| Interview with ELIE GEBRAYEL |
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| FROM A BIRD ON A GREEN BOARD TO A PHOENIX IN ARCHITECTURE |
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| It’s always fun and instructive to meet Mr. Elie Gebrayel, the architect and the philanthropist who climbed the social ladder to success thanks to his strong belief in the values of integrity and transparency, apart from being an outstanding creator of designs that conquered the world at large. Nowadays, scores of landmark projects in the Middle East and in many corners of the globe bear the name ERGA, the architecture house of Elie and his wife Randa Gebrayel. The moment you sit down and start a conversation with Mr. Gebrayel, the humble words of an artist flavor the easy flowing interview spanning from the early years when he discovered his talent to the periods of hard work and achievement. The architect in him is in perpetual motion. While his ingenious mind explores the secrets of architecture, his hands move over pages of white paper where his words are also translated into sketched ideas. Elie Gebrayel is a proud man not only because of his considerable achievements in his career but also because of his humanitarian initiatives. He unveils his plans to establish a subsidiary of ERGA for ecological and cultural activities. He underlines the humanitarian side of ERGA and he conveys his eagerness to elevate ERGA from a signature name to an institution and school of architecture that puts ethics, integrity and transparency above the profession itself.
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Why did you choose architecture as a career? Was it by chance or was your talent a driving force?
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| I believe destiny played a part in my becoming an architect. In fact, two events steered me on the path of architecture. The first was a green board that father gifted me at the age of six. After drawing on it a bird that seemed very real, my father proudly showed it to everyone, predicting that I would become a painter. The second was in ninth grade, when father began showing me the graduation projects of ALBA’s art students. But considering the general attitude towards painting in Lebanon Đ it’s difficult to make a living as an artist Đ I was drawn towards architecture.
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What was your early vision of architecture, your very first idea that you transformed into a sketch, then into a design?
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| In my first year of university, my very first assignment was a neat cube. The assignment hall was full of cubes worked by my other classmates. To make my design look different, I wrapped my cube with a ribbon that I accidentally found in the hall to make my assignment look like a present rather than a dry geometrical shape. The judging committee at the university requested that I remove the ribbon. The ribbon worked as an attraction even though it was removed; and because of its unique and precise design, my cube came first among more than sixty other competitors. I learned that a design should provoke a reaction in people and thus create an attraction. From there on, my academic career was built on three pillars: to conduct research before any project in order to widen my horizons, to plan a strategy that captures the secret key of each project such as considering the university jury as the client to whom my projects should cater to and to look for an element of surprise, a new idea, a provocative design that differentiates the project from the run-of-the-mill. My university studies in Lebanon were suspended due to the outbreak of the 1975 civil war, forcing my departure to Paris, where I attended Beaux Arts de Paris for two years. Even there, my projects seemed to outshine other submissions though I had to face many challenges, coming from a culture of open spaces contrary to then a French culture of closed areas. During my second year there, work began with my professor on design projects in the KSA, like the Jeddah airport and others, earning much needed experience ahead of my professional career. |
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How do you come up with an idea, and how do you transform it into a drawing?
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| After 30 years of experience, I can usually have a rough idea of my design following a discussion with a client. Of course, it needs some time to be fully developed into an executable design. This is the case with the Sama Beirut project, which was sketched during a four-hour flight to Dubai. But definitely this sketch was the result of extensive research and the will to build an outstanding tower that is unique and exceptional. |
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In your long years of practice, how did your architectural experience develop and do you believe in reaching a saturation point?
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| To begin with, creativity is a struggle for perfection and a never-ending process where one’s experience never reaches a saturation level. As founders of ERGA, we are in a continuous constructive struggle to zero-in on our priorities. My partner prefers to adhere to the cultural flavor, giving preference to the nitty-gritty of design, and restricting projects to a minimum to ensure faultless execution. In an era of globalization, I go for the global. Outside the Middle East, ERGA has projects in Europe, Asia, and Africa. Lacking the American architectural experience, ERGA plans to open an office in Miami-Florida. So it is always a struggle and a challenge to bring in harmony the specific and the universal, the local and the global, the technological and the humanitarian. The human element led to the establishment of H2 Holding to nurture a generation of architects who follow the principals of ERGA’s School of architecture. At ERGA goals are re-defined every five years to keep pace with globalization but without losing our identity. For example, today’s trend is towards building sustainable, green, nature-friendly buildings and ERGA is sending its architects abroad to attend seminars and receive intensive training on the issue. |
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In brief, how do you define ERGA’s School of Architecture?
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| The most important principal is transparency which springs from ERGA’s ethics of integrity and honesty with the client. Believe it or not, architecture comes second to ethics for ERGA, and it is only within the framework of transparency and integrity that any project is executed. |
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Can you describe your relationship with your clients?
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| It’s a healthy mix of friendship and professionalism at the same time. My vision is not enforced on the client but rather acts like a mirror transforming and even fine-tuning his or her dream-home or project into reality. Once more, integrity and transparency is requested from both ends. |
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Why there are architects who are famous and others who are not?
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| Success in architecture needs a rare combination of creativity, ethics and timely delivery to win the client’s heart and trust. Good PR and scouting for opportunities are also essential. |
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Some consider architecture as an art, and as an art, don’t you think it should have a signature?
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| Art makes 10% of architecture. Creativity stops at that intuitive idea that flashes in one’s mind about the rough shape of the project.
From there on, it’s mechanics and technology par excellence. Of course this 10% creativity is the distinguishing element that earns a signature for the architect.
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What are the criteria of a successful design?
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| First of all, it should be sustainable. Second, it should be beautiful and outstanding. Third, it should be functional, catering for the client’s comfort and fulfillment needs. |
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What projects of your design are you proud of?
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| The Saifi Village is a project with high standards and exquisite character. The Children’s Cancer Center in AUH is my second favorite considering its humanitarian nature. |
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