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Finance

To fee or not to fee

by Ziad Ghandour July 14, 2015
written by Ziad Ghandour

The question of whether banks should structure their incomes on the premise of interest alone has long been answered in the negative. Diversification of risks and revenue streams have led institutions far beyond being mere lenders to generating income from services, transaction fees, trading, money management fees, commissions and the like. Even before the Great Recession, noninterest income had been researched in literature with a focus on its linkages to profitability and risks. Executive looks at several aspects of noninterest income in Lebanese alpha and beta banks over the past few years.

From 2002 to 2014, the number of ATMs in Lebanon nearly trebled from 582 to 1,569 at yearend. These figures are not just impressive; they illustrate a major trend in banking — the pursuit of noninterest income as a way to diversify banks’ revenues. While most banking income still comes from old fashioned lending activities, income from nonlending sources has come to play a superior role over the last decade.

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In total, Lebanese financial sector income attained double digit growth from 2002 to 2012, except during 2004, 2006 and 2007. Moreover, it surpassed the growth of net interest income for the same period, except from 2006 to 2008, where the latter reached its peak during 2006. Furthermore, the growth interest income (interest paid on loans) demonstrated lower levels compared to commission fees per four years.

Alpha banks have a competitive advantage over beta banks as the former held around 87 percent as a stake of assets out of the total Lebanese financial sector in 2012. Moreover, alpha banks offer investment banking services, besides their ability to select high quality clients and operate branches abroad. Research indicates that banks, whether alpha or beta, should seek to increase noninterest income in order to reduce risk — that is, diversify. Matthias Köhler, a researcher at the German central bank, examined the impact of noninterest income on the German financial sector and found that small banks should lean more on noninterest income, whereas larger banks with investment tools are already more diversified. He added that there is almost no correlation between noninterest and net interest income variables. Therefore, banks could be diversifying to become more stable by adding revenue streams from noninterest income.

Noninterest revenues have a unique habit of stabilizing the source of income, as opposed to interest income on loans, which is much more variable and reliant on market conditions. For instance, noninterest income will be much less affected by a shrinkage in GDP or interest rates. According to research from the Australian School of Business at the University of New South Wales, banks should seek diversification in noninterest income activities in order to make the banking system more robust in ‘high concentration’ countries (i.e. where banks have a competitive environment). They added that noninterest income can act as ‘ring fencing’ and can significantly reduce systematic risk. In 2012, the return on assets (ROA) for the Lebanese banking sector stabilized, but it lagged behind its record from 2010. While, it almost doubled from 2002 when it was 0.53 percent, reaching 1.01 percent during 2012, from 2010 to 2012, both alpha and beta banks showed a slightly decreasing trend in ROA. Both have sustained a yearly growth in total assets (mainly loans) but for alpha banks net profits plummeted during 2011, whereas for beta banks it showed shrinkage during 2011 and 2012.

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Noninterest income and revenue

For the Lebanese banking sector, the portion of noninterest income to net revenue rose from 26 percent to 38 percent from 2002 to 2012. This trend not only assisted in lifting bank profits, it also gave banks the capability to diversify their sources of revenue and reduce risk. For alpha banks, the ratio dropped from 34.2 percent in 2010 to 32.9 percent in 2012. For beta banks, on the other hand, the ratio rose from 27.7 to 32.7 percent over the same period.

Money generation

Certainly, there are vital differences in earnings between the alpha banks, which hold the large stake of assets, and beta banks, which constitute the mainstream of banks in Lebanon.

The large variance in profitability between alpha banks ($2 billion or more in total deposits) and beta banks concerns noninterest income. Noninterest income made up an average of 15.3 percent of total income in alpha banks between 2010 and 2012, compared with 14.7 percent for beta banks.

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Noninterest expenses have expanded due to an increased number of branches and staff in both alpha and beta banks. For instance, the percentage of staff expenses to general operating expenses inflated from 51.6 percent in 2010 to 53.2 percent in 2012. Furthermore, the number of branches has increased by 13.2 percent from 2010 to 2012 for alpha banks. Hence, a common indicator of a bank’s expense supervision is its efficiency ratio. It measures how much produced income is generated by efficiently using the cost — that is, overhead expenses. Banks are more cost efficient if they have a lower ratio. This ratio stood at 60 percent for the entire sector in 2002. From there, it decreased slightly and stabilized at around 50 percent from 2010 to 2012.

