coco-noir.chanel.com
Through black‌ light revealed
Collection Couture Automne- Hiver 2012-2013 www.georgeschakra.com
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The sun is setting on another summer season, casting a warm, hazy glow over life. As it’s still the perfect climate to relish life outdoors before autumn’s breezes take hold, in this issue you can find stylish alfresco designs to enhance the ambiance. This issue we’re also heading for the coast and dipping our toes in the sea with a selection of architecture inspired by their waterside locations. Taking things indoors, but still making a splash, we bring you the story behind one of Zaha Hadid’s latest masterpieces, the London Aquatics Center, conceived for the London Olympics 2012. Crossing the Channel to the French capital, Le Cercle checks out the fresh slice of French style being served up at the Paris Mandarin Oriental with the help of Ligne Roset. The prestigious French brand has also been working its magic on one of the 20th century’s greatest French designers, Pierre Paulin, reviving three of his designs for a new audience. And if all of that has left you with an appetite for more, there’s still plenty to sate you with not one but two unique dining experiences conjured up by Dutch design wizard Moooi between our pages. Bon appétit!
monster chair by Moooi Photography concept by Erwin Olaf & Marcel Wanders.
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 W W W. W S A L A M O O N . C O M
the autumn
wishlist
goes window shopping for some of this season’s must-have purchases.
Eplaf
Cutcups
Tous les Trois
Philippe Daney
Fruit bowl in laser-cut sheet steel finished
Clear glass
in gloss white lacquer or fruit bowl in
available in 3 different sizes
gloss nickeled laser-cut sheet steel.
Ligne Roset
Ligne Roset
Lotustableware
Matchcups
Siw Matzen
Clear glass, 6 tumblers
Porcelain plate
in 3 different shapes
Ligne Roset
Ligne Roset
PlatinumBaobab
Sosie
candle colleciton
Martino d’Esposito
Baobab
Cloth stand with structure in brilliantchromed steel and swiveling miror Ligne Roset
moods
DearIngo Ron Gilad Powder coated steel, black or white Ø Min. 80/Max. 240 x 50 cm Moooi
The Dear Ingo is now officially part of the permanent collection of the art institute of Chicago
Emperortablelamp
Birdslamp
Neri & Hu
White ceramic birds and buri lamp shade.
Bamboo rattan cage, aluminum frame and
Leather handle.
glass diffuser.
Base in white lacquered metal
Ø35, H.60 cm
H. 75cm / H. 170cm
Moooi
Roche Bobois
BigBen
Olive
Marcel wanders
Numéro 111
Fibreglass with powder coated
Shade in epoxy lacquered steel
aluminum hands
W.40 x D. 24 x H.43 cm
Ø180cm
Ligne Roset
Moooi
Peye Numéro 111 Shade in composite material: fiberglass and injected polyester resin W. 80 x D. 95 x H. 188 cm Ligne Roset
moods
Miriapodebookcase
Stumplowtable
Duxilon, curved structure with alternating
Pierre Charpin
thickness. Matte lacquer finish
Grey-veined white Carrara marble, hewn
W. 26.6cm x D. 39cm x H. 165cm
from one piece
Roche Bobois
W. 30cm x D. 36cm x H. 45cm Ligne Roset
Meralowtable Antonio Citterio Top in white statuario marble with tapered edge. Circular metal structure with different finishes Available in 4 different sizes and heights B&B Italia
Tobi-Ishidiningtable
OraÏto
Edward Barber & Jay Osgerby
Ora Ïto
Structural polyurethane foam and wooden
Roche Bobois
top treated with cement grout Ø162, H.72.5 cm B&B Italia
Sagabuffet Christophe Delcourt 4 doors, interior in tulip wood, exterior in lacquer finish. W.210 x D.55 x H.77 cm Roche Bobois
moods
Altdeutsche cabinet
Bow end table
Studio Job
Piks design
Solid pine and pine veneer. Hand painted
Solid wood legs in oak tint/acacia oil.
W.135 x D.50 x H.190 cm
Aluminum lacquered resin top
Moooi
W.60 x D.40 x H.60 cm Roche Bobois
Baskettone Pierre Charpin Black-stained ash Ø50, H.54 cm Ligne Roset
Circus
Victor
Fred Rieffel
Luigi Gorgoni
Glass cocktail table
PMMA veneer on particle boards. Interior
Ø110, H.31 cm
in Taupe with with glass shelves
Roche Bobois
W.54 x D.51 x H.181 cm Roche Bobois
Containernewantiques table Marcel Wanders PE Ø56, H.71 cm Moooi
moods
Fedro
Swingrest
Lorenza Bozzolli
Daniel Pouzet
Colors scheme inspired by Latin
Ø195 cm
American tropical birds
Dedon
Dedon
*available January 2013
Dala Stephen Burks Powder coated frame of extruded aluminum mesh. Fiber. Ø88 cm Dedon
*available January 2013
*available January 2013
SeaXchair
Grillage
Jean-Marie Massaud
Francois Azembourg
W.54 x D.53 x H.86 cm
Wire mesh
Dedon
W. 155 x D. 70 x H. 72 cm Ligne Roset
Serpentine indoor/ outdoor armchair Eléonore Nalet Polyester/epoxy lacquered metal structure, 100% acrylic fabric (Tempête) W. 78 x D. 58 x H. 74 cm Ligne Roset
moods
Hybride NoĂŠ Duchaufour-Lawrance Medium settee W.180 x D.98 x H.63/87 cm Ligne Roset
Tufty-too
Pli
Patricia Urquiola
Maurice Marty
Available in various dimensions
Frame in 10mm Altuglas
B&B Italia
W. 40 x D. 49 x H. 90cm Roche Bobois
LovePapillio Naoto Fukasawa W. 145.5 x D. 93 x H. 102 3cm B&B Italia
Folk Benjamin Graindorge Black ash W. 42 x D. 54.3 x H. 83cm Ligne Roset
Christera Marcello Ziliani 100% aluminum chair W. 44 x D. 53 x H. 60 cm Roche Bobois
moods
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 Shopping 18 19 20 21 22 23 24 25 Architecture 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Interiors & Products 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 Outdoors 91 92 93 94 95 96 97 98 99 100 101 Art & C ulture 102 103 104 105 106 107 108 109 110 111 112 113 114 115 Fashion 116 117 118 119 120 121 122 123 124
W o r d s : Miriam Dunn P h o t o s : Hufton + Crow
The ebb and flow of water proved to be the perfect inspiration for pioneering architect Zaha Hadid’s latest high-profile project
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I
nnovative, influential and a true trailblazer, the award-winning architect Zaha Hadid has long championed the concept of creating buildings as landscapes, shaping structures and spaces within them to give the impression that they flow like a river. The ebb and flow of water certainly served as ideal inspiration for the London Aquatics Center, which features her trademark multiple perspective points and use of fragmented geometry. When British Olympic hopeful Tom Daley made the first dive into the Center’s pool to mark its completion, many agreed with the International Olympic Committee Chairman Jacques Rogge’s
description of the project as “a masterpiece”. The Center, which serves as the hub of London’s Olympic Park welcoming many of the world’s greatest swimmers and divers for London 2012, reinforced Hadid’s reputation as a pioneer in her field around the world. Conjuring up the fluid geometries of water in motion, Hadid also achieved her other goal of creating spaces and a surrounding environment which reflected the riverside landscapes of the Park. Carrying the aquatic theme through to conclusion, the undulating roof, which encloses the three pools of the Center with a unifying gesture of fluidity, sweeps up from the ground in the shape of a wave.
