Jungle Protocol 2016
“Sins and projection scenes” is a mirror structure 230 cm in diameter, 80 cm in width. It is composed of two hollow circular steel bars joined by lateral connectors lacquered with transparent mat finish. Ninety super mirror stainless steel sheets are clad meticulously by artisans onto the internal and external faces. Alternating gold, silver and black, these sheets overlap creating reflections. A single artisanal Moroccan embroidered textile plaid rolled into a cylinder, lays inside. Scenes and illumination are projected on the mirror strips and onto the floor.
“I wish I could make them all look like you” is a perverted coffee table. The proposed installation calls for a playful performance that should be enacted in the living room of the privileged and mischievous possessor of the “art piece”. The device consists of a sectional mold, which was modeled around the faultless figure of a dear friend whose identity will not be disclosed. The apparatus is designed to contain the naked body of a daring female player who cannot possibly fit the exact proportions and the sharp edges of the reference mold. All imperfections of the contained body shall be revealed, as the superfluous flesh is hard-pressed by closing the two halves of the mold.
The idea was inspired by the metaphor of the closet as the container of unspoken desires. In an imaginary scenario, a closet is opened up to reveal a collection of colorful hangers/ Fantasies. Stretched glossy leathers, tight straps, metal studs, and condom pockets give each hanger its kinky identity.
The “Confession Apparatus” invites the confessor and his selected listener to share secrets in a recreated intimacy. Two cones made of brass are hung on an electric cable. The confessor places his/her head in the larger cone and the person listening puts their ear in the smaller cone. The cones can be lifted up or pulled down by means of a reel in order to accommodate people of different heights. The confession apparatus doubles up as a lighting device when not in confession mode. Therefore secretly serving its hidden purpose behind the assumption that it is simply a floor lamp.
Hoda Baroudi & Maria Hibri
I am not sure what you think you see, I am hoping you still know it’s me. I am the hoarder of secrets with 120 million confessions to keep – My heart is pounding – A silent scream. I have secrets entangled and folded in fabric and threads, stories woven and letters sent, sometimes trapped sometimes not. I bear a parallel world dying to come out.
“The confessional” is a small, enclosed booth used for the Sacrament of Penance, often called confession, or reconciliation. It is the usual venue for the sacrament in the Catholic Church. The priest and penitent are in separate compartments and speak to each other through a grid or lattice; conversations are usually whispered in the presence of God. While the penitent examines his conscience and confess, the priest whom has been given the power of jurisdiction over the penitent by God exercises forgiveness. The project intends to reflect on the space of the confessional and the dialogue that is being held in it. The first step was to remove this piece of furniture from its religious context and think on it in a domestic space, the bedroom.
Some confessions are too terrible to divulge.
Makram El Kadi
“A cage went in search of a bird”, Kafka Working retroactively from a bird, the birdhouse is a reflection on contextual design. The Eames’ House Bird, a staple of Eames’ furniture photographs in the 1950s that became synonymous with their household domesticity, is given here a Bird House, an ovoid hybrid between a cage and a house. The House is formed by hundreds of empty stray brass bullets collected from Lebanon’s various hunting geographies despite the hunting ban in effect since 1994. 2500 bullets were placed piece by piece around a welded brass shell by local steel welders and craftsmen. The object alludes to the paradox of birth and death and the uncertainty of life in times of war.
I always had a repulsion for touching food with my bare fingers, I confess of being anxious to catapult meat chops on my table neighbors while trying to slide them off a skewer with a fork; of my phobia of having little crumbs stuck in my beard if I try to bite off that skewer. I had to overcome this perception and transform it into a sensual experience. “Flesh Toys” are a subtle shape interpretation of 6 sex toy archetypes.
Everybody has a secret to hide or a confession to make. Revealing some things can destroy something else. Six tables with six different concepts, each one designed for a specific end use and/or range of secrets. They were not designed as a personal confession but more as a hideout for the end user’s secrets. The interaction between the user and the product was a main issue in the concept approach. The table won’t reveal everything it has, unless one knows how to manipulate it. Every table has been designed in a way to pay a tribute to a designer a product or a material I admire or prefer. The concepts and execution were elaborated with the help of Zareh Sarabian (tribu atelier) and Marc Baroud.
The needlepoint work hints quietly at the determination of a heritage to continue and to the struggle to succeed… it’s the daily confessions of women to each other in a sisterhood displaced… The designer chooses to keep the integrity of the traditional design and brings it to us by altering the color combinations, changing the scale and supplying the women with more contemporary fabrics… this traditional craft can be integrated to our house today and be a witness to any confessions murmured…
The craft of creating designs with nails has been used for centuries… brass-studded doors and chests have been used for decorative purposes. Here, I attempt to take a more industrial approach to studded nails and to use the craft as an emotional roller-coaster and to dissect the process into feelings. The creation is bowls and mortar and pestles in a simple form using solid Lebanese cedar wood. The function of the mortar and pestle reinforces the pounding movement of the hammer. The use of the different patterns of the studded nails reflects the mind as it keeps hammering away…
Observer: Do you love me?
Mirror: Yes I do
Observer: Do you hate me?
Mirror: Yes I do
Observer: Do you want me?
Mirror: Yes I do
Observer: Do you need me?
Mirror: Yes I do
Observer: Why do you appropriate all my surroundings?
The Mirror left the conversation shining and radiating
My confession is a message of peace. "Ma Grenade à Moi” lights up and unveils a powerful idea of hope and promise. The aggressive and the serene united. The possibilities are endless, to create beauty amidst the brutal. Such is the beauty of life and “Ma Grenade à Moi”.
Every single fiber optic stern is fixed to the rubber mold following a 5 mm × 5 mm grid system. The mold is poured with a cement mix encasing the 18,000 fibers. Every fiber is organized following their original position at the surface of the concrete bloc. The bundle of fibers created is used as a transmitting screen by projecting an animation of passing clouds in a blue sky. Light bypasses mass, breaking boundaries. Are clouds and sky solid—or intangible? Energy and matter shift in cosmic rhythms of equivalence, and proportion. My confession: seeking balance in concord, a unity of forces.
What to confess but the urge for vacancy unparalleled comfort given the destination miracle void and black holes hard drive positioned into a slot ready to be emptied screenshots slow motioned to fit a session ending at 4:45.
This seat is a meditation on death. I chose to take the most deadly object, the coffin and to straighten it up vertically so we can sit in it comfortably. The idea is that a coffin is always presented horizontally and that nobody ever asks you to try it before...you’re dead! The piece was cut to the proportions of my body like a costume. The result was “Rendez-vous”, my therapeutical gesture. I didn’t want the seat to be scary though, repulsive, this is why I chose rose veneer wood to make it look fabulous!
“Step by step” line – Whether it’s brushing your teeth, robbing the cookie jar, retrieving confiscated toys, or just being able to look your childhood bully in the eyes, going about every day’s routine tasks can be frustrating, when you just aren’t tall enough. As you grow older, you might have grown a good meter, or two, but some, like myself, don’t grow that much of a privilege. And here’s my confession to you: It seems that my ‘gigantesque’ world didn’t really change much, I still need a step up life’s ladder. Now let’s be honest for a moment, no matter your size or height, you always seem to need that extra foot or two to facilitate every day’s life. I chose to design a series of stepladders that can escort you in every chapter of your life. Here is your life in a few steps…
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