Stone has always been more than a material — it is memory made visible, formed over millions of years and shaped by human hands into temples, monuments, and cities. In Lebanon, where stonecraft is part of cultural identity, this legacy takes on new life in Fragmenta, a project that transforms what was once considered waste into a platform for imagination.

Founded by Nour Najem and Guilaine Elias, and curated by Gregory Gatserelia, Fragmenta began in the archives of Najem Group, a family-run stone manufacturer active since 1981. There, among forgotten offcuts and broken slabs, designers found a treasure: fragments with centuries of geological history, awaiting a second life.

For its first edition, the project invited 49 artists and designers to work with these discarded pieces. The exhibition, staged inside the factory itself, unfolds across five thematic spaces: from contemplation and spolia to craftsmanship, raw materiality, and a cosmic portal where stone becomes almost spiritual.

This debut marks the start of a travelling exhibition that will spread across Beirut in October (the locations will be announced soon), positioning Fragmenta as both a celebration of heritage and a bold statement about sustainable design.

We spoke with founders Nour Najem and Guilaine Elias, and curator Gregory Gatserelia, to uncover how Fragmenta was created, what surprised them along the way, and why forgotten stones can still shape the future. By the way, while we were talking, Nour and Guilaine were walking across the construction site, weaving their way between towering blocks of stone!

— Nour, Guilaine and Greg, how did it all begin with Fragmenta? And how are you all connected?

Greg: We discovered what I call patrimoine — a treasure that had been forgotten and stored away. During our first visit to the factory, we spotted it and asked Mr. Najem if he had more. He said, I have so many.

I asked what he was doing with them, and he replied, They are just stored here. I thought it was such a pity, because these pieces were created by skilled artists. They deserved to be brought back to life.

That is how the idea came: to invite artists to choose these pieces and create something new with them. It became a kind of resurrection — a rebirth of what was forgotten. Once left in purgatory, now we are bringing them back to heaven.

Nour: We have known each other for a couple of years as friends, and we connected quickly through our artistic and design backgrounds.

Greg always comes up with ideas, the way he does, saying: I think this could be something interesting. He suggested visiting the factory to be sure, so we walked through it together. After that, he said, Yes, now I’m sure.

It started as something simple, then grew quickly, almost like a snowball. The factory generously opened not only their doors but also their archives, which is unprecedented. Usually, factories only share pieces without much value. But with Fragmenta, we were given extraordinary, intricately carved works in all kinds of precious materials, placed entirely at the disposal of the designers.

It has been a beautiful journey!

— When did you start this project?

Greg: We spotted those pieces almost a year ago. By the time we made the selection, displayed them, and invited the artists, there was some initial confusion. But once they arrived, they understood exactly what we meant.

It was almost like visiting a humane society for abandoned pets: you walk in, and you choose the one that speaks to you. The artists did the same — picking a piece that resonated with their emotions, their narrative, their way of storytelling.

The process took time. Designers would come, select their pieces, put their names on them, and then step back to reflect. They asked themselves how to transform these fragments into something more elaborate — an artwork, whether functional or purely aesthetic.

It was a long journey, and the artists became deeply involved. In many ways, they took over, shaping the direction and working closely with everyone.

— So you had 49 designers. How did you choose them? Was it an open call?

Nour: It wasn’t really an open call. At first, we didn’t know where the project was going. We began with our friends, and from one person to the next, we realised — there was something there. Then the big names joined, and soon everyone came along.

— Since Fragmenta is all about stone, could you share your personal experience with it? Is there something about stone that amazes or inspires you?

Nour: By the way, this year, Fragmenta is dedicated to stone! Next year, it might be something else!

Guilaine: For me, stone has always been about the pebbles you play with as a child. I have two children, and it is one of the main games we share together, whether at the beach, in the mountains, or wherever we are.

Greg: What amazes me about the stones is that when we pick up a stone, we sometimes forget it has existed for millions of years. When we relate to something man-made, it might be a few hundred years old — three hundred at most. But with stone, we are dealing with a material shaped over millions of years by geological events on Earth. It is, in that sense, a noble material.

— Guilaine, I noticed on Fragmenta’s Instagram that while most designers were alone in the photos, you were there with your son. How exactly did he participate in the project?

Guilaine: First, my eldest son has a collection. Everywhere we travelled, he would pick up a stone. He kept them in a small treasure box, and we used to visit stone museums together.

Second, it was actually Greg’s idea! My son is very creative — he has an imagination that never stops. Wherever he is, whatever he is doing, he always finds a way to create something. When Greg met him, I think he saw that spark and, as usual, came up with the idea to include Alex.

The process has been really fun. My son has taken it very seriously, almost like a passion. Wherever we go, he starts building something, telling me, This is exactly what I want to do, and creating stories around his piece. As a designer, I have tried to support him as much as possible.

Greg: I had to say it one more time. Alex is very talented!

— Great. Now I would like to ask each of you, just to give our audience a clearer portrait: could you tell me about the works that really stand out for you? It could be the piece itself, or maybe a story connected to it — something that has stayed with you.

Nour: There are so many stories, but what matters most is the process. For every piece that will be shown at the exhibition, the journey was a little like the process of birth. At first, most designers were overwhelmed by what they saw. Then they took time to reflect, came back with ideas, and engaged in a lot of give and take. Some even spent long hours here at the factory, building the pieces themselves by hand.

To see the works being installed today feels like witnessing a birth. The designers are so happy with the process and excited for the press dinner tomorrow. It is truly heartwarming to see, especially in this environment. Everything is presented in situ, immersed in the place itself.

Gregory: Nour and Guilaine know I have a favourite artist — Tara Jane Tabet. I first met her at the Totem event, and I loved everything about her — the person, the character. I later brought her into Fragmenta, and from day one, she was deeply involved. She only finished a week or two ago, after spending days on site, working under the heat, cutting piece by piece, and building her work.

She was completely immersed in the process, and she has such a clear vision. I was truly impressed — not only by the result, but also by her dedication and her presence.

Nour: Let me add. All the works are so interesting, which made us divide the exhibition into five themes.

One theme draws on the old Greek concept of spolio, where fragments of churches were reused in new buildings — a category many designers embraced.

Others explored craftsmanship — everything made by hand — even transposing techniques usually used for wood onto marble, which was not easy. Some went into contemplation and meditation, creating a spiritual journey that was beautiful to witness. Others respected the rawness of stone and made only minimal interventions.

And, as Greg said, stone has been around for millennia. It has shaped humanity in countless ways. Some designers emphasised this timelessness, presenting stone as a gateway, almost a portal to the universe. Each approach was truly beautiful.

Gregory: And I remember one of the artists who knew her piece wouldn’t be able to be sold, but she still wanted to express her concept and her vision on two or three blocks of stone.

It is more about presence than function, but it is amazing. She took the risk of creating something that might never be sold, simply to leave a passage here and to articulate her talent.

— What is the oldest stone you found there?

Nour: There are a couple of pieces that are clearly very old, and two designers are using them. One is being used by Raed Abillama, and the second by Mary Lynn and Rasha, who are working with ceramics.

And one more thing I want to share with you: we also created a space, almost like a temple, with blocks of stone where we will host the dinner. The chef is a finalist of the Bocuse d’Or competition in France — she is an incredible cook. She will be serving food not on plates, but directly on blocks of stone.

Also, the seats are stunning — some are fragments that the designers themselves chose to work with. And between the blocks, there are little surprises waiting to be discovered.