W o r d s : Th o m a s K i n e a l y
A tower that reflects many journeys
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his summer’s London 2012 Olympic Games saw the birth of Britain’s largest sculptural work. It is, of course, the 115 meter high ArcelorMittal Orbit tower. The sculpture and observation tower was designed by Indianborn British sculptor Anish Kapoor and Sri Lankan-British architect Cecil Balmond. The tower has been praised for its bold and unique design that challenges the viewer’s perception of stability, structure and engineering. The sculpture is intended to be a permanent lasting legacy of the Olympic Games but Kapoor insists that the artwork will take on its own significance and meaning long after the competition has finished. Turner Prize-winning sculptor Kapoor has stated that the design of the structure was inspired by the Tower of Babel, an imaginative concept of construction that challenges our preconceptions of what is possible in engineering without compromising the artistic vision. It was also important for the creators that the sculpture was interactive, allowing people to become part of the work as they look down upon the Olympic arena. The name, according to Kapoor, was inspired by the idea of escalation, of moving upwards and by the continuous journey that the athletes undertake in their striving for sporting immortality. It is this idea of ‘the journey’ that perhaps Kapoor is referring to when he talks of the sculpture taking on its own meaning after the games have finished, for while it represents the athletes journey for the remainder of the competition, perhaps it will encompass the journey that everyday people go through throughout their lives.
The Orbit opened on 28 July, with tickets available to those who already hold Olympic tickets. After the games it will be open to the general public. For information visit www.arcelormittalorbit.com
LONG STUDIO, Joe Batt’s Arm, Fogo Island, Newfoundland, Canada; Publication Drawing
reflections
on the Sea
W o r d s :owen adams
Le Cercle heads for the coast in a look at architecture inspired by its waterside location
The challenge for any right-thinking architect is how to make a statement without intruding on the natural environment. The architect describes the prefabricated studios as “strangely familiar”. The Long Studio, one of six artists’ studios dotted around the tiny North Atlantic Fogo Island, due south of Greenland in Canada’s Newfoundland, plus a 29-room boutique Fogo Inn, has a distinctly two-dimensional flat-pack appearance. The linear structure on stilts was designed by Todd Saunders from Norway. Based on local fishermen’s houses, the structures were designed with a brief to carry the “soul” of the island, and the interior was also angled so nothing detracts from the surrounding rough beauty. Organised to form three sections, the open entrance represents springtime, while the central wing is exposed to the elements for ‘plein air’ summers. The end and main body is fully enclosed for winter protection and solitude. Large windows and skylights abound, allowing the resident artist an intimate connection with the landscape.
Edward Hopper caused quite a stir with his 1951 surrealist painting Rooms By The Sea – a rendering of his studio made to look as if it was out at sea. Architect couple Michiyo and Yasutaka Yoshimura have achieved the same effect, this time in concrete reality. Their ‘Nowhere But Sajima’ holiday home – yours for a week for several thousand dollars – their third ‘Nowhere But…’ rental holiday project, is just an hour from Tokyo. The triangular block of tubular structures, an enthralling geometric interplay of circles, squares and equilateral triangles, is accessed from a busy city road, but once inside, it’s solely about the Pacific Ocean. The living spaces jut out over the sea wall, creating an astonishing primal and elemental floating or suspension effect. Nearby Nowhere But Hayama, constrastingly, is a restructured and renovated traditional 1930s- built Japanese two-storey wooden house, 30 seconds from Issiki beach and next to the Imperial Family’s holiday home. New twisting woodblock stairs and four modern units were created sympathetically within the building, when it needed seismic upgrades.
At first glance it looks like a boat, jammed into a sandstone rock looking out to the Tasman Sea. The Bronte Cutting was carved from the headland for a tramline more than a century ago, and architect Chris Elliot found an ingenious way of fitting a designer home in the available cleft – working in harmony with the anomalous space, rather than trying to transcend it. Designed for a family of four, everyday living takes place on a predominantly glass-walled platform overlooking the sea. A cocoon-like rectangular box bedroom is mounted above the main space with curved “light scoops” for selective sky lighting, and above all this there is a belvedere or lookout in the form of a Martello tower, with a sundeck complete with fireplace from which to contemplate the ocean and stars at night. There’s also a grotto basement, with water seeping into a shallow reflecting pool with bridge and an outdoor bath. No air conditioning is required, as sea breezes, thermal mass and double layered curtains control the temperature naturally. © RICHARD GLOVER
Viewed from a ship rather than being castlelike in its imposing lofty location, this gleaming, minimalist breathtaking cuboid shyly peep outs from a remote cliff 159 metres up from the shimmering Mediterranean, somewhere in Mallorca or Ibiza. The location is a mystery, as is the 2002 building’s acronymic name – fittingly kept secret, as Belgian firm Atelier d’Architecture Bruno Erpicum & Partners compares the AIBS House to a rippled natural land staircase you might find at the dead end of a path or road, at one with its surrounds, beyond civilisation. All living areas within the 400sq metres floorspace are enclosed by one colossal window frame looking out from the island. To the side, down a crevice, is an utterly private infinity pool. “Under blue skies the building appears calm and serene whilst in stormy weather it has a striking and tormented air about it,” says Bruno Erpicum.
