Today we will start with a mesmerizing video of only two minutes and nine seconds, video that can be found here.
The video is created by Gwenael Lewis and in it, the creative director of Bocci, a Candian Lightinng Company describes how the latest chandelier has been materialized into an “internal universe” when it`s animated by light within. The Bocci firm is using glass blowers along with other tools to form molten glass spheres which afterward are assembled togheter and reheated in order to form multiple cohesive, cloud looking pieces.
“We began with the idea that we can manipulate the malleability of glass based on its temperature” says Arbel, by blowing air into the pieces, small passages are created trough the weaker parts of the bulb, with lower resistance, where the glass is at the biggest temperature, the hottest pieces.
“The air is pushed into the assembly and makes its way out through the path of least resistance, which is where the glass is hottest” Arbel explains further on. The interior is illuminated smoothly, the pockets of air are becoming visible in the exterior while the light travels trough the interior chambers, as Omer Arbel states “When lit, an internal universe comes alive”.
The “internal universe” will take the place of the centerpiece for Bocci`s stand under the name 57 Series at Euroluce tradefair this week at Milan, during Salone Internazionale del Mobile.
Here’s some more information from Bocci:
Bocci at Eurolace 2013
During this year’s Milan Saloni, Bocci will be exhibiting for the first time at Euroluce. In conjunction with the world’s largest furniture exhibition, Salone del Mobile, the biennial Euroluce trade fair serves as a major platform for luminaire manufactures with high design ambitions. At the centerpiece of their 280 square meter stand, Bocci will unveil a new flexible chandelier called 57 in a dramatic installation.
Designed by Omer Arbel, Bocci’s Creative Diretor, 57 is an exploration of a technique of making analogous to that used for producing open cell foam. The process involves trapping voids of air of different sizes and configurations within a glass matrix, and then injecting air into the composition, yielding a shape loosely referencing a rain cloud. These pockets of air remain invisible when the piece is off, but come alive to reveal an interior universe when the piece is turned on. As with all of Arbel’s recent body of work, it is the technique of making that yields 57’s form, which is unique in every iteration of the procedure.
A flexible suspension system allows easy composition: Pendants may be clustered such that they touch each other, referencing a cloudy sky (an especially poignant reference in the City of Vancouver, where the idea was born); they may also be composed as a field, such that each piece can be perceived individually, perhaps referencing a child’s drawing of a could (equally poignant but in a more universal manner). Most chandeliers are fundamentally vertical in composition, which is why they work best in rooms with high ceilings; in contrast, 57 is conceived as a layer or strata of light, or in other words, a horizontal chandelier.