterranean and was once renowned for its craft industry – particularly wood; however, its present state shows growing poverty, migration and lack of public space.

© East Architecture Studio

Led by architects Nicolas Fayad and Charles Kettaneh, the project was commissioned for Mijara – an initiative that is working to reinvigorate Tripoli’s declining wood industry by providing a platform for carpenters to meet, share, learn skills and access tools and materials, and to meet designers.

Drawing inspiration from the existing typology, the building is a single-storey introverted, windowless structure from the outside, yet flooded with light within through a central atrium and two courtyards.

“Our intervention’s main principle stays true to the building’s integral architectural qualities, materiality and imagined past,” the architects explain. “We’ve asked ourselves how Oscar Niemeyer would have completed the structure, by researching similar projects and architectural conditions within his body of work that might recall the Guest House’s initial design intent. The result is our own interpretation of the Guest House’s ‘DNA’, that we brought to life by proposing three intervention typologies.”

These include inserting flexible partitioning using lightweight steel and glass panels, creating a transparency between the internal and external spaces, and introducing ample, playful light and shadow. “With the help of local craftsman, we were able to translate the ceiling’s structural grid into a series of slender, full-height operable panels in a cost-efficient way,” they say.

As a reference to the Itamaraty Palace in Brasilia, designed by Niemeyer in the ‘60s, the architects chose to conceal the main structural elements of the building using wooden panelling, creating columns and drop beams in linear shapes that became almost ornamental. Additionally, a custom-made lighting solution was created, made of bent recycled metal sheets, referencing the patterned ceiling and proportions.

“The proposed material palette and colour tones reference the state in which we first encountered the building – in its unfinished concrete grey colour – which is reminiscent of the Fair grounds. The resilience of concrete as a material, but also as a colour, gives a sense of timelessness and austerity to the incomplete city in which the building resides. We’ve intentionally embraced this timelessness and introduced ‘monochromatism’ as an integral part of the design intervention: ceilings, walls, floors, millwork and metal frames, all predominantly grey, help reveal the building’s original weightless interiors, blurring thresholds between inside and outside,” the architects describe.

The main ground floor of the building hosts a reception, materials library, and exhibition and meeting spaces, as well as an administrative zone, toilets, a carpentry workshop, an assembly/think-tank space, a machinery storage area and a service room for dust-extracting machinery. No new walls were added aside from the glass partitions, and all furniture is free-standing. The architects describe the current function of the building as ‘ephemeral’, meaning that the building has been designed to be able to take on other functions, or perhaps even reclaim its original use. The lightweight partitions, lighting fixtures and machinery could be removed, leaving place for another programme to take over; “However, the integrity of the original design intent would stay untouched,” they state.

“We hope that the renovation of the Guest House is the starting point towards a transitional urban renewal strategy that will gradually reclaim the smaller pavilions of the Fair through inspiring, reversible and tangible experiments,” they conclude. id

Room for relaxation

The bathroom space has undergone many an evolution, transforming from a highly utilitarian room to one that is not unlike a living space that promotes relaxation and respite. Here, we share six new designs for the bathroom space that are on our radar

Multifunctional design

Nendo’s founder Oki Sato has designed everything from armchairs to immersive installations, and his latest collections with Stellar Works highlight the scope of his oeuvre, and the brand’s multifunctional design pieces. Frame is one of his latest designs: a simple L-shaped steel frame system that can be used for a multitude of purposes. This includes being hung on the wall as a towel rail or holding a mirror at two points, and even being transformed into a shelf – or a combination of all three.

Daily rituals Inspired by traditional Japanese rituals and craftsmanship, the Zencha collection by Sebastian Herkner combines surprising above-counter basins with minimalistic furniture. The designer took cues from hand-made ceramic teacups he had discovered in Japan, which inform the gentle, organic shapes of the collection. Designed as cambered rectangles, the bathtubs are bulbous at the bottom and taper upwards with an elegant curve. The rounded shapes of the basins and bathtubs create a graceful elegance – and are paired with modular, geometric bathroom furniture using wood and textured glass, creating an intriguing contrast to the organically-shaped sanitary objects. Modularity is at the heart of the collection – one can opt for open shelves or drawers with push-open and self-closing technology. Combined with the above-counter basin, they become a beautiful centrepiece in the bathroom.

Sacred geometry Boffi’s R.I.G (Rudimentary Interior Geometry) bathroom ‘defines a universal modular system for shelving’ using a thin, linear structure made in solid stainless steel – either embossed in black or brass painted. Developed in several versions, the system was designed by Dutch industrial designer Mikal Harrsen. In the version designed for use in bathrooms, the solid frame is built to support shelves, panels and topmounted washbasins, with metal elements also doubling as mirror frames. R.I.G creates customisable wall or island compositions, with washbasins designed specifically to fit the system, including the RD1 and R.I.G models – also designed by Harrsen – available in materials such as Corian, stone or marble. The new RD2 Stone washbasin can also be carved out of white Carrara, lava stone or grey stone marble.

