Academic literature on the topic 'Glass art Technique'
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Journal articles on the topic "Glass art Technique"
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Choi, Kee. "Developing Inlaid Colouring Technique for Hot-Glass Making Process." Arts 7, no. 4 (November 26, 2018): 89. http://dx.doi.org/10.3390/arts7040089.
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This article discusses both the complexity and technical benefits of developing an inlaid colouring technique for the hot glass-making process. This technique was inspired by the ancient Korean ceramic decorative technique known as Sanggam, and has allowed me to delineate geometric patterns and counterfeit letters onto glass artworks, before encapsulating them between layers of transparent glass. By developing a typography design that deliberately chooses the wrong consonant and vowel letters, and combines Korean characters, the resulting designs do not fit into either South Korean or British visual culture. A number of optical properties (in particular refraction, reflection, and distortion) provoke a sense of ambiguity in the viewer’s visual experience of, as well as their response to, a series of glass artworks created for experimental purposes. The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique. The technical possibilities and limitations of the inlaid glass colouring technique are addressed at each step of the development process, while examples of the technical palette serve as a useful reference for artists working in the field of glass art.
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Lifshitz, Lev Yuryevich. "On Teaching Tiffany Stained Glass in Art School." Secreta Artis, no. 3 (November 20, 2020): 6–23. http://dx.doi.org/10.51236/2618-7140-2020-3-3-6-23.
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The article describes the multi-layer stained glass making technology, an art technique most vividly reflected in the projects designed and produced by L. C. Tiffany. The present paper is a continuation of the series of academic articles published in the scientific journal Secreta Artis in 2018 and 2019 that reveal the step-by-step process of creating a Tiffany stained glass, from sketch and cartoon preparation to artwork finalization. The proposed method has been tried out and proven in practice: taught to students at the Academy of Watercolor and Fine Arts of Sergey Andriaka, the technology is, likewise, used to create original pieces of art, as well as make stained-glass windows as part of various architecture projects. A multi-layer stained glass allows one to significantly expand the glass palette at hand, enrich compositions with exquisite color and tonal effects, which are particularly difficult to achieve in a single-layer stained glass, insert different objects and materials in-between layers of glass. The purpose of the article is to demonstrate to artists, designers, teachers, students and all fine art lovers artistic possibilities of Tiffany stained glass and provide a step-bystep guide to its production. The outlined technique can be applied in a stained glass workshop, with a basic set of tools and equipment. The article formulates key multi-layer stained glass making methods and delineates some of the most typical challenges and ways to overcome them. The methodology is exemplified by L. C. Tiffany’s work in stained glass, along with the artwork designed by the author of the article.
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Ivanyshyn, Ostap. "Experiment in the art of Klaus Moje." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 265–77. http://dx.doi.org/10.37131/2524-0943-2019-39-18.
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The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art
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Mauro, Silvio José, Adriana Beatriz Silveira Pinto Fernandes, Fernando Yamamoto Chiba, Renato Herman Sundfeld, Suzely Adas Saliba Moimaz, and Cléa Adas Saliba Garbin. "Microscopic evaluation of rotatory and handle caries removal on glass ionomer cement/dentin interface." Brazilian Journal of Oral Sciences 17 (April 3, 2018): 1–9. http://dx.doi.org/10.20396/bjos.v17i0.8651902.
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Aim: This study evaluated the interface between glass ionomer cement (GIC) and dentin using the conventional and atraumatic restorative treatment (ART) techniques for removal of decayed tissue. Materials and Methods: After preparation of the cavities by the conventional (Group I – GI) and ART (Group II – GII) techniques, the specimens were divided into 3 subgroups according to the GIC used (n=10). The conventional GIC KETAC FILL (3M/ESPE) was used in the groups GI-1 and GII-1, the conventional GIC VIDRION R (SS WHITE) in the groups GI-2 and GII-2, and the modified GIC FUJI II LC (GC Corporation) in the groups GI-3 and GII-3. For the microscopic analysis, the teeth were decalcified in a solution containing equal portions of 50% formic acid and 20% sodium citrate, dehydrated and submitted to paraffin baths. The samples were sectioned (6mm in thickness), stained by the Brown and Brenn method, and evaluated in a light microscope. Results: The microscopic analysis revealed interaction between the material and dentin structure only with the FUJI II LC. In addition, the behavior was superior for the conventional technique in comparison to the ART technique. Conclusion: It was concluded that the technique used for carious dentin removal does not seem to be determinant for the bonding of ionomeric materials to the dental structure, except for the resin-modified GIC in which the formed hybrid layer was higher using the conventional technique.
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Suryawan, I. Gde. "PEMBELAJARAN EKSTRAKULIKULER SENI LUKIS KACA DI SMP NEGERI 3 SUKASADA." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 10, no. 2 (January 23, 2019): 146. http://dx.doi.org/10.33153/bri.v10i2.2328.
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<p><em>Glass painting art as a “Kosa Rupa Bali” wealth especially Buleleng was very important to keep, one of them was in education. Because of that, it must be trained and directed for skill development through glass painting art extracuricular in many level, in this research focus on junior high scool especially at SMP N 3 Sukasada. The problem, that would be analyzed in this research are: (1) How are the glass painting art extracuricular learning process at SMP N 3 Sukasada. (2) How is the result of glass painting art extracurricularat SMP N 3 Sukasada. (3) What are the factor that affect the glass painting art extracuricular at SMP N 3 Sukasada. The research method that used was qualitative. The location that was choose for this research was SMP N 3 Sukasada. The technique that was used for collecting the data included: observation, interview, and documentation. The data was analysed by descriptive.</em></p><p><em> </em></p><p><em>Keywords: Learning, Ekstracuricular, Glass Painting</em></p>
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Gook, Leonid, and Halyna Khavkhun. "APPLICATION OF ART GLASS IN INTERIORS OF PUBLIC BUILDINGS." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 166–71. http://dx.doi.org/10.32347/2519-8661.2021.22-23.166-171.
