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Aspen 2020

Naked 2014

Cloak Chair Anastasia Nysten

Wheel Annabel Kassar

Coffee Table Bernard Khoury

Blaze Carla Baz

Chairy yellow Carlo & Mary-Lynn Massoud

Boob boobie doo Carlo & Mary-Lynn Massoud X The Haas Brothers

Hangers Carlo Massoud

Survival Kit Celine & Tatiana Stephan

Vacancy & Vacancy II Céline Stephan Eid

Faros Charles Kalpakian

ISO A Christian Haas

Exposed Claude Missir

Alter Ego david/nicolas

Alfred david/nicolas

Delusional david/nicolas

Rabbit Hole Dina Kamal

Clutch Elie Saab

Upside Down Fadi Mansour

Lamp Fadi Mansour

Stellar Flux Flavie Audi

Fluid Encounter Flavie Audi

Chestnut Georges Mohasseb

Swing Bokja

Ingrid Jana Aridi

Shapes and shades Hala Matta

Hyde Kamal Aoun

Folding Screen Karen Chekerdjian

Platform C Karen Chekerdjian

Knives Karim Chaya

Look Back Karim Chaya

Fishawy Rack & Basket Khaled El Mays

Escort of the Night Khaled El Mays

Mr Brain Lamp Khaled El Mays

Impressions Lea Rosa Kirdikian

Saudade. Komorebi Lina Shamma

Bird House Makram El Kadi

Skewers Marc Baroud

Vault Marc Baroud

Tables Marc Dibeh

Somewhere under the leaves Marc Dibeh

Doily MAD

Tavolo San Paolo Converso Massimiliano Locatelli We live in a world disrupted by human, economic, social, religious, ethnic and productive changes. A remarkable paradox of our time is the growing of conflicts, durable misunderstandings and religious fights in spite of a multitude of informations and a necessity of a new consciousness of reality.
As cultural unanimity breaks down, cultural tradition comes under increasing attack.
Cultural heritages in Beyrouth as in Milan make us the people we are. And yet, precisely because we cannot and should not remove ourselves from the continuity of our traditions. The ancient worlds present very often inspirations in our thoughts in our lives, and in our visions.
I believe that progress means change and change is some time difficult for life. But we have to distinguish the right “protocol” to find the rigorous way “to be active with our hands and to walk with our feet” as Antiphon said.
I think that the confusion of the “jungle” around us is making all very tuff and it is time to go back to simplicity and rigor.
In my architecture and in my design I like to use materials and shapes originally far from their new function to give objects nobility and elegance with a zest of austerity.
I like to mix mathematic rigor to artistic imagination.
It is time to have discipline and to project objects with purity and essentiality. That is why I like these Desk and Writing Table San Paolo Converso with Unit Drawers that are in the same time strong and rigorous using as structure a material like iron that is by definition industrial.
Frank Gehry said, “Any material if used among his nature, produces a new form and a new use.”
We are close to a world when resilient and resilience and the ability to cope are like a rubber band. The role that Beyrouth played as the intellectual regional center might be a source of inspiration for the young designers. They can represent an important supportive role in what is bound to become a central challenge for the balance in our world.We are in Beyrouth, such a beautiful place with so great people and who better than Anaxagoras has said 7,5 billion individuals can simultaneously crisscross a “jungle” of conflicting influences and very often pursuing their interests without any guide lines.
People from Lebanon are incredibly resilient and resilience and the ability to cope are like a rubber band. The role that Beyrouth played as the intellectual regional center might be a source of inspiration for the young designers. They can represent an important supportive role in what is bound to become a central challenge for the balance in our world.
We are in Beyrouth, such a beautiful place with so great people and who better than Anaxagoras has said the right thing “What is the sense of human life? To look at the sky, the stars, the moon, the sun.”

