Search Results (39)

Stained glass has played important roles in heritage building construction, however, conventional fabrication techniques have become economically prohibitive due to both capital costs and energy inefficiency, as well as high-level artistic and craft skills. To overcome these challenges, this study provides a new design methodology for customized 3D-printed polycarbonate (PC)-based stained-glass window alternatives using a fully open-source toolchain and methodology based on digital fabrication and hybrid crafts. Based on design thinking and open design principles, this procedure involves fabricating an additional insert made of (i) a PC substrate and (ii) custom geometries directly 3D printed on the substrate with PC-based 3D printing feedstock (iii) to be painted after the 3D printing process. This alternative is intended for customizable stained-glass design patterns to be used instead of traditional stained glass or in addition to conventional windows, making stained glass accessible and customizable according to users’ needs. Three approaches are developed and demonstrated to generate customized painted stained-glass geometries according to the different users’ skills and needs using (i) online-retrieved 3D and 2D patterns; (ii) custom patterns, i.e., hand-drawn and digital-drawn images; and (iii) AI-generated patterns. The proposed methodology shows potential for distributed applications in the building and heritage sectors, demonstrating its practical feasibility. Its use makes stained-glass-based products accessible to a broader range of end-users, especially for repairing and replicating existing conventional stained glass and designing new customizable products. The developed custom patterns are 50 times less expensive than traditional stained glass and can potentially improve thermal insulation, paving the way to energy efficiency and economic savings. Full article

The recent fast advances in consumer electronics, especially in cell phones and displays, have led to the development of ultra-thin, hence flexible, glasses. Once available, such flexible glasses have proven to be of great interest and usefulness in other fields, too. Flexible photonics, for instance, has quickly taken advantage of this new material. At first sight, “flexible glass” appears to be an oxymoron. Glass is, by definition, fragile and highly breakable; its structure has puzzled scientists for decades, but it is evident that in most conditions it is a rigid material, so how can it bend? This possibility, however, has aroused the interest of artists and craftsmen since ancient times; thus, in Roman times the myth of flexible glass was born. Furthermore, the myth appeared again in the Middle Age, connected to a religious miracle. Today, however, flexible glass is no more a myth but a reality due to the fact that current technology permits us to produce micron-thick glass sheets, and any ultra-thin material can be bent. Flexibility is coming from the present capability to manufacture glass sheets at a tens of microns thickness coupled with the development of strengthening methods; it is also worth highlighting that, on the micrometric and nanometric scales, silicate glass presents plastic behavior. The most significant application area of flexible glass is consumer electronics, for the displays of smartphones and tablets, and for wearables, where flexibility and durability are crucial. Automotive and medical sectors are also gaining importance. A very relevant field, both for the market and the technological progress, is solar photovoltaics; mechanical flexibility and lightweight have allowed solar cells to evolve toward devices that possess the advantages of conformability, bendability, wearability, and moldability. The mature roll-to-roll manufacturing technology also allows for high-performance devices at a low cost. Here, a brief overview of the history of flexible glass and some examples of its application in solar photovoltaics are presented. Full article

Archaeology is a well-established discipline that sheds light on human history and uncovers the mysteries of materials, their origins, production methods, and areas of use. It provides significant insights into various topics such as the production history of glass and other materials, trade routes, manufacturing processes, degradation mechanisms, regional usages, and coloring com-positions. Glass, an ancient yet contemporary material, can transmit, absorb, and reflect light. Appreciating glass art requires recognizing its rich history, offering artists technical and aesthetic possibilities in modern life and architecture. This study examines the influence of archaeological research and the artistic character of ancient glass on contemporary glass art. Archaeological findings from Turkey and around the world have been reviewed, with a particular focus on the Phrygian Valley, located in and around Eskişehir, an important region for the Phrygian civilization. Artifacts unearthed through excavations and sur-face surveys conducted in the Phrygian Valley, and preserved in the Eskişehir Eti Archaeology Museum, have been analyzed. The museum houses approximately 22.500 artifacts, including sculptures, steles, ceramics, glass vessels, metal objects, jewelry, and coins. Inspired by these artifacts and Phrygian culture, original glass designs have been created using techniques such as stained glass, lampworking, and glass painting. The aim of the study is to interpret Phrygian art and culture through innovative designs. Full article