The efficiency ratio for beta banks from 2010 to 2012 surpassed that of alpha banks. Unfortunately, both have reported an increasing trend of efficiency ratio, which illustrated a less cost efficient contribution.

These observations support some interesting considerations. First, the surge in utilizing noninterest income by alpha banks could make their earnings less elastic to changes in interest rates, all else being equal. Thus, stability can be viewed as a function of a bank’s ability to earn noninterest income and diversify more. The increase in noninterest income has rehabilitated revenue sources for Lebanese banks. These trends have been connected with record profits and embody the exploitation of new technologies.

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Second, beta banks’ relatively high dependence on income from loans could be problematic in the future due to increased competition. Alpha banks, for instance, could make use of new technologies and their affiliates’ locations to offer loans to the current customers of beta banks. Thus, the latter need to seek other revenue streams to have a stable income and substitute the reduced amount earned from lending.

Finally, in the current situation, noninterest income should compensate for declines in banking conditions. Noninterest income will grow at faster rates when losses are increasing and heightened levels of noninterest income should steady banks’ revenue streams and help the industry better weather the uptick in losses.

July 14, 2015 0 comments
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Editorial

Schizophrenic policymaking

by Yasser Akkaoui July 14, 2015
written by Yasser Akkaoui

When the economy slows, unemployment rises and consumption slumps, smart policymakers blow the dust off their Keynesian economics books and try to figure out which amount of government expenditure coupled with tax cuts would make optimal capital available to stimulate a prosperous cycle. Meanwhile central bankers decrease interest rates to make sure that this same capital does not end up in savings accounts. It worked in the US, Europe is getting inspired but of course our policymakers still find economics a bewildering topic.

While our successive governments have, for the most part, failed to do their jobs, to his credit, central bank Governor Riad Salameh has stepped up to the plate. The Lebanese central bank has actually done things in the past three years to incentivize economic growth. What is out of the ordinary is that Salameh’s stimulus packages that have helped the economy inch forward are Keynesian at heart.

Simply put, Salameh was ingeniously able to think beyond monetary policy into the fiscal policy sphere, thus triggering expenditure using central bank initiatives despite our dollar peg and current global interest rate environment both tying his hands. But we will need much more to continue weathering a storm that does not seem likely to blow over anytime soon. We need a courageous government to decrease taxes so that people and corporates have more capital to spend or invest.

At a time when companies are suffering and tourists are not coming in the numbers we saw five years ago, the government must allow companies to return to profitability. Companies must invest what they are earning to grow and employ while we all need to make sure that our politicians keep their hands out of our pockets, gambling with our sweat on their political agendas.   

July 14, 2015 2 comments
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Real estate 2015: All puffed up

Less bang for less buck

by Executive Editors July 12, 2015
written by Executive Editors

The Research Department at RAMCO sarl has been compiling data on the residential market in Beirut for several consecutive years: the number of residential projects being built, their total size (referred to as built-up area), their prices, their sales ratios, etc.

The evolution of this data over the last three years (2012 to 2014) reveals a sluggish demand, a decrease in the average apartment size and an increase in the unit price of unsold apartments.

The data collected is for residential buildings in Municipal Beirut completed at the end of each year between 2012 and 2014. Data was collected for projects that posted an asking price of around $3,000 per square meter (SQM) or above on the first floor, as projects within lower budgets tended to sell out off plan or relatively early in the construction process, and rarely offered reliable information on sales ratios.

Shrinking apartment sizes

The most striking finding is the drop in the average size of apartments completed between 2012 and 2014, with apartment sizes shrinking by 18 percent during this time. Apartments went from measuring 343 SQM on average in 2012 to just 283 SQM for projects completed in 2014. This is clearly reflected in an overall supply of built-up area (BUA) shrinking at a much faster pace than the total number of projects or apartments.

In parallel, the average size of apartments that were not sold in projects completed at the end of 2014 remains high. This means that larger apartments have the most difficulty in finding buyers.

In 2012 and 2013, the average size of apartments that remained unsold at the end of the year was smaller than the overall average size of apartments completed in those two years. In 2014, however, the average size of unsold apartments was about 10 percent larger than the overall average size of the total number of apartments completed during the same year.

The trend clearly points towards higher demand for smaller apartments in 2014. Smaller apartments sell faster than larger ones, which then remain on the market, dragging the curve of average sizes of unsold apartments up.

