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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:
dan bratman
Karah byrns
Miriam dunn
louis Parks
AdvertisiNg:
t: +961 3 852 899
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Art & Culture 104105106107108
Welcome to the ‘Do You Dare?’ Issue of Le Cercle in
which we seek out the risk takers prepared to push the
boundaries of traditional thinking, the brave innovators
who have opened up the horizons of the design world,
and the bold ideas that have been translated into beauty on
earth.Braving the climatic
extremes of 40 degrees below zero, Foster + Partners, one of the leading global architectural
firms, dared to dream big with the design for the world’s largest tensile structure in Kazakhstan’s capital Astana. Across the globe in the searing 45 degree heat of Qatar, the firm has equally risen to climatic challenges with a revolutionary approach to harnessing the earth’s resources.
From the great outdoors to the interiors of homes across the world, design brands such as Roche Bobois, B&B Italia and Moooi have all made their name as pioneers in their field. On the occasion of the 50th anniversary of Roche Bobois we take a look back at how they blazed a trail over five decades using cutting edge technologies and supreme craftsmanship. For B&B Italia and Moooi we explore the process behind the creation of audacious objects that straddle the line between furniture and art.
Taking things up a gear, we bring you a preview of Lebanon’s first extreme sport park set to launch this summer just outside Beirut. As well as offering up the possibility of gentler pursuits, its aim is to provide the perfect place to experience the addictive adrenalin rush of motor sports. The question is: Do you Dare?
COveR: detail of Ploum sofa,
BOuROuLLeC for LIgne ROseT
Red hot glamouR by Christian Dior
one on one with massimiliano Busnelli
roChe bobois Celebrate 50 yeaRs of cReation
B&B italia BRings styleto BaRcelona’s new hotelDesign inspiration
Canapé composable Mah Jong CoutureHabillé par Jean Paul GaultierDesign Hans Hopfer.
Conçu pour vousw w w. ro c h e - b o b o i s . c o m
Canapé composable Mah Jong CoutureHabillé par Jean Paul GaultierDesign Hans Hopfer.
Conçu pour vousw w w. ro c h e - b o b o i s . c o m
birthdAYBumpSThe Beatles give Ringo Starr the birthday bumps on his 24th birthday.
DaTe: July 1964.
make-upMirroraRChive limiTeD eDiTion BlaCk anD WhiTe phoToGRaphy.
fAbFouRThe Beatles looking down on a street from a window.
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PhotogrAPhY
The SpRinG wishlist
Le CeRCLe gOes WInDOW shOPPIng FOR sOMe OF ThIs seAsOn’s MusT-hAve PuRChAses.
iMProviseSize: l 25Cm, h 53Cm.
ann vRielinCk
triuMPhSize: h 166Cm.
ann vRielinCk
fANtAsize Size: l 117Cm, h 166Cm.
ann vRielinCk
sNigger Size: l 55Cm, h 106Cm.
ann vRielinCk
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seAtiNg
BiBenDumChAirFenDi CaSa ColleCTion
CRySTalsgAbFenDi CaSa ColleCTion
JolieMAteriAl: FRame in GloSS epoxy laCqueReD STeel;
SeaT Shell in GloSS laCqueReD mulTi-ply.
size: W 43 x D 46Cm x h 80/104.5Cm.
C. DonDoli & m. poCCi FoR liGne RoSeT.
PAMMAteriAl: SeaT in BeeCh mulTi-ply in TRanSluCenT pmma oR
CoveReD in SynDeRme hiDe, FRame in maTT ChRomeD meTal.
size: W 40Cmx D 43Cm x h 65/89Cm.
C. DonDoli & m. poCCi FoR liGne RoSeT.
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seAtiNg
MirliNoMAteriAl: STool in molDeD mulTi-ply.
size: D 40Cm x h 55.6Cm.
GianCaRlo mino FoR Cinna.
ottoMANMAteriAl: BaSe anD BelT in polyeTheR Foam.
size: W 100Cm x D 93 Cm x h 68Cm.
noé DuChauFouR-laWRanCe FoR Cinna.
seAtiNg
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RuChésetteeGaTheReD oR pleaTeD FaBRiC, SoliD WooD STRuCTuRe
size: W. 170/200 x D.85Cm x h.82Cm
inGa Sempé
diCKieMAteriAl: expanDeD polySTyRene Fill, in
polypRopylene anD nylon laminaTe BaG.
size: W 105Cm x D 110Cm x h 120Cm.
anThony kleinepieR, 2004, FoR moooi.
lou ArMChAirpaTRiCk Jouin
Shell in inJeCTeD polyeSTeR ReSin ReSTinG on a unique STeel
BaSe - ChoiCe oF BRillianT-ChRomeD oR SaTin BlaCk FiniSh
size: l.67 x D.75 x h.74Cm
ANNeAupieRRe paulin
TuBulaR STeel FiniSheD in SaTin BlaCk
laCqueR, Fully RemovaBle CoveRS
ArMChAir: W.81.5 x D.71 x h.104.5Cm
footstool: W.68 x D.55.5 x h.40Cm
CoNflueNCes philippe niGRo
3-SeaT SeTTee oF CRiSS-CRoSS panelS anD panelS oF mulTi-ply
size: W.235 x D.104.5 x h.85Cm
siMPlissiMoJean nouvel
TuBulaR STeel eiTheR maTT ChRomeD oR maTT BlaCk
laCqueReD, GRooveD polypRopylene
ChAise loNgue: W.60 x D.133 x h.92Cm
fireside ChAir: W.60 x D.69 D.74Cm
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geNevASounDMon stand
multi-function stereo system in a single wood cabinet.
