Maintaining Traditional Plain Glass and Glazing
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Glass in a Slump
Rochester Institute of Technology RIT Scholar Works Theses 5-1-1984 Glass in a slump Peter Andres Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Andres, Peter, "Glass in a slump" (1984). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS GLASS IN A SLUMP By PETER V. ANDRES May 198* APPROVALS Adviser: [Illegible] ~~ ~ Date: ~\~"-+-\~'------------------ Associate Advisor: Graham Marks Date: ~y3C3/2~Y Associate Advisor;. Lawrence M. Williams Date: ~At7 (~~r- _ Assistant to the Dean for Graduate Affairs: Fred Meyer Date: Dean, College of Fine & Applied Arts: I Robert H. Johnston Ph.D Date: I, Peter V. Andres , hereby (grant, ""'" permission to the Wallace Memorial Library of RIT, to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit. Date: TABLE OF CONTENTS PAGE NO. PREFACE SECTION ONE: PROCESS AND DESIRES SECTION TWO: AESTHETIC INCLINATIONS 10 PHOTOGRAPHIC SECTION 22 ENDNOTES 30 PREFACE This thesis has been formed in two major segments. The first portion deals with glass information including processes and techniques. The second addresses my work in terms of personal issues, manner of approach, symbolism, composition, visual eclecticism and internal source of imagery. -
Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding
Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Peng He Graduate Program in Industrial and Systems Engineering The Ohio State University 2014 Dissertation Committee: Dr. Allen Y. Yi, Advisor Dr. Jose M. Castro Dr. L. James Lee Copyright by Peng He 2014 Abstract Precision glass molding is a net-shaping process to fabricate glass optics by replicating optical features from precision molds to glass at elevated temperature. The advantages of precision glass molding over traditional glass lens fabrication methods make it especially suitable for the production of optical components with complicated geometries, such as aspherical lenses, diffractive hybrid lenses, microlens arrays, etc. Despite of these advantages, a number of problems must be solved before this process can be used in industrial applications. The primary goal of this research is to determine the feasibility and performance of nonconventional optical components formed by precision glass molding. This research aimed to investigate glass molding by combing experiments and finite element method (FEM) based numerical simulations. The first step was to develop an integrated compensation solution for both surface deviation and refractive index drop of glass optics. An FEM simulation based on Tool-Narayanaswamy-Moynihan (TNM) model was applied to predict index drop of the molded optical glass. The predicted index value was then used to compensate for the optical design of the lens. Using commercially available general purpose software, ABAQUS, the entire process of glass molding was simulated to calculate the surface deviation from the adjusted lens geometry, which was applied to final mold shape modification. -
Crafted Architecture, an Investigation Into Handcrafted Glass Techniques
Crafted Architecture, An Investigation into Handcrafted Glass Techniques Alex Krissberg Konstfack CRAFT! Department of Ceramic and Glass Master 2 Spring 2018 Tutors: Reino Björk, Birgitta Burling, Sara Isaksson From, Hans Isaksson, Agneta Linton, Anders Ljungberg, Marie O’Connor, Johanna Rosenqvist, Bella Rune, Matt Smith Word count: 5,187 Abstract This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture. Keywords: Glass, Glassblowing, Handmade, Architectural Glass, American Studio Glass Movement, Rondel, Murrini, Cane Index Introduction 1 Background 2-5 Context 6-9 Methods: Theory (Bubbles & Blobs) 10-12 Methods: Techniques 13-16 Discussion 17-18 Conclusion 19-20 References 21-22 Appendix 23-26 Introduction This paper follows my masters project where I work with my own invented glass techniques that I am using to construct glass sheets for the purpose of architectural glass. In this project I am researching in what ways can handmade architectural craft change a space? In exploring how handmade glass can change a space, I will investigate how unseen glass traditions which happen in the workshop outside of public view can be present in a crafted object, and what society’s perception of craft might be historically and currently. I believe that public glass is lacking in the handmade. In the past society had depended on craftsmen to make windows, but now as they are mostly machine made it has become void of certain qualities. I would say architectural and functional glass is often overlooked as just a building material or tool, an object that is not seen or a transparent wall. -
Glass Circle Publications