Photo: Michel Gibert.
l’art de vivre by roche bobois
European Manufacture
Tangram modular curved sofa, design Gabriele Assmann and Alfred Kleene. Marmo round cocktail tables, design Daniel Rode.
BEIRUT DOWNTOWN 33 rue Weygand Tel: +961 1 986 888/999 beirut@roche-bobois.com
See www.roche-bobois.com for collections, news and catalogues
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 Shopping 19 20 21 22 23 24 25 26 Architecture 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Interiors & Products 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 W o r d s : Lo u i s P a r k s 81 82 83 Photos: M a n s o u r D i b 84 85 86 87 88 89 90 91 Outdoors 92 93 spectacular triplex in 94 95 Ashrafieh is the scene of 96 97 Dori Hitti’s latest project. 98 99 Owned by a prominent 100 101 property developer, and 102 Art & Culture 103 designed to appeal to two generations at 104 105 once, the breathtaking details and 106 107 unbelievable views of Beirut make this 108 109 one of the city’s most distinctive 110 111 residences. 112 113 Comprising the final three 114 115 floors of its building, the apartment is a 116 Fashion 117 self-contained haven amidst the bustle of 118 119 Beirut, with the penthouse offering 120 121 glorious vistas of the city skyline. “The 122 123 residence is luxurious and contemporary, 124
a triplex
treasure A
but with a classic ambiance that fits the mood of the owner,” says Hitti. Alongside Hitti’s signature minimalism and clean lines there’s room for sculptures, classical fountains, original stonework and columns. Built for a family, the triplex caters for both the parents and their children; the first floor comprises the main living area, and embraces classical touches, while the terrace area and the penthouse floor have a more youthful feel with a striking monumental staircase linking the two. “The only link between the two floors were the building stairs, so we had to do all this ourselves, getting the dimensions right was very challenging,” says Hitti. The penthouse itself is a self-contained
apartment and forms what Hitti describes as a “villa in the skyline of Beirut,” a unique concept in the city. “We shape our artistic visions of interior to achieve practical results, which covers not only style, but aspects of interior architecture, safety, beauty, comfort and satisfaction for our clients,” says Hitti, and nowhere is this clearer than in the incorporation of original stonework in the walls of the apartment. Making use of the original stones allowed Hitti to complement the more classical elements of the triplex with truly authentic architectural detailing, blending past and present.
It’s hard to pick a standout feature, but pride of place must go to the outside pool, blending as it does with the interior of the apartment, “The residence enjoys the integration of the outdoor pool inside the apartment, creating an adventurous location with stunning views of the water. You’re really spoiled for choice here, the room and pool are just so adaptable,” says Hitti. With such a blend of style and attention to detail, the pool and decking forms one of the most distinctive, desirable lounge areas in Beirut and the atmosphere has to be enjoyed to be believed.
cabinet power Words:
ow e n
a d a m s
M
any of the earliest televisions and gramophones came in solid wood cabinets, as integrated units including the speaker. Later, stereo separates and speaker systems turned living rooms into a spaghetti junction of wires, power leads and electronic boxes. But now, fine cabinet-making and the latest all-in-one technology has been fused to create the Geneva Sound System Model XXL. Exquisitely made in Switzerland – the home of the cuckoo-clock and hub of time-telling technology – the sleek white (red, or black) piano-lacquered wood credenza is a super-modern expression of the all-in-one cabinet systems of the early 20th-century. Each American walnut veneer cabinet is hand-made at every stage, laboriously buffed and polished, with up to eight layers of piano lacquer applied. Geneva’s sound systems are being hailed as the Steinways of the iPod generation. The timeless craftsmanship on the outside belies the techno-core of the interior, a hidden nerve center. It houses seven individually powered surround-sound speakers, including a mighty subwoofer, and five different acoustic chambers, handled by
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 Shopping 19 20 21 22 23 24 25 26 Architecture 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Interiors & Products 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 seven 589-Watt digital amplifiers. Geneva’s 66 67 own patented EmbracingSound speaker 68 69 system distributes sound throughout the 70 71 room from a single compact space. 72 73 However much you move around, Geneva’s 74 75 technology ensures the distance to the right 76 77 and left speaker remains the same. 78 79 The half-meter high XXL is 80 81 designed to support up to a 65-inch 82 83 flatscreen TV – which can be wall84 85 mounted or rest on top of the unit. Inside 86 87 the enigmatic unit is also an FM and 88 89 digital radio, a slot-loading CD player, 90 91 Outdoors and an iPod/iPhone universal dock that 92 93 also streams video to the TV, with Apple 94 95 AirPlay. There’s plenty of space inside 96 97 the 168cm-wide, 56cm-deep cabinet 98 99 to store DVD players, Blu-Ray, game 100 101 consoles and other devices. The 102 Art & Culture 103 “media center” has adjustable 104 105 shelves. 106 107 Designed to fit in the 108 109 home as well as a lamp, Geneva 110 111 Sound System’s Model XXL is 112 113 sustainable, stylish, 114 115 sophisticated and simple, 116 Fashion 117 all in one. 118 119 120 121 122 123 124
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a wake-up call for design Words:
O w e n
T
Ad a m s
he last thing you need first thing in the morning is fumbling with buttons while you’re still half in dreamland. What if you press the ‘alarm off’ button on your mobile phone or clock-radio instead of ‘snooze’? Stress central! So Punkt has designed its AC 01 to be an alarm clock, pure and simple, that won’t let you down. The design (in white, red or black) looks fabulous, but it’s the ultimate in functionality and the simplicity is just breathtaking. The Swiss manufacturer, with British art director Jasper Morrison on board, made its debut last year with the DP 01 cordless phone at the Maison et Objet expo in Paris. The AC 01 continues Punkt’s back-to-basics ethos of “one device, one function”. “Punkt sets out to make life simpler, going back to the origins of consumer electronics,” says the company’s mission statement. “We believe in one device, one function.” Punkt is also bucking throwaway culture with products built to
last. The AC 01’s dial is protected by thick scratch-proof glass, and a solid aluminium body, plus as it only performs simple functions - long-lasting batteries. Designer Jasper Morrison placed the clock face in a round hole, angled with an L-shaped aluminium stand or holder. A rocker-switch on the outside of the clock face turns the alarm or off, and a small window below the 12 shows its status. Snoozing has never been simpler – you can give yourself another five minutes’ shuteye by just pressing the back of the clock. A gentle squeeze lights up the clock face, but the luminescent arms and dial glow in the dark without the light. With such a pure and iconic aesthetic, Punkt’s AC 01 should become a permanent fixture rather than a fad gadget. “What do people want? Products built to do a job, and do that job well,” Punkt insists. Waking up on the right side of bed thanks to a handsome – and reliable - alarm clock is a good start.
