From Recreation to Social Resistance: The Case of The Egg in Beirut, Lebanon by Yasmine Baddoura

From Recreation To Social Resistance: The Case Of The Egg In Beirut, Lebanon.

Yasmine Baddoura

Table

Contents:

Introduction........................................4 Context....................................................9 About The Architect..................................13 Relationship with The Civil War...............14 Relationship with The Revolution.............18 Post Beirut Port Explosion.......................40 Timeline...................................................44 Conclusion...............................................46 Bibliography............................................48

Abdul Reda, 2020 Hovsepian, Grace. 2020 3 Abdul Reda, 2020 1 2

Zeveloff, 2014

The “Egg” of Beirut, is a heavily scarred monument drastically imbued by Lebanon’s socio-political history. Only a fraction of the supposed mutlti-use complex “Beirut City Center”1 was built; the name of the structure was deduced from its egg-like structure, which also derived other names such as “the Dome” and “Sabouneh”2 — Lebanese lingo for “soap”. Beginning its construction during Lebanon’s heyday in 1965, it was destined to be the first mall in the Middle East3, at a time where

Beirut was considered “The Paris of The Middle East” by virtue of its vibrant cultural and intellectual life4. Mirroring the deteriorating socio-political situation, the construction of the “Beirut City Center” in symbiosis with the city’s attributed title have halted in April 1975, with the start of the Lebanese Civil War, leaving only the egg —the center’s Cinema—, its platforms and pilotis, underground parking, and only one tower out of two, which ended up being demolished after the war.

Joseph Philippe Karam’s Proposal Drawings for the complex. The Arabic calligraphy the left reads as “City Center” and the description in the one on the right reads as: gest Commercial Center in the Middle East contains hundreds of different stores: restaurants, bakeries, snack bars, supermarkets, shoes, etc… Source: Joseph Philippe

in the image on “City Center, Bigclothing, jewelry, Karam’s Website.

Designed by architect Joseph Philippe Karam (1923-1976), this recreation center is located in the heart of Beirut, next to the iconic Martyr’s Square, which took its name to commemorate the Martyrs executed there under the Ottoman Rule. Since the Civil War, the city’s been bathing in corrupt political and economical instability, followed by many other devastating events such as the Israeli-Lebanese War, the Lebanese Revolution and Economic Crisis, and the recent Beirut Port Explosion. However, its cultural diversity and its collectivistic population is known to prevail no matter the circumstances, highlighting its substantial socio-political contrasts. Lebanese people will always be complaining about all the country’s negative aspects (there are plenty) but however will always tell you that there is no place like here! Beirut’s people always know how to live life to the fullest even when it seems, to the rest of the world, that they are on the edge of death. This essay aims to explore how in times of social-political conflict, human interaction in the specific public monument case study of the Beirut Egg defines its architecture usage as a socio-political condenser rather than its initial recreational intent.

The Egg. Photographed in collaboration with Paul Rafih.

Dizike, 2019 Springer, n.d. 7 Hirst, 2005 5 6

Architecture can be seen as a reflection of its era: it is a multi-factorial compromise between its users, intentions of the architects, economics, politics and many other inputs5. Therefore, Lebanon’s heavy contrast in socio-political and economical historical layers substantially shaped Lebanon’s architecture and urban planning6. This is greatly reflected in the case study of the Beirut Egg, whose usage has been gradually reflecting its socio-political context — it acts as a mirror of its era and thus a symbol of Rebellion, Revolution, Resilience and Resistance. Spaces are repurposed by forms of political power, armed conflict and social control7. Therefore the Egg’s initial architectural intent of a recreational center becomes repurposed in response to Beirut’s socio-political issues and its usage is continuously defined by the people populating it throughout these events, rather than by the architect’s intent. Another crucial inputs to people’s contribution in the transformation of a recreational center to a social resistance center is its location as well as the configuration of the specific building programme, which determines how it invites the people to populate it. This can be seen in the Egg through its platforms and its pilotis structure as well as its prime location in Beirut’s downtown, as part of the demarcation line that divided the city in the two opponents of the Civil War: East and West Beirut. Additionally, along its axis, you can find the iconic side-by-side Mohamad Al Amine Mosque and Saint-Georges Cathedral symbolizing Beirut’s Religious Diversity. Therefore, Karam’s architectural intent was only a glimpse of what this structure has served for, which was almost entirely driven by its surroundings and visitors.

