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Bernard Khoury-Book cover
Not by the book2015Bernard Khoury’s “Local Heroes” is closer in format to a novel than it is to an architectural monograph: an appropriate form to an unconventional content. -
Bernard Khoury-Book pages 01
Turning a page2015The first part of “Local Heroes” is essentially a story of return, set in the consistently hopeful and deceptive post-war Beirut everyone seems to be incapable of leaving behind. -
Bernard Khoury-Book pages 02
A page turner2015The second part of “Local Heroes” is a more classical project-by-project exposé, albeit informed by the narrative that precedes it. -
Bernard Khoury-Cover and back cover
Judged by its cover2015The dialectic between the cover and back cover is one of appearance and disappearance, themes that resonate well with the content of “Local Heroes”. -
Bernard Khoury-Image spreads
The big picture2015Across the landscape of texts and images, enough room is given for certain moments of full-page exposure. -
Bernard Khoury-Inside cover
Jackets off2015Black foil on black fabric reveals itself beneath the protective layer of full-color printing. -
Bernard Khoury-Type details
Hanging on every word2015With a narrative component as well as a more technically architectural one, typographic nuances come well into play. -
Café Younes-History book front and back
A new chapter2010The history booklet was the perfect document to celebrate the 75 years of the establishment, a record that marks a defining moment in Younes’s development. -
Café Younes-History book inside pages 01
An establishment’s memoir2010A collection of anecdotes, archives, objects and testimonials expose the intimate details of the Younes story. -
Café Younes-History book inside pages 02
Across generations2010 -
Café Younes-Printed items
Pictures and frames2010The integration of photography into the scheme takes place on many fronts and in many ways – framed, masked, patterned or simply reproduced – adding to the dynamism of the identity. -
Café Younes-Branded items 01
Dynamic, variable, adaptable2010The Younes identity is antipodal to the model of the “uniquely recognizable color”, “uniquely recognizable typeface”, “uniquely recognizable image”, and so on. Instead, consistency is established by way of basic visual, tactile and verbal elements coming together intricately. -
Café Younes-History book and coffee brochure
The extra mile2010The conception and creation of communication, marketing and operational tools – such as this history booklet and coffee product catalog for Café Younes – pushes the scope of branding recommendations beyond the typical identity scheme. -
Febrik-Children closeups
The play pieces2014Every once in a while, the kids make an appearance in one way or another. -
Febrik-Cover
A collage of imaginations2014The “Creative Refuge” cover brings forward the coming together of children’s inventions and interventions. -
Febrik-Cover and back cover
Constructed reality2014The continuation of the collage onto the back cover reveals an extended made-up world, where the space of the camp becomes the sum of bits and pieces of works by the participating children. -
Febrik-Foldouts 1
Spreading out2014At the end of its third chapter, the book proposes an aggregate and condensed reading of the workshop, presented within an extension of the book spread into poster-like fully illustrated diagrams. -
Febrik-Foldouts 2
Two at a time2014The double-sided book extensions follow two children through a timeline of their individual and group works, culminating in an elaborate game tested in the context of the camp. -
Febrik-Foldouts 3
Diagrammatic narratives2014The spread out pages tell the stories of the final play items created by the children, where sometimes four chairs converged into one or three separate processes led to a single object. -
Febrik-Layout variations 01
Layout diversity2014The open chapter breaks, timelined contents pages, gridded thumbnail spreads, and darkened performance sections, are just a few of the eclectic layout treatments in the book. -
Febrik-Layout variations 02
Photo-variety2014With an image library containing everything from work reproductions and participants’ photos to process and space documentation, the book layout structures had to be equally diversified. -
Febrik-Opening note
Follow my lead2014The book privileges the Arabic reading direction and prepares the English reader on both ends of the publication. -
Febrik-Participants page
Little creatures2014The stars of “Creative Refuge” are clearly the children of the camp. In this chart at the beginning of the book, they are arranged across the three workshops represented by the three lines, giving a reading of the one, two and three-timers, as well as the total number of children per workshop. -
Febrik-Spread 01
Orderly dynamism2014The educational manual part of the book has fixed elements for each exercise: number and bilingual title, and a kind of a technical step-by-step chart in each of the two languages. These consistent items interact flexibly with the images and introduce a particular fluidity and movement to each spread. -
Febrik-Spread 02
Spatial compositions2014Certain pages of “Creative Refuge” use the text-image relationship to play with depth, viewpoint and perspective. -
Homeworks-Book covers
Back to back2002 – 2005Each Home Works publication is bilingual with two operational covers, with the Arabic and English sections, which flow in opposite directions, meeting at the center of the book. -
Homeworks-Books
Changing hues2002 – 2005For every edition, the Home Works identity is dressed with a new bright and vibrant identifying color. -
Homeworks-Chapter breaks
Clear-cut2002 – 2005The chapters in the books are divided by discipline, and the section breaks take on the main color of the year/edition. -
Homeworks-English and Arabic pages
(Almost) identical twins2002 – 2005All pages in the book are faithfully reproduced in both languages down to the smallest detail. -
Homeworks-Layout variations
Compositional diversity2002 – 2005The changing nature of each project and the many configurations of the featured works required a flexible grid and resulted in an array of layout variations. -