July 12, 2015 0 comments
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CommentOpinion

Less bang for less buck

by Karim Makarem July 12, 2015
written by Karim Makarem

The Research Department at RAMCO sarl has been compiling data on the residential market in Beirut for several consecutive years: the number of residential projects being built, their total size (referred to as built-up area), their prices, their sales ratios, etc.

The evolution of this data over the last three years (2012 to 2014) reveals a sluggish demand, a decrease in the average apartment size and an increase in the unit price of unsold apartments.

The data collected is for residential buildings in Municipal Beirut completed at the end of each year between 2012 and 2014. Data was collected for projects that posted an asking price of around $3,000 per square meter (SQM) or above on the first floor, as projects within lower budgets tended to sell out off plan or relatively early in the construction process, and rarely offered reliable information on sales ratios.

Shrinking apartment sizes

The most striking finding is the drop in the average size of apartments completed between 2012 and 2014, with apartment sizes shrinking by 18 percent during this time. Apartments went from measuring 343 SQM on average in 2012 to just 283 SQM for projects completed in 2014. This is clearly reflected in an overall supply of built-up area (BUA) shrinking at a much faster pace than the total number of projects or apartments.

In parallel, the average size of apartments that were not sold in projects completed at the end of 2014 remains high. This means that larger apartments have the most difficulty in finding buyers.

In 2012 and 2013, the average size of apartments that remained unsold at the end of the year was smaller than the overall average size of apartments completed in those two years. In 2014, however, the average size of unsold apartments was about 10 percent larger than the overall average size of the total number of apartments completed during the same year.

The trend clearly points towards higher demand for smaller apartments in 2014. Smaller apartments sell faster than larger ones, which then remain on the market, dragging the curve of average sizes of unsold apartments up.

Shrinking Budgets

The average unit price of apartments that remained unsold in completed projects at the end of each year has also been rising slightly. Thus, in 2012, the average unit price of unsold apartments stood at $5,575 per SQM. It dropped to $5,351 per SQM in 2013. In 2014, the unit price went up again to $5,682 per SQM.

This information reinforces the trends found in the statistics on apartment sizes — data clearly shows that the more expensive apartments are those that are the most difficult to sell. Apartments that remained unsold after the projects were completed lie within a similar overall average budget, varying between $1.5 and $1.8 million per apartment across the three years.

Sluggish Demand

Overall sales ratios have dropped from 82 percent in 2012 to just 75 percent in 2014, indicating a clear slowdown in the market. The ratio of unsold apartments over the overall number of apartments has increased from 18 percent in 2012 to 22 percent in both 2013 and 2014. A higher portion of apartments completed in any given year thus remained unsold.

Demand is obviously low and the data confirms this trend. The information gathered is for apartments in projects completed within a single year. Apartments that were completed in previous years and still not sold are not accounted for in the table featured. However, these units were also on the market and thus the effective number of apartments that were offered for sale was in fact larger than the figures shown in the table.

Selective Demand

The figures do indeed tell a rather gloomy story. However, when put into proper perspective, they may not seem so worrisome. The political and security situations have been highly volatile — a vacant presidential seat, a divided government, a Parliament that meets only occasionally, violent militia fighting each other a stone’s throw away from the country’s borders and sometimes even within them. Within such a context, the performance of the residential real estate market is actually reassuring.

It should also be pointed out that these figures concern neighborhoods within the city limits of Municipal Beirut, where price increases over several consecutive years have forced a large chunk of the local clientele out of the market. Many buyers have been looking to other, more affordable suburban areas a few kilometers north or south of Beirut which continue to thrive.

Demand may thus have slowed down but it has not ceased to exist. Within Beirut, demand has shifted towards smaller budget spaces — well designed, clean, small apartments at more affordable prices, leading buyers outside the capital city in search of more affordable housing.

July 12, 2015 0 comments
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DesignFashion

John Lobb’s Bespoke shoes

by Sara Ghorra July 2, 2015
written by Sara Ghorra

In today’s fast paced, consumption-driven world, where the dominant trend is to constantly acquire more belongings, some people find themselves longing for stillness, visible authenticity, uniqueness and timelessness in their closet.

GR8_8147Luckily for the gentlemen who have climbed the ladder of success and have reached far beyond the stages of physiological, security and social needs, as per Maslow’s Hierarchy, there exist some (very) expensive yet ageless products on the market that will allow them to feel pampered subtly while simultaneously offering them a trip down memory lane and a return to some fading traditions of grandeur.