Designed by the Geneva lab in-house design team
CAbiNet fiNish: piano laCqueReD WooD,
availaBle in WhiTe, BlaCk anD ReD ColoR
size: 36.6 Cm x 18.7 Cm x 24.0 Cm
Meli-MeloWalnuT eDGinG anD ColouReD laCqueR
size: W.110 x l. 110 x h. 34.1Cm
FReD RieFFel
evolCoFFeetAbleSTeel CiRCleS, SaTin STainleSS STeel FiniSh oR epoxy
laCqueR FiniSh. ThiCk GlaSS Top, CleaR oR SmokeD FiniSh.
size: Ø 110Cm x h.35Cm
CeDiRC RaGoT FoR RoChe BoBoiS
iNterstiCenoé DuChauFouR-laWRanCe
SupeRimpoSeD STRaTa in SoliD WalnuT oR WhiTe
laCqueReD mDF WiTh CenTRal SpaCe
size: W.150 x D.84Cm x h.28Cm
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oCCAsioNAl furNiture
CYliNdriCAlvaSeSmade out of double thickness, clear mouth-blown glass.
handcrafted silk-screened decoration with 980/1000 silver.
laCe ColleCTion
DeSiGn paola navone
h.40Cm - Ø20Cm
h.35Cm - Ø12Cm
h.40Cm - Ø10Cm
TheKilliNgoFthepiGGybANK MAteriAl: poRCelain.
size: D 30Cm, h 26Cm.
maRCel WanDeRS, 2009,
KAPPAvaSeSTeel vaSe
size: h. 55Cm, 54Cm, 82Cm
wiNtervaSeMAteriAl: BloWn GlaSS anD poRCelain.
size: h 32Cm.
vaneSSa miTRani FoR RoChe BoBoiS.
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ACCessories
grAffitiMAteriAl: niCkeleD STeel WiRe.
size: 48 x 50 x 4Cm.
TouS leS TRoiS FoR liGne RoSeT.
boheMeFReD lamBeRT
ColouR: amBeR oR TRanSpaRenT
14.5Cm x 30 Ø .
Carafe in amber mouth-blown glass with a clear glass stopper
ACCessories
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evlANMAteriAl: poT STanD in molDeD BRillianT-poliSheD aluminum.
size: 32 x 21 x 1.5Cm.
TouS leS TRoiS FoR liGne RoSeT.
SoFTCloCKkiki van eiJk
CeRamiC, BlaCk,GolD oR SilveR
Size: W.23Cm, D.15, h.25Cm
moooi
DeaRiNgoDirect the spots in the most functional crooked
way or find your optimum balance.
MAteriAl: poWDeR CoaTeD STeel.
size: min 80Cm, max.240Cm, h 50Cm.
Ron GilaD, 2003, FoR moooi.
lolitAMAteriAl: inJeCTion molDeD aBS ShaDe, polyuReThane BaSe.
size: 78Cm x Ø37Cm.
nika zupanC, 2008, FoR moooi.
diAMoNd lAMPMAteriAl: mouTh-BloWn anD hanD-maDe muRano GlaSS.
size: h 79 x Ø 45 Cm.
FenDi CaSa ColleCTion
CréNeAu.MAteriAl: TWin FlooR-lamp WiTh epoxy laCqueReD
BaSe, pivoTinG ReFleCToR anD ChRomeD upRiGhT.
Size: W 15/20Cm, D 15Cm, h 12.5Cm.
elia Gilli FoR liGne RoSeT.
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lightiNg
lightShaDeChANdelierSemi-ReFleCTive polyeSTeR ShaDe, STeel oR BRonzeD-
STeel FRame WiTh DeCoRaTive GlaSS BeaDS
size: Ø47cm x h.82cm or Ø70cm x 76cm
JuRGen Bey
brAveneWworldlampFReSh WeST, 2008
MAteriAl: oak FRame anD CaST iRon BalanCinG WeiGhTS
size: 70Cm x h.180/110Cm
The Brave new world lamp started as a concept piece in random
thought-initiated construction. inspired by the traditional Far
eastern bamboo scaffolding. The Brave new world lamp
was developed without a design or plan in place.
AriANeTaBlelAMPMAteriAl: BaSe in TiTanium-laCqueReD STeel;
ShaDe in WhiTe opal pmma; ReD TexTile CaBle.
size: W 18Cm x D 29Cm x h 56Cm.
eDouaRD laRmaRauD FoR Cinna.
laPliCWall liGhT WiTh STainleSS STeel SuppoRT,
niCkeleD SoCkeT, TRanSpaRenT CaBle.
size: W 10Cm x D 18Cm x h 16Cm.
naThalie DeWez FoR liGne RoSeT.
lightiNg
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Bend-Sofa is music to kate and Davide. Bend-Sofa is deigned by Patricia Urqulola.
Bend-Sofa is music to kate and Davide. Bend-Sofa is deigned by Patricia Urqulola.
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I t is the nature of man to strive for adaptation. Through technology,
our efforts can be used to navigate
the world with a minimum of friction, to
carve out our measure of sanctuary. But
sometimes, something inside us rises and we
are inspired. often by those for who each
bend in the road is a challenge, every record
a chance to break it. We are inspired by those
who dare.
Formula one racing has
always embodied the very essence of
daring. highly technical, requiring infinite
precision and obsession with detail, it also
requires extraordinary courage. one must
test the limits of nature, beyond what
others have deemed impossible. in this,
racecar builders the mclaren Group and
architects Foster + partners are kindred
spirits and they have met head on. The
collision of which has produced the
mclaren Technology Center, the Royal Fine
art Commission’s “Building of the year”,
a structure that represents these kindred
spirits’ conspiracy against convention.
like the cars inside, the
new factory designed by lord Foster is
an engineering marvel. Created with an
ultra-low profile, the one storey building
maintains the aesthetics of the surrounding
country, unnoticeable by neighboring
properties. its curved glass exterior opens
to the english countryside while indoors,
each curve, every beam and railing has
been crafted with specific purpose.
perhaps one of Foster’s most
impressive design solutions is the factory’s
water based cooling system. The massive
wind tunnel used to measure the car’s
aerodynamics generates an enormous
amount of heat. To cool the huge
chamber, pumps in the basement send
W o r d s : D a n B R a T m a n
6,000 liters of cool water every minute, creating a constant
flow just beneath the chamber’s walls. Then, the heated water is
carried outside where it flows down multiple steps that lead to
the reflecting pond surrounding the back half of the center. once
cooled, the water is pumped back inside, circulating as an air-
conditioning source throughout the entire building.