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The aim of the research is to identify the compositional methods of using art glass in the interiors of public buildings in order to increase their aesthetic expressiveness. In the article the information on the history of art glass development is given. According to the results of the historical analysis, it is concluded that new directions of glass application arose with the development of new technologies of glass production and processing - this process continues to this day. An overview of the state of study of the problem, in particular the research of Kazakova L.V., F.Petryakova, Som-Serdyukova O.M., Daineko V.V., and identified the main areas in which research is conducted. The physical properties of glass and its types by technological features are considered. A historical overview of the development of gutnitsy on the territory of Ukraine. The two main trends in studio glassmaking to date have been identified and a conclusion has been drawn about the evolution of art glass from the subject form to the art object. The current state of art glass formation is characterized by associativity, metaphoricalness, and increased decorativeness. The classification of art glass according to the function of application in public interior is carried out. The basic compositional methods of placing art glass in the space of public interior are revealed. Three degrees of integration of art glass with elements of architecture are formulated: the decor on architectural elements, as a part of architectural elements, is directly an architectural and constructive element. Examples of objects that demonstrate the integration of art glass with architectural elements are given. Henri Matisse's stained glass windows in the Dominican Sisters' Chapel in Mans, France, are described as an example of the use of the "rhythm" compositional technique and Dale Chihuly's glass garden gallery in Seattle with a glass installation that dominates the pavilion. It is concluded that the choice of compositional methods of including art glass in the interior space depends on many factors - the functional purpose of the room, the specifics of space, its size, etc. and should take into account aspects of its psychological impact on man, principles of structural and compositional organization and features life processes.
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Schreiner, M., B. Frühmann, D. Jembrih-Simbürger, and R. Linke. "X-rays in art and archaeology: An overview." Powder Diffraction 19, no. 1 (March 2004): 3–11. http://dx.doi.org/10.1154/1.1649963.
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An overview of the techniques used in art and archaeology is presented and the applicability of X-ray radiography, X-ray fluorescence (XRF), and X-ray diffraction analysis (XRD) as a tool for nondestructive investigations of objects of art and archaeology is discussed. X-ray radiography, for example, is a standard technique widely used and accepted by art historians, archaeologists, curators, and conservators as this method enables information about the manufacturing process and the condition of an object without “touching” the artifact. XRF and XRD enable a nondestructive determination of the material composition of artifacts and the determination of the crystalline structure of the components too. Air path systems and instruments with the micro-beam of X-ray and synchrotron radiation were applied for the analysis of easel paintings, pigments in paint layers, glass artifacts, and coins.
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Lo, E. C. M., Y. Luo, H. P. Tan, J. E. Dyson, and E. F. Corbet. "ART and Conventional Root Restorations in Elders after 12 Months." Journal of Dental Research 85, no. 10 (October 2006): 929–32. http://dx.doi.org/10.1177/154405910608501011.
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Successful use of atraumatic restorative treatment (ART) in children has been reported, but little information is available regarding its use in older adults. The hypothesis of this study was that survival rates of root restorations placed by both ART and the conventional technique were similar. Root-surface caries lesions in 103 institutionalized elders in Hong Kong were treated randomly by either: (1) the conventional approach—caries removed by dental burs, and the cavity filled with light-cured resin-modified glass ionomer; or (2) the ART approach—caries removed by hand instruments, and the cavity filled with chemically cured high-strength glass ionomer. In total, 84 conventional and 78 ART restorations were placed. After 12 months, 63 conventional and 59 ART restorations were reviewed, and the respective 12-month survival rates were 91.7% and 87.0% (p > 0.05). It is concluded that the survival rates of both types of root restorations were high and similar.
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Raggio, Daniela Prócida, Clarissa Calil Bonifácio, Marcelo Bönecker, José Carlos P. Imparato, Anton J. de Gee, and Willem Evert van Amerongen. "Effect of insertion method on knoop hardness of high viscous glass ionomer cements." Brazilian Dental Journal 21, no. 5 (2010): 439–45. http://dx.doi.org/10.1590/s0103-64402010000500011.
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The aim of this study was to assess the Knoop hardness of three high viscous glass ionomer cements: G1 - Ketac Molar; G2 - Ketac Molar Easymix (3M ESPE) and G3 - Magic Glass ART (Vigodent). As a parallel goal, three different methods for insertion of Ketac Molar Easymix were tested: G4 - conventional spatula; G5 - commercial syringe (Centrix) and G6 - low-cost syringe. Ten specimens of each group were prepared and the Knoop hardness was determined 5 times on each specimen with a HM-124 hardness machine (25 g/30 s dwell time) after 24 h, 1 and 2 weeks. During the entire test period, the specimens were stored in liquid paraffin at 37ºC. Significant differences were found between G3 and G1/G2 (two-way ANOVA and Tukey's post hoc test; p<0.01). There was no significant difference in the results among the multiple ways of insertion. The glass ionomer cement Magic Glass ART showed the lowest hardness, while the insertion technique had no significant influence on hardness.
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Radomsky, M. "Remembering Oleksandr Pronin: the Stained Glass Art Laboratory of KSADA in 1980–2000s." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 363–82. http://dx.doi.org/10.33625/visnik2021.02.363.
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The material covers the years of creative life of a famous Ukrainian artist-monumentalist, O. Pronin (1934–2002), associated with his leadership of the Department of Monumental Painting of the Kharkiv State Academy of Design and Arts and the development of stained glass as a technique and a form of monumental and decorative art in education. The author focuses on the formation of a school of artistic stained glass in Kharkiv, the founders of which were professors Oleksandr Pronin and his wife Galyna Tishchenko. The article has some features of autobiography and is presented in the form of memoirs about the activities of the stained glass workshop of KSADA – Kharkiv Art and Industry Institute, and life of the author and the main character of the story, O. Pronin, and his students, around this workshop. These are the times of formation of the laboratory, certain stages of gaining experience in the stained glass industry, analysis of works of art and the spread of stained glass art through the work of the head of the department and laboratory and his many followers. Documentary and illustrative materials on the activities of the stained glass workshop, which was created by O. Pronin in 1967 and is still developing thanks to the efforts and activities of the author of the article, who is a direct student and a follower of the master, mention significant for Kharkiv and all Ukraine monumental art projects, behind which O. Pronin stood as the author or leader. The facts and memoirs presented by the author of the article have historical and scientific value, since the author himself took part in the creation of the stained glass laboratory of KSADA as its head. Although the emphasis is made on the 1980–2000s, which was the period of the heyday of the laboratory, the author also cites the modern works of O. Pronin’s and his own students, showing the continuity of the traditions in the Kharkiv school of stained glass.
Dissertations / Theses on the topic "Glass art Technique"
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Mitchell, Joanne. "Precision air entrapment through applied digital and kiln technologies : a new technique in glass art." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/8548/.
