Chandeliers in the home

Below are just a couple of examples of some of the unique chandeliers we’ve produced for homeowners all over the world.

Someone recently asked me how many chandeliers I’ve made, and I realized that I just didn’t know. Although I believe it’s at least three or four thousand, it would be a lot of work to go back over all those old orders and make a count.  The chandeliers we create for peoples homes are always special because we are, in a sense, being invited into their home. Each space, and each  customer is unique. There’s a special satisfaction that comes from working through the challenges of each persons vision and creating a work of art that’s not only beautiful on it’s own but also in harmony with the home and the taste of those who live there.

Because we build all of the parts for the chandeliers right here at Belle Mead Hot Glass we have the freedom to experiment with shape and color and material until we capture just the right idea.  We have built wall sconces in narrow spaces where it seemed like nothing could give the perfect feel and could possibly fit. We have evoked gondolas and fire and flowers in sizes from under two feet to an illuminated “bonfire” sculpture that was every bit as big as a real bonfire.

Variety is the Key

When we first started making chandeliers, we started with three basic parts which complemented each another rather well. The pod a rounded oblong shape with a twisted tail about 16″ to 18″ long, the horn a long twisting narrow shape about 20″ to 22″ long and the gourd which is pear shaped and about 4″ to 5″ in diameter by about 6″ in length. when these three shapes are all put together in somewhat equal proportions they produce a chandelier that has depth and almost comes to life as you move around it. If you have only one color which many clients have  chosen to go with its an amazing piece. If you add multiple colors you get an explosion of color that’s sure to amaze all that see it.

The next logical step

The next logical step was to add accents. A short list includes flowers like tulips, roses ,irises,lillies, and poppies. In an earlier blog we mentioned the addition of sea-life, such as shells, starfish and seahorses. Making chandeliers according to a theme is a great way to showcase a customers love for the things that inspire them. We always welcome a challenge and if a request is something we haven’t done before all the better we love to try new things.

 

One interesting thing that we do here is upgrading, maintaining and retrofitting work from the past. It’s a service we are happy to provide and gives us an occasional tour through past years projects.  Some recent projects in this vein have included splitting a chandelier into two sconces in order to transition it from the entry of a family home to the dining room of a home the couple had recently purchased for retirement. This winter we re-lit a chandelier, switching from halogen to LED for a homeowner seeking to “go green”. And last week we completed a “nuts and bolts” cleaning of a chandelier in a home that had been flooded.  We truly want to create personalized pieces for individuals.

It always comes back to trust. Our customers trust that they are going to get a work of art that will live with them for many years to come. Whether a new construction project, a remodel or and upgrade for an existing work, our chandeliers bring a special kind of joy no matter where they live.

Parx Casino Part One

Our Next large Scale Work

 

Our next big job came from the people at Parks Casino. This one was interesting on a few levels. First, it was a challenge because there was a fast approaching deadline. We were approached with the project in June and were expected to deliver in November.Usually a project of this size can use two months just deciding the basics such as size,colors, and the look and feel of the project. There are usually at least three rounds of back and fourth decision making before production starts. But in this case the owners were very hands on and were able to move things along nicely.

 

The scope of the job was simple enough, 2 chandeliers measuring 15’L x 10’W x 8’H and one larger chandelier measuring 18’L x 12′ W x 10′ H to be centered between the two smaller ones. This was the first time we had incorporated the two elements of the horns shapes and glass plates together. There were a lot of issues to resolve to make these pieces work together. In previous installations the horns had generally just hung from the framework of the chandelier. What we had to figure out was how to cantilever the plates off of that framework and articulate them so that they could be positioned just where we wanted them. What I came up with was a telescoping, double-jointed gizmo that we could bolt to the frame and then extend out and position precisely, mounting the plate at the end of the arm and further articulating the angle of the plate in its socket at the end of the arm.  The horn shapes could then be hung to flow out around the plates as you see in the pictures.

Another challenge in this project was organizing the installation. Because we didn’t belong to the union involved in the construction we had union members come to the studio and learn our installation process so that they could assemble the chandeliers onsite. We created a process together and the job came together smoothly.

Then, came the real test! Around July we were asked to produce Tapestry.  This work is composed of three ceiling panels measuring 45′ x 16′ filled with about eight hundred individually blown glass plates each measuring between 24″ to 40″ in diameter. Again, this all had to be engineered, produced and delivered by November. With the Casino opening scheduled for sometime in December our team went from six to nine people overnight. We worked seven day weeks from July to November to bring the project in on time. I don’t think I had a single day off, but in the end, the owners were thrilled with our work.