A Pierre Paulin
revival W o r d s : Owen Adams
A Pierre Paulin
revival
If designer Pierre Paulin made modernism both functional and sublime as solid objects, composer Pierre Boulez was also applying mathematics and engineering in music. Boulez’s Dérive 2 turns notions about modernist music being awkward and jarring on its head. Featuring 11 instruments, it is defiantly atonal but also supremely pleasing on the ear, a polyphonic tapestry with harp at the forefront, beguiling at every turn, and layered in stages between 1988 and 2006. Shortly after its prototype Dérive 1 was produced, in 1985 Claude Pompidou, the widow of former French president Georges, privately commissioned Paulin to produce a rocking armchair to give as a 60th birthday-gift to her friend Boulez. Presumably the ergonomically-considered rocking motion helped articulate his rebellion against one-off definitive compositions in favour of “periodicity” – which he described as “a permanent discovering rather like the state of permanent revolution”. Paulin only made two prototypes of the rocking chairs but the concept was far too valuable to be forgotten: his original designs were kept by his widow Maia. Now, in 2012, Ligne Roset has used them and put the armchair into production for the first time, naming it Dérive 2 in homage to Pierre Boulez. The smooth shape of its tilting structure evokes a harp or tuning fork, and the fluid lines can make the chair appear as if it’s in perpetual motion. Made from multi-ply, held together by beech struts, with MDF and steel used in the seat and back, black rubber gliders, and filled with foam and polyester quilting, this must be the ultimate expression of enduring modernity.
Pierre Paulin’s work spanned 50 years, his philosophy of “design with intent” intertwined with egalitarianism – itself a central tenet of the French Republic. Paulin’s visionary communal seating pods, his ‘tongue’ sofa which could be extended interminably for large groups – his graphically pure, harmonious-form creations invite themselves to be enjoyed by everyone, not only bespoke patrons and collectors. Paulin transformed public spaces, such as railway stations in Paris, with his inclusive social furnishing, and when asked by President Georges Pompidou to give the Elysée Palace a modern revamp in 1970, he created an uncluttered living space, mixing comfort with functionality, such as through a compact set of tangerine-like seating segments that could be readily re-arranged. In contrast to some of the opart and aluminum wall the Pompidous commissioned from other 20th-century luminaries, Paulin’s set is gentle on the eye, low-impact and just generally easy-going and almost universally irresistible. And the flexible furniture forms work as well in apartments with space at a premium. Last year, Ligne Roset introduced the Elysée modular shelving system and multi-layered pedestal tables. Now the manufacturer has followed Paulin’s original designs and reproduced the Elysée sofa, armchair and ottoman collection for all domiciles. While utterly faithful to Paulin’s archived plans, the manufacturers have used multi-density foams and techniques that are at the very cutting edge for 2012, bringing Paulin’s vision ever forward.
Pierre Paulin passed away three years ago after decades of transforming homes and public spaces with his playful, witty and warm modernist masterpieces, but his designs live on and retain an alluring contemporary edge. Paulin’s designs are infused with joy and playfulness, and harmoniously in tune with the natural environment, made from plastic, steel or traditional materials. Not only did Paulin incorporate organic forms such as the mushroom and tulip into revolutionary furniture, breathing new life into living rooms, but he peeled back the layers of history and created modern icons from its roots. New from Ligne Roset, custodians of Paulin’s legacy, is a handtufted wool rug, sculpted with tufts of various heights, with the tribal motif based on sketches produced by Paulin. Paulin, who was born in Paris and later lived in the mountainous Cévennes region of southern France, travelled north-west to the tiny island of Gavrinis, just off the coast of Brittany, and turned 6,000-year old stone markings on a tomb into pop-art iconography. Shown in the catalogue in red and white, there is actually a choice of 48 colors for the background and motif – 24 ‘natural’ hues, and 24 ‘flashy’ ones, catering for different tastes – modern-megalithic, you might call it.