Smart design

The Statement showering collection is the latest addition to Kohler’s smart home portfolio – complete with a voice-enabling system that allows one to set presets for sound, water, steam and lighting to create a fully customised spalike showering experience. “Showering is so much more than just getting clean. It is a chance to feel rejuvenated; a moment to focus on self-care,” says Lun Cheak Tan, Kohler’s VP of Industrial Design. Homeowners can use voice commands or opt for the wall-mounted interface to access the presets for adjustments, in addition to using the system’s eco setting to control water usage. It includes seven immersive spray experiences, from Deep Massage to Cloud, that swathes the body in a warm mist.

Natural elements In collaboration with British designers Edward Barber and Jay Osgerby, AXOR is extending last year’s One bathroom collection with a selected palette of coloured taps and fixtures inspired by a specific set of naturally occurring interactions between light, colour and water. “The palette draws on the designers’ observation that colour often increases in vibrancy and intensity when seen through water, and it reflects the design brand’s elemental connection to nature through water,” says Anke Sohn, head of Global Brand Marketing at AXOR. The colours include Aquamarine, Coral, Ice, Stone, Shell and Sand. “Each colour balances the ability to become part of a calm visual field with limitless scope for self-expression and individuality, reflecting the way in which bathrooms and small cloakrooms are increasingly becoming places that are less about neutral utility and more about original and impactful design,” Barber and Osgerby explain.

Functional beauty

Complementing the Anima Liquida collection of sinks and surfaces, designed by Giorgio Rava, antoniolupi’s Anima Liquida Living is a new line of cabinets/boiseries that are as elegant as they are functional. Suitable for use across both living and bathroom spaces, the collection has been designed as a series of scenic backdrops that sit close to the wall by superimposing surfaces in different woods or lacquer, interrupted only by vertical cuts that mark their modularity. The cabinets have hidden shelves and come in both floor and suspended versions of varying widths and heights. Clever LED lighting has also been integrated into the cabinetry, allowing it harmonise with any type of space, remaining true to the brand’s design vision. id

Natural inspiration

THG Paris and Lalique have sealed their 20-year collaboration with a nature-inspired collection that represents the exceptional know-how of the two houses

For its installation during Downtown Design, THG Paris is showcasing an iconic collection that draws on a 20-year-long collaboration of two French houses and demonstrates a union of exceptional knowhow and creativity.

Swallows have been emblematic of the House of Lalique for decades. Known to explore wildlife and nature as sources of inspiration, founder René Lalique was particularly inspired by the swallow, which has made many a decorative appearance in the brand’s glass creations, from jewellery to decorative objects. Therefore, it is only fitting that its artful collaboration with THG Paris brings forth the creation of an iconic collection, Hirondelles, which depicts a flight of swallows.

“The swallow is a very strong symbol. It represents renewal and freedom,” says Marc Larminaux, design director of Lalique. “What is interesting about the swallow is the level of detail found on the plumage. The satin and repolish effects are unique to the House of Lalique [and] bring a lot of shine and light to the piece. It is not far from a jewel; [it is] is a form of jewellery.”

The swallow design features on the collection’s taps and accessories, marking a sensational moment of freedom and lightness, finely sculpted in crystal, with the swallow’s wings unfurling in either gold, platinum or clear stamped crystal. An aerial collection, Hirondelles required a high degree of precision. The swallow motifs are glued one by one, under heat on the body of the pieces, by Lalique’s master glassmakers. They are then hand-cut, carved, polished, sandblasted and decorated either in platinum or gold.

The dreamy, garden-style installation at Downtown Design is designed by Sari Cheaib from Dubai-based Olsen and Partners. The elegant flower arrangements paired with lush greenery complement the space’s interior, reflecting the sense of serenity, freedom and happiness that is synonymous with the spirit of the Hirondelles collection.

Downtown Design tent, booth number C09

Work smarter

IKEA for Business offers custom ergonomic office furnishings to suit all types of workplaces

While many associate the global furnishing brand IKEA with its easy-to-build furniture pieces for the home, the brand also offers services in the commercial sphere – no matter if it’s for a home, a commercial building or a hotel. IKEA for Business from Al-Futtaim IKEA is also working to reinvent all types of workspaces, offering ergonomic and sustainable furnishings to satisfy a range of needs in additional to design solutions; ideal for quick turnarounds or if you have a last-minute renovation or expansion plans.

Complete with its own team, IKEA for Business works like any other design consultant: from tackling briefs to site visits and offering design proposals to suit one’s vision and style, or proposing a workspace concept that is rooted in the brand’s values of comfort, functionality and a love for design.

Its main mission is to meet the rising demand in the region for modern workplaces, with many people spending more time in an environment of ‘work’ than ever before. As a result of this, we are seeing a greater need for smarter workplaces that are ergonomic but also aesthetically pleasing, as the value for good design becomes increasingly important.

Al-Futtaim IKEA will also soon launch a new range of office furniture in the Middle East region, called MITZZEN FY24, which will offer exciting designs and solutions for today’s workplaces. Designed to be functional and lightweight, the new modern range will continue to carry the signature Scandinavian look of IKEA’s classic pieces.

A digital portal for business clients is also in the works, allowing for direct access to the brand’s product range and design team, for easier communication and smarter-designed spaces.