Earlier this year, Lasvit unveiled an abstract installation of hundreds of varying-sized glass bubbles. Three walls of the Butterfly office complex in Karlín are now bespeckled with bubbled constellations, assembled in such a way that when the viewer steps back, a face is revealed. This playful use of glass is something Maxim has demonstrated before, on the 17-metre Diver installation in South Korea’s Lotte World Tower, which depicts a pearl diver suspended amidst hanging streams of glass baubles.
For each large-scale project, time is fundamental. As Maxim says, ‘Sometimes, it will take up to three years! It depends, but we allow a couple of months because it takes a lot to assemble 10,000 components and each individual one has to be engineered in such a specific way.’
Each project Lasvit works on is linked to an architectural space, and it’s up to Maxim, along with a team of creative partners, and the client to work with the space and respect its role within the process.
‘The collections are a slightly different world to the projects,’ says Maxim. ‘The experimentation level is slightly limited because ultimately the pieces still need to be affordable and usable for our customers.’
These pieces are a way for Lasvit to spread the traditions of Bohemian perfection, and it’s through its revitalised approach to an age-old practice that Lasvit is able to continue to stretch beyond traditional conventions.