Rabih Geha Architects is a team of architects and designers working to create spaces that inspire. Led by Rabih Geha, the team works on a portfolio of projects that include architecture, interiors, product design and experimental installations. From residential and retail to commercial and recreational spaces, the studio’s founding philosophy begins with context. Each design, prompted by the environment it lives in, absorbs the surrounding physical, social and aesthetic elements to result in spaces that are never dictated by trend or style, but rather built with meaning, relevance and most importantly passion.
Defying categorization, RG/Architects’ vision is regularly intersected with the demands of their clients and the modern world. In each project, they aims to capture the mood, ambiance and blend the spirit of the space by merging design, architecture and the client’s need – this is the key thread that runs through their work. RG/A is a premised shaped by internal critique, creative dialogue and an exemplar level of architectural and design aesthetics.
Geha holds a B.A. in architecture from The American University of Beirut (AUB) and a master’s degree in architecture from l’École Nationale Supérieure de Création Industrielle (ENSCI). He launched an experiment-driven and research-oriented workshop at l’Académie Libanaise des Beaux-Arts (ALBA) in 2006, where he is currently mentoring Lebanon’s next generation of architects.
Rabih Geha lives in Beirut with his wife designer Ghida Geha, and their two young children.
The antwork leap is more than a simple leap into coworking. It’s about owning your time, so that your business grows as fast as you’d like it to and your work flows as much as you need. It’s taking the leap into the world of on-demand resources, services, spaces and talent so that the value of your time is not crippled by the nuisances of the daily grind. It’s the first leap of them all, and that’s what makes it special.
Khaled El Mays
The Lebanese designer, known for his experimental take on traditional craft, uses his home outside Beirut
Ias a laboratory for new ideas
t was at a public art exhibition in Beirut that designer Khaled El Mays first looked—really looked—at the Fishawy chair, an artisanal riff on Thonet’s iconic bistro seats, ubiquitous across the Mediterranean and Middle East. “The artist had painted them gold with black cal- ligraphy and distorted the proportions,” recalls El Mays
of the bastardized versions on display. “I realized nobody had successfully made this chair into something that could actually live and evolve.”
So he created his own mutant take on the 19th-century classic, enlisting local artisans to craft a chair that doubled as a valet, using French oak, brass, and rattan. “I deformed the chair in order to give it a new function, while still totally respecting the qualities of the original,” he reflects of the piece, which debuted at Design Days Dubai in 2016.
Since then, El Mays—who studied architecture at the American University of Beirut before getting his MFA at
Pratt—has applied this same philosophy to projects large and small. During Salone del Mobile in April, he introduced a suite of furniture at Milan’s Nilufar gallery that modernized wicker, an age-old tradition of weaving rattan that originated in the Middle East. Christened Palmea and realized by Lebanese craftsmen, the collection comprises tables, cabinets, and more that incorporate colorfully painted bamboo and rattan.
Examples of these pieces can be found in El Mays’s most recent project: the new home that he designed, built, and decorated for himself in Chtaura, a small town in the Beqaa valley where he grew up, just outside Beirut. Here his Fishawy valets are stationed in each bedroom and the entry hall, while a nightstand and laundry basket from his Palmea series reside in his brother’s room. And in the living room you can spot his very first furniture design, the carved-wood Rhizomes table, inspired by the horizontal plant-root form.
If his home serves as a showcase, it’s also his place to exper- iment, galvanizing production on a slew of ideas he has kicked around. “The green undulating couch in the main reception area has evolved into a new series for Nilufar,” he reveals. “And the inlaid sideboard and nightstands might evolve into another one. In this house you see bits and pieces of all of my differ- ent aesthetics assembled into an environment. It’s my DNA.” khaledelmays.com —HANNAH MARTIN
T SAKHI ARCHITECT
Architectural Digest Middle East The Art of Dining 2nd edition
“Elle joue avec les éléments de sa mémoire,
Elle les épingle et les décore
comme des insectes qui auraient volés du temps,
Elle aime la fragilité de ses moments suspendus dans le temps,
Ces souvenirs dans le seul but de laisser derrière eux des souvenirs.
Qui suis-je dans le monde, qui suis-je dans le monde ?”
- Albert Moya, Un Écho Temporel
Since the earliest civilisations, the act of dining has been a community practice and evolved into many different forms with time.
Context | The Act of Dining
Due to the technoligcal era we live in and the social pattern caused by social media,
the act of dining is no longer focused on social interactions rather on virtual ones.
Container | The Space
The corridor no longer acts as a transitional space of users in motion. A new dimension of crystallization is given to it: the Act of Dining.
Content | The Journey
"Silent Echoes" is a journey where your senses are stimulated towards a state of infinite reflection, disorientation and re-questioning. It echoes today’s world of individualization, self- absorption and virtual interactions.
Client | Architectural Digest Middle East @admiddleeast
Organized by | MWPR @marianawehbepr
Audio Consultancy | 21dB @21db_acousticsolutions
Sound Design | Fouad Bechwati
Tableware | The Silly Spoon @thesillyspoon
Cutlery | Lina Shamma @linashamma
Location | 3Beirut, Omar Daouk Street, Beirut Central District, Lebanon
Area | 30 sqm
Date of Completion | June 2018
Team | Tessa Sakhi, Tara Sakhi, Elie Harb
Contractor | Joe Habchy
Photos | Tony Elieh & Pulse @tonyelieh