![]() ![]() Si estáis por Londres, ¡no os la perdáis Collage. Everything these is just as it should be, like a well organized travel case. Con motivo del London Design Festival 2013, el Victoria & Albert Museum acogerá la última obra del diseñador Omer Arbel: una gigantesca lámpara de 30 metros suspendida desde el punto más alto del museo. Over the past months I've been obsessed with Adolf Loos' American Bar in Vienna. It's difficult to choose and I'm sure if I do I'll end up changing my mind tomorrow. I have so many buildings that would qualify, at one point or another in my life, as my favorite building. Lastly, what is your favorite building in the world?Why? And, we are just starting work on a desk lamp design for bocci. We're working on two different luxury getaway cabins in remote and quite beautiful locations. We've just sent off a set of flatware to a manufacturer for consideration (I'll have to keep the name of the manufacturer confidential for the time being). We have a high end contemporary furniture shop (B&B Italia, etc.) called Kiosk under construction at the moment in Toronto. We are photographing our first freestanding house this week-a relief as we've been working on it for three years. What projects are you currently working on? Generally speaking, the ones that don't make it to production are not strong enough, or too specific to a particular set of circumstances, or not rigorous enough. The best ideas make it to production, one way or another. There is a sort of natural selection that occurs. Yes-this is a "built in" synergy in our methodology. Have many objects you've created for architectural projects become mass produced? Are there any that you wish would have made it into production? And I like my work so its not a burden to work a lot. There are synergies between the two companies-sometimes Bocci manufactures components for OAO buildings, for example-or pieces developed as part of OAO projects end up in the bocci collection, that sort of thing. Its very exhilarating but slower going then at OAO. We end up making decisions about fractions of a millimeter. So my involvement as creative director reaches far deeper into the project. At bocci on the other hand, we are also the ones who make the work. We direct them, learn from them, teach them, all in the service of what we hope is an interesting approach. So, it's a higher level sort of involvement and we must learn to rely on many individuals who have more expertise than we do in their respective fields. How do you have time to do both? In what ways do the roles overlap?Īt OAO we design spaces and objects, but other people make them. You're Creative Director of Bocci and principal of OAO, your architecture and design practice. A project is simply a project for us-it gets a number-and we approach it in the same way we approach our other projects, whether it be an object or a space. Also, the numbering system helps break down the separation in scale that is traditionally attributed to the traditionally defined fields of architecture or industrial design. We are thus able to remain more conscious, see the patterns, motivations and obsessions in the work, focus on them and refine them. ![]() Rather than inventing names for our pieces, it seemed interesting to catalogue them in chronological order. With essays by guest contributors including American curator Glenn Adamson and senior design curator at the V&A, Brendan Cormier, and excerpted historical texts from seminal writers, artists, and thinkers – from Sigmund Freud to Robert Smithson – which provide compelling cultural context for this stimulating contemporary studio.I am thrilled that you catalogue all your work with sequence numbers. Organized by four thematic chapters and richly illustrated with beautiful product photography interwoven with preparatory drawings and ephemera, this book provides unique insight into Arbel's highly diverse practice. This monograph brings together twenty-two compelling projects – from lighting works for Bocci to furniture and standalone homes – to reveal practice founder Arbel's radical design ethos, which is rooted in material experimentation and collaboration. The work of Omer Arbel Office moves fluidly between the fields of design, architecture, sculpture, and invention. This monograph brings together twenty-two compelling projects – from lighting works for Bocci A dynamic, highly visual, and in-depth study of Omer Arbel, the internationally celebrated and collected multi-disciplinary designer and master of sculptural lighting A dynamic, highly visual, and in-depth study of Omer Arbel, the internationally celebrated and collected multi-disciplinary designer and master of sculptural lighting The work of Omer Arbel Office moves fluidly between the fields of design, architecture, sculpture, and invention. ![]()
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