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Customer Review

15 of 15 people found the following review helpful
5.0 out of 5 stars A book for glass artists and lovers of modern design, 19 Nov. 2001
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This review is from: Architectural Glass Art: Form and Technique in Contemporary Glass (Hardcover)
Most people would probably think of stained glass windows in medieval churches if they were asked to name an artistic use of glass in an architectural setting. Andrew Moor's first book, 'Contemporary Stained Glass', expanded this view by showing that stained glass could also be found in modern locations. His second book, 'Architectural Glass Art', concentrates on the work of eight contemporary designers: Danny Lane, Jose Fernandez Castillo, Stephen Knapp, Ed Carpenter, David Wilson, Brian Clarke, Graham Jones, Narcissus Quagliata and Jamie Cooper, who work with glass all over the world on commissions as diverse as office buildings, shopping malls, restaurants, airports and libraries. There are church projects too, but as you have never seen them before. For example, a huge wall of glass (1992)by David Wilson for the Reformed Latter Day Saints Temple in Independence, Missouri, two edge-lit panels (1996) by Julian Stocks in the crypt of St Bride's in Fleet Street, and the central glass dome (1992)by John Clark in the Queen's Synagogue in Glasgow.
The author provides a clear introductory description of the processes of glass-making, and an explanation of the differences between kiln-formed and float glass. A chapter is devoted to each of the artists, and he describes different treatments used to decorate glass, such as acid-etching, bevelling and brilliant-cutting, sandwich technique (holding pieces of antique glass between layers of plain float glass), dalle de verre (chunks of glass embedded in concrete or epoxy), and slumping.
Moor, a lecturer and a glass art consultant with a London practice, states that his book is aimed at glass designers, who are rarely given the opportunity to view other artists' work. In this way he hopes some cross-fertilisation of ideas will occur, inspiring new designs. Nevertheless, it will be enjoyed by anyone who loves colour and innovative design. He describes his book as 'the humble efforts of a writer and critic to make this beautiful artform known to a wider audience'. In this he succeeds: the examples he chooses are persuasive; the photos are stunningly beautiful, illustrating how light and energy radiate from the glass. The book convinced me that if only more architects and town planners would use it in their buildings our cities would be brighter places in which to live and work.
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Location: Leicester

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