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Architectural glass is unique among the
arts of the world because of the relationship that exists
between glass and light. Essentially a dynamic, daylight
art, architectural glass is energised through its relationship
with light, and changes according to the time of day, the
seasons and the weather.
The three primary techniques of decorating glass in architecture
are described below. |
traditional hand-blown "antique" glass
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A
traditional stained glass window was, and still is,
made by painting onto, or etching, pieces of hand-blown
(“antique”) coloured glass. These are
held together with strips of lead that are then soldered
and cemented together for durability. The term “antique”
refers to the traditional manufacturing process, and
not to the age of the glass.)
“Antique” glass is
coloured during its manufacture. Some “antique”
glass consists of a single colour only, whilst “flashed”
glass is made up of a base colour with a thin layer
of a second colour laid (or “flashed”)
on top. By removing some of the “flashed”
surface to reveal the base colour beneath, an artist
is able to incorporate two colours in a single piece.
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The maximum size of a single
sheet of hand-blown sheet is about 750mm square, which can
constrain its use over large areas. However, modern glues
now allow “antique” glass to be laminated onto
float glass, which extend its use outside its traditional
leaded framework. It is now common for leaded glass to be
incorporated within a double-glazed unit, for safety and
ease of maintenance.
Hand-made glass is undoubtedly the most
beautiful form of decorated glass. The colour is intrinsic
to the material, and not superimposed upon it, and is thus
much stronger and more saturated, much more vigorous and
energetic. Because each sheet of glass is hand-made individually,
each contains small irregularities and variations, which
provide texture and interest. However, because the process
is entirely manual and very skilled, it is the most expensive
technique for decorating glass. |
enamel paints on float glass
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A less
expensive technique for applying colour to glass
is to use vitreous enamel paints on normal float
glass. This is then fired in a kiln at 6000 C, at
which temperature the materials fuse together.
The advantage of this technique is that virtually
any size of glass can be treated and, because of
the reduced cost, much larger areas of glazing can
be addressed.
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decorated float glass
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circumstances where colour is not required, a design
can be created onto float glass, either by sandblasting,
etching with acid, brilliant-cutting or slumping over
a mould in a kiln.
If required, a single commission
could involve a combination of any of the above techniques.
In all circumstances, safety considerations can be
addressed by using toughened or laminated glass.
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