Designing a Dreamscape: Edward View Brings a Sense of Peace to Orli’s Penthouse
Meet Edward View, the mixed media mastermind behind the La Jolla-inspired headboard in Orli’s Irving Gill Penthouse. The Canadian artist is known for his innovative use of diverse mediums and natural materials that has been acknowledged in publications such as Architectural Digest. His designs deconstruct landscape, architecture, memory, and the settings in which we live our lives.
“I hope guests connect with the location in the same way that I did during my research. I hope they feel the same sense of peace inside the penthouse as they would on the beach.”
What mediums do you primarily work with and how do you choose them?
I work across mediums and try to fit the material to the project. I think it’s important to have a wide palette of looks to draw from, so I try to maintain this multidisciplinary approach.
How did you get connected with Orli La Jolla to complete the headboard for the Irving Gill Penthouse?
I work with Renwil, a decor and design company here in Montréal, and was introduced to the project through them. I had a chance to learn directly from the interior designers what they envisioned for this piece, and worked on it from there.
What was the inspiration for this piece? Are there any details you can share about the materials, colors and techniques?
Orli’s interior designer, Maddie Lord, had some great starting points and gave me fantastic direction and inspiration for this project. I knew we were going to have some wood involved, which happens to be my personal favorite material. I also knew the best way to get this concept out was to work digitally. The inspiration and colors really came down to the incredible setting. The location really speaks for itself – it would be hard to not be inspired by this place.
What do you hope this piece will evoke in guests staying in the Irving Gill Penthouse?
I hope guests connect with the location in the same way that I did during my research. I hope they feel the same sense of peace inside the penthouse as they would on the beach, while also experiencing the energy that the movement of the waves creates outside. I hope they’ll feel that our work on this project showcases the surroundings in a fun way.
Walk us through the different stages of the project. What did it look like in early stages and how did you know when it was really coming together?
This was one of those projects where, once I had the process nailed down, it flowed quickly from concept to final imagery. In the early stages, it looked like a million curvy lines jumbled together, but once I got into the rhythm with the software, it started making sense in the same way a landscape painting would.
What was the most challenging part of this project, and the most satisfying?
For me, the challenge is always in the fabrication itself. How can we do this with the resources we have access to? How can we do this efficiently, and how can we exemplify the creative principles we all hold dear? It’s the big questions that challenge me. The most satisfying part is moments like this, where we get to talk about our work, and where we hear feedback from clients and guests. It’s why we all got into this business – to help craft experiences.
How do you know when a piece is “finished?”
You know, that’s a good question. I’m not sure a piece ever is!
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