Le cercle # 9

09

*ExclusivE intErviEwsInga Sempe & phIlIppe nIgro talk design

Le Cercle takes you

*window shoppingBespoke boutiques around the world

The cutting edge of*fashion

*vEnicE BiEnnalEIlluminated

*fEndi&KEnzo arrivE in townDiscover the brands

www.georgeschakra.com

Edition (Le Cercle 42x27cm).indd 1 11/3/11 9:19 AM

Le Cercle BCD An Nahar Bldg . Martyrs’ Square . Downtown . Le Cercle SAIFI . +961 1 97 14 44 / 555 . www.kenzo.com

Inga Sempe’s independence,

irreverence and her practical

rigor combine with her poetic

exactingness to give each and

every onet of her creations a

“never before seen” quality. She

challenges artificial designs

and defends useful and

inventive ones to bring elegant

solutions to everyday

expectations.

words : m i c h e l r o s e t

publisher:

City News Privilege

on behalf of Le Cercle Hitti

editor in chief :

Anastasia Nysten

managing editor:

Helen Assaf

graphic design:

Genia Kodash

printer:

RAIDY | www.raidy.com

contributors:

Owen Adams

Dan Bratman

Miriam Dunn

Haneen Joudiyeh

Louis Parks

Fernande Van Tets

advertising:

[email protected]

t: +961 3 852 899

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In Beirut 116117118119120

w e a r e l i v i n g i n e x c i t i n g times – in a world where style

reigns supreme, and increasingly the art of the

fashion designer is being fused with the dream of architects,

and vice versa.Within the pages of Le

Cercle a global revolution of emergent ideas is reflected in

style as we go window-shopping, from Shanghai and

Tokyo to Warsaw to Amsterdam, and closer to home in Beirut.

We’re facing a situation where the principles of architecture and fabric design are meshing closer together, where many different worlds reveal themselves if you know where to look, where aesthetic senses and notions of what we previously believed irrational and impossible are turned on their head.

Formidable fashion houses, such as Costume National are undergoing a process of reinvention and new ways of presenting themselves - retaining their supreme artisan power while seeking out sheer innovative talent to keep up with the newcomers that matter – such as Starch in Beirut and Hotel The Exchange in Amsterdam. The very best of haute couture, from Fendi and Kenzo, can now be found in Downtown Beirut, and we celebrate the exquisite and enduring super-designers’ ventures into home furnishings.

The Venice Biennale continues its role as a style barometer, and here in Le Cercle, from Berlin we feature the best of the best Red Dot design award-winners.

L’affaire fashion is this issue’s theme – where seeing can often mean disbelieving, where the desire to come closer and be immersed in the newness is irresistible. The new generation is sashaying through the door, and we’re out celebrating this burgeoning new age of design.

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

WWW.WSAL A MOON.COM

wss_earrings_21x27_wss_earrings_21x27 8/22/11 3:02 AM Page 1

Inga Sempe’s independence,

irreverence and her practical

rigor combine with her poetic

exactingness to give each and

every onet of her creations a

“never before seen” quality. She

challenges artificial designs

and defends useful and

inventive ones to bring elegant

solutions to everyday

expectations.

words : m i c h e l r o s e t

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

WWW.WSAL A MOON.COM

wss_earrings_21x27_wss_earrings_21x27 8/22/11 3:02 AM Page 1

aCCeSSorIeS

THE WINTERwIShlISt

DelFtBLuEColleCtIonMarcel Wanders

“Marcel wanders designed a collection of

ceramic vases for Moooi, all vases are

produced and decorated at ‘Royal Delft’,

A Dutch company dating back to 1653 and

the original producer of the

beautiful delft blue ceramics.”

MoooI

DelFtBLuE11Marcel Wanders

Ceramic, White, Delft blue and gold.

40 (h) x 21.5 (w) x 21.5 (d) cm

MoooI

XXl ARoMATICCanDleBois de cashmere fragrance

XL 400g or XXL 1500gr

HERVE GAMBS

roSeauNoé Duchaufour-Lawrance

Ceramic vase with brilliant white slip.

45/60 (h) x 22/29 (ø) cm

LIGNE RoSET

RêVED’eDoLigne Roset

Mini -box in oak veneer, with clasp in

moulded hand polished aluminum, or in

MDF, with interior finished in ‘cafe au lait’

lacquer and moulded mirror-polished

aluminum clasp.

22/11 (h) x 21/32 (w) x 21/32 (d) cm

LIGNE RoSET

goes wInDow shoppIng for

some of ThIs season’s musT-have purChases.

aCCeSSorIeS

LESnympheSTous les Trois

Jar in fibreglass finished in gloss lacquer.

178 (h) x 25/28 (ø) cm

LIGNE RoSET

glaSSholDerAND tumBler - LACEColleCtIon

Paola Navone

Clear glass and handcrafted silk-screened

decoration with 980/1000 silver.

34 (h) x 28.5 (ø) cm and 9 (h) x 8 (ø) cm

EGIzIA

tumBlerS - LACEColleC-tIon

Paola Navone

Clear glass and handcrafted silk-screened

decoration with 980/1000 silver.

15 (h) x 7 (ø) cm and 9.5 (h) x 8 (ø) cm

EGIzIA

wInter Vanessa Mitrani

Mouth-blown glass and porcelain.

32 (h) cm

RoCHE BoBoIS

DunkerqueJean Paul Gaultier for

Roche Bobois collection

100% wool rug

200 x 300 cm

RoCHE BoBoIS

CouSSInDoNJuanAND DentellaPouDRé

Jean Paul Gaultier

Satin square cushion

40 x 40 cm and 60 x 60 cm

RoCHE BoBoIS

SHANGHAIlanternBlack iron

36/100 (h) x 21/45 (ø) cm

HERVE GAMBS

huSkPatricia urquiola

A hard shell in hirek® and a series of soft

cushions: these are the basic elements of

the husk armchair.

84/110 (h) x 77/84 (w) x 77 (d) cm

B&B ITALIA

roCherHertel & Klarhoefer

Steel base. Shell in satin-finish reinforced

techno polymer, with the signature of the

designers.

84.5 (h) x 52 (w) x 57 (d) cm

LIGNE RoSET

SIttIng

FaCettR & E Bouroullec

Three layers of criss-cross panels and

thermoformed polystyrene, overlaid with

polyether foam. Invisible

feet in black polythene.

84 (h) x 145/190 (w) x 81 (d) cm

LIGNE RoSET

CARBoNChaIrBertjan Pot and Marcel Wanders

Carbon fiber drained in epoxy resin.

79 (h) x 49 (w) x 47 (d) cm

MoooI

alSterEmmanuel Dietrich

Fabric and tubular steel with soldered

metal mesh.

82 (h) x 61 (w) x 59 (d) cm

LIGNE RoSET

moëlInga Sempé

With the exception of its all-enveloping

back, Moël draws heavily on Ligne Roset’s

long-standing expertise in the field of

all-foam models.

81/97 (h) x 105 (w) x 89 (d) cm

LIGNE RoSET

SIttIng

MAHJongCouTuRE moDularSoFA

Hans Hopfer

Dressed by Jean Paul Gaultier in Couture

collection fabrics. Modular composition

from hand-made padded cushions straight

and comer backrests.

RoCHE BoBoIS

SMoKEChaIrMaarten Baas

Burnt wood, finished with epoxy resin, fire

retardant, foam leather, upholstery.