LAX Embassy Suites

Three Sculptures

We were contacted a few months ago by the owner of Embassy Suites LAX  to produce a unique set of glass sculptures. Normally, there wouldn’t be a lot to think about, but they wanted it somewhat earthquake-proof. We had never had any experience with earthquakes, but we had a lot of experience with hurricanes.

Hurricane Sandy, in October of 2012.

Superstorm Sandy did over 68 billion in damages to our area. The funny thing was, at the time we had about 20 glass sculptures hanging outside our studio a couple of miles away. Virtually nothing broke, and I always wondered why. For the past ten years or so, we had been putting glass chandeliers and sculptures outside, and hardly anything ever breaks. They’ve survived many winters and many storms.

I’ve concluded the reason why is the way the glass is attached to the tree, metal frame or armature by a single metal clip which allows the individual pieces to move somewhat freely. There can be as many as 500 pieces of glass. This was the key to selling the sculptures to the people at LAX Embassy Suites. All I had to do was focus on anchoring the steel poles to the concrete floor. We achieved this with a central 3″ diameter column and added three diagonal legs, which gave the structure a 4′ diameter footprint, which is incredibly stable. This was anchored with 1″ x 6″ bolts. The only problem was that the floor was laced with compression rods. These are used to keep the concrete slab in compression and keep it from cracking. So, we had someone come in to do an ultrasound in the areas we would be working in. The rest was business as usual.

 Starting With a Photo

We were sent a couple of photos and given the three locations where they wanted to see the sculptures. The below photos show the original photo, the proposed rendering and the mock-up.

After final approval

After the final approval of the glass plates and color balance, we began the production of the full job, which took about 1 month. Once all the glass pieces had been made and finished we began the process of packaging and building the three crates (48″ x 48″ x 72″). Sometimes I think packing and crating everything takes longer than making the glass, or at least it feels that way. To ship a large project from the East to the West Coast can be a big deal. If anything arrives broken, it can cause big problems. I am absolutely responsible for everything. It doesn’t matter if you have insurance or not, the client doesn’t want to hear the job can’t be completed and ready for the building’s opening in ten days, for instance.

As we were finishing the glass we started designing and engineering the poles and armatures from which the glass hangs. This step is every bit as important as the glass production. The finished height for two of the pieces was 28 feet and the third was about 35 feet, which means we have to make the structures solid enough to permanently hold everything together, but it has to be made modular, so we can ship it. When it’s put together onsite (since it’s this beautiful glass) everyone wants to see. The mounting structure needs to be nearly invisible, though. This balance of function and minimization of the hanging structure is my favorite part of the job because solving those problems are generally the most challenging, and rewarding.

If I had to pick another favorite aspect of my work it would be the collaboration between the client and myself. I always feel a special honor when we are chosen to do a project, because there has to be a trust. The client is going to get what they paid for. My job is to see that they get that, and much more. If there is sleep to be lost, I want it to be mine and not my client’s.

After everything arrived in California we put ourselves on a plane and went to L.A.. This trip was a little extra special, because, in addition to Scott Staats and Kelly Moyers, (without whom nothing would ever get done,) I had the honor of having my beautiful daughter Caroline with us. She proved to be a huge help and I was grateful to have gotten to spend the extra time with her.

In The End

In the end, everything went off without a hitch. Everyone was pleased with our work and because of great communication between the owners, their staff, and us, everything went just as expected. Someday, I’ll write a post about the  communication exchange on one of our larger jobs to show the effort involved in the production of a job of this type and size.

Virginia Beach Public Library Glass Fireplace

In the beginning

On or about May 1st Belle Mead Hot Glass was contacted by Neva White Of the Virginia Public Library. She told us that the library had an L shaped fireplace that was originally intended to be an actual working fireplace. The problem was the zoning and permitting process was cost prohibitive, So she wanted to know if we had any thoughts on how we could fill the space. which was a 12 foot by 8 foot long 4 foot high and 36 inches deep. Neva provided us with a couple of photos and an architectural rendering. At some point I was introduced to Matt. Who was helpful in deciding some of the details of the project such as lighting. He thought it would be nice if the installation could be lit from underneath which could simulate a fire effect. What we decided on was a series of about 40 LED strip lights would be controlled using a DMX controller (DMX512, a communications protocol that is most commonly used to control stage lighting and effects). The effect was great each node or  strip was being altered or controlled by the controller to create a fire effect.

What’s next

We spent a few minutes talking about some possibilities. and began the process of making samples. we provided a 1/2 dozen shapes using different colors and techniques.

Mock-up

After a specific style and range of colors was decided upon, we started making a small scale mock-up which led to a full scale piece which we submitted for approval.

Installation

A critical  point was that it had to be installed before the end of June.