Indeed, only a few decades ago a trip to the tailor’s was one of the modern European man’s necessary diversions. He would spend hours with his tailor as if he were an old friend, enjoying this moment of relaxation with a cup of tea and some conversation, anticipating the joy of a beautifully fitted suit while having his measurements taken by a skilled craftsman. This tradition has regrettably fallen by the wayside as the continuing globalization has made mass-produced fashion more widely and readily accessible, resulting in a dramatic increase in production speed and consequently a major loss in the art of personalization.

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Fortunately, some well-established enterprises offering original made-to-order garments have survived. One of them is John Lobb Bootmaker. Some 150 years ago, the founder of the company with the same name was appointed official shoemaker to the Prince of Wales due to the high quality craftsmanship of his stylish, durable and comfortable handmade shoes and boots for men.

GR8_8141In 1976, John Lobb & Co. became part of the Hermès Paris Group and has since been increasingly able to offer a wider audience some of this vanishing heritage: bespoke shoes. Although John Lobb Beirut boutique, found in downtown Beirut, first opened its doors back in June 2013, it wasn’t until last month that the bespoke section was introduced during one of the master bootmaker’s visits from the company’s workshop in Paris.

Despite the fact that John Lobb offers ready to wear collections as well as a “by request” service for customized shoes, it is the bespoke offering that is the most unique. These shoes are designed and manufactured according to the exact shape of an individual’s feet, his lifestyle needs and according to his own sense of panache. The service gives any man willing to pay for a premium quality, durable, personalized shoe — average starting price is $6,000 — the opportunity to acquire what is essentially a practical piece of art.

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Since every element of the shoe can be made as per request in terms of outer and inner colors, type of leather, sole, etc., it is up to the client to get creative. After all, a bespoke shoe is a reflection of the personality of the wearer.

So dear affluent men, now is your chance to invest in a long term relationship with a symbol of classic elegance and individuality while also making a daring statement. It can always be just a shoe, but it could also become a tangible reminder to yourself and others of your success!

Photographs By: Greg Demarque

July 2, 2015 0 comments
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Art & CultureMuseums & Galleries

Beirut’s Opera Gallery

by Sara Ghorra July 2, 2015
written by Sara Ghorra

1A visit to an art gallery can be a fascinating journey where one gets to discover and explore through each piece of work an intriguing array of nuanced feelings and complex thoughts embodied in paintings, photographs, sculptures or other media, all offering a subtle glimpse into the unique creative minds of the artists.

And that is why it is such a delight to visit the Opera Gallery. Part of a network of contemporary galleries with a worldwide presence, it recently opened its 12th space in Downtown Beirut’s Foch Street.

From the moment you step into the gallery you sense that you are in for a treat, exposed to an impressive collection of singular large pieces, each distinctly different from the other in terms of medium, genre, style and character, yet all equally imposing. And no matter your taste, preferences and affinities, they all seek your attention.

2While you won’t necessarily be moved by every single piece you examine, you cannot but appreciate the richness of the gallery’s offering. From the recognizable styles of Pablo Picasso, Henri Matisse, Jean Dubuffet, Fernando Botero and other master artists, to established artists that Lebanese connoisseurs are sure to appreciate such as Lita Cabellut, Mauro Corda, Andy Warhol, Gerard Rancinan, Reza Derakshani and Jean-François Larrieu, to emerging talents that local audiences have yet to experience such as Richard Mirando, known as SEEN, and Young-Deok Seo, each one caters to a different sensibility.
Indeed, the Opera Gallery, which was founded by Gilles Dyan in Paris in 1994, has become one of the leading dealers in modern and contemporary American, European and Asian art, and it prides itself on its collection’s diversity at all levels as well as its dynamic personality.

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One of the gallery’s interesting traits is that the artworks are intended to travel the world in order to find the most deserving fans and desirous clients. The pieces circulate among the gallery’s established spaces in Singapore, London, Geneva, Monaco, New York, Miami, Hong Kong, Seoul, Dubai and now Beirut. This structure, which allows the Opera Gallery in Beirut to change the works on display every week as new pieces are received and others sent away, is undoubtedly one of the many reasons that visiting it will appeal to any art enthusiast.

