ø 60 cm x H 68 cm

Hand-Sculpted Ceramic, Clay, Casted Brass.

‘’Morph’’ side table is a result of a collaboration with Katie Stout, Brooklyn-based designer/artist. In this design we wanted to push our boundaries and at the same time to go back to our basic sketches, where usually our first visual starts to appear. Purifying our sketches and elaborating them to create geometrical shape is our method; in ‘’Morph’’ we wanted to translate our rough sketch to reality without the simplification process. A free, spontaneous and naïve design made out of a mix of ceramic, clay and casted brass, where all components are made and shaped by hand, without any machine involvement. In a process of a back and forth sketching game, where each designer was adding his/her own touch and thoughts to the initial sketch, the piece turned out to be a well welded and brewed design that represents the power of this collaboration.

L 185 cm x W 70 cm x H 90 cm

Broom Fibers, Foam Layer, Stone, Metal Structure, White Resin.

In our language, we tend to use materials that can be hand sculpted. By working around those materials we always look for playfulness. In this piece, the process focuses on hand carving a typical local stone found in north of Lebanon. The stone is bush hammered to create a tactile surface yet maintaining this majestical allure, along with the hand tied natural fibers, creating alltogether “The Broom Bench”

ø 60 cm x H 29 cm

Terracotta, Broom Fibers.

A side table from the collection of objects made of terra cotta and hay.

Orange: L 35.6 cm x W 24.1 cm x H 18.4 cm ; Blue: L 46.4 cm x W 31.8 cm x H 12 cm

Foam.

Cushions. The foam expands and moves, to reach new levels, and never can be limited by boundaries, it’s alive, dynamic and it can’t be trapped in a well-defined place, like memories ideas, and stories. It’s an interactive material; the procedure is part of an adventure never can predict its results and behavior.

L 59 cm x W 41 cm x H 38 cm

Hand-sculpted Ceramic, Foam, Terra-cotta.

The foam expands and moves, to reach new levels, and never can be limited by boundaries, it’s alive, dynamic and it can’t be trapped in a well-defined place, like memories ideas, and stories. It’s an interactive material; the procedure is part of an adventure never can predict its results and behavior.

L 140 cm x W 55 cm x H 74-84 cm

American Walnut Wood, Genuine Leather, Cast Brass.

We are born with the liberty to write our own path, story, and script. The script of our life, career, family and most importantly the future of the world we live in. We are all trying, each in our own ways to elevate and refine the limits and rules to leave a better world for future generations. “Script” is a desk tailor made to leave you at comfort with everything you might need to write that scene down.

Pink: L 110.5 cm x W 87 cm x H 79 cm

Green: L 95 cm x W 90 cm x H 115 cm

Yellow: L 90 cm x W 100 cm x H 120 cm

Painted Concrete, Acrylic Patterns.

Sculptural chairs

ø 27-40 cm x H 28-40 cm

Raku fired ceramics, Metallic stands.

Ceramic plates inspired by shapes and shades, designed and made by Hala Matta in Lebanon.

L 140 cm x W 80 cm x H 41.5 cm

Mat Lacquered Wood.

As much sculpture as it is furniture, the differently sized volumes that make up the Platform series of tables combine to create a geometric topography reminiscent of a Cubist skyline.

W 20.3 cm x H 25.4 cm

Foam, Clay, Bulb.

Colorful table Lamp. The foam expands and moves, to reach new levels, and never can be limited by boundaries, it’s alive, dynamic and it can’t be trapped in a well-defined place, like memories ideas, and stories. It’s an interactive material; the procedure is part of an adventure never can predict its results and behavior.

ø 41 cm x W 155 cm x H 160 cm

Wood, Brass, Velvet, Mirror.

“The counter” a wall hanged bar in which everything you might need to prepare cocktails and drinks is at hand. The whole Bar is studied in favor of the comfort of the user without neglecting the aesthetic dimension of the object. Each material used has been brought from one corner of the world to ensure the finest quality. This bar is made from living materials like wood; It is a piece that will get old with the users, have scars and wrinkles, and tell all their stories to future generations. "The counter " is a handmade bar manufactured with the best local Lebanese artisans, revisiting oriental crafts techniques that are fading little by little.

