contemporary techniques in architectural glass - International ...
contemporary techniques in architectural glass - International ...
contemporary techniques in architectural glass - International ...
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The silicone does not set hard, rather it stays jelly like, this gives good flexibility but makes<br />
cutt<strong>in</strong>g back and clean<strong>in</strong>g difficult. Silicones are safe to work with and have little odour.<br />
There are also epoxy glues suitable for <strong>glass</strong> bond<strong>in</strong>g. They are expensive but are made<br />
specifically for <strong>glass</strong> adhesion. Only one of the <strong>in</strong>terviewed artists said that he had used<br />
epoxy. Most of the artists were happy to let the fabricat<strong>in</strong>g studio decide on the type of<br />
adhesive to use on their project.<br />
The suitability of various adhesives for <strong>architectural</strong> <strong>glass</strong> use is an issue that requires further<br />
study. In Germany art works are exempt from safety standards, <strong>in</strong> Spa<strong>in</strong> there seemed to be<br />
no guidel<strong>in</strong>es and <strong>in</strong> England most lam<strong>in</strong>ation was <strong>in</strong>side double glazed units. It would be<br />
advantageous for an Australian artist if they could be sure that the adhesive method they<br />
were us<strong>in</strong>g was to an approved standard.<br />
Edge f<strong>in</strong>ish<strong>in</strong>g <strong>techniques</strong> for <strong>glass</strong> pieces to be lam<strong>in</strong>ated was also studied. Jose Castrillo<br />
gr<strong>in</strong>ds and polishes the <strong>glass</strong> as part of his design process. He <strong>in</strong>dicated that this is mostly<br />
done by hand us<strong>in</strong>g a belt arris<strong>in</strong>g mach<strong>in</strong>e and horizontal shaft polish<strong>in</strong>g mach<strong>in</strong>es. The<br />
precision of the work seen <strong>in</strong>dicated a very high skill level. The basics of hand polish<strong>in</strong>g can<br />
be learnt at trade school, but a lot of experience would be required to produce pieces to Jose’s<br />
standard. Larger pieces can be edged on computer controlled mach<strong>in</strong>es e.g. Intermac. The<br />
operator would need to be skilled, the correct software and gr<strong>in</strong>d<strong>in</strong>g heads also need to be<br />
available along with the knowledge to be able to program the desired profile <strong>in</strong>to the mach<strong>in</strong>e.<br />
The lam<strong>in</strong>ation process used at the Derix Studio showed a different approach to that of<br />
Jose. There were two basic styles of w<strong>in</strong>dows. One had all of the adhered pieces of <strong>glass</strong><br />
touch<strong>in</strong>g together. Unless <strong>in</strong>structed otherwise by the artist the studio carefully gr<strong>in</strong>ds<br />
the edges by hand to ensure a near perfect fit. This is very hard to do on curves but can be<br />
done on straight pieces.