Eugène Ionesco once stated: “A work of art really is above all an adventure of the mind.” Therefore, one can only imagine just how many adventures they could embark on when encountering this eclectic mix of artwork masterfully displayed in such an inspiring space.

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Photographs by: Greg Demarque

July 2, 2015 0 comments
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ArchitectureDesign

The renovated Crêperie

by Sara Ghorra July 2, 2015
written by Sara Ghorra

Originally opened in 1968, Jounieh’s La Crêperie was once considered more of a historic institution than a mere restaurant, as it had remained open for 45 years. It was a landmark, part of the war generation’s heritage and was celebrated in international publications during its heyday.

La Crêperie was seen by many to represent the romance of Lebanon’s golden years and was once one of the preferred spots for a young man attempting to court a lady or looking for the perfect place to propose as well as for groups eager to celebrate an important event or simply desirous of a cozy gathering with a splendid view.
La Crêperie closed its doors in 2012 to undergo massive renovations that went on for more than two years. This reconstruction was led by its new owner, Sky Management’s CEO Chafic El Khazen, and initiated by his brother, Sari El Khazen, the architect behind the world famous party venue Skybar.

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The old house turned restaurant actually belonged to the brothers’ grandparents, and they wished to rehabilitate its faded glory after revamping the place completely. And finally in April 2015, La Crêperie opened its doors to the public once more, but this time with a new look and management.

The most nuanced task was undeniably that of giving a new life to the place while preserving its essential traits. And the challenge was successful under the scope of Sari El Khazen Architects who made sure that the architecture, interior architecture, interior design, decoration and landscaping, all contributed in the creation of a harmonious and enchanting venue.

Maggy Monsef, a gifted interior decorator freelancer, was the addition to the team who was appointed to intervene on the project along side Sirine Shaker and other members working on the project. All were passionate about their goal to create a relaxed yet dynamic environment that would appeal to all generations, suit all four seasons, and please diverse tastes. And it was in this capacity that they expanded on the main design direction of the firm and on its client’s desire to embody the ‘French Provence’ feel for the whole space.

Yet, what was crucial was for the restaurant to have a soul: a feeling of authenticity rather than novelty that was accomplished by incorporating antique decorations and furnishings. That is why most of the items embellishing the ceilings, the walls, the tables and the bar were specially imported from vintage boutiques in the south of France.

Inside-BlueTo reach the restaurant, one has to walk through a small alley, fully covered on one side by star jasmine under wrought iron arcades. This pleasant, natural greeting leads to the entrance of the venue.

Once inside, it isn’t what one sees, but rather how one feels that is most striking. A soothing sensation of pure calmness is brought on by the sweeping view of Jounieh Bay from the large windows, which is echoed throughout the crafted interior that seems careful to not attenuate this dreamy feel but instead subtly underlines it.
The restaurant is spacious and luminous thanks to the large windows that make up a substantial portion of the walls and invite in lots of natural light. The remaining walls are painted various colors, some solidly baby blue or a creamy beige, others ornamented with small butterflies fluttering from one flower to the next, swans drifting on a lake or birds posing next to their cages. The overall feel is one of freshness, which is accented by a harmonious marriage of all the space’s diverse elements.

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The floor of the restaurant is constructed using mostly vintage slates recuperated from old traditional houses, while some parts feature Blatt Chaya’s handmade tiles. The wood enclosing the crepe-making area is a light shade of greige, a modern version of subtle beige with a splash of grey, which combines with the white and grey Carrara marble covering the top of the bar to bring a ‘zen’ element to the space.

As for the tables and chairs, they are an artful but also playful assortment of made-to-order pieces, with unique combinations of material and finishes for each. Dissimilar chairs upholstered in unicolor cloth or patterned fabric complement them, all scattered in a harmonious way throughout the space.

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From the choice of the largest piece of furniture to that of the tiniest decorative item, each component of La Crêperie’s interior seems to have been wisely manufactured or hand-picked and put in its rightful place.
“It’s all in the details” is a commonly used adage, but the unique outcome that is La Crêperie truly does the phrase justice.

While previous generations won’t feel betrayed by this reiteration of their beloved restaurant, new generations will inevitably also find themselves cherishing this fresh version of the historic institution.