ø 60 cm x H 68 cm

Hand-Sculpted Ceramic, Clay, Casted Brass.

‘’Morph’’ side table is a result of a collaboration with Katie Stout, Brooklyn-based designer/artist. In this design we wanted to push our boundaries and at the same time to go back to our basic sketches, where usually our first visual starts to appear. Purifying our sketches and elaborating them to create geometrical shape is our method; in ‘’Morph’’ we wanted to translate our rough sketch to reality without the simplification process. A free, spontaneous and naïve design made out of a mix of ceramic, clay and casted brass, where all components are made and shaped by hand, without any machine involvement. In a process of a back and forth sketching game, where each designer was adding his/her own touch and thoughts to the initial sketch, the piece turned out to be a well welded and brewed design that represents the power of this collaboration.

Ø 50 cm x H 60 cm

Pink Marble, Bronze.

“There’s no doubt that when we first met each other we immediately got along... if design studios could flirt, it would be the best way to describe our immediate relationship… a flirtation. We were all in South Africa at what felt like the end of the world. Our mutual attraction to each other’s sensibilities (aaaand maybe other parts????) was palpable... this table is a representation of consummating that flirtation…sex, sensuality, mutual respect and vulnerability in the form of design down in a wild place like South Africa. We’re glad to say that this table is a fantasy born from a long standing friendship and a perfect example of the way all four of our minds work together"

0.5 L, 0.75 L, 3: 1 L

H 24 - 30 cm x D 10 cm

Corian

LG HY-MAX.

Whether tucked away in a dark place, pulled out for a religious ritual, or making the rounds at a house party, alcohol has a long history as a social practice. Condemned by some and welcomed by others, alcohol depends on its container. Its social function means nothing without something to hold it. Sometimes the container conceals the drink, allowing it to remain hidden and unknown. Other times the container identifies the drink and celebrates it. From quick chugs to popping champagne bottles, the container defines the etiquette of consumption. The Decant collection plays with the tension between celebrating the consumption of alcohol and forbidding it. Assembled from the superposition of layers of Corian, the decanters hide the liquid inside and conceal the carafe’s stopper. The decanters’ shapes, however, reveal their intended storage and are meant to emphasize the ritual and aesthetic practices of alcohol consumption. The acrylic container is lead-free to preserve the quality of its contents.

Large: W 62 cm x ø 24 cm x H 100 cm

Small: W 38 cm x ø 14 cm x H 60 cm

Rattan French Weave, Wood, Threads, Aluminum.

The Lebanese culture is always infused into Khaled's work. He has lived in Lebanon for the majority of his life and gets most of his visual influences from his surroundings. There is a raw aspect to his designs that is a direct reflection of a city in constant growth trying to define its identity in a zone of constant conflicts. “Design Miami/ and Art Basel were always a dream for me, being part of the coming edition will certainly impact my life and my practice for the better." When speaking about the upcoming exhibition, Khaled mentions a full range of emotions from happiness, and pride to nervousness and excitement. As he will be showing a body of work almost a year in the making, he is keen to always have depth and meaning to the pieces as well as to the production process. Each pair of hands that the pieces pass through, give a new piece of soul to the series. Mr Brain Lamp is now part of a larger and exclusive collection sold at Nilufar Gallery Milano.

L 128 cm x W 90 cm x H 36-46 cm, middle circa: 40 cm

Bronze, PU resin, Paint, Lacquer.

Fluid Encounter is a functional fragment of an ethereal landscape, where we find wonder in the fluidity of the bronze. Its flat chromatic surface bends to the form of the rocks beneath it, creating subtle undulations. The bronze, suspended by the luminous rocks, has undergone a chemical patination process enhanced by hand painted layers of color and a gloss lacquer finish that accentuates the sense of fluid movement. The three rocks appear natural in form, but are in essence digitally conceived through 3D scanning and CNC fabrication techniques, allowing the viewer to question the nature of what we experience in our everyday physical and digital realities. This relates to Audi’s most recent exploration in which a simulated digital fluid landscape is created where geology and gemology collide. Domestic objects and furniture blur into the surreal of this digital plane. Through our digital experience, we have found a platform with which to expand our sensory worlds. Fluid Encounter translates this digital world into a physical presence, combining traditional crafting techniques with digital fabrication, and juxtaposing natural bronze with synthetic resin. This further blurs the edge between what we know to be digital and what is tangible: bronze that is cool to the touch, and crystalline rocks that capture light.