Behind the imposing beauty and exacting design lies
a more human purpose. “We wanted to make a place where the
workers didn’t want to go home,” says Ron Dennis, Chairman and
Ceo of the mclaren Group. he feels that in such an environment,
the surroundings will inspire the best efforts of its employees to
make the greatest cars in the world.
Technology has brought us to a place of unparalleled
luxury and comfort. Things that once took all day are now
performed in minutes. Technology can enhance our lives but how
it is used is the responsibility of those who wield it. Those bold
enough to create the seemingly impossible raise us up into an age
of greater possibility. and they stand as a challenge to inspire.
T he balance of nature is delicate. The struggle for life to persist is one against the odds. We draw
essential and finite resources from the environment as it conspires against us to keep its own balance. Only the strong, bold and adaptable can survive. Intellect and its inventions are man’s strongest tool in the struggle for life and with them, we have learned to thrive. now it seems that we toy with the elements, pushing the limits of technology not only to survive the harshest conditions but to transcend them. And, in doing so, test the limits of human potential. Recently, in some of the harshest environments in the world, the firm of Foster + Partners has shown just how far technology can take us today. And, how far it dares to take us into the future.
FoSTeR + paRTneRS DeFy The WeaTheR To CReaTe WoRlD FiRSTS W o r d s : D A n B R A T M A n
The World’s Biggest tent Gives Us The FUTUre Today
I n the middle of an enormous grassy plain sits the city of Astana, capital of Kazakhstan. With one of the most extreme
climates in the world, the city’s temperatures range from -40 C in the winter to +40 C in the summertime. With the challenge set, the city engaged Foster + Partners to design a structure whose vast interior spaces would allow the people of Astana to have a climate controlled cultural and civic center. Their response was the world’s largest tent using the sun, physics and innovative materials to temper its harsh surroundings.
The shell of the structure is made of eTFe, a transparent polymer material. Fritting (an ancient ceramic technique developed in the Middle east) on its outer foil layer is used for solar shading in the summer. Its tent-like shape allows for natural
stack effect ventilation. The hot air rises into the cone and can be ventilated through openings at its peak while low level jets direct cool air across the spaces below.
In the winter, the sun flows through the transparent shell. The eFTe is an excellent insulator and helps harness the sun’s heat. A key challenge in the extreme cold is to prevent the formation of ice on the inside of the envelope; this is achieved by a combination of temperature control and directing warm air currents up the inner surface of the fabric, a strategy that also prevents chilling downdraughts.
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F ootball is the most popular sport in the world. every year, millions of people watch the World Cup. The bid for
hosting this prestigious event produces some of the most innovative architectural designs ever seen and the race to hold the 2022 World Cup is no exception. But along with a need to create a spectacular venue for more than 86,000 people, the proposed stadium in Doha, Qatar also faces unique environmental factors. With summer heat rising to 45 C and 95% humidity, keeping such a massive structure cool seems like a daunting task. Doing it with a zero carbon footprint—impossible. But once again, the firm of Foster + Partners has risen to the challenge. In cooperation with companies from around the world, they have pushed at the limits of
W o r d s : D A n B R A T M A n
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technology to propose the Lusail Iconic stadium. emerging from the smoothness of
desert, blooming like a flower of glass and steel in the sand, the Lusail Iconic stadium’s superstructure is a glimpse into the future of climate control. With the goal of a zero carbon footprint, Foster + Partners has drawn from Doha’s most abundant resource—the sun. hundreds of square meters of photovoltaic cells cover the stadium’s parking providing both solar shading for cars and power for the structure. While the stadium is not in use, the power can be diverted to the grid, creating an alternative power source for the city. The Lusail Iconic stadium harnesses nature’s resources to make an environment within an environment. Proving, once again, how the mind of man can triumph in the face of the harshest conditions.
TOGO sofa. Design: Michel Ducaroy.Catalogue: www.ligne-roset.com
TOGO sofa. Design: Michel Ducaroy.Catalogue: www.ligne-roset.com
a neW dawn in
Damascus
The Ju
lia D
umna
ca
fe
W o r d s : K A R A h B Y R n s
D aily life is an art form, an interactive play of objects, architecture, and light. Dori hitti
not only understands this, he lives it and
breathes it into each one of his avant-garde
designs. The new Julia Dumna Cafe in
Damascus is no exception, with the project
embodying “simplicity with a modern twist”,
in hitti’s own words. injecting a fresh, open-
air venue into the quiet mazze neighborhood
where it is located, Julia Dumna Cafe has
become a landmark for the area in less than a
year since its official opening.
Descending discretely from
the street, the Julia Dumna Cafe opens
its doors onto a modern interior space
that flows seamlessly into an intimate
outdoor terrace that lies just below the
level of the grass. The stark materials of
wood and metal, hitti trademarks, mingle
effortlessly with abundant greenery. Bright
vines wrap around a sleek steel wall while
decorative plants and a high solid block
wood structure provide warmth and
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life outdoors, while bold and bright geometric sofas
add zest to a predominantly white interior with wood
accents.
although this contemporary venue with an
international fusion feel would not be groundbreaking
in Beirut, it has made such a buzz in mazze because
it is the first of its kind to grace the area. in Beirut
such a place would be popular and impressive, but
expected. in Syria, it breaks boundaries. “it has become
a trendsetter for the surrounding area,” says hitti. “it is
introducing an opulent, minimalist style to Syria that
people haven’t seen here before.”
