[3] The objects, installations, and buildings realized in this way are to some degree unpredictable and variable, a meeting place between nature and technology, a potentially endless series of exceptions for which there is no restrictive rule.
Miralles’ death in 2000 brought Arbel back to Canada, where he completed his professional degree in architecture and began working at Patkau Architects in Vancouver.
Founded in 2005 under the artistic principles of Omer Arbel’s method, Bocci is committed to fostering a lateral and open-ended relationship between creative direction and craft.
The project regards the beams as archaeological artifacts resulting from the social and ecological history of the region, as such, they were not milled, cut, or finished, with massive geometrical consequence to the plan.
The project makes use of a technique of pouring concrete into fabric formwork deployed within plywood rib structures, yielding walls, and columnar roof forms.
[17] The fabric formed concrete elements are treated as if they were found archeological ruins in the hayfield landscape, with the house considered a contemporary construction built around and among them.
Financial and practical concerns prevented these plans from being realized, however Arbel's desire to design a system of production that resulted each medal having unique form was preserved.
[2] He has had multiple exhibitions at Spazio Rossana Orlandi in Milan, the Art Institute of Chicago, and more recently at the Fairmont Pacific Rim Vancouver, Mallett Antiques, Canada House, and the Victoria and Albert Museum in London.
[32] The Royal Architectural Institute of Canada (RAIC) announced on March 16, 2015 that Arbel would be awarded the Allied Arts Medal for 2015 based on his recent work at the Victoria and Albert Museum.
[33] Arbel is active as a guest critic, speaker and master's thesis committee member at the University of British Columbia School of Architecture.