The Svaja Story

Excellence Speaks For Itself

Svaja takes its name from the founder Kristina Svajone Bobs, for her name in her native Lithuania, means ‘dream’. Kristina’s dream was that of creating and developing collections of usable, beautiful art in whatever medium.

From Svaja’s beginnings in 1999, Kristina has driven her company forward with a proven flare for designing glass that is celebrated across the world.

Over the years Svaja has completed many prestigious projects for clients across the globe; from prominent luxury hotels and resorts to corporate headquarters. Svaja products can be seen in world class restaurants, fine boutiques, fashion and homes stores and exquisite private residences around the world.

The collaboration between tradition and innovation is essential to accomplish a successful design that respects the environment


Therefore we;

  • support and encourage diversity in cultures and traditions
  • cultivate creativity and innovation
  • welcome differences in people and places
  • take care in striving for sustainable and responsible production

Since we borrow our environment from our children it is only right that we take care of all natural resources and consider every single aspect of our responsibility to the World.


We capture timeless luxury, carefully.

While the first evidence of man-made glass occurs in Mesopotamia in the Late-Third/Early-Second Millennium B.C., the actual “blowing” of glass using a tube did not occur until sometime in the First century BC in Roman Syria.


Glassblowing is a form of art that requires extreme training and an intense level of aptitude. This advancement transformed the material’s usefulness from a time-consuming process in which the medium was hot-formed around rough cores of mud and dung into a mass-producible material which could be quickly inflated into large, transparent, and leak-proof vessels.


Glassblowing techniques spread throughout the Roman world. Venice, particularly the island of Murano, became a centre for high quality glass manufacture in the late medieval period.


In addition to glassblowing as an art, many individuals pursue glassblowing as a hobby. In fact, it is one of the fastest growing hobbies.

Traditionally, the glass was melted in furnaces from the raw ingredients of sand, limestone, soda ash, potash and other compounds. The transformation of raw materials into glass takes place well above 2000°F (1100°C); the glass turns into a burnt orange color, the glass is then left to “fine out” (allowing the bubbles to rise out of the mass), and then the working temperature is reduced in the furnace to around 2000°F (1100°C). “Soda-lime” glass remains somewhat plastic and workable, however, as low as 1000°F (550°C).


Glassblowing involves three furnaces. The first, which contains a crucible of molten glass, is simply referred to as “the furnace.” The second is called the “Glory Hole”, and is used to reheat a piece in between steps of working with it. The final furnace is called the “lehr” or “annealer”, and is used to slowly cool the glass, over a period of a few hours to a few days, depending on the size of the pieces. This keeps the glass from cracking due to thermal stress. Historically, all three furnaces were contained in one, with a set of progressively cooler chamber for each of the three purposes.


The major tools involved are the blowpipe, the punty (or pontil), bench, marver, blocks, jacks, paddles, tweezers, and a variety of shears. The tip of the blowpipe is first preheated; then dipped in the molten glass in the furnace. The molten glass is ‘gathered’ on to the blowpipe in much the same way that honey is picked up on a dipper.


Then, this glass is rolled on the marver, which was traditionally a flat slab of marble, but today is more commonly a fairly thick flat sheet of steel. This forms a cool skin on the exterior of the molten glass and shapes it.


Then air is blown into the pipe, creating a bubble. Then, one can gather over that bubble to create a larger piece. Blocks are ladle-like tools made from water-soaked fruit wood and are used similarly to the marver to shape and cool a piece in the early steps of creation.


The bench is a glassblower’s workstation, and has a place for the glassblower to sit, a place for the handheld tools, and two rails that the pipe or punty rides on while the blower works with the piece.


Jacks are a tool shaped somewhat like large tweezers with two blades. Jacks are used for forming shape later in the creation of a piece. Paddles are flat pieces of wood or graphite used for creating flat spots like a bottom. Tweezers are used to pick out details or to pull on the glass. There are two important types of shears, straight shears and diamond shears. Straight shears are essentially bulky scissors, used for making linear cuts. Diamond shears have blades that form a diamond shape when partially open. These are used for cutting off masses of glass.


Once a piece has been blown to its approximate final size, the bottom is finalized. Then, the piece is transferred to a punty, and the top is finalized.

There are many ways to apply patterns and color to blown glass, including rolling molten glass in powdered color or larger pieces of colored glass called frit. Complex patterns with great detail can be created through the use of cane (rods of colored glass) and murrine (rods cut in cross-sections to reveal patterns). These pieces of color can be arranged in a pattern and ‘picked up’ by rolling a bubble of molten glass over them.

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