PHOSPHORESCENT GLASS

Phosphorescent glass, a material that was originally developed for safety purposes is now being used in architectural glazing. where a phosphorescent ceramic coating is tempered onto the glass creating shining and glowing effects onto the glass. Dispersed zinc sulfide is mixed as pigment with the ceramic coating and fused into the glass surface at a temperature of approximately 600C during the tempering process. The zinc sulfide is then activated by UV-radiation. The phosphorescent enamels that are fired into the glass make them longer lasting and also scratch resistant. 

The process is similar to that that is used in the production of the Fotolux glass, however it is applied only to the designed areas on the glass rather than the entire sheet.

Phosphorescent glass tiles. The pattern is 2D in the light and 3D in the dark.

Phosphorescent glazing is now being used in both interior and exterior design, allowing designers to create 'self-lighting' glass facades, and prints as well as being used for printed logos.  It also is being used to save energy costs on lighting.

SELF-ILLUMINATING EFFECT

This effect is created by either backlighting or flood lighting with invisible UV-black light which when turned off an absolute uniform light intensity is achieved. Only the coated area is activated and appears to be a self-illuminating body.6

'Ecloon', distributed by ECKELT GLAS GmbH, is one brand that has been using phosphorescent glass in both interior and exterior design, for free standing furniture decoration as well as for printed logos and exterior window decoration. 7

Phosphorescent glass tables "flora" by Ecloon.

 In my research so far I haven't been able to find any artists who have been using Phosphorescent glass in a design application. Similar to the Fotolux glass this technology would be very in an artistic context, opening up avenues for the creation of freestanding pieces, as it also self illuminating after being exposed to a light source. This process would also make a very interesting addition to screen printing on glass, by using the phosphorescent ceramic enamel rather than the glass enamel to create self illuminating prints.

6.Glass on web, 'Self illuminating architectural elements', http://www.glassonweb.com/articles/article/637/, (accessed October 25, 2010)

7. Ecloon, 'ECLOON- phosphorescent glass', http://www.eckelt.at/en/downloads/produkte/design/ecloon/ecloon_engl.pdf, (accessed October 24, 2010)

FOTOLUX

This product is a brand new technology from Formator, which has been recently developed combining Float glass and solar power technologies.   

Fotolux is a safety glass that glows in the dark, absorbing light and then reflecting the same light. It  can be used for any application that normal glass is used for including:

• doors and windows
• glass facades 
• roofs and greenhouses
• glass staircases
• home appliances
• home furnishings
• and emergency exit routes.

 The product itself is very under wraps because it has only just been released, but from what i can gauge it seems very similar to most phosphorescent ('glow-in-the dark') products, except is flat sheet glass. Phosphorescence is a specific type of photoluminescence that is related to fluorescence. However, unlike fluorescence, phosphorescent materials do not immediately re-emit the radiation they absorb, and the absorbed radiation can be re-emitted at a lower intensity for up to several hours.4

Fotolux emergency exit sign

Fotolux Technical features:

• Standard colour in the daytime is satin white
• standard dimensions are 2250 x 3210mm, maximum dimensions are 2250 x 4500mm.
• standard thickness is 9mm, however thickness ranges from 6mm to 60mm.
• Available in annealed or tempered versions
• manufactured in accordance with EN1449 for laminated glass
• And the colour range is - satin finish white, yellow, orange, red, light green, blue, mid blue, violet and white.5

It requires no electricity, no wires and no maintenance as well as satisfying all security requirements of PVB laminated glass Fotolux would be a excellent product that could be very easily incorporated into the practice of any glass artist. In glass art lighting is a very important aspect of the finished work, and because of the nature of glass and its translucency finding innovative means of display and construction are often problematic. Fotolux as a medium for either construction of even just display of works would add a very interesting element to any glass work. 

It would be especially good for use in site specific outdoor instillations because of the no electricity luminance.

Fotolux floor

4. Phosphorescence, http://wapedia.mobi/en/Phosphorescences  (accessed October 23, 2010).

5. Fotolux, http://www.fotolux.info/fotolux/home.html (accessed October 20, 2010)

NEW WORK FROM MATT SZOSZ

Still working with the exploration of  float glass Szosz' new work involves the fusing of assemblages of glass strips together, then manipulating them while they are hot. Making experimental shapes and structures that are largely ephemeral.

Work in process.

These are some more works by Matt Szosz.

2008


Untitled (Inflatable) no.29, 


Fused and Inflated Window Glass 


16" x 14" x 18"

2008


Untitled (Inflatable) no.35, 


Fused and Inflated Window Glass 


27" x 10" x 12"

2008


Untitled (Inflatable) no.41,

 
Fused and Inflated Glass 


18" x 9" x 7"

INFLATED FLOAT

The process of inflating float glass is not a widely practiced one. One of the artists that i have been investigating, Matthew Szosz, has an experimental practice that involves the inflation of float glass into non-functional objects. 

Szosz has combined the process of glass fusing and glass blowing, fusing together 'envelopes' of float glass and using compressed air to inflate the inside into his signature pillow forms. therefore his process involves both the kiln and the hot shop.

The first step is to compose the object that will be fused. This is done by layering the sheets of hard float glass with fibre paper. Leaving in contact only the areas he wishes to fuse, around the edge of the piece and on the inside corners so that the form is air-tight once fused. In this arrangement he also adds a metal hook and tube that is fused into the edge of the envelope, which is what he picks it up out of the kiln with. This metal is fused into the glass and therefore stays on the piece once it is annealed.

The piece is then taken up to about 1575 F (approx 875.2C). This fuses the edges and makes the piece air-tight. At this temperature the float glass is also soft enough to be blown.