The space functions as a restaurant
and lounge both at day and night, and bustles with
a constant influx of patrons who appreciate the
contemporary enclave of decadent repose. Both
intimate and public, it captures the elegant essence
of the neighborhood and its spirit of enlightened
privacy through a modern design concept. “We
broke a barrier and people have embraced it,”
says hitti, satisfied. “The place is always busy,
which shows how much our architecture and
interior design concepts are being appreciated.”
T here is always a first time for everything, and this past November, it was
Qatar’s prestigious international furniture and design exhibition (iNfdeX), in its 9th successful year. november 2010 marked the first time that Dori hitti of Le Cercle hitti group participated in a regional trade show in response to an invitation to head the jury of the show’s Young Designer Award. Organized under the patronage of the Prime Minister and Qatari Foreign Minister sheikh hamad bin Jassim Al Thani, the show
featured designers and companies from over 30 countries all around the world, from France and Italy to Turkey and Bahrain. Bringing international talent to the heart of the gulf, the event showcased some of the world’s most ambitious designers.
To support hitti’s presence as a judge of the Young Designer Award, Le Cercle hitti group made waves with a unique stand at the center of the exhibition hall that completely broke with expectations in a positive, meaningful way.
Conceptual instead of commercial, the stand featuring an abundance of flat screens on a pure black backdrop to showcase rotating, vibrant images of hitti’s projects, including yachts, chalets, retail and residential spaces.
“The reaction we received was overwhelmingly positive, with many people there asking how a designer could so effortlessly blend east and West through such a modern simplicity of form,” hitti says. “Our presence was subtle; it spoke for itself.”
W o r d s : K A R A h B Y R n s
orienTalW o r d s : m i R i a m D u n n
B&B iTalia BRinGS STyle To BaRCelona’S
neW hoTel
F ew european cities can boast the rich architectural heritage, thriving cultural scene and exciting shopping opportunities
that barcelona offers.
as the flagship of modernist architecture,
thanks to a rich legacy of buildings created by the
renowned architect antoni Gauda, Barcelona’s
charming maze of streets and squares is a bewitching
mix of old and new.
The high-end boutiques of Chanel, armani
and hermès sit comfortably alongside architectural
splendors like the famous Gaudi house and the Sagrada
Familia church, while tapas bars and cafes offer a
seemingly round-the-clock vibrancy in the famous las
Ramblas avenue which connects the city center to the
sea.
The majestic mandarin oriental hotel,
which is located at the city’s most exclusive address
in passeig de Gràcia, perfectly reflects Barcelona’s
diverse legacy and contemporary elegance. marking
the mandarin oriental hotel Group’s first opening in
Southern europe, this avant-garde luxury residence
offers guests sumptuous comfort combined with the
inimitable hospitality for which the award-winning
company is renowned.
an elegant mid-20th-century building, the
mandarin oriental’s hotel’s contemporary, yet timeless
decor and interiors are the carefully-crafted work of the
Spanish designer, patricia urquiola, incorporating many
design pieces from B&B italia.
her hallmark genius and creative flair are
evident throughout the resort, from the avant-garde
furniture of the 98 rooms to many inspirational details,
such as the fully restored early 20th century French
ironing table in the Blanc restaurant and lounge.
urquiola’s clever use of cream and white
give the hotel rooms a fresh, contemporary feel, while
trademark oriental accessories add an intimate touch.
Guests will delight in the views from the rooms, which
take in the boulevard or the hotel’s landscaped interior
garden.
Dining is of the caliber that clients
would expect from the mandarin oriental hotel
Group. Renowned Chef Carme Ruscalleda, winner of
five michelin stars, oversees the innovative culinary
experiences of the innovative moments restaurant,
while the sister restaurant Blanc and the
Banker’s Bar offer alternative fine dining options.
For visitors who wish to forget the
hustle and bustle that a busy city trip can involve,
the mandarin oriental hotel offers the perfect
retreat in the form of a 1,000 sq meter Spa. here,
guests can indulge themselves from a wishlist of
holistic rejuvenation and relaxation treatments and
therapies in a tranquil, relaxing setting.
The mandarin oriental hotel is
undoubtedly a fascinating mix of contrasts,
from its historical architecture and oriental
artefacts to its cutting edge business facilities
and pioneering cuisine. an intriguing
combination of old and new which surely
reflects the city in which it proudly stands.
the Mandarin oriental, Barcelona
Passeig de Gràcia, 38-40
Barcelona 08007
Phone: + 34 93 151 88 88 Fax: + 34 93 151 88 89
www.mandarinoriental.com/barcelona
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Shopping 1617
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DESIGN VÉGÉTAL - DESIGN OBJET - PARFUM
DESIGN VÉGÉTAL - DESIGN OBJET - PARFUM
DuCaTi & hiGh on WheelS DaRe To BRinG BeiRuT moToR SpoRT To The nexT level
W o r d s : K A R A h B Y R n s
“R iding is a dangerous sport... and anyone who states otherwise doesn’t know what he is talking about,” says gilbert
Khoury, Owner and general Manager of high On Wheels, Ducati Beirut. Compared to any other bike, riding a Ducati is about the extreme - extreme sport, extreme style, and pure riding bliss. The thirst for adrenaline that motorcycle riders live for is one that a luxury sports car just can’t quench, and this pleasure carries a price. To experience it, one has to cross the limits of fear and step onto the track with confidence, prepared to fall down, get up, and keep on striving for perfect balance at staggering speeds.
“The profile of the typical Ducati rider is an achiever who knows what he wants; he is an ambitious, adventurous, adrenaline seeker who usually likes to associate with brands that translate to excellence,” observes Khoury, who has operated Beirut’s Ducati franchise for the last four years. In that time, Ducati has grown from a small storefront off the Beirut coastal highway to a multi-level shop and showroom that features everything from spare parts and protective gear to baby Ducati apparel. It is a haven for extreme sports enthusiasts, for Beirut’s bold without borders. It is an ideal sport for the man - or woman - who may already have everything, but
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desires to experience life to its fullest and is ready to push personal limits past the finish line.
