In 2005, Arbel became Bocci’s creative director. Along with his work for Bocci, the Vancouver and Berlin based Arbel creates work under his own name and is taking it even further with OAO Works (Omer Arbel Office Works). Conversely, critics have noted that the practice’s built works appear to be inspired by an obsession with the object, the possibilities implicit in the process of making, and the intrinsic quality of materials. Omer Arbel, designer, artist, and creative director of Bocci, recently launched a new brand for the objects and curiosities he’s been creating on the side for the last 13 years. It has been said of Arbel’s practice that its industrial design works, in both limited edition and mass produced formats, appear to be motivated by larger scale concepts which can only be considered architectural.
After apprenticeships at Miralles Tagliabue Architects and Patkau Architects, in 2005, Omer Arbel founded a multidisciplinary design studio focused on blurring the boundaries between the fields of building, industrial design, and materials research. The installation will remain at the museum until the end of 2013.
The installation continued our research into the process of making, and stands testament to Arbel's remarkable journey as an articulator of form. There is a gentle slope from east to west and two masses of old growth forest defining two outdoor rooms each with a its own distinct ecology and conditions of light the house is situated at the point of. The 23.2 House by Omer Arbel: 23.2 is a house for a family, built on a large rural acreage. Built on a large rural acreage near Vancouver in Canada, this house has a very unusual, unique design. 280 of the 28 pendants hung within a 30 metre vertical drop, suspended by a novel, perhaps awkward and heavy copper suspension system, that had as much presence or more than the glass it supports. Designed by Omer Arbel, 23.2 is a house for a family built on a large rural acreage outside Vancouver in the West Coast of Canada. Canadian architect Omer Arbel has completed the 23.2 House project in 2010. On the other hand it was the most ambitious exploration to date of a novel glass blowing technique. The intent of the installation was twofold On the one hand, it was a pure celebration of the monumental open height of the building, which uses light to crystallize a powerful phenomenological experience for the viewer. The installation, featuring the celebrated 28, descended through the large existing void cutting through the entire length of the V&A Building, with an astonishing height of more than 30 metres. In the centre of the exhibition is a large-scale suspending lighting installation, made of blown glass named 28, which is a result of his experimentative approach and method.
We presented a massive, custom 28.280 chandelier in the main atrium of the museum. Omer Arbel - Architectural Experiments in Material and Form: 75, 86, 91, 94, brings to the fore Arbel’s ongoing dedication to push the boundaries of material whether in art, design or architecture. The focus is his recent work with fabric-formed concrete, as well as experiments with glass.This is a time lapse video of our installation at The Victoria & Albert Museum atrium as part of the London Design Festival. Here, the extent to which his work transcends the notion of design becomes clear. He started to get a reputation as a sculptor and designer because people didn’t know where to slot him.įast forward almost 15 years to Particles for the Built World, Arbel’s solo exhibition at the Surrey Art Gallery, on view until June 16. Not everything he produced was functional – many objects were simply for aesthetic contemplation. Rather, he focused on experimenting with materials – their physical qualities and ways of manipulating them – in what he calls “free explorations.”Īrbel embraced imperfection and error. His emphasis was not on the final shape of his objects, whether lighting, furniture, sculpture or buildings. A dynamic, highly visual, and in-depth study of the celebrated multi-disciplinary designer and master of sculptural lighting. Omer Arbel, “Particles for the Built World,” 2019ĭetail of installation at Surrey Art Gallery showing “75.10,” fabric-cast concrete and “8.0,” 2018-19, polymer-fibre filled concrete chair, 26” x 34” x 28” (courtesy of Omer Arbel Office, photo by Site Photography)īut even as he was starting out, Arbel followed a path that surpassed design alone.
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