Ø 50 cm x H 60 cm

Pink Marble, Bronze.

“There’s no doubt that when we first met each other we immediately got along... if design studios could flirt, it would be the best way to describe our immediate relationship… a flirtation. We were all in South Africa at what felt like the end of the world. Our mutual attraction to each other’s sensibilities (aaaand maybe other parts????) was palpable... this table is a representation of consummating that flirtation…sex, sensuality, mutual respect and vulnerability in the form of design down in a wild place like South Africa. We’re glad to say that this table is a fantasy born from a long standing friendship and a perfect example of the way all four of our minds work together"

ø 60 cm x H 68 cm

Hand-Sculpted Ceramic, Clay, Casted Brass.

‘’Morph’’ side table is a result of a collaboration with Katie Stout, Brooklyn-based designer/artist. In this design we wanted to push our boundaries and at the same time to go back to our basic sketches, where usually our first visual starts to appear. Purifying our sketches and elaborating them to create geometrical shape is our method; in ‘’Morph’’ we wanted to translate our rough sketch to reality without the simplification process. A free, spontaneous and naïve design made out of a mix of ceramic, clay and casted brass, where all components are made and shaped by hand, without any machine involvement. In a process of a back and forth sketching game, where each designer was adding his/her own touch and thoughts to the initial sketch, the piece turned out to be a well welded and brewed design that represents the power of this collaboration.

W 7.5 cm x ø 0.4 cm x H 9 cm

Enamel, Brass, Mirror.

Don’t forget to be a woman! The purse mirror is first of all a symbolic female habit / gesture. The mirror is very old; used 3,500 years ago. The mirror reflects the surrounding, the beauty and is a symbol of light and life. Inspired from my trip to Shiraz, and touched by the art of “ANEYNEH KARI”- 17th century, I started sketching my furniture collections including designs with mirrors and geometry. My work is with geometry because it offers endless possibilities, it travels and communicates different cultural and spiritual backgrounds. The purse mirror with the artisan enameling, its round edges, and its fluid movement, is one of my latest work combining both the artisan know-how and technology. Finally, this piece is an introduction for my upcoming furniture collection.

Cylinder: W 7.5 cm x ø 7.5 cm x H 25 cm

Extruded Triangle: W 8 cm x ø 8 cm x H 25 cm

Extruded Rectangle: W 8 cm x ø 5 cm x H 25 cm

Powder Coated Stainless Steel.

Made of powder coated stainless steel, these vases present 3 minimal shapes in which to showcase flower arrangements. Available in three different colors, off white, black and sea mist, these containers are ideal for Ikebana arrangements or small bouquets.

Plate: L 29.3 cm x W 5.5 cm x H 6 cm

Balls: ⌀ 4.5 cm

Corian.

Absolutely focused and grounded in the present moment, Zen Den is a mindfulness experience kit composed of 5 stress balls covering the 5 senses to incite sensory play and enjoy individual peaceful moments. The first ball is exceptionally pastel green to softly grab one’s sight. Green being a calming and positive color. The second ball has a small opening on top that invites the user to smell a calming scent. It can also serve as a tiny decorative vase where the user can insert a lavender or flower of his/her choice. The third ball is a reinterpretation of the chinese baoding ball. The fourth ball is designated for the sense of touch. It is curved in a way to create an interesting and fun texture to play with. The fifth ball can open and the user can put his/her favorite candy as a reward system.

Flower Holder 1: 5 x 5 x H 30 cm

Flower Holder 2: 5 x 5 x H 40 cm

Flower Holder 3: 5 x 5 x H 50 cm

Candle Holder 1: 5 x 5 x H 30 cm

Candle Holder 2: 5 x 5 x H 40 cm

Candle Holder 3: 5 x 5 x H 50 cm

Brushed Steel.

“Around them revolved the belief that life is indestructible; death is merely a preambule to rebirth on a higher level of being. It was a mortal named Orpheus who showed that this higher level is some- thing called art”. - Herbert Muschamp, Flora The project came from an eagerness to create a vase that would embrace the beauty of dead flowers: one where they would be admired for their dried texture, altered color, & graceful curve. A falling flower reborn in-between paradoxical straight lines, reflecting all its facets with the reflective surface of the container. This piece is an hommage to “Orpheus” whom beleived that the higher level of being is art.