Academics often comment that their teaching affects their research, but how this manifests is often implicit. In this essay, I explicitly explore the artistic, scholarly, and curatorial research instantiated by an undergraduate class titled “Transgender Studies meets Art History,” which I taught during the fall of 2022. Alongside personal anecdotes—both personal and connected to the class—and a critical reflection on my pedagogy, I discuss the artwork and public programming connected to a curatorial project, “Forever Becoming: Decolonization, Materiality, and Trans* Subjectivity, I organized at UrbanGlass, New York City in 2023. The first part of the article I examine how “trans” can be applied to thinking about syllabus construction and re-thinking canon formation for a class focused on transgender studies’ relationship to art history. In the second half, I theorize trans joy as a felt vibration between/across multiplicity and singularity, belonging and unbelonging, and world-making and world-unmaking. Overall, I consider trans as a lived experience and its utility as a conceptual tool. As a coda, I consider the precarity of teaching this course in the current political climate of the United States. Full article

One of the key concerns for present-day society is the need to build the environment in which we live in a sustainable way, using green solutions, but without losing the aesthetic values. The following study proves that, when applied in the right way, façade graphics support sustainability. Art glass placed inside the envelope significantly influences a number of aspects related to how a building functions, improving the quality of a given architectural space’s properties. Façade graphics have a considerable effect, as they control the intensity of light penetrating to the interior and provide support sunlight protection. Façade graphics act as a cover that controls how images filter through from the inside to the outside and from the outside to the inside. The graphics may be used to show messaging directed at the public. Art glass located in the external partition has a significant impact on several aspects of the functioning of an architectural object. In the preliminary examination, a few factors that determine the scope of such effect were identified, including the structure of the glass layer and of the image. The objective of this publication is to determine to what degree the structure of an image on glass, and the artistic means associated with it, influence the scope of the visual effect of a glass partition, as well as its functional properties, and how important for the reception of architectural space are the artistic values of glazing, in terms of its form, dynamics, composition, and colours, as well as the means by which the applied image impacts its surroundings. These means result from selection of suitable execution techniques and strategies for shaping the partition. The research concerns aspects of interconnection between graphics and the architectural space; its artistic, compositional, integrating, and covering role. The work is important in further research on the use of facade graphics in the utility and visual aspect. Full article

Robot artistic painting and robot calligraphy do require brush models for brushstroke simulation and painting robot control. One of the main features of the brush is its compliance, which describes the relationship between the brush footprint shape and the pressure applied to the brush. In addition, during motion, the brush footprint position lags from the brush handle position in a complicated manner. To date, the question of creating a physically correct model of these effects and choosing the best method for the model parameter calibration has not been presented in the literature. In the current paper, we derive equations of the brush contact patch motion, give their closed-form solutions, and investigate three methods for the brush model calibration: capturing brush footprints on a matte glass with a camera, painting calibration brushstrokes, and capturing a brush shape side projection with a camera. As we show, calibration brushstrokes give us primary information on brush contact patch displacement during painting, and capturing the brush side projection allows the accurate estimation of the gap from the brush tip to the center of the contact patch. Capturing brush footprints is useful for creating a brushstroke executable model. As an example, a model for a round artistic brush was created and verified in three tests, including measuring the coordinates of an angular brushstroke center line, simulating an angular brushstroke, and writing a signature using a robotic setup. Full article