On Beirut’s iconic architecture, ‘The Egg’ Drawing by Stefania Kontinou-Chimou. Source: Charlotte Malterre-Barthes Website

The Egg Photogrammetry 3D scan, South-West Isometric View

The Egg drawing by Zero Symptoms

The Egg West Elevation Photogrammetry 3D scan

The Egg East Elevation Photogrammetry 3D scan

As mentioned, this glimpse of intentionally-driven social condensing purpose that remained from Karam’s structure stems mainly from its programme and location. Joseph Philippe Karam’s career which started as the end of World War II and ended with his death in 1976 at the start of the Civil war, symbolically book-ends the era of modernization and optimism of the “Paris of The Middle East” in that 30-year span8. In the field of architecture, Karam was seen as the pioneer of modern architecture in Lebanon. The Egg itself was destined to be a 24 meters wide and 11 meters high cinema holding 1,000 seats and can be considered as, according to RIBA’s characteristics, part of the Brutalist architecture style because of its massive heavy-looking concrete form, rough surface, and its unusual shape9. However, its initial intent was to be part of a modernist set of buildings10. These fluctuating architecture styles are due to the structure’s heavy disfigurement because of all the political events it has aggressively en-

“Joseph”, n.d. “Brutalism”, n.d. 10 Abdul Reda, 2020 8

12 13

Springer, n.d. “Joseph”, n.d. Moreira, 2020

countered11. On a website dedicated to him, his projects are described as such: “One finds in his various works the revolutionary creativity of Le Corbusier, the fluid, more refined, formality of Oscar Niemeyer, and occasionally the brutal power of Kenzo Tange”12. Le Corbusier’s influence is prominent in the building’s structure through the usage of “Pilotis”, one of his Five Points of a New Architecture. This concept of adding “pilotis”, free standing pillars, creates an open space on the ground floor, inviting the circulation of people and vehicles13, which therefore encourages its public inhabitation as a social condenser and, accordingly, enhances the possibility of its use to be determined by its visitors. The combination of its critical location and its building programme transforms this recreational center to a more socio-politically involved center. This is also explained by Le Corbusier’s machine-living ideology where land, people and buildings work together optimally14.

“Le Corbusier”, 2020

The Egg Cinema Spectators. Source: An-Nahar Newspaper Archive.

Symbol of Resilience, the supposed Egg cinema has barely had the time to invite spectators before becoming itself first row spectator of Beirut’s Civil War (1975–1990), perpetually adapting to the unstable theatrics of the City15. With its use constantly reflecting the human interaction, a pre-political conflict Egg accommodated many spectators in its luxurious recreational center. Later on, for more than a decade on front row of the demarcation line, also called the Green Line, which was a no-man’s land between East and West Beirut Communities that fought for approximately 15 years16. The Lebanese Civil War involved regional and international parties, revolving around Middle-Eastern political issues — Palestine-Israel conflict, Cold War competition, Arab nationalism, Secretarianism, and political Islam— causing a colossal number of deaths and the destruction of

Archileb, n.d. Higginbottom, 2020 17 Haugbolle, 2011 15

19 20

Higginbottom, 2020 Abdul Reda, 2020 Springer, n.d.

most of Beirut’s infrastrucutre17. All the city’s concrete buildings became provisional bunkers18, with the Egg being most suitable because of its location separating the two Christian and Muslim sides of the country, which ironically became a shelter for both. It was used as a square contact between Bechara Al Khoury and Dabbas Square, in which snipers used the Egg as a hiding spot19, which therefore left the war-scarred building adorned with innumerable bullet holes, and damaged beyond repair20. During the terms of the socio-political conflict, the usage of the building shifted to this urban warfare social condensing area, because of these snipers frequenting it. Nevertheless, despite old Beirut being razed to the ground, the Egg was miraculously the last man standing amid the ruins, becoming a symbol of resilience and a nostalgic reminder of Lebanon’s golden days21.

