Jungle Protocol 2016
The Cloak Chair is an adaptable chair made to suit a wide variety of spaces and environments. Able to change its cloak-like covering between three distinct materials, it is a chameleon that is able to blend seamlessly into multiple contexts. Responding to the theme Jungle Protocol, I related it to transient lifestyles and the way we quickly learn to adapt to different environments. The idea is that you are living in an environment that is not yours, but you intuitively adapt to it.
The French word Cloque refers to a clothing piece used for traveling, resembling a cape, worn over the shoulders to protect the vulnerable human body from the environment.
The cloak chair has three types of cloaks -- the Outdoor version, made with durable fabric; the Winter version, made out of soft, comfortable felt; and lastly the Formal setting, made out of luxurious leather.
Throughout the history of the human race, man’s fascination with fire has defined the growth of our culture. Ever since we have mastered to control it, mankind’s ethos was born.
From cooking food to keeping warm, from creating tools to weapons, fire has been at the core of our evolution.
Both a sacred symbol of purity and an instrument of terror, our fascination with fire has been rooted in us since the very first stages of our kind.
'Blaze’ is a collection of mirrors in glass and oxidized, wax casted bronze. Revisiting this notion of communion and elements, the pieces explore through their process and material a journey of primal enticement in view of recreating our primitive creative urge through this almost hypnotic tool that has come to define our history.
Celine & Tatiana Stephan
My house is no longer my home, it is the agglomeration of many things all in one; it is my office, my meeting room, my movie theatre, my restaurant, my hotel; not only that, but it is also the assemblage of many systems now controlled from my smartphone or tablet from afar. I not only control my actions in space differently but am now able to monitor my space through smart devices while away.
Man’s relationship to space is perpetually changing. We had once built spatial protocols that we are now dismantling, and therefore reinventing new ways of inhabiting a home, working from bedrooms, cooking in receptions, playing videogames in bathrooms, sleeping on living room couches. Boundaries between spaces have disappeared creating new interactions between inhabitants of the same apartment, tenants of the same building, and strangers of the same street.
What remains unchanged is man’s need for light and air.
Our free-standing apparatus possesses rotating blades that generate a current of air for ventilation on one side, and a lighting fixture on the other; the user having the option to light both mechanisms simultaneously or each on its own.
David Raffoul & Nicolas Moussallem
They said you should look nice, so you try to look nice.
Believing you would eventually blend in, following all kinds of protocols, and even lying to yourself just to be pretty.
The problem is that what you see is definitely never what you get, it may look pretty on the outside, but what is happening on the inside? What are you exactly? What defines the immaterial you? If you take away all the protocols and chaos, what is there left? The nature of the object. A trash.
Stellar means relating to the star (origin of life) and flux means the process for flowing, the plasmic quality of life.
Once upon a time, every organism came from the same source of water.
Water. Life started from this primordial soup, from a puddle of water.
A puddle which one day was containing the data of our existence.
Let’s gather around our common primitive puddle of water, a puddle reminiscent of our genesis.
Let’s contemplate our mysterious fluid origin.
Water. That draws people, we fight and live for water.
Water is what we are.
Emotions are liquid, through the flow of tears and the bleeding of wounds.
On a stone surface lies a body of solidified resin that echoes the primordial soup, the source of inception for all organisms.
Lets feel the presence of water and the earth.
Fresh chestnuts are around from the end of September to the end of January.
A Delicious fruit considered part of the healthy food.
It is consumed all around the world and is cooked in many different ways; it can be roasted or eaten raw; has a very smooth texture on the outside and veiny texture in the inside.
Chestnut is a coffee table - cast in Resin and coated with liquid metal finish. It symbolizes the culture of No boundaries and Universal traditions that is celebrated by a sculptural visual taste.
Fishawy Rack & Basket
Khaled El Mays
The Fishawy chairs are one of the most traditional popular chairs in the Mediterranean part of this world; they illustrate a tradition of interactions that not only belongs to the public realm but also insinuate a romantic slow moving world that we miss today.
The Fishawy is an artisanal mutation of the THONET, Vienna bistro chairs; the later appeared in New York City in the late 1800’s.
Since its first appearance and up till one hundred years later the chairs have gone through an infinite amount of iterations and updates to a point where it is hard to define the proportions and ergonomics of the initial Egyptian version. No rules applied, everyone felt entitled to act on it, and the chair belongs to the masses. The results vary depending on the levels of interventions. One simple thing that remained always the simple chair remained always a chair, sometimes innovative, sometimes disgraceful, but always a chair.
The Fishawy rack and basket intend to deliberately and consciously illustrate this distortion, by physically and conceptually distorting the chair in order to give it a new life, a new function that places it in the world of contemporary design and collectibles, while at the same time acknowledge the qualities of the initial chair and built on its structural rules.
The act of systematic vandalism and mutation did not only allow a new life and meaning for this typology, but also gave room to explore the mutated aesthetics and functions just like the initial influence, Vienna bistro chair by Thonet.
A vague and constant desire for sunlight at eye level and respective shadows on the ground; functionally decorative, eclectic yet uniform. A series made of fired earthenware and porcelain: figurine men; large and small; varying and similar; they provoke the viewer while reflecting an aesthetic wholeness to man as creator, spectator and participant.