INDEXOF GLASS CIRCLE PUBLICATIONS by Hazel Bell Incorporating and modifying the previous indexes by Peter Lole Indexed publications Key Glass Circle News Issues 1-140 (1977–2016) 1.1 (Issue no.page no(s);) The Glass Circle Journal 1-11 (1972-2009) JL The Centenary Supplement (2004) CS GCN (2004) Ex. ExFromcerpts Palace from to the Parlour first 99(2003) issues of PP The Glass Circle Diamond Jubilee 1937–1997 DJ Glass Collectors and their Collections (1999) Col. Strange and Rare: 50th Anniversary Exhibition 1937–1987 SR Major references to a topic are given in bold type Abbreviations used: c. GCN for Glass Circle News. Notesexh. for exhibition; for century; GC for Glass Circle; Short forms of article and book titles are used. Article titles, and titlesin ofitalics talks reported, are given ‘in quotes’ under the names of the speakers. Book titles are given under the names of the authors, except for multi-author books, listed under their titles. GlassReviewers Circle of books,News andreferences writers of are letters given and in obituaries, the form: are rarely included. Issue number.page number(s) with the Issue numbers followed by stops; page numbers in the same issue separated by commas; Issue numbers separated by semi-colons. Newsletters for April and July 1983 are both numbered 26; references to those issues are given in the index as 26A and 26Jy. The first page of Issue 115, 2 June 2008, shows Issue number as 114. Announcements of coming events, advertisements, auctions, fairs, and sales reports are not indexed; of exhibitions, only major ones are indexed. -
Brief History of the Flat Glass Patent
World Patent Information 38 (2014) 50e56 Contents lists available at ScienceDirect World Patent Information journal homepage: www.elsevier.com/locate/worpatin Brief history of the flat glass patent e Sixty years of the float process Marcio Luis Ferreira Nascimento a,b a Vitreous Materials Lab, Institute of Humanities, Arts and Sciences, Federal University of Bahia, Rua Barão de Jeremoabo s/n, Idioms Center Pavilion (PAF IV), Ondina University Campus, 40170-115 Salvador, Bahia, Brazil b PROTEC/PEI e Postgraduate Program in Industrial Engineering, Department of Chemical Engineering, Polytechnic School, Federal University of Bahia, Rua Aristides Novis 2, Federação, 40210-630 Salvador, Bahia, Brazil article info abstract Article history: This paper deals with one of the single most important innovations made in Great Britain since World Available online 4 July 2014 War II. It is certainly one of the greatest process inventions of the twentieth century. The float process is one of the most widely used methods for flat glass manufacturing as it ensures security, high quality and Keywords: productivity. From a historical point this innovation was the beginning of a revolutionary change in the Glass mass production of flat glass for the building and automotive sectors. More specifically this innovation Flat eliminates the traditional operations of rolling, grinding and polishing the glass surface while creating a Float high quality and inexpensive flat glass product. The first patent was applied for on December 10th, 1953 Patent History by Pilkington and Bickerstaff. This paper presents a brief discussion from the 1960s in a historical Technology perspective about this amazing discovery and the main patents related to it. -
Traditional Windows: Their Care, Repair and Upgrading
Traditional Windows Their Care, Repair and Upgrading Summary The loss of traditional windows from our older buildings poses one of the major threats to our heritage. Traditional windows and their glazing make an important contribution to the significance of historic areas. They are an integral part of the design of older buildings and can be important artefacts in their own right, often made with great skill and ingenuity with materials of a higher quality than are generally available today. The distinctive appearance of historic hand-made glass is not easily imitated in modern glazing. Windows are particularly vulnerable elements of a building as they are relatively easily replaced or altered. Such work often has a profound affect not only on the building itself but on the appearance of street and local area. With an increasing emphasis being placed on making existing buildings more energy efficient, replacement windows have become a greater threat than ever before to the character of historic buildings and areas. This guidance covers both timber and metal windows and is aimed at building professionals and property-owners. It sets out to show the significance of traditional domestic windows by charting their history over centuries of technical development and fashion. Detailed technical advice is then provided on their maintenance, repair and thermal upgrading as well as on their replacement. This guidance was written and compiled by David Pickles, Iain McCaig and Chris Wood with assistance from Nick Molyneux and Eleni Makri. First published by English Heritage September 2014. This edition published by Historic England February 2017. All images © Historic England unless otherwise stated. -
© Alan Macfarlane and Gerry Martin, 2002 1 GLASS in EUROPE; 1100