Springer, n.d.

City Center during the war. Source: Gabriel Basilico Photography,

The Egg Facade riddled with bullet holes. Source: The Daily Star Lebanon.

After the war, the Egg, heavily mutilated, remained untouched but closed off to the public, prevailing frozen in time22. For every few years after that, the Egg was threatened for demolition multiple times, by local authorities and developers, however, it is always rescued by activists impelling its conservation and restoration23, creating numerous campaigns such as 2009’s “Save the Egg”24. At current times, even decades after the war, the Egg’s location remains superior, in the middle of Beirut’s most luxurious neighborhood, setting the value of its enormous site for a whopping price25.

Ward, 2019 Sawaya, 2019 24 Higginbottom, 2020 22 23

Afeiche, 2017

Post-war fenced Egg and demolished City Center. Source: Emporis.

The Egg photos, 2017

As the premises were closed off the public, many curious young generations that did not know anything about Lebanon’s poorly preserved heritage, made their way into the building by sneaking through its fences, as my 17 year old self is guilty of (see pictures above). This makes the center a symbol of Rebellion attracting the younger curious generations as a museum of the past, and a symbol of Resilience attracting the older generations that have lived the civil war as a museum of painful memories and destroyed dreams: both of them creating a powerful political social condenser. 17

Symbol of Revolution, the Egg has been a major landmark during Lebanon’s “Thawra”. Despite many promises about the renovation of the Egg, especially by Beirut’s renown architect Bernard Khoury which have even been highlighted in The Wall Street Journal26, “political events”, or simply neglect, have consistently stood as an obstacle to revive this monument, up until the “Thawra” began27 — Lebanon’s ongoing revolution against the country’s corruption and financial crisis. Once again, the country’s people have taken matters in their own hands and were the only authority that was actually able to bring this monument back to life. On October 23rd 2019, the Egg was revived by the revolutionists. Fences enclosing the egg were torn down and rebellious graffiti artists wittingly inked the Egg shell28 with all sorts of slogans impel-

The Egg top view. Photographed

Spindle, 2004 Abdul Reda, 2020 28 Ward, 2019 26 27

Ward, 2019

ling anarchy, as a way to convey their messages through art, inviting all the revolutionists into this social condensing area, and thus repurposing the Egg as a revolution social space. epurposing the Egg as a revolution social space. A symbol of Rebellion against the government, the population wanted to take back what was theirs, with the Egg being their symbolic metaphor, despite the danger of the situation’s repercussion — metaphorically, the instability of the egg, and literally, the sects’ response to the revolution — the people became fearless. “The occupation of the Egg symbolizes the revolution itself: if they don’t want to act, then we will.” says Rania Khoury, university student and activist29. The Egg thus became a spectator of the revolution, and a shelter for the revolutionists. Its walls canvas of the opressed, and shelter of the distressed.

d in collaboration with Paul Rafih.

The Egg interior photos, 2020

Source: L’Orient Le Jour Newspaper.

Protestors have used the Egg’s prime location as a bird’s-eye view towards the protests on the Martyrs’ Square Side by climbing on the egg’s roof30, and as a direct view towards the protests on the famous “Ring” bridge side who’s view is exposed from inside The egg, where the back wall is missing. Therefore, the location of the Egg facilitated its transition into a space for reunion of people with common political goals. Every night during the protests, music, lights, public lectures, exhibitions, concerts, open mics, film screenings, techno raves, and numerous events invade the space with an aim to turn the peaceful manifestations into celebrations of hope31,32. The Lebanese society 26

Sawaya, 2019 Abdul Reda, 2020 32 Ward, 2019 30 31

views these harsh times of conflicts in a positive way, which is greatly reflected on the repurpose of the Egg’s architecture, hosting all types of creative and peaceful aspects of revolts.

The roof of ‘The Egg’ Source: Dounia Raphael Photography

Protesters Inside and Atop of the Egg. Source: Adam Rasmi on Quartz.