104 (h) x 75 (w) x 80 (d) cm

MoooI

BenHuRarmChaIrJean Paul Gaultier by Roche Bobois.

Armchair, laminated aluminum structure,

fabric upholstered seat

(green, red or blue velvet)

RoCHE BoBoIS.

BENDSoFaPatricia urquiola

urquiola has entitled the bend-sofa due to

its curvaceous albeit monolithic form.

It gives the appearance of being manually

molded from a supple material

as if by a sculptor.

Various sizes

B&B ITALIA

MooNSyStemzaha Hadid

A continuous shape, a blend

of aesthetics and ergonomics.

85 (h) x 288 (w) x 92/200 (d) cm

B&B ITALIA

CurulePierre Paulin

Curved solid beech slats, cut from the

same piece of wood and assembled using

threaded steel posts and rivets.

67 (h) x 56 (w) x 35.5 (d) cm

LIGNE RoSET

RISCIAarmChaIrArmchair from the fabric collection of

distinct pieces that give ultimate presence

to any interior.

KENzo MAISoN

CuteCuTCoFFeeTABLECédric Ragot

Solid wood (rain tree).

25 (h) x 100 (w) x 84 (d) cm

RoCHE BoBoIS

taBleS

CIrCleSMaria Jenglinska

Epoxy satin black lacquered steel or with

top in brilliant-polished stainless steel.

43/53 (h) x 36.5/42 (ø) cm

LIGNE RoSET

SurFaCeVincent Van Duysen

Vast range of finishes: glossy painted,

brushed light oak, brushed oak or gray oak

for tops and partitions.

37 (h) x 120/150 (w) x 35/60/70 (d) cm

B&B ITALIA

penInSuleangie anakis

Brilliant-polished folded sheet steel

with top in mDF finished in american

walnut veneer.

38 (h) x 35 (w) x 37 (d) cm

LIGNE RoSET

antIgonePierre Paulin

Low table with structure in black-stained

solid beech or natural solid beech.

26.5 (h) x 80 (w) x 80 (d) cm

LIGNE RoSET

FloeTomoko Azumi

White lacquered metal, laminated glass

top. Contain a number of Swarovski

crystals and LED lights which project

a subtle play of light on the

translucent glass top.

LA PALMA

palettePascal Mourgue

Low table in the shape of a painter’s

palette. Molded enameled ceramic.

35 (h) x 65 (w) x 34.5 (d) cm

LIGNE RoSET

lIghtIng

RANDoMlIghtBertjan Pot

Fiberglass soaked in epoxy resin,

chromed steel pendant.

50/80/100 (ø) cm

MoooI

PASCALmourguePascal Mourgue

Base in brilliant-chromed steel;

cotton shade.

48/80 (h) x 12/23 (ø) cm

LIGNE RoSET

RABBITlampFront

PVC/cotton laminate on metal structure.

MoooI

ChIoIlluminated box in transparent plexiglass

and matt varnished aluminum.

60/90 (h) x 23 (w) x 15 (d) cm

LIGNE RoSET

CHANTAL2011Stephen Burks

Table lamp with base and shade in clear

mouth-blown glass. Red textile cable and

black manual switch.

35 (h) x 35 (ø) cm

LIGNE RoSET

CoutureFLoWERDIFFuSerRoom spray Bois de Cashmere

& Love couture

The repeated gesture which consists in

perfuming a Couture flower diffuser

HERVE GAMBS

aCCeSSorIeS

HoMEFrangranCe CoLLECTIoN

HERVE GAMBS

CELESTEColleCtIonLSA

Serve Punch bowl and ladle

25 (ø) cm

LSA

mIlo Vase

16 (h) cm

LSA

MALIKAgranD Champagne flute, wine glass

and cocktail glass

LSA

ServeLow comport

32 (ø) cm

LSA

Con

cept

and

Sty

ling

Col

lage

Stu

dio.

Pho

to F

abriz

io B

erga

mo.

MAXALTO IS A B&B ITALIA BRAND. COLLECTION COORDINATED BY ANTONIO CITTERIO. [email protected] WWW.MAXALTO.IT

Pmedal

back & front

W o r d s : M I R I A M D u N N

zAHA HADID JoINS JuRy To JuDGE ARCHITECTuRE’S MoST PRESTIGIouS AWARD

Chicago not only enjoys a

reputation as the birthplace

of the skyscraper, but is also

rather aptly home to

architecture’s most prestigious award,

the pritzker prize.

often referred to as

‘architecture’s Nobel’, the Pritzker Prize was

set up by the Hyatt Foundation in 1979, an

initiative founded by the late Jay A. Pritzker,

whose family business interests in hotel

operations are headquartered in Chicago.

His eldest son, Thomas J. Pritzker is now

chairman of the foundation, which has long

supported educational, social welfare,

scientific, medical and cultural activities.

The Pritzker family has a

natural affinity with architectural innovation,

having acquired an unfinished building in

1967 which was not only transformed into

the Hyatt Regency Atlanta, but also boasted

a soaring atrium that became the signature

piece of the brand’s hotels worldwide.

In a similar spirit, the Pritzker

Prize, which consists of $100,000 and a

bronze medallion, is awarded each year to

a living architect whose built work has

made a significant contribution to humanity

and the built environment.

The 26th edition of the award

is set to be held in Beijing, another city

famed for its excitingly innovative

architecture. And innovation is also a word

regularly associated with the Baghdad-born

architect zaha Hadid who is one of two

new members of the jury appointed to

select this year’s laureate.

The pioneering, British-based

architect, together with the Supreme Court

Justice Stephen Breyer, joins six other

judges who will make up an eight-member

panel serving for a multiple number of

years.

Famed for her radical

approach, Hadid is a former Pritzker Prize

winner herself, becoming the first woman

to receive the award in 2004. Her style,

which favors multiple perspective points

and fragmented geometry, is best displayed

in works such as the Rosenthal Center for

Contemporary Art in Cincinnati and the

recently-completed Aquatics Center in

London, uK, which will host the swimming

events for the 2012 olympic Games.

Being selected as a juror for

the Pritzker Prize could be viewed as an

honor on a par with winning the award

itself. As Thomas J. Pritzker himself says,

“The members of the Pritzker jury are now,

and always have been thoughtful,

outstanding individuals from diverse

backgrounds providing sometimes

surprising insight to architectural

achievement in our time.”

Hadid’s well documented

forcefulness and focus should stand her in

good stead for her new role. She will

undoubtedly bring something special to

what is already an exceptional event.

zaha Hadid

by Simone Cecchetti.

official Breyer

there’S oFten a temptatIon to glanCe at an

exhibition rather than take in the detail. At Tokyo’s

CNAC LAB, viewers have little choice but to get in

close. In September a show celebrating 25 years of

Italian edgy chic from CoSTuME NATIoNAL marked the

opening of the boutique’s flagship Aoyama Complex

within the groundbreaking arts center. The artefacts, as

worn by Madonna and other top celebrities, were

shielded from faraway view by a porous curtain of

polyester ribbons. only when viewers stand next to

them do the 18mm-wide threads turn from opaque to

translucent to the point of appearing non-existent,

offering an exclusive close-up. The architect behind the

ingenious installation, titled Bang, Ryuji Nakamura,

hung 4,100m of polyester ribbons over 130 sq meters,

to create a synthetic fog, a curtain that clears to reveal

one mannequin at a time.

Small IS BeautIFul at warSaw BoutIque FIuFIu.