Tray: 46.25 cm x 32 cm x 2 cm

Butter Knife: 13 x 3 x 1.1 cm

Pie Server: 7.5 x 6.2 x 2.1 cm

Terrazzo, Brushed Stainless Steel.

Kahvalti, the sleek yet colorful new collection by Studio Caramel features an array of stainless steel utensils in a mix of matt and polished finishes with curvy, resin-based terrazzo handles available in blue & yellow hues. Inspired by modern digital shapes, its handy design makes it a perfect playful addition to your tabletop. So far, collection includes a butter knife, pie server & a tray.

Sticks: L 28 cm

Box: 30 cm x 5 cm x 2 cm

Brass, Stainless Steel.

Meg is a pick-up stick game that is reinterpreted in heavier and nobler materials. The project was born out of a feeling of nostalgia and the memory of a simpler time. The purpose of recreating it, while making it appealing to a wider audience, was to bring back to life an old-school game. It is packaged in a box that is designed to be displayed in a home, in order to intrigue and invite guests to interact with it and therefore each other.

ø 12 cm x H 7 cm

Mouth Blown Glass.

The idea was fresh Mediterranean summer drinks and winter clear water with a zest of lemon. It took all sorts of shapes until it looked like a real citrus!

Set of jar with 6 glasses,

Jar: ø 8.5 cm x H 23.5 cm

Glasses: ø 5.5 - 7,5 cm x H 11 cm

Mouth-Blown Glass.

The idea was fresh Mediterranean summer drinks and winter clear water with a zest of lemon. It took all sorts of shapes until it looked like a real citrus!

- Navona White with Bronze Bird: W 6-9 cm x H 7.5 cm

- Coca-cola: W 4.5-8 cm x H 11 cm

- Fossil Red: W 6-9 cm x H 10 cm

- Tala Noir: W 4-8 cm x H 9 cm

Marble and Bronze.

The Neptune‘s cup series are inspired by one of the largest and rarest known sponges thought to be extinct for 100 years and which was recently rediscovered deep in the oceans bringing good news to the environment. Commonly called Neptune‘s cup referring to its iconic wine glass shape and the Roman God of the sea. Inspired by the different shapes of the Neptune‘s cup natural sponge, the vessels are hand carved in different marble types and colors similar to the ocean sponge’s hues. A small bronze bird sculpted and signed by the artist sits on the edge of the white Navona cup bringing good news to the environment. The Neptune’s cup collection will add a sophisticated, useful and environmental friendly touch to your home or working place while bestowing it with positive energy.

D 40 x H 37 cm

Porcelain

Saudade.Komorebi: a series of limited edition handmade side tables made of earthenware and porcelain with figurine men. 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.

ø 25 cm x H 30 cm

Needlework on Linen.

A vase made of embroidered linen, solidified to maintain a collapsed position. 

Lebanese: ø 95 mm x H 113 mm

Thai: ø 86.4 mm x H 125 mm

Mexican: ø 95 mm x H 109 mm

Japanese: ø 90 mm x H 123 mm

English: ø 88 mm x H 125 mm

Indian: ø 95 mm x H 110 mm

Beech Hardwood, Metal Leaf Gold, Silver, Copper.

Our identity is one of tradition, usefulness and authenticity, we believe in creating new products and reinventing old ones. New generations and old have been well affected by the emergence of new technologies that have morphed us into an almost-bionic state. Our products are nothing close to what is being marketed out there. Toopi, our new old revisited creation that speaks of a healthy distraction away from screens and consoles. Toopi comprises 6 spinning heads, each representing a specific culture encompassing Lebanese, Thai, Mexican, Japanese, English and Indian; a celebration of diversity, infused with the spirit of globalization, arts and peace, turning these Toopi into a symbol of unity that has gone amiss nowadays. In short, Toopi's design is akin to an interwoven fabric joining nations from all around the globe under one umbrella. Each spinning head has been carefully crafted according to the relevant country's traditional apparel with textures and materials that reflect local cultures. The handles have also been covered with metal paper leaf such as gold, silver or copper that are undoubtedly reminiscent of the Lebanese culture. Every Toopi is unique and attractive in its own accord. Every spin brings out a new discovery and a world of nostalgic fun.

