Many of these early pieces, such as his 2.4 cast resin chair or the concrete 8.0 chair, with its apparently unfeasible cantilevered seat, built on Arbel’s architectural background and experimental energy, and were successful both in terms of award wins and press attention. He says, ’It taught an openness to contingency, to chance and to random events, which I found very compelling.’ During this time, Arbel ran ’an alchemist’s lab’ roof studio, where, filled with the energy of his early 20s, he’d work late into the night on prototype objects and go to work bleary-eyed the next morning. The practice’s philosophy had a profound effect on him. He says, ’I could only understand architecture if I explored the concept through model-making.’Īfter graduating in 2000, Arbel was apprenticed to architect Enric Miralles Benedetta Tagliabue. Having found he had a gift for model-making during his studies at University of Waterloo’s School of Architecture in Ontario, Arbel began developing models as objects in their own right, rather than as representations of actual buildings. ’There’s a running joke in the office that goes, “that one’s good for the vault,” ’ he laughs.
OMER ARBEL OFFICE FULL
Although with professional success the amount of experimentation has decreased, Arbel estimates that about 30 to 40 per cent of his designs still originate in this way – producing a vault full of misshapen outcasts along the way. Tending to make a feature of the burrs and by-products of manufacture that other designers might polish away, Omer Arbel Office is currently developing copper bowl 19, created using a sand-casting technique in which the contrast between the polished copper and the rough overspill from the pouring is a key part of the design.Īrbel often doesn’t know what product he’ll end up with when he begins. As the air is sucked from the sphere, the only thing that can react – the hot glass – is pulled into the vacuum, creating an inner chamber of unpredictable shape.
OMER ARBEL OFFICE PATCH
In the process, a distorted sphere of glass is blown and allowed to cool for 70 seconds, after which a small patch is heated with a blowtorch and a blob of contrasting glass attached. It means we see things in procedures that others miss.’Īrbel’s 2010 work, the globular chandelier called 28, is a luminous cluster of two-tone, hand-blown orbs created by introducing and removing air from a glass matrix.
OMER ARBEL OFFICE HOW TO
’We heat, cool, crush, drill, spin, find the weird loopholes in how to manipulate materials. ’We always begin with the principle of how a material behaves when it is processed in a certain way,’ says Arbel. Whether as part of his own studio or as creative director of product design and manufacturing company Bocci, Vancouver-based Omer Arbel’s approach can be more about intense curiosity and alchemist-like experimentation than ’design’.
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