A fresh slice of french style
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W o r d s : alia fawaz
I
n the majestic city of Paris and just a stone’s throw away from the Louvre and all the highly coveted designer shops, the stunning Mandarin Oriental Hotel proudly sits on the uber stylish Rue Saint-Honore in a striking deco-inspired building. For this latest edition of the internationally successful hotel group (it opened its doors in June 2011), it was essential to source the finest talent for designing the dining outlets. After fierce competition renowned French architect and designer Patrick Jouin and his team finally won this enviable opportunity. Jouin had at this point already established a name for his restaurant designs working for famed chef Alain Ducasse. Hailed for his ability to combine functionality of objects and design of space, Jouin and his team
above :
Royal Mandarin suite terrace
opposite : Sur Mesure par thierry marx
conceived the four indoor spaces and garden as a totality. On one side of the garden is the haute cuisine restaurant, Sur Mesure, accompanied by Bar 8. On the other side you find the all-day CafĂŠ Camelia and the Cake Shop. Every space allows for a unique experience: The gastronomic restaurant is an elegant white space which looks like a cozy cocoon. The walls and ceiling are draped in white fabric with light that comes from the center completing the sophisticated atmosphere from the restaurant. For CamĂŠlia the designs are on a lighter scale, with walls sculpted to the shape of white camellia flower petals. The chairs also have a soft organic feel, all done in white and wood. Lightness being the dominant theme, the whole space is a continuation of the indoor landscape garden. The crowning glory is,
01_____Premier Suite Terrace Living Room
02_____Paris Couture Suite Living Room
04_____Paris Royale Mandarin Living Room
03_____Camelia
05_____Premier Suite Terrace Bedroom
01
04
02
05
03
however, Bar 8 which exudes Parisian luxury and sophistication. The centerpiece is a dramatic marble bar, quarried in Spain and sculpted in Italy. The wood walls are inlaid with Lalique crystals like delicate raindrops reprising the natural elements – a main feature of the hotel’s design. The tables spill out onto the terrace - perfect for summer evening cocktails. Jouin also filled the room with his elegant
and comfortable Lou armchairs, manufactured by master furniture and interior makers Ligne Roset. Asked about the design process Jouin explains: “We wanted to create something very Parisian, very refined and at the same time intimate and unexpected. A radical experience and that brings an emotion of beauty, a Parisian emotion.”
Words: Photos:
ow e n J O Y
a d a m s V O N
TIE D E M ANN
Connoisseurs of Italian cuisine can enjoy not only a sensual, but a celestial experience in the heart of Toronto, to accompany calamari fritti with agro dolce.
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ria Ristorante is a fitting name for such an airy space. It has a dramatic 35-foot ceiling that recalls a grand opera house. While, aside from a luminous wine wall, the general décor is in muted beiges and greys, Toronto designer Urszula Tokarska’s creative explosion takes place overhead. Seemingly orbiting a web of sculptural linear forms, a galaxy of Raimond spheres gives the impression from a distance that fireworks are bursting over the tables, while if you’re sat under the ingenious geodesic-dome-style LED chandeliers, the lights are soft, more like a starry, starry night than a meteor shower. Tokarska, of the Canadian city firm Stephen R Pile Architects, called on the visionary Dutch design upstart Moooi for this spectacular - and ecologically-sound,
low-wattage - solution, known as suspension lighting. Raimond Puts, aged in his 70s, lives on a house-boat in Amsterdam, close to Moooi’s headquarters in the Dutch capital’s creative hub, Westerhuis in Jordaan. For 30 years he’s tinkered with machines and fixed them for a living, inventing new ones in his spare time, making good use of salvaged components, in a distinct echo of Moooi’s magpie love of ‘upcycling’ (recycling, but with a far superior end product). Raimond’s wholly self-taught skills led to years of painstaking experiments with LED lights, circuitry and creating a perfect grid of stainless-steel triangles in the form of a geodesic double-spherical dome. LED bulbs are placed on the nodes, the ‘spring’ steel cord and two terminals act as conductors and – as a final
touch – each bulb is treated with special lenses to ensure an even spread of warm white light in all directions, so they don’t cause a distraction for the people sat underneath. Unveiled in 2006 to universal acclaim, the Raimond, made by Puts in association with Ox-ID, is perhaps Moooi’s biggest icon-making achievement, a fantastic yet utilitarian synching of science, mathematics and art. Combining beauty with functionality, the Raimond – available in several sizes (from 43cm to 199cm diameter, containing between 92 and 252 LED lights apiece), as seen in Tokarska’s inventive Aria arrangement, and now also available in lamp and 20W pendant form, and in an elliptical form, the Raimond Zafu – is a stunning example of how to get maximum effect using minimum means.
A Tale of Istanbul... Rixos Pera Istanbul The story, set within the historical peninsula and Golden Horn, is coming alive once more. Magnificent history meets with contemporary comfort and well-known gourmet venues, at Rixos Pera Istanbul.
www.rixos.com
Kamerhatun Mah. Meşrutiyet Cad. No:44 Tepebaşı TAKSIM - ISTANBUL / TURKEY T: +90 212 377 70 00
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Moooi is a Dutch word for beauty, with an extra O added for brand uniqueness. Since its foundation just 12 years ago, designer Marcel Wanders’s powerhouse has created a buzzing new artistic hub at Westerhuis in Amsterdam, and projected it onto the world stage.
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ollaborating designers and staff don’t come into work at Moooi if they’re having a down day - Wanders believes that a piece of furniture or décor must be created with positive energy, as well as a sense of fun. Add social compassion balanced by a celebration of individuality, and empathy with the planet to the equation, and Moooi has achieved an organic synthesis of artful beauty, functionalism and ‘econo’ utilitarianism. In artistic terms, this is where classical extravagance meets modernist minimalism. In the past few years, Moooi have masterminded the interiors of restaurants in New York, Milan and London, but the company returned to its roots in the city of Breda to furnish an assemblage
selected by Suzy Vissers for the a la carte Michelin-starred restaurant Wolfslaar, the former coach house on a 300-year-old country estate. The Raimond lights, like suspended constellations, are complemented with Richard Hutten’s Dandelion lighting - inspired by ‘dandelion snow’ when a breeze hits the flower’s fuzzy seeds. The lamp self-generates energy to simulate an explosion in motion, blowing away tension. Studio Job’s Paper Table Lamps, mounted on a wooden base, with cardboard frame, are manufactured in the same way as modern-day furniture, but as an ode to classical style and to the origami joy of paper. The Egg Vase was one of Marcel Wanders’s earlier designs, from
1997, when he first made his name with the Knotted Chair – and is typical of his inventive and playful use of everyday objects, like Dada turned on its head to form a functioning actuality. The form of the white porcelain trio was created, Wanders says, by stuffing hard-boiled eggs into latex. Wanders’ Container Table, the 80x80 model, also combines synthetic media with universal natural form. An HPL panel, a fusion of resin and wood fibres, with oak veneer, rests on a mushroom-like single central leg. The Monster chairs might be fierce-looking fixtures in any room, but once you get to know them, they’re lovely and friendly. Wanders created the “soft, puffy and stylish chair” to symbolise life’s eternal battles against opposing forces.