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The motivation for the research was to expand on the creative possibilities of air bubbles in glass, through the application of digital and kiln technologies to formulate and control complex air entrapment, for new configurations in glass art. In comparison to glassblowing, air entrapment in kiln forming glass practice is under-developed and undocumented. This investigation has devised new, replicable techniques to position and manipulate air in kiln-formed glass, termed collectively as Kiln-controlled Precision Air Entrapment. As a result of the inquiry, complex assemblages of text and figurative imagery have been produced that allow the articulation of expressive ideas using air voids, which were not previously possible. The research establishes several new innovations for air-entrapment in glass, as well as forming a technical hypotheses and a practice-based methodology. The research focuses primarily on float glass and the application of CNC abrasive waterjet cutting technology; incorporating computer aided design and fabrication alongside more conventional glass-forming methods. The 3-axis CNC abrasive waterjet cutting process offers accuracy of cut and complexity of form and scale, across a flat plane of sheet glass. The new method of cleanly fusing layered, waterjet-cut float glass permits the fabrication of artwork containing air entrapment as multilayered, intricate groupings and composite three-dimensional void forms. Kiln-controlled air entrapment presents a number of significant advantages over conventional glassblowing techniques of air entrapment which are based around the decorative vessel or solid spheroid shaped on the blowing iron. The integration of digital and traditional technologies and the resulting technical glassmaking discoveries in this research advance potential new contexts for air entrapment, in sculptural and architectural glass applications. Contexts include solid sculptures which explore the internal space of glass, to flat-plane panels and hot glass roll-up processes which take air entrapment beyond the limitations of its previous incarnations. The creative potential of Kiln-controlled Precision Air Entrapment for glass art is demonstrated through the development of a body of artworks and their dissemination in the field of practice. Documentation of the findings in the thesis has resulted in a 3 significant body of knowledge which opens up new avenues of understanding for academics, creative practitioners and professionals working with glass.
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Ho, Fu-tak. "In vitro and in vivo evaluation of an improved glass-ionomer dental cement used for the atraumatic restorative treatment (ART) technique." Hong Kong : Faculty of Dentistry, The University of Hong Kong, 1996. http://sunzi.lib.hku.hk/HKUTO/record/B38628168.
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何富德 and Fu-tak Ho. "In vitro and in vivo evaluation of an improved glass-ionomer dental cement used for the atraumatic restorative treatment (ART) technique." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B38628168.
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Choi, Keeryong. "Invented exoticism : the development of artistic forms and inlaid colouring technique to explore the aesthetics of the cultural uncanny in an individual's visual experience with glass." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20943.
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This practice led research explores the possibility of cultural dislocation intrinsic to my glass art practice. The research on cultural dislocation is explored through both my practice and viewers’ interaction with the major works created during the investigation. The development of Korean glass art in the late 1980s provides an important example of the influence of a universalised culture in the course of adopting, adapting, and assimilating it, and why the artistic medium of glass is still perceived as ‘foreign’ by some artists and viewers in Korea. The artistic aim in creating a vase form, by combining porcelain and glass, is deeply inspired by the history of the materials in Western and Eastern cultures, including the history of European (or Western) imperialism and the influence of the colonial legacy on the development of glass art in Korea. By creating a formal visual vocabulary that informs the possibility of expressing the cultural ambiguity of the material, the resulting artworks were made to deliberately not fit into either Korean or British visual culture. Instead the works were created to fit into a pseudo Korean-British or British-Korean image intended to challenge the individual’s projected expectation of another culture (derived from cultural stereotypes). This research addresses the possibility of highlighting the individual’s cultural stereotypes, cultural relocation and bicultural identity in art. Applying the results related to these findings to the ‘aesthetics of the cultural uncanny’ present in my creative practice, the research was directed by the following research aims: - To extend the discourse about the uncanny to my artistic approaches by identifying what the exotic implies for individuals, both in Britain and Korea. - To develop the use of the experience of the uncanny as an expressive tool within my own creative practice through the medium of glass introducing an unexpected juxtaposition by combining English manufactured porcelain elements. - To develop an artistic language with respect to cultural stereotypes within contemporary glass art by analysing individuals’ engagement with my artwork.
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Serraille, Guillaume. "Le verre et l’art contemporain : l’exemple de la production italienne. Essai de contribution à l’étude des arts du verre.- Essai de contribution à l’étude des arts du verre." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20011.
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L’identification et la définition des acteurs du verre italien actuel est complexe dans la mesure où leur situation est paradoxale : ils sont à la fois emblématiques et relativement absents dans l’art du verre « libre » actuel. Ce « mouvement » qui prit son essor dans le courant des années soixante aux États-Unis expérimenta à la fois de nouvelles pratiques et formes sculpturales, ainsi que des structures plus petites et plus souples que le traditionnel atelier-manufacture. En outre, cette révolution du Studio Glass Movement se produit aux prémices d’une postmodernité durant laquelle les arts sont eux aussi en pleine mutation, ce qui rend d’autant plus épineuse l’étude des relations qu’entretiennent l’industrie ou l’artisanat du verre avec les arts.Une première partie intitulée « Environnement et histoire, la question du modèle » constitue une approche historique suivant un fil chronologique. Elle décrit les évolutions techniques du verre ainsi que les développements particuliers à Venise et Murano. Elle permet en outre de caractériser les différents acteurs : manufactures et maestri, artisans, designers et plasticiens.La deuxième partie est consacrée aux œuvres et artefacts, leurs environnements économiques et matériels. Le propos se porte d’abord sur l’évolution des différentes productions (objets usuels, sculptures, etc.) d’un point de vue typologique et stylistique. Leur réception critique est étudiée, ainsi que leurs modes de diffusion depuis les boutiques de souvenirs à Venise jusqu’aux grandes expositions, qu’elles soient spécialisées ou non.La troisième et dernière partie (« Ontologie du verre : principes esthétiques et exigences métaphysiques ») interroge la place de l’artisanat et de la tradition du verre dans la postmodernité. Elle pose la question du matériau et de ses pratiques d’un point de vue esthétique et phénoménologique, ce qui renvoie aux conditions et moyens de sa fabricationThe identification and definition of the actors of the contemporary Italian glass is complex insofar as their situation is paradoxical: they are both iconic and relatively setback from “free” glass art. This "movement" that took off in the course of the sixties in the United States experimented with both new practices and sculptural forms, as well as smaller and more flexible workshops than the traditional factory. In addition, the Studio Glass Movement’s revolution occurs at the beginnings of postmodernism in which the arts are also changing, making more difficult the study of the relationship between glass crafts and industries with the arts.The first part entitled "Environment and history, the issue of model" is a historical approach in chronological thread. It describes the technical developments of the glass as well as its specific developments in Venice and Murano. It also allows to characterize the different actors: factories and maestri, craftsmen, designers and artists.The second part is devoted to works and artifacts, economic and physical environments. At first, it approach the evolution of various productions (everyday objects, sculptures, etc..) with a typological and stylistic point of view. Their critical reception is studied, as well as their terms of sales from Venice’s souvenir shops to large exhibitions, specialized or not.The third and last part ("Glass ontology: aesthetic principles and metaphysical requirements") deals with the role of craft and tradition of glass in postmodernity. It also concerns the question of the material and its practices with an aesthetical and phenomenological point of view, which refers to the conditions and resources of production
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Cho, Sung Moon. "La céramique et la verrerie de table en France à l’époque de Jean Luce, 1910-1960 : de la conception à la réception des œuvres." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL101.
