Between a love of fashion, a respect for femininity and a resolute modernity in his work, Amman-based architect Alin Asmar has just unveiled his first furniture collection, The Invisible Collection.
He always wanted to be an architect. And his passion for this profession is evident from his studies. he graduated with his class from the Lebanese Academy of Fine Arts. In 2011 he founded his agency “Culture in Architecture” in Paris and Beirut and carries out many projects for individuals but also for luxury hotels such as the artistic direction of the Hôtel de Crillon. His paw? Combining the raw and the expensive. A feature that can be found in his first furniture collection.
Madame Figaro: My condition at the moment.
Alin Asmar from Amman.– A state of pure excitement associated with creative joy. There is a thirst for beauty everywhere and thus an urgency to design beautiful things with meaning. I also know that after devoting myself to the development of my furniture, an activity that is now part of my life, I will be able to return to my building sites.
Do I still have the holy fire?
It is essential. That’s my engine. In my work, passion must be maintained, that is what feeds the desire to create. This sacred fire gives an opportunity to believe in the victory of the unreal over the real, to make the imaginary accessible.
My news?
I just presented my first furniture collection at The Invisible Collection, which was presented until the end of the year in New York. It was also shown for almost a month in Paris at the Féau Boiseries, an important venue for me because I discovered it when I was working with Karl Lagerfeld on the renovation of the Crillon suites. I live in a pivotal period. Indeed, if architecture has always been evident since my childhood, furniture design is a later desire born from my encounters with exceptional craftsmen.
Femininity is power multiplied
Aline Asmar from Amman
How can I see my furniture?
It’s a family of furniture that rejects different personalities, all united by attention to detail, my love of fashion, my desire to pay homage to women’s curves, and a supposed modern instinct. There’s Georgia’s Chat Room, all tilted, reminiscent of the work of Georgia O’Keeffe (I discovered her paintings at the age of 12 at the Met in New York, and I was enchanted). The very architectural “Smoking” lamps make references to this men’s clothing that women wore with lining. With the Ghent armchair I give my vision of masculinity, while the Stone Cloud tables show that you can create emotion through material.
A thread that makes me jump off my hinges.
That we associate femininity with weakness, while it is strength multiplied.
My ideal outfit for an interview.
My daily outfit: black, very high heels and lots of accessories.
What do I like to tell myself about myself?
That I embody what I stand for. I do not subscribe to manifestos. I will admit, I like to write texts presenting my projects, but the main thing is that I make them concrete, I absolutely believe in everything that I wear.
My current mental workload?
It is important, but it is for everyone. The backlash created a frenzy. I’m starting to travel a lot again for my construction sites and I’m loving it. But at the same time, I would like to spend more time in the office with my teams. I am torn between my need for movement and my desire for the contemplation that fosters creativity.
Last time I was proud of myself?
This morning I kiss my two sons and my husband. My family, the love they have for me and I for them, is a source of pride because I feel accomplished both as a mother and as an architect.
What am I going to do after this interview?
I’m going to graduate Dear bastard , by Virginia Despentes. All I can think about is diving again. I love the work of Virginie Despentes, the vision of society. We all have something of his anger in us.
Cultureinarchitecture.com
Source: Le Figaro