Transition metal complexes have historically played a pivotal role in creating vibrant pigments utilized across artistic mediums such as ceramics, paintings, and glass mosaics. Despite their extensive historical use, our understanding of the mechanisms governing transition metal complex behavior has predominantly emerged in recent times, leaving numerous aspects of this process ripe for exploration. These complexes exhibit striking color variations under diverse conditions when employed in pigment formulations. This review utilizes a bottom-up scientific approach, spanning from microscopic to macroscopic scales, to unravel the molecular origins of the colors generated by transition metal complexes in pigments and ceramic glazes. Advanced spectroscopy techniques and computational chemistry play pivotal roles in this endeavor, highlighting the significance of understanding and utilizing analytical data effectively, with careful consideration of each technique’s specific application. Furthermore, this review investigates the influence of processing conditions on color variations, providing valuable insights for artists and manufacturers aiming to enhance the precision and quality of their creations while mitigating environmental impact. Full article

Lost-wax glass casting, an esteemed yet technically demanding art form, traditionally relies on specialized, costly kiln equipment, presenting significant barriers to artists regarding equipment affordability, energy efficiency, and the technical mastery required for temperature control. Therefore, this study introduces an innovative approach by integrating a microwave kiln with standard household microwave ovens, thus facilitating the lost-wax glass casting process. This methodological adaptation allows artists to employ readily available home appliances for glass creation, significantly reducing the process’s cost and complexity. Our experimental investigations reveal that, by using a 500W household microwave oven for heating, the silicon carbide (SiC) in microwave kilns can efficiently absorb microwave energy, allowing the kilns to reach temperatures exceeding 700 °C, a critical threshold for casting glass softening. We further demonstrate that by adjusting the number of heating cycles, producing high-quality, three-dimensional(3D) glass artworks is feasible, even for large-scale projects. In addition, the microwave kiln can be used as an effective cooling tool to uniformly cool the formed casting glass. This study presents a possible alternative to conventional kiln technology and marks a paradigm shift in glassmaking, offering a more accessible and sustainable avenue for artists and practitioners. Full article

Whereas Picasso’s work in ceramics, wood and bronze is rather well known, the body of his sculptures in glass remains an object of little research. In fact, as a thorough analysis reveals, they rarely find mention in publications or catalogues on Picasso and seldom are included in exhibitions or retrospectives on the great Spanish artist. This may on the one hand be attributed to a still prevailing perception of glass as a medium for industrial, functional or everyday purposes—hence discounting the material in terms of artistic output—while on the other to controversies of authorship, related to the question of ideation versus creation. Unlike ceramics or bronze, the realisation of blown glass sculpture hinges on the involvement of the maestro vetraio as the mediator between thought and form—thus resulting in a distancing between artwork and artist conditioned by the nature of the medium. Against this background, the paper aims at a better understanding of Picasso’s vision of sculpture through an examination of his creations in the vitreous medium. On these grounds, a closer look at Picasso’s works in glass is meant to highlight his unique ‘hand’ in terms of idiom, line and form. Full article

This work aims at developing an optimal strategy to automatically transcribe a large quantity of uncategorised, digitised archival documents when resources include handwritten text by multiple authors and in several languages. We present a comparative study to establish the efficiency of a single multilingual handwritten text recognition (HTR) model trained on multiple handwriting styles instead of using a separate model for every language. When successful, this approach allows us to automate the transcription of the archive, reducing manual annotation efforts and facilitating information retrieval. To train the model, we used the material from the personal archive of the Dutch glass artist Sybren Valkema (1916–1996), processing it with Transkribus. Full article

In 2022, the UN marked the International Year of Glass, celebrating the essential role glass has, and will continue to have, in society. One element of this celebration was the importance of glass within art and its history, which the Craft Scotland 2022 Conference: The Power of Glass looked to explore. The aim of the conference was to allow a range of individuals, be they academics, researchers, or students of glass and art history within Scotland and the UK, to access contemporary thought within an under-represented field in the UK craft sector. In this paper, we look to highlight the links between the aims of the International Year of Glass and the proceedings of The Power of Glass Conference, demonstrating how glass artists, makers, and designers are part of a growing international body of creatives who are using the communicative possibilities of glass as a vehicle in which to raise pertinent questions and platform unheard and overlooked narratives. Moreover, they seek to overturn perceived biases of what glass is and its future potential by placing their craft within an arena of judgement beyond discussions of process and technique and by elevating socio-political glass art on par with other forms of artistic protest and commentary. Full article