ø 55 mm

Crumpled Aluminum Foil, Casted Brass.

We often crumple a paper or an aluminum foil in our hand once we don’t need it anymore. Or make a ball out of scotch tape or nylon to play with it. Boule tends to memorize the different type of texture that the gesture of the hand can create.

Salt Mill: ø 8 cm x H 14 cm

Pepper Mill: ø 8 cm x H 15.4 cm

Wooden Base: W 20.9 cm x L 11.4 cm x H 1 cm ·

Solid French Oak Wood, Ebony Wood Insert, Lead Insert, Brass or Resin, Brass.

Add a dash of flavor to your dishes and style to your table with this set of brass and French oak wood of "SalePepe" grinders from designer Georges Mohasseb collection for “House of Today”.The pair is distinguished with the insert of ebony and mother of pearl, one of the techniques mastered in Georges Design studio.The solid wood lamination give sturdiness to the grinder.The idea generated from the ordinary taps for irrigation, the round part the hold and the tap to control the flux of Sale "e" Pepe.

Large: 55 cm x 20 cm

Small: 33 cm x 13 cm

Metal Disk, Black or White Powder Coating, Limestone or Basalt Base, Brass Pin.

Neckline abstracts the detachment of flowers from their natural context through its formal composition. Blossoms penetrate the center of a mute and vast disc, highlighting the surreal presence of the flower. From the back the headless green stem sprouts out of the anchoring stone. Neckline unites the structure of metal and stone with the fluidity of the natural, a graphic object shaped by the organic.

L 9.5 cm x W 2 cm x ø 2 cm

Polished Copper, French Oak.

“I'll show you mine if you show me yours.” is a series of 7 key chains based on the 7 sins. The keychain. A simple object. We each carry one. Most of the time, tucked away from people’s eyes. We carry it everywhere. Until we get home, we drop it. Just like we drop our social mask. A series of 7 different keychains, based on 7 different sins. Each ending with an engraving that can be used as a stamp. Both on paper and on skin. Pick your sin.

ø 150 cm x H 48 cm ø 90 cm x H 90 cm

Copper, Brass.

Moon has drawn from close collaboration with Lebanese craftsmen with a long heritage of brass work. As an artist would use paint on canvas, the designer uses copper as a medium to decorate the brass, achieving a beautiful contrast between the two metals. The pieces are then polished and left untreated which allows it to develop patina over time, revealing the true nature and characteristics of the material.

kiss extinguisher: 9 cm x 2.5 cm. Night Bottle Nibbles: 9 cm x 25 cm

hand blown glass.

Night Bottle Nibble: Is a glass container, a bedside water or milk bottle and a glass. (glass is hygienic natural product, it is melted and tempered at extreme high temperatures, requires a quick wash with soap and rinse before use.) Kiss extinguisher: a glass box to extinguish and stuff a cigarette, perhaps to mark with lipstick - a kiss - to save, (seal with a vinyl adhesive)

-842 Grs small tray: ø 27.5 cm x H 3 cm

-1327 Grs medium tray: ø 35 cm x H 4 cm

Japanese walnut, French Oak, Iroko.

Stainless Steel and brass.

The tray's classic, warm, circular shape is a product of subtle embrace of two noble materials. A Japanese walnut, (or a combination of Japanese walnut, French oak and Iroko) disk tapers towards the edge where it is hugged in place against a base sheet of polished brass. The tray holds its own in a gesture that invites the user to reach for its folds and adopt it with a nimble lift.

Size 1: W 7 cm x ø 7 cm x H 10 cm

Size 2: W 7 cm x ø 7 cm x H 6 cm

Concrete, Wood.

Pattern carved-concrete candle holder in two sizes. Applying a geometric pattern on concrete was a process using hand carved solid wood, creating a mold from it, then pouring the concrete. This process reminds us that the base of the piece was originally crafted by a human hand.

