Introduction
In 1995, Philip W. Anderson, a Nobel prize-winning physicist wrote that “the deepest and most interesting unsolved problem in solid state theory is probably the theory of the nature of glass and the glass transition “ (p. 1615). Fifteen years later physicists still disagree about the nature of glass, given that its arrangement of atoms and molecules is indistinguishable from that of liquids but gives rise to a material that is utterly solid. Similarly unsettled is the question about the history of intentional glass making. The use of naturally occurring glass, especially the volcanic glass obsidian, can be traced back to many stone-age societies around the globe, and the first intentional production of glass by humans may be as early as around 3000 BC (but this is debated; see Oppenheim, Brill, Barag, & Saldern, 1970).
Intriguingly, despite its unidentified nature and origin, man-made glass has a long history as a core architectural substance. As early as in the Middle Ages, people began to use glass as material for windows decorating churches and castles (Marks, 1993). Since then glass has experienced a tour de force in terms of its architectural exploitation. Most importantly, in 1851 a magnificent structure built from steel and glass was erected in London to host the Great Exhibition. Referred to as Crystal Palace the building paved the way for the exploration of glass in modern architecture. The result is easily visible in most of our everyday surroundings: glass surfaces await us in offices, schools, hospitals, shopping malls and private homes alike.
Not too surprisingly, the dramatic increase of glass use in contemporary construction does not only reflect an enhanced interest in the material but also fundamental changes in glass production and technology. What was once known as a fragile material has recently profited from the discovery of crack-preventing laminations and coatings. In addition, the development of powerful adhesives has opened up the possibility to connect even multiple glass panels almost seamlessly. In consequence, the creation of all-glass structures that are unmarked by metal or other materials seems now within architectural reach. But why do such structures exert a strong fascination to architects?
Undoubtedly, till today the main reason for glass use in architecture lies in the pursuit of transparency. As recently described by the architect Brent Richards (2006) glass is essentially “a non-material, utilized to capture space and define spatial volumes but increasingly devoid of a representative architectural language or detail” (p. 7). As such it is “there and not there […]; manifested in the abstract, in reflections and transparencies, and in the play of surfaces” (p. 15). Most importantly, due to its transparency, glass can act as an invisible barrier that opens up spaces, connects the indoors with the outdoors, allows natural light to illuminate rooms, while simultaneously blocking out unwanted noises and climate conditions.
Notwithstanding all these qualities, the question that often remains untouched when discussing the use of glass in contemporary architecture is how humans experience and respond towards glass environments. This seems surprising given that architectural structures are usually built for people. How can the architectural use of glass be optimized when we do not understand how humans perceive, represent and act around transparent glass in its manifold manifestations? Is a material that is simultaneously ‘there and not there’ from an architectural perspective, actually ‘there’ or ‘not there’ from a perceptual, emotional, cognitive, social and/or cultural point of view? To address these questions, the current research proposal introduces a scientific programme aimed at elucidating the nature of human-glass relations.
Intriguingly, despite its unidentified nature and origin, man-made glass has a long history as a core architectural substance. As early as in the Middle Ages, people began to use glass as material for windows decorating churches and castles (Marks, 1993). Since then glass has experienced a tour de force in terms of its architectural exploitation. Most importantly, in 1851 a magnificent structure built from steel and glass was erected in London to host the Great Exhibition. Referred to as Crystal Palace the building paved the way for the exploration of glass in modern architecture. The result is easily visible in most of our everyday surroundings: glass surfaces await us in offices, schools, hospitals, shopping malls and private homes alike.
Not too surprisingly, the dramatic increase of glass use in contemporary construction does not only reflect an enhanced interest in the material but also fundamental changes in glass production and technology. What was once known as a fragile material has recently profited from the discovery of crack-preventing laminations and coatings. In addition, the development of powerful adhesives has opened up the possibility to connect even multiple glass panels almost seamlessly. In consequence, the creation of all-glass structures that are unmarked by metal or other materials seems now within architectural reach. But why do such structures exert a strong fascination to architects?
Undoubtedly, till today the main reason for glass use in architecture lies in the pursuit of transparency. As recently described by the architect Brent Richards (2006) glass is essentially “a non-material, utilized to capture space and define spatial volumes but increasingly devoid of a representative architectural language or detail” (p. 7). As such it is “there and not there […]; manifested in the abstract, in reflections and transparencies, and in the play of surfaces” (p. 15). Most importantly, due to its transparency, glass can act as an invisible barrier that opens up spaces, connects the indoors with the outdoors, allows natural light to illuminate rooms, while simultaneously blocking out unwanted noises and climate conditions.
Notwithstanding all these qualities, the question that often remains untouched when discussing the use of glass in contemporary architecture is how humans experience and respond towards glass environments. This seems surprising given that architectural structures are usually built for people. How can the architectural use of glass be optimized when we do not understand how humans perceive, represent and act around transparent glass in its manifold manifestations? Is a material that is simultaneously ‘there and not there’ from an architectural perspective, actually ‘there’ or ‘not there’ from a perceptual, emotional, cognitive, social and/or cultural point of view? To address these questions, the current research proposal introduces a scientific programme aimed at elucidating the nature of human-glass relations.