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À partir du fonds inédit du musée des Arts décoratifs de Paris consacré à Jean Luce (1895-1964), cette thèse éclaire l’histoire du service de table français entre 1910 et 1960. Bien que rarement considéré par les historiens de l’art, cet objet du quotidien reflète pourtant remarquablement les évolutions des arts visuels de ce demi-siècle. La création de Luce témoigne ainsi de toute la diversité du style Art déco puis de l’avènement du design dans l’immédiat après-guerre. Par ailleurs, il a réinventé le métier de créateur-éditeur de services de table, en dessinant des formes et des motifs aussi bien pour la céramique que pour la verrerie, en les faisant fabriquer par une chaîne industrielle et en les diffusant lui-même dans son magasin parisien de la rue La Boétie. Si son travail constitue notre point de départ, nous avons également considéré le rôle des dessinateurs industriels, des manufacturiers de porcelaine, de faïence et de verre ainsi que des commerçants car tous ces acteurs participent aux choix esthétiques effectués dans le cadre d’une production de masse. Il s’agit donc d’interroger les mécanismes à l’œuvre dans le développement et la propagation d’un style lors de la création, de la production et de la diffusion des services de table. Plus largement, l’évolution formelle de ce bien de consommation destiné à l’usage courant est aussi influencée par les mutations de la vie quotidienne et de la sociabilité. Par conséquent, notre enquête sur le service de table mobilise, en plus des outils de l’histoire de l’art, ceux de l’histoire socio-culturelleThis thesis sheds light on the history of the French tableware between 1910 and 1960 by examining the unexplored collection devoted to Jean Luce (1895-1964) at the Musée des Arts Décoratifs of Paris. These everyday objects are rarely studied by art historians, even though they remarkably capture the evolution of visual arts over that half-century. Luce’s creations exemplify the diversity of the Art Deco style in the inter-war period and the advent of design in the immediate post-war period. Furthermore, Luce reinvented the figure of the creator-editor specialized in this field by designing forms and motifs for both crockery and glassware, having them produced by an industrial chain and distributing them personally in his Parisian store on rue La Boétie. His work is our starting point, but we are also interested in the work of industrial designers, manufacturers of porcelain, earthenware and glass as well as tableware retailers, all of whom, in a mass production context, influenced aesthetic choices. From this, we look at how a style develops and spreads as we study the stages of creation, production and distribution of the tableware. More broadly, the evolution of these consumer goods was shaped by new manners of socializing and other changes in daily life. Consequently, our survey uses, in addition to the tools of art history, those of socio-cultural history
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May, Heather. "Aesthetic, creative and innovative uses for photosensitive glass in art-glass production: case studies in studio practice." Thesis, Curtin University, 2010. http://hdl.handle.net/20.500.11937/1840.
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This research is situated in a space between the broad fields of art-glass design, art, science and the technology of alternative photographic printing processes. It is an experimental project with a core research question. ‘Can photosensitive glass be made more accessible to artists working in art-glass, design or art practice’?The focus of this research is located in the almost forgotten niche of ‘photosensitive’ glass. ‘Photo-sensitive and photo-chromic glasses contain ultraviolet light-sensitive metals, gold, silver or copper. The selective development of color can be controlled by placing a mask or photographic film in contact with the glass. When exposed to ultraviolet radiation, then heated, the glass changes from clear to opal, reproducing the pattern on the glass. The image developed is permanent and will not fade as would a similar image in photo-chromic glass.’ (Kohler 1998, 23-24). Glass: An Artist’s Medium. Section 2. Properties of Glass. Iola, WI54990-001. USA: Krause Publications.Through systematic experimentation, the methods indicating how photosensitive glass can be incorporated into selected traditional glass-making techniques have been identified. Traditional glass making techniques include: o Pulling of molten glass from a glass furnace to make stringers, canes, rods, murrine and/or mosaics a hot glass technique. o Crushing and recycling, making chunk de verre and pate de verre, a warm glass technique. o Bead-making, button-making and core-forming, all hot glass techniques. o Kiln work in the form of kiln casting/slumping and simple open-face Pate de Verre, a warm glass technique. o The casting of molten glass from the glass furnace into sand for sandcasting and the forcing of hot molten glass into moulds are hot glass techniques. o Free-blowing and mould blowing, hot glass techniques. o Acid etching and acid embossing, particularly hazardous cold glass techniques are only discussed not attempted.These selected techniques are presented as case studies that have been analysed and the experiments documented to identify methods and processes that demonstrate the potential of photosensitive glass as an art medium. The details of successful experimentation are fully documented according to a laboratory processes, formulae and colour analysis. This extensive research material will hopefully enable designers and glass artists to extend their creative practices and when using the outcomes to develop hybrid and innovative processes in a wide range of contemporary studio based and commercial applications. The research outcomes of this enquiry into the use of photosensitive glass in creative glass processes represent an extensive and original contribution to knowledge that I hope will be shared by studio artists and commercial glass professionals in art and design.
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Peng, Yi. "Cross cultural lampworking for glass art : the integration, development and demonstration of Chinese and Western lampworking approaches, materials and techniques for creative use." Thesis, University of Sunderland, 2014. http://sure.sunderland.ac.uk/5185/.
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This research was undertaken from the perspective of an artist working with glass and lampworking techniques. Lampworking involves working with prepared glass tubes and canes which are heated with the aid of a gas burner and shaped with small pincers. This art-based project offers an example of an artist attempt to integrate what might be termed ‘Chinese’ and ‘Western’ lampworking approaches. Through the creation of artworks this project offers a model of artistic practice using lampworking which forms a counterpoint to the more common kilnformed approach currently prevalent in China. In addition, the artworks that form part of this PhD submission are examples of a current interest amongst some Chinese artists in combining inspiration, commentary and experiences from ‘East’ and ‘West’ into their practice. This project details and contextualizes examples of how lampworking might be used as a medium to this end. ‘Craft’ objects are used as a starting point to develop artworks that highlight what I personally found to be diminishing aspects of Chinese culture; for example the Chinese notion of ‘Change’. This project offers a new body of lampworked artworks which have been exhibited in professional venues at a national level and that demonstrate an artist’s approach to combining aspects of Chinese and Western culture in glass art. The themes, inspiration and making process of the creative works are documented in a written thesis to form a model on which other artists might build. The recent history of Chinese lampworking (1930-2013) is presented, building on interviews and literature review of works not previously published in English. The emergence of lampworking in China as a medium for studio glass practice is also charted. For Western audiences, this research offers an example of how the inspirations from Chinese culture and philosophy have been incorporated into contemporary glass art. It also clarifies the current situation of contemporary Chinese lampworking. For Chinese audiences, this research is an instance of western art influence in Chinese lampworking practice. The demonstration of the contemporary lampworking making process is useful for other Chinese lampworking artists.
