GLASS and PERCEPTION

Post 170 – by Gautam Shah

.

Relaxation_in_Tel_Aviv_hotel_by_David_Shankbone

Glass has been used for Doors and Windows as translucent to transparent glazing pane, and occasionally as glossy or opaque panel. Glass has had TWO different facets, of the day timelit from the front or outside, and that of the night time –lit from the back or inside. Both of these facets, daytime and night time are viewed from either of the sides and offer different experience.

building-2298699_640

DAY TIME VIEW -from outside, in early days had a grayish -metallic surface. It was a dull and muddy pane with wavy figures (due to flattening of a disc cut out of a bulb). In later periods, it had lesser impurities, fewer surface undulations, but was ground to a glossy finish. Modern glass is comparatively very glossy (unless specifically ordered or treated), which allows reflection of the surroundings and the sky. The reflectivity, with additional treatment, often excludes the interior view (mirror glass and photo framing glass). Polyester films and surface metallizing adds one-way opacity, permitting unhindered view from the other side.

4458669998_cd56598dc2_z

DAY TIME VIEW -from inside, the glass of early days, and its later day modern version have had issues of colour coordination with other surface finishes. Both types of glass had a tinge that strongly affected the colours of the interiors. Fresco and other drawn art work could be re-calibrated, after fixing of the panes (or during re-installation later with superior glass). The ceramic or coloured stone mosaics of floors and walls, however, did not allow such corrections. Such interior colour schemes had to be pre-planned in consideration of the glass tinge. Colour coordination with window frames and members such as muntins, mullions, jambs, etc. with the metallic-grey tone of the glass was difficult.

San_Antonio_Temple_at_night_7

Poor quality of glass was to an extent solved by colouring it. Pot glass had dark-colour presence that was effective when back lit very brilliantly usually after the sunset. Such intense interior illumination was not available in that age. The stained glass was comparatively light coloured but still filled the interior profusely. Later part of Gothic architecture saw the required sobering with use of grisaille painting technique, or use of the non stained cristallo glass.

St_Denis_Choir_Glass

Basilica_of_Saint_Denis,_Saint_Denis,_France_02

Saint-Denis_(93),_basilique_Saint-Denis,_abside_3In stained glass treatment the need to stretch the story board across many sections of the window was so strong that all framing and dividing members like muntins and cams were made slender, at least on the face side. These were also dissolved by colouring them with the same tone as the outlines in the picture.

Ravenna-apollinarenuovo01

Early modern-day architects had to overcome the fuzzy view through poor quality of glass. As a result small pieces of glass were used, and contrasted with the white painted mullions, muntins, jambs and rails. The typical US colonial window had subdivided glass panes which did not offer a clear or un-distorted view, so were used for illumination, and covered with translucent curtains to occlude the view. Later, at the end part of Industrial revolution period as the glass became clearer, the mullions were thinned or made of metals, This dissolved their presence.

glass-cracked-window-wall-71392

NIGHT TIME VIEW –from outside was important to register the presence of the building. Visibility of the Churches and Cathedrals and Places at night provided an assurance of protection. The main problem was cost of illuminating the structures, whether from outside or inside. The presence of small interior light visible through a roof light, lantern window, rose window or pinnacle, was assuring. It was an economic and effective device. When windows of lighter stains and white glass became popular, it was easier to provide a visible illumination from inside.

3020293598_da9a426524_z

NIGHT TIME VIEW -from inside has been a problem in the absence of street or public illumination in the vicinity of buildings. The urbanization now provides illumination to back lit the glass of the buildings. Historical monuments or modern buildings always have some background illumination. Some important buildings are specifically lit outside and from within the building to enhance the architectural quality.

4200008872_40a3215bee_z

.

Advertisements

3 thoughts on “GLASS and PERCEPTION

  1. Pingback: BLOG LINKS on INTERIOR SPACES and SURFACES | Interior Design Assist

  2. Pingback: LINKS for MECHANICS of VISION | Interior Design Assist

  3. Pingback: BLOG LINKS on OPENINGS SYSTEMS | Interior Design Assist

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s