The collections each have marked differences, but all include signature round, hollow, blown-glass circles.
Omer arbel office series#
“It’s almost like alchemy-and then we make something magical.” Over the past few years, blown glass has been one of those notably manipulated materials, turned magic.īocci’s latest series of blown-glass chandeliers, 28.īeginning with series 14 and running through 21, 22, 25, and 28, modern chandeliers have been at the forefront of Bocci’s design mission. “Usually we discover something strange about it, and it might take time to refine it,” he explains. After an initial experimentation phase with any new material, the artistry begins. The exploration of new ways to mould materials continually informs Arbel’s creative process, almost obsessively. With a wealth of material knowledge, he is an aficionado of fabrication processes. “Copper’s not very glamorous, but it’s very exciting,” he enthuses. And this April, at the Spazio Rossana Orlandi gallery in Milan, the designer will launch series 19, a collection of bowls crafted from his favourite material of late, copper. Upcoming, there’s a project for flatware, a shelf, and four different kinds of bowls (one ceramic, one copper, and two glass) in the works.
The family home of Arbel’s partner at Bocci, Randy Bishop, 23.2 is the company’s first complete work of architecture. Last year, Bocci and OAO finished the design and build of a house in White Rock, British Columbia, called series 23.2. This multidisciplinary approach is reflected in a varied project portfolio. And although Arbel himself is at the helm, he’s clearly a team player, working with a close group of collaborators to mastermind designs in their 7,000-square-foot studios, located on the top two floors of a concrete building that previously housed a 1950s printing press.Īrbel is comfortable working within the multiple fields of architecture, craft and materials research, and industrial design. The two Vancouver design companies are a synergistic, intertwined duo in simple terms, Bocci fabricates what OAO imagines. Although he still spends time fencing for the love of the game, his focus has moved beyond sports to his current work as creative director of OAO and Bocci. His striking gold, silver, and bronze designs adorned the necks of each medalist, and their undulating surfaces were among the most creative (not to mention heaviest) in Olympic and Paralympic history.Īrbel graduated from the University of Waterloo School of Architecture in 2000, and in 2005 he established Omer Arbel Office (OAO). Yet, the Israeli-born, Vancouver-based industrial designer and architect actually made it to the 2010 Olympic Winter Games and participated, it could be argued, in every sport-as the designer of the official Olympic medals. For Omer Arbel, his dream involved competitive fencing-but that was “many years ago, in a different life,” he says.
Making it to the Olympic Games is a common dream for athletes. The series 23.2 house, located in White Rock, B.C., is Bocci and OAO’s first complete work of architecture.
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