Trio

 

Photographs By: Greg Demarque

July 2, 2015 0 comments
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Theatre

“Venus”

by Sara Ghorra July 1, 2015
written by Sara Ghorra

After 65 shows in two theaters in front of a total of 14,500 audience members, the adaptation of David Ives’ play “Venus in Fur” by Lina Khoury and Gabriel Yammine, directed by Jacques Maroun, has proven to be simply flawless.

The play brought out a wide range of responses from the spectators; from laughter to shock back to laughter and then confusion. But the greatest emotion of all was simply enjoyment at its best. During the hour and a half treat, the audience had the pleasure of witnessing two very powerful performances. In “Venus,” Badih Abou Chakra portrays the writer and first-time director of the same name in a play based on the 1870’s novel by German writer Leopold von Sacher-Masoch “Venus in Furs” (the novel that inspired the term ‘sadomasochism’). As the viewers are first introduced to him, they sense how exasperated and desperate he is because his hunt for the ideal actress is proving fruitless. Rita Hayek embodies the actress Vanda El Hawa who comes to audition for the play’s female lead role “Vanda von Dunayev.”

Not only are the actors’ performances flawless, but the complex story that offers a close-up look at the earliest forms of sadomasochism is also intriguing and rich, with various elements that keep the spectator captivated the whole time. The strength of this play lies mainly in the mysterious intermingling of reality and fiction within the work and the confusing yet fascinating power shifts as the plot progresses.

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Abou Chakra (the character in “Venus”) witnesses before his eyes the jaw-dropping transformation of this apparently vulgar woman into the perfect embodiment of the novel’s main character, the classy von Dunayev. He is absolutely amazed and finds himself transported to the universe of Leopold von Sacher-Masoch while reading the part of the male lead Severin Von Kusiemski. He becomes so immersed in the role that the audience wonders whether Abou Chakra sees some of himself in the fictional male character in von Sacher-Masoch’s story, as we notice him subconsciously adopting some of Severin’s attitudes and actions as his own. Blurred becomes the line separating the narrative and reality … which is at the essence of this play’s uniqueness.

V-CoverVanda, on the other hand, has more self-control and seems to know perfectly well how to get in and out of character in mere seconds. She has an incredible ability to detach herself completely from the role and then reinsert herself in it to deliver a performance that is beyond all expectations, almost surreal. She is a woman who came out of nowhere, who turned out to know more than she first claimed, who was beyond prepared for the role, and who was subtly yet surely able to turn the tables on Abou Chakra.

Both actors were simply exquisite in their respective roles.

Hayek delivered a groundbreaking performance. Her character was so skillfully nuanced that she kept the audience wondering whether she was merely a vision, a symbol of feminine domination, a Goddess even, who wore the disguise of a young woman and comes into Abou Chakra’s life one night especially to poke him, provoke him, subtly test him, and finally free him from his inner demons, inhibitions and lies.

But as the saying goes “it takes two to tango,” and even if the play does revolve around Venus and her power, Hayek’s partner Abou Chakra was also truly impeccable. One could witness a crescendo in which not only Abou Chakra (the character) and von Kusiemski seem to merge, but where something much more mesmerizing sees the light, which ends the play on an incredible high note.

“Venus” is a masterpiece that no fan of theater should have missed.

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Photographs By: Charbel Saade

July 1, 2015 0 comments
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Festivals

This year’s summer Misk Festival

by Sara Ghorra July 1, 2015
written by Sara Ghorra

Who said you can’t build a real community out of a residential project? Well, it turns out you can. And that is exactly what the team behind Beit Misk has been trying to achieve, one successful step at a time.
For the second year in a row, Beit Misk held its “Summer Misk Festival,” an eventful and artful four day long celebration that is sure to become a tradition among its residents and their friends from other parts of Lebanon.

The community spirit engendered by the festivities this past June has proved alluring to many newcomers, leading the festival to grow organically, both in terms of space and length. Not only did the anticipated turnout result in the widening of the audience space, but it also inspired the much celebrated addition of another night of musical delight.
When an event is so well-crafted, set in a beautiful location among charming buildings only a few minutes drive from Beirut, where one can enjoy fresh air and splendid views, how can the experience not be tempting? And the concerts weren’t the only thing that clearly pleased the crowds.

Summer Misk’s doors opened at 7 p.m., which allowed people to enjoy the breathtaking sunset over the Mediterranean Sea and begin their evening with a drink or bite to eat while listening to an array of summer tunes to set the mood.

