This year, the mudac, museum of Contemporary Design and Applied Arts in Lausanne showcased a captivating and all-encompassing exhibition celebrating Design in Lebanon, which toured several cities. Zenobie had the honor of being commissioned to create custom-designed notebooks for the exhibition’s gift shop, alongside some of our stationery products and the exquisite Osiris paper vases, a collaboration we did with Exil Collective.

Gregory Buchakjian, a dear friend, was part of this exciting project and had visited the exhibit multiple times. We met at the Sursock Museum Café, savoring a chocolat mou, and chatted about his journey with the mudac team and his impressions of the entire experience.

As the sun beat down on a hot July afternoon, I arrived early, relishing the grandeur of the Sursock Museum’s majestic court.

It was heartening to witness the museum back to its vibrant self after the trials and tribulations of the past couple of years.

Greg strolled in fifteen minutes later, unusually without his signature hat and Muji backpack. As we settled in, transitioning from our usual lively conversations, we dived right into the subject at hand: BEYROUTH, LES TEMPS DU DESIGN | BEIRUT, THE ERAS OF DESIGN.

Gregory Buchakjian is an art historian and artist living and working in Beirut. This conversation happened with Zeina Bassil from Zenobie.

Z.B.- What is your input in the exhibition Beirut Les Temps du Design and how did you get to participate?

G.B. Marco Costantini, the Deputy Director of mudac, was inspired to curate the exhibition after connecting with Lebanese designers Karen Chekerdjian and Marc Dibeh and exploring the vibrant city of Beirut. Marc Dibeh introduced us and he visited my studio, which was the office of Fontana, a 1960’s department store known for its in-house designs and locally produced furniture.

The exhibition was initially focused on contemporary design, spotlighting designers who emerged in the 1990s and continued to shape the design scene until today, the likes of Karim Chaya, Karen Chekerdjian, and Marc Baroud were among the talented artists featured.

As the project evolved, Costantini decided to expand its scope by delving into Lebanon’s design history prior to the War. I was tasked with researching creators from this pre-war era when the term “designer” was not yet in common use. Instead, they were known as architects, interior architects, or entrepreneurs. Through Fontana’s archive, preserved by Jack Matossian, and the fascinating Khalil Khoury / Interdesign archive, we uncovered the stories of those who contributed to Lebanon’s creative heritage.

Both Fontana and Interdesign, played key roles in making furniture accessible to a broader audience, shaping the landscape of affordable furniture in Lebanon. For instance, my office when I was a kid was from Interdesign and is still in a perfect condition.

Beyond these two archives, I discovered other designers from the pre-war period, including the Piccaluga brothers, who not only had local stores and galleries but also made an impact on the international design scene.

In essence, the exhibition became a journey through time, celebrating the enduring legacy of Lebanese designers and their contributions to the world of design, a testament to the rich tapestry of creativity woven throughout the nation’s history.

Z.B. What was your impression when you discovered the exhibition?

G.B. The exhibition is hosted in the mudac, which is part of Plateforme 10, a cultural complex along with two other museums, creating a captivating cultural hub in Lausanne, lately praised by The New York Times.

Visitors to the exhibition are welcomed on the main floor of the mudac via a grand staircase, where they are immediately immersed in the world of Beirut. An enormous aerial view of the city adorned with vintage postcards offers a captivating introduction to the exhibition, setting the stage for an insightful journey.

The exhibition delves deep into Beirut, exploring its geography, ethnic diversity, and socio-cultural movements, placing design within the heart of this dynamic territory. The first part of the exhibition is dedicated to the historical aspect, a poignant experience for me, as I noticed how a significant part of the products exhibited originated from my studio, a realization that filled me with emotion.

A second section of the exhibition is dedicated to showcasing the works of students, with a focus on ALBA (Académie Libanaise des Beaux-Arts) and AUB (American University of Beirut) students. I was in charge of the ALBA students, a privilege that I approached with great enthusiasm.

The exhibition also boasts a substantial portion dedicated to contemporary designers, offering a comprehensive selection that captures the essence of the current design scene. The diversity in this section is striking, showcasing a wide array of objects, from small and intricate pieces to impressive and bold furniture. It reflects the notion that there is no singular approach to design, and emphasizes on the multifaceted nature of creativity.

An entire room is devoted to Minjara, a venture that takes care of the traditional Tripoli wood making, preserving this cultural heritage through design.

