Reviving a Damaged Church In Beirut. Interview With Marine Bustros, Interior Designer

by Alexandra Mansilla

Reviving a Damaged Church In Beirut. Interview With Marine Bustros, Interior Designer

12 Feb 2025

Photo: Marwan Harmouche

Saint Maroun Church, established in the late 19th century, was severely damaged by the 2020 Beirut port explosion. However, it later became a vital refuge, providing food and shelter for those in need. Despite its resilience, the church was in urgent need of restoration — so interior designer Marine Bustros and Fadlo Dagher of DHP Architecture took on the challenge.

During the reconstruction, Bustros and Dagher managed to transform the church into a true work of art — or, as The National aptly described it, a "modern minimalist haven." While working on the renovation, they closely collaborated with the church’s priest — a process that Marine describes as a "transformative experience."

How has the church changed? Why was it designed this way and not differently? How did Marine Bustros and Fadlo Dagher manage to strike the perfect balance between heritage and modernity? I sat down with Marine Bustros to talk about the project, her other incredible work, and of course, her dream home.

— Hello Marine! Could you tell me how your journey in interior architecture began?

— It all began at a very young age, thanks to my mother, who is an art lover. From an early age, we would visit museums together, immersing ourselves in art and design. Those experiences sparked my passion and introduced me to the concept of beauty, shaping my appreciation for aesthetics and ultimately leading me to interior architecture

— What was the very first work you created as an artist? As an interior architect?

— My first-ever project was designing my office, located in the heart of Beirut, in a heritage building from the 40s. The main concept for the office was to modernise it while preserving its traditional architecture, incorporating bold colours in each room. My goal was to create a space that feels both fun and professional, offering an inspiring environment for work. I also wanted to maintain the original layout of the space, which follows the typical design of a Lebanese house, with the central living and dining areas at the heart of the house and the rooms positioned on either side. Even though this apartment was initially a residential space, keeping the original plan adds a sense of authenticity, making it feel welcoming and homey. It was a beautiful blend of vintage elements combined with modern touches, creating a balance between the building’s history and contemporary design.

Photo: Marwan Harmouche

— Were there any specific experiences or moments in your career that shaped your design perspective in a significant way?

— I wouldn’t say there is a specific moment, but rather that with each project I complete, I learn something new, and that shapes my design perspective. Each experience adds a layer to how I approach design. I also believe that design can be found everywhere, from the smallest object to large-scale spaces. It is the constant evolution of these experiences that has shaped my approach and continues to influence the way I see and create design.

— Storytelling seems to play a big role in your work. Do you aim to tell specific narratives through your projects? Could you share a few examples of projects that carry a story?

— Every project tells a story, and my goal is to bring the client’s story to life through design. For residential projects, I focus on translating the client’s way of living and personal history into the space. Some clients envision a warm, family-oriented home, while others prefer a sleek, artistic atmosphere.

Prunier Madeleine, Paris, France. Photo: Marwan Harmouche

Each project is unique because it reflects the identity of the people who will inhabit it. A great example of storytelling through design is the Prunier projects in Paris and Tokyo. It was essential to honour the brand’s rich history while making it feel contemporary. We highlighted key elements, such as the iconic mosaic wall, which we reinterpreted in a modern way to create a dialogue between past and present. For me, storytelling isn’t just about aesthetics; it is about creating spaces that feel authentic, meaningful, and deeply connected to the people or brands they represent.

Saint Maroun Church after restoration. Photo: Marwan Harmouche

— The restoration of the Saint Maroun Church after the Beirut port explosion is absolutely incredible and so important — thank you for doing this! What was your vision for the restoration? What did you want future visitors to experience, and why did you choose those particular colours? How did you want people to feel when they stepped into the space? Also, maybe there were some things that you wanted to avoid doing.

— This project was incredible in every possible way. I was truly honoured to work on such an important landmark and heritage space. The main vision was to approach the restoration in a modern way while still respecting the traditional architecture and elements. For example, we wanted to highlight the beautiful marble flooring by restoring it to its original glory. The wooden ceiling was kept as it was but painted in soft pastel tones, along with the doors and boiseries, to create a more serene atmosphere. We really aimed to introduce a soothing, fresh colour palette, stepping away from the cliché, traditional church colours like burgundy and dark tones. We wanted the space to evoke a sense of calm and reverence without being weighed down by overly dramatic or sombre hues.

— What did the very first sketch for the church restoration look like? Was it very different from what we see today?

— Funny enough, the first sketch was not very close to the final outcome. In the beginning, I wasn’t quite sure where to start, especially since it was my first time working on such a challenging project. I initially proposed something a bit more traditional, thinking I had to align with the conventional church designs and preconceptions. However, Père Richard encouraged me to think outside the box, and that is when the final concept truly came to life. His trust allowed me the creative freedom to reimagine the space in a way that felt both modern and respectful of its heritage.

1, 2 — Saint Maroun Church before restoration; 3 — work in progress. Photo: Mariana Wehbe Public Relations, @mb.designstudios

— Restoring the Saint Maroun Church must have been deeply emotional. What were some of the challenges you faced, both technically and emotionally, and how did you overcome them?

