DRAPÉ
GLASS WORKS
glass
noun, often attributive
ˈglas ˈgläs
without crystallization: such as a usually
transparent or translucent material consisting
typically of a mixture of silicates
paravent
noun
para·vent ˈparəˈvent
french:
« a screen from the wind »
chinese: 屛-٧ ; pinyin : píngfēng
« adorable bouclier »
english: folding screen
by hinges or by other means. They have
practical and decorative uses, and can be
made in a variety of designs with different
kinds of materials
popular amongst Europeans
life, and nature
textile
noun
/ˈtˈkstˈl/
*teks-
to make wicker or wattle fabric for (mud-covered)
house walls."
technical; techno-; technology; tectonic;
tete; text; textile; tiller" bar to turn the
rudder of a boat;" tissue; toil "net, snare."
to fabricate, to make; make wicker or wattle
framework" (source also of Sanskrit taksati
"he fashions, constructs," taksan "carpenter;
" Avestan taša "ax, hatchet," thwaxš- "be busy;
" Old Persian taxš- "be active;" Latin texere
"to weave, fabricate," tela "web, net, warp of
a fabric;" Greek tekton "carpenter," tekhnē "art;
" Old Church Slavonic tesla "ax, hatchet;
" Lithuanian tašau, tašyti "to carve;" Old Irish tal
"cooper's ax;" Old High German dahs,
German Dachs "badger," literally "builder;
" Hittite taksh- "to join, unite, build."
1 https://www.merriam-webster.com/dictionary/glass
2 https://en.wikipedia.org/wiki/Folding_screen, https://fr.wikipedia.org/wiki/Paravent
3 https://www.etymonline.com/word/textile
noun, often attributive
ˈglas ˈgläs
- any of various amorphous materials
without crystallization: such as a usually
transparent or translucent material consisting
typically of a mixture of silicates
- a material (such as obsidian) produced by fast
paravent
noun
para·vent ˈparəˈvent
french:
« a screen from the wind »
chinese: 屛-٧ ; pinyin : píngfēng
« adorable bouclier »
english: folding screen
- free-standing furniture consisting of several
by hinges or by other means. They have
practical and decorative uses, and can be
made in a variety of designs with different
kinds of materials
- originated from ancient China, eventually
popular amongst Europeans
- often decorated with beautiful art; major
life, and nature
textile
noun
/ˈtˈkstˈl/
*teks-
- Proto-Indo-European root meaning "to weave,"
to make wicker or wattle fabric for (mud-covered)
house walls."
- It forms all or part of: architect; context;
technical; techno-; technology; tectonic;
tete; text; textile; tiller" bar to turn the
rudder of a boat;" tissue; toil "net, snare."
- It is the hypothetical source of/evidence for
to fabricate, to make; make wicker or wattle
framework" (source also of Sanskrit taksati
"he fashions, constructs," taksan "carpenter;
" Avestan taša "ax, hatchet," thwaxš- "be busy;
" Old Persian taxš- "be active;" Latin texere
"to weave, fabricate," tela "web, net, warp of
a fabric;" Greek tekton "carpenter," tekhnē "art;
" Old Church Slavonic tesla "ax, hatchet;
" Lithuanian tašau, tašyti "to carve;" Old Irish tal
"cooper's ax;" Old High German dahs,
German Dachs "badger," literally "builder;
" Hittite taksh- "to join, unite, build."
1 https://www.merriam-webster.com/dictionary/glass
2 https://en.wikipedia.org/wiki/Folding_screen, https://fr.wikipedia.org/wiki/Paravent
3 https://www.etymonline.com/word/textile
in collaboration with Xuehan Li and Pan Hu
Monteur Action Forme
Exhibition October 14 - March 13 2022, Bruther
arc en rêve centre d'architecture Bordeaux
‘When you design glass objects and even hope to make them, or hope someone will make them for you, you go through roughly three exciting moments.
The first is when you think you've got an idea and think - or flatter yourself - that the idea really is an idea, that it really is a strange apparition, somehow emerging from the general confusion of ideas which actually boils down to nothing, to the nothingness that was and suddenly is no more- because the idea has occured a nothingness - as has often been said - that has suddenly been enlightened.
The second is when you see that the glass, or its design, is about to be turned into glass. You know it's going to become glass, but you can't yet make it out. You see a sort of ghost of what the glass will be, a limp, shining, colorless ghost, red-hot, untouchable and elusive, as most ghosts are - they say- like flames, fire and the light of fire.
To tell the thruth, I don't quite know how a thought which came to my mind about a glass and only existed as a thought can sometimes become a drawing, which is only there as a drawing. But then the drawing becomes glass and the glass is there only as glass, a glass object that can be touched, weighed and broken.
The third moment is, of course, a triumphant one.
All this however has to happen slowly, very slowly, very very very slowly, for hours, maybe whole nights, maybe days on end... you have to be patient.
In the end, though, the glass is there. It comes out of the fire all clean, intact, bright and perfect, exactly as you thought it would and maybe even more. At last the glass is there and can even be touched.’1
1 Ettore Sottsass, Glass.
Monteur Action Forme
Exhibition October 14 - March 13 2022, Bruther
arc en rêve centre d'architecture Bordeaux
‘When you design glass objects and even hope to make them, or hope someone will make them for you, you go through roughly three exciting moments.
The first is when you think you've got an idea and think - or flatter yourself - that the idea really is an idea, that it really is a strange apparition, somehow emerging from the general confusion of ideas which actually boils down to nothing, to the nothingness that was and suddenly is no more- because the idea has occured a nothingness - as has often been said - that has suddenly been enlightened.
The second is when you see that the glass, or its design, is about to be turned into glass. You know it's going to become glass, but you can't yet make it out. You see a sort of ghost of what the glass will be, a limp, shining, colorless ghost, red-hot, untouchable and elusive, as most ghosts are - they say- like flames, fire and the light of fire.
To tell the thruth, I don't quite know how a thought which came to my mind about a glass and only existed as a thought can sometimes become a drawing, which is only there as a drawing. But then the drawing becomes glass and the glass is there only as glass, a glass object that can be touched, weighed and broken.
The third moment is, of course, a triumphant one.
All this however has to happen slowly, very slowly, very very very slowly, for hours, maybe whole nights, maybe days on end... you have to be patient.
In the end, though, the glass is there. It comes out of the fire all clean, intact, bright and perfect, exactly as you thought it would and maybe even more. At last the glass is there and can even be touched.’1
1 Ettore Sottsass, Glass.