The practice-led research is concerned with the changes to the material vocabulary available to the glass artist as a result of developments in technology. Many stained glass artists continue to use a one hundred year old vocabulary in the production of works for contemporary buildings. In this research programme, the potential of a relatively new material - dichroic glass - is explored and an appropriate aesthetic developed. Dichroic glass is selected as focus in the research due to its unique qualities of reflection and transmission of specific wavelengths of light. Thin films technology has resulted in its production and is able to transform standard float glass into a magical material with enormous aesthetic potential. The approach to the application of the material is essentially a response as an artist to its unique qualities, but this approach is informed by a study of historical precedence and contemporary practice, which sets the context within which the research is carried out. The vital importance of light as the phenomena with which artists designing glass for architecture are primarily concerned, is revealed by this contextual study. The relationship of artistdesigned glass to its architectural" context is examined and in-depth case studies reveal the approaches of three contemporary artists. Personal practice is thus linked to contemporary practice and historical precedent. Developments in glass technology are reviewed and the current and developing functions of glass in architecture are outlined. This study establishes the wider context within which the artist, designing glass for contemporary architecture, is working. A study of thin film technology places dichroic glass within its technical framework. In depth analysis of how dichroics are produced and the subsequent production of a range of samples gives valuable insight into the nature of the material. The research uses a range of methods to address the artistic application of dichroic glass. To utilise the unique qualities of the material, forms are developed both in experimental models and in existing architectural settings. In seeking to enhance the experience of architectural space, the design of forms are developed in response to the particular lighting conditions of the chosen contexts. The various strands of the research work together to uncover data which would assist artists and designers in their approach to the architectural application of dichroic glass. The methods explored and developed provide useful tools for other practitioners in their approach to design.

Thesis (M. Phil.)--University of Hong Kong.

Thesis (doctoral)--Friedrich-Alexanders-Universität Erlangen, 1909. / Vita. Includes bibliographical references (p. [143]-144).

This research aims to develop cross-cultural approaches to contemporary Western glass Jewellery design by using the Chinese philosophical notion of ‗harmony between man and nature‘ on glass and metal jewellery. By analysing the principle of ‗harmony between man and nature‘, new approaches are developed. This is achieved by using cross-cultural practices, 3D prototyping techniques and glass studio practices to create glass jewellery designs. The methodologies include: philosophical methodology and experimental research. Tacit knowledge drawn from previous experience is deployed to encourage experimentation with materials and the ways they are used in glass and jewellery practices. The research also utilises Chinese ‗holistic approaches‘, such as ‗harmony‘, ‗balance‘, ‗flexibility‘ and ‗change‘ to glass and jewellery making and the resulting aesthetics provide new practical strategies and contemporary glass jewellery designs. By analysing Chinese culture and traditions I have facilitated six case studies which explore philosophical understandings through studio practice including the following six philosophical approaches: ‗Integration of Yin and Yang‘, ‗Unification of Time and Space‘, ‗Same Structure of Man and Nature‘, ‗the Concept of Change‘, ‗Self-cognition and External-cognition‘ and ‗Combination of Subject and Object‘. Case studies are also used to examine personal approaches to studio practice using Chinese paintings and interpreting them into 3D designs and glass jewellery. Other studio techniques include: machine productions, 3D printing, water-jet cutting, hand making, silversmith, kiln casting and lampworking. The resulting contemporary glass jewellery designs; informed by Chinese philosophy and traditions of ‗harmony between man and nature‘ provide a different and innovative approach to the field of glass and jewellery design and offers a new contribution to knowledge.

This research explores aspects of architectural phenomenology as evidenced in the ‘quirk’, described here as a peculiarity or idiosyncrasy of a building’s personality. Using digital technology, this study frames and contextualises a body of sculpture, performance and installation in glass that interprets personal ideas of home through social, cultural and emotional connections. The research is focused on exposing the quirk to anthropomorphise the site, expressing its familiar and intimate nature. Previous research in creative glass has used digital design and manufacturing technology in studies that contribute primarily to the practical advancement of CAD/CAM processes. This new research applies such techniques, but is instead focused on their capacity to record, translate and realise ideas in relation to the quirk of the architecture. This approach translates quirks through data capture to visualise aspects of architectural phenomenology, which is defined in this context as the embodied, personal and sensory experience of space. A methodology which adapts architectural practice has been applied to provide a creative, flexible framework of site selection, discovery of the quirk and its translation, realisation and analysis. The four bodies of work described in this PhD include a monumental architectonic sculpture, a series of ‘window’ panels created using photographic imagery, a kinetic subterranean installation and a time-based performance of the experience of sleeping on glass. The contribution to knowledge can be claimed through a model of practice that utilises phenomenology through the translation of the architectural quirk to create a unique and diverse body of artwork; and the development of original working methods for waterjet cutting and kiln-forming to produce architectonic sculpture and imagery in glass. This PhD offers an example of the application of architectural phenomenology for those wishing to use architecture as inspiration for artwork.

Thesis (M.S.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 32-34).

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 167-175).

Thesis (Ph. D.)--University of Illinois, 1922. / Vita. "Reprinted from the University of Illinois studies in language and literature, volume 13, number 3-4." "This ... is a linguistic and historical study solely, intended to supplement from the side of written or inscriptional records the works on archaeology."--P. 9. Bibliography (p. 201-202).

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Peter F. Green. Vita. Includes bibliographical references.

abstract: The primary goal of this thesis is to evaluate the influence of ethyl vinyl acetate (EVA) and polyolefin elastomer (POE) encapsulant types on the glass-glass (GG) photovoltaic (PV) module reliability. The influence of these two encapsulant types on the reliability of GG modules was compared with baseline glass-polymer backsheet (GB) modules for a benchmarking purpose. Three sets of modules, with four modules in each set, were constructed with two substrates types i.e. glass-glass (GG) and glass- polymer backsheet (GB); and 2 encapsulants types i.e. ethyl vinyl acetate (EVA) and polyolefin elastomer (POE). Each module set was subjected to the following accelerated tests as specified in the International Electrotechnical Commission (IEC) standard and Qualification Plus protocol of NREL: Ultraviolet (UV) 250 kWh/m2; Thermal Cycling (TC) 200 cycles; Damp Heat (DH) 1250 hours. To identify the failure modes and reliability issues of the stressed modules, several module-level non-destructive characterizations were carried out and they include colorimetry, UV-Vis-NIR spectral reflectance, ultraviolet fluorescence (UVF) imaging, electroluminescence (EL) imaging, and infrared (IR) imaging. The above-mentioned characterizations were performed on the front side of the modules both before the stress tests (i.e. pre-stress) and after the stress tests (i.e. post-stress). The UV-250 extended stress results indicated slight changes in the reflectance on the non-cell area of EVA modules probably due to minor adhesion loss at the cell and module edges. From the DH-1250 extended stress tests, significant changes, in both encapsulant types modules, were observed in reflectance and UVF images indicating early stages of delamination. In the case of the TC-200 stress test, practically no changes were observed in all sets of modules. From the above short-term stress tests, it appears although not conclusive at this stage of the analysis, delamination seems to be the only failure mode that could possibly be affecting the module performance, as observed from UV and DH extended stress tests. All these stress tests need to be continued to identify the wear-out failure modes and their impacts on the performance parameters of PV modules. / Dissertation/Thesis / Masters Thesis Mechanical Engineering 2020