Though traditionally perceived as a man’s sport, motorbikes are gaining ground with women in Lebanon.
“Today there are about six or seven female riders who ride regularly for fun,” notes Khoury. “One is even a professional rider,” he adds, with a nod to Ducati’s own Corporate executive sarah Fakhoury, the female rider in question. Fakhoury, with her long blond hair cascading in waves over her left shoulder, simply smiles, suggesting there is no reason any woman can’t ride just as well as any man. her advice to women? “Just get out there and try it, you won’t regret it.”
As rumor suggests, the easiest way to sell a Ducati is to get someone to test-ride it. “This is true - more often than not, he will never want to get off of it,” Khoury confirms. And to give these passionate riders a field for their sport, Khoury will be taking motor sport in Lebanon one monumental leap forward by launching an extreme sport park just 15 minutes outside Beirut, in Dbayeh, with a tentative opening date set for summer
2011. The park will target families and sports enthusiasts of all ages for a wide variety of activities, from motor cross, carting, and racing to tamer activities like walking and cycling. “The park will be like a sport city... open to the public for from ages 3 to 99,” he quips, referring to his own son and daughter who both began riding motorbikes from the tender ages of 3 and 4, respectively. “I even had a man who was 73 tell me his dream was to ride a motorbike,” he adds. “I told him, ‘come on out and I’ll show you how’, and I taught him everything... he now rides with us today at the age of 74, and he is doing well.”
Despite the allure of the thrill, what holds most people back from daring to test drive a motorbike is fear. however, as long as people are aware of the risks involved and take the necessary safety and protective measures when riding, Khoury claims that the sport can be rewarding and fulfilling, without anxiety.
“You get over your fears very easily on the bike,” he says. “The feeling of pleasure you get on the bike is so much greater; that joy, the rush, the utter sense of freedom... it all overpowers any possible fear.”
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Smoke
maarten BaaS
for moooi
“maa
rten app
roaches design without
knowledge of, or care for, predisposed
boundaries.” So reads the biography
of this Dutch designer and graduate
of the Design academy eindhoven. His
Smoke concept not only caught the eye
of museums, critics, and coll
ectors
but also international design company
moo
oi. the Smoke chair is, acc
ording
to moo
oi, furniture finished with
fire. “the beauty and character
of burned woo
d is now captured in a
long lasting material, creating the
strange sensation of sitt
ing on burnt
furniture”. although every Smoke
chair may loo
k alike, each piece is
absolutely unique.
GranDe PaPilio
naoto FukaSawa
for B&B italia
“i wanted this chair to loo
k obviously
comfortable with the kind of shape
that ‘relaxation’ might take if it
were portrayed in a picture. it nee
ded
to be encompass
ing or enveloping - in
a way that would make people want to
just lie back and relax. i att
ained
this shape by drawing a straight
line on top of a shape that loo
ked
like a piece of paper roll
ed up into
a huge megaphone. Perhaps what i
reall
y wanted to create was a form
that loo
ked more like a sculpture
than a chair or one that reminded me
of a big soft toy.” naoto Fukasawa
BenD
Patricia urquiola
for B&B italia
Patricia urquiola’s Bend sofa comes
from a study of 3D models and digital
research: the volume see
ms moulded
by hand, softly fashioned in a
ductile material; an almost primary,
monolithic form. the back of the sofa
is lightly chequered with a patt
ern
alternating plenums and voids, whilst
the contrasting stitching emphasizes
the edges like a wire-frame model,
creating a visual eff
ect of lines and
volumes. undulating forms, ass
embled
in a continuous and alternating
series of seats, ott
omans and corner
elements, create an elongated and
sinuously twisting sofa. From simple
compositions of few elements, sofas
of limited size are created, suited to
the home environment.
crinoline
Patricia urquiola
for B&B italia
crinoline is the result of Patricia
urquiola’s research into three
-
dimensional texture: a succ
ess
with
soft, curving shapes. chairs and all
sizes of armchairs are designed in
several diff
erent shapes and heights.
the black-white and black-bronze
polyethylene weaves are joined by
cord weaves in natural fiber or
painted bronze. there are diff
erent
base frames: in stainless
stee
l or
with finishes that are either the same
or contrasting with the chair. the
tub chair becomes more scenographic
with a poncho in natural-colored,
magenta or bronze cord draped over
the chair seat and over the backrest.
Versions with stainless
stee
l frames
have a supp
orting frame in a cord
weave in natural color or bronze,
or in black-white or black-bronze
polyethylene fiber. the table
reflects the style of the crinoline
series, with a curved shape like
the chairs and the woven patt
ern of
polyethylene fiber. it’s available in
two diff
erent finishes: black-white
or bronze-black. the base is made up
of two conn
ected elements that create
a chalice shape that supp
orts the
tops, which are made of extra-light,
etched glass
back-painted white or
of white layered HPl laminate with
mill
ed groo
ves in a radial patt
ern.
this last version is designed to
hold an umbrell
a in the center.
Facing page:
Massimiliano Busnelli at Le
Cercle hitti, Beirut.hoW B&B iTalia iS movinG WiTh The TimeSW o r d s : h e L e n A s s A F
Massimiliano busnelli is a man that knows how to keep secrets. As the head of Research & Development at B&B Italia, it is certainly part of his job description. to keep
a tight lid on upcoming designs. In Beirut for the opening night of a special Le Cercle hitti B&B Italia exhibition, however, Busnelli is only too keen to look back and share more on the subject of the company’s evolution in the past year.
sitting on a B&B Italia sofa in Le Cercle hitti’s showroom in Downtown Beirut on a late november afternoon, Busnelli recounts how the exhibition pieces that are on show around him relate the
story of the company’s strategic vision of recent times. “A year and a half ago the market was very bad so we
said we have to react and do something,” he says. “One idea was something that had been happening in the
car industry for many years: to use the same chassis for many different models.” In the case of B&B Italia
though, instead of a chassis being reused, it was the mold. A modular sofa, for example, can entail up to ten
or 12 molds being created for the different elements. Reusing the molds, but changing distinctive elements,
such as the fabric or the stitching and even the
Facing page:
Massimiliano Busnelli at Le
Cercle hitti, Beirut.