A Scandinavian archetype to reflect the Nordic shop

goods for sale within it has been transplanted in the

heart of Poland’s capital by architects Mateusz

Adamczyk and Marcin Kwietowicz from a concept by

Magdalena Wołosz. Six spaces within the 31 sq m floor

area ensure not a centimeter is wasted. The result is a

gable house stretched lengthways, cut in three with red

steel blades, slightly shifted to provide enough space to

fit in a cash desk, fitting room and storage.

optical illusions are created by the steel

coulisses; what might have been a daunting long space

appears short by deceptive design. The idea is to entice

passers-by into the fairytale cottage-like shop, lit from a

side room, and to be immersed in the atmosphere of a

mini-Scandinavia. The raw carpentry of the wooden

structure is emphasized with snow-white interiors, and

a universal simplicity of features such as rails, ledges

and lamps.

wIth Strong eChoeS oF

Pinocchio creator Guiseppe’s

workshop and the magic of The

Nutcracker, Spanish designer

CuldeSac set out to bring

Hermès accessories to life for

its winter collection, marrying

artisan soul with objets d’art,

employing high craftsmanship

to showcase the Paris maison’s

finery in a stately home, with

exquisite fantasies in nine

rooms.

The world’s media

gathered for an exclusive

premiere of this season’s

collection, each with a different

CuldeSac installation, some

showcasing finished objects,

others translating the

disciplined, patient and precise

approach of the fashion

house’s mode of production.

In one room,

wooden horses wore ties, hats,

scarves and shoes. Colorful silk

and cashmere carrés appeared

suspended in mid-air, mounted

on floating balloons,

shimmering to Tchaikovsky’s

Nutcracker Suite. There were

towers made of Hermès

distinctive orange shoeboxes,

six marionettes gathered

around a tableware display, and

in the final room a cornucopia

of nostalgia and hidden

treasures placed in what

appeared to be music boxes.

you’D Be harD puSheD to FInD a more

arresting shop-window display than the hats on stage at

an Issey Miyake store in Tokyo. As funky and

idiosyncratic as milliner Akio Hirata’s collection is, it’s

the electric-blue traditional-style dining chairs on which

the hats perch that immediately grab the attention.

However, more than the briefest glance will show the

2D/3D Chairs by yoichi yamamoto Architects are not all

that they might initially seem. The wooden backs are

real enough, but the legs and bases are two-

dimensional drawings, painted on the ground in such a

way that from a fixed angle they appear to be all

correct. A sidelong glance or a closer inspection

betrays the illusion. Spectral seats collapse before the

eye of the beholder. The seamless transition from 3D to

2D, which yamamoto created with his associate yayoi

Ito, plays the most entertaining games with the mind.

DeSIgner ronalD aBDallah’S aChraFIeh BoutIque

epitomizes his edgy, glamour meets rock-chic style. on the relaxed

Abdel Wahab El Inglizi street, the store’s blend of simple

architectural detailing and touches inspired by couture fashion

create an intriguing experience.

“It all has to be balanced,” says Abdallah, “We’ve

got neutral tones so that the clothes are the center of attention,

but then there’s gold detailing on the rails, red hangers for the

pieces.” In order to maximize space a gold table runs the length of

the store with clothing hanging above it, displayed in an innovative

manner, no space is lost, yet the clothes are clearly the

centerpieces.

As in fashion, evolution is key and Abdallah

plans to reinvent the location on a regular basis. A blank wall serves

as a display area, a canvas upon which Abdallah can exhibit his

latest creations. Similarly, the window displays are intentionally

simple, allowing changes to be made whenever a fresh look is

sought. An exciting addition to Beirut’s shopping culture, Abdallah’s

boutique is something to see.

whICh way IS up? hIgh-enD FaShIon BrowSerS at

the startling new Alter store in Shanghai, China must wonder.

Faced with staircases descending from the ceiling, adorned

with gravity-defying naked mannequins, dresses, shoes,

jewelry, glasses, design toys and books in a multi-dimensional

arrangement, those in the know will feel as if they’ve stepped

into an Escher drawing – those seemingly impossible

architectural models.

Alter owner Sonja Long wanted to subvert the

ingrained conservatism of Shanghai, and Roman architect

Francesco Gatti, and his Shanghai associates at 3GATTI, were

the people for the outlandish job.

Gatti was “fast and spontaneous” and “designed

like a child, without inhibitions” to realize this vision, which

made the most out of the 100 sq meter space. Incredibly, this

alternative reality with no up or down or left and right, does

function. Two fitting rooms and a store room are enclosed

beneath an ascending staircase, while smaller staircases at the

front cantilever out across the floor.

dévorez l’opportunitéJ.B. Schmetterling. Une création Ingo Maurer.

Corniche an-Nahr 01/584 222 Hamra 01/343 335 Jnah 01/820 338

debbas Frog 21-27 11/9/11 11:18 AM Page 1

FASHIoNABLy hoSpItaBle

W o r d s : o w e n a D a m s

01

From the outside, hotel the exchange

blends in with the terrace of lofty gabled

buildings along amsterdam’s Damrak, also

known as the city’s red Carpet.

But its 61 rooms have each been given

contrasting individual makeovers – dressed by eight

graduates from the Amsterdam Fashion Institute, fitting

the interiors as they might models, with themes ranging

from a minimalist Emperor Wears No Clothes to an

elaborate Marie Antoinette boudoir.

Located opposite the city’s stock

exchange on the main street that leads from the

Centraal Station to Dam Square, the concept of

marrying fashion design with architecture came from

otto Nan and Suzanne oxenaar. The galleries-stuffed

Jordaan district, a 15-minute walk from the Damrak, is

the center of the city’s considerable eccentricity and

innovation, but the city is now taking innovative design

to its heart.

Roos Soetekouw’s eight rooms all have

one thing in common, she says: “They are theatrical,

explicit and over the top.” These include a “sad, sinister

and beautiful room” called Misunderstood Creatures.

“The ceiling is crying black tears of diamonds which

drop on the floor and in which illustrated creatures

come alive.” A complex triple-layer knit custom fabric

with a shimmering nylon surface completes the picture,

which should ensure guests some pretty strange

dreams!

Anne Wolters aims to bring the cityscape

of Amsterdam into the rooms she designed, using the

views as a literal base for the pattern of her fabrics to

make the room into “one huge camera obscura”, even

incorporating the designs in dressing-gowns. “As soon

as you put on the dressing-gown,” she says. “you will be

camouflaged by the city.”

What better way for a tourist to be

wrapped up in Amsterdam by wearing it in a room

reflecting it?

www.exchangeamsterdam.com

01 _____ Atelier room

Photo by Arjan Benning

02 _____ Manray’s eyes -

Photo by Arjan Benning

03_____ Misunderstood

Creatures

Photo by Mirjam Bleeker

04 _____ unaware Reality

Photo by Mirjam Bleeker

02

03

04


FERoCIouS

FenDI

the future posterity of the

double-F signature of Fendi

was assured when it kick-

started a new handbag

revolution in 1997 with the must-have

Baguette – a petite bag, in 600 varieties,

to be carried under the arm just as one

would transport a stick of bread.

With the Renaissance man of

fashion Karl Lagerfeld at the helm, the

Italian high-fashion house would surely be

incapable of stumbling, no matter how

many ethical consumers eschewed the furs

and leathers on which the casa was

founded in Rome, way back in 1925.

Lagerfeld launched the luxury

prêt-a-porter fur collection in 1969, four

years after he was headhunted by the Fendi

dynasty. He transformed pelts from a stiff,

heavy, outer attire into a light, soft, fabric-

like material. Several years ago, he sent furs

gilded in 24-carat gold gliding down the

runway.

