CARVART

Opaline: Soft Luminosity with Sculpted Depth

Opaline joins the CARVART Couture line as a subtle study in light diffusion and surface dimension. Drawn from the CARVART DSA Collection, this material explores how gentle texture and pearlescent color can work together to create a calm yet elevated architectural presence. Formed with concave fluted glass and a pearlescent backpainted finish, Opaline delivers a soft, luminous surface that shifts quietly throughout the day. The vertical fluting introduces rhythm and depth, while the pearlescent tones add a refined glow, resulting in a material that feels both understated and highly considered.

Available in Pearl White, Light Brown, and Champagne, Opaline is designed to enhance spaces that prioritize warmth, softness, and continuity. Its ability to diffuse light makes it especially effective in environments where atmosphere and material cohesion are key.

With panel sizes up to 70 inches wide by 94 inches high and a 7/16 inch thickness, Opaline is suited for vertical applications where subtle texture and controlled reflectivity contribute to a composed, modern interior.

ACOUSTIC CONTROL | OFFICE ENVIRONMENTS

Why Acoustic Privacy Matters More Than Ever

Today’s workplace is expected to do everything at once. Focus. Collaborate. Present. Create. Meet. Think.

The challenge is no longer simply dividing space, but controlling how people experience sound within it. CARVART PRODUCT SOLUTIONS for enhanced acoustic control within Office Front environments include Slim, Simple, Simple Double, and solidSTACKWALL. Each system is designed to support different levels of speech privacy, sound separation, flexibility, and openness depending on the needs of the workplace. From open collaborative environments to conference rooms and acoustically demanding spaces, these systems help balance acoustic performance with transparency, daylight, and architectural continuity throughout the office.

CARVART | 30 YEARS
FROM GLASS TO ARCHITECTURE

As CARVART continued to grow within the residential market, the work was still centered on carved and etched glass, defined by craft and controlled production. The systems being built were internal, developed to support customization and scale, but the application remained largely decorative.

That began to shift through an early collaboration with Berger Rait, later renamed BR Design. The ask was straightforward. Design a set of sliding glass doors for an office. At the time, interior glass partition systems were not yet established as a category. There was no standard solution to rely on, no clear precedent for how these elements should function within a workspace.

The response was not to invent something entirely new, but to adapt what already existed. Storefront components were reworked for interior use. Slimmer mullions were sourced and applied beyond their intended purpose. Hardware typically used for wood doors was integrated into glass. CARVART glass became the defining layer that tied the system together.

What was created solved the immediate need, but it also introduced a new way of thinking about the material.

That first installation led to additional opportunities, including early commercial projects such as Warner Music, where glass was no longer treated as a decorative element, but as part of the architecture itself. It began to define boundaries, manage light, and shape how space was organized and experienced.

At the same time, the visual language evolved. Sandblasting remained central, but the expression shifted. Patterns became more restrained, more aligned with contemporary interiors. What had been developed for residential environments was recontextualized for commercial applications, extending the same techniques into a different scale and purpose.

This period did not mark a departure from craft, but an expansion of it.

Glass was no longer only something applied to a space. It became something that could structure it.