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height between the seat and the floor, resulted in new products with less outlay required from the company. A second idea focused on introducing sofas that were less expensive than the rest of the collection by eliminating the feet, removing the cushions and structural elements, all with the intention of reducing costs that could be passed on to the consumer.
Innovation has certainly been at the heart of the B&B Italia brand since it first launched in 1966. sofas at the time, and even still today, were typically made using a wood frame. “Our invention was to have a metal frame, which lasts longer compared to wood, and then to put it into a mold and inject polyurethane into it,” explains Busnelli. The manufacturing revolution brought with it myriad possibilities for new shapes and daring visions to be brought to life. This innovative spirit has been upheld through the years and continues to be the hallmark of a true B&B Italia piece.”People expect something innovative from us,” says Busnelli. “That’s why we try to be very critical of our designs because if we don’t find any innovative spirit we’re not going to do it.”
In the Le Cercle hitti
showroom there are plenty of examples that illustrate this philosophy. not least among them is Zaha hadid’s Moon sofa, which blends the avant-garde architect’s creativity with B&B Italia’s pursuit of perfect comfort. “Zaha hadid was one of most challenging projects we have ever done. The first sketches she sent us, we didn’t even know how to look at them,” says Busnelli, adding that hadid subsequently pushed B&B Italia team’s production knowledge to the maximum. After undergoing the industrialization process and enduring rigorous structural testing, the final result is an imposing and striking sofa that Busnelli describes as “comfortable” and most likely destined for a collector’s home or as a second sofa in a private space.
Although a collaboration with one of the most famous names from the world of contemporary architecture may give the impression that B&B Italia deliberately targets big names, Busnelli denies this is so. “We are not looking for famous designers, we are looking for good designers with whom we can create a relationship based on trust,” he says. “Once we find these kinds of designers we collaborate with them for
many years and they become family friends.” Antonio Citterio is a good case in point, who has been designing for B&B Italia for more than 30 years. his Ray sofa joins Patricia urquoila’s Bend sofa as being among the two most popular B&B Italia items to debut in Le Cercle hitti’s showrooms in recent months.
As for what innovations can be expected from B&B Italia at Milan’s upcoming International Furniture Fair in April, Busnelli remains tight-lipped. however, even if he won’t let slip on any details, his passion for the products, as ever, is clear. “They are our children,” he says. “We follow the products from the first idea and develop them in a very tight collaboration with the designers. They are our ‘sons’ so for us they are beautiful, I really believe in them as always.”
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Designing blisskaren Chekerdjian
On a family holiday in Milan, Karen Chekerdjian walked into an industrial design
school, and fell in love. not with a
handsome italian or an unforgettable
place, but with the concept of three-
dimensional design. “i was beginning
to feel frustrated by working in just
two dimensions,” says Chekerdjian,
who at the time was already enjoying
a successful career in lebanon as a
graphic designer and founder of her
own company mind the Gap. “at that
time no one in lebanon even knew
what industrial design was; for me, it
was like finding something that i had
always been looking for.”
With an academic
background in film direction,
Chekerdjian was an unusual
candidate for a masters in product
design, but when she boldly
presented her portfolio to the dean,
she was accepted on the basis of her
talents. Thus began the evolution of
the karen Chekerdjian Beirut knows
today, both woman and brand. her
story and her work are proof of the
passion she dedicates to her designs
that balance functionality with beauty.
“i went through a time
when i thought designing for beauty
was a shame... but with maturity,
the passing of time, and realizing
all of the ugliness that’s around, it
made me see that we need more
balanced objects, objects that are
beautiful and create something
intimate,” she says. “objects are
here to make you feel something.”
her work also centers
around two principles, timelessness
and sincerity. “i don’t like designs that
age - contemporary design today
is very much marked by its place in
time. i like the idea that you look at
something and cannot put a date
on it,” she explains. “i also like work
that is sincere. i don’t like the idea of
doing something that is meant to be
stylish, to be seen, to get attention.
The more you create something
close to your deep soul and do what
you really like, the more your object
will be beautiful; it shows.”
Chekerdjian’s work
has been exhibited across europe,
the united States, and lebanon. on
December 10th 2010, she opened a
store alongside Rabih kayrouz and iF
Boutique on Derviche haddad Street,
in the heart of port Beirut. not known
to be a trendy address, the area is
in the process of being reinvented
thanks to this trio that is calling on
design seekers to come and explore
design from a new perspective. “We
liked this area because it’s not too
glossy, perfect, and clean - it’s very
real, there is a mix of people from all
walks of life,” Chekerdjian confides.
True to her words, Chekerdjian’s shop
lies within a metal warehouse from
the 1930’s; a space that has “a strong
spirit”. inside, her objects are on
center stage within a stark yet cozy
and sophisticated interior that
W o r d s : k a R a h B y R n S
karen Chekerdjian
recalls paris or new york, just a stone’s throw from
the mediterranean.
in 2011, Chekerdjian aims to design a new
collection and organize several events, especially those
that can create dialogue and facilitate exchange in the
design community. open to anyone coming to her
with prototypes, Chekerdjian is also ready to invest in
young talents with high potential and big dreams. But
as for her own dreams for the future, well, she prefers
not to tell. “When you talk about a dream, it doesn’t
become a reality,” she says. “i will only talk about it
when it starts to happen.”