The variable components reinforce tradition and enrich humanity with balanced form and substance.
Somewhere under the leaves
Doing back to where it all started by creating a peaceful corner under the cane work shadow to escape from a jungle to another.
Tavolo San Paolo Converso
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.”
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"
Light up my fire
“The jungle protocol.
The underlying order that binds all together
All humans with different faces but all with same needs”
Need to eat, to sleep, to feel safe, protected, warm, loved.
To feel good.
"Light up my fire" is an outdoor “fireplace” a mankal for cool evenings on terraces, gardens, on rooftops.
A fireplace to gather around , feel good, create bonds
Other bonds then the virtual ones.
It is a functional sculpture inspired by the primitive fires.
Branches that burn.... and other that do not.
*It is composed of three parts : the base , the hearth and a cover to contain the coal.
The steel hearth can become a water basin for flowers in Summer
Najla El Zein
Rock is about staging a design process: sublimating beauty, denaturing the object and transforming the context. Rock is actually a sea sponge. It kept its intricate characteristics and mutated into new ones.
A block of stone serves as a support to the sponge. The block seems to be in movement to fulfill the main objective of adorning its visitor, by putting it under the spotlight.
An Ode to Scandinavia
Nour Al Nimer
The plate, used by millennia of cultures, is a reflection of history and habit.
Here, each plate acts as an anchor, tethering the wild elements of nature and the modern world that we have built around it. Juxtaposing chaos with order, we are left with a smooth surface that aches to reveal the clash of days gone by and days to come.
Haminals are a collection of objects following the theme “Jungle Protocol”.
Taking shape after the lightness of our dreams and desires, Haminals is the product of our free spirit. It is here to tear down the obstacles that limit us, to widen the edges of our horizon, to unleash our imagination.
By carving reality, we create our own truth. By sculpting the normal, we dig out the sparkle…
Ranya Sarakbi & Niko Koronis
As humans, our mirror image has been central to the way we gradually gain self-awareness; how we differentiate between the “self” and the “other” and, as a result, how we project ourselves onto the story of our lives - some of the principal factors of our individual and collective evolution. We observe our reflection in the looking glass from a unique vantage point that is ours alone. We are so accustomed to our reflected image that our brain applies automatic adjustments to the reflection we see and inadvertently creating an idealised render in our minds, an imago. This causes the paradox between how humans see themselves and how others perceive them. In times when self-awareness, self-preoccupation, and the importance of appearance are ever increasing and ever more central to our everyday existence, this object addresses this paradox by disrupting, if only momentarily, our sense of self and questions the protocol of our perception.
Our take and contribution to the show "house of today" is envisioning the house of tomorrow by using the matter of yesterday
Rather than looking to the jungle or the nature as such for materials we are taking the surplus of the urban jungle and up-cycling it.
This challenges our preconceived ideas of beauty and purity, and forces a position where one has to forgive.
A compressed cube of metal is applied as few cuts and resources as possible to turn it into a sculptural yet comfortable reclining chair.
The cuts reveal endless richness in complexity similarly to if one was to make a section through the jungle.
Stephanie Sayar & Charbel Gharibeh
Gentlemen tables are a reflection of our society, a chaotic yet charming one. Where Contradiction and diversity are the rulers of our city, we have created a collection of low tables, where abstract shapes and unusual proportions, encounter delicate refined materials; and a combination of colors meets hand painted patterns, stacked to define one valuable element.
This harmonious jungle that we live in had become richness and something we really value and cherish, and had inspire us to design underneath a celebration of our dissimilarity.
Stephanie Sayar & Charbel Gharibeh
Table is potentially a medium for animated life, gathered company and relationship, whether of harmony or discord, that extends to the rituals and ceremonies.
It’s always a good place to show some etiquette rules, and manners.
Keeping in mind that eating is aggressive by nature, table manners are, most basically, a barrier designed to ensure that this mess remains out of the question.
This object is a deconstruction of the classic table shape, by maintaining the core of its function, and eliminating the unnecessary.
It’s an attribute to the main utility of the table, and a highlight of its manners, and our rich food culture.
Tessa & Tara Sakhi
‘Drink! For you know not whence you came, nor why. Drink! For you know not why you go, nor where’.
Nomad is an alcohol flask; it is a timeless iconic accessory that transcends an ever-evolving pattern of life.
Its design offers different ways of consumption, each reflecting a particular state of mind, from solitary moments to social gatherings.
Regardless of origins and cultural belongings, alcohol is a substance that disrupts the social mask imposed by social etiquettes, revealing the full spectrum of human emotions; emotions in its rawest form.
The production process has been a marriage between the craftsmanship of brass in Beirut and of murano in Venice. The flask highlights the strong duality of two Mediterranean heritages, and emphasizes on the complementarity and interdependence of the two entities.
Whether an idealistic realist, a cynical dreamer, or an introverted socializer, Nomad is portrayed as one’s relentless companion, each having a story to share.
· ISRA – wisdom
· DALIA – faith
· KALLA - beauty
· MAYRA - rebellion
· HERA – vengeance
· FREA – infidelity
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