The artists chosen to perform were purposely eclectic and attracted audiences of different generations. The first night catered to a rather young crowd thrilled by the Haitian rapper and musician Wyclef Jean’s enthusiastic performance. Yet, the co-founder of the American hip hop group Fugees didn’t simply settle for a solo performance. To the audience’s surprise, he challenged his friend, Lebanon’s very own Guy Manoukian, to join him on stage. That move of musical sportsmanship added spice to the already tingling atmosphere and left the crowd dazzled, as Manoukian performed an unexpectedly superb improvised piece.

wyclef-&-Guy

And that was only Manoukian’s warm up. On the second night of the festival, he enchanted a full house with a collection of his favorite pieces that got absolutely everybody moving. From being transported by the composer’s skillfully reinterpreted “Helwa ya Baladi,” to feeling the desire to dance to his “Alexandria,” to a flow of sweet nostalgia brought on by his touching “To My Son,” the musical night was an emotional roller coaster for the audience. Then again, a talent such as Manoukian, fueled by a palpable passion for life and a heartfelt love for his origins and country, could never disappoint.

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The festival’s third night took on a lighter tone, as comedy took center stage. Several international stand-up comedians from Australia (Nick Cody), the UK (Anil Desai), Mexico (El Jaguar) and the US (Tony Woods) were featured. Finally, the closing night saw ‘90s icon Natalie Imbruglia take the stage. The Australian singer performed a mix of her hits from the ‘90s as well as other more recent songs.

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The Summer Misk Festival was no doubt a success, in more ways than one. It proved to be more than just a number of concerts for a few pleasurable nights. Indeed, it unveiled the true essence of Beit Misk’s ethos: the growth of a community.

July 1, 2015 0 comments
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DesignObjects

Johannes Torpe for Bang & Olufsen

by Sara Ghorra July 1, 2015
written by Sara Ghorra

The late Carl W. Buehner once stated: “They may forget what you said — but they will never forget how you made them feel.” Indeed, there is one thing that will always stand out in a person’s memory, and that is a strong feeling. Bang & Olufsen (B&O), the famed manufacturer of luxury electronics, knows this, which is why it has been trying to sell its customers magic rather than mere products. Their magician? Johannes Torpe, the first ever creative director of the company, appointed back in 2013.

B&O-3On the occasion of B&O’s 90th anniversary, the Danish designer and creator of unique spaces (who has been on a mission to revamp all of B&O’s shops in accordance with the company’s brand identity and with his praised holistic approach) came to Beirut to take part in 2015’s Beirut Design Week (BDW), which ran from June 1 to June 7. A few days prior to the event, he gave a talk at the Académie Libanaise Des Beaux-Arts (ALBA) where he addressed a crowd of structural and interior architects, before leading a two-day conference for BDW at the Beirut Souks with a presentation for designers from all fields.

It doesn’t take more than a few minutes of Torpe’s lively talk for the audience to become captivated by his unique aura and moved by his high energy and positively contagious enthusiasm. Torpe is a refreshingly unconventional man whose childhood was spent in a camp among bohemians, surrounded by nature, and nurtured on principles of freedom up until the age of 12 when he made the decision to move to Copenhagen. One would never imagine that this multi-talented man who did not attend school, let alone university, has managed to reach the level of success that he has so far. But Johannes Torpe is one of those passionate people who operate on a different level. He likes to think of himself as ‘a skipping stone’ and has always allowed his intuition to be the chief compass leading him from one remarkable adventure to another. When he describes his personal journey from drumming professionally in front of hundreds of people, to designing concert light installations, to creating and owning the world-renown NASA nightclub in Copenhagen, to founding a multi-disciplinary design studio, one is stirred by his philosophy.

B&O-2Yet the most striking thing about this brand ambassador would be his attentiveness and closeness to people. Although flying 200 days a year between Copenhagen, Padova, Beijing (where the Johannes Torpe Studio offices are) and much of the rest of the world, he has managed nonetheless to keep his feet firmly on the ground and stay true to what he claims to be the most important thing: relationships. It is mainly his natural approach and genuine desire to understand people, their mindset and emotions that allows him to engage with them on a deeper level and design holistic spaces that touch them.

“I want to spark people’s imagination,” he says. But anyone who meets him would agree that ultimately he does more than that: he breathes air into the desire to go beyond what’s expected and simply aims for magic.

Torpe

 

Photographs By: Shelby Duncan

July 1, 2015 0 comments
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