“Scary? Not at all!” he says. “You forget all about the monster once you sit down and enjoy the chair’s comfort and softness.” In playful contrast, the Atelier Van Lieshout (AVL) barstool celebrates the ergonomic genius of the Shaker furniture of old, traditional craftsmanship in solid oak, brought sharply up to date with lacquer. The Moooi experience at Wolfslaar is complete with the Delft Blue 6 range of vases – designed by Wanders, produced and decorated at Royal Delft, in a reinterpretation of the ceramics produced by the prized Dutch company since 1653. The partnership between historic and contemporary is yet another string to Moooi’s classical-modernist bow, and segues neatly into Wolfslaar’s concept of modern dining in an ancient setting.
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St. Petersburg aristocratic glamour and legacy meets Italian modern design
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ver since it opened its very first location in New York back in 1998, the upscale hotel lifestyle brand W has become recognized for cleverly fusing cutting-edge design with local influences. The W Hotel in the former Russian capital St. Petersburg is no exception to this signature maverick design approach. W St. Petersburg, which opened its doors in April 2011, marks the hotel group’s first foray in Russia. It is strategically located in the center of the historical “Venice of the North” next to St. Isaac’s Cathedral, near the lavish Winter Palace with its famed Hermitage Museum. It is also a short stroll from the spectacular Neva River.
At the helm of the 137-room hotel’s interior design was the Milan-based Antonio Citterio & Patricia Viel Partners team. Award-winning architect and designer Citterio, who also designs Maxalto for B&B Italia, brought an unmistakable Italian touch giving the hotel a modern personality whilst embracing the historic grandeur of the city. Citterio felt there was no better inspiration for the hotel than what was all around it. Taking this approach as the driving force, he and his design team used the architectural ancestry of the city and rich colors of the famous Faberge egg to decorate the interiors. The result is a tantalizing array of jewel tones: rich reds, luxurious golds and opulent greens fill the open space
through plush and contemporary upholstered chairs, low, tall, semi-enclosed sofas and chaise longues, which are scattered with velvet and satin cushions, and sit among shining side tables of stainless steel. Above the grand furniture are over-sized, jeweled pendant lights in shades of copper. Other lighting includes partly concealed strip lighting and floor lamps in beige and brown. Focus is drawn to a seemingly floating sculpture created by Italian artist Jacopo Foggini and made using melted acrylic. Next to it is a modern fireplace with surrounding shelves covered with stylish trinkets, bold vases and imagination-fueling books.
Guest rooms are more understated in their color palette than the public areas, with beige and soft gold being used, but jewel tones are nevertheless utilized, with magenta upholstered chaise longues and cushions as standout features. B&B Italia’s innovative furnishing and fixtures are generously used and are cleverly combined to bring to life Citterio’s sumptuous interiors. As a result the designers have truly offered the W Hotel St. Petersburg a fresh contemporary look while paying true homage to the graceful details of the city’s historic elegance that deserves to shine…
AN NAHAR BLDG, +961 1 971 444/555 ZOUK HIGHWAY, +961 9 217 744/55 RING HIGHWAY, +961 1 971 573 555
LE CERCLE BEIRUT - AN NAHAR BLDG DOWNTOWN MARTYR SQUARE T.+961 1 971444 555 ZOUK HIGHWAY T. +961 9 217744/55
Concept and Styling Collage Studio. Photo Fabrizio Bergamo.
MAXALTO IS A B&B ITALIA BRAND. COLLECTION COORDINATED BY ANTONIO CITTERIO. INFO@BEBITALIA.COM WWW.MAXALTO.IT
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Let’s take it outside Life in the open air doesn’t get more stylish than with furnishings and accessories by some of the design world’s greatest brands.
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City camp, Anette Hinterwirth Summerland, Richard Frinier SeaX, Jean-Marie Massaud SeaX, Jean-Marie Massaud City camp, Anette Hinterwirth City camp, Anette Hinterwirth Summerland, Richard Frinier SeaX, Jean-Marie Massaud
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City camp, Anette Hinterwirth SeaX, Jean-Marie Massaud SeaX, Jean-Marie Massaud SeaX, Jean-Marie Massaud City camp, Anette Hinterwirth City camp, Anette Hinterwirth Summerland, Richard Frinier SeaX, Jean-Marie Massaud
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Fifty, Dogg & Arnved Design 2 Serpentine, Eléonore Nalet 3 Serpentine, Eléonore Nalet 4 Resille, Philippe Nigro 5 Resille, Philippe Nigro 6 Grillage, François Azembourg 7 Grillage, François Azembourg 8 Fifty, Dogg & Arnved Design
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Canasta circular sofa, Patricia Urquiola 2 Canasta armchair, Patricia Urquiola 3 Crinoline chair, Patricia Urquiola 4 Charles outdoor, Antonio Citterio 5 Crinoline chair, Patricia Urquiola 6 Springtime sofas, Jean-Marie Massaud 7 Travel, Patricia Urquiola 8 Husk outdoor chair, Patricia Urquiola 1
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memory
preserved
Correspondences by Catherine David W o r d s : Fernande Van Tets
Catherine David
opposite : The letters written by Marwan are richly illustrated
For David, Beirut was the perfect place to show the exhibit: ”It makes sense here; it is really important to bring back a certain number of ideas, content and intellectual issues, to the place they were developed.”
