‘When there is more glass everywhere,’ Scheerbart wrote, ‘fireworks will be transformed thousands of reflection effects will be possible’ It knows a thing or two about colour and glass. Its colour palette for translucent, transparent and solid glass is now the largest in the world – 17,000 shades to be precise.
Vanceva has been manufacturing coloured glass interlayers since the 1980s and is part of the Eastman brand portfolio. Reflecting the considerable advancements, the biannual Vanceva World of Color Awards (WOCA) seeks to highlight the chromatic and technical potential of glass in contemporary architecture. Save this picture! The cube’s corrugated glass shroud is made from vast sections of highly technical S cross-section glass, built from PVB layers that equip it with solar protection and a ‘shale grey’ tint. Prescient though he was, he couldn’t, however, predict the technological advancements that would turn glass into a material with the strength of concrete, the sculptability of clay, the shielding powers of far more opaque matter, and colour options in the thousands. ‘When there is more glass everywhere,’ Scheerbart wrote, ‘fireworks will be transformed thousands of reflection effects will be possible.’Īs glass continually evolves its role in architecture, Scheerbart’s philosophy and foresight into the potential of glazing is often explored and wondered at. His architectural collaborator, Taut, attempted to realise some of his imaginings in his 1914 Glass Pavilion at the Werkbund exhibition in Cologne. He imagined something futuristic and fantastical – decorating our metropolises with tantalisingly tilting, kaleidoscopic colour rather than the sober-hued vertical planes we have come to know. In his early 20th century writings, the poet-architect, Paul Scheerbart, forecasted extravagant forms of glazed architecture that broke free from the emerging modernist mould. An honourable mention for OMA’s Taipei Performing Arts Centre celebrates the textural power of subtly shaded glass.
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