© Alan Macfarlane and Gerry Martin, 2002 GLASS IN EUROPE; 1100-1700 We have already seen that even by 1100 there was an extensive knowledge of glass-making techniques and probably quite a widespread use of glass. This was a solid foundation, inherited from Rome and the eastern Mediterranean, upon which was built an enormous further increase in the use and sophistication of glass-making. There is now a large literature on many aspects of this, so all I can do here is to sketch in one or two of the most salient peaks. Among these it is worth singling out three new developments. Up to 1100, and including the Romans, the two main uses for glass had been for verroterie (beads, toys, jewellry), and vererie (vessels and other useful ware). Although there was a little development of window glass, especially in the north of Europe, this was a minor event. The period between 1100 and 1700 saw the continued development of the two earlier uses, especially in relation to fine drinking glasses. But it also saw three major extensions in the use of glass. One was in windows, both stained glass in religious buildings and plain window glass in ordinary homes. The second was in the development of glass mirrors. The third was the development of lenses, prisms and spectacles, that is glass for optical purposes. It was these three new developments which would change the knowledge base of Europe. None of them, as we shall see, occurred in this period to any extent elsewhere, whether in China, Japan, India or Islamic civilizations. -
The Preservation and Repair of Historic Stained and Leaded Glass Neal A
PRESERVATION 33 BRIEFS The Preservation and Repair of Historic Stained and Leaded Glass Neal A. Vogel and Rolf Achilles National Park Service U.S. Department of the Interior Heritage Preservation Services “Stained glass” can mean colored, painted or enameled glass, and other building elements has shaped and colored or glass tinted with true glass “stains.” In this Brief the light in infi nite ways. term refers to both colored and painted glass. “Leaded glass” refers generically to all glass assemblies held in place by lead, Stained and leaded glass can be found throughout copper, or zinc cames. Because the construction, protection, America in a dazzling variety of colors, patt erns, and and repair techniques of leaded glass units are similar, textures (Fig. 1). It appears in windows, doors, ceilings, whether the glass itself is colored or clear, “stained glass” and fanlights, sidelights, light fi xtures, and other glazed “leaded glass” are used interchangeably throughout the text. features found in historic buildings (Fig. 2). It appears in all building types and architectural styles—embellishing Glass is a highly versatile medium. In its molten the light in a great cathedral, or adding a touch of state, it can be spun, blown, rolled, cast in any shape, decoration to the smallest rowhouse or bungalow. A and given any color. Once cooled, it can be polished, number of notable churches, large mansions, civic beveled, chipped, etched, engraved, or painted. Of buildings, and other prominent buildings boast all the decorative eff ects possible with glass, however, windows or ceilings by LaFarge, Tiff any, Connick, or none is more impressive than “stained glass.” Since one of many other, lesser-known, American masters, the days of ancient Rome, stained glass in windows but stained or leaded glass also appears as a prominent feature in great numbers of modest houses built between the Civil War and the Great Depression. -
Boromax User Manual
© 2007 Glass Alchemy, Ltd. All Rights Reserved BOROMAX™ USER MANUAL TABLE OF CONTENTS Forward....................................................................................................................... 2 Working with Glass Alchemy Boromax™ Colors ........................................................... 2 Phase Separation, Crystal Growth and Nucleation ...................................................... 2 Torch Setup................................................................................................................. 3 Setting a Neutral Flame............................................................................................... 4 The Numbering System............................................................................................... 4 Color Groupings ......................................................................................................... 6 Color Descriptions and Tips (by group) ....................................................................... 7 Health and Safety...................................................................................................... 26 Glossary of Terms .................................................................................................... 28 Glass Alchemy, Ltd. Boromax™ User Manual Page 1 of 32 All Rights Reserved © 2007 Glass Alchemy, Ltd. FORWARD During the last six years the lampworking world has seen many changes worldwide. Glass Alchemy, Ltd. (GA) has ardently participated. During this period GA has conducted thousands -
