<p>In a candid interaction with Bindu Gopal Rao, renowned architect A R Bernard Khoury discusses why he doesn’t fancy a signature style, the abuse of the notion of environmental sustainability and more </p>.<p>A R Bernard Khoury from Lebanon studied architecture at the Rhode Island School of Design and subsequently received a Master’s in Architectural Studies from Harvard University. In 2001, he was awarded by the municipality of Rome an honourable mention of the Borromini prize given to architects under the age of 40. <br /><br />He has been invited to teach design in several architecture schools, including L’Ecole Polytechnique Fédérale de Lausanne, L’Ecole Speciale d’Architecture in Paris and the American University of Beirut. He has lectured and exhibited his work in prestigious academic institutions in Europe and the US, including a solo show of his work given by the International Forum for Contemporary Architecture at the Aedes Gallery in Berlin (2003) and numerous group shows including YOUprison at the Fondazione Sandretto in Torino (2008) and SPACE at the opening show of the MAXXI Museum in Rome (2010). His work has been extensively published by the professional press. <br /><br />Bernard began his independent practice in 1993. And over the years, his office has developed an international reputation and a significant diverse portfolio of projects, both locally and abroad. He tells us more in this exclusive tête-à-tête with Deccan Herald. Excerpts:<br /><br />Did your family’s furniture manufacturing business help your career?<br /><br />I grew up spending weekends in the factory. Later, as I started my own practice, I was given a space in the company’s design studio. I spent nine years working there and sometimes using the factory’s resources. I must say, that was a great push.<br /><br />The experience of working with exposed concrete...<br /><br />Relative to the generation that preceded us, I must say that my experience with <br />exposed concrete is limited. The early local moderns have used exposed concrete exclusively. I would say that some of them, such as my father, have abused it... They produced very interesting work up until the ‘70s and ‘80s.<br /><br />Tell us about your book...<br /><br />Local Heroes is not an architect’s monograph. And it is certainly not an architectural manifesto. The text can be described as a number of stories that intersect. The stories revolve around characters and very specific situations, and my work evolves in the background of these situations. <br /><br />The book does not depict context in the conventional sense of the term. The stories and the characters can sometimes bring forward very contradictory postures.<br /><br />You have worked on a variety of projects. How did your approach differ?<br /><br />The entertainment projects as well as the early projects we produced for the banking sector were mostly temporary buildings and installations that had pre-set <br />expiry dates determined prior to us building them. This has provoked a reflection on the temporality of our buildings versus the notion of permanence associated with the conventional approach to the practice of architecture.<br /><br />Your signature style...<br /><br />I have no ‘signature’ or ‘style’. A signature or a style would imply a recognisable visual trait or aspect in my work, which I try to resist.<br /><br />What is the greatest challenge when it comes to designing for environmental sustainability?<br /><br />Environmental sustainability is an overrated notion that is currently being abused. Our fathers, grandfathers and their ancestors have produced far more sustainable constructions and they did not brag about it. Those who practise in very secure and stable environments can worry about that with more honesty. <br /><br />I have more serious and fundamental issues to worry about. It is interesting to note though that the nations that pollute our planets are, in fact, those behind this big scam. Think of Leadership in Energy and Environmental Design (LEED), British Research Establishment Environmental Assessment Method (BREEAM) and the likes that have become a standard in the US and China.<br /><br />Where do you find inspiration?<br /><br />I find inspiration in the sour realities of my worlds.<br /><br />How would you like the world to remember you?<br /><br />Every project brings with it different and contradictory situations. I have no particular goal. I will not be remembered as a cynical architect and I probably won’t be remembered as a wise architect. I can live with that.<br /><br />Should there be a ‘globalised approach’ to architecture?<br /><br />In a world where there should no longer be any global certainties, architecture is still imprisoned in this notion of ‘globalised approach’.<br /><br />A project that has given you the most satisfaction...<br /><br />I like to think that all the projects that I tackle give me immense satisfaction.<br /><br />Your advice for young architects?<br /><br />I expect young architects to give me advice, not the other way around. </p>
