The Journey Of Khalil Khouri As Seen By His Son And Grandson

by Alexandra Mansilla

The Journey Of Khalil Khouri As Seen By His Son And Grandson

26 May 2024

The Interdesign building in Beirut was designed by the prominent modernist architect and designer Khalil Khouri in 1973 and completed in 1996 to showcase the furniture he produced for international markets. During We Design Beirut (today is the last day of this unique experience), you have the opportunity to explore different corners of the building, see numerous architectural drawings and models, artworks, furniture pieces, and prototypes by Khalil Khouri, and simultaneously learn more about his life.

The exhibition, called "All Things Must(‘nt) Pass: A Subjective Recount of Khalil Khouri’s Life and Career as a Designer," is curated by his son and grandson, Bernard and Teymour Khoury. We asked them a few questions.

Photo: Walid Rashid

— The name of the exhibition is "All Things Must(n’t) Pass." Why so?

Bernard: "All Things Must(n’t) Pass" echoes “All Things Must Pass”, the title of the triple album George Harrison released in 1970 after the breakup of The Beatles, which had not featured the majority of his compositions in their albums. As he was completing this compilation, Harrison had to temporarily pause in order to stay by the side of his dying mother. “All Things Must Pass” is actually the title of a poem by Timothy Leary which means that every situation eventually ends.

As we feel that some very important chapters of our territory's history have been forgotten, we have added (n’t) to keep the memory of our father and grandfather alive.

— Bernard and Teymour, you said: “This is our story of our father, grandfather, and his passion for aeronautic engineering, flying, painting, hunting, politics, industrial design, architecture, birds. And above all, the female figure.” Can you describe Khalil Khouri as a father and grandfather?

Bernard: Impossible to frame Khalil as a father, at least according to consensual definitions.

Teymour: I only briefly met my grandfather Khalil during my childhood, but I came to know him more deeply through his work, his architecture, and the many stories that surrounded him. The most fascinating aspect for me was the discovery process itself — unveiling his aspirations, passions, talents, and fantasies through his creations.

— Can you recall any situation with Khalil that still stays with you?

Bernard: One early morning, on my way out to catch my school bus, I saw my father coming back home. I told him that I was terrorised about my upcoming day at school. He didn’t let me go and took me along with him for the whole day. This is probably my happiest and most beautiful childhood memory.

Interdesign building. Photo: Walid Rashid

— For you, what part of the Interdesign building is the most significant, impressive, or emotionally connected?

Bernard: Honestly, so many… its heroic beginnings, its incredibly inventive architectural propositions, and its tragic fate.

— How would you describe the Interdesign building in three words?

Bernard: Heroic, courageous, radical.

Parts of Interdesign building. Photo: Walid Rashid

— Do you know the story of the creation of the Interdesign building? How long did Khalil work on it? What was on this site before?

Bernard: The building was conceived in 1973 to showcase the furniture he produced. Construction started in 1975 and was halted by the Civil War. It was finally completed in 1996. When Khalil took possession of the land, the site was an empty plot.

— What is inside the roof of the building?

Bernard: The building's roof contains the administration plateau, a small meeting room, and the manager’s office. I guess you could call it the “head” of the building.

Interdesign building. Photo: Walid Rashid

— Again, referring to your words: "This is not an objective account of the history of our territory. This is our story of our father, grandfather, and his passion for aeronautic engineering, flying, painting, hunting, politics, industrial design, architecture, birds.. and above all, the female figure.” Can you name a specific artwork in the exhibition that reflects all his passions?

Bernard: This exhibition features close to 300 pieces. These include architectural drawings, models, artworks on various mediums, and furniture pieces.

The exhibit includes many drawings of the female figure, which are sometimes merged with compositions and drawings of his furniture designs, which were certainly affected by the curvy nature of the bodies.

Photo: Bernard Khoury

— Among all Khalil’s works that will be exhibited during We Design Beirut, which is your favourite? Why?

Bernard: Honestly, it is difficult to single out a “favourite” piece or design among Khalil's works, as they are all part of a cohesive and diverse body of work. Each piece — whether it is architecture, furniture, or drawings — contributes to a broader narrative. This exhibition is like a tapestry, with each piece adding its own unique element to the overall story of Khalil’s design journey.

The event provides visitors with the opportunity to delve into the essence of what shaped Khalil’s work. It showcases the way his visions were articulated through various mediums, allowing one to appreciate the full spectrum of his creativity and passion.

Photo: Bernard Khoury

— Can you describe the path visitors will take through the exhibition? Will it be organised by dates, topics, or something else?

Bernard: The exhibition starts with an architectural presentation of the building. It is followed by a brief overview of his personal and professional life after which his work is displayed on 18 plateaus. The sequence is organised chronologically from his early architectural works and drawings through the beginnings of his industrial designs and the later mass production years. Artworks of various mediums are scattered throughout the plateaus. It is important to note that Khalil never showed his art in any professional context. He drew and painted for his own pleasure, with no intention of ever monetising his work.

Photo: Bernard Khoury

— How would you describe Khalil Khouri’s impact on the culture of Lebanon and even world culture?

Bernard: Khalil Khouri was a pioneer in driving Lebanon's modern architectural and design movement. The challenge of nation-building in Lebanon, combined with pan-Arab visions of emancipation and social progress, sparked a desire for modernity in the years following the country’s independence.

During this period, Lebanese society's cultural aspiration for modernity was expressed through innovative architecture, focusing on constructing state institutions and civic buildings for the newly independent state. Khouri, along with other young Lebanese architects such as Maurice Hindie, Raoul Verney, and Grégoire Serof, brought creative interpretations and intellectual experimentation to their work, emerging from architectural schools with fresh, progressive ideas.

Khalil Khouri's impact lies in his pivotal role in shaping a modern Lebanese architectural identity while also contributing to a broader global dialogue on culturally integrated design.

by Alexandra Mansilla