Marble and Paperweight Issue
Summer 2020 Marble and Paperweight Issue Mayauel Ward New Products to Inspire Your Creativity www.firemountaingems.com www.firemountaingems.cowww.firemountaingems.com m One Fire Mountain Way, DEPT C070 Grants Pass, OR 97526-2373 1-800-355-2137 America’s Favorite Inset shows convertible necklace with Beading and Jewelry removable earrings and brooch Supply Company® Go online to see over 100,000 HOT jewelry-making products and order a Free catalog today You supply the creativity, we supply everything else!® Copyright Fire Mountain Gems and Beads© 2020 Debbie Benninger and Lampworked Glass by Mary Ann Helmond Silver Medal Prize Winner, Metals Jewelry-Making Contest The Flow®/Summer 2020 The Flow® Table of Contents Volume 18 Number 2 6 The Flow® 2020 Marble and Paperweights Gallery Featuring the work of 27 flameworking artists 14 Beyond the Sphere How the Contemporary Marble Movement Changed the Paradigms of Shape by Freddy Faerron 22 The Power of the Flame Transforming the Common into Something Special by Melissa Ayotte 28 The 2019 Michigan Glass Project Helping Young People Find Art by Allison Key 32 Encased Floral Marbles Text and Demonstration by John Kobuki On the Cover Floral Paperweight by Mayauel Ward. Photo by Rosann Baum Milius. Table of Contents Floral Paperweight by Melissa Ayotte. www.TheFlowMagazine.com The Flow ® • Summer 2020 3 40 Frit Implosion Marble Publisher ~ Maureen James Text and Demonstration by Vicki Schneider Founding Editors ~ Wil Menzies, Jennifer Quaid Copy Editor ~ Darlene Welch Making a Super Simple Marble Pendant -
GLASS MANUFACTURE and DECORATION Raw Materials
GLASS MANUFACTURE AND DECORATION Raw materials Following are the raw materials. 1. Sand: Forms acidic part of glass 2. Soda ash: Forms basic part of glass 3. Sodium nitrate: Accelerates melting 4. CaO: Forms the basic part of glass. 5. Silica: Forms acidic part of glass. 6. Barium sulphate: remove impurities in the form of scum. 7. Feldspar: Retards de-vitrification. 8. Potassium oxide: Used as a softening agent. 9. Borax: Increase hardness or refractive index. 10. Boric oxide: Improves chemical or corrosive resistivity. 11. Phosphoric oxide: To impart bright appearance. 12. Lead oxide: Increases insulation. 13. Selenimum: Used as decolorizer. Manufacturing process FOLLOWING ARE THE STEPS FOR THE MANUFACTURING OF GLASS: 1. MELTING: 2. SHAPING AND FORMING: 3. ANNEALING: 4. FINISHING: MELTING: Based on the type of the glass suitable glass manufacture materials are selected. Raw materials are reduced in size by crushing and grinding. Raw materials are now subjected to melting in furnace. 1. POT FURNACE. 2. TANK FURNACE. 1. Pot furnace: For special glasses like optical glass. Raw materials are melted in pot furnace made of ceramic material capacities varying from 1-2 tons and is used for small production batches. Cont. 2. TANK FURNACE: Molten glass is obtained by melting the raw materials in 1350-1400 ton capacity regenerative tank furnace and can be used in continuous processes. During melting of raw materials various reactions occur at various temperatures. Chemical reactions : Na2CO3 +aSiO2 Na2O.aSiO2+CO2 CaCO3+bSiO2 CaO.bSiO2+CO2 Na2SO4+cSiO2+C Na2O.cSiO2+SO2+CO Cont. SHAPING OR FORMING Glass may be shaped by either machine or hand molding. -
Glazing for Framing and Case Making
GLAZING FOR FRAMING AND CASE MAKING JARED BARK INTRODUCTION The ideal glazing material would transmit without distortion all the light in the visible spectrum, reflecting none, and would be opaque to ultraviolet radiation. It would resist impact and abrasion, carry no static charge, and neither expand nor contract with changes in temperature and humidity. Available in any size, this material would also be of light weight, rigid, inexpensive, and show no effects of aging. Sad to say, no miraculous glazing material exhibits all of these qualities. At best, our options today satisfy only three or four of the dozen requirements listed above; our task, then, is to sort out the best choice for each circumstance. The purpose of this paper is to examine and summarize the issues which must be faced in designing and working with glass or acrylic. Particular attention is paid to the practical concerns of those who execute the designs, store and handle these fragile materials, and pack and ship them. To this end, I provide as much detail as possible about specific products. If information has been supplied by manufacturers, and we have no experience with the material, I say so. We ourselves use many of the referenced products, and have conducted informal tests on some of them. It goes without saying, however, that in so large and diverse a field we have made mistakes and allowed omissions. We strongly suggest that for sensitive installations case and frame designers either contact manufacturers or perform their own tests. We plan to update this material occasionally, and would appreciate hearing from colleagues with corrections or new information.