Today, I went to take pictures of the dichroic glass at 127 Charing Cross Road, to reassure a new client they do not degrade. I ended up taking pictures of Centre Point reflected in the dichroic fins. From one angle two building merges at ninety degrees, and then from a new angle it looks all mottled as if seen in a burning golden heat wave where the air is shimmering as it rises.
In these pictures, just by moving a few feet the fins transform not only in colour but even in texture. There are so many things still to be done with this medium; much more subtle and sophisticated uses, where we add in fritted stripes to to the glass, so the effect is softened – or even make the dichroic stripes on each fin only a few centimetres wide so they become more of a geometric, rhythmic feature in the architecture.
These first image above shows just 6 of the 114 panels we are now making for the new Midfield Concourse in Hong Kong.
The second picture shows how very textured and animated this feature will be – so different from the normal flat, mechanical nature of the glass we are used to. The third picture conveys a sense of the scale of this feature. And the final image shows the created section dropped into the whole design.
This image for the Arrivals area, created by the artist Graham Jones, is an image of the energy and dynamism of Hong Kong itself.
Andrew Moor has been a central figure in the Architectural Glass world for nearly thirty years and has worked with well known artists and architects on projects at an international level.
He is a glass artist, a glass art consultant, and a project manager assisting other artists translate their visions into glass. Finally he is a writer who has written three books about this extraordinary art form.
Since 1994, when I started Andrew Moor Associates, I have been involved in running hundreds of glass art projects, through the UK and in many other parts of the world. It took me many years before I really came to terms with the reality of how difficult this medium inevitably is. Much of the art world is involved with reflective art, an essentially two dimensional medium. We, in our work, have not only incorporated a third dimension, but a dimension that is by its nature unstable – a kinetic dimension that can change. This of course is the dimension of light.
When we make interior back-lit projects these are relatively safe and predictable, but once we introduce transparency into our work, and even more so if we have daylight coming and going we are moving into difficult territory. Glass is the most fabulous medium. It inhabits a unique space on the world. But it is challenging.