Andrew Moor has been a central figure in the Architectural Glass world for over thirty years and has worked with well known artists and architects on projects at an international level.
We design, manufacture and install glass artwork for a wide variety of environments including features for interior entryways, large-scale facades and free-standing sculptures for exterior landscapes. Their location becomes integral to the fabric of the building or public space itself.
We are specialist glass art consultants. We can give detailed technical advice on the best use of glass as a medium for design, and the optimum technique for each context. Our breadth of knowledge of the different methods of realising visual ideas makes us suited to delivering reports for larger scale schemes, preparing budget options and outlining the ideal options for this type of intervention.
Projects are personally managed from the first enquiry to final completion. Our practice can handle the selection of appropriate artists, the development of designs and the management of every aspect of a glass art project, including lighting, engineering and installation.
Andrew Moor works both as a freelance artist and facilitates other artists in realizing their ideas in glass. When working individually or in a collaboration, he focuses upon creating engaging public spaces - artworks that captivate the viewer and enhance the site.
Andrew Moor has written three books about architectural glass art, and lectures at major international conferences. He has a reputation as an entertaining speaker who delivers a broad overview of contemporary developments within both the aesthetic
Andrew Moor began lecturing in 1988 at universities and architectural and interior design practises, publishing his first book in 1989. He has now written three critically acclaimed books on glass art and lectures around the world at major international conferences on contemporary developments within both the aesthetic and the technical side of this powerful art form.
‘Colours of Architecture' has been widely acclaimed by both glass artists and architects. It explores the latest technologies and the uses both architects and artists have made of the ever growing range of techniques for producing images and colours in glass. This book has 360 colour images from all over the world. (2006)
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'Architectural Glass Art' was published in the UK and the US. It explores the evolution of the artform in the 1990's, containing studies on some of the major glass art practitioners and examining artworks that harness a wide range of techniques. (1997)
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'Contemporary Stained Glass' was published in the UK, the US (as 'Architectural Glass') and France (as 'Les Vitrail dans l'architecture moderne'). It is an in depth survey of the most interesting stained glass from the 1980's, illustrated with 270 colour photographs and wide ranging, informative text. This book has now sold nearly 35,000 copies worldwide. (1989)
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From Aachen Cathedral (805AD) until the 1980’s traditional stained glass, meaning leaded glass, remained the only practical and enduring method of creating architectural glass artworks. My first book, “Contemporary Stained Glass”, published in 1989, in both France, the UK and the US, gives a detailed overview of the artform at that time. At that time, it was a matter of pride in the ‘industry’ that nothing had essentially changed for over a thousand years, and ‘Contemporary Stained Glass’ documents the many exciting and modern artworks being created with this medieval methodology.
But, within a few years of its publication, the book was fast becoming out of date, as suddenly artists and studios sought to escape from the tyranny of lead and find ways to make much larger panels to accommodate the language of contemporary architecture, which seeks to have ever larger glass panels. To remedy this my next book, “Architectural Glass Art” 1997, sought to bring things up to date, including a large section called ‘Transcending Lead’, which explored the many changes in technique that were just beginning.
Once change started there was no going back and so in 2006 I had to publish “Colours of Architecture” which had no leaded glass in the book at all, and focussed entirely on the many emerging techniques involving float glass, including screen-printed enamels, coloured interlayers, bonded on glass, slumped and fused glass and so on.
But life does not stand still and since 2006 much has already moved on, with digitally printed ceramics and interlayers enabling images and colours to be added to float glass in very large sizes and at ever decreasing costs.
From the artistic and aesthetic point of view all these innovations are tremendously exciting. From a manufacturing point of view they are alarming, as is all innovation, because it renders potentially redundant hard-won skills, crafts and expertise. This is the nature of change and we are definitely living in a rapidly changing world.