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UBOLDI, GIOVANNA MARINA. "IL VETRO A MILANO IN ETA' ROMANA (I SEC. A.C. - V SEC. D.C):FORME, PRODUZIONI, CIRCOLAZIONI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3152.
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Il progetto di ricerca ha indagato la diffusione e le caratteristiche dei vetri in uso a Milano in età romana a partire dallo studio di un certo numero di reperti provenienti da scavi archeologici e tramite l’approfondimento di alcune tematiche relative ad aspetti produttivi e tecnologici.
La ricerca ha preso spunto dallo studio dei materiali provenienti dagli scavi nei cortili dell’Università Cattolica (1986-2004), ed è stata estesa poi ad altri contesti di scavo per ampliare la base dei dati su cui ricostruire il quadro del vetro in uso nella città e delle problematiche ad esso inerenti. Il quantitativo di reperti individuati e la loro rappresentatività statistica permettono di tracciare un quadro dei materiali in uso nella vita quotidiana, le relazioni tipologiche tra alcuni gruppi di oggetti, vagliare le ipotesi sull’esistenza di una produzione locale e sui rapporti commerciali con altre aree, relativamente al periodo che va dall’inizio della diffusione dei recipienti in vetro (seconda metà del I sec. a.C.) fino al V sec. d.C.
La ricerca si è avvalsa di analisi archeometriche ed ha enucleato anche alcuni temi di indagine specifica, in particolare sulle tecniche di lavorazione e di decorazione dei vetri a mosaico e dei manufatti con decori incisi.Finds from recent archaeological excavation and analysis of older records are piecing together an increasingly detailed picture of the social context of Roman Milan: the material culture helps patch together a collage of the urban centre whose central position on the river plain North of the Po helped it become theatre to important events and intense industrial activity, attracting peoples of differing cultures and resources. This thesis studies Roman glass finds from Milan using the archaeological record and archaeometric analyses with the aim of reconstructing the framework of glass use in everyday life from the introduction of glass vessels in the mid-first century B.C. up to the fifth century A.D., considering relationship between individual groups of products, the hypothesis of a local glass industry and trade routes. The research, originating from post-excavation work on the courtyards of the Catholic University was extended to several unpublished Milanese excavations: the glass finds from these contexts, from both burial grounds and settlement sites, constitute a significant and statistically valid sample. Some in-depth technological examinations contribute to an understanding of certain questions still under debate: in particular on mosaic glass and engraved samples
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Thompson, Jonathan (Oboist). "Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538800/.
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Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and oboes commonly used in the United States. The contemporary techniques were played on twelve professional oboe models as a way to collect data on how the printed fingerings work. The data is the foundation for the performance guide, which details every contemporary technique in the work. The performance guide also provides comprehensive information about the crystal glass logistics. The document also presents an electronic accompaniment created with Max/MSP in the event that the crystal glasses or crystal glass players are unavailable.
Books on the topic "Glass art Technique"
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Art in glass. Detroit: Lucent Books, 2007.
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Architectural glass art: Form and technique in contemporary glass. New York: Rizzoli, 1997.
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Moor, Andrew. Architectural glass art: Form and technique in contemporary glass. London: Mitchell Beazley, 1997.
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Londe, Richard Parker La. Richard La Londe : fused glass art and technique. Freeland, Wash: Ozone Press, 2006.
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Magic on glass: New approaches to glass painting. Kenthurst, NSW: Kangaroo Press, 1990.
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Culler, Rene. Glass art from the kiln. Atglen, Pa: Schiffer Pub. Ltd., 2010.
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The art of painting on glass: Techniques and designs for stained glass. [Indianapolis, Ind.]: Long Cove Press, 2011.
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Jenkins, Cindy. Beads of glass: The art and the artists. U.S: Pyro Press, 2004.
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Jenkins, Cindy. Beads of glass: [the art and the artist]. [S.l.]: Pyro Press, 2003.
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Walker, Jody Danner. Printmaking techniques on glass. Clemmons, NC: Four Corners International, Inc., 2012.
Find full textBook chapters on the topic "Glass art Technique"
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Sadowski, Jim. "Physical Separation Techniques for the Preparation of Glass Sand." In A Collection of Papers Presented at the 60th Conference on Glass Problems: Ceramic Engineering and Science Proceedings, Volume 21, Issue 1, 123–45. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470294598.ch9.
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Godbey, Thomas. "Techniques for Upgrading Dust Collection Systems." In A Collection of Papers Presented at the 66th Conference on Glass Problems: Ceramic Engineering and Science Proceedings, Volume 27, Issue 1, 82–90. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470291306.ch7.
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Holderer, Julius. "Towards Intelligent Security- and Process-Aware Information Systems." In Obstructions in Security-Aware Business Processes, 315–22. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-38154-7_6.
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AbstractThis chapter summarizes the work and explains its significance by considering the contributions and its applicability. Because of its practical setting, the approach is applicable to a range of practical applications. For example, it could recommend who shall perform which tasks in a so-called break-glass situation, or act as a delegation assistant to suggest potential best delegates (with fewest violations) to the delegator. A corresponding process-aware information system could automate these delegations and provide additional mitigating techniques to prioritize audits of affected cases. Moreover, the graphical view of obstruction analysis could help policy designers to deepen their understanding of security policies and to improve their own security policies. The chapter concludes with extensions that could be envisaged.
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Saro, Robert De. "An Assessment of Optical/Pneumatic Techniques to Automatically Remove Ceramic Contaminants from Cullet." In A Collection of Papers Presented at the 53nd Conference on Glass Problems: Ceramic Engineering and Science Proceedings, Volume 14, Issue 3/4, 260–76. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470314098.ch23.
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Ritter, André V., Ricardo Walter, Lee W. Boushell, and Sumitha N. Ahmed. "Clinical Technique for Direct Composite Resin and Glass Ionomer Restorations." In Sturdevant's Art and Science of Operative Dentistry, 219–63. Elsevier, 2019. http://dx.doi.org/10.1016/b978-0-323-47833-5.00008-3.
