AD Classics: Interdesign Building by Khalil Khouri – Beirut’s Modernist Icon

The Vision Behind Interdesign

The Interdesign showroom was more than just a building—it was the architectural embodiment of Khalil Khouri’s modernist philosophy and his thriving furniture business. Rooted in a family tradition of craftsmanship, the Interdesign brand began decades earlier with the bespoke works of Khouri’s father, Elias El-Khouri, a master carpenter and ebonist. Khalil, alongside his brother Georges, expanded the enterprise, launching one of the first modern furniture lines in Lebanon during the 1960s.

By producing contemporary furniture locally, Interdesign democratized modern furniture design in the MENA region, making high-quality pieces accessible to a broader audience. Khalil Khouri’s approach was unique: he not only designed furniture but also engineered the manufacturing processes and operated his own facilities, creating a seamless integration of design, production, and innovation. By the mid-1960s, Interdesign had become the region’s leading modern furniture producer, exporting to Europe and the United States. The showroom building was envisioned as the centerpiece of this modernist ambition.

A Challenging Construction History

Khalil Khouri acted as architect, client, and developer, outlining the project in 1973. Construction began shortly afterward but halted in 1975 as Lebanon descended into civil war. Despite several attempts to resume work during the conflict, the project remained stalled at ground level.

When the war ended in the early 1990s, Beirut’s socio-economic landscape had shifted. Undeterred, Khouri pursued completion, navigating mounting debts and dwindling business prospects. In 1996, 23 years after breaking ground, the Interdesign Building was finally completed—a testament to persistence and vision.

Despite this achievement, economic challenges and changing urban contexts meant the building was never used as intended. It briefly served as a training center before falling into disrepair. It wasn’t until May 2024, when Bernard and Teymour Khoury organized a four-day exhibition celebrating Khalil Khouri’s legacy, that the public could finally enter the enigmatic structure for the first time in 51 years.

Architectural Features

The Interdesign Building is instantly recognizable for its Brutalist aesthetic. Two angular towers in exposed concrete, separated by a narrow glazing strip, create a bold and imposing facade. The towers’ concave forms conceal windows, amplifying the building’s opaque, sculptural quality. A boulder-shaped roof, perched above the main volume, houses administrative functions, including a manager’s office and small meeting room, establishing a striking visual “head” atop the structure.

At street level, originally open window displays offered glimpses into the showroom, connecting the public with Interdesign’s furniture innovations. Though these displays are now sealed, they reflect Khouri’s original intent to merge architecture and object, using the building itself as a stage for modern design.

Interior Design

Inside, the building contrasts sharply with its external solidity. All-white interiors and generous natural light create a soft, airy atmosphere across 24 floors. The dynamic arrangement of stairs, voids, and interconnected levels allows visitors to experience furniture from multiple perspectives—above, below, or at eye level. This innovative interplay emphasizes architecture serving the object, reversing traditional museum and showroom hierarchies.

A Modernist Legacy

The Interdesign Building is not only an architectural landmark but also a poignant reflection of Lebanon’s socio-political and economic history. While many Lebanese architects gradually abandoned Modernism after the 1970s, Khalil Khouri remained steadfast in his belief that Modernism was a philosophy, not merely a style. Today, his conviction is etched into the concrete walls of the Interdesign Building, making it a rare and powerful symbol of Lebanese architectural heritage.

All photographs are works of Walid Rashid, Camille Ammoun