contemporary techniques in architectural glass - International ...
contemporary techniques in architectural glass - International ...
contemporary techniques in architectural glass - International ...
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<strong>International</strong><br />
Context<br />
40<br />
great effect but there is little evidence of their use <strong>in</strong> Australia. The <strong>glass</strong> artist would benefit<br />
from work<strong>in</strong>g more closely with the glaz<strong>in</strong>g <strong>in</strong>dustry as this is where the advancements are<br />
tak<strong>in</strong>g place.<br />
Glass Lam<strong>in</strong>ation<br />
This is the process of bond<strong>in</strong>g <strong>glass</strong> to <strong>glass</strong> us<strong>in</strong>g clear structural silicon or res<strong>in</strong>. This<br />
has the advantage that delicate handmade <strong>glass</strong> that was previously used <strong>in</strong> sta<strong>in</strong>ed <strong>glass</strong><br />
w<strong>in</strong>dows can now be bonded onto safety <strong>glass</strong> to produce structural works. There is great<br />
Pa<strong>in</strong>ted w<strong>in</strong>dow designed by Tobias<br />
Kammerer and fabricated by Derix studio<br />
Lam<strong>in</strong>ated w<strong>in</strong>dow by Mart<strong>in</strong> Donl<strong>in</strong><br />
scope for this technique and when used <strong>in</strong> conjunction with pa<strong>in</strong>t<strong>in</strong>g it is more cost effective.<br />
It is widely used overseas for ecclesiastical as well as corporate applications. There are<br />
great possibilities for its use <strong>in</strong> Australia.<br />
Promotion<br />
All of the artists, studios and schools visited had high quality and up to date promotional<br />
material. They appreciated the value of advertis<strong>in</strong>g and used it to their advantage to<br />
generate work and <strong>in</strong>terest. This is another area that hasn’t been developed <strong>in</strong> Australia.<br />
It is vital to keep <strong>in</strong> touch with commission<strong>in</strong>g bodies and keep them <strong>in</strong>formed with visuals<br />
of <strong>techniques</strong>.<br />
Outsourc<strong>in</strong>g<br />
Very few overseas artists fabricate their own work as commissions become larger and more<br />
structural. The days of the artisan work<strong>in</strong>g alone <strong>in</strong> a cottage <strong>in</strong>dustry are gone. To keep<br />
up with build<strong>in</strong>g and glaz<strong>in</strong>g trends the artisan requires access to the latest mach<strong>in</strong>ery and<br />
<strong>techniques</strong>. It is not feasible for every studio to have their own facilities. Most of the artists