Nada Debs, of Lebanese origin, was raised in Japan. She studied interior architecture at the Rhode Island School of Design in the United States, starting her first company in the UK, designing and producing custom furniture.
After a 40 year hiatus, Nada Debs’ Levantine spirit brought her home to Beirut, where she discovered that designs for modern Middle Eastern furniture were non-existent. She then established her company East & East, where the brand fuses Eastern tradition and minimalism. Her multicultural approach attracted the attention of the design world. Today Nada operates from Beirut and is represented globally, delivering to the world.
The NADA DEBS mission is to celebrate Eastern craftsmanship through contemporary design. It is about reintroducing and reinterpreting local design by mixing Middle Eastern craft with Far Eastern sensibility, resulting in a fusion of East and East. New material versus traditional techniques result in innovative local craftsmanship with a strong design element. The quest for reviving and evolving our artistic heritage reflects the spirit of the ‘local in the global’ and the ‘global in the local’ otherwise dubbed as glocal. We like to bring awareness not only to the handmade, but also to the heartmade. It is the hand that makes what the heart creates. By emphasizing the spiritual importance of creating with one’s hands, the hand becomes a storyteller that guides us to preserve our narrative. With this in mind, we continue to push the boundaries of innovative craft.
Visit the Website: https://www.nadadebs.com
We have developed our signature Bokja language with our materials and we start a conversation with the way we use them. We mix the old with the new, the pretty with the ugly, the brocade with the jute. We are constantly gathering bits and pieces, making more bits and pieces and gathering them again and again and again...
We react to events happening around us and the world and interpret the stories in our own voice.
Nestled in the heart of downtown Beirut, our Bokja Showroom is located in Saifi Village's Quartier Des Arts, a recently restored historic neighborhood which has become a destination for art galleries and designers. We occupy the ground floor of a 1950's structure off a street historically known for its carpenters' workshops.
The conversation and humor we introduce in each of our designs has also been used to build the environment of our showroom. In true Bokja spirit, it is a story with many layers: it is our gallery, it is our garden, it is where our minds meet. Over the years, we have pioneered for many social and environmental related events, and they all take place here.
Visit the Website: http://www.bokjadesign.com
The conjunction of the being able to describe forms precisely thanks to the assistance of computers and having access to information driven machine tools has empowered a new kind of creatives.
Bridging between designers and craftsmen, a new generation who is more in control of their creation, as they have to organize informations to pilot the machines, and who are conscious of the manufacturing process and requirements are born: the makers. The maker movement is rising in the middleeast and this exhibition is the acknowledgment of this phenomenon.
In research of a fulfilling lifestyle more designers wannabees emerge and rely on the skill and experience of expensive craftsmen to complete and realize their designs. Their one-off limited editions of hardly producible; and therefore expensive designs find an output only in expensive galleries dedicated to a very wealthy audience and focus on gaining media’s attention. On the contrary, makers live deep in workshops in contact with the materials. They aim to reveal the true nature of materials and they know that the process from tools, steps and techniques is the way to do it.
If the association designer + craftsman produces interesting designs despite a few hick ups, it is interesting to follow what the makers will output. It’s way too easy to describe the maker by opposing it to the couple: designer + craftsman. In reality, the limits are more blurred. A good designer should have practiced all crafts if he/she wants to design properly. At a certain level of complexity like an architect, a designer has to be the one which orchestrates and watches over the concept. He cannot build by himself every part from every trade.
If the designer’s lack of know-how creates often unwanted difficulties to the craftsmen that pointlessly increases the production cost, it also sometimes creates interesting new objects. The continuity of presence and control of makers over the creation and manufacturing processes is giving to their design a greater integrity. Taking into account manufacturing processes from early stages of design allows for control over the production cost and the repeatability of the parts. That same way, the intimate relationship with the making as most makers own their computer driven machine tools, gives the makers another relationship to the process such as the ability to share the process and propose, on some designs, to have the user make the final assembly.
The journey of a maker from bits to atoms within one design is long. Matter and tools will sanction his/her errors harshly. But to have mastered, on his own, from idea to completion, with an awareness gained by the process, is a well deserved reward.
Would the integrated knowledge of manufacturing limit the maker’s imagination (because he early integrates fabrication constraints in his design process), or would he invent at both stages of concept and fabrication by creating new machines and processes? In this exhibition, representing the avantgarde maker movement in Lebanon, confirmed makers such as Karim Chaya, Guillaume Crédoz and Ahmad Khouja are joined by the younger scene: Kamal Aoun, Charbel Jreijini and Hadil Ankouny.
Visit the Website: http://www.beirutmakers.com
Georges Mohasseb, thanks to his experimentation of materials and textures, looks always for the best possible and most sensible combinations to execute his designs.
The use of wood is always prominent and remains in many of Georges Mohasseb ’s designs due to its connectivity, liveliness and texture of this material.
Georges has constant search for materiality and immateriality that characterizes his designing approach for a strong identity for all and each project he has developed. Either they are architectural, furniture and/or lighting design projects, Georges’s main concerns is to create a limited number of timeless designs maintaining a high level of craftsmanship and a complex expression of materials through their sensory experience including the color, shape, texture and smell as well.
Georges Mohasseb is born in 05 June 1973 and lives in Beirut, Lebanon. Georges got MA architecture the Catholic University of America Washington DC, USA.
Georges has been working as an architect and designer for sixteen Years. Through his professional experience and intensive workshops.
He mastered wood furniture making techniques prominent in each of his designs. Georges ‘s passion for design has brought him to teach in many renowned academic institutions in Europe and in the U.S.
He recently set up his company and he is working on several projects for Europe and the Middle East.