Tête de Sel: 58 mm x 58 mm x 100 mm

My Distraction:

Cube: 70 mm x 70 mm x 70 mm

Cylinder: 60 mm x 60 mm x 70 mm

Cone: 60 mm x 60 mm x 65 mm

Sphere: 80 mm x 80 mm x 60 mm

Brass Lacquered, Powder Coated.

Tete de Sel: Two complementary shapes fit perfectly, yet each piece separates to offer their own enhancement to the table. The simplified shape of this piece presents the features of a friendly man character. A rounded geometrical shape salt shaker sits on a brass pepper shaker base to form one elegant item, and can stand freely to create a playful aspect. This product combines elegance and humor with precise and explicit functional meanings. My Distractions: My distraction is a collection of sophisticated office items, cut out in a variety of shapes: a sphere, a cube, a cylinder, and a cone. These simple geometrical shapes are cut diagonally into two pieces to create a full brass paper weight, and a multipurpose container. The colored container contrasts with the brushed brass of the paper weight, to bring an interesting value to the desk, and to add a beautiful minimalistic touch to its atmosphere. These simple items are appealing to even the most avowed minimalist. Each sculptural shape rests on a flat surface and appears to drown in it, giving the image of surrealistic scenery. This surrealistic scene reflects an image of historical Beirut landscapes, after many earthquakes destroyed the city; ruins appeared everywhere, to become nowadays part of the lost and found treasure. This image evokes the sense of nostalgia, and allows these golden pieces to be considered as the treasures of the golden city. These precious ruins create a sort of a dreamy escape in our daily work routine.

Dinner Plate: ø 37 cm

Salad Plate: ø 27 cm

Dessert Plate: ø 21 cm

Cup: ø 8.5 cm

Dinner Plate: Bone China, Viridescent and Platinum

Salad Plate: Bone China, Lilac and Platinum

Dessert Plate: Bone China, Platinum

Cup: Bone China Platinum.

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.

0.5 L, 0.75 L, 3: 1 L

H 24 - 30 cm x D 10 cm

Corian

LG HY-MAX.

Whether tucked away in a dark place, pulled out for a religious ritual, or making the rounds at a house party, alcohol has a long history as a social practice. Condemned by some and welcomed by others, alcohol depends on its container. Its social function means nothing without something to hold it. Sometimes the container conceals the drink, allowing it to remain hidden and unknown. Other times the container identifies the drink and celebrates it. From quick chugs to popping champagne bottles, the container defines the etiquette of consumption. The Decant collection plays with the tension between celebrating the consumption of alcohol and forbidding it. Assembled from the superposition of layers of Corian, the decanters hide the liquid inside and conceal the carafe’s stopper. The decanters’ shapes, however, reveal their intended storage and are meant to emphasize the ritual and aesthetic practices of alcohol consumption. The acrylic container is lead-free to preserve the quality of its contents.

L 27 cm x W 8 cm x H 2.7 cm

Marble, Stainless Steel, Leather Package or American Walnut Wood, Stainless Steel.

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.

18.7 cm x 6.6 cm x H 46.4 cm

Resin.

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…

Dual calendar notepad: 15 x 21 cm ; Cards: 12.5 x 9 cm.

Gold Foil, letterpressed by hand on the finest eco-friendly 350gr cotton paper, using a vintage Heidelberg letterpress.

Daily Jotter & Nightly Musings, Dual Calendar Notepad: Fifty individually foil-stamped sheets. Gold and silver foil, letterpressed by hand on the finest eco-friendly 140gr cotton paper, using a vintage Heidelberg letterpress. Snail Mail Correspondence Cards: Set of 5 flat cards for all occasions, with 5 matching colored envelopes. Gold foil, letterpressed by hand on the finest eco-friendly 350gr cotton paper, using a vintage Heidelberg letterpress.

+/- : ø 50 mm x H 40 mm

Shut up: L 105 mm x W 34 mm x H 50 mm

Miss.: L 95 mm x ø 30 mm x H 40 mm

 Stand by L 20 mm x ø 24 mm x H 24 mm

Holder ø 70 mm x H 190 mm

Stainless Steel coated with a special Finishing Paint.