Ph
ot
os
b
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aD
im
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SF
aR
I n a fast paced, ready-made world, true craftsmanship stands out like a beacon in darkness. Massive department stores hawk
everything from ketchup to couches, from candy to coffee tables. But, despite a convenience conscious
culture, the intrinsic attraction to quality remains. In some, an eye for well made and ingeniously designed
goods is like an intuition and the ability to forecast trends, like an act of faith. The ability to consistently
exhibit this intuition and faith is nothing short of miraculous. And, for this reason, the fiftieth year of
Roche Bobois is cause for celebration. The early 1960’s. The Beatles, the
race to the moon, vietnam, worldwide
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W o r d s : D A n B R A T M A n
political upheaval and the mini skirt—it was in this environment that two brothers from the Couchan family and two brothers from the Roche family met at a scandinavian furniture expo in Copenhagen. The four immediately struck a friendship based on a common passion—furniture design—and an entrepreneurial spirit. They also shared a belief that the public was ready for something new, a fresh vision, new designs based on a newly emerging culture of leisure, style, and unprecedented technological advancements. The times were changing and the brothers saw the need for interior design to change with them. They cast their lot together and established the first Roche Bobois showroom in the epicenter of style, Paris, on the Boulevard saint germain. starting out showcasing French builders, Roche Bobois became a distributing hub for the best and brightest designers in the country. Blazing trails with some of the first modular sofas, utilizing cutting edge technologies and unparalleled craftsmanship, the store set itself apart from the
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first. soon they branched out. excited by the new scandinavian styles, Roche Bobois began importing modern furniture from Denmark. sleek, simple, new, the nordic style was a hit in France—and then the world, due largely to its introduction by Roche Bobois.
The brothers contacted designers directly and soon, they created collections exclusively for the store. They were no longer merely store-owners, they were aficionados, style makers. Roche Bobois no longer predicted the winds of change as much as generated them. It was from such collaborations with Roche Bobois that designer hans hopler brought forth the modular Lounge sofa in 1971, a design as fresh today as it was when it first emerged on the scene. The 1968 Pastilli chair, by eerio Aarnio, the 2010 Mayflower armchair from Fabrice Berrux, to today’s Papillon sideboard by Rene Bouchara, each new design is part of a greater aesthetic; bold, new, exceptional quality and something uniquely Roche Bobois.
since then, Roche Bobois has expanded
with 240 stores around the world. each month, with a new store opening somewhere, the company brings its unique vision to the corners of the globe. Known worldwide for their meticulous detailing, relentless attention to the craft of building and customization, anything from Roche Bobois is heirloom quality. Just as pieces of the past have been handed down, furniture made today stands in houses, coveted by generations up and coming.
To anticipate a trend is a talent. To create them is a gift. To have done so for fifty years is what makes Roche Bobois so enduring. But in the end it is the piece and one can see it in the hand stitching. It can be felt in the cushions of a sofa. One can smell it in the quality leather and fragrant woods. In the end, it is the furniture made and loved by people who value such quality that makes Roche Bobois worthy of a fifty-year celebration.
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PANtoNe 18-2120honeysucklepanton’s new year color
C olor is everything when it comes to mood. no one knows this better than
pantone, which has spent the last 50 years as
a global authority on the subject, providing design
professionals with products and services that inspire
them to explore and express themselves through the
world of color. For at least the past ten of those 50
years, pantone’s Color of the year announcement
has been an event of heightened anticipation; the
unveiling of the one color that will shape product
development and purchasing decisions in multiple
industries including fashion, home and industrial
design in the months to come.
For 2011, it is the vibrant, energetic
hue of honeysuckle that will dominate in
design, according to pantone. Following
on the heels of 2010’s Turquoise, which
symbolized a feeling of escape, 2011’s choice
embodies emotions of confidence and courage,
emboldening everyone to face the challenges
of everyday life with verve and vigor.
For leatrice eiseman, executive director
of the pantone Color institute®. “honeysuckle
derives its positive qualities from a powerful bond
to its mother color red, the most physical, viscerally
alive hue in the spectrum.” She adds: “The intensity
of this festive reddish pink allures and engages.
in fact, this color, not the sweet fragrance of the
flower blossoms for which it was named, is what
attracts hummingbirds to nectar. honeysuckle may
also bring a wave of nostalgia for its associated
delicious scent reminiscent of the carefree days of
spring and summer.”
With its ability to stimulate and get the
adrenaline going, honeysuckle is destined to bring
a burst of energy to the new year while certainly
signaling an end to those wintertime blues.
W o r d s : h e l e n a S S a F
desiGn in motion
W o r d s : k a R a h B y R n S
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108UU
F irst inspired by craftsmen fashioning furniture in the working class district of ouzai, ghida el zein was fascinated as a child
by the meticulousness and beauty of giving life to an object of everyday simplicity through design.
inspired by people, she creates collections that answer
to their needs and desires both spoken and unspoken,
transforming furniture into functional art.
in perfecting her art, wood is el zein’s
preferred material, and the hands of her countrymen
her preferred medium. The lebanese designer
only produces with local artisans, craftsmen, and
manufacturing professionals, because they “add a
human touch”, ensuring no two pieces are the same.
“i would like to show people that a furniture piece
produced in lebanon can be as good as - and even
better than - a piece from italy,” she says. “i moved back
to Beirut to be able to work closely with artisans and
not to mass produce like they do in milan... and i have
seen that this can be done.”