Cushion May Daouk

Layered Fabrics Michel Abboud The city of Beirut has undergone an extensive cultural evolution throughout its long history, with different cultures and societies leaving their distinct imprint on the fabric of the city. Beginning with the Phoenicians, through the Romans, medieval Ottomans, French colonization, and most recent civil war, each phase builds upon the proceeding culture to build a new system.
In keeping with this year's theme of Jungle Protocol, we examine the underlying order that binds the fabric of the city together through the historical plans of the city and through the historical typology of the urban 'town center'. If one is to understand the development of Beirut, then one must understand that each of these historical fabrics creates an underlying rationalization to a seemingly random growth.
In addition to the extensive overlay of urban fabrics, the town square has continued to be a place for gathering and foundation throughout the city’s history. Beginning with its first incarnation as the Roman forum at the intersection of the Cardo and Decumanus, this center has continued it presence and importance through each successive culture. Further compounding this layering of fabrics, is the rigid boundary which defines this system. The urban fabric is bound by the sea and mountains, and is contained by this strict boundary.
These historical layers of the city are broken down into their core elements – streets, city blocks, and town squares – which are then overlaid into a singular diagram which represents the culmination of each successive urban fabric into a subconscious unifying order. The rigid boundary of this system manifests itself not as an organic boundary, but as a pure rectangular prism – fitting the standards of a coffee table.
This diagram is then suspended within a clear rectangular prism, and is expressed by polished stainless steel struts of equal size. At the center of this volume is a smaller volume - representing the archetypal town square - from which the diagram radiates, and rendered in gold plated stainless steel. The struts originate at this ‘town square’, extend to the boundaries, and continue to grow throughout the volume. This form manifests itself as a table, a sculpture, a diagram for the city, the Jungle Protocol.
“Designed by Founder Michel Abboud and Associate Steven Townsend"

Showdown Michèle & Georges Maria

Uni N. Gholam & G. Crédoz

Mutation Nabil Nahas

Bowls Nada Debs

Light up my fire Nada Zeineh

Mirror Nadim Karam

Lou Nadine Hajjar

Smoking Naked Nagib Tabbah

Sensorial Brushes Najla El Zein

Rock Najla El Zein

Divina Noor Fares

Fly Me to the Moon Noor Fares

An Ode to Scandinavia Nour Al Nimer

Haminals Rabih Geha

Candles Rabih Kayrouz

Cubed Table Raed Abillama

Skin Top Rumi Dalle

Construction Deconstruction wall installation Rumi Dalle Rami constantly reflects on the Lebanese culture while working:
"I grew up, studied and worked in Lebanon and have always used Beirut as a backdrop in my work. But my understanding of the Lebanese culture is the neighborhood in which I was raised, the schools I went to, the persons I’ve dated and fell in love with, and the places across Lebanon I’ve ever visited, that are very much still part of my memory, hence part of my work."
His strong relationship with Lebanon is reflected from his relationship with his mother who, to Rami, embodies the Lebanese culture in all aspects. She used her techniques in creativity to sew clothes for their family – as a necessity, not as a luxury. As a child, Rami would stand next to her, while she would be sewing, to keep all the textile rags neatly arranged in cardboard shoe boxes – almost like a treasure. But looking at Lebanon now as an artist and as a designer, Rami sees how the general perceptions of creating things by-hand have changed.
"It makes me take a stronger stand against that in my work. We’ve become a modern society in a quick way and the habits of making and producing things in Lebanon are becoming less and less an integral part of our lives. There once was a time when I grew up surrounded by neighbors who got involved in creating things by-hand on an almost daily basis."
This is his objection.

This is what his work and the installation is about; taking a stand on creating to remind all Lebanese and international people of the Lebanon that is very rich with heritage, but also has a rich background in craftsmanship. It pays a tribute to the long-celebrated artisans working with wood inlays, mother of pearl, crochet, copper, glass, rattan weaving and pottery, but also highlights the importance of the small crafts that are carried around the corners of Beirut. Hence, this installation was restricted to use the simplest processes of making outside the industrial sphere to deliver this honest message