Jabal Moussa-Biodiversity booklet
The cast of characters2011No natural reserve experience is complete without a detailed inventory of the growing, moving, jumping, crawling and flying things that put the diverse in biodiversity. -
Jabal Moussa-Booklet
A little more information2010For the more curious, a booklet which includes shared experiences by other visitors along with the fold-out map is available. -
MTG-Makkah Western Gateway Competition-Box
Inside the box2002 -
MTG-Makkah Western Gateway Competition-Box open
Shimmering through2002The pixel-based arabesque patterns represent a modern sense of tradition and, when reproduced in spot UV varnish, provide the object with an unmistakable richness.Photo: Nadim Asfar -
MTG-Makkah Western Gateway Competition-Inside spread
The informative picture2002Most of the competition brief content necessitated inventive ways to clearly elucidate information about the urban context. -
MTG-Makkah Western Gateway Competition-Patterns
Pattern variations2002 -
Mitsulift-Portfolio cover
Bird’s eye view2011The Mitsulift portfolio is an extensive compendium of the company works.Cover image: Painting by Joe Kesrouani -
Mitsulift-Portfolio inside page
Image-driven2011Professional photographs were commissioned to give justice to the notable designs of the featured project. -
Mitsulift-Portfolio inside spreads
Faces and places2011A book in it’s own regard, the projects catalogue is also a celebration of creators and creations in architecture. -
MoHO-Observer 01
To each their language2013MoHo’s publication on documentary and archiving projects by the network members gets separate Arabic and English versions; each of the covers receives a language-appropriate compositional arrangement, retaining the concept of “peeking through the observer” while avoiding language adaptation mimicry. -
MoHO-Observer 02
An Arab modern heritage record2013 -
MoHO-Observer 03
Slicing through content2013A simple contents page introduces the extended color scheme to code the different sections of the publication. -
MoHO-Observer 04
Clarity in structure2013The same simple layout structure is adopted for both the Arabic and English versions of the publication, with photographically illustrated essays, archival reproductions and bold section breaks. -
MoHO-Observer 05
Tinted highlights2013The color gamut is put to further use in the publication, assisting in distinguishing text elements and introducing emphasis. -
MoHO-Observer 06
The time of the archive2013Drawing from projects across the region, one section of the publication constructs a timeline of archival artifacts going back to the early 1900s. -
Palestine c/o Venice-Covers
Worlds apart2009The English and Arabic versions of the exhibition catalogue are designed as separate documents. -
Palestine c/o Venice-Covers close up
Back to the map2009The Arabic name is set in the style of calligraphy often found on traditional Arabic maps. -
Palestine c/o Venice-Inside pages 01
Line by line2009Following the cartographic visual language, the background of the catalogue’s inside pages was composed of cyan, magenta and yellow lines, mimicking the offset printing process to achieve the desired beige hue. -
Palestine c/o Venice-Inside pages 02
Text territories2009Captions in the exhibition catalogue arrange themselves freely alongside the images, while articles and endnotes get framed in round-corner boxes, alluding to the generally organic forms of land masses on a map. -
Palestine c/o Venice-Inside pages 03
The artist first2009The text hierarchy makes the artist name the most prominent in the catalogue. -
Palestine c/o Venice-Inside pages 04
Layout moves2009The catalogues’ inside pages vary between structure and rhythm. -
Palestine c/o Venice-Open cover
The big picture2009It’s only when the catalogue cover is fully open, flaps and all, that the whole globe appears and the (mis)location of Palestine can become apparent. -
Pikasso-25 year book contents page
Looking closer2012Close-ups of materials from the outdoor media industry, one per chapter. -
Pikasso-25 year book cover
Rejoicing in yellow2012A book cover design that literally plays out its title. -
Pikasso-25 year book flipping 01
Flip, pause2012Some pages pay tribute to the past and full bleed chapter breaks punctuate the book. -
Pikasso-25 year book flipping 02
Flip, pause, yellow2012Chapter breaks make for even more yellowness. -
Pikasso-25 year book spread 01
Image narratives2012Photo sequences are used to illustrate processes of work. -
Pikasso-25 year book spread 02
One and the other2012The two languages shift in position and style. -
Pikasso-25 year book spread 03
Escalating time-line2012A dynamic structure for an overview through time. -
Pikasso-25 year book spread 04
Shifting backdrops2012The photographic arrangements present a variety of visual relationships with the overlaid type. -
Santiago-Postcard catalog
Pic(k)s2011For the Spring/Summer 2011 collection, the booklet acts as a set of detachable postcards. -
Santiago-Catalogs
Looks2009 - 2010The 2010 Fall/Winter and Spring/Summer collections are each presented in a handy booklet organized by brand. -
The Soap Museum-Book cover
A guiding reference2003The Soap Museum book on olive oil soap is a reference document but also a guide for the visitors of the museum. -
The Soap Museum-Book inside pages
Rich and informative2003“The Olive Oil Soap” book is a celebration of the craft and the valuable archives of the town of Saida and the Audi family. -
The Soap Museum-Book three covers
Language disjuncture2003Keeping each language to its own document avoids an overly crowded book and gives the visitor/reader their choice of preference. -
MTG-Wardé-Overview-Different objects
Crafted with care2006 – 2010Fabric, both actual and reproduced, is at the heart of Wardé’s range of greeting cards and promotional objects. -
MTG-Wardé-Greetings-Bustan 02
Compositions2008 -
MTG-Wardé-Greetings-Bustan 01
Compositions2006In sponsorship of the Al-Bustan Festival for classical music, the lyrics of the recitals were presented to the audience in a delicately crafted fashion.