This collection of desk items is to organize your office supplies in style. Made from stainless steel and coated with a special finishing paint, this desk kit represents Stephanie Moussallem’s design vision of the contemporary Beirut. All the pieces are produced in Beirut by local artisans and small manufactures.  +/-  +/- is a magnetized surface mainly used for paper clips. +/- is made from painted stainless steel with special finishing. Shut up  Shut up is a tape dispenser made from painted stainless steel with a special finishing. Miss.  Miss. Is a card and envelop holder made from brushed stainless steel Stand by: Stand by is pen holder with graduations that could be used as a ruler for urgent cases. Stand by is made from brushed stainless steel. Holder:  Holder is a pen/item holder and is made from stainless steel brushed from the inside and painted from the outside with a special finishing.

W 9 cm x H 26 cm

Lebanese Red Clay, Hand Thrown on The Wheel.

The ‘Moonshine’ bottle is a special piece of hand-made and hand-glazed earthenware, created from Lebanese clay, from Lebanese soil. Lebanese filmmaker and journalist Zeina Aboul-Hosn started making bottles 3 years ago in Beirut, as a hobby. She was attracted to the color and feeling of Lebanese clay, and worked with it to create bottles that are raw, elegant and a pleasure to drink out of. A limited edition of 21 bottles.

15 cm

Unglazed Colored Porcelain.

Traditionally, a string of prayer beads widely used in the Levant for its religious connotations. With time, the Masbaha developed more meditative purposes. The act of bead counting and the sensation of the beads on one's hand are a form of stress relief for the owner of a Masbaha. It is also often used as an alternative to bad habits such as smoking and nail biting. The Masbaha is handcrafted in Lebanon with unglazed colored porcelain.

W 60 cm x L 120 cm x H 40 cm

Black Steel, Gold Plated Steel.

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"

Valet: W 47 cm x ø 38 cm x H 150 cm

Stool: ø 31 cm x H 38 cm

opt 1: Green Metal Structure, Brass Details, Green Painted Wood, Green Leather

opt 2: Black Coated, Metal Structure, Walnut Wood, Brass Details, Honey Leather

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.

- Blink : 52 cm x 2 cm x H 2 cm

- Scratch: 24 cm x 12 cm x H 13 cm

- Stroke: 15 cm x 15 cm x H 25 cm ; rock: variable size.

- Tickle: 12 cm x 2 cm x H 30 cm

- Sweep: 35 cm x 22 cm x H 25 cm

- Blink : Marble, Eyelash, Brass

- Scratch: Marble, Brass Nails

- Stroke: Marble, Brass Needles

- Tickle: Marble, Feather, Brass

- Sweep: Marble, Hay.

Blink, fond of butterfly kisses. Tickle, a real teaser. Stroke, the hair pacifier. Scratch, an itchy urges soother. Sweep, the most comforting hay field. Blink, Tickle, Stroke, Scratch, Sweep emphasize 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.

ø 26 cm x H 30 cm

Resin with Thread, Leather, Feathers, Metal Flakes, Wood, Brass.

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.

L 210 cm x W 35 cm x H 172 cm

Polished Stainless Steel, Sliding Glass Door, Beveled Mirrors, Feathers

Mistinguette: who are you who are we 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.

Closed: 10 cm

Diameter Opened: L 5 cm x W 10 cm x H 10 cm

Gold Plated Cast Bronze, Sterling Silver Mirror, Red Copper, Oxidized Plating.

“Prickly on the outside, delicious on the inside” Uni, sea urchin in Japanese, is an echinoderm whose gonads are a delicacy and eaten raw around the Mediterranean, Japan, and elsewhere. Prickly and difficult to handle from the outside, delicious from the inside, the sea hedgehog can be annoying if stepped on and is a tough creature to pry open. This barely abstracted bronze model can be opened to reveal a slightly convex oxidized sterling silver mirror, plated white gold, that comes into place to reflect the beholder. The dead uni eventually closes its spines to become a clean bold dotted skeleton. Ex-uni, or vanitas, is a reminder of all that is to pass, yet its interior mirror shines brighter. The sea urchins of Nabil Gholam & Guillaume Credoz were showcased at House of Today 2014 Biennale “Naked” and were later commissioned to Fumi Gallery in London, UK.

ø 145 cm x H 75 cm

TABLETOP: Steel Finished In Gunmetal, Concentric Brushing On Top

TABLE, UNDER-FACE: Resin (Amber Color) Taking the Shape of Different Types of Weapons.