Despite her young age, el zein already
has five collections. each furniture collection revolves
around the concept of motion, “whether they are
modular blocks or floating angular planes”. Though
strikingly different, each collection explores being
solidly grounded while suggesting motion. her most
recent Skew collection employs skewed angles to create an illusion of floating, as the thickness of the wood at the edges is nearly non-existent. “The object is physically heavy in weight but visually light,” she says. in contrast to Skew, el zein’s Block collection explores a feeling of movement through edges that fit together like puzzle pieces in a multitude of ways. her Connect collection follows the same
idea of connecting pieces for versatility, to create different shapes and uses for functional objects. Fabric upholstery is the focus of her enfold collection, which breaks with strict industry practice by using unconventional details like transparent buttons. her outcast collection reinterprets the classic dresser by applying lacquer for a contemporary look and upholstering drawers, adding more warmth. a hint of playfulness is always present in her work, as she fulfills pragmatic needs with “a touch of chaos”.
although she finished her education in milan, el zein began at the lebanese american university, and she has high hopes for the local design scene. “i believe we have great production and very talented designers, but very few, because only one university offers furniture design. in italy, i was taught
concepts - i was taught how to think. and i teach my students that. i believe this is the starting point to any true design process. you can teach yourself to draw, cut, glue... but to think - that is more difficult. it becomes part of who you are.”
While continuing to work on her furniture designs, el zein is also heading a new design company, Blank Space, which aims to create world class designs from lebanese production talent. “We have to support lebanese production and encourage people to buy lebanese-made furniture,” she says, giving something back to her childhood inspiration - the people whose devotion to their livelihoods gave her the spark of courage to pursue her own.
reD-hot glamourChristian Dior Haute Couture sprinG-sUmmer 2011
reD-hot glamour
“T his season dior haute Couture is inspired by the work of iconic illustrator
rené gruau. volume and movement are inspired by the spontaneity of the illustrative line and create a silhouette of effortless elegance. A degrade of tulles wash from light to dark, as painterly techniques in sheer silk organza to bold silk faille evoke the intensity and shade of an illustrator’s gouache palette.
graphite sketches and ink outlines evoke a new spirit through layered tulle shadows, with ostrich feathered ‘brush strokes’ and iridescent embroideries to create a virtuoso chiaroscuro effect of chalk shading and contemporary couture. The unique vision, and creative friendship, shared by René gruau and Mr. Dior unveils a silhouette that is effortless, modern and ever inspiring”
John Galliano January 2011
hiGh Drama
W o r d s : h e l e n a S S a F
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F rom reality tv winner to fashion world darling, designer Christian siriano
has enjoyed a meteoric rise to fame.
For Spring/Summer 2011 he continued
his dazzling ascent with a collection that
conjured up fantasy and drama infused
with a multi-cultural edge. Taking a flight
of fancy through africa, india and the
Far east, Siriano’s prints on floaty fabrics
in electrifying hues bring modern-day
elegance to eveningwear.
Words: louiS paRkS
A sense of fantasy pervades much of the work of lebanese artist ginou Choueiri. a visit to
her website (ginou.mosaicglobe.com) reveals
a girl with the head of a rabbit and the wings of a bird
standing on a yellow background featuring flies holding
rifles, bayonets fixed, titled kill Time Before it Flies.
Fairy tales, myths and fantasy
provide the material for two of Choueiri’s latest
works, in Between a lullaby and Dream and animal
archetypes. The first, a series of paintings, began as a
series of sketches deeply personal to the artist, “i used
to write a diary and i started doing it through images.
i never really felt comfortable showing them. But,
through evolution, it came about.”
The series is a collection of paintings
inspired by classical lullabies, with men depicted
as wolves or foxes and women as feminine rabbits
acting out various scenes. “it’s about that time when
you’re in between a lullaby and a dream, you’re not
really sure what’s happening, it’s meant to be vague,”
says Choueiri, “people identify with stories, it triggers
something, a feeling.”
There’s certainly more than meets the eye
when it comes to in Between a lullaby and a Dream;
wolves lurk menacingly and the relationship between
a wolf and a rabbit only ends one way. it’s precisely
because Choueiri chooses to use the romantic style of
the children’s story that gives her pieces such power.
however, it’s only when you pause to consider the
intentions of the wolf that the true meaning of the
piece becomes apparent. The series evokes a wide
range of comments and interpretations from viewers
according to Choueiri, “people look at it, and each
one relates to it in their own way. They identify with
different things. it’s not there to say something literal
and direct, it’s there to let your imagination take over.”
The gritty undertones of the series came
about as a result of frustration. Struggling to
“Dancing Game”
Facing page:
“Cool cat”
porsche
create a collection for an upcoming show and
frustrated having created paintings that were “naïve”,
Choueiri took photographs of herself during a
particularly vulnerable moment. “i just took a picture
and made a montage. To me the rabbit represented
femininity and a certain vulnerability, from there i
looked at the imagery of fairytales, and it grew from
that.”
The second of the two series, animal
archetypes, grew out of Between a lullaby and a
Dream and is on-going. using animals to represent
archetypal concepts allowed Choueiri to present
something that could be immediately understood;
rather than focussing on a human figure, the use of an
animal allows the viewer to clearly understand the trait
the artist is trying to portray. everybody can relate to
the charisma of the Cool Cat, or the pugilistic nature of
le Coq, attempting to portray these ideas in a human
would risk the viewer concentrating too closely on
the details of the image, rather than the concept of
the archetype. The series seems open-ended, “They’re
portraits. every time i meet someone who fits in, or an
idea comes together, i get to work,” says Choueiri.
While it might be tempting to label
Choueiri’s work as somewhat whimsical, there’s a
serious note beneath the rabbits, foxes and cats. “as
subject matter, you can look at it all seriously, it’s
human nature, the concerns that human beings have.
inside i’m someone who has my own anxieties. For me,
making art is all about going back to the playground,
making things, having fun,” she says. it’s this sense of
serious ideas allied to fun that comes across strongly
whenever you look at her work.
The use of animals to make social and
personal statements is indeed an intriguing idea, by no
means new, but certainly given new life when wrapped
up in the imagery of fairy tales or the straightforward
simplicity of the archetype. By employing a layer of
whimsy, Choueiri disarms the viewer, cutting straight to
the heart, creating powerful pieces with a layer of real
world grit below the surface.
above:
“lost playground”
Right:
“Black cat red heart”
Far right:
“le coq”
