Beirut: The Latest Architecture and News

Beirut-born, Paris-based architect Lina Ghotmeh has been announced as the designer of the 22^nd annual Serpentine Gallery Pavilion. Titled “À Table,” the French expression for sitting together to eat, her proposal introduces a slender wooden structure with nine pleated petals supported by radial ribs. Inside the pavilion, a ring of tables and benches invites visitors to enter, sit down and relax, eat or work together. According to the architect, the modest space and low-slung canopy is meant to make people feel close to the earth. The Serpentine Pavilion will be open from June to October 2023.

Situated on the coast of the Mediterranean Sea, Beirut is one of the oldest cities in the world that has been shaped throughout its 5,000 year history by Phoenicians, Romans, Greeks, and the Ottomans. The Lebanese capital has been for decades a cosmopolitan city and a focal cultural and geographical link between Europe and the Middle East.

Often labeled as a resilient city, Beirut has been subject to numerous devastating events throughout its history, from a brutal 15-year civil war to one of the biggest non-nuclear blasts in history. Nowadays, the city boasts a skyline full of contrasts, where contemporary buildings rise alongside Ottoman, Roman, and Byzantine ruins. Its architecture, along with its renowned cuisine, distinguished night life, archaeological sites, and hospitable people have reclaimed it as a sought-after touristic destination.

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As part of the London Festival of Architecture, French-Lebanese architect Annabel Karim Kassar and her award-winning studio AKK have unveiled a new installation at the Victoria and Albert Museum in London titled The Lebanese House: Saving a home, Saving a city. The installation explores the aftermaths of the Beirut explosion, and the rebuilding of the city with a life-size replica of a typical Lebanese home, one of the few remaining classic Ottoman-Venetian houses left in old Beirut, along with documentary films.

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Following the devastating explosion that took place on August 4th, 2020, Studio Etienne Bastormagi, along with Nada Borgi and Sandra Richani of Hatch Architects and Planners have designed a modular public installation for the historic Sursock Museum in Beirut, Lebanon, a structure that was heavily impacted by the explosion and is currently undergoing renovations. Titled "Diving Board", the installation creates a new link between the museum and visitors by opening up the structure’s gated esplanade, creating a new interchangeable public space within the culturally-rich district.

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The World Monuments Fund has released its 2022 World Monuments Watch list, a selection of 25 sites from across the globe that hold great cultural and heritage significance but are being faced with economic, political or natural threats. This year's selection highlights themes of global issues such as climate change, imbalanced tourism, underrepresentation, and recovery from crisis, urging for prompt preservation plans.

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‘’We’re in a seismic area. Beirut has been buried seven times, so it has to resist any earthquake, and that’s why it also resisted the explosion in the port,’’ expresses Lina Ghotmeh in conversation with Louisiana Channel, in regards to the Stone Garden. A building constructed with resilience in mind, in a city that has been buried within rubble and rebuilt multiple times.

Lina Ghotmeh was interviewed by Marc-Christoph Wagner at her studio in Paris in November 2021. Renowned for her Humanist approach to Architecture, the Stone Garden offers a very personal relationship as the first building to be constructed in Ghotmeh’s hometown of Beirut. Positioned on the edge of the city center, it is very much a form of vernacular architecture echoing the lives of the people who reside here.

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What follows this short introduction is my unusually personal interview with a Lebanese-American architect and artist Nishan Kazazian. His work is inspired by numerous sources that come from many directions such as Kintsugi, the Japanese art of putting broken pottery pieces back together, primary color geometric abstractions evocative of Russian Constructivism, as well as paintings by Piet Mondrian and Paul Klee. Yet, a stronger inspiration comes from his memories of home and family history. Layering and superimposition of cultures and languages were constantly present in his life since childhood and remain guiding forces to Kazazian, who is both a licensed architect and a professional artist.

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Exactly a year ago, on August 4, 2020, the third-largest non-nuclear explosion ever-recorded destroyed almost half the city of Beirut, ripping through the port and the eastern part of the capital. One of the biggest urban tragedies of modern times, killed more than 200 people, wounded thousands, and left an estimated 300,000 people homeless, damaging over 80,000 commercial, residential and public spaces. Felt across neighboring countries, the blast stripped the city’s constructions of their cladding, framing, and glass elements, while completely tearing down other buildings, leaving around US$15 billion in property damage, in times of Covid, political and social unrest, and economic collapse.

One year later, so little has changed. One year later, it only became harder for the people of Beirut. One year later, everything in the city still reminds them of that day. Major questions remained unanswered, no rescue or action plans have been taken by governmental institutions, instead, civil society rose to take into their own hands, reconstruction efforts, in the total absence of the state.

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For Design and the City's sixth episode - a podcast by reSITE on how to make cities more liveable, the team interviewed Christele Harrouk, Archdaily's Managing Editor and Salim Rouhana, Senior Urban Governance and Resilience Task Team Leader at the World Bank Group. The two Beirut natives talk about the devastating explosion in August last year and share their perspectives on what rebuilding the city could look like.

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The 17th Venice Architecture Biennale invited architects to ponder the question “How will we live together”, eliciting various answers and interpretations. The International Exhibition unfolding in Giardini, the Arsenale and Forte Maghera presents 113 participants in the competition, coming from 46 countries, whose contributions are organized into five scales: Among Diverse Beings, As New Households, As Emerging Communities, Across Borders, and As One Planet. The following participants explore a variety of subjects, prompting a holistic re-evaluation of the collective in relationship with issues ranging from the urban and natural environment to climate action or the relationship with other species.

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Inspireli Awards will be holding its 3rd live stream this Thursday May 27th at 4 PM CET with special guest MAYOR of BEIRUT Jamal Itani. The topic of this talk will be the Port of Beirut renewal student competition (registration already opened) announced by the Municipality of Beirut and Order of Engineers & Architects and organized by Inspireli Awards. Please join us at this one-of-a-kind event in 72 hrs at Inspireli Awards News website - https://www.inspireli.com/en/awards/news

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Almost 6 months ago, on August 4^th, 2020, the city of Beirut was shaken by one of the biggest non-nuclear blasts in history. Leaving the northern side of the capital in ruins, the explosion damaged around 40,000 buildings. New contemporary structures completed recently by local international architects are now facing reconstruction dilemmas, raising existential questions such as: How should reconstruction efforts of “new” damaged buildings look like? Should architects rebuild them as they were before the blast, erasing what has happened or should they leave scars and portray new realities?

In order to explore ideas and highlight different perspectives, ArchDaily had the chance to sit with three architects whose buildings were impacted by the blast. Bernard Khoury, Paul Kaloustian, and Lina Ghotmeh talked about their projects and their vision of the reconstruction of Beirut with ArchDaily's Managing Editor, Christele Harrouk, alongside Architectural Photographer Laurian Ghinitoiu, who documented in a featured photo series the extent of the destruction.

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In cities across the United States, an address is more than just a street name or a building number- but a brand that translates directly into a symbol of wealth and prestige. Take the tallest residential tower in the country, 432 Park Avenue in New York City, which doesn't actually sit quite on park avenue. Instead, it’s neighboring lot to the east sits on Park Avenue, and this mega structure actually faces 56th avenue- a significantly less iconic street. However, this inflated valuation doesn’t happen everywhere. Cities in other countries don't place the same weight on an address and refer to buildings or locations as landmarks or by their appearances, which doesn't force a high monetary value based on an address or a marketing scheme alone. How do places in the world differ in how they brand buildings and streets in cities, and what does that tell us about their urban culture?

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