The dome of the Crystal Dome was modelled after Sir Richard Buckminster Fuller's (1895–1983) geodesic dome, whose architectural design perfectly reflects the principle of geodesy. Geodesy is the scientific discipline devoted to geographical measurement and representation of the Earth; in mathematics, it designates the shortest path between two points on a curved surface.
INTO LATTICE SUN
For “Into Lattice Sun”, South Korean lady artist Lee Bul looked to modern architecture as her muse, translating it into a metropolitan, dramatic, and utopian landscape for the Chamber of Wonder.
"The Infinity Wall" -
the installation of it consists of two overlappings and coated Japanese acrylic mirrors with Swarovski crystals in a variety of shapes placed between them.
Their placement, the mirroring effect, and the reflection of the crystals produce the illusion that small cities and even buildings are contained within the installation.
This deliberately staged interplay of the continually changeable, iridescent mirror landscape enables the visitor to discover all of its facets from the most diverse perspectives.
"After Bruno Taut" -
the installation of it was inspired by the architectural fantasies of the German architect Bruno Taut (1880-1938). In his architectural works, Taut was concerned with, among other things, the use of glass as a building material - a significant innovation in modern architecture. The installation depicts the structure of the Earth using silver and aluminium strands, on which Lee Bul has placed a bizarre ice landscape made by crystals. The Earth is illuminated with a warm light, and a starry sky above the landscape directs the viewer's attention to the next installation.
The deeply symbolic bridge that leads us through this fascinating landscape of crystal and mirrors intensifies the visitor’s spatial experience.
depicts an upside-down urban landscape consisting of interwoven crystals hanging from the ceiling and hails the conclusion of the Chamber of Wonder. The visitor is invited to interact with the installation and create his/her own interpretation of Lee Bul's narrative. From my point of view, I would never see in this chandelier "an upside-down urban landscape" really.
Another chandelier that I liked more, it is a classical form in my view - no information found.
Vincent Van Duysen's Cascade (bellow) s a stunning pillar of light that splashes out at the base, which is made out of approx. 28,800 clear crystals strung in four concentric rings. It's size: 280 x 50 x 50 cm -
At first glance, Tyrolean artist Oliver Irschitz's “Ice Passage” is an empty corridor; it does not come alive until you step inside. As you place your foot on the floor, a series of crystalline tracks start to appear, precisely revealing the path you have taken. The lights also trace these tracks, allowing the viewer to get sporadic glances into the surrounding world of glistening ice. The more visitors dare to venture in, the brighter and more luminescent the surroundings become, and the denser the tracks on the floor appear.
The name “El Sol” is Spanish for “The sun.” Fernando Romero’s installation, formed from 2,880 custom-made Swarovski crystals, is an exploration of humankind’s relationship with the sun.
This large structure is exactly one billion times smaller than the sun itself. At the heart of the artwork is a sphere of LEDs, whose light is split by the inner facets of the precisely cut crystals in such a way that it creates a dynamic surface reminiscent of the sun.
The effect is realised by the sounds. There are original sounds registered from the Cosmos and played by a very slow pace, otherwise, the human ear could not perceive it.
E D E N
The idea behind the Eden Chamber of Wonder is to create a landscape that evokes one of the strongest primal responses in man: the forest. But Eden is no ordinary forest – it is a fantastical, archaic primaeval world. At its entrance, a waterfall, filmed in the surrounding Alps, cascades down a screen and is reflected by the walls, while the roar of the water permeates the entire Chamber of Wonder, creating a wall of background sound.
Inside, the visitor follows a path that meanders through a dense wilderness of simple polished brass structures, which through mirrored walls appear to go on to infinity.
In 1899, it first used the edelweiss flower in its logo and expanded to France, where it was known as Pierres Taillées du Tyrol ("Cut stones from Tyrol"). In 1919, Swarovski founded Tyrolit, bringing the grinding and polishing tools from the crystal business into a different market.
In 1935, Swarovski's son Wilhelm created a customized pair of binoculars, which led to the launch of Swarovski Optik 14 years later. Swarovski Optik manufactures optical instruments such as binoculars, spotting scopes, rifle scopes and telescopes.
In 1977, Swarovski entered the jewellery market in the United States.
Nadja Swarovski, the founder's great-great-granddaughter, became the first female member of the Swarovski executive board in 2012.
Members of the Swarovski family were early, active and enthusiastic champions of National Socialism, and at least six of its members maintained membership in the illegal party prior to Austria’s annexation to National Socialist Germany on March 12, 1938. Three weeks earlier, 500 marchers in the Tyrolean town of Wattens held a torchlight procession that ended with chants of "Sieg Heil" and "Heil Hitler." The majority of the participants, police determined, were Swarovski plant employees, among them Swarovski family heirs Alfred, Wilhelm and Friedrich.
In its report to the state police on February 14, 1947, the Innsbruck district administrator called company head Alfred Swarovski “an enthusiastic member of the NSDAP." Alfred Swarovski praised Hitler at business gatherings and took actions as a regional business leader to ensure that “Tyrolean industry could be integrated as smoothly as possible into the enormous gears of the economy of Greater Germany and into the National Socialist economic order." He sent "grateful loyalty greetings" to Adolf Hitler on his 49th birthday and arranged a donation of 100,000 shillings for Hitler to establish a holiday home in Tyrol.
The company exploited its political connections and stewardship of the regional business association to emerge stronger from the Nazi era. During the war it diversified its production and expanded its business lines, adding abrasives, optical devices, telescopes, binoculars and other product lines during the war and growing from 500 to almost 1,200 employees between the Anschluss and March 1944.
"From my party affiliation, I only took advantage of the fact that it was possible for me as a party member to initiate the negotiations necessary for maintaining the company and to bring it to a successful conclusion with the responsible economic agencies of the Reich." - Alfred Swarovski told the Innsbruck People's Court after the war.
In 1994, historian Horst Schreiber wrote about Swarovski’s past but was not granted access to company archives.
The contemporary Swarovski company commissioned historian Dieter Stiefel as “a step towards dealing with our history in a serious and very proactive manner,” board spokesman Markus Langes-Swarovski said in 2018, however, the study was not published because, Langes-Swarovski said, “Swarovski is a company that generally tries to keep the owners' personal stories largely out of the public eye because it does nothing for the business.”
Swarovski Group’s website omits mention of the Nazi period in the “Our History” section, skipping the years between 1931 and 1949 on its timeline.
The Swarovski family's fortune is estimated at around 4.2 billion euros. Around 200 family members are working in and for the company. There are about 2.350 shops all over the world. With an annual turnover of ca 3,5 billion euros, the Swarovski crystal empire is one of the financially strongest luxury goods companies in the entire world.