Samara Hamilton is a current student at Tyler School of Art and is about to finish her MA in Architecture. She has a strong interest in glass and since taking her first glass course here at Tyler it has been her desire to have glass play a new role in architecture, one that goes beyond the traditional barrier between interiors and exteriors. Click on the image to link to her kickstarter “Perceptions of Living Light”. Check it out and see if you can give her some support.
I’m still thinking about Eunsuh’s lecture last week. She was so generous with her story. I think we were all surprised to hear that her background was in textiles and fashion. When she took her first hot glass class, she hated it – it was so imprecise and messy compared to the precision that she had honed in textiles. But her father asked her to give glass one more chance, and as she described it, “that decision changed my life.” She took a bead-making class and fell in love with torch-working. She felt that she was again in control of material and color, and loved the meditative nature of the process. She was essentially self-taught after that one class, developing her own relationship to the glass and techniques for working with it.
She talked about the challenges of feeling like an outsider in America, and missing her family and friends at home in South Korea. This further influenced her ideas and personal philosophy as she blended her eastern background with western experience to make work about personal aspirations in life. Particularly inspiring for the students were her descriptions of her struggles to make the work that was important to her. She described a tiny home studio, set up in her kitchen. There was the time that she couldn’t afford to buy glass, so she dismantled a large and very significant piece in order to recycle the glass into new work. She told us about the very conscious and practical decision she made to work smaller at one point, in order to reduce the cost of packing and shipping the work.
Of course, her work was beautiful. She gave a great demo, working with pre-made elements. As she said, it was “like a cooking show” that she choreographed so that the students could experience a broad range of her methods and techniques. We were all amazed by her generosity of spirit and skill.
– Sharyn O’Mara
The last 2 weeks in my Imagery and Glass course have been a blast. We have been working with enamels, rayzist, and silk-screening. Loo Bain (recent MFA graduate in fibers) was amazing in guiding us through the silk-screening process. Also we have done experimental slumping and just received new bullseye slumping molds to play with. Next week we will be experimenting with using a flat scanner on 3-D glass objects- I love this project, check out the examples below of previous student scanned images.
– Jessica Jane Julius
The fabulous Eunsuh Choi giving a demo after her lecture at Tyler today!
A façade of some 6,000 pure-glass blocks (50mm x 235mm x 50mm) was employed. The pure-glass blocks, with their large mass-per-unit area, effectively shut out sound and enable the creation of an open, clearly articulated garden that admits the city scenery. To realize such a façade, glass casting was employed to produce glass of extremely high transparency from borosilicate, the raw material for optical glass. The casting process was exceedingly difficult, for it required both slow cooling to remove residual stress from within the glass, and high dimensional accuracy. Even then, however, the glass retained micro-level surface asperities, but we actively welcomed this effect, for it would produce unexpected optical illusions in the interior space.
So large was the 8.6m x 8.6m façade, it could not stand independently if constructed by laying rows of glass blocks a mere 50mm deep. We therefore punctured the glass blocks with holes and strung them on 75 stainless steel bolts suspended from the beam above the façade. Such a structure would be vulnerable to lateral stress, however, so along with the glass blocks, we also strung on stainless steel flat bars (40mm x 4mm) at 10 centimeter intervals. The flat bar is seated within the 50mm-thick glass block to render it invisible, and thus a uniform 6mm sealing joint between the glass blocks was achieved. The result? —a transparent façade when seen from either the garden or the street. The façade appears like a waterfall flowing downward, scattering light and filling the air with freshness.
The glass block façade weighs around 13 tons. The supporting beam, if constructed of concrete, would therefore be of massive size. Employing steel frame reinforced concrete, we pre-tensioned the steel beam and gave it an upward camber. Then, after giving it the load of the façade, we cast concrete around the beam and, in this way, minimized its size.”
Photographs : Nacasa & Partners
Pour en savoir plus, visitez le site d’Hiroshi Nakamura & NAP.
Source and more info here: Contemporist
– Sharyn O’Mara
This is one of my favorite videos made by Corning. Check it out to see how technology and glass will change our everyday.
– Jessica Jane Julius