Beirut Shifting Grounds

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<channel>
	<title>Beirut Shifting Grounds</title>
	<link>https://beirutshiftinggrounds.com</link>
	<description>Beirut Shifting Grounds</description>
	<pubDate>Wed, 14 Apr 2021 23:04:59 +0000</pubDate>
	<generator>https://beirutshiftinggrounds.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Urban</title>
				
		<link>https://beirutshiftinggrounds.com/Urban</link>

		<pubDate>Wed, 07 Apr 2021 12:52:58 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

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	Urban / Improvisation


    The urban lens foregrounds improvisation practices that give life to Beirut's ground, proof of the inventiveness and self-organization that spill to the built environment. such practices came to define the experience of the city and its ground, making it vibrant and benevolent despite its adversities.


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    Often nested in “third spaces” at the intersection of private and public realms, spontaneous appropriations overlay the ground to accommodate people’s mixed activities and living needs.
	

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    From alternative services by private providers, to food banks and social services of an active NGO scene, to the solidary behaviors of citizens when encountering hardship, such practices came to define the experience of the city and its ground, making it vibrant and, at times, benevolent despite its adversities.

As the embodiment of such experiences, Beirut’s urban patchworks gave room to the many rhythms and multiplicities that are found in its diverse urban fabric.
	

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 The urban lens explores this ambivalent relationship between the architecture of the ground and its appropriation in seven neighborhoods: Achrafieh (Sassine), Badaro, Mar Mikhael, Bourj Hammoud (Nor Marash), Hamra, Jnah, and Ain El Remmane.
	

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    We look at the urban and social porosities between street space and private properties that give rise to localized practices, spatial appropriations, and coping mechanisms. 
Short terms indicators- flows, appropriations, noise show the pulse at a comparative time bracket, a midday afternoon.
	

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Long term indicators, landscape, mixity and thermal exposure show often aspects that shape undeniable patterns of ground occupation and atmospheres of appropriation.


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	The varying levels of appropriations imbue the ground with a sense of legibility—and arguably, an identity—that the built form fails to deliver.
	

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	Achrafieh


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	Ain El Remmane 

	
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f4267ed1873ba2223dd90f1aa45338321618fa8ff1cc6c2703f8ad9097c3170f/IMPROVISATION--for-web94.jpg" data-mid="107600761" border="0"  src="https://freight.cargo.site/w/1000/i/f4267ed1873ba2223dd90f1aa45338321618fa8ff1cc6c2703f8ad9097c3170f/IMPROVISATION--for-web94.jpg" /&#62;

	
	Badaro

	
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b82f216b81392dd98b87c97faf913394705d610d906c2174bf6c32c00b7fcc2f/LANDSCAPE-10.gif" data-mid="108684695" border="0"  src="https://freight.cargo.site/w/1000/i/b82f216b81392dd98b87c97faf913394705d610d906c2174bf6c32c00b7fcc2f/LANDSCAPE-10.gif" /&#62;
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/83c2dc3045553a9802161c7c32fb88a75767444a941bfa84173e3cc55efd7358/IMPROVISATION--for-web111.jpg" data-mid="107601230" border="0"  src="https://freight.cargo.site/w/1000/i/83c2dc3045553a9802161c7c32fb88a75767444a941bfa84173e3cc55efd7358/IMPROVISATION--for-web111.jpg" /&#62;

	
	Bourj Hammoud

	
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2979bc484c05c60f36d8e34c47f457d510bb3ae8cf31a0b9764ff4037cfc8544/IMPROVISATION--for-web127.jpg" data-mid="107601895" border="0"  src="https://freight.cargo.site/w/1000/i/2979bc484c05c60f36d8e34c47f457d510bb3ae8cf31a0b9764ff4037cfc8544/IMPROVISATION--for-web127.jpg" /&#62;

	
	Hamra
&#38;nbsp;
	
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ebb656c4c0f8ba42084beb3d86027ec25e7678f75c9b4e9289f46af48a38c162/landscape-12.gif" data-mid="108770434" border="0"  src="https://freight.cargo.site/w/1000/i/ebb656c4c0f8ba42084beb3d86027ec25e7678f75c9b4e9289f46af48a38c162/landscape-12.gif" /&#62;
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	Jnah


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	Mar Mikhael 
&#38;nbsp;
	
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	In the aftermath of the Port Blast, the deployment of civil society, ngos, and grassroots groups evolved from improvisation to a networked self-organization, that provided first-aid, relief and reconstruction. We use Mar Mikhael as a ground that was heavily affected due to its proximity from the Beirut Port, to trace such evolution.

	
	In their different manifestations, the grassroots-initiated relief and rebuilding efforts echo an emerging civic consciousness that disrupted the pre-blast capitalist models of urban development.
	

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	Such practices show valuable communal ways of inhabiting and reclaiming the ground, that reflect communal aspirations and engage ground realities.&#38;nbsp; 
	

	Credits

	Lead InvestigatorSandra Frem


	ContributorsNayla Al Akl, Ahmad Nouraldeen , Joanne Hayek


	TeamMariana Boughaba, Annabelle Chebat, Dina Chehab, Gina Ghaoui, Joanna Howayek, Lynne Khater, Tara Kanj, Thea Maria Maroun, Nathalie Mounzer, Rayanne Njeim, Yasmine Saad, Clara Saade, Lama Salameh, Hala Stouhi, Hussein Zaarour, Maya Ziad


	AcknowledgmentsBalsam MadiBeirut Urban Lab Center for Research Computing's Spatial Studies Lab at Rice University, Open Map Lebanon, Serge Yazigi


	We would like to thankJoumana Kreidi Nasr and Nour Najem (Together LiBeirut); Maj. Elie Salem (BeirutFER); Joy Kanaan and Yasmine Dagher (Beirut Heritage Initiative) ; Caroline Fattal, Sarine Anserlian and Roula Achkouti (Stand For Women); Yasmina Skaff (The Women Collective); Michelle Mouracade and Marina Chamma (AlFanar); Elisabetta Pietrostefani and Mayssa Jallad (The Relief Center); Joana Dabaj (Catalytic Action); Lea Ghorayeb and Jacques Matta (Baytna Baytak); Mariana Wehbe, Michelle Salamoun and Nour Farhat (Beb W’ Shebbek); Tamara Saade; Evita Mouawad; Elie Mansour (UNHabitat); Michel Semaan and Dorothea Wenzel (Ardkon)


	References and Bibliography

	Davie, M ( 2001) – Beyrouth 1825-1975, un siècle et demi d’urbanisme, Beyrouth, Ordre des Ingénieurs et architectes de Beyrouth, 2001, 136 p.

Kassir, S ( 2003) Beirut. University of California Press

Jabri, L. (2008). Tying back the city sea edge: piercing through Ouzai-Jnah informal settlement. Theses, Dissertations, and Projects. Faculty of Engineering and Architecture, Department of Architecture and Design, American University of Beirut.

Nahle, R. (2021). Activating Public Life in Neighborhoods through Soft Mobility and a Network of Open Spaces: The case of Badaro, Beirut infrastructure (MUD Thesis). Faculty of Engineering and Architecture, Department of Architecture and Design, American University of Beirut.

Hamdar, L. (2020). Sectarian Border Zones As Limbo Land: Devising Resilient Urban Design Strategies for the Southern Segment of Old Saida Road (MUD Thesis). Faculty of Engineering and Architecture, Department of Architecture and Design, American University of Beirut.

Asmar, F. M. (2008). Revitilizing waterfronts or urban fragmentations the Northern shoreline of Beirut and the isolation of Bourj Hammoud's waterfront-by Fadi Moussa Asmar (MUPP Thesis). Faculty of Engineering and Architecture, Department of Architecture and Design, American University of Beirut.

Baitarian, L. K. (2019). Reviving Marash: urban greening and urban agriculture as a tool for social, economic, and environmental revitalization of Marash neighborhood, Bourj Hammoud (Project). Faculty of Engineering and Architecture, Department of Architecture and Design, American University of Beirut.

Rahbany, A. (ed. 2014) Beirut urban review. Urban Learning Hub (ULH) in World Vision (WV) Middle East and Eastern Europe Regional Office (MEERO), WV Lebanon (WVL) Beirut program and the Masters in Urban Planning and Policy Program at the American University of Beirut (AUB).


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	<item>
		<title>Architecture</title>
				
		<link>https://beirutshiftinggrounds.com/Architecture</link>

		<pubDate>Wed, 07 Apr 2021 14:09:40 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Architecture</guid>

		<description>


Architecture / Production
    

    The architecture lens looks at the different architectures and models of development that produced Beirut’s urban ground in the different periods 
    

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    In a city where the ground has been shaped by its urban architecture rather than by planning, this lens magnifies the architecture of the ground through a comparative outlook of sectional relationships where buildings engage the public ground of Beirut, drawing connections between the regulations that produced them and the type of public grounds they helped create 
    
	
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    We focus on specific episodes of the ground: Karm El Zeitoun building block as an example of adaptive pre-code ground, Karam Building as an example of porous pilotis ground, Saroulla and Gefinor commercial centers as shapers of hybrid permeable grounds, and EDL building as the epitome of the welfare state period and civic grounds that emerged during the seventies. We focus on pre-code architecture with the urban architecture of Karm El Zeitoun, the residential modernist pilotis building and the ideal of the porous ground, the urban commercial center as a hybrid public realm and the public building as the epitome of the welfare state period.&#38;nbsp;

	
&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/7e9bf8a0bcdbd2a6994cbe2bb56316fe1a9557c0003fc77531cb2beccdce550b/31.jpg" data-mid="108809194" border="0"  src="https://freight.cargo.site/w/1000/i/7e9bf8a0bcdbd2a6994cbe2bb56316fe1a9557c0003fc77531cb2beccdce550b/31.jpg" /&#62;

	
    Through their evolution in the decades to follow- and in times their subversion against their initial spatial premises, we reflect on the modes of production that shaped Beirut in until the Port blast and the need for new bottom up architectural practices.


	[1920-1940] the rise of the urban ground
	

	Beirut’s architecture didn’t get a proper building code until the early 1940s. Guided by minimal building regulations throughout the Ottoman and Mandate periods, individual buildings shaped the streets in the burgeoning neighborhoods, led by a skilled scene of master masons and apprentices. Residential urban buildings incorporated commercial street fronts, porous entrances and semi-open staircases that became ground activators and natural extensions of the street space.
	

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	Ground 1 &#124; Karm El Zeitoun Building Block
[the pre-code ground]
Neighborhood Block, Karm El Zeitoun
Ground area: 1370 m2
Year: 1930
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ccd9a296745ca95c6e14ca640ce37c0b80f718a48d89f02191b7389808c25f8e/51.jpg" data-mid="108810008" border="0"  src="https://freight.cargo.site/w/1000/i/ccd9a296745ca95c6e14ca640ce37c0b80f718a48d89f02191b7389808c25f8e/51.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/83d906028550ef3dcbc8e0ad9c7bf6d20fc62bd947963f989ac3ad4761862325/55.jpg" data-mid="108810007" border="0"  src="https://freight.cargo.site/w/1000/i/83d906028550ef3dcbc8e0ad9c7bf6d20fc62bd947963f989ac3ad4761862325/55.jpg" /&#62;

	
    The case of Karm el Zeitoun, a neighbourhood created for Armenian new comers in 1930, is a case-in-point of the pre-code architecture and its sensitive adaptation to the ground of the city. The urban morphology of a grid that goes on to meet the topography yielded transversal spines that break and become stairs in the steepest parts. &#38;nbsp; The variation of slopes created a typology of alleyways that adapted today to accommodate various living needs.
Shaped by different types of architectural thresholds and incremental add-ons, the hybridity of public and private results with an urban morphology that is not possible anymore under the current building code.