The rooftop of the egg. Source: Leyana Gebrayel Photography.

Martyrs’ Square, viewed From the Egg. Source: Louay Kabalan Photography

The Egg from a Distance Source: Louay Kabalan Photography

Therefore the term “Eg

Protesters Inside and Atop of the Eg

ggupation” was coined.

gg. Source: Adam Rasmi on Quartz.

As the socio-political situation worsened and mass protests increased, universities have had to close down their doors: what used to be private university lectures, became an impromptu revolutionary classroom in the Egg, hosting public discussions and debates revolving around the theme of protest, sectarianism, democracy and youth movements33. The Egg then became a socio-political condenser of people reunited to discuss the politics of the country.

Another event was led about how to maintain mental health amidst a revolution and economic crisis in which many activists from relevant professions such as psychologists and lawyers have shared their knowledge on the subject34. The Egg then became a social condenser to people struggling with mental awareness. Some nights, DJs took their part in reflecting Lebanon’s renown nightlife scene, by throwing techno-raves enhanced

with strobe lights forming a pulsating Lebanese Flag as well as enriched with the public’s anti-government chants to the beats of the songs35. Other nights, film screenings done by Lebanese producers were hosted, with an aim to revive the original intention of the edifice. The Egg then became a socio-political condenser merging a recreational purpose and the political mindset of the protestors.

3D Mapping of the Egg on Idependance Day by Plan A Creative Design Studio Source: Plan A by Amin Sammakieh

Ward, 2019 Ward, 2019 35 Ward, 2019 33 34

Lecture in the Egg. Source: Omar Darwish Photography.

A gathering of young men and women at the Egg, Oct. 24, 2019 Photographed by Hasan Shaaban. Source: The Daily Star.

All night film screenings on Nov 2, 2019. Source: Instagram

Exterior view of The Egg during SaintHoax’s MonuMental Exhibition. Source: The Daily Star.

Interior view of The Egg during SaintHoax’s MonuMental Exhibition. Source: Zawya.

Other ways of expressing this socio-political context through the architecture of the Egg was through hosting art exhibitions. The first one, “MonuMental” was by pseudonymous Syrian artist “Saint Hoax” activist and sociopolitical critique in October 201836, ironically exactly a year before the revolution, as if it was foreshadowing it in its prime location. Saint Hoax’s work consists of provocatively exposing the dark side of contemporary politics through humorous references37 already introducing the Egg as a socio-political center.

36 37

JDEED Team, 2018 JDEED Team, 2018

The second exhibition, “Revolt” is hosted a year and a month later, in November 2019, at the peak of the revolution, this time on the outside of the Egg, to be visible to any passer-by38. It curated around twenty photographs taken on the streets of the protests shot by eleven Lebanese photographers, which where exhibited on the metal structures that once held the enclosing fence that the protesters tore down, and used as roadblocks39. The photos were printed on a specific material which was weather-resistant and the exhibition was set to have no end date, so that when the picture would end up disappearing, they would still be alive somewhere on the streets because that’s where they belonged “These photographs were taken on the streets40, and belong to the streets”. Therefore, the diversity of the human interaction inside the egg in terms of the revolution kept redefining its ever-changing political purpose.

Zakhour, 2019 Zakhour, 2019 40 Zakhour, 2019 38 39

Revolt Exhibition. Source: Agencia EFE.

Revolt Exhibition. Source: The 961.

The Egg’s architecture has drastically transformed the abandoned and dilapidated Egg into a socio-cultural edifice with completely different functions41. This stresses even more on the evolutionary nature of architecture, whose unpredictable usage can always be fluctuating. Karam only created the “shell” of the Egg however, he was had no control over determining the activities that rose from it over time42 and thus its political aspect. The socio-political context in this time, being the revolution, permitted

41 42

“Architecture of”, 2020 “Architecture of”, 2020

to understand the architectural space as galvanized by the society rather than by its architect43. A protestor told a journalist from the local L’Orient Le Jour newspaper, ““The protest created squares and the squares became places to meet. … I feel like we were practicing democracy — this revolution gave us the chance to actually practice democracy,”44. The abandoned “public” square, became a place of gathering again, not merely recreation but heavily politically imbued by the revolution.