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urator Catherine David has created a remarkable exposition for the Beirut Art Fair. For the first time ever, the letters exchanged between two great Arab intellectuals in exile, the Saudi writer Abdel Rahman Munif and the Syrian painter Marwan, are shown in Correspondences. The two men met in the fifties but would not start their friendship, in real life and on paper, until the 90s. This exhibit shows the fruit of that exchange which ended with Munif’s death in 2004. Munif, author of ‘city of salt’, a scathing five volume critique of the Saudi elite and how the discovery of oil transformed the Gulf, was living in exile in Damascus at the time, having been stripped of his Saudi citizenship. Marwan had become an acclaimed painter in Germany, where he fled to in 1957. A deep friendship emerged, and Munif would write the only monograph on Marwan in existence today. In return, Marwan painted the covers for Munif’s books and many of Marwan’s letters are richly illustrated with ideas for these, as well as other illustrations. In addition, drawings and water colours are exhibited along with
the letters. “Many are a first idea or a study for a cover project,” says David. The energetic curator has known Marwan for many years and was eager to showcase his work. The correspondence with another great Arab intellectual was especially relevant. “It is possible to discern, between the lines, a commentary on the current situation. In different ways they are both kind of exemplary of the situation of many Arab intellectuals in 20th century exile. For David, Beirut was the perfect place to show the exhibit: ”It makes sense here; it is really important to bring back a certain number of ideas, content and intellectual issues, to the place they were developed.” David has worked with regional artists for a long time, and her interest pre-empted the current bonanza for art from the region. “I would like to think I am a little responsible for that,” she laughs. She was attracted to modern art from the region due to the lack of knowledge and information about a “more open modern moment”. She has an avid interest in how modern art is developing in the region, and notes that independent of public spaces,
“there are very few museums” with art mostly accumulated in private collections. There is also a deficit in terms of production of critical and historical discourse, she says. “At the end of the day there is a gap in transmission; one generation is not aware of what the generation before did. It is getting better, but 10 years ago young artists were not aware of who their predecessors were.” She is keen to promote the preservation of the archives of visionaries who have only recently passed away; Munif is but one example. As in the Arab world many experts on culture are not academics, and thus don’t produce any documentation to leave behind, she is concerned about how much work is lost when such a person passes away. “I think it is important to have a massive strategy to produce documentation to keep the memory,” she says. Her next project reflects that interest; it will focus on Aref el Rayyes, the eclectic Lebanese artist who passed away a few years ago. “His daughter Alaa is very keen,” says David. “We are thinking about how to proceed.”
playful art
It’s not often you see art that appears to be in poised in motion whilst full of humour and enchantment. Once you set eyes on a piece by French artist Bernard Saint Maxent it is hard not to smile in an endearing sort of way that brings out your inner child.
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oodling since he was a young boy, the entirely self taught Saint Maxent confesses that he did not feel he was good enough to draw, thus shifted his attention to creating objects. He began to carve wood, making sculptures of different animals and even women. After years of experimenting and producing, he decided to merge the sculptures onto canvas with his own light-hearted take on life. He also followed his own ideas of new materials and how to integrate them. Most of his work revolves around the pranks of a gangly character that is like his alter ego. You often see this character (or several) painting, climbing up stairs, sitting on a ball, hanging from the ceiling etc. “It is actually inspired by me,” he says with a grin. Charming and boyish looking himself, Saint Maxent also takes
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inspiration from the burlesque scenes of Buster Keaton and Charlie Chaplin. “My two boys aged five and seven also give me ideas,” he says. The pieces with the brightly coloured round balls was a concept that came after watching his little ones play with soap bubbles in the garden. This series has also become his best seller to date. Saint Maxent also likes to use other themes such as giant puzzle pieces, romantic hearts, big letters, and rich blotches of spilt paint which are fun and universal. Wherever you place his creations they seem to instantly light up the walls and space providing a breathtaking energy. Each of his canvases are different and a “one off” because there is no cast for making his figurines. They are created with a metallic structure around which he models with resin and then applies a varnish. After a day he applies two
coats of bronze paint and after another day he finishes with a patina that looks like bronze. They need to be lightweight so that they can be sustained onto the canvas. The individual sculptures on the other hand are made of real bronze. These are made from a bronze cast producing eight pieces but once they are treated with varnish and painted several times they all end up different by the artist - which means no two sculptures are ever the same. Six years ago Saint Maxent left his birthplace of Paris to settle his family in an idyllic small town in the south west of France called Viellenave de Navarrenx. An hour from Biarritz it has a mere population of 177. Totally tranquil, secluded and immersed in nature, it allows the artist to focus on his meticulous work from his atelier converted from a barn. His buoyant concepts always
starts in his little notebook in which he seems to be “furiously scribbling” ideas all the time as his wife confesses. He then resorts to his studio with constant “blasting jazz and rock ‘n roll music”. The work process is long-winded and slow with multiple layers of varnish, retouching, drying and waiting around. “This is why I usually work on about a dozen pieces at a time,” he explains. His impressive body of work has already been exhibited in Paris, Brussels, London and most recently for the first time in the Middle East at Les Plumes Gallery in Beirut where he attended his solo exhibition. A rising star, Saint Maxent’s playful and ingenious poetic installations will surely capture our hearts for a long time to come. Les Plumes Gallery | +961 1 33 35 37
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The lion’s smile Words:
I n d ia
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Though undeniably beautiful, most wild animals are also dangerous -- definitely not creatures which belong in your home. As the famous Iraqi poet alMutanabbi once wrote: “If you see the lion’s teeth do not think that the lion is smiling at you.”