	
&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/ea41c7962101d3c2f23418a02828c01bcf8cddafb252cb64cd5fd1ad779387d2/KARM-EL-ZEITOUN-AXO.gif" data-mid="108810258" border="0"  src="https://freight.cargo.site/w/1000/i/ea41c7962101d3c2f23418a02828c01bcf8cddafb252cb64cd5fd1ad779387d2/KARM-EL-ZEITOUN-AXO.gif" /&#62;

	
    [1940-1971] the hybridized ground
	

	 In 1954, a code adjustment removed the maximum height limit of 26 meters, introducing instead the gabarit regulation, which linked the height of the building to the proportion of its parcel. With a lack of specification as to ground implantation, this revision resulted with increased building heights and setbacks in order to go higher; which undermined ground floor alignments and well as streets’ spatial definition.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8221b2c9e10004b1e6fceef89382b860cce4355abe1584706ed830197cd5d0cc/71.jpg" data-mid="108811141" border="0"  src="https://freight.cargo.site/w/1000/i/8221b2c9e10004b1e6fceef89382b860cce4355abe1584706ed830197cd5d0cc/71.jpg" /&#62;
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&#60;img width="2016" height="1512" width_o="2016" height_o="1512" data-src="https://freight.cargo.site/t/original/i/7c59fe1bde805f317ef3ee28bb7c34ea444cac3abc6c8b2b13f61e984e2f67e0/74.jpg" data-mid="108811136" border="0"  src="https://freight.cargo.site/w/1000/i/7c59fe1bde805f317ef3ee28bb7c34ea444cac3abc6c8b2b13f61e984e2f67e0/74.jpg" /&#62;
&#60;img width="2016" height="1512" width_o="2016" height_o="1512" data-src="https://freight.cargo.site/t/original/i/faebe02ab698303d2a0775f3938bf8c37958ed8ed929700910c18051e1016a42/75.jpg" data-mid="108811135" border="0"  src="https://freight.cargo.site/w/1000/i/faebe02ab698303d2a0775f3938bf8c37958ed8ed929700910c18051e1016a42/75.jpg" /&#62;

	
	In 1971, major amendments to the code introduced rules that are largely behind today’s ground: Exclusion of the open areas of the pilotis from the net total of built surfaces, Removal of compulsory fences in the case of setbacks, foregoing street alignments, Additional upper floors on condition of liberating the ground from any construction…
	

&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/07bfbf692dba05b86aae2d7cedd07a558674272959db2998546f301ea1d60321/8.gif" data-mid="108814731" border="0"  src="https://freight.cargo.site/w/1000/i/07bfbf692dba05b86aae2d7cedd07a558674272959db2998546f301ea1d60321/8.gif" /&#62;

	
	Ground 2 &#124; Karam Building [the porous ground]residential building, BadaroArchitect: Joseph KaramGround area: 540 m2Year: 1961
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2b3f6340534b89da3e93b9ed0c040491eaebf2fa6cbad68709a669fe77dfd3fb/94.jpg" data-mid="108815462" border="0"  src="https://freight.cargo.site/w/1000/i/2b3f6340534b89da3e93b9ed0c040491eaebf2fa6cbad68709a669fe77dfd3fb/94.jpg" /&#62;

	
	The Karam Building was built in 1961, one of many modernist buildings on Alam Street, Badaro. It is characterized as one of the first buildings to introduce the open pilotis ground floor with the intention to extend the sidewalk and the greenery inside and under the building, with an interesting play of materials on the ground, the volumes and walls that make up the pilotis space.
The 1958-1970 period, also known as the welfare state or chehabist period, was a golden age for modern architecture and its engagement with the public realm of the city. Numerous commissions and competitions gave Beirut its modernist landmarks, such as Ministry of Defense, Electricite du Liban and Gefinor Center to name a few. Architecture acquired a public dimension, translated at the ground level(s) of such buildings. 

	
	Ground 3 &#124; EDL Building [the civic ground]Public building, Mar MikhaelArchitect: CETAGround area: 8000 m2Year: 1965
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1c91d47785078e070fda476f83194a9169a6c23ef24e2c1d5544a65426e296e9/100.jpg" data-mid="108815583" border="0"  src="https://freight.cargo.site/w/1000/i/1c91d47785078e070fda476f83194a9169a6c23ef24e2c1d5544a65426e296e9/100.jpg" /&#62;
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	EDL was the outcome of a public competition to host the headquarters of the Electricity company, won and built by&#38;nbsp; renowned architect Pierre Neema and his colleagues Jacques Aractingi, Joseph Nassar and Jean- Noël Conan- also known as CETA. The winning scheme established powerful public realm through its sliding ramp to a lower courtyard, reconnecting through its multileveled ground the inner street fabric to the sea.&#38;nbsp; After the war and in recent period of revolutions, such porosity was undermined by the security mechanisms that were deployed on its ground level, reversing the initial intentions and values of public accessibility the building promoted. The building was shattered due to the Port Blast on August 4th, 2020.

During the sixties, the emergence of urban centers on Hamra street integrated the architectural premise of a porous urban ground, with a clear intention to maximizing the urban/ commercial realm, with the ground acting as a visual and spatial hinge between the urban fabric, street level and upper and/or lower floors. In their golden age, such centers combined the booming entertainment, economic and intellectual life of Hamra and the capital. 
	

	Ground 4 &#124; Gefinor Center[the permeable ground]Commercial center, HamraArchitect: Victor GruenGround area: 6500 m2
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7755ff67d4471578753a1a577551faf4cd36ff4715ba6b37c0d854ac7b647379/120.jpg" data-mid="108816015" border="0"  src="https://freight.cargo.site/w/1000/i/7755ff67d4471578753a1a577551faf4cd36ff4715ba6b37c0d854ac7b647379/120.jpg" /&#62;
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	When it was built, the Gefinor Center was the largest business and shopping centers in the Middle East.The five blocks, surround a piazza adjoining a street that crosses the complex and joins Rue Maamari and Rue Clemenceau located at different levels. 
The architect- Victor Gruen- designed&#38;nbsp; a porous ground with multiple stairs and passages leading from adjacent streets to the main square, contrasting&#38;nbsp; with the typology of “big box” shopping centers that he was building at the same time throughout the world.
Largely due to its location between vital medical hubs, its programming and its architecture that facilitated pedestrian flows between different commercial nodes, Gefinor never experiences the decline of its 1960s counterparts on Hamra Street or Downtown. It remains to this day a vibrant center that gained value with age.
	

	Ground 5 &#124; Saroulla Center[the permeable ground]Commercial center, HamraArchitect: Karol SchayerGround area: 1500 m2
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2f57e586c707b24bdd04947023505f12d9c918b55f821932cd653543addf0118/1103.jpg" data-mid="108817184" border="0"  src="https://freight.cargo.site/w/1000/i/2f57e586c707b24bdd04947023505f12d9c918b55f821932cd653543addf0118/1103.jpg" /&#62;
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	The Saroulla Center was built in 1961 by Karol Schayer. Saroulla was one of the few centers that retained its architecture and vibe after the war, due to the decisions of its owner. Turning down more profitable options of renting the first three levels to an outlet store, he rented the ground to Dunkin Donut coffee shop in exchange of supporting a less commercial counterpart, Gilad bookstore, and rented the former Saroulla cinema to Al Madina Theater, in exchange of renovating the space. Supported by the pop up restaurant of Kababji, the center’s ground was the nexus of a renewed street life for the past three decades. 
	

	[1971-1990] the discordant groundThe 1992 amendments to the building code introduced the increase of compulsory cars per residential units and with mandatory parking, and the parking ramp as a marking element on the ground floor. The new regulation forfeited corners situations, rhythm, spatial and pedestrian continuity in favor of optimum column spacing for underground car parking. As a result, the street became a space of traffic, putting cars first and prioritizing vehicular access over human-friendly entrances.&#38;nbsp; Ground floors featured an assemblage of spaces with discordant adjacencies: random storefronts, terrain vague of unbuilt properties, giant retaining walls, prestigious entrances, illegal plug ins, parking ramps…
	

&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/d2a0722df91b188a1cb8355b1f991d9ce054ce91579b1b19c6beab4d4c39c765/131.gif" data-mid="108819298" border="0"  src="https://freight.cargo.site/w/1000/i/d2a0722df91b188a1cb8355b1f991d9ce054ce91579b1b19c6beab4d4c39c765/131.gif" /&#62;
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&#60;img width="2572" height="1446" width_o="2572" height_o="1446" data-src="https://freight.cargo.site/t/original/i/36ab64faff21e9b38e5dc362d607400e7c31e6aa9ef36a14f46e1948172b3501/136.jpg" data-mid="108819302" border="0"  src="https://freight.cargo.site/w/1000/i/36ab64faff21e9b38e5dc362d607400e7c31e6aa9ef36a14f46e1948172b3501/136.jpg" /&#62;
&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/9bd10c4a92c347c5810cd2cc6d0dcd957ad1cb67c1b27884a48f54e00158dc70/134.jpg" data-mid="108819303" border="0"  src="https://freight.cargo.site/w/1000/i/9bd10c4a92c347c5810cd2cc6d0dcd957ad1cb67c1b27884a48f54e00158dc70/134.jpg" /&#62;

	
	[2004-2020] the privatized ground
	

	The 2004 law amendment removed porosity between building and street by legalizing the enclosure of balconies with curtain glass, further 25% increase in development on large parcels, that allowed developers to take advantage to push their own interpretations. The ground become linked to the number of sellable square meters, to the number of cars that it can accommodate, to parcels’ merging to result with bigger footprints- and increased height/sellable meters… all interpretations were valid, motivated by a single purpose: to make profit.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e0ae067a5dc8d33c4d8ef6b914d21ad9d61f284432eadc4ed1816a3a7eefe75b/14.jpg" data-mid="108820149" border="0"  src="https://freight.cargo.site/w/1000/i/e0ae067a5dc8d33c4d8ef6b914d21ad9d61f284432eadc4ed1816a3a7eefe75b/14.jpg" /&#62;

	
	This triggered a wave of gentrification in the city, that swept through Monot, Gemmayze, Mar mikhael, Badaro, pitting large developments and vulnerable social groups, and draining the city from its residents in favor of foreign investors who can afford luxury properties.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/48d36d7af013eb706e5f50956c0715fa02767d2a5e195f0be32489cfd1fc36f2/151.jpg" data-mid="108820619" border="0"  src="https://freight.cargo.site/w/1000/i/48d36d7af013eb706e5f50956c0715fa02767d2a5e195f0be32489cfd1fc36f2/151.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/62e1ca24757e546dac5c262240877885cd75b9cefe5aea7b8042370a6fc44d5b/152.jpg" data-mid="108820620" border="0"  src="https://freight.cargo.site/w/1000/i/62e1ca24757e546dac5c262240877885cd75b9cefe5aea7b8042370a6fc44d5b/152.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0a41cd08db4e915d9f587158117f4d1b16ebc62555f59e42f0b181c524402c5c/153.jpg" data-mid="108820621" border="0"  src="https://freight.cargo.site/w/1000/i/0a41cd08db4e915d9f587158117f4d1b16ebc62555f59e42f0b181c524402c5c/153.jpg" /&#62;

	
	[2020] crisis


	The construction spree portrayed the archaic culture that ruled and ruined the city. After the collapse of the economy and the real estate bubble, empty and unfinished projects stand today throughout Beirut as the ultimate representation of this failed system that rested too much and for too long on real-estate investment as a cornerstone for the economy. 
	