When the edges are properly sealed he uses a metal hook or the fiber paper to pick it up form the kiln and uses compressed air to inflate it into it's 3D form. For this process he uses a nossle for the compressed air to ensure that the air is coming out at a controlled pace. This helps to inflate all the walls of the piece evenly, but also reduces the chances of the air putting too much pressure on the glass and it blowing out or shattering. Once inflated the pieces are then cooled to room temperature in the annealer.

Just taken out of the kiln. Not only does the the thick white fiber paper allow the  piece to be able to be  safely removed from the kiln, but it also insulated the glass, keeping it hot for longer.

Adding compressed air to the piece.

Inflating the piece.

Once the glass has been inflated to the desired shape and size, the air pressure inside the piece need to be maintained until the glass is cool enough that it will not slump while annealing (around 500C). At this point it is put away and gradually cooled to room temperature.

http://www.youtube.com/watch?v=USM56zlnzhY&NR=1

http://www.youtube.com/watch?v=N4mVEAk_pXU&feature=related

His work is about material exploration, investigation and experimentation. A continual process of trial and error. 

      "I spend most of my time working with and managing failure, but failure is a great teacher.."

               Matt Szosz. 3

One of the biggest problems with working with the fusing and kiln forming of Float glass is  the issue of devitrification. This occurs during the firing process of fused glass whereby the surface of the material develops a whitish scum, crazing or wrinkles instead of a smooth glossy shine. While this  condition is generally undesired in glass art, Szosz has made it possible to incorporate the devitrification as an artistic technique.

Devitrified glass.

Although I do throughly enjoy Matthew Szosz work the thing that I am interested in most is the experimental nature of his practice.  And through this experimentation and investigation the way that he has taken the material of float glass outside of its ordinary field of use. Changing the nature of the material from something that is seen as being very rigid and sturdy, when used in furniture and in architecture, to a material that is very organic and fragile. Such an innovative process should be looked at by all artists, if for nothing else than to encourage them to explore the very limits of their chosen material

3. Matthew Szosz, comment on "3 Questions for...Matt Szosz,'' The GLASS Quarterly Hot Sheet, posted October 22, 2006, http://blog.glassquarterly.com/2010/10/22/3-questions-for-matt-szosz/ (accessed October 22, 2006).

FLOAT IN ART

Float glass is manufactured predominantly for architectural and domestic uses. Being used for home windows, car windows as well as for architectural structures. It is also used for furniture with a modernist aesthetic because of its high polish and sharp edges.

Ghost Clear Glass Chair. 

Designed by Cini Boeri and Tomo Katayanagi, 1987. Manufactured by Fiam, Italy.

0.5" float glass

These designs however are very limited because of the nature and properties of the glass, so the only viable and industrial ways of using it in design production were by fusing, slumping or constructing the glass into the desired form.

Contemporary glass artists also use float glass in similar ways, for example Artist Walead Beshty who uses constructed float glass in his sculptures. He first smashes the   sheets of float and then reassembles them into their original form, displaying the fragility of the material itself.

Walead Beshty.

Wa2005 FEDEX 157872 REV 10/05 CC, Fedex 2-Day,

Los Angeles-Berlin(Tracking No. UPON SHIPMENT)

lead Beshty, Fedex® Kraft Box ©

Walead Beshty

SSCC 139751 REV 10/05 "FedEx Large2007FedEx Large Box,

Double Laminated Safety Glass, Accrued FedeEx Tracking Labels & Metal

45 X 31 X 8 cm

Another artist who uses float glass in their work is Irish sculptor and instillation artist Corban Walker who creates architecturally inspired pieces using float glass and mixed media in what he describes as 'walls' or 'grids'. His works embrace concepts of architecture and minimalism, which is evident from the repetitive, formal structures that dominate his aesthetic.2

Grid Stack 1 (2007)
clear float glass and Diamante glass
38" x 24" x 17-3/4" (96.5 cm x 61 cm x 45.1 cm)

2. The Pace Gallery, 'Past Exhibition. Corban Walker: Grid Stack', 2010. http://www.artinfo.com/galleryguide/11546/32/106927/the-pace-gallery-25th-street/exhibition/corban-walker-grid-stack/ (accessed October, 2010)

WHAT IS FLOAT GLASS?

Float glass as a material is one of the most highly manufactured and used types of glass. The term 'Float' is derived from from the production method, introduced in the UK by Sir Alastair Pilkington in the late 1950's, and this method is responsible for 90% of todays manufactured flat glass. Previous to Pilkington's method, all flat glass was hand blown into cylinders and slumping was used to make them into flat sheets.

When float glass is manufactured the raw materials (silica sand, calcium, oxide, soda and magnesium) are mixed and then introduces into a furnace where they are melted at  1500° C. The molten glass then flows from the glass furnace into a bath of molten tim in a continuous ribbon. The glass, which is highly viscous, and the tin, which is very fluid, do not mix and the contact surface between the two materials is perfectly flat. When it leaves the bath of molten tint he glass has cooled down suficiently to pass through an annealing chamber called a lher. Here it is cooled at controlled temperatures, until it is essentially at room temperature.1

top view of the process of making float glass

Float glass process.

1. Glass on Web, 'Float Glass', March 2007. http://www.glassonweb.com/glassmanual/topics/index/float.htm (accessed October, 2010)

MUTANT MATERIALS

Initially I began to look into the material of float glass because it seemed to be a product that, although it is widely used in architecture, has a very limited range of applications within the field of Art and Design.

This limitation itself is what interested me in the material and encouraged me to explore it's possibilities further. I set about to explore how the boundaries of the glass are being pushed through new technology and the innovation of artists, and from this how these new products and processes are being used in contemporary glass art.