ezri tarazi designs table that pays tribute to the demolished city of aleppo
(above) ‘halab is gone’ is the name of the table
all images courtesy of ezri tarazi




XXI triennale international design exhibition: israeli designer ezri tarazi takes geopolitical issues into his creations, aiming to materialize his thoughts and reflections on the actual situation of the place he was born. ‘higher view’ is a design installation that is based on the ‘objective’ exhibition in collaboration with haim parnas in the tower of david museum in jerusalem. in this exhibition, design enabled the creatives to build new products for a better and more optimistic future. with the ‘higher view’, tarazi presents an objective warning of external perception through tables, in which two essential human qualities are woven together: sharing and hospitality.

ezri tarazi designs table that pays tribute to the demolished city of aleppo
‘halb is gone’ will be part of the ‘coffee on fire’ installation held at the triennale museum in milan




‘halab is gone’ is a table that pays tribute to the demolished city torn apart by destructive forces. on the motivation of the installation ezri tarazi comments, ‘in ‘higher view’ we may be able to see that as advanced as the human race is, we fail to create sustainable forms of living on this earth. the land of mesopotamia, where great civilizations were born, is now torn apart. the state of two ancient cities, halab and jerusalem, is a wake-up call. it shows that without a higher view, the destiny of these great civilizations will continue to deteriorate into endless wars, threatening to pull the majority of the human race down with them.’


video courtesy of ezri tazari

ezri tarazi designs table that pays tribute to the demolished city of aleppo
the table shows the destruction of the city

ezri tarazi designs table that pays tribute to the demolished city of aleppo
a transparent table top covers the destruction




‘higher view’ is presented as part of the XXI triennale international exhibition
 in milan from april 2 – september 12, 2016.


installation information:


haim parnas | ‘coffee on fire’ installation
light objects: avi fedida
chief curator: eilat lieber

curated by: smadar keren

production: tamar berliner

design assistance:
avi fedida, noam yaish, roni zaslavsky, tal preger-
galili, inbal yannai, nir amir, sharon sides,
michal liberman, noga shimshon, baruch mogilevski,
shay tavori, sarit yudilevitch, nurit grinberg.


designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.


edited by: juliana neira | designboom





XXI triennale international exhibition: 21st century. design after design
april 2nd – september 12th, 2016


the XXI triennale di milano international exhibition has a vast program of exhibitions, events, competitions, festivals and meetings throughout the city, in venues ranging from la triennale (palazzo della triennale) to the fabbrica del vapore, pirelli hangarbicocca, the politecnico di milano campuses, the IULM campus, MUDEC, the national museum of science and technology ‘leonardo da vinci’, BASE milano, the palazzo della permanente, the pirelli tower, the ex expo site, the museo diocesano, the pirelli foundation, the university of milan, the accademia di belle arti di brera, the triennale expogate through to the villa reale in monza, the historic site of the first international exhibitions. running under the title ’21st century. design after design’, it touches on key questions, such as the new dramatic art of design, which consists mainly in its ability to deal with those anthropological issues that classical modernity has excluded from its brief, such as death, the sacred, eros, destiny, traditions, and history; the issue of gender in design; the impact of globalization on design; the transformations brought about by the dawn of the twenty-first century and the crisis of 2008; the relationship between city and design; the relationship between design and the accessibility of new information technologies; and the relationship between design and craftsmanship.