&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/7fcd3c85fb57b58f10c5441280f32fdc4884c2434a22ba8cda12697061425a16/161.jpg" data-mid="108820973" border="0"  src="https://freight.cargo.site/w/1000/i/7fcd3c85fb57b58f10c5441280f32fdc4884c2434a22ba8cda12697061425a16/161.jpg" /&#62;
&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/d9461c9dd79942610b8c4f58efc9904c9d86cc2a65711fc3870dd10313ce0471/162.jpg" data-mid="108820971" border="0"  src="https://freight.cargo.site/w/1000/i/d9461c9dd79942610b8c4f58efc9904c9d86cc2a65711fc3870dd10313ce0471/162.jpg" /&#62;

	
	After the Port Blast in August 2020, the reconstruction process showed first and foremost the potential of people, activists, collectives and civil society groups in the production of the city in response to people’s needs.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4b01943c90705ed9869ea77a831a98ad48604f6b24a176d754ede096fe8c5e80/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape.jpg" data-mid="108821567" border="0"  src="https://freight.cargo.site/w/1000/i/4b01943c90705ed9869ea77a831a98ad48604f6b24a176d754ede096fe8c5e80/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c430b4651b36de5ca8d1a483b73bacba7a097fc61cc692d35fb78d88b670ed20/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape2.jpg" data-mid="108821564" border="0"  src="https://freight.cargo.site/w/1000/i/c430b4651b36de5ca8d1a483b73bacba7a097fc61cc692d35fb78d88b670ed20/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape2.jpg" /&#62;
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b5ba699794ba61f178da28d928d096b3b1f5944b69d81ee0e604e9f1affad692/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape3-.jpg" data-mid="108821566" border="0"  src="https://freight.cargo.site/w/1000/i/b5ba699794ba61f178da28d928d096b3b1f5944b69d81ee0e604e9f1affad692/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape3-.jpg" /&#62;
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1d80f0220d1c453f943aec24063f318b8941c84115cfb35b72cbf96d3f23147c/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape6.jpg" data-mid="108821568" border="0"  src="https://freight.cargo.site/w/1000/i/1d80f0220d1c453f943aec24063f318b8941c84115cfb35b72cbf96d3f23147c/VeniceBiennale_BeirutShiftingGrounds_UrbanLens_PostBlast_layout_landscape6.jpg" /&#62;

	
	[2021] collective production
	

	The ongoing financial meltdown brings with it many opportunities. The political and economic changes that led the country to crisis are also the ones that allowed an emerging civic consciousness to challenge sectarian logics and capitalist models of development. 
Now that Beirut is starting a new chapter, we propose different ways of inhabiting and reclaiming it, ways that reflect such aspirations and engage its realities.&#38;nbsp;
 
In such realms, essential infrastructure outlets—water, electricity, data—can overlay the ground and support collective activities and exchanges, like communal kitchens, markets, temporary gatherings, and occupation. Coming from neighborhood-harnessed renewable energies, like rainwater collection and photovoltaics, such outlets can be customized, relocated, and adjusted as needed, and will be the objects of negotiation between the different collectives using it, not unlike the revolution and post-blast deployments.
	

&#60;img width="2950" height="1659" width_o="2950" height_o="1659" data-src="https://freight.cargo.site/t/original/i/571ed20831726b15962c8365274ee62ff3bae45b2d998f9260e6bc9d9b61dafb/181.gif" data-mid="108822678" border="0"  src="https://freight.cargo.site/w/1000/i/571ed20831726b15962c8365274ee62ff3bae45b2d998f9260e6bc9d9b61dafb/181.gif" /&#62;

	
	With the collective infrastructure serving as a supportive “carpet,” we show multiple possibilities for how the ground floor could transform into an assemblage of amenities that support collective urban life.
	

	Credits
	

Lead Investigators&#38;nbsp;
Boulos Douaihy 
Nicolas Fayad


	Production Team 
Mariana Boughaba, Joanna Howayek, Riad Tabbara, Jana Semaan, Nour Balshi, Careen Matta, Michelle Azzi, Ghinwa Azzi
	

	Image Credits&#38;nbsp;
Wissam Chaaya, Boulos Douaihy, Sandra Frem, Carla Aramouny, Rami Rizk
	

	References

Carla Aramouny, Electricite du Liban building. 2017, Brownbook magazine Issue 66 Aramco World

George Arbid.“Practicing Modernism in Beirut, Architecture in Lebanon 1946- 1970” 

Elie El-Achkar. Réglementation et formes urbaines: Le cas de Beyrouth. (Beyrouth: Presses de l’Ifpo 1998)

Robert Saliba. Beirut 1920-1940: domestic architecture between tradition and modernity. (Beirut: Order of Engineers and Architects, 1998.)
	

</description>
		
	</item>
		
		
	<item>
		<title>Temporal</title>
				
		<link>https://beirutshiftinggrounds.com/Temporal</link>

		<pubDate>Wed, 07 Apr 2021 14:10:01 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Temporal</guid>

		<description>


    Temporal / Reclamation


    The Temporal lens focuses on the metamorphosis of Martyrs Square, Beirut’s collective space, through the ages, narrating its spatial history and ground manifestations through visuals, and archival photographs. Using a methodology of mapping, extensive photographic analysis, and detailed 3D modeling, the square’s transformation is reconstructed in 11 time periods, simulating its lost urban history.


	&#60;img width="1660" height="933" width_o="1660" height_o="933" data-src="https://freight.cargo.site/t/original/i/f37e2f289b760b619f09e8b99b5d731f6336ba08fdf8d9bed079ffa040d7fd96/SLIDER-_-IMAGE-1--Martyrs_Final-presentation.jpg" data-mid="108781090" border="0"  src="https://freight.cargo.site/w/1000/i/f37e2f289b760b619f09e8b99b5d731f6336ba08fdf8d9bed079ffa040d7fd96/SLIDER-_-IMAGE-1--Martyrs_Final-presentation.jpg" /&#62;
	

    The project looks at the ground through time, unfolding the genealogy of the city's prime space- Martyr Square- the fluctuation of its identity, urban form and public appropriation since the Ottoman period until the present. It traces its evolution to become the nation's space of appearance, foregrounding how its ground allowed the different communal expressions throughout its historic lineage. The work also considers its recent reclamation during the 17th October revolution as a creative act of commoning and a valuable lesson in collective city making.
    
	
&#60;img width="1706" height="1080" width_o="1706" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d9f9b6739069352d5d8ab4b16e20a246500161797dab97df392714546cdc2e46/SLIDER-2-Sequence-timeline2.gif" data-mid="108781430" border="0"  src="https://freight.cargo.site/w/1000/i/d9f9b6739069352d5d8ab4b16e20a246500161797dab97df392714546cdc2e46/SLIDER-2-Sequence-timeline2.gif" /&#62;

	
    The Temporality of Martyrs Square

Martyrs square, a symbolic space in the heart of Beirut, has always had the capacity to shape a local collective. Through the ages, the square in its drastically changing forms and names, has proven to remain the people’s central space of urban, social, and political reclamation. The continuous erasure of its built fabric has formed its identity and solidified its symbolism and significance. Through this work, we reclaim this spatial memory, reconstructing its faded spaces, walls, and events, as a necessary act towards moving forward.
    
	
&#60;img width="1920" height="956" width_o="1920" height_o="956" data-src="https://freight.cargo.site/t/original/i/f104a16429eef0d61e4a5d350a9f1023316f2052c48134e28cb4e8bc5d0a3ff7/SLIDER-3--Sequence-Axo2.gif" data-mid="108781864" border="0"  src="https://freight.cargo.site/w/1000/i/f104a16429eef0d61e4a5d350a9f1023316f2052c48134e28cb4e8bc5d0a3ff7/SLIDER-3--Sequence-Axo2.gif" /&#62;

	
	North West axonometric – 1840 to 2019


	In order for us to live together, we must remember our spatial history, and how we lived, loved, fought, laughed, and survived together. So that we never forget again

	
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9a78d9b08ff6a2ca2b958ebcbaa62d402303577715b0077c73b32aac56885ec3/SLIDER-4--Sequence-Metamorphosis.gif" data-mid="108783285" border="0"  src="https://freight.cargo.site/w/1000/i/9a78d9b08ff6a2ca2b958ebcbaa62d402303577715b0077c73b32aac56885ec3/SLIDER-4--Sequence-Metamorphosis.gif" /&#62;

	
	Spatial Metamorphosis of Martyrs Square
	

    1840 - Maidan / Sahat Al Burj - Intramural city


The square in its earliest form was a free space, an open field to the east of the intramural city’s fortification walls. With its watchtower, Burj el Kashaf, naming it as ‘Sahat al Burj’, the open field was as a military training ground and the occasional traveler’s stop, a gateway to the city from the east. On the eastern hills, houses amid orchards rise, after the city started to grow out of its walls in 1840. On its eastern walls, a main gate ‘Bab Al Saray’ allowed entry into the old city, flanked by the Emir Fakhr Eddine Palace (Seraglio).

	
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5bc904cda02f1abd7bd3704100ff81f5ae56e99dabfe6a20667fb9a6b3ecd12b/Martyrs_Final-presentation_3-web17.jpg" data-mid="108784241" border="0"  src="https://freight.cargo.site/w/1000/i/5bc904cda02f1abd7bd3704100ff81f5ae56e99dabfe6a20667fb9a6b3ecd12b/Martyrs_Final-presentation_3-web17.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b4130699a71e98edef2eff903db1ac89dd99ee70ea2f5aeebb5704f5ee995d45/Martyrs_Final-presentation_3-web18.jpg" data-mid="108784238" border="0"  src="https://freight.cargo.site/w/1000/i/b4130699a71e98edef2eff903db1ac89dd99ee70ea2f5aeebb5704f5ee995d45/Martyrs_Final-presentation_3-web18.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/aad5cdbef950a0b0c3e9c5485e534a38e8a067fc86496324f8fab85481b09cfd/Martyrs_Final-presentation_3-web19.jpg" data-mid="108784240" border="0"  src="https://freight.cargo.site/w/1000/i/aad5cdbef950a0b0c3e9c5485e534a38e8a067fc86496324f8fab85481b09cfd/Martyrs_Final-presentation_3-web19.jpg" /&#62;

	
    1860 – Sahat Al Burj / Place du Canon

By the 1860s, the field had already transformed into a vibrant space with shops, French run cafes, locandas, and houses and villas outside the city walls. Its location made it a vital transport and trade node, linking southward to Damascus and northward to the port of&#38;nbsp; Beirut, by way of caravans and omnibuses. During this period, ‘Burj el Khashaf’ was demolished, although its name still remains attached to the square today. It bore a new designation however at the time, Place du Canon, as a result of French canons deployment in 1860, interfering to end local massacres in Mount Lebanon.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/34a3ee09eda951195513b64de1b182c6f592b8aa6dd22e7a1303ccf9a46960a3/Martyrs_Final-presentation_3-web22.jpg" data-mid="108785107" border="0"  src="https://freight.cargo.site/w/1000/i/34a3ee09eda951195513b64de1b182c6f592b8aa6dd22e7a1303ccf9a46960a3/Martyrs_Final-presentation_3-web22.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7b92d82e278307a4e3dcd9de40f75f4aab33df5401f2d7ed737151c48cfa9431/Martyrs_Final-presentation_3-web23.jpg" data-mid="108785113" border="0"  src="https://freight.cargo.site/w/1000/i/7b92d82e278307a4e3dcd9de40f75f4aab33df5401f2d7ed737151c48cfa9431/Martyrs_Final-presentation_3-web23.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a4b810f719c1414f8661d85dc51ba6e08ba9b46658c23f4f63977ce4d9e9e001/Martyrs_Final-presentation_3-web24.jpg" data-mid="108785119" border="0"  src="https://freight.cargo.site/w/1000/i/a4b810f719c1414f8661d85dc51ba6e08ba9b46658c23f4f63977ce4d9e9e001/Martyrs_Final-presentation_3-web24.jpg" /&#62;