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S. Aljaser, Feda. "Cryopreservation Methods and Frontiers in the Art of Freezing Life in Animal Models." In Veterinary Medicine and Science. IntechOpen, 2022. http://dx.doi.org/10.5772/intechopen.101750.
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The development in cryobiology in animal breeding had revolutionized the field of reproductive medicine. The main objective to preserve animal germplasm stems from variety of reasons such as conservation of endangered animal species, animal diversity, and an increased demand of animal models and/or genetically modified animals for research involving animal and human diseases. Cryopreservation has emerged as promising technique for fertility preservation and assisted reproduction techniques (ART) for production of animal breeds and genetically engineered animal species for research. Slow rate freezing and rapid freezing/vitrification are the two main methods of cryopreservation. Slow freezing is characterized by the phase transition (liquid turning into solid) when reducing the temperature below freezing point. Vitrification, on the other hand, is a phenomenon in which liquid solidifies without the formation of ice crystals, thus the process is referred to as a glass transition or ice-free cryopreservation. The vitrification protocol applies high concentrations of cryoprotective agents (CPA) used to avoid cryoinjury. This chapter provides a brief overview of fundamentals of cryopreservation and established methods adopted in cryopreservation. Strategies involved in cryopreserving germ cells (sperm and egg freezing) are included in this chapter. Last section describes the frontiers and advancement of cryopreservation in some of the important animal models like rodents (mouse and rats) and in few large animals (sheep, cow etc).
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Jensen, Martine Hoff. "Touching the Unknown: On Marte Johnslien’s Ceramic Presences." In Ung Uro, 99–106. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.127.ch9.
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Touching is never a unidirectional event; what you touch will always touch you back. ‘How can the way we relate to the world around us take shape as sculpture?’ Norwegian artist Marte Johnslien asks. In the 2018 exhibition A Square on a Sphere at Lillehammer Kunstmuseum (Art Museum), Johnslien showed, amongst other works, a sculpture consisting of ceramic shapes stacked on top of each other with glass plates between. In this work, Johnslien explored a new technique of reinforcing ceramics in which she put steel mesh underneath the clay. By strengthening the thin ceramic shapes with iron, Johnslien changed the material and thus changed the texture. This chapter elaborates on how artistic presence can provide a way to access the glitch between the visible and the invisible, by exploring the ceramic works by Johnslien in light of Barad’s essay on touching, esotericist Pyotr Demianovich Ouspensky’s view on the fourth dimension, Eastern philosophy, and relativity theory.
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Badillo Sánchez, Susana Hazel, and Víctor Manuel Espinoza de los Monteros Espinoza. "El vitral y su relación de fuerzas." In Lo estético en el arte, el diseño y la vida cotidiana, 249–58. Universidad Autónoma Metropolitana. Unidad Azcapotzalco., 2021. http://dx.doi.org/10.24275/uama.7049.9000.
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The configuration of the stained glass is given through its “relation of forces”, that in principle is evident by its technique that shows a confrontation between the strength of the structure that configures it with the metal and its fragility exposed by the use of the glass that captivates with its coloring, as well as its transparency where the light is a fundamental part of the speech. The first information or approach to a work is given by the senses, here the perception plays a determining role in the reading or interpretation of an expression that is represented; it is also permeated by the artist’s thought, his emotions, his sensations, his proximity to the experience in the handling of the materials and the technique of the intervened space.
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Mahmood, Wan Ahmad Kamil, and Mohammad Hossein Azarian. "Inorganic-Organic Composite Materials from Liquid Natural Rubber and Epoxidised Natural Rubber Derivatives." In Applied Environmental Materials Science for Sustainability, 128–40. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1971-3.ch006.
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Organic-Inorganic composite materials (OICs) are used to describe the group of materials synthesized from polymers and inorganic metal alkkoxides. The interests in these materials arised from the need to ‘combine' the physical properties of inorganic glass materials and polymers such that the resultant OICs have the strength of the inorganic glass and flexibiliy of polymeric materials. Sol-gel technique have been the technique of choice due to much of its advantages, in particular the low temperature reaction. This is very important when natural rubber and its derivatives are used as the polymer component of the OICs. Work in our laboratory has demonstrated that OICs form liquid natural rubber (LNR) and 50% epoxidised natural rubber (ENR-50) can be prepared from various metal alkoxides, such silicon, zirconium and titanium. The OICs can be prepared as flexible transparent films, nanofibers and nanobeads. This Chapter will describe the preparation techniques and the properties of these OICs from various compositions of one and more metal alkoxides in both LNR and ENR-50. The applications of these materials in PANI will be briefly described.
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Violi, Alessandra. "Glass, Mixed Media, Stone : The Bodily Stuffs of Suspended Animation." In Bodies of Stone in the Media, Visual Culture and the Arts. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089648525_chiii04.
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The essay takes ‘bodies of stone’ in its actual, literal sense, discussing nineteenth-century embalming techniques which involved a material transformation of human remains into glass, mixed media or stone. These processes of vitrification or petrification provided, on the one hand, auto-icons of the dead that seemed to rival the chemical immortality offered by the emergent media, such as photography or film. On the other hand, by mimicking natural processes of fossilisation, bodies of glass or stone were infused with vitalist notions of matter, hinting at states of suspended animation and latent life. The essay explores this ‘biochemical constellation of immortality’ through some peculiar nineteenth-century examples and traces the uncanny survival of these living corpses in today’s pop cultural imaginary.
Conference papers on the topic "Glass art Technique"
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Tong, Tao, Yang Zhao, Lance Delzeit, Ali Kashani, Arun Majumdar, and M. Meyyappan. "Vertically Aligned Multi-Walled Carbon Nanotube Arrays as Thermal Interface Materials and Measurement Technique." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-81926.
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State-of-the-art thermal interface materials are briefly reviewed with an emphasis on the emerging trend of using carbon nanotubes to increase interface thermal performance. Vertically aligned multi-walled carbon nanotube (MWCNT) arrays were grown and applied as thermal interfacial enhancing materials. It is expected that the highly thermally conductive channels directly bridging the mating surfaces would significantly enhance the interface thermal conductance. We extended the all-optical pump and probe phase sensitive transient thermo-reflectance (PSTTR) method and used it to measure the interfacial properties of a three-layer sample of a vertically aligned MWCNT array grown on silicon (Si) substrate dry adhered to a glass plate. The dominant thermal resistance is identified as the dry adhered MWCNT-glass interface with a thermal conductance of ~5.9 × 104 W/m2·K, compared with MWCNT-Si interface of almost two orders of magnitude higher. Tentative explanations on the difference in the two interfaces and ways for future improvements are provided. The PSTTR measurement principle and issues are also discussed in the context.