Bronze wares make up some of the most important bronze artifacts in ancient China’s Xia, Shang and Western Zhou dynasties. They carry rich historical, cultural and artistic information. In order to enable modern people to reflect on the ancient through products, an important research topic that must be considered is how to carry out innovative designs with bronze ware and how to add value to the development of cultural creative industries so as to promote sustainable cultural development. This study puts forward a research framework for the innovative design of bronze ware. Based on analysis of relevant cases, such as a purple copper antique wine vessel, the “Qing Niao” (“Blue Bird”) asking love wine cup and the HIBIKI ware wine glass, the study summarizes the innovative design strategy of modern transformation design of bronze ware. From the perspectives of functional attributes, cultural symbols, cultural identity and emotional resonance, the study finally proposes three design ideas: antiqued design, simplified design and reconstructed design. The study presents a research model which still needs to be verified in future studies. We hope that the model can integrate the principles of sustainability into the modern transformation design of cultural relics. Full article

Glass is made from sand—a finite resource. Hence, there is a need to maintain glass in the industrial cycle as described in the Ellen MacArthur Foundation’s circular-economy diagram. This research project examines the reallocation of material resources in the form of waste glass fines from the industrial recycling process for soda-lime glass. According to the plant manager of Reiling Glasrecycling Danmark ApS, the fines are currently sold to be used for insulation. Although this process prolongs the lifespan of the fines before they become landfill waste, a closed-loop circular option would be preferable. In order to establish a closed-loop circular model for waste glass fines, this research investigates their material and aesthetic qualities and proposes a strategy for maintaining the fines in the closed loop cycle together with the soda-lime glass. The fines are manipulated through robotic deposition and formed into 3D geometries. To expand the aesthetic applications for the material, an investigation is conducted by combining 3D geometries with the traditional glassmaking techniques of glassblowing and casting. The research contributes knowledge of the materials’ technical qualities including printability, durability and workability of the 3D prints combined with cast or blown recycled container glass as well as with blown waste glass fines. Technical obstacles are revealed and alternative routes for further explorations are suggested. Finally, the performative and aesthetic qualities of the results are discussed, while artistic applications for recycled soda-lime glass fines remain to be explored in future research. Full article

Knickers, big, small, plain, sensual, provocative, or practical, can be an unremarkable part of everyday life or an object of feminist protest. Women’s clothing, like the experience of womanhood itself, can often have multiple contradictory narratives. In this essay, the author discusses the history of women’s underwear and its links with socio-political revolution and feminist art. Against this contextual background, she discusses the development of the body of sculptures entitled Let’s Hook Up, a series of life-size, paper-thin drawings of lingerie in pâte de verre glass. The author details the artistic processes involved in making the works as well as the conceptual development and exploration of material and meaning. She demonstrates how artwork can act as a gateway to begin conversations about challenging topics like sexual assault whilst also providing a platform for creative expression and connection. Full article

One reason why the concept of the quotidian has proved elusive to critics of literature and the visual arts is that the commonplace in art and literature so often refuses to remain untransfigured, not least because of its power to confront us with the material detritus with which we surround ourselves and which we will eventually join. It is not surprising, then, that contemporary artists share a preoccupation with finding both mortality and transcendence in what John Wilmot, Earl of Rochester called “the lumber of the world.” In this paper, I shall consider how an early Damien Hirst mini-installation, consisting of a glass tumbler of water and a ping-pong ball, takes its only partly mocking place in a still life tradition going back to Roman xenia and seventeenth-century vanitas paintings, and to a related literary tradition typified by Thomas Hardy’s Under the Waterfall and James Joyce’s great prose aria to water all its forms in the Ithaca section of Ulysses. Full article