	
	1890 - Muntazah / Al Hamidiyah / Union Square

During&#38;nbsp; a&#38;nbsp; period&#38;nbsp; of&#38;nbsp; Ottoman urban&#38;nbsp; and infrastructural development (Tanzimat), the city rapidly grew in population and urban density outside its walls, with the square spatially forming as a closed and central urban space. Beirut governor advanced the redesign of the square as a garden for leisure (Muntazah), with an iconic government building at its northern edge, the Petit Serail. The period witnessed the Great famine of Mount Lebanon and the hanging of local martyrs on the square, sealing its designation as Martyrs’ square.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1c33867b8aaa038b696540479fdb615be8ec9acad2aeee1a1815f31f058fd5bb/Martyrs_Final-presentation_3-web28.jpg" data-mid="108799251" border="0"  src="https://freight.cargo.site/w/1000/i/1c33867b8aaa038b696540479fdb615be8ec9acad2aeee1a1815f31f058fd5bb/Martyrs_Final-presentation_3-web28.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/55c23dafd46a7f58cb624cbfbc857ad262e0ae75f943bf9d01b7290638b8a1b4/Martyrs_Final-presentation_3-web29.jpg" data-mid="108799248" border="0"  src="https://freight.cargo.site/w/1000/i/55c23dafd46a7f58cb624cbfbc857ad262e0ae75f943bf9d01b7290638b8a1b4/Martyrs_Final-presentation_3-web29.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2a5b864964a0bed77fb8e3cbcf322ea9a6fa6b4e2aecb6a0826018c6a064f7cd/Martyrs_Final-presentation_3-web30.jpg" data-mid="108799249" border="0"  src="https://freight.cargo.site/w/1000/i/2a5b864964a0bed77fb8e3cbcf322ea9a6fa6b4e2aecb6a0826018c6a064f7cd/Martyrs_Final-presentation_3-web30.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cfda2782828756615f17f34a4af2a55dcbbc2770a88593d1abd443b25df81e50/Martyrs_Final-presentation_3-web31.jpg" data-mid="108799247" border="0"  src="https://freight.cargo.site/w/1000/i/cfda2782828756615f17f34a4af2a55dcbbc2770a88593d1abd443b25df81e50/Martyrs_Final-presentation_3-web31.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/62cb2ddf776b8dc37fc8462ea09b8f156f713b1b75c3d7d60815fce4775f0bda/Martyrs_Final-presentation_3-web25.jpg" data-mid="108799250" border="0"  src="https://freight.cargo.site/w/1000/i/62cb2ddf776b8dc37fc8462ea09b8f156f713b1b75c3d7d60815fce4775f0bda/Martyrs_Final-presentation_3-web25.jpg" /&#62;

	
	1920 - Muntazah / Place des Canons

The 1920s witnessed radical changes as the French take over remnants of the Ottoman Empire after World War I. The French proclaimed Greater Lebanon, and initiated their mandate with ambitious urban renewal projects, affecting the old city and reshaping its historic quarters. 
The Beirut International Fair was hosted in the city with Pavilions installed inside the garden. Furthering this transformation, the square was redesigned as a modern French garden and fountain, and its centrality rose as hotels, cafes, and theaters prospered.&#38;nbsp; The square also witnessed political demonstrations amid demands for local governance.
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8de4f982d370a930b6541c2659c29fc8b9603f5b0cf0aa1c8976edbb46d1c2bb/Martyrs_Final-presentation_3-web36.jpg" data-mid="108799713" border="0"  src="https://freight.cargo.site/w/1000/i/8de4f982d370a930b6541c2659c29fc8b9603f5b0cf0aa1c8976edbb46d1c2bb/Martyrs_Final-presentation_3-web36.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/259249e71c38ac9a347abc039d3267cce6aa173269d7c9e3555e7b6d379f48d3/Martyrs_Final-presentation_3-web37.jpg" data-mid="107360760" border="0"  src="https://freight.cargo.site/w/1000/i/259249e71c38ac9a347abc039d3267cce6aa173269d7c9e3555e7b6d379f48d3/Martyrs_Final-presentation_3-web37.jpg" /&#62;

	
	1930 - Place des Canons / Place des Martyrs

The redesigned square was renamed Martyrs square with  the installation of the Weeping Women statue, commemorating the Martyrs of 1916. The collision between the local government and the mandate escalated in 1943, and the square witnessed mass demonstrations supporting local leaders, arrested for defiance. 
Following the local leaders’ release and the declaration of Lebanon’s Independence, the square amassed huge celebrations and signaled a new future. Its role however as a commercial and political center, gradually shifted towards the recently completed Place de l’Etoile.
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f68577fcae8bcc0a4cb5f7e4ae0bf0d51d255a6c94383513729ea8eafcea073f/Martyrs_Final-presentation_3-web43.jpg" data-mid="108800195" border="0"  src="https://freight.cargo.site/w/1000/i/f68577fcae8bcc0a4cb5f7e4ae0bf0d51d255a6c94383513729ea8eafcea073f/Martyrs_Final-presentation_3-web43.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3c6c39042d073b29dbbb57ac026767de32b3ac2f279363b34427075fd5092443/Martyrs_Final-presentation_3-web44.jpg" data-mid="107361143" border="0"  src="https://freight.cargo.site/w/1000/i/3c6c39042d073b29dbbb57ac026767de32b3ac2f279363b34427075fd5092443/Martyrs_Final-presentation_3-web44.jpg" /&#62;

	
	1950 - Place des Martyrs / Sahat Al Burj

The 50s established the square as a leisure and cultural center, with the proliferation of theaters, cinemas, and hotels. After the controversy surrounding it, the Weeping Women statue was removed, as plans to redesign the square in the Chehab administration period were underway. 
Ambitious urban plan by Michel Ecochard proposed the opening of the square to the sea. The Rivoli Cinema instead was built in the 60s bordering its northern edge, and a new martyrs’ monument was installed in its center. A short war in 1958 of local conflict amid regional political shifts, positioned the square as a political node.
	

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e47f7700f04b709182544a97f04370a5609e6bfea80070e8fc86ba4ea112ab3a/Martyrs_Final-presentation_3-web47.jpg" data-mid="107361283" border="0"  src="https://freight.cargo.site/w/1000/i/e47f7700f04b709182544a97f04370a5609e6bfea80070e8fc86ba4ea112ab3a/Martyrs_Final-presentation_3-web47.jpg" /&#62;
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/28694c999980c0bedde1d940d3f09fddab633d693dd429cd839c5d81ff32eb68/Martyrs_Final-presentation_3-web50.jpg" data-mid="107361286" border="0"  src="https://freight.cargo.site/w/1000/i/28694c999980c0bedde1d940d3f09fddab633d693dd429cd839c5d81ff32eb68/Martyrs_Final-presentation_3-web50.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c5a908daef35aac6e41dbf3f824a219816a0cf7a7a346dd5cb45a94702de868c/Martyrs_Final-presentation_3-web51.jpg" data-mid="108800962" border="0"  src="https://freight.cargo.site/w/1000/i/c5a908daef35aac6e41dbf3f824a219816a0cf7a7a346dd5cb45a94702de868c/Martyrs_Final-presentation_3-web51.jpg" /&#62;

	
	1970- Place des Martyrs / Sahat Al Burj

The square’s role as a transportation and cultural hub manifested strongly in the 70s, with taxis, buses, congested streets, and daily performances, with international and Arab movie screenings and theater groups. 
Rising tensions escalated with student demonstrations in the period preceding 1975, when the 15 year-long civil war ignited. The square transformed into a center of conflict along a divisive line between East and West Beirut. Heavy with checkpoints and snipers, the square, once a uniting center, became a junction of fear and division. 
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/104c37e1c5cf6454ca930e134eccc5bd0efc33b3e7e98d3dd0847c66f7de4897/Martyrs_Final-presentation_3-web56.jpg" data-mid="108801091" border="0"  src="https://freight.cargo.site/w/1000/i/104c37e1c5cf6454ca930e134eccc5bd0efc33b3e7e98d3dd0847c66f7de4897/Martyrs_Final-presentation_3-web56.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c3e8ad480008d344e64116f8e7909598e6ecc8c2c8207935ee106755a9f0fec1/Martyrs_Final-presentation_3-web57.jpg" data-mid="107361461" border="0"  src="https://freight.cargo.site/w/1000/i/c3e8ad480008d344e64116f8e7909598e6ecc8c2c8207935ee106755a9f0fec1/Martyrs_Final-presentation_3-web57.jpg" /&#62;

	
	1990- Demarcation line / Greenline

The 15-year war distorted the square, turning it into a demarcation zone and wild no-man’s land. Its buildings and surrounding urban fabric were heavily destroyed, with bullet ridden facades as its central monument remained standing. 
After the end of the war, the square sat in limbo, with the occasional visitors, journalists, and local vendors selling souvenirs of its lost history. 
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f10d4d17e3f07b7e09f9b490da5185689cf36f55fc04d9389d2e512e07d1fbd1/Martyrs_Final-presentation_3-web58.jpg" data-mid="108801436" border="0"  src="https://freight.cargo.site/w/1000/i/f10d4d17e3f07b7e09f9b490da5185689cf36f55fc04d9389d2e512e07d1fbd1/Martyrs_Final-presentation_3-web58.jpg" /&#62;

	
	1994- Martyrs Square / BCD

After the establishment of Solidere, a private company for reconstructing Beirut, the square witnessed major demolitions, with only two buildings surviving its mass transformation. The area shifted into a reconstruction ground with hangars, trucks, and piles of rubble, while the Martyrs monument was relocated for restoration. 
After its clearing, a first concert by Fairuz on the square signaled a new era, pushing the war into a distant memory, enforcing a long collective social amnesia. Popular market events and artwork around the square attempted to bring people back to their lost center, now mostly functioning as a void road junction.
	

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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4b95dd9977c6a6866868b6aa00052f72ae1fdad13adfd317c7e7d74291c12338/Martyrs_Final-presentation_3-web70.jpg" data-mid="107363182" border="0"  src="https://freight.cargo.site/w/1000/i/4b95dd9977c6a6866868b6aa00052f72ae1fdad13adfd317c7e7d74291c12338/Martyrs_Final-presentation_3-web70.jpg" /&#62;

	
	2004 - Martys Square / Freedom Square

The Martyrs monument was reinstalled in 2004 as Solidere launched an international competition for the redesign of the square aligning with their open sea-axis plan. The 2005 assassination of prime minister Rafic Hariri drew millions of people to the square, manifesting against Syria’s role and occupation. This 2005 Cedar revolution gave the&#38;nbsp; square back its role as a political and collective symbol of resistance, labeling it Freedom Square. Different camps and political groups took the square as a space of sit-ins and demonstration, escalating in 2015 with the trash crisis. Despite the tensions, New Year’s Eve celebrations were hosted for several years on the square.