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McClung, A. J. W., G. P. Tandon, K. E. Goecke, and J. W. Baur. "Non-Contact Technique for Characterizing Full-Field Surface Deformation of Shape Memory Polymers." In ASME 2010 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2010. http://dx.doi.org/10.1115/smasis2010-3679.
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Thermally-actuated shape memory polymers (SMPs) typically display two phases separated by the glass transition temperature (Tg). At temperatures well below the Tg, the polymer exhibits a relatively high elastic modulus. Well above the Tg the elastic modulus drops by several orders of magnitude. In this high temperature region, SMP materials can achieve strain levels well above 100 %. The complex behavior of SMPs (stiffnesses dropping to the order of 1 GPa and extremely high strain levels) precludes the use of traditional strain gages and low-contact force extensometers. The present study presents a detailed expansion of state-of-the-art thermomechanical testing techniques used to characterize the material behavior of SMPs. An MTS environmental chamber with an observation window allows for non-contact optical measurements during testing. A laser extensometer is used for measurement and active control of axial strain. The upper limit on the strain rate capability of the laser extensometer is established. In addition, the photographic strain measurement method known as digital image correlation (DIC) is incorporated, allowing for full field measurement of axial and transverse strains of SMPs over a range of temperatures and strain rates. The strain measurements of the DIC and laser extensometer are compared to each other as well as to clip-on extensometers and strain gages. The comparisons provide insight into the limitations of the traditional strain measurement systems. A series of tensile tests are performed on a commercial SMP from 25 °C up to temperatures of 130 °C and strain levels above 100 %. The laser extensometer provides a robust method for controlling the strain in the gage section of the samples. In addition, results show that the full field measurements of both the axial and the transverse strain are essential for characterizing the constitutive response of SMPs at room and elevated temperatures.
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Karmanovskaya, T. V. "ANALYSIS OF TRENDS AND BASIC TECHNIQUES IN THE ART OF PAINTING ON GLASS." In Месмахеровские чтения - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604789377_145.
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Read, Aaron. "Additive Manufacturing Techniques of Glass to Metal seals." In Materials Science and Engineering departmental seminars at Missouri S&T. Dec. 8, 2023. US DOE, 2023. http://dx.doi.org/10.2172/1900592.
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Wagener, J. L., R. P. Espindola, and A. M. Vengsarkar. "Strong Higher-Order Fiber Bragg Gratings Written with an Amplitude Mask." In Bragg Gratings, Photosensitivity, and Poling in Glass Fibers and Waveguides. Washington, D.C.: Optica Publishing Group, 1997. http://dx.doi.org/10.1364/bgppf.1997.bme.5.
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Reflective Bragg gratings have been written in optical fibers using UV induced index changes. Initial work used a standing wave interference pattern set up by light launched down the fiber core.1 The more versatile techniques of side-writing using bulk interferometric fringes2 and phase-masks3 followed. The field of phase-mask-written Bragg gratings in germano-silicate fibers has matured with the use of specially designed high-photosensitivity fiber and hydrogen loading.4 While gratings written with these methods can be precisely tailored in spectral shape, bandwidth and strength, a precise mask, a coherent laser, and very stable alignment during the exposure are needed. Multiple grating applications, including weak pump-diode stabilizers, fiber laser mirrors, and grating sensors may not require the high precision gratings produced with the phase mask method, but would benefit from an inexpensive mass production technique. In this paper we demonstrate an amplitude mask exposure technique to create strong higher order Bragg reflectors with minimal optics.
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Verhaegen, M., J. L. Brebner, and J. Albert. "Large refractive index changes observed in silicon implanted silica exposed to high cumulative doses of ArF laser light." In Bragg Gratings, Photosensitivity, and Poling in Glass Fibers and Waveguides. Washington, D.C.: Optica Publishing Group, 1997. http://dx.doi.org/10.1364/bgppf.1997.jma.7.
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Used extensively in optical fibers technology, the change in refractive index produced by ultraviolet light in photosenstive silicate glasses is still not fully understood. Ion implantation is the only technique able to make photosensitive pure silica waveguides by the introduction of bleachable color centers and compaction of the matrix. After 100 pulses of 100mJ/cm2 of ArF bleaching, changes in the refractive index were found to be in good quantitative agreement with the changes in absorption of the bands induced by implantation between 5 and 8 eV. Index of refraction and absorption measurements of higher cumulative doses of ArF laser light as well as a Kramers-Kronig analysis are reported.
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Leonida, Mihaela D. "Old Romanian Iconographers and Their Icons on Glass: Materials, Techniques, and Secrets." In the 39th American Romanian Academy of Arts and Sciences Congress. ARA Publisher, 2015. http://dx.doi.org/10.14510/39ara2015.3907.
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Schiffres, Scott N., and Jonathan A. Malen. "A Modified 3-Omega Technique to Measure Thermal Conductivity in Liquids, Gases, and Powders." In ASME/JSME 2011 8th Thermal Engineering Joint Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/ajtec2011-44110.
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A novel modified 3ω thermal conductivity measurement technique called metal coated 3ω is introduced for use with liquids, gases, and powders. This technique employs a micron-scale metal coated glass fiber. Metal coated 3ω exceeds alternate 3ω based fluid sensing techniques in a number of key metrics including fraction of heat generated entering fluid, signal strength per temperature oscillation intensity and thermal boundary sensitivity. The advantages of this technique to Transient Hot-Wire (THW) and steady-state techniques are also discussed. A generalized n-layer concentric cylindrical periodic heating solution that accounts for thermal boundary resistance is presented. The technique is validated through a benchmark study of gases and liquids.
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Li, Rongheng, Nilay Chakraborty, and Ben Q. Li. "Understanding Temperature Profiles Experienced by Biological Samples During a Hybrid Vitrification Technique." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-63947.
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From thermodynamic point of view, vitrification is considered as a superior preservation technique in comparison with the traditional slow-cooling cryopreservation techniques, due to formation of the glassy state in both intra and extracellular environment. While vitrification of biological samples are difficult to achieve, recently a hybrid technique involving partial desiccation of the cell samples prior to cryogenic exposure has been successfully employed to achieve vitrification. In this technique cells in monolayer attached to a substrate was suspended in a trehalose solution and then rapidly and uniformly desiccated to a low moisture content (<0.12 g of water per g of dry weight) using a spin-drying technique. The spin-dried samples were stored in liquid nitrogen (LN2) at a vitrified state (Fig. 1). It was shown that following re-warming to room temperature and re-hydration with a fully complemented cell culture medium, 51% of the spin-dried and vitrified cells survived and demonstrated normal growth characteristics. The current study further investigates the temperature profiles experienced by the cell samples during partial desiccation and cryogenic exposure to identify possible ways to improve this novel vitrification strategy. Physical Vapor Deposition technique was employed to develop glass substrate having thermocouples (2×2×2 μm) at four radial positions across the substrate to record the thermal history of the cell samples during the entire process. Efforts are undertaken to understand the uncertainties related temperature measurement spatially and with respect to time. These temperature characterization studies are important to optimize the newly developed hybrid vitrification technique for vitrification of cellular samples.