above:
Aki Checkmate
opposite:
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overs of jungle creatures who wish they could get closer to these glorious but elusive beasts will go wild for “Aki Jungle” a collection of painted and sculptural creatures from Swedish artist Aki Zum. Her inventive animals’ colorful faces are perpetually friendly and endearing, in spite of their pointed teeth. “They are friendly creatures -- at times confused, but friendly,” the artist explains. “Often they are misunderstood because of their sharp teeth and aggressive expression. But if you look closely you can see that they are not threatening at all.” A refreshing exception to alMutanabbi’s rule, Zum’s creatures blend feline eyes with strangely human noses and sharp teeth bared in a snarl or a purr. Some are painted in cheerful contrasting shades, reminiscent of tribal art, while other creatures are three dimensional -- papier maché masks or wall sculptures with thick black outlines around their riotous colors. “I have always been interested in mythological creatures and stories,” reveals Zum. “And of course the art from ancient civilizations and
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traditional folklore.” These influences are evident in her vibrant animals which seem to have sprung into being from a fairy tale. The artwork reflects the artist herself in many ways, revealing her fascination with the wild energy of the jungle. “The feeling of it is jungle-esque,” she explains. “Just because it is so intuitive it doesn’t necessarily mean that it’s primitive. The jungle is so wild [it] reminds me of my own creative process - pure and from my gut.” Many of Zum’s fantastic critters contain feline elements -- together they look like a strange breed of big cat that perhaps lurks somewhere deep in the jungles of South America, waiting to be discovered. “I love cats and get annoyed with them at the same time because they always get what they want,” says Zum. “Everything is on their terms and they have the craziest attitudes. I like them because they seem cool with everything and they are super independent. They want everything the way they want it... I think it’s fascinating.”
If you listen to your senses,
you’ll experience all that’s beautiful and exhilarating in this world. Rolf Benz MIO, where i feel good.
Design: Norbert Beck
W o r d s : Dan Bratman
blooms once again
Background imageŠ Sophie Carre
Background imageŠ Sophie Carre
Raf Simons
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esign, at its best, springs forth from impressions of nature. The structures in which we live, the machines we invent, in their ultimate manifestation are shadows and composites of what nature has already made. Skyscrapers mimic the towering redwood, homes are elaborate limestone caves, and our clothes mimic the elegance and efficiency of skin, feather and fur. Sometimes, elements of nature are combined that are truly unique. The result of this exceptional brand of thinking is sometimes considered genius, sometimes heresy, sometimes beautiful. Perhaps with elements of all three, Raf Simons’ debut show for Dior showed his reverence for nature and disregard for convention. Five rooms in a Parisian mansion were transformed into a dream of flowers. Every wall was turned into a vertical garden by over one million flowers. Blue delphiniums, white orchids, pink peonies, and colored roses built a dream world of sight and smell as the set for Mr. Simmons’ important first show as creative
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 Shopping 19 20 21 22 23 24 25 26 Architecture 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Interiors & Products 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 director for the esteemed house of Dior. 72 73 With the runway lined with stars, the walls 74 75 covered in flowers, and the air full of 76 77 anticipation, the stage was set. As glib 78 79 and coltish models came through the 80 81 curtain, a new style for a new house of 82 83 fashion blossomed. 84 85 Raf Simons, once 86 87 considered an unlikely candidate for 88 89 the gig of Dior’s creative head, struck 90 91 Outdoors out immediately with groundbreaking 92 93 originality. By combining an elegant 94 95 ballgown design as a top with 96 97 modern cigarette pants, Raf cuts a 98 99 new shape for a modern woman. 100 101 With the stems pruned and the top 102 Art & Culture 103 blossoming fully, Simmons’ new 104 105 design is for mobility, not merely 106 107 a wallflower but a woman on 108 109 the move. Without any sacrifice 110 111 to the beauty of the blossom, 112 113 the design is elegant but 114 115 simple, free and feminine, 116 Fashion 117 and like the flowers that 118 119 surround it. 120 121 122 123 124
zhou xunthe
W o r d s : O w e n Ad a m s
celebrates an eternal classic
Charlot te Casiraghi
Sandro Kopp
Saskia De Brauw
Ken Hirai
Tao Okamato
Sarah Jessica Parker
Edgar Ramirez
Astrid Berges Frisbey
Alice Dellal
daphne groeneveld
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he award for fashion event of 2012 is likely to go to Karl Lagerfeld and Chanel, or more precisely to The Little Black Jacket. The biggest stars turned out in their hundreds for a summer party in New York to toast a global photographic exhibition and the launch of a book paying tribute to this timeless icon – dreamt up by Coco Chanel in 1954, and revisited by Lagerfeld and Carine Roitfeld. Lagerfeld credits Mademoiselle Chanel with the little black jacket’s universal appeal – a successor to Chanel’s Little Black Dress. Coco’s original design was based on a male hotel concierge’s Tyrolean jacket worn in Austria. “The Chanel jacket is a men’s jacket that has become a recognized piece of women’s clothing,” says Lagerfeld. “It has crossed that line and come to symbolize a
timelessly fashionable form of nonchalant feminine elegance. It belongs to every era. It really is the piece that goes with everything, suits everyone and is appropriate any time. It’s quite the miracle!” For the book and exhibition, Sofia Coppola, Kirsten Dunst, Yi Zhou, Vanessa Paradis and Edgar Ramirez were just a few of a galaxy of A-list fashionistas shot by Lagerfeld at Chanel’s rue de Lille Paris headquarters wearing the jacket, now revisited as a unisex garment. Ramirez enthused: “Shooting with Karl is a unique experience. You can breathe creativity and history in every corner of his studio in Paris, it’s a sort of kaleidoscope, and it’s fascinating. That day I realized that the Chanel little black jacket has transcended fashion. It has become a universal icon of indisputable historical value. It was very special to be part of this celebration.”
Although the book pays homage to the classic Chanel LBJ, Lagerfeld and Roitfeld have updated the proportions of the jacket. The book also shows the limitless ways in which the jacket can be worn and reinterpreted. “We cut up the Chanel jacket, we did it all,” says Roitfeld. “We made it short-sleeved, sleeveless, turned it inside out. It can work as sportswear when paired with jeans, or go with an evening gown, or be worn by a male ballet dancer. This jacket suits everyone. It’s an incredible item of clothing.” The book, exhibition and an online video (at http://thelittleblackjacket. chanel.com/) goes behind the scenes, revealing the very human expertise that goes into each stage of hand-crafting the most desirable of clothes. Behind it all, as Lagerfeld and Roitfeld recognize, is the very “spirit of Coco”.