	
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5ea62219209cde18c67b4c8f8576aeb3bdb4655bef5b18b552c6cd9b1ec06034/Martyrs_Final-presentation_3-web74.jpg" data-mid="107363311" border="0"  src="https://freight.cargo.site/w/1000/i/5ea62219209cde18c67b4c8f8576aeb3bdb4655bef5b18b552c6cd9b1ec06034/Martyrs_Final-presentation_3-web74.jpg" /&#62;
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	2019- Martyrs Square / Al Saha

Today’s square, an almost complete real estate project, features high-end&#38;nbsp; developments with privatized ground floors, while it remains a highway junction. After the October revolution, a new spatial transformation emerges, one that takes back the square as a space of collective appropriation – a reclaimed ground by grassroots groups and civil society activists. New informal spaces emerge, from debate areas, independent camps and kiosks, stages for festivities and celebrations, to street vendors and informal markets. Equally affected by the catastrophic blast of 2020, the square as an open field is reinterpreted and re-centralized, from a space of resistance to post-blast relief efforts and gathering grounds.
	

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	Free Space for the Collective

In its 180 years of transformation history, the square metamorphosed from a ‘maidan’, an open field utilized as an extramural meeting node and market, to its current state, an open junction and free space that is continuously reclaimed, re-appropriated, and re-imagined by the people.In its ever-changing forms and boundaries, it has enabled a collective coming together, and a local hybrid identity to be constantly reborn. Despite times of division and conflict, it has retained its significance as a collective ground, projecting forth the necessity of ‘togetherness’ as the only social act that can move us forward.

	
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	Credits

	Lead Investigator
Carla Aramouny
	

Production Team
Joseph Chalhoub, Carmen Matta, Lea Tabaja, Rabih Arasoghli, Sarah Tannir, Yasmine Atoui, Ismail Hutet, Mia Baraka, Christina Battikha, Ghinwa Azzi, Michelle Azzi
	

	Support Team
Yara Abdallah, Nour Abdel Baki, Salameh Abla, Lama Barhoumi, Helena Homsi, Careen Matta
	

	Acknowledgments
Archives and Special Collection Department, Jafet Library, American University of Beirut / Sursock Museum Library and Archives / Arab Image Foundation / Solidere / Antoine Atallah / Michael and May Davie / Fadi Ghazzaoui / Rami Rizk / Camille M. Tarazi
	

	*The work wouldn’t have been possible without the support and generous information provided by Fadi Ghazzaoui, Antoine Atallah, Michael and May Davie, and Camille Tarazi.&#38;nbsp; The archives of the Sursock Museum, AUB Archives and Special Collection department, the Arab Image Foundation, and Solidere, provided essential data and photographs to support this production.
	

	References


Gaby Daher (1994), Le Beyrouth des Années 30, Anis Printing, Beirut
Michael Davie (1994), Center and Centralities in Beirut, 1850-1995
Michael Davie (1987), Maps and the Historical Topography of Beirut
May Davie (1996), Bayroût Al Qadîmat: Arab City and Its Suburbs in The Late 18th Century
May Davie (1997), The History and Evolution of Public Spaces in Beirut Central 
District, Beirut
Michel Fani (1996), L’Atelier de Beyrouth: 1848 -1914, Editions de L’Escalier, France
Nina Jidejian (1997), Beirut Through the Ages, Dar al-Mashreq
Samir Kassir, Beirut, translation by M. B. DeBevoise (2010)Samir Khalaf (2006), Heart of Beirut: Reclaiming the Bourj, Saqi BooksEmile Larose (1922), La Syrie et le Liban en 1921. La Foire-Exposition de Beyrouth.Conférences, Libraire-Éditeur, ParisGabriel Rayes, Tania Rayes (2011), Le Centre Ville de mon Pere, Editions de la Revue Phenicienne, FranceFarès Sassine, Ghassan Tueni, (2003) El-Bourj. Place de la Liberté et Porte du Levant, Dar an-Nahar Editions, BeirutSursock Museum (2014), Regards sur Beyrouth, 160 ans d’Images, Beirut 

	
	Photograph References
Sursock Museum[1] Beyrouth - Panorama n°4, ca. 1870-1875, Beirut Lebanon, Albumen print mounted on board (album), Bonfils, Félix, The Fouad Debbas Collection/Sursock Museum. Inv.No:&#38;nbsp;TFDC_118_004_0248.[2] Beirut, Panoramic view of the old city, no date, Albumin print mounted on board, Bonfils studio, The Fouad Debbas Collection/Sursock Museum, Inv No: TFDC_511_032_SN_01[3] Place des canons à Beyrouth, no date, Beirut Lebanon, Albumen print, Bonfils Studio, The Fouad Debbas Collection/Sursock Museum. Inv.No: TFDC_511_038_1256.
Library of Congress[1] American Colony . Beirut. Cafe at the public garden. 1900 [Approximately to 1920] G. Eric and Edith Matson Photograph Collection. Photograph. Retrieved from the Library of Congress, &#38;lt;www.loc.gov/item/2019692682/&#38;gt;.[2] American Colony . Beirut. Street scene. 1900 [Approximately to 1920] G. Eric and Edith Matson Photograph Collection. Photograph. Retrieved from the Library of Congress, &#38;lt;www.loc.gov/item/2019692681/&#38;gt;.[3] Beirut. El Burj. Principal city square also called the "Place de Cannon". [Between 1898 and 1946] G. Eric and Edith Matson Photograph Collection. Photograph. Retrieved from the Library of Congress, &#38;lt;www.loc.gov/item/2019703519/&#38;gt;.
Arab Image Foundation[1] View of the Grand Serail, Photographed by Dr. Eugène Cottard in 1909 in Beirut, Lebanon. Stereograph transparency. 0300co00234pg, 0300co - Dr. Eugène Cottard Collection, courtesy of the Arab Image Foundation, Beirut.[2] Arrival of General Gouraud at the Place Des CanonsPhotographed by Dr. Eugène Cottard in 1920 in Beirut, LebanonStereograph transparency. 0300co00052pg, 0300co - Dr. Eugène Cottard Collection, courtesy of the Arab Image Foundation, Beirut.[3] Stereograph taken by Aziz Zabbal in 1921 in Beirut, LebanonGelatin silver stereograph negative on glass0152sa00054, 0152sa - Roberte Zabbal Sawaya Collection, courtesy of the Arab Image Foundation, Beirut.[4] Celebration of the Lebanese Independence Day at the Place Des Canons. Photographed by Albert Issa in 1944 in Beirut, Lebanon, Gelatin silver developing-out paper print0089la00014, 0089la - Mansour Lahoud Collection, courtesy of the Arab Image Foundation, Beirut.[5] Funeral of Selim Takla, Photographed by Mouhieddine Saadé in 1945 in Beirut, LebanonGelatin silver developing-out paper print - 0220ta00281, 0220ta - Youssef Takla Collection, courtesy of the Arab Image Foundation, Beirut.Archives &#38;amp; Special collection, Jafet Library, AUB[1] Weeping Women Statue on Martyrs Square. around 1930. Saul Rosenburg Collection. Archives and Special Collection Department, Jafet Library, American University of Beirut[2] Scene from Martyrs Square –Gifford Doxee. around 1950. Archives and Special Collection Department, Jafet Library, American University of Beirut[3] Beirut Martyrs Square – around 1950. Gifford Doxee. Archives and Special Collection Department, Jafet Library, American University of Beirut[4] Martyrs Square - Manoug Alemian Collection. Archives and Special Collection Department, Jafet Library, American University of Beirut[5] Martyrs Square Statue- around 1960. Manoug Alemian Collection. Archives and Special Collection Department, Jafet Library, American University of Beirut[6,7,8] Martyrs Square war destruction - around 1990. Manoug Alemian Collection. Archives and Special CollCamille M. Tarazi Private collection[1] Beyrouth. Place des Canons- André Terzis &#38;amp; Fils. Postcard.10 45952- Collection Camille M. Tarazi[2] Beyrouth. Place des Canons- André Terzis &#38;amp; Fils. Postcard. 10 45967- Collection Camille M. Tarazi[3] Beyrouth- Place des Martyrs- Photo Sport - 528- Collection Camille M. Tarazi[4] Beyrouth- Vue aérienne de la place des Martyrs&#38;nbsp; - Jean Gulbenk- M1- Collection Camille M. Tarazi[5] Beirut- Place des Martyrs- Photo Sport – 91 - Collection Camille M. TaraziMichael Davie Private collection[1] Beyrouth La Place Des Canons. 105. Selecta. Postcard. Michael Davie private collection[2] Beyrouth, Le Jardin Public, Le Kiosk. 34. Postcard. Michael Davie private collection[3] Beyrouth Jardin del la Liberte. Postcard. Michael Davie private collection[4] Beyrouth Place Des Canons. 4. Postcard. Michael Davie private collection[5] Beyrouth Place Des Canons. Café Parisiana. Postcard. Michael Davie private collection[6] Place Des Martyrs - Beyrouth. 11. Postcard. Michael Davie Private Collection[7] Beyrouth Palace Hotel. Photo A. Scavo, Postcard. Michael Davie Private Collection[8] Cinema Rivoli, Martyrs Square. Postcard. Michael Davie Private Collection[9] Beyrouth Place Des Canons. 73. Postcard. Michael Davie Private CollectionBaz private Collection[1] Salim Baz and friend on Martyrs Square. Beirut. Around 1950. Private family photoSolidere[1,2] Martyrs square destruction after the war. Around 1990. Photograph courtesy of Solidere[3,4,5] Martyrs square demolitions and reconstruction. Around 1994. Photograph courtesy of Solidere[6] Removal of Martyrs Statue for restoration. 1996. Photograph courtesy of Solidere[7, 8] The square in 2004. Photograph courtesy of Solidere[9] Virgin Megastore and the square. 2002. Photograph courtesy of SolidereAramouny Personal collection[1,2] Cedar Revolution March 14, 2005. Photographs by Carla AramounyAli Chehade[1]Flag man video taken during the October Revolution in 2019. Courtesy of Ali ChehadeRami Rizk[1,2,3] Photographs taken during the October Revolution in 2019. Courtesy of Rami RizkWissam Chaaya[1] Panaromic Photograph of the square. 2020. Courtesy of Wissam ChaayaLouay Kabalan[1] Photograph taken during the October Revolution in 2019. Courtesy of Louay Kabalan


</description>
		
	</item>
		
		
	<item>
		<title>Human</title>
				
		<link>https://beirutshiftinggrounds.com/Human</link>

		<pubDate>Wed, 07 Apr 2021 08:48:09 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Human</guid>

		<description>


	Human / It’s All in the Streets
	

	It Is All on the Streets, features a set of public installations as a reaction to what is happening on the ground.&#38;nbsp; Pause, Interruption, Grassroots, and Disintegration, are a set of short movies and digital installations, made to be viewed privately for one to be immersed in Beirut’s intensity, livelihood, informalities, richness and sufferings.&#38;nbsp; These installations, tailored to a human scale and anchored in the city as both art and architecture, reflect on the power of public interventions as urban catalytic tactics that engage with the people and challenge the citizens, pushing them to claim their rights to the city. Public installations are primarily about the collective. It is only with everyone's contribution that any production can happen. Said contributions vary from being on-the-ground work, participation or reception, or could be even financial. In this sense, these installations are the product of the streets. Every citizen becomes its author.
	