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Fíla, Jiří, Martina Eliášová, and Zdeněk Sokol. "Mechanical properties of solid glass bricks." In The 13th international scientific conference “Modern Building Materials, Structures and Techniques”. Vilnius Gediminas Technical University, 2019. http://dx.doi.org/10.3846/mbmst.2019.033.
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Glass as one of the oldest building materials has been used for centuries to fill window openings. In recent years is it increasingly used also for load-bearing structural elements such as beams, columns, ribs, railings, etc. In addition to flat glass and hollow glass blocks, which have been used historically for non-load-bearing partitions and facades, new load bearing structures from solid glass bricks are arising. Their greater use is hampered by a lack of knowledge of their material properties. Also, their joining is difficult, as can be seen from the realized structures and published works focused on the glass bricks masonry. Most often, transparent adhesives or special mortars are used on the joint between glass bricks. In addition to some examples of completed glass brick structures, the paper is aimed at determining the material properties of glass bricks, which are a prerequisite for the design of safe structures. Two sets of experiments were performed. There were made three-point bending tests and compression tests to determine the bending tensile strength, modulus of elasticity and compressive strength of glass bricks.
Reports on the topic "Glass art Technique"
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Backstrom, Robert, and David Dini. Firefighter Safety and Photovoltaic Systems Summary. UL Firefighter Safety Research Institute, November 2011. http://dx.doi.org/10.54206/102376/kylj9621.
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Under the United States Department of Homeland Security (DHS) Assistance to Firefighter Grant Fire Prevention and Safety Research Program, Underwriters Laboratories examined fire service concerns of photovoltaic (PV) systems. These concerns include firefighter vulnerability to electrical and casualty hazards when mitigating a fire involving photovoltaic (PV) modules systems. The need for this project is significant acknowledging the increasing use of photovoltaic systems, growing at a rate of 30% annually. As a result of greater utilization, traditional firefighter tactics for suppression, ventilation and overhaul have been complicated, leaving firefighters vulnerable to potentially unrecognized exposure. Though the electrical and fire hazards associated with electrical generation and distribution systems is well known, PV systems present unique safety considerations. A very limited body of knowledge and insufficient data exists to understand the risks to the extent that the fire service has been unable to develop safety solutions and respond in a safe manner. This fire research project developed the empirical data that is needed to quantify the hazards associated with PV installations. This data provides the foundation to modify current or develop new firefighting practices to reduce firefighter death and injury. A functioning PV array was constructed at Underwriters Laboratories in Northbrook, IL to serve as a test fixture. The main test array consisted of 26 PV framed modules rated 230 W each (5980 W total rated power). Multiple experiments were conducted to investigate the efficacy of power isolation techniques and the potential hazard from contact of typical firefighter tools with live electrical PV components. Existing fire test fixtures located at the Delaware County Emergency Services Training Center were modified to construct full scale representations of roof mounted PV systems. PV arrays were mounted above Class A roofs supported by wood trusses. Two series of experiments were conducted. The first series represented a room of content fire, extending into the attic space, breaching the roof and resulting in structural collapse. Three PV technologies were subjected to this fire condition – rack mounted metal framed, glass on polymer modules, building integrated PV shingles, and a flexible laminate attached to a standing metal seam roof. A second series of experiments was conducted on the metal frame technology. These experiments represented two fire scenarios, a room of content fire venting from a window and the ignition of debris accumulation under the array. The results of these experiments provide a technical basis for the fire service to examine their equipment, tactics, standard operating procedures and training content. Several tactical considerations were developed utilizing the data from the experiments to provide specific examples of potential electrical shock hazard from PV installations during and after a fire event.
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Backstrom, Robert, and David Backstrom. Firefighter Safety and Photovoltaic Installations Research Project. UL Firefighter Safety Research Institute, November 2011. http://dx.doi.org/10.54206/102376/viyv4379.
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Under the United States Department of Homeland Security (DHS) Assistance to Firefighter Grant Fire Prevention and Safety Research Program, Underwriters Laboratories examined fire service concerns of photovoltaic (PV) systems. These concerns include firefighter vulnerability to electrical and casualty hazards when mitigating a fire involving photovoltaic (PV) modules systems. The need for this project is significant acknowledging the increasing use of photovoltaic systems, growing at a rate of 30% annually. As a result of greater utilization, traditional firefighter tactics for suppression, ventilation and overhaul have been complicated, leaving firefighters vulnerable to potentially unrecognized exposure. Though the electrical and fire hazards associated with electrical generation and distribution systems is well known, PV systems present unique safety considerations. A very limited body of knowledge and insufficient data exists to understand the risks to the extent that the fire service has been unable to develop safety solutions and respond in a safe manner. This fire research project developed the empirical data that is needed to quantify the hazards associated with PV installations. This data provides the foundation to modify current or develop new firefighting practices to reduce firefighter death and injury. A functioning PV array was constructed at Underwriters Laboratories in Northbrook, IL to serve as a test fixture. The main test array consisted of 26 PV framed modules rated 230 W each (5980 W total rated power). Multiple experiments were conducted to investigate the efficacy of power isolation techniques and the potential hazard from contact of typical firefighter tools with live electrical PV components. Existing fire test fixtures located at the Delaware County Emergency Services Training Center were modified to construct full scale representations of roof mounted PV systems. PV arrays were mounted above Class A roofs supported by wood trusses. Two series of experiments were conducted. The first series represented a room of content fire, extending into the attic space, breaching the roof and resulting in structural collapse. Three PV technologies were subjected to this fire condition – rack mounted metal framed, glass on polymer modules, building integrated PV shingles, and a flexible laminate attached to a standing metal seam roof. A second series of experiments was conducted on the metal frame technology. These experiments represented two fire scenarios, a room of content fire venting from a window and the ignition of debris accumulation under the array. The results of these experiments provide a technical basis for the fire service to examine their equipment, tactics, standard operating procedures and training content. Several tactical considerations were developed utilizing the data from the experiments to provide specific examples of potential electrical shock hazard from PV installations during and after a fire event.