Fendi Casa applies the same

couturier’s flair for cut, color and pattern in

home design – the chic meets the opulent

in a fusion of the classic and the

contemporary, in the heart of the living

room or adding a sophisticated touch to

lounging in the sunshine.

Fendi’s global reach, over 160

boutiques in 25 countries – including a

shop in Downtown Beirut - was elaborately

showcased when it staged an 88-meter

catwalk show on the Great Wall of China.

Its audacity knows no bounds.

W o r d s : o W E N A D A M S

ECLECTIC kenzo

kenzo is a common male name

in Japan - but throughout

the world it stands for the

supremo kenzo takada,

whose perfumes, skincare products

“made from nature”, clothes and a

range of elegant homeware have a

strong global appeal – the ultimate in

delectable cultural fusion.

Kenzo was one of the first

men to gain admission to Tokyo’s Bunka

Fashion College, before moving to Paris.

Initially, he was forced to mix numerous

bold fabrics to make one garment as he

could only afford fabrics from flea markets.

This resourceful, colorful array of materials

from many cultures, with a natural

essence, is Kenzo’s signature, with a yin-

yang equilibrium and qi energy at the fore.

By the late-1970s, Kenzo had

the kudos to launch flamboyant shows in

a circus tent, atop an elephant. He retired

in 1999, leaving his assistants in charge,

but has since occasionally returned to the

ECLECTIC kenzo

fray. Poetic perfumes to make a splash in

the last decade include FlowerbyKenzo,

recalling the scent of poppies, while

skincare line Kenzoki focused on the rice

stem, ginger flower, bamboo leaf and

white lotus. While no person should be

without Kenzo scent or attire, no home

should be either.

Colla

ge S

tudi

o

For Viola every story always begins with Tufty-Time. Tufty-Time is designed by Patricia Urquiola.

In Love modular sofaDesign Philippe BouixUpholstered with a set of cushionSONIA RYKIEL MAISONfor Roche Bobois

Photo

: Mich

el Gi

bert.

Spec

ial th

anks

to: A

ssou

line

BEIRUT DOWNTOWN33 rue WeygandTel: +961 1 986 888/[email protected]

Equation modular sofasDesign Roberto Tapinassi andMaurizio Manzoni Noxis bookshelfDesign Luigi Gorgoni Cute Cut coffee tablesDesign Cedric Ragot

Photo

Cred

it: M

ichel

Gibe

rt. Sp

ecial

than

ks: T

ASCH

EN

BEIRUT DOWNTOWN33 rue WeygandTel: +961 1 986 888/[email protected]

W o r d s : L o u I S P A R K S

DoRI HITTI’S DESIGN FoR VALLI & VALLI’S BouTIquE

So often an afterthought, yet an

essential part of any design, the

common handle is something

the majority of us take for

granted. Thankfully, Valli & Valli has

created Lebanon’s first luxury boutique

dedicated to this most essential, yet oft

neglected finishing touch.

A veritable marketplace of

designer handles of every sort, size and

shape, Valli & Valli presents handles as

works of art, decorative elements in their

own right. A cornucopia of styles, materials

and pricings allied to the highest industrial

standards and benchmarks, brings a wealth

of options to designers and homeowners

alike, unmatched by anything in the region.

Designers such as

Antonio Citterio, Foster & Partners and

David Chipperfield Architects, to name but

a few, come together under one roof

offering an unprecedented collection of the

very best interior design products

renowned firm Valli & Valli has to offer.

Whatever it is you’re looking for, you’ll find

it at this most extraordinary boutique.

As befits Valli & Valli’s

mission, the handles are very much at the

heart of the boutique. Designed by Dori

Hitti, the boutique features his famed

minimalist designs taking nothing away

from the products on offer, serving as

something of a blank canvas where the

handles themselves form the art. Clean

lines, open spaces, unembellished

typography and an uncluttered architectural

environment create a thoroughly modern,

unobtrusive setting in which to showcase

this astounding collection.

Hitti designed the

boutique with a museum in mind,

showcasing the products as pieces of art,

displayed prominently for the visitor to

enjoy and understand. This classic

approach is juxtaposed by the bold use of

the color red, with half the wall space

adorned in a most vibrant hue. This modern

take on a most classic approach is the most

fitting tribute to the designs on offer.

Design: Norbert Beck

If you listen to your senses,

you’ll experienceall that’s beautiful and exhilarating

in this world.Rolf Benz MIO, where i feel good.


via Sydney, abu Dhabi and l.a.

to drop but a few names, Black

pearl Interiors has arrived in

lebanon. Crafting bespoke

furniture using some of the most exotic

materials on the planet, Black Pearl sits at the

pinnacle of interior design and the company’s

dynamic young head, Alexa McGrath,

recently sat with us in Beirut to discuss their

pieces and plans.

you have to see it to understand

it, but mother of pearl is a quite remarkable

material. It’s a form of shell, a natural material

made by a variety of species of mollusks,

which forms a hard, brittle surface, creamy,

iridescent and smooth to the touch. Looking

at a chair or table made by Black Pearl

Interiors you realize that each one is covered

with thousands, if not tens of thousands, of

tiny pieces of this most luxurious material.

As if that’s not enough, Black Pearl Interiors

takes its name from the rarest form of

mother of pearl. A fraction of a fraction of a

shell’s surface, black mother of pearl is

perhaps the most sought after material to

come out of the depths of the ocean. The

hallmark of truly niche products, black

mother of pearl has the cachet only those in

the know truly understand as Russell Crowe

and the designers Candy and Candy will

attest, both having made use of Black Pearl

Interior’s services in the creation of one of

the most expensive residences in Sydney and

London’s upmarket one Hyde Park

respectively.

“It’s all done by hand,” says

McGrath. “The carcass is made from marine

plywood or a honeycomb and then the

mother of pearl is placed around the

carcass.” Mother of pearl, being as delicate

as it is, sounds like a craftsman’s nightmare.

on the subject McGrath laughs, saying,

“The shell is cracked before being placed

into position by hand and polished down.

Any gaps are then hand filled. As you’re

sanding it down you come across

imperfections and they’re taken out and a

replacement piece is put in, creating

irregular shapes. There are any number

Stingray dressing table

Shell coffee tables

Mother of pearl inlayed

dining room wall unit with

stainless steel lining and

dining room chairs with silk

velvet fabric and ebony

makassar legs

of things that can go wrong.” A single chair

can take two craftsmen about a week to

complete, making these pieces clearly

something a little special.

McGrath’s style exhibits all

that’s good about minimalism, simple lines,

a lack of complex embellishments and a

color palette that’s clear and easy on the

eye. All’s well and good, but then anything

more complex would surely detract from

the subtle sheen given off by the mother of

pearl. These pieces have to be seen to be

believed. There’s something altogether

opulent about each chair, table or

sideboard, almost otherworldly as they

shimmer softly in the light, immediately

transfixing the gaze.

Alongside mother of pearl,

McGrath works with ray skin, ostrich leather

and other exotic coverings. Above all, Black

Pearl Interiors, simply put, makes use of

only the highest standards of

craftsmanship, the finest materials money

can buy and a simple, clear design vision.

Welcome to Beirut.

www.blackpearlinteriors.com

[email protected]

Green stingray cabinet

with brass lining

Stingray bed

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FOR AN ALL-ROUNDGOOD FEELING.ROLF BENZ 582.