43 44

“Architecture of”, 2020 Sewell, 2020

Distance between The August 4 explosion epicenter and The Egg. Source: Google Maps.

Symbol of Resistance, since the 1975 Civil War, the Beirut Egg had encountered, survived, and refused to comply with the several misfortunes that heaped over Lebanon due to its political corruption and neglect. Beirut’s August 4, 2020 Port Explosion was considered “one of the largest non-nuclear explosions in history”45, and the Egg is located only at 1.43km away from the blast’s epicenter which had a radius of up to 10km. Cartographer Joanna Merson depicts Beirut Blast Damage Radius, and a reference of what it would have looked like if it had happened in London or New York. The blast destroyed all the neighborhood that the Egg resides in, however, miraculously again, it survived with no damages that are visible to the naked eye. Since then, the Egg remained empty of human interaction, as the once again obliterated hopes of the population prevail after the exacerbation of the country’s situation that was followed with a worsened already deteriorating economic crisis, causing a depreciation of the local currency by up to 90%46. This socio-political situation, repurposed the Egg once again: it remains as a relic of the atrocities of Lebanon’s past but a window of hope towards a modernized and revolutionized Beirut, currently empty. 40

“Beirut Blast”, 2020 Koffman, 2020 47 Woods, 1993

Woods, 1993 “WAR and”, 2011 50 Woods, 1993

Woods, 1993 “WAR and”, 2011

Egg Archives. Source: Rukh Magazine

The Egg. Photographed in collaboration with Paul Rafih.

Questions of rebuilding come into play concerning such a symbolic edifice, in order to preserve its heritage, history, and cultural memory for the coming generations. How does one rebuild a symbolic monument after socio-political conflicts while respecting its human interaction history? Architect Lebbeus Woods has greatly explored the relationship between socio-political events and architecture. In his book entitled “War and Architecture”47, he explains the importance of maintaining the embodiment of history while building on existential remnants of the war48; “The postwar city must create the new from the damaged old”49. He proposes that post-war architecture suggests the potential of human adaptation; accepting what has been lost but commemorating what has been gained50. He argues that the renovated structures must adapt to their contemporary lifestyle that logically differs from the one pre-war, and that this contemporary rebuilding should incorporate the new ways and idea of living51, thus the recent political activities that have taken place into the Egg. “The familiar old must be transformed, by conscious intention and design, into the unfamiliar new.52” The Egg’s future plans of transformation should adapt to what these conflicts made it become. 41

- Bernard Tschumi for “Advertisements for Architecture” 1976—1966

The Egg Timeline

In conclusion, from its construction until this day, the Egg has been at the front line of every Beirut event. With its prime location, structural programme, and determination to stay standing, it has witnessed the best and the worst, and adapted to exactly what the Lebanese people needed it to be through every situation. Firstly, a theater in during the Golden period of Cinema53 and Beirut’s pre-war heyday. Then, a bunker merging the two opposing religious sects during the Civil War. After that, it became a place of revolution, through hosting all sorts of artistic events. The Egg has adapted to the Lebanese people’s need through times of conflicts which transformed its initial recreational purpose to a socio-political one. It is a histori-

53 54

Higginbottom, 2020 Higginbottom, 2020

cal landmark that has survived the test of time: remained resilient after every attack and impediment, remained resistant towards any political retaliation, and rebelled with the protestors towards Lebanon’s Revolution. “When a building represents what people experienced in the city, it becomes more than just a hunk of cement and metal wires,” Melissa Khoury, researcher at the Lebanese American University said “It becomes somehow part of the people.”54. The Egg is a fascinating example at how architecture can mirror its people and its era and provides an intriguing questioning of future usages reflecting unknown future contexts. It is a vessel through time of Beirut’s history.

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From Recreation to Social Resistance: The Case of The Egg in Beirut, Lebanon

Articles inside

Introduction