One particularly compelling aspect of the exhibition is a video room featuring speakers like Camille Ammoun and Charif Majdalani sharing their perspectives on Beirut. While not exclusively focused on design, these videos offer valuable insights into the multifarious aspects of our city.

As visitors conclude their journey through the exhibition, they finish the tour with Exil Collective, a group of young designers exploring affordable and locally made design.

Z.B. If you had to pick three pieces, what would they be?

G.B. If I were to select three pieces for the exhibition, they would be as follows:

A console from my parents’ apartment, which has been an enduring part of my life since we share the same age. Crafted by Michel Harmouche, this console was originally fixed on the wall in my parents’ former home in Ras Beirut. However, when they moved, they left behind the metallic structure that once held it to the wall. As a result, it now exists as a fragment, and was filled with curiosity to witness how people will perceive and interact with this enigmatic piece that holds a wealth of memories and stories within its sleek design.

A resurrected screen, created by Serge Sassouni, that had beautifully adorned the Hotel Alcazar in the 1950s. The turmoil of war led to the closure of the hotel, leaving these screens in a state of decay. When the idea for the exhibition emerged, Camille Tarazi took the remarkable decision to recreate these screens identically to the originals, breathing new life into an object that faced destruction in the 1990s. This resurrection adds a profound dimension to the exhibition, celebrating the revival of a piece of history through dedication and artistic endeavor.

The Tessera Lounge Chair by Marc Baroud, a captivating representation of experimental furniture design. In a period when Marc Baroud fervently pushed the boundaries of experimentation in an intellectual manner, he conceived objects not merely for aesthetics, but as embodiments of intricate intellectual systems. The Tessera chair stands as a prime example of this approach, showcasing the mesmerizing interaction between leather and wood. Its ribbon-like structure adds to its aesthetic beauty, yet its design was not primarily driven by aesthetics; instead, it serves as a captivating system that highlights the power and potential of the material. The Tessera Lounge Chair is now in the collection of permanent collection of the Musée des Arts Décoratif, Paris.

Z.B. Can you tell us a bit about the publication of the accompanying book?

G.B. The book published by Kaph Books stands as the first and only comprehensive volume on design in Lebanon to date, making it an essential reference. One of its significant features is the meticulous gathering of creations from both the contemporary and historical periods. The book thoughtfully incorporates comprehensive texts on the historical era alongside insightful discussions on the contemporary period, making it a well-rounded resource. An engaging conversation about the place of design is also featured, involving three prominent individuals: Hala Abdel Malak, Cherine Magrabi Tayeb and Marc Baroud.

Additionally, the book offers a captivating chronology that traces back to the Ottoman era, skillfully juxtaposing historical events, cultural life, architecture, and design milestones. This chronology is not only present within the pages of the book but also thoughtfully displayed in the exhibition. It serves as a fascinating passage bridging the historical and contemporary periods, enriching visitors’ understanding of the evolution and significance of design in Lebanon. As a result, the book becomes an indispensable companion to the exhibition, capturing the essence of design’s journey through time and its profound impact on Lebanon’s cultural landscape.

Z.B. Back in 2021, over our habitual breakfast at Souk el Tayeb, the upcoming exhibition was the talk of the town. Participating designers, doing their Saturday grocery shopping, chatted excitedly about it, creating a buzz of anticipation and camaraderie. 

G.B. Back then, Costantini and his assistant Rafael Santianez would visit Lebanon frequently, and during one of their stays near my studio in Hamra, they would often drop by for a traditional Lebanese coffee and to dig into the archives. Together with Carlo Massoud, we had the opportunity to explore the legendary Interdesign showroom, even managing to “borrow” documents and some leftover design pieces for the exhibition.

However, during this time, Lebanon was facing a gas crisis, and we struggled to find diesel to fuel our vehicles. Despite the challenges, we made our way to Biomass at the Massoud’s, experiencing the long queues and frustration of unsuccessful gas filling attempts.

On our journey, we stopped in Batroun to pick up Marc Dibeh. The coastal city was alive with excitement, resembling the vibrancy of Ibiza or Saint-Tropez, with expensive cars and exuberant individuals. Marco was utterly bewildered – one moment, we couldn’t fuel our cars, and the next, we were in a glamorous coastal dreamland. We all laughed and scratched our heads at the hilarious rollercoaster ride we were on!