Jungle Protocol 2016
Vacancy & Vacancy II
Céline Stephan Eid
Center stage, the spotlight illuminates the amphitheater. All eyes are on the clock, divulging its internal mechanism projected onto the ground. The sociopolitical elite, six encircling entities, stand firmly as they watch the motion of the parts unfold at their feet. The clock ticks endlessly, but does not display time. The clock ticks endlessly, but their inertia persists. Beyond the self-advertising spectacle of our pillars, our city’s present remains stagnant, as vacant as a timeless clock.
The low table ISO A is nourished by the interaction of intuitive craftsmanship and standardized formats.
When switched off the table has a mirror appearance. When lightened up its hidden treasure gets visible through reflection: A carefully selected detail of an opulent and colourful stained glass work, that Christian Haas discovered in the archives of Gustav van Treeck, a prestigious Atelier that famous for its mosaic and architectural glass works and that was founded 1887 in Munich.
This compromise between forgotten traditions and the modern world emanates a symbolic power beyond its functional aspect.
Following the theme “naked”, exposed 1, 2, and 3 are a series of objects representing people at their bare state. The double sided mirror showing the truth of people’s double faces. The clothes hanger that carries the layers covering the bodies. The lamp when turned on / off revealing the light, the naked truth of oneself.
David Raffoul & Nicolas Moussallem
Fading memories of business meetings, blurry phrases at a late night dinner. All vanished. All gone. And you’re home. Hat, jacket, tie, cufflinks. Armor hanging on a wooden servant. You’re stripped. Naked. Facing a mask the world believes is real. Your last performance of the day. Alter ego.
“little Alice fell down the hole, bumped her head and bruised her soul” from Alice in Wonderland, Lewis Carroll.
Light and ethereal. An elegant body nesting a captivating soul. Shying behind golden stripes, exuding mystery. Nude and furtive. Transparent at times, hermetic mostly, always beautiful. Three unique signature Elie Saab clutches, designed and crafted exclusively for House of Today’s collection ‘NAKED – Beyond the Social Mask.’
In its primary configuration, the design object is presented as an Armchair. It is ergonomic, fabricated with cutting-edge memory foam and upholstered with high-tech stain-proof fabric. In other words, it is a familiar archetype that complies with today’s design industry.
On the other hand, the secondary configuration does not cater to any presupposed position of the body. It rather encourages the body to test different positions, whether seeking comfort, discomfort, sexual positions or else. It becomes a tool of experimentation, leading to unexpected opportunities.
The design object poses a duality between a predefined and accepted idea of comfort and an undefined form of seating or interaction with an un-categorized object.
Hyde is more than just an incense holder carved in a block of marble. It is a misdirection, a shell to conceal a secret pleasure: smoking.
In fact with the smooth stainless steel box revealed you’ll have everything you need for your secret interest: a receptacle for your tobacco, a plane to roll your cigarette, and a marble ashtray. You’ll even have a cover-up and a pretext when you’re done.
Victor will hold up the mirror for as long as you like (need). A lover (an admirer) of all that is beautiful, he can't help sneaking a peek... There is a Victor in all of us (each and every one of us).
Lea Rosa Kirdikian
Behind our masks lie traces of fleeting impressions dissimulated onto one another. In hopes of establishing social bonds based on predisposed etiquettes, each of these camouflaged copies of self-sink into the others' minds only to be imprinted into our conscious or subconscious.
"Impressions" is a set of imprinted dishware emphasizing, in blatant subtlety, an otherwise intangible personal projection. "Impressions" hence reveals and puts into value, both, the metaphorical and physical portrayals of self-lurking within each and every one of us by imprinting intimate pieces of clothing and hidden body parts onto a public object - a household dish.
The smartphone is a tribune, our rostrum. This object has transformed from a simple functional device, into the stone on which we engrave our thoughts and images. Our new social commandments emerge from this pedestal that holds one’s own personal stature. It has become one of our most precious belongings, a deformed mirror of ourselves, a perpetual social mask.
We are naked when we are disconnected.
Vault is about the ritual, the act of getting naked: letting go of our social mask. Meant to put into perspective both our attachment to, and detachment from our phones; Vault emphasizes the action of disconnecting from ones virtual life or magnifying it. The hand-sculpted shape has mirror finishing meant to connote the reflected image of ourselves. When the chest is closed it wirelessly recharges your phone all the while shutting down any contact with the world. If left open the Vault turns into a bedside lamp or it simply magnifies your phone notifications.
Lingering between nakedness and full attire, Vault is meant to remind us of the complex relationship we have with our phones.
Michèle & Georges Maria
Can business relations be honest and uncensored? Can one be “naked” in the professional world?
The designed object intends to challenge that concept by recreating the surface that witnesses transactions, negotiations and power struggles: a meeting table.
The proposed table goes beyond courtesies or diplomacies that belie hidden agendas.
The table top is in steel with gunmetal finish brushed concentrically. Cast in resin, a set of weapons articulates the underside of the table, within reach from each of the seated guests. The legs are an extension of the underside: also made of resin, the profile of the legs recalls the trajectory of bullets.
Choose your weapon and keep calm.