	PauseInterruptionGrassroots

Disintegration


</description>
		
	</item>
		
		
	<item>
		<title>Pause</title>
				
		<link>https://beirutshiftinggrounds.com/Pause</link>

		<pubDate>Wed, 14 Apr 2021 22:47:55 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Pause</guid>

		<description>

	Pause&#38;nbsp;


	Even in the midst of a very vibrant and lively city sometimes things are too absurd to a point that turning a blind eye might be best. Like taking a stroll by the river side IN a luggage, pushing yourself backward blindly disturbs the passer-by but not enough for him to stop, where taking a nap suspended between two trees to rest your ears form city’s loudness becomes a casual act.
Recomposing crates into a child play is very welcome in a very dense area like Karm el Zeitoun and extending a mini corniche on a private pier built with public tax money to alert citizens about their rights to the city becomes a necessity.From a door on wheels crossing joggers on the corniche to mark a threshold as a memorial in a specific location to then sit on a plastic chair with a park-meter ticket attached to your shoulder claiming your right to a parking lot. While on the same street 200 m further you can use the same parking ticket to have a lie down on a 6 meter cart covered with fresh grass, in the sun for 30mn, in the midst of the city that is drastically lacking public space!
	

	Keywords: Punctual interventions, everyday objects, public, activism, pedagogical methodology, temporality, playfulness.&#38;nbsp; 
Concept &#38;amp; Production: Rana Haddad, Taha Barazi, Tara Kanj, Soraya Hammoud, Mohammad Nahleh.

	
Pause / Description 
	
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	Installations in order of appearance:
	

	Piiiisssst

There is an intimate relation between a piece of luggage and its owner.&#38;nbsp; When carried, the luggage intermittently caresses the body of its holder. The heavier the luggage, the closer the relation. It is an act that carries with it an unsolicited pleasure – a body forced into a sensation of painful joy. 
Here, the power play shifts. The luggage now contains within it the body that once held it. This body is limited to push backward, blindly moving against the flow of the passers-by who must now themselves, in an alienated experience, respond to the demands of an object they once presumed they could control. 
“Piiiiissssst” is a 55 minutes’ performance/installation. The performance took place at the Milwaukee Art Museum during the opening ceremony. The installation consisted of - 32.4 linear meters by 0.335-meter width - folded posters, revealing body parts coming out from a suitcase, suitcase part or simply limbs that meet each other in a non-orthodox manner. It is a reflection on the actual gesture of being carried in a suitcase as a necessity that one should have while moving from a place to another, unexpectedly. Knowing that one might not get a chance to cross borders, the suitcase becomes a camouflage of bare necessity.
Piiiiissssst is a story of the adaptivity of survival, as we are only left with our bodies; our own archives. This performance takes on the archive and reassesses it from a different angle; an angle which highlights the violence of death, the one of the archives.
Installation /performance by Rana Haddad, Pascal Hachem. 
Extract from Portmanteau collective exhibition, Modern Art Milwaukee Museum MAM, USA, October, 2018.
	

	In Between
The plaza is visually quiet. Yet the urban soundscape dominates. The tree is a buffer. Yet the urban doesn’t allow it to fulfill its potential. It trims and deprives of the silence a tree can offer. Only the leftover-spaces, the in- betweens, endure. The in-between of the trees is inviting. The ramp that cuts the plaza slowly leads the user to pause and reflect on the new nest space surrounded with leaves and whispering wind instances if one is lucky. It takes you into the buffer zone, where you lie down, displaced from your surroundings, between silence and sound. You are left in- between.Studio: BePublic/Silence 2016.Co-taught by Rana Haddad and Joanne Hayek, AUB. Students names: Mira Al Jawahiry, Luzan Al Munayer, Mia Baraka, Ibrahim Kombarji, Shada Mustafa.


Corniche Extended

Corniche extended explores the idea that while the coastal path is technically publicly owned, as it was funded by government money, much of it is restricted to the public. The group’s intention focused on inviting the public into this space through an intervention that would render it as fragment of the public coast. Our challenge was that the public could not lay a foot on the pier. The public&#38;nbsp; could go on the pier to only learn that for a sectarian reason, the pier is restricted to the public.Studio: BePublic/ Public Beirut, 2012. Co-taught by Rana Haddad, Carole Levesque, Sandra Richani, AUBStudents names: Jalal Makarem , Farah Harake, Marianne Safi, Mustafa Chehab, Rami Saab.


	Take a Breather / crates play

This project intervenes in an area that is already rich with its own unique and informal appropriations and culture.&#38;nbsp;The streets of karm el zeitoun were chosen as a site due to their cultural significance and their unfamiliarity to outsiders.
The aim of the project was to create an interface with the user by bringing out elements of everyday life that would have been otherwise disregarded. The project focuses on the notions of the public and the private, the leftover spaces and the spontaneity of everyday life, highlighting the very thin limit between private and public, indoor and outdoor.Studio: BePublic/Appropriation 2018. Co-taught by Rana Haddad and Pascal Hachem, AUB.Students names: Mohamad Chami,Tala Salman, Taha Barazy, Andrea Chaanine.


	Dare to Approach / the moving monument 
Part of set of site works before the final installation. This monument reflects the false sense of involvement in our country, and so the installation is an ironic intervention that critiques the already existing signage erected on site since 2005.Studio: BePublic/Appropriation 2018Co-taught by Rana Haddad and Pascal Hachem. AUB.Students names: Amina Kassem, Sari El Kantari, Elie Geha,Tamara Salloum


	Come and Play / let’s park 

Valet parking companies have rigorously taken over public parking spaces in Beirut. They have privatized the majority of street parking spaces, and have, therefore, forced their prominence in our city. The public street parking space is now legally possessed by the valet. The students perform the same process of “reservation” in the street parking spaces of Mar Mikhael. They will claim our street parking rights by legally (park meter) reserving as many parking spots as possible using the plastic chair and sitting on it.
Why the plastic chair? It is a typical and dominant tool of the city. Its presence in such a position will suggest an enduring stand that should be part of the performance.Studio: BePublic/Appropriation 2018Co-taught by Rana Haddad and Pascal Hachem,AUB.Students names: Nicolas Abou Haidar, Soraya Hammoud, Nicol Yamin, Lina Akkaoui, Carl Yammine.


	Come and Play / 6 meter long cart 
A performance where an extended vegetable cart becomes the only accessible green space in Mar Mikhail. To add onto the absurdity of the situation, we made it an accessible space for tanning where an individual must pay the park meter fee to access this green space.
The same cart, late afternoon, ripped from the grass, becomes a display to a set of chairs which have been collected from Mar Mikhail. The diversity of the chairs suggests its strong presence and prominence in the city and thus its role as part of the survival kit.
The exhibit of the chairs at night closes the loop, as it showcases the game of the valets parking taking over public space, on a cart that is re-appropriating that space.Studio: BePublic/Appropriation 2018,Co-taught by Rana Haddad and Pascal Hachem, AUB.Students names: Nicolas Abou Haidar, Soraya Hammoud, Nicol Yamin,&#38;nbsp; Lina Akkaoui, Carl Yammine.


	Next
</description>
		
	</item>
		
		
	<item>
		<title>Interruption</title>
				
		<link>https://beirutshiftinggrounds.com/Interruption</link>

		<pubDate>Wed, 14 Apr 2021 22:56:53 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Interruption</guid>

		<description>

	Interruption


	How to interrupt the everyday flow of life with grassroots public installations to awaken citizens and get them involved in claiming what is theirs?

Using everyday common objects, like a grinder to eject a person from its chair, building a medieval like guillotine to cut a theatre chair in two, set in the window of a theatre that the authority chose to close down without any justifications to their actions, or constructing a seesaw (1996, way before Mexico) on the locker of a gate that cuts the playground off a public garden preventing the kids from playing.

What about our air rights? A space that is ours as much as the ground? 

Erecting a 12 m Basket-ball net in a 90 cm passageway between 3 buildings, in the densest area of the city, making sure that all drivers on the motorway; the motorway that was erected to split the neighbourhood in the first place, gets a sense of this density. While setting a chair to go up the electric poll over an illegally so called “security belt area” to protect a politician is a violation of our everyday rights. Moving to marking the extreme privatisation of what used to be the Vendome stairs, a public stairway for all the youth and a space for them to hang out without having to spend any money, ripped away by a politician real estate project in Mar Mikhail Area. Not to mention the lack of nature and green spaces that are getting scarce each year…
Keywords: claiming citizens’ right to the city, ready-made, public, activism, appropriation. learning through play.&#38;nbsp; &#38;nbsp;
Interruption movie concept &#38;amp; production: Rana Haddad, Taha Barazi, Tara Kanj, Soraya Hammoud, Mohammad Nahleh.

	
Interruption / Description

	
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	Installations in order of appearance:


	[In]contemplation / Stop Pushing Us Away 


Abdo sat on a chair facing the ready-made grinder, placed on another chair, with a sign saying ‘zehtouna’ in Arabic, which can be interpreted as “stop pushing us away” or “we cannot take it anymore”. Every time a passer-by pushes the button on the grinder, he jumps, hence turning the passer-by into an active participant.
A woman who was walking down the stairs saw him and encouraged him to move to the street pavement and reach a wider audience by telling him that “what you are doing is very political.” This performance re-enacted the private sector’s takeover of the city, allowed by the government, disabling citizens from profiting from their fundamental rights.&#38;nbsp; 
The political is linked to the city and how institutions control each aspect of our life (de Certeau 1984). The political also means that we can resist the existing state of affairs by making use of common tactics and transforming them into our own tactics established at our scale, to trigger engagement. It is just enough to incite their curiosity, enough to ask a question, to think about it, to talk about it with their friends and families later during the day, and provoke a discussion that could potentially lead into an awakening, a realization that this performance was a reaction to something we are accustomed to, but which we should resist.Studio: Architectural Association Visiting School Beirut AAVS 2019.Co-taught by Rana Haddad and Pascal Hachem.Student’s name: Abdo Kanachat.


	1 Acte / 2 Pieces


Théâtre de Beyrouth. Previously a BMW repairs pit, transformed during the sixties into a theatre. The arabic spoken plays gradually replaced the french repertoire. It is in this premise that the arabic / lebanese language specific to the theatre was born. During the war it had intensive experimental activities that were never documented. It used to be the last independent theatre that existed in Beirut. It represented people’s voice. 
In October 2000 the ‘Theatre de Beyrouth’ invited us to be part of shams annual festival. We took an armchair from the theatre, placed it in the window and had it cut in two very slowly! This armchair has been there for 36 years, placed but not fixed, next to the lateral wall of the theatre. It took us a month to have it cut in two. The story of this armchair is not an isolated one, it is part of stories collected in the quarter of ain el mraissé and others that came out from the theatre itself. We distributed a tale per day, a flyer per day. Here is one of them: article n#3: in case of a censorship infringement, the representation of the play will be banned and the theatre will be closed for a year, as a decision taken by the head of the general security department. The accountable will incur a prison penalty that can vary between 1 to 3 years, and a fine of 5 thousand to 15 thousand lebanese pounds [approximately 3 to 6 euros]. The minimal charge cannot be less then a month…
The chair generated a narrative. People walking by made up their thoughts and opinions about what was going on. They initiated a “save the chair” campaign. The street vendors and people from the neighborhood that were always intimidated by the theater and never dared to enter it, were intrigued and were attracted in to see the festival. The outcome was a modest success with a full newspaper coverage, a sponsor for a publication that include all people’s reactions and involvements, with of course, -it goes without saying- a self censorship, and with an 18 months extra to the life span of the theatre. &#38;nbsp;The latter was not our aim but rather an outcome from people’s reaction to the scene of the chair being cut in two. And in some way it became iconic.
In such work the narratives play a crucial role, whereby a discourse will always be there when a problematic has been erased.Installation by Rana Haddad and Pierre Hage-Boutros in collaboration with the Atelier de Recherche, ALBA, 2001.Book and leaflets’ team: Rana Haddad, Pierre Hage-Boutros, Gregory Buchakjian, Danielle Kattar, Sana Asseh, Carma Tohme.