Design: Joachim Nees

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02 03 04 05

last october saw the

retrospective exhibition of

lebanese artist Saloua raouda

Choucair’s life’s work at the

Beirut exhibition Center. Choucair, now

in her 90’s was an exceptional artist until

her retirement in 1990’s. Entirely self-

taught, Choucair worked in a wide range of

materials, fabrics, wood, stone, clay, metals,

ceramics and more, creating a wealth of

pieces that has to seen to be believed.

Jewelry, carpets, sculptures, paintings and

more, Choucair’s work is a veritable mine

of artistic content.

Containing some of her most

iconic pieces, including a series of

sculptures called “Poems”, and another

called “Infinite Building”, the exhibition

shone light on the extraordinary talent of

this underexposed artist. Largely self-taught,

Choucair had worked in a university library,

voraciously consuming literature and

writings on any number of subjects, soon

discovering a passion for physics and

engineering that would come to play a role

in her creative process later in her life.

Alongside her academic study

in the library, Choucair received a formal

education in art, albeit it on a casual basis,

by working alongside other Lebanese artists

01 _____ Module

1980-1983, wood

02 _____Trajectory

of the arc

03 _____ Garden Project,

Public Bench

04 _____Exhibition

05 _____ Composition of

two forms

Saloua Raouda Choucair

InFInIte PoSSIBILITIES

01

02

03

and visiting Paris between ’48 and ’51 to

study at the Ecole Nationale des Beaux-

Arts, La Grande Chaumière atelier before

working at a number of other ateliers in the

city.

She had gradually become

interested in the manner in which a line can

continue from one point, into infinity,

according to her daughter, Hala Choucair,

“Her work is abstract, the lines are in her

mind, she’s not representing anything in

particular, it’s about presenting an idea that

is beyond any measurable scale, the idea

that things go on forever.”

Her experiences in France, her

fascination with the way in a line can

continue through infinity, and her in-depth

understanding of Islamic art allowed her to

create “Poems” and “Infinite Buildings”,

blending Islamic and Arabic tradition with

modern touches. “Poems” is a collection of

small sculptures, made up of jig-saw

puzzle-like pieces that interlock to create a

shape; “Just as with Arabic poetry, every

“verse” has a meaning, it doesn’t need to be

read as part of a poem to make sense,” said

Choucair, “So, each shape is unique, and

each piece of the puzzle is a stand-alone

sculpture, but no two pieces in the

collection are the same, meaning that each

complete “Poem” is a one-off.”

“Infinite Buildings” was created

as a series of interlocking pieces combine

to form columns not unlike Native Indian

totem poles. Separate pieces, or blocks, of

sculpture interlock, forming a column rich

in detail, creating lines that, potentially, go

on forever. As with “Poems”, the individual

blocks are sculptural pieces in their own

right, all small enough to be used as a

stool, or a bench, but combined the

possibilities are, as the name suggests,

limitless.

Like many artists, Choucair

was never fully appreciated while she still

produced pieces, and it is only recently that

Lebanon could enjoy her work. A

wonderfully talented artist and the producer

of a diverse body of work, Choucair is

someone Lebanon should treasure.

01 _____ Poem,

1961-1965, wood

02 _____ Study in nudes,

Graphite and Charcoal on

paper

03 _____ Rhythmical

composition in yellow,

oil on board

The reD DoT BesT of The

BesT awarD Is The uLTImaTe

aCCoLaDe for proDuCT

DesIgners. aT The DeBuT gaLa

evenT In BerLIn hosTeD By The

presTIgIous german InsTITuTe,

The 19Th year of The ConTesT

reCeIveD 6,468 suBmIssIons,

anD a massIve amounT of

InTernaTIonaL InTeresT.

an InTrICaTe seLeCTIon

proCess LasTIng severaL

Days, presIDeD over By

an InTernaTIonaL anD

InDepenDenT jury of

renowneD DesIgn experTs,

awarDeD 608 reD DoTs for

hIgh quaLITy In DesIgn,

80 In The BesT of The BesT

CaTegory, anD 10 of Those

reCeIveD The reD DoT granD

prIx, The hIghesT InDIvIDuaL

DIsTInCTIon.

we have Chosen seven of

The TasTIesT BesT of The BesT

awarD-wInners In DIfferenT

seCTIons. you Can aLmosT

feeL quaLITy oozIng from The

proDuCTs.

red dot design

element Collar (watches and jewelry

section): we tend to think of industrial

materials as heavy – belonging in the world

of work rather than body adornments. The

element Collar, ‘collet’, a close-fitting

choker necklace, has defied convention by

embedding small diamonds in carbon fiber,

incorporating design methods more often

used to build marine vessels. The jury was

impressed by carbon being turned into a

piece of jewelry “as lightweight as it is

elegant”. The experts added: “The interplay

between dark and light elements over the

curved surface attracts attention and

underlines the aesthetic value of the

carbon. Due to the ergonomic shape of the

concave planes, the element Collar is

comfortable to wear.”

ploum sofa by erwan and rowan

Bouroullec for Ligne roset (Living rooms

and bedrooms section): The jury was

influenced by the balance of comfort and

aesthetics. The low sitting height allows the

sitter to be “engulfed and embraced” by the

soft foam interior and flexible stretch-fabric

material, designed to adapt perfectly to the

recliner’s body contours and produce a

highly sensuous experience. The designers

carried out extensive surveys to come up

with a design for contemporary lifestyles

– allowing for diverse lifestyles and levels of

reclining, all of them in supreme comfort.

“we conceived this sofa as a ripe and

delicious fruit,” said the Bouroullec brothers.

13” macBook air (Computers section):

from gorgeous lighting to lovely lightness

– the jury was swung by apple’s sparing use

of aluminum – the computer’s housing has

been reduced to just one piece in an

admirable act of resource-saving, with a

glass multi-touch track pod. as well as

being pleasing to the touch, the new 13”

version “is remarkably slim, and yet is very

sturdy and robust – ideal for working on the

go,” the designers said. The jury noted:

“smaller, lighter and more silent, the

macBook air... is ready for use anywhere

and at any time – a thoroughly mobile and

contemporary product.”

pontos Décentrique phases de lune wrist

watch (watches and jewelry section):

precision and presentation of time and the

cosmos with the minimum of clutter sold

this exquisite timepiece to the red Dot

judges. Before watches or scientific

instruments existed, our ancestors

measured time by the phases of the moon

and shifting constellations, and pontos has

reconnected the practice of antiquity with

contemporary sublime design, luminous

components on a sleek, velvety black dial,

giving the impression of looking into the

cosmos. The jury remarked: “only

wristwatches of extraordinary precision,

with materials of high quality and a creative

arrangement of functions successfully

address the emotions of their wearers.”

versatile axis ceramic wall tile (interior

design section): Inspired by the alhambra

fortress, the moorish symphony in stone in

granada, spain, the versatile three-

dimensional tiles with an s-motif give

rooms an impressive depth, and are also

incredibly soft and tactile. The tiles offer a

whole new set of geometric possibilities for

planners and architects to play with. “The

tile is no longer just a flat surface which

covers or protects a wall, but is a spatial

form in itself which gives rooms a new

perspective,” enthused the jury. “The motif

is at once simple and carefully thought

through and helps to give an imposing

impression of a room.”