N. Gholam & G. Crédoz
UNI: for the sea urchin with spines
EX-UNI: for the sea urchin without spines
Through a thousand places and a thousand faces. A mask hiding endless others. A woman, a secret. Slithering in silence under the full moon, always elusive beneath her many skins. A gleaming serpent circles her finger. And suddenly, a twist. Ravishing venom unleashed. Slowly vanishing into smoke, slowly disappearing into the night.
Najla El Zein
Blink, tickle, stroke, scratch, sweep emphasizes on different body senses through a set of peculiar brushes. Marble sculpted pleasure tools, the sensations are enhanced with ordinary and unconventional materials such as eyelashes, brass nails, feather and hay.
Divina Pendant in Hematite with 18k Grey Gold
This beautifully crafted pendant in 18k Grey Gold with Hematite has grounding properties that have long been used to decrease negativity and maintain emotional well-being.
Divina Pendant in Red Jasper with 18k Rose Gold
This hand carved pendant in 18k Rose Gold with Red Jasper holds natural protective properties and promotes balancing of the chakras.
Divina Pendant in Lapis Lazuli with 18k Yellow Gold
Lapis Lazuli has long been recognised as the stone of Royalty and truth. It is featured here alongside 18k Yellow Gold enhancing the natural colour of the stone.
Divina Pendant in Aragonite with 18k yellow Gold
The Divina Pendant is re-crafted with 18k Yellow Gold and Aragonite, which increases energy and encourages self-confidence.
Fly Me to the Moon
Fly Me to the Moon Wing Earrings in Blue Titanium and Pink Sapphires
The Wing Earrings are re-crafted d into Blue Titanium, which is know to embody strength and purity and are delicately set with Pink Sapphires, which aid in opening your life to love.
Fly Me to the Moon Wing Earrings in Lilac Purple Titanium and White Diamonds
The Wing Earrings are re-crafted into Lilac-Grey Titanium, which is know to embody strength and purity and are delicately set with White diamonds, which are a symbol of perfection and illumination.
Fragments of skins and fibers found in nature – dried, some preserved, and some let decomposed to unveil its materiality – however frozen in time.
As it takes the shape of a microscopic slide, it invites you to take a closer look into what’s beneath one’s skin.
The French cabaret culture has always been a specificity of my country. Either a place to be seen either a place to see graceful ladies in a show. Beyond some feather effects, the voyeurism is questioned as well as the role of the woman in the French society. But night bars are also places to be seen as a customer and as a member of the kind of community. The mirrored metallic surface of the cabinet is a way for its user to see himself surrounded by the “panache” of the half circular ornamental top shape. The contrast between the very minimal and simple shape and the feathers, even if white, gives a unique presence to this piece of furniture bringing with modernity, functionality and a certain sense of humour some reminiscence of the eternal questioning about nudity in the society.
Sarah & Malak Beydoun
A keeper of precious possessions, lingering memories and objects of desire, this jewelry box made of walnut wood and chrome, can hold all valuables under lock and key in its two compartments. It has an eye-shaped mirror delicately hand-beaded with a blue eye on one side, the potent amulet of protection against the malevolent power of the evil eye. The box also keeps within it a secret known only to its owner.... for the true self is always revealed by what it tries to conceal.
We are all born naked. When naked, we are equal; equally vulnerable, equally exposed, equally weak, but we do not allow nakedness to define us. By covering ourselves, we do not strictly aim to hide our bare bodies. We use our second layer to create an identity, an image, a personality. We use materials, colors, and textures to make a unique statement, while simultaneously hiding, camouflaging and masking flaws and weaknesses.
Second skins is a series of resin vases, born naked, equally unremarkable and lacking a clear well defined identity. Once covered, each object gains its own characteristics through the materials and textures that conceal it, allowing it to express its own particular traits. With the help of the second skins they host, each vase will hold a unique sense of esthetics and feel to it, providing its own tactile sensations and visual language.
A tribute to vanity and beauty, this mirrored console table ironically compares an everyday makeup routine to the complete, full-moon transformation which is at the heart of the werewolf myth. This object stands on an imaginary line between private space, an intimate place that makes us feel free to be ourselves, and social life, where each of us is - more or less consciously - forced to wear a mask.
The design is defined by an elegant and sophisticated geometry. The table top opens unveiling a container for cosmetics, while two precious glass vessels complete the idea providing a useful space for cotton pads, brushes or jewels.
Like a full moon, the large mirror catches the eye and invites onlookers to peek at their own reflection. And the transformation begins... get ready for a full moon night!
Consuming alcohol has long been a social practice, condemned by some for its inebriating power and welcomed by others as an accompaniment for food or as a recreational activity. Alcohol goes hand in hand with its particular rituals and common practices, but it is above all dependent of its container, as one cannot exist without the other.
In the forbidden circles, the container conceals the smuggled liquid, or on the contrary, helps identify its nature, while amongst the welcoming crowd, the different kinds of containers define the etiquette of its consumption.
One particular container bridges between the two worlds: the decanter. This collection plays on the dichotomy between exhibition and concealment portrayed in the traditional crystal or glass alcohol decanter. On one hand, by emphasizing on the aesthetics of the container and ritualizing the act of consuming alcohol, the decanter elevates liquor to a higher status. On the other hand, it simultaneously hides the nature of the liquid, thus emphasizing the forbidden aspect of it and becoming its mask.
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