LEGS: Tubular Steel Covered With Resin. Feet Base in Copper, Inspired From Truncated Bullets.

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.

ø 45 cm x H 42 cm

Black, Lacquered Wood, Bronze Brass Ivory Polished, Lacquered Wood, Bronze Brass.

“little Alice fell down the hole, bumped her head and bruised her soul” from Alice in Wonderland, Lewis Carroll.

- Blink : 52 cm x 2 cm x H 2 cm

- Scratch: 24 cm x 12 cm x H 13 cm

- Stroke: 15 cm x 15 cm x H 25 cm ; rock: variable size.

- Tickle: 12 cm x 2 cm x H 30 cm

- Sweep: 35 cm x 22 cm x H 25 cm

- Blink : Marble, Eyelash, Brass

- Scratch: Marble, Brass Nails

- Stroke: Marble, Brass Needles

- Tickle: Marble, Feather, Brass

- Sweep: Marble, Hay.

Blink, fond of butterfly kisses. Tickle, a real teaser. Stroke, the hair pacifier. Scratch, an itchy urges soother. Sweep, the most comforting hay field. Blink, Tickle, Stroke, Scratch, Sweep emphasize 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.

L 27 cm x W 8 cm x H 2.7 cm

Marble, Stainless Steel, Leather Package or American Walnut Wood, Stainless Steel.

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.

ø 25.5 cm x L 17.5 cm x H 8 cm

Hand Carved Polyester Resin, Fiberglass, Super Mirror Finish Stainless Steel, Wireless Charging Device.

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.

0.5 L, 0.75 L, 3: 1 L

H 24 - 30 cm x D 10 cm

Corian

LG HY-MAX.

Whether tucked away in a dark place, pulled out for a religious ritual, or making the rounds at a house party, alcohol has a long history as a social practice. Condemned by some and welcomed by others, alcohol depends on its container. Its social function means nothing without something to hold it. Sometimes the container conceals the drink, allowing it to remain hidden and unknown. Other times the container identifies the drink and celebrates it. From quick chugs to popping champagne bottles, the container defines the etiquette of consumption. The Decant collection plays with the tension between celebrating the consumption of alcohol and forbidding it. Assembled from the superposition of layers of Corian, the decanters hide the liquid inside and conceal the carafe’s stopper. The decanters’ shapes, however, reveal their intended storage and are meant to emphasize the ritual and aesthetic practices of alcohol consumption. The acrylic container is lead-free to preserve the quality of its contents.

16,5 cm x 12 cm x H 16 cm; 16,5 cm x 12,5 cm x H 20 cm

Hand-Blown Glass with Handmade Engraving, Brushed Brass.

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!

L 9.5 cm x W 2 cm x ø 2 cm

Polished Copper, French Oak.

“I'll show you mine if you show me yours.” is a series of 7 key chains based on the 7 sins. The keychain. A simple object. We each carry one. Most of the time, tucked away from people’s eyes. We carry it everywhere. Until we get home, we drop it. Just like we drop our social mask. A series of 7 different keychains, based on 7 different sins. Each ending with an engraving that can be used as a stamp. Both on paper and on skin. Pick your sin.

ø 55 mm

Crumpled Aluminum Foil, Casted Brass.

We often crumple a paper or an aluminum foil in our hand once we don’t need it anymore. Or make a ball out of scotch tape or nylon to play with it. Boule tends to memorize the different type of texture that the gesture of the hand can create.

15 cm

Unglazed Colored Porcelain.

Traditionally, a string of prayer beads widely used in the Levant for its religious connotations. With time, the Masbaha developed more meditative purposes. The act of bead counting and the sensation of the beads on one's hand are a form of stress relief for the owner of a Masbaha. It is also often used as an alternative to bad habits such as smoking and nail biting. The Masbaha is handcrafted in Lebanon with unglazed colored porcelain.

ø 60 cm x H 70 cm

Brushed Brass, Chrome Finish or Oxidized Brass, Chrome Finish.

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.

Skewers: ø 0.35 cm x 1.2 cm x H 35 cm

Pouch: W 19 cm × ø 2 cm x H 39 cm

Skewers: Handmade Copper, Gold finish or Chrome plating

Pouch: Felt with Cardboard and PU foam padding.

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.