<p>In a candid interaction with Bindu Gopal Rao, renowned architect A R Bernard Khoury discusses why he doesn’t fancy a signature style, the abuse of the notion of environmental sustainability and more </p>.<p>A R Bernard Khoury from Lebanon studied architecture at the Rhode Island School of Design and subsequently received a Master’s in Architectural Studies from Harvard University. In 2001, he was awarded by the municipality of Rome an honourable mention of the Borromini prize given to architects under the age of 40. <br /><br />He has been invited to teach design in several architecture schools, including L’Ecole Polytechnique Fédérale de Lausanne, L’Ecole Speciale d’Architecture in Paris and the American University of Beirut. He has lectured and exhibited his work in prestigious academic institutions in Europe and the US, including a solo show of his work given by the International Forum for Contemporary Architecture at the Aedes Gallery in Berlin (2003) and numerous group shows including YOUprison at the Fondazione Sandretto in Torino (2008) and SPACE at the opening show of the MAXXI Museum in Rome (2010). His work has been extensively published by the professional press. <br /><br />Bernard began his independent practice in 1993. And over the years, his office has developed an international reputation and a significant diverse portfolio of projects, both locally and abroad. He tells us more in this exclusive tête-à-tête with Deccan Herald. Excerpts:<br /><br />Did your family’s furniture manufacturing business help your career?<br /><br />I grew up spending weekends in the factory. Later, as I started my own practice, I was given a space in the company’s design studio. I spent nine years working there and sometimes using the factory’s resources. I must say, that was a great push.<br /><br />The experience of working with exposed concrete...<br /><br />Relative to the generation that preceded us, I must say that my experience with <br />exposed concrete is limited. The early local moderns have used exposed concrete exclusively. I would say that some of them, such as my father, have abused it... They produced very interesting work up until the ‘70s and ‘80s.<br /><br />Tell us about your book...<br /><br />Local Heroes is not an architect’s monograph. And it is certainly not an architectural manifesto. The text can be described as a number of stories that intersect. The stories revolve around characters and very specific situations, and my work evolves in the background of these situations. <br /><br />The book does not depict context in the conventional sense of the term. The stories and the characters can sometimes bring forward very contradictory postures.<br /><br />You have worked on a variety of projects. How did your approach differ?<br /><br />The entertainment projects as well as the early projects we produced for the banking sector were mostly temporary buildings and installations that had pre-set <br />expiry dates determined prior to us building them. This has provoked a reflection on the temporality of our buildings versus the notion of permanence associated with the conventional approach to the practice of architecture.<br /><br />Your signature style...<br /><br />I have no ‘signature’ or ‘style’. A signature or a style would imply a recognisable visual trait or aspect in my work, which I try to resist.<br /><br />What is the greatest challenge when it comes to designing for environmental sustainability?<br /><br />Environmental sustainability is an overrated notion that is currently being abused. Our fathers, grandfathers and their ancestors have produced far more sustainable constructions and they did not brag about it. Those who practise in very secure and stable environments can worry about that with more honesty. <br /><br />I have more serious and fundamental issues to worry about. It is interesting to note though that the nations that pollute our planets are, in fact, those behind this big scam. Think of Leadership in Energy and Environmental Design (LEED), British Research Establishment Environmental Assessment Method (BREEAM) and the likes that have become a standard in the US and China.<br /><br />Where do you find inspiration?<br /><br />I find inspiration in the sour realities of my worlds.<br /><br />How would you like the world to remember you?<br /><br />Every project brings with it different and contradictory situations. I have no particular goal. I will not be remembered as a cynical architect and I probably won’t be remembered as a wise architect. I can live with that.<br /><br />Should there be a ‘globalised approach’ to architecture?<br /><br />In a world where there should no longer be any global certainties, architecture is still imprisoned in this notion of ‘globalised approach’.<br /><br />A project that has given you the most satisfaction...<br /><br />I like to think that all the projects that I tackle give me immense satisfaction.<br /><br />Your advice for young architects?<br /><br />I expect young architects to give me advice, not the other way around. </p>