	Radio Silence 

The project aims to create an awareness of the surrounding environment in Horsh Beirut. Horch being a pine trees’ public park that stayed closed for more than 30 years, since it was bombarded in 1982 and the pine trees got all burned out-. &#38;nbsp;It tackles a threshold within the site using a common playground game that is yet absent from the Horsh: the seesaw. Radio Silence questions the barrier that exists between the different user groups by placing a seesaw as a gate belt on a permanently locked door. Thanks to the children, that have nothing to do with sectarianism in the first place, by calling each other up to play with the seesaw, they were able to eradicate the effect of the gate. The gate became suddenly invisible.Studio:BePublic/Silence 2016.Co-taught by Rana Haddad and Joanne Hayek, AUB.Students names: Betina Abi Habib, Zeina Bekhaazi, Souha Boumatar, Mario El Khouri, Karen Madi.


	Take A Breather / Basket Ball Net 

This project intervenes in an area that is already rich with its own unique and informal appropriations and culture.&#38;nbsp;the streets of karm el zeitoun were chosen&#38;nbsp;as a site due to their cultural significance and their unfamiliarity to outsiders.
The aim of the project was to create an interface with the user by bringing out elements of everyday life that would have been otherwise disregarded. the project focuses on the notions of the public and the private, the leftover spaces and the spontaneity of everyday life, highlighting the very thin limit between private and public, indoor and outdoor.
The basketball net was on of 7 different installations and many performance/installations like the crates’ play that were taking place along the whole studio.&#38;nbsp;Studio: BePublic/Appropriation 2018.Co-taught by Rana Haddad and Pascal Hachem. AUB.Students names: Mohamad Chami, Tala Salman, aha Barazy, Andrea Chaanine.


	Air Rights


A vertically mobile chair which ascends up an electricity pole. The pole exists on the edge of a security zone which dictates several conditions that include no visual access towards it. Due to these security issues a chair enjoys the full visual air rights of the city but you are not permitted to do so. 
A person on the ground is invited onto the chair and sits on it thinking he or she will ride up to the top and enjoy a panoramic view. However, when occupied, a system of sensors inhibits the chair from reaching the maximum height.&#38;nbsp;The ride deliberately frustrates the user and encourages him to question his air rights within the conflicted city of beirut. 
Since we are all human after all, we felt like breaking the rules whenever circumstances allowed us. To do so, we needed to monitor the patrolling security officers that were going round the block surveilling our actions. 
We needed to ensure 18 signatures from municipalities and public sectors for only a one day installation.Studio : Air Rights, BePublic/ Public Beirut, 2012. Co-taught by Rana Haddad, Carole Levesque, Sandra Richani, AUB.Students names: Youssef Ibrahim, Jana Aridi, Loulwa Achkar, Thea Hallak,&#38;nbsp; Micheline Nahra.


	[In]contemplation


The common interest stemmed out to investigate the lack of place that is provided by the city for the youth without having to spend any money that is how we chose the most public of all places in Mar Mekhail, Younes Jebayli staircase, known as the Vendôme staircase. The project entitled [In]contemplation, culminated with five different pieces scattered along the stairway despite the uniqueness of each piece; each conveys the relationship to the city that does not want you to linger, in relation to its own context.
	Studio:&#38;nbsp; Architectural Association Visiting School Beirut AAVS 2019.Co-taught by Rana Haddad and Pascal Hachem.Student Name: Abdo Khanachat, Yara Kamali, Lina Badda, Ralph Karam, Jamie Lau, Sama Beydoun.


	Between a Thought &#38;amp; Another
This installation on Jeanne D’arc street acts as a horizontal interactive memorial&#38;nbsp;which incites pedestrians to interact with it and experience the public and private dichotomy of the street.&#38;nbsp;The rotation of the installation highlights the causal and interdependent relationship between public and private as well as the past and present, expressing the inhabitants’ citations about what Jeanne D’arc street represents for them. All citations were carved on a stainless-steel metal sheet fixed to the ground. One could pedal in rotational movement while reading citations.


Studio: Between a Thought &#38;amp; Another, BePublic/Appropriation 2018. 

Co-taught by Rana Haddad and Pascal Hachem.

Students names: Tima Rabbat,Mariya Zantout, Tala El Khatib, Jad Najm.


	Nature’s Calling
“Nature’s calling: a play on senses” involved a clear attitude to ‘occupy’ empty plots of land within a dense city where public green space is rare and inaccessible. Students rooted a public telephone into a huge private, but unkempt overgrown plot within the city. The phone booth, a clear public street fixture that rings continuously until one leaves the street to pick up the phone managed to break the ‘private’ imaginary boundary edge. Instead of a person’s voice on the phone one hears a recording of nature sounds to reorient you into an abandoned overgrown plot. Behind the phone is a sunken seating area dug into the ground that allows you to sit with your eye at the level of the plants distilling the horizon of the city.
Can the city without planned public space overtake abandoned private land?&#38;nbsp;Studio: Nature’s Calling, BePublic/ Public Beirut 2012Co-taught by Rana Haddad, Carole Levesque, Sandra Richani, AUB.Student Name: Tracey Eid, Lamia Dabaghi, Hala Tawil, Mira Moussa, Sara Batal.
	

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		<title>Grassroots</title>
				
		<link>https://beirutshiftinggrounds.com/Grassroots</link>

		<pubDate>Wed, 14 Apr 2021 23:01:55 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Grassroots</guid>

		<description>

	Grassroots

	  
&#38;nbsp;

	   
	This short movie is a simple glimpse of what took place on the streets of Beirut in 2019. The outcome of these uprisings could not be narrated in a few minutes. Being on the streets brought back life to the city. 

To see people hand in hand, supporting each other, coming up with sustainable plans to save the city. Everyone was resisting a return to the past, a return to obsolete sectarian and political dynamics. 

Through the humanitarian aspect people were looking for new ways to rebuild a city for all, injecting a new way of living together. This short movie aimed at narrating samples of what&#38;nbsp; we experienced, yet will never be enough to tell the story of the past two years.


Movie by Rana Haddad
Footage and Photos credits: Pascal Hachem, Rana Haddad.

References: Amnesty International. Lebanon Censorship and freedom of expression. https://rb.gy/c9q2ij

Amnesty International. Authorities must protect peaceful protesters and respect their right to assemble. rb.gy/c9q2ij


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	Pulsing Grounds is an attempt to map the processes and acts behind Lebanon’s ongoing revolution. Computed based on a compilation of crowd-shared data, it aims to analyze the variety, intensity and scope of the collective actions that have charged the ground of Beirut since October 2019.&#38;nbsp; Through different layers of data mapping, the research composes a spatial and temporal narrative that retraces the momentum and hardship of the grass-root efforts. The narrative covers acts of one year and mentions different external factors that impacted the responses in terms of their frequency, type or location. The aim of the narrative is to offer a macro reading of the bottom-up actions in order to understand the underlying mechanisms and triggers of the pro-activeness and responsiveness of the grass-root efforts, and question their potential to scale, ripple and mature to long term systemic change.Mappings by Joanne Hayek in collaboration with Balsam Madi

Production: Hussein Zaarour, Stephanie Achkar, Mahmoud Baghdadi, Hisham Ismail, Hawraa el Husseini

References: Daleel Thawra, Liveuamap, Emerge Beirut, the961, Megaphone News, Akhbar el Seha.
	

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	<item>
		<title>Disintegration</title>
				
		<link>https://beirutshiftinggrounds.com/Disintegration</link>

		<pubDate>Wed, 14 Apr 2021 23:04:59 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Disintegration</guid>

		<description>

	Disintegration&#38;nbsp;

	
	Who we are today; citizens of Beirut, has nothing to do with whom we were before the 4th of August, 2020, at 18h08mn.

Beirut is trying to recover from an apocalyptic blast. A blast that no one can ignore or turn a blind eye to. As its consequences are far too violent.&#38;nbsp; Beirut has lived through many wars and attacks, got destroyed several times and yet this blast took things to a whole different level. 
Our city’s history eradicated, along with its fabrics and stories. 
All that make us and define each one of us simply vanished.&#38;nbsp; 

Memories ripped away in 38 seconds. 

	
	Disintegration / Making Of

	
&#60;img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/f0348c5b55f92d354a68536ee10371b2132ba57382992ac7fad903cd31d52d35/disintegration-making-of.gif" data-mid="107720347" border="0"  src="https://freight.cargo.site/w/595/i/f0348c5b55f92d354a68536ee10371b2132ba57382992ac7fad903cd31d52d35/disintegration-making-of.gif" /&#62;


	Acknowledging the 38 seconds.
Stretching 38 seconds over 120 hours:
120 nails, 
5 grided plates, each plate nailed 24 times, according to a grid. Meticulously and very accurately. from full expansion to maximum reduction.

Get a sketch book, cut it in two. combine them as one. Prepare the plates to be dipped in ink. 
Stamp normalcy
Stamp livelihood
Stamp excitement and vibrant life
Stamp identity 
Stamp expansion
Stamp a testimony of life
Stamp a testimony of interactivity
Stamp and press hard equally with both hands, make sure not to trespass the limit
Pause 
As we need to mourn
Pause 
As we need the scar

Stamp 
As we need not to forget
Stamp the absence
As we need not to stay in trauma
Stamp the absence
As we need not to have a memorial.

Stamp the absence 
As we need to count our losses.
Stamp until your hands bleed 
Don’t stop
Don’t surrender 
Cherish the scar
As we need to move on

Stamp the disappearance 
As we need time to meet the ghost 
A different city will emerge
The citizen’s rights to the city is “far more than the individual liberty to access urban resources: it is a right to change ourselves by changing the city” (Harvey, 2008).
The time has come for a transitional space.

	
	Concept, Text and Models: Rana Haddad. 

Production:&#38;nbsp; Rana Haddad, Soraya Hammoud. 
	

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	<item>
		<title>Synopsis</title>
				
		<link>https://beirutshiftinggrounds.com/Synopsis</link>

		<pubDate>Thu, 01 Apr 2021 11:16:27 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/Synopsis</guid>

		<description>
	Beirut Shifting Grounds


	Beirut Shifting Grounds is a research project led by Sandra Frem and Boulos Douaihy in collaboration with ArD/ AUB faculty Carla Aramouny, Rana Haddad, Nicolas Fayad and Joanne Hayek. It spanned over two years, simultaneously as&#38;nbsp;Beirut was going downhill with the collapse of its
economy, pandemic outbreak and finally the Beirut Port explosion. This very
same period was ripe with unprecedented activism, collective self-organization
and bottom up mobilization in the face of the pervading adversity. 


In such context, the project probes “how will we live together” by
foregrounding spatial practices at the ground level of Beirut that allow people
to adapt through uncertainty and change. 


Through four parallel narratives, the research focuses on manifestations
of improvisation, reclamation, and production that offer lessons of adaptation
and solidarity for the uncertain future. 


The human lens - it is all on the streets- presents four short films
that encounter the act of “being” in Beirut’s public realm through shifting
conditions: privatization, revolution and post-blast activism. 