Bmw 5 Series touring passenger Car

(automobiles, transport and caravans

section): surely the ultimate test for car

design is when the beholder feels the joy of

driving it before even turning the ignition.

hence the jury awarded Bmw the highest

design prize possible for the new 5 series

Touring’s flowing line movement, not just

evident from the outside, but also echoed

in its interior. This new model continues

the Bmw’s brand identity with its long

engine hood and long wheelbase, and is

marked by a low and sleek profile. The

jury’s verdict: “you can almost feel the

sporting elegance and dynamics... The

ergonomic concept of the user controls is

tailored optimally to the driver.”

the Coral reef leD Floor light (Lighting

and Lamps section): The jury was fascinated

by the way the lamp adapts interactively to

the mood of users and its organic language

of form. Inspired by the diverse ecosystems

of coral reefs lit by sunlight, the designers

took heed of the organic shape using three

overlapping luminous elements. each can

be easily adapted and rotated over a radius

of 120 degrees, allowing the user to

illuminate three different areas

simultaneously. The jury reasoned: “The way

this light is turned into an integrated part of

a living space is outstanding.”


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BLENDEDSupremaCy

Designer philippe

nigro first caught

ligne roset’s eye

following an

exhibition at 2008’s Salon de

paris. of particular interest was

Nigro’s Intersection sofa, a

design in which the seating is

made up of interlocking colors,

featuring a subtle fade from

one tone to another.

2011 has been a

busy year for designer Philippe

Nigro and Ligne Roset; the

French designer’s ongoing

fascination with the mixing of

materials, color and shape

continues to influence his work.

At present Nigro is working on

a Ligne Roset collection of

outdoor furniture, lighting and

sofas all revolving around the

repetition of shape. “The

common thing is not to have a

very simple shape and to play

on the repetition of this shape.

The shape alone, doesn’t make

any sense. It makes sense once

Nigro Philippe

Photo by Francois

Coquerel

Passio

we have a composition, once

we accumulate them. It’s very

interesting exploring it,” he says.

Nigro thrives on

spontaneity, and claims that

Ligne Roset is the ultimate

partner in this respect: “I

develop the furniture by myself

and present it to Roset. I get

inspired by their catalogues in

order to be able to complete

their collection and so it’s

useful at the same time.” This

happy blend of commercial and

creative talent has allowed

work by Nigro and Ligne Roset

to remain vibrant and

challenging in an ever-changing

field.

In turn, Ligne

Roset’s production expertise

allows Nigro creative freedom.

“In my research, I tried to

introduce asymmetrical shapes

because if you think industrial

production, you usually think

square shapes, aligned shape

because it’s easier to produce.

It’s a challenge developing a

product industrially if it is

asymmetrical,” he says. This

blend of spirited free thinking,

technical know-how and a

natural eye for style continues

to surprise and Nigro’s latest

collection is sure to prove a

boon to Ligne Roset’s ever

expanding offerings.

Entailles

W o r d s : L o u I s p a r k s

ISoLATING Style

French designer Inga

Sempé’s latest

collection for ligne

roset, the ruche

line, suggests at once

comfort and style,

resembling, as the pieces do,

a rather chic duvet, or pillow

thrown over an almost

Scandinavian frame. Featuring

side tables, sofas, coffee tables

and now a bed, the collection

continues to grow.

Interestingly,

Sempé was put off the idea of

designing the latest piece. “I

don’t really like drawing beds

because people are happy to

have just a mattress. I find it

absurd these beds that are on

platforms, on which you hit

your tibia before going to bed,”

she said. Challenged to

overcome her natural distaste,

Sempé took inspiration from

the soft, sensual appeal of the

Ruche collection, creating what

must be one of the most

naturally inviting beds around

today.

Speaking to

Sempé, you get the impression

that this highly successful

designer lives in something of a

bubble, albeit an exceedingly

creative bubble. Speaking of

design trends, Sempé says, “I

never expect anything. I’m a

very bad analyst about fairs,

trends.” on working in a team

and seeking creative input, she

shares, “I don’t really like to talk.

I like to talk only to people who

I’m dealing with in a company. I

Inga Sempe portrait

copyright Sofia Sanchez

and Mauro Mongiello

Ruché bed

have assistants, we talk, but not

about design. I ask them to find

solutions for projects but that’s

about it.”

Given her creative

isolation, it’s therefore not all

that surprising that Sempé

designs for the everyman,

eschewing a target for which

she places herself “in a

person’s shoes, a person that

has no age, no sex, mostly

European since it’s the

country we are in. But most

importantly that has no age

and needs a product.” Relying

upon her natural talent for

design and drive to succeed,

Inga Sempé’s a creative force

to be reckoned with.

Ruche Meridienne and

tablette natural beech

Ruche sketch

watches are

generally

made to be

worn, but

artist-inventor Dominic

wilcox has instead used

vintage timepieces to tell

minute-long stories, in a

perpetual loop.

Wilcox, a self-

confessed smartphone addict,

previously created a tongue-in-

cheek invention – a nose-

mounted device to enable

people like himself to use their

phones while in the bath.

In one piece from

his Moments In Time, a series

of seven miniature sculptures

on watch faces, a man is so

engrossed in his phone he fails

to spot a monkey balanced on

the head of a weightlifting boy,

standing on the arm of an

elderly rollerskater, which

wheels towards him and away

from him during the course of

60 seconds.

The phone starer

is a tiny figure sat on a watch’s

minute hand, while the triple-

figure assemblage balances

precariously on the second

hand.

Another idea was

staring him in the face as he

crossed Mare Street in Hackney,

London one day in August to

get to his studio. He found

himself in the middle of the

worst rioting England

experienced in 30 years.

He recalled: “There

was a young boy carrying a

color television down a back

street, and that stuck in my

mind. So I came up with this

idea of putting a little looter

carrying a rectangular TV on

the second hand with this riot

policeman watching

indecisively on the minute

hand.”

using toy figures,

Wilcox manipulated their heads

and limbs into telling his stories,

painstakingly creating

accessories such as an LCD TV

with wire and plug.

Wilcox came up

with the idea of using watch-

faces as a kinetic canvas during

a Speed Creating exercise last

year. East London design

showcase Dezeen Space

commissioned him to create

seven miniature moving

sculptures as part of the

London Design Festival.

They hold a mirror

to the everyday constant

struggles which get us

nowhere, reflecting the nihilism

of unending repetition.

For his first piece

– selling for £600 (about

$1000) each – Wilcox placed a

seat on the minute-hand and

the figure of a man who got to

sit on his seat for just a second

before having to get up.

The second of his

creations sees a figure with his

arms defensively folded, while

another spins around him

offering an outstretched hand,

perpetually rejected. Wilcox

says of the unrequited

friendship: “It’s quite a sad

story.”

The Watch

Sweeper is a deconstructive

sculpture, the sweeper

mounted on the second-hand

sweeping away the numbers,

minute and hour hands of a

watch, plunging time into a

concept where nothing but

seconds count.

www.dominicwilcox.com

01_____ Pig Close

02_____ Pig

03_____ Hide

04_____ iPhone

05_____ Lootercutout

06_____ Sweep Watch

02


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03 04 05 06

A 50 yEAR RETRoSPECTIVE


patrick Demarchelier’s

life changed when his

father gave him a

kodak camera for his

17th birthday. within five years,

he went from taking seaside snaps

at Le havre to emigrating to new

york in 1975, becoming one of the

world’s most revered fashion

photographers. his portraits are

works of art in themselves,

gracing the covers of vogue, elle,

rolling stone, glamour et al.