— I guess it is hard to let go of the past and reimagine a space that has always been there, a place you have visited countless times, and a reference and refuge for so many people. It was challenging to detach from those memories and think about the space in a new way. However, seeing the space almost collapsing after the explosion really helped us shift our focus. It reminded us that in order to move forward, we had to let go of the past and concentrate on creating something new, a space that would continue to serve and inspire future generations.

— In your opinion, what is the most critical part of restoring heritage buildings while adapting them for modern use?

— Definitely the foundations and ensuring that they are strong enough to support any modifications. In heritage buildings, it is often difficult to modify the foundation, so sometimes you have no choice but to work around it.

Saint Maroun Church after restoration. Photo: Marwan Harmouche

— Is there a project you have worked on that you feel especially connected to? What makes it so meaningful for you?

— Yes! The first project I ever worked on holds a special place in my heart, The Noura Project in Downtown Beirut. Noura is one of Lebanon’s oldest and most beloved bakeries, chocolate shops, and catering brands, serving generations for over 75 years. The challenge was to evolve the brand while preserving its legacy, ensuring it resonated with both long-time customers and the new generation.

Initially, the client had already chosen an architect, but they later decided to hold a competition between three firms. I was thrilled to be part of it — and even more so when I won! It was an incredibly exciting phase, marking the beginning of my career. Seeing the design come to life and witnessing its success was immensely rewarding. To top it off, the project earned me the German Design Award, which was a huge honour.

This experience was meaningful not only because it was my first project but also because it allowed me to bridge tradition with modernity in a way that truly resonated with people.

Noura Flagship Store, Downtown Beirut, Lebanon. Source: marinebustros.com

— Do you have any dream projects or collaborations you would love to take on? Feel free to name anything — even something that doesn’t exist or seems impossible!

— I would love to collaborate with artists to create a large-scale sculptural installation, something that blurs the line between architecture and art, transforming public spaces into immersive experiences. I believe art has the power to engage, inspire, and bring people together, and designing something monumental with an artist would be an incredible challenge.

On a completely different but very meaningful note, I dream of designing sustainable housing solutions for the poor people in my country, especially after the country went through over these past few years. It is something I feel deeply about: finding ways to provide dignified, functional, and environmentally responsible shelters for those in need. I would love to explore innovative, cost-effective building methods that empower communities to take part in the process, creating a real and lasting impact.

Both of these projects, in their own ways, reflect my passion for using design to shape experiences and improve lives.

"Mobile" by Marine Bustros. Photo: Marwan Harmouche

— Your art installation Mobile, inspired by champagne bubbles, is so intriguing. Could you tell us more about it? What was the idea behind it, how did it come to you, and how long did it take to bring it to life?

— I originally created а for an engagement party, inspired by the essence of celebration and festivity. When thinking about how to visually capture that feeling, I asked myself, what is more symbolic of a joyful moment than popping a bottle of champagne? That is when the idea of champagne bubbles took shape. I wanted to translate that fleeting, effervescent moment into a sculptural installation, giving it an artistic and dynamic presence. Each metal ring is suspended by transparent threads at varying heights and depths on a plexiglass panel, creating the illusion of floating bubbles. The interplay of light and shadow enhances the sense of movement, making the piece feel alive, just like the excitement of a celebration.

Bringing it to life was a meticulous process, as achieving the right balance and visual harmony took time, but seeing it come together was incredibly rewarding. It remains a special piece because it captures both the spontaneity of a toast and the craftsmanship of a carefully designed installation. And in the end, it remained as a sculptural element.

— As an interior architect, I imagine you have a stunning home. What does it look like?

— My home is an eclectic blend of "coup de cœur" pieces, every object, whether it is a vase, an armchair, or a painting, is something I fell in love with at first sight. I carefully arrange them to create a harmonious yet unexpected mix. Even though many of these pieces come from different eras and styles, I love the challenge of blending them together in a way that feels cohesive and personal. For example, you might find a 1960s Scandinavian bookshelf next to an ornate oriental mother-of-pearl mirror alongside my Soleia armchair, all surrounded by carefully curated artwork that ties everything together. I believe that a home should tell a story, and for me, that story is about embracing contrasts and finding beauty in the unexpected. Somehow, it all just works!

— And if you had the chance to design your dream house, what would it be like? Where would it be, and what would make it truly yours?

— My dream house would be in the south of France, overlooking the sea, a place where history, nature, and design come together seamlessly. I would love to renovate an old villa, preserving its charm and traditional character while modernising it in a thoughtful way. The interiors would be a mix of vintage and contemporary design, blending timeless craftsmanship with modern comfort. Every room would be filled with carefully curated art pieces. The heart of the home would be the garden, designed as a sculpture park, a space where art and nature coexist, leading you through a journey of discovery with breathtaking sea views as the backdrop. A place where history meets creativity and where every corner tells a story.

by Alexandra Mansilla