The urban lens -
improvisation-&#38;nbsp; projects the life of 7
neighbourhoods in Beirut through transitional moments; narrating their urban
transformation, improvisations at their ground level, as well as indicators
that inform their urban pulse. This lens traces how
improvisations evolve to organized networks of solidarity after the Port Blast,
during the relief and reconstruction period.

The architecture lens – production- narrates Beirut’s built environment
through specific buildings and typologies of sections, reflecting on the
spatial modes of production that shaped Beirut’s ground until the Port blast,
and calling for new modes of collective production amid the post-blast
reconstruction. 


The temporal lens- reclamation- 
emphasize the agency of urban space to accommodate public expression
through a time-lapse of Martyrs ‘square, focusing on the metamorphosis of its
urban form, activities, public mobilization and its capacity to reinvent itself
through the different periods.


Together, the four lenses raise an open speculation on the architecture
of the ground and its proclivity to support collective appropriation, offering
the possibility of a city that still belongs to its inhabitants amid shifting
conditions.
	

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	Co-Habitats

	
Beirut Shifting Grounds is featured in the Co-Habitats section out of
competition of the 17th International Architecture Exhibition, How
will we live together? This section includes 12 Co-Habitats projects focusing on the themes of the Biennale Architettura,
developed by selected researchers in collaboration with academic institutions
from around the world.&#38;nbsp; 


 The installation
comprises two overlapping volumes: one that emerges from the ground and one that
is suspended from the ceiling. The base hosts three videos projecting
respectively the urban, architecture and temporal lenses. The suspended volume
features the project title and concept note, a timeline of change for Beirut
from 2000 until 2020 and QR codes meant to be scanned to access the four films
of the human lens. 


The exhibition opens both online and in Venice on 21rst
May 2021, at 11 am Venice time, 12 noon Beirut time. 


www.beirutshiftinggrounds.com 
will function as an online exhibition during the Biennale, to make the research
accessible to the general public.


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How Will We Live Together?


The 17th International Architecture Exhibition is titled How will we live
together? curated by Hashim Sarkis and organized by La
Biennale di Venezia.


“We need a new spatial contract – said Hashim Sarkis. In the context of
widening political divides and growing economic inequalities, we call on
architects to imagine spaces in which we can generously live together. The
architects invited to participate in the Biennale Architettura 2021 are
encouraged to include other professions and constituencies—artists, builders,
and craftspeople, but also politicians, journalists, social scientists, and
everyday citizens. 


In effect, the Biennale Architettura 2021 asserts the vital role of the
architect as both cordial convener and custodian of the spatial contract.” “In parallel, the 17th Exhibition
also maintains that it is in its material, spatial, and cultural specificity
that architecture inspires the ways we live together. In that respect, we ask
the participants to highlight those aspects of the main theme that are uniquely
architectural.”


 “The question, “How will we live
together?” is as much a social and political question as a spatial one.
Aristotle asked it when he was defining politics, and he came back to propose
the model of the city. Every generation asks it and answers it differently.
More recently rapidly changing social norms, growing political polarization,
climate change, and vast global inequalities are making us ask this question
more urgently and at different scales than before. 


In parallel, the weakness of the political models being proposed today
compels us to put space first and, perhaps like Aristotle, look at the way
architecture shapes inhabitation for potential models for how we could live together.”


“The Biennale Architettura 2021 is motivated by new kinds of problems
that the world is putting in front of architecture, but it is also inspired by
the emerging activism of young architects and the radical revisions being
proposed by the profession of architecture to take on these challenges. 


But more than ever, architects are called upon to propose alternatives.
As citizens, we mobilize our synthetic skills to bring people together to
resolve complex problems. As artists, we defy the inaction that comes from
uncertainty to ask “What if?”. &#38;nbsp;And as
builders, we draw from our bottomless well of optimism. The confluence of roles
in these nebulous times can only make our agency stronger and, we hope, our
architecture more beautiful.”


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	<item>
		<title>People</title>
				
		<link>https://beirutshiftinggrounds.com/People</link>

		<pubDate>Thu, 01 Apr 2021 11:20:10 +0000</pubDate>

		<dc:creator>Beirut Shifting Grounds</dc:creator>

		<guid isPermaLink="true">https://beirutshiftinggrounds.com/People</guid>

		<description>
	Sandra Frem


Lecturer at the American University of Beirut, Lebanese American
University and co-founder at platau &#124; platform for architecture and urbanism.
Working between academic research and practice, her work probes the overlays of
architecture, landscape, and practices of the urban environment to open up
speculations on their interdependence. She holds a SMArchS in Urbanism from the
Massachusetts Institute of Technology and a DES in Architecture from the
Lebanese University.


	Boulos Douaihy


Architect, geographer, activist and lecturer at Lebanese American
University. He is the founding principal of platau &#124; platform for architecture
and urbanism, a design research practice dedicated to expand the agency of
architecture at multiple scales, from material to territory. He holds a DES in
Architecture from the Lebanese University and a Master in "Environment et
Aménagement du Territoire" from Université St Joseph.


	Carla Aramouny 


Architect and assistant professor at the American University of
Beirut, Department of Architecture and Design, where she is founder and
director of ArD TechLab, a digital fabrication unit, and currently the
architecture program coordinator. Her work and research reflect on
intersections of architecture and the expanded environment. She holds an M.Arch
from the University of Pennsylvania, and a B.Arch from the Lebanese American
University.  
	

	Nicolas Fayad


Beirut based architect who completed his Bachelor in Architecture
at the American University of Beirut before earning a Masters in Architecture
with distinction from the Harvard University Graduate School of Design. He is a
founding partner at East Architecture Studio, a collective practice committed
to architectural design and experimental research. Nicolas is a senior lecturer
at the American University of Beirut and a visiting lecturer at the
Massachusetts Institute of Technology.


	Rana Haddad
An AA graduate, acquired the title of an activist as she practiced
architecture and design in post war Beirut. Starting 1997, her research
workshop was setup with the aim of questioning the ability of objects and
places to become means of political expression in Beirut. She is currently an
assistant professor at the American University of Beirut where she founded
BePublic Lab. In 2013, she co-founded 200Grs.
Recently the Victoria and Albert Museum, V&#38;amp;A in London, UK; acquired from
200Grs. the ‘Stuck Stick’ series.


Beirut Shifting Grounds is sponsored by the Department of Architecture and Design, and the Maroun Semaan Faculty of Engineering and Architecture at the American University of Beirut.


	Team


	Sandra Frem


Lecturer, ArD &#124; American University of
Beirut


Lecturer, SArD &#124; Lebanese American
University


Co-founder, platau&#124; platform for
architecture and urbanism


	Boulos Douaihy


co-founder, platau&#124; platform for
architecture and urbanism


Lecturer, SArD &#124; Lebanese American
University


	with


	Carla Aramouny &#38;nbsp;&#38;nbsp;&#38;nbsp; 


Assistant Professor of Architecture, 


ArD &#124; American University of Beirut


Rana Haddad &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 


Assistant Professor of Architecture, 


ArD &#124; American University of Beirut
	

Nicolas Fayad 


Senior Lecturer, ArD &#124; American
University of Beirut


	Contributors


Nayla Al Akl &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 


Associate Dean of Student Affairs &#124;
American University of Beirut 


Assistant Professor of Landscape
Architecture, LDEM &#124; American University of Beirut


Ahmad Nouraldeen
 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 


Visiting Assistant Professor, ArD &#124;
American University of Beirut


Co-founder &#124; snono studio


Joanne Hayek 


Senior Lecturer, ArD &#124; American
University of Beirut


Founder &#124; An Open Studio
	

	Production Team (Alphabetical Order)


Yara Abdallah, Nour Abdel Baki, Salameh
Abla, Rabih Arasoghli, Yasmine Atoui, Ghinwa Azzi, Michelle Azzi, Nour Balshi,
Mia Baraka, Taha Barazy, Lama Barhoumi, Christina Battikha, Mariana Boughaba,
Joseph Chalhoub, Annabelle Chebat, Dina Chehab, Araz Demerdjian, Gina Ghaoui,
Souraya Hammoud, Yara Haidar, Helena Homsi, Joanna Howayek, Ismail Hutet, Lynne
Khater, Tara Kanj, Karen Madi, Thea Maria Maroun, Carmen Matta , Careen Matta,
Nathalie Mounzer, Mohammad Nahle, Rayanne Njeim, Yasmine Saad, Clara Saade,
Lama Salameh, Tala Salman, Jana Semaan, Hala Stouhi, Lea Tabaja, Riad Tabbara,
Sarah Tannir, Nicol Yamin, Hussein Zaarour, Maya Ziade 


	Featured Student Projects by:


Nicolas Abou Haidar, Loulwa Achkar,
Lina Akkaoui, Mira Al Jawahiry, Luzan Al Munayer, Jana Aridi, Lina Badda, Sara
Batal,&#38;nbsp; Mia Baraka, Taha Barazy, Sama Beydoun,&#38;nbsp; Andrea Chaanine,
Mohamad Chami, Mustafa Chehab, Lamia Dabaghi, Tracey Eid,&#38;nbsp; Sari El
Kantari, Elie Geha,&#38;nbsp; Thea Hallak,&#38;nbsp; Soraya Hammoud, Farah Harake,
Youssef Ibrahim, Yara Kamali, Ralph Karam, Amina Kassem, Abdo Khanachat,
Ibrahim Kombarji, Jamie Lau, Jalal Makarem, Mira Moussa,&#38;nbsp; Shada Mustafa,
Micheline Nahra, Rami Saab, Marianne Safi, Tamara Salloum, Tala Salman, Hala
Tawil, Nicol Yamin, Carl Yammine,&#38;nbsp;Betina Abi Habib, Zeina Bekhaazi, Souha Boumatar, Mario El Khouri, Karen Madi, Tima Rabbat, Mariya Zantout, Tala El Khatib, Jad Najm


	Video and Photo Contributions by

	
Ali Chehade, Wissam Chaaya, Sandra
Frem, Louay Kabalan, Joanne Harik, Joanne Hayek, Rana Haddad, Rami Rizk, Hassan
Ammar


	Acknowledgments and Research Support

	
Archives and Special Collection Department at the Jafet
Library - American University of Beirut,&#38;nbsp; ArD Techlab - American
University of Beirut,&#38;nbsp; Arab Image Foundation, Beirut Urban Lab, Sursock
Museum Library and Archives, Emerge Beirut, Open Map Lebanon in collaboration
with Center for Research Computing's Spatial Studies Lab at Rice University,
Solidere


Antoine Atallah, Michael and May Davie, Fadi
Ghazzaoui, Balsam Madi, Camille Tarazi, Serge Yazigi

	
	We would like to additionally thank


Joumana Kreidi Nasr and Nour Najem
(Together LiBeirut); Maj. Elie Salem (BeirutFER); Joy Kanaan and Yasmine Dagher
(Beirut Heritage Initiative) ; Caroline Fattal, Sarine Anserlian and Roula
Achkouti (Stand For Women); Yasmina Skaff (The Women Collective); Michelle
Mouracade and Marina Chamma (AlFanar); Elisabetta Pietrostefani and Mayssa
Jallad (The Relief Center); Joana Dabaj (Catalytic Action); Lea Ghorayeb and
Jacques Matta (Baytna Baytak); Mariana Wehbe, Michelle Salamoun and Nour Farhat
(Beb W’ Shebbek); Tamara Saade; Evita Mouawad; Elie Mansour (UNHabitat); Michel
Semaan and Dorothea Wenzel (Ardkon), Arab Center for Architecture.


	Exhibition Implementation
Eiletz &#124; Ortigas ArchitectsAUB TechLab


Website by

	
	bananamonkey.
	
	
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