It only seems fitting that

Demarchelier should be the

choice of Christian Dior to portray

more than 50 years of elite

designer gowns in 100 delicious

photographs for a luscious

coffee-table retrospective,

published by rizzoli, and

accompanied by an essay from

Ingrid sischy.

The fashion-house

invented the lavish and decadent

new Look, and, although Dior

died back in 1957, he has

remained the epitome of haute

couture.

In 1947 the parisian

designer shocked an

establishment desperate to

promote austerity, and delighted

post-war high society when he

rose up against the prevailing

fabric-rationing, boxy uniformity

with his busty bodices,

constraining corsets, and dresses

flaring out from the waist. his

models were a sharp contrast to

the everyday grey with their

voluptuous, curvaceous and

determinedly feminine forms.

Today, Beyonce

knowles, Linda evangelista and

nicole kidman are among those

who adore Dior, while

Demarchelier’s appeal is near-

universal among fashionistas.

AN NAHAR BLDG, +961 1 971 444/555 ZOUK HIGHWAY, +961 9 217 744/55 SAIFI MAIN ROAD, +961 1 573 555

AN NAHAR BLDG, +961 1 971 444/555 ZOUK HIGHWAY, +961 9 217 744/55 SAIFI MAIN ROAD, +961 1 573 555

keepIng It In the FamIly

keepIng It In the FamIly

W o r d s : f e r n a n D e v a n T e T s

a new fashion

sensation has hit

Beirut. After eight

years of working in

Paris, Milan and New york, Karine

Tawil Abboud has returned to

Lebanon and started her own

fashion brand, Karoline Lang. She

showed her second collection in

November. you are sure to get a

one off, as all clothes are made to

measure following the pret-a-

couture concept.

The brand is inspired

by her heritage, and the great

women of her family. Karoline

Lang, was her great grandmother,

an Austrian woman who married

a Lebanese. “There was

something about her life that

really touched me,” says Abboud.

“She spent her life in the

shadows.” Abboud is now giving

her a chance to shine

posthumously through her

fashion collections, the first of

which ‘Branches de Vie’ was a

direct reference to her family

lineage. “The branch is the logo

of my brand, I am a branch of

Karoline Lang” Abboud explains.

Her target audience

are ‘women who are very

womanly’, and it shows. Her

latest collection, ‘Sur Lignée’,

draws on the theme of lines, both

hereditary and through its strong

focus on original cuts. Her

favorite piece, a black pony coat,

is of a revolutionary design; she

hasn’t come across anything like

it while teaching history of

fashion at uSJ. “It’s an S-cut, and

it’s going to be part of the brand,”

she says.

Abboud has just

opened up a showroom in Jal-el-

Dib in the Metn to serve her

rapidly expanding customer base.

Next up is showing her third

collection in Paris; she is keen to

get the approval of the fashion

capital of the world. A showroom

in Beirut is also in the works.

“Through the women in my

family I want to reach out to all

women of the world.”

www.karolinelang.com

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the threaDS oF CultureFASHIoN IS A CoLLECTIVE FoRCE: WHILE HAuTE CouTuRE DESIGNERS HoPE To INFLuENCE THE HIGH STREET WITH THE GARMENTS WoRN By ELITE MoDELS oN CATWALKS, DESIGNER omar JoSeph naSSer-khoury TAKES HIS CuES FRoM THE CoMMuNITy To ASSEMBLE CLoTHES IMBuED WITH MEANING.


P h o t o : T a r e k m o u k a D D e m

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omar Joseph works

from his birthplace,

Jerusalem, and also

with palestinian refugee

projects in lebanon and Jordan,

drawing inspiration from traditions

with fabrics used for centuries and

costumes, deconstructing them and

remaking them, with intense

attention to detail and

craftsmanship.

after finishing school in

ramallah, the 23-year-old designer

completed his studies in London, and

returned there in early 2011 for a show

as part of London fashion week. one of

his works was acquired by the British

museum. The concept of silk Thread

martyrs was inspired by the heritage of

and current situation in palestine. using

techniques and structures employed by

traditional embroiderers, he worked

closely with artisans and craftspeople to

reflect the continuation of palestinian

culture by producing outfits for farmers,

fighters, martyrs, social workers,

refugees, and above all, the individual

spirit – exploring gender, duty and

social constraints.

his bespoke approach

means that, while versed in latest

technologies, he focuses on the

intricate, hand-made approach,

carrying out embroidery, fabric

preparation, coloring and dyeing by

hand, using natural materials such as

indigo and tea.

Currently, omar joseph is

working on a palestinian embroidery

instruction book with sunbula (a fair-

trade handicrafts organization). while

he delights in creating his own

elaborate, intelligent niche work that

speaks volumes visually – to

disseminate ideas, promote traditions

and do-it-yourself crafts, is his

vocation. fashion is for everyone, not

just the privileged.

a FreSh BatCh

oF StarCh

The aLL-new sTarCh BouTIque has reopeneD In DownTown BeIruT, anD IT’s aLL aBouT Legwork – IT aLL neeDs To Be seen up CLose.

Fashionistas faced an impatient

wait to see what this year’s

carefully selected visionary

designers’ collections were like

before the Saifi village space launched

in early December –as interior designer

marc Dibeh supremely tantalized.

Everything was screened off except some

artful sets of legs.

Dibeh’s genius is to give

Starch’s four fresh designers’ collections

plenty of room to breathe and find

themselves in a refreshingly simple but

effortlessly cool space.

MAHER BSAIBES

MIRA HAyEK

MALAIKA NAJEM

DINA KHALIFE

By debuting up-and-coming

designers and giving them a

helping hand for a year at a

time, Tala Hajjar and Rabih

Kayrouz’s three-year-old, non-

profit Starch Foundation is

playing a leading role in the

gathering resurgence of

Lebanese fashion, art and

culture.

Inside Starch the

minimalist aesthetic is at its

most profound from Maher

Bsaibes; by contrast, Dina

Khalifé wears her heart very

much on her sleeves for her

Hearts, Bugs and other

Creatures close-to-nature

collection. Sheer urban grit

from Mira Hayek’s ready-to-

wear collection, inspired by

graphic novels, electronic

music and Brazilian graffiti,

takes us to another

stratosphere, and Malaika

Najem offers something else

again.

Starch, the

building-block carbohydrate,

exists as a launch-pad for new

expression. If the eventual

flowering turns out to be as

exciting as the roots, Beirut will

soon be on fire, style-wise.

MAHER BSAIBES

MIRA HAyEK

MALAIKA NAJEM

DINA KHALIFE

W o r d s : D a n B r a T m a n

LIGHTING THE

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In Beirut 116117118119120

Far overhead silent

wings beat the wind,

darkening the moon

that lies above,

beyond. Above the wings, beyond

the roof, chased by shimmering

canals, into illicit corners and past

private bridges. It cuts through the

shadows into windows, shining in

the moonlit eyes of lovers

illuminating their deepest hopes.

Deep inside there is seen,

something. Light is not an absence

of dark, but illumination of what

has always been there.

The ceiling of the grand

pavilion of the 2011 Venice La

Biennale is covered in 2000

stuffed pigeons. Above is the

moon. Below is the world’s

most diverse and eclectic

collection of art. Illumination

is the theme. Representatives

from 89 countries have come

together in Venice to show

the state of the arts in the

world today. Twenty-eight

permanent pavilions and

countless temporary locations

serve as the venue for curator

Bice Curiger’s vision and the

effect is awe.

Also in the main pavilion hang

paintings by Tintoretto,

All photos on this page:

China.

01

02 03 04

06

05

01_____Japan

02_____ Argentina

03_____ South Africa

04_____ South Africa

05_____ Moldova

06_____ Turkey

classical master of light. In the

vast white spaces the

Tintorettos seem somehow

modern in their depiction of

religious tableaus—grim, pained,

beatific faces revealed by divine

lighting.

“I am particularly

interested in the eagerness of

many contemporary artists to

establish an intense dialogue

with the viewer and to

challenge the conventions

through which contemporary

art is viewed. The work of

Venetian painter Tintoretto will

play a prominent role in

Illuminations,” said Curiger.

For the first time

Saudi Arabia is represented with

a stunning work. A huge black

disc is suspended in the

entrance of its building. But its

other side is a mirror, beneath

which are 3,457 reflective

spheres with images of mosaic

projected from above. “When

you come in, you face this

black hole. The unknown. This

is how you are to me and me

to you,” says artist Shadia Alem.

“But the other side is a

reflection and many reflections

below. This is how we are,

reflections of each other,

exchanging light.”

The line between

art, sculpture and architecture

here is undefined. Multimedia

installations leap out at the

viewer, sound and vision, light

and color. But perhaps the

unsung art here is the buildings

that house this event. Along

with the striking new structures

built over the years for the

Biennale are the ancient

buildings of Venice. Bathed in

Above and below:

Saudi Arabia

the somber autumnal light

Venice is famous for, this

floating city with its silent walls

and confidential canals frame

the Biennnale as a single work.

Surrounding the materialized

dreams of the greatest artists in

the world are infinite vaulted

ceilings, historied brickwork

and delicate stone filigree.

Graceful arches of stone reach

over Fabian Marti’s “The Summit

of It”, a terraced, reaching box-

like sculpture evoking a

skyscrapered city skyline,

bridging the past to the future.

This juxtaposition of old and

new lends context to both,

pulling us out of the numbness

to time. The haunting of

ancient architecture and the

possibility of the future lands

us, the human element, the

audience, squarely in the

present, reminding us that we

are here, now. We build on the

past and craft the future.

The Biennale is a

global community, a worldwide

spotlight on what is changing, a

dialog of nations through the

expressions of individuals. In a

time of changing world politics,

the Biennale and the art it has

gathered represents the politics

of change. The gathering of art

and artists from around the

world show the diversity of the

human experience. But it also

shows the commonality of the

desire to express it. once a

light is shined, fear of the

darkness disappears and that

which has always been there

becomes illuminated.

Left and below left: ukraine.

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ARTIST MAuRIzIo CATTELAN BRINGS HIS ANARCHIC STREAK To THE GuGGENHEIM

For his first solo

exhibition in 1989,

maurizio Cattelan

made a massive

statement out of nothing.

Visitors were greeted with a

sign reading ‘torno subito’ (be

back soon) and a closed gallery.

Since that infamous (non)

beginning, the Italian anarchist

has turned his utter disrespect

of all authority into an

assortment of howls, designed

to provoke, outrage and

invigorate the anarchistic

streaks inherent in the masses.

Everything he has

created – or shamelessly stolen

from other artists – is hung like

dirty linen in a ramshackle

vertical display from the oculus

in the Guggenheim’s rotunda in

New york. Devout Catholics,

particularly, will get a shock

from a waxwork of Pope John

Paul II struck down by a

meteorite.

Cattelan himself can be found

hung from a metal coat rack - a

piece called La Rivoluzione

siamo noi (We are the

revolution, 2000) - dressed in a

felt suit associated with Joseph

Beuys, the anarchistic German

artist cited as the father of

conceptualism. Like Beuys,

Cattelan has a fascination for

taxidermy and death,

exemplified in the title piece for

this extensive retrospective, All.

The 1997 work, nine marble

fallen bodies, victims of an

unnamed trauma, like those we

see portrayed regularly in the

media, he describes as a

“monument to death”.

Alternatively,

Bidibidobidiboo (1996), depicts

the suicide of a squirrel in a

dirty kitchen.

Working in a

hyperreal vein, Cattelan’s

sculptures play the fool while

offering scathing critiques of

abusive power, mirroring killer

contradictions at the heart of a

global hegemony.

Raised in the

Italian city of Padua, a mix of

poverty at home, punishment at

school and a string of dead-

end, unfulfilling jobs compelled

Cattelan to create, steal and

rebel in art.

In 1996, for a show

in Amsterdam called Another

F***ing Readymade, he stole an

entire show by another artist

from a nearby gallery and tried

to pass it off as his own.

All deliberately

resists a clear, chronological

view of almost everything the

artist has created since 1989.

Rather, the display is a

haphazard jumble, some work

at eye-level, others towering

overhead. Visitors to the

startling show must be hoping

gravitational principles of

physics have been well and

truly suspended. This is

gallows humor taken to a

whole new level.


‘ K E E P R O C K I N G ’ — w o r d s : h a n e e n j o u D I y e h ,

‘ O l d , m O d E R N W O R l d ’ — w o r d s : L o u I s p a r k s

karim Chaya’s fascination with rocking

Chairs is something we can all relate to.

how many times have you walked into a

room and the first thing to catch your

attention is the rocking chair in the corner?

Chaya manifested this

fascination in a unique exhibition at Beirut

art Center. “we have always associated the

chair with stillness and lack of motion; my

pieces are an attempt to change that,” he

says.

a rhode Island school of

Design graduate, Beirut-born Chaya co-

founded abillama Chaya Industrial Design in

1997. Chaya also started two companies:

aCID, which specializes in design,

manufacturing and installation of

architectural detailing and spokDesign, a

company devoted to furniture and product

design. In addition to that, he teaches fifth

year industrial design at aLBa.

In this exhibition, spokDesign

presents Chaya’s latest creations conceived

under the theme of rocking and movement,

inspired by the pendulum and the

metronome.

The creations feature an array

of activities (including meditation,

conversation) and materials (such as leather,

wood), and take you on an extraordinary

journey. The use of authentic furniture items

and the mixing of them with modern

elements give each piece a story to tell.

This is also accentuated by some of the

chairs being given names of people, giving

them a personality of their own.

Those that visit the exhibition

should make sure to try all the chairs, each

one offering a different rhythmic

experience.

Beirut Rock Center by Spokdesign

continues at the Beirut Art Center until

January 21. www.beirutartcenter.org

KEEP roCkIng

seasonal, fresh, organic: all words that

describe Lux, the latest addition to Beirut’s

burgeoning list of modern, creative and

engaging eateries, located in the city’s port

District. named after a unit of light, it’s not

surprising that Lux is something of a tribute

to the power of illumination; the lamps

which adorn the eating areas are all from

1930s and ‘40s Berlin, there’s a focus on

natural light during the day, and a wooden

terrace where diners can take in the air.

owned by michel saydah and

johnny farah, Lux’s take on food and drink

is estimable, but then the partners’ history

with Casablanca, pacifico, Dragonfly and

other renowned nightlife spots makes this

perhaps a given. what is more surprising is

that the pair designed the interior alongside

architect karim Bekdache.

with leather benches, a wood-

topped aluminum bar, long tables and

natural wood finishes, the interior harks

back to a time when attention to detail was

a must and quality was king. farah’s

touches are clear to see as is saydah’s past,

and it’s the overall feeling of warmth, old

fashioned, yet relevant, style and a great

menu that bring Lux into the spotlight.

oLD, moDern

worlD

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