The windows on this were extremely impressive to me. That is, I feel like this would have been way easier if all the windows were just on flat sections, but one set of windows have about their bottom third on the bottom curve, meaning he had to fabricate curved window frames and curved window panes, which seems really difficult to me. He could have easily "cheated" and put those windows just a tad higher so they were fully on the vertical back wall. Making them with that curve just shows a crazy attention to detail and really added to the illusion of the brick sculpture feeling like a flexible rug.
I used to live in an apartment built in 1910 with curved window panes. While not common they must not have been too difficult to fabricate if needed, even a century ago.
Curved glass is easier in the historical method, because flat glass was made by blowing a large bottle and flattening a piece of it against something before it set (which is why you could only get small flat panes). So to get a curve you'd just shape it against something the right curve.
I'm not sure how you get curved glass today. Possibly you have to start with a flat sheet and heat it until it can be bent.
It's fairly common to see old techniques demonstrated, as those are the ones practical on an artisanal scale. I would guess the modern techniques are practiced in fewer locations, although obviously they account for the vast majority of glass production. But I'd have thought a pool of molten metal is not the kind of thing a small workshop can just keep around .
> However ‘A week at the knees’ is technically more sophisticated in every way. It also offers a more immersive experiences for audiences, who can walk directly beneath and behind the sculpture, enjoying it from multiple angles.
I'm inclined to agree, esp since this is in a park. That said, the article suggests it's part of festival and is just a temporary exhibit, so I don't think any trees were sacrificed for the sake of overly precious architectural fantasies.
The windows on this were extremely impressive to me. That is, I feel like this would have been way easier if all the windows were just on flat sections, but one set of windows have about their bottom third on the bottom curve, meaning he had to fabricate curved window frames and curved window panes, which seems really difficult to me. He could have easily "cheated" and put those windows just a tad higher so they were fully on the vertical back wall. Making them with that curve just shows a crazy attention to detail and really added to the illusion of the brick sculpture feeling like a flexible rug.
Seems like a great example of "bumping the lamp".
https://factsandfigment.com/bump-the-lamp/
I used to live in an apartment built in 1910 with curved window panes. While not common they must not have been too difficult to fabricate if needed, even a century ago.
Curved glass is easier in the historical method, because flat glass was made by blowing a large bottle and flattening a piece of it against something before it set (which is why you could only get small flat panes). So to get a curve you'd just shape it against something the right curve.
I'm not sure how you get curved glass today. Possibly you have to start with a flat sheet and heat it until it can be bent.
I’m genuinely curious as to how you acquired knowledge on old glassmaking techniques without also being familiar with modern techniques.
It's fairly common to see old techniques demonstrated, as those are the ones practical on an artisanal scale. I would guess the modern techniques are practiced in fewer locations, although obviously they account for the vast majority of glass production. But I'd have thought a pool of molten metal is not the kind of thing a small workshop can just keep around .
While fun I always feel that grass and trees are basically always nicer than this kind of thing.
It feels like a human imposition on nature, that we decide that we are to have this brick thing here, instead of whatever grew there.
Maybe if it were a tunnel it would be okay.
This is an urban square in the middle of London, not a nature park. There hasn't been a natural landscape here for thousands of years.
It is a tunnel, you can walk through it.
> However ‘A week at the knees’ is technically more sophisticated in every way. It also offers a more immersive experiences for audiences, who can walk directly beneath and behind the sculpture, enjoying it from multiple angles.
https://fadmagazine.com/2025/05/20/a-week-at-the-knees-alex-...
Yes, but what I meant by a tunnel is that a tunnel doesn't take away surface space whereas this does.
It's a small temporary art installation that takes virtually no space on the town square.
I’m not sure what you mean, like an underground tunnel?
Yes.
Then how would you see the artwork?
I'm inclined to agree, esp since this is in a park. That said, the article suggests it's part of festival and is just a temporary exhibit, so I don't think any trees were sacrificed for the sake of overly precious architectural fantasies.
You are missing the trees for the forest.
It's only there for a month.
How about houses? I live in one. Maybe you do too. Are those an imposition?
If they are, surely they're a bigger one.
To some degree, yes. But we also need them. They aren't just decoration or something to satisfy our desire to build.
What about an art museum whose purpose is to provide a place to show and view art? What about a concert venue?
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I wanna play this skateboarding game. :)
Where is it?
https://www.google.co.uk/maps/place/Charterhouse+Square,+Bar...
> 7,000 bricks
Not sure this is true from a construction shot -
https://www.facebook.com/photo/?fbid=1102267448604760&set=pc...
They are probably "brick slips" IE thin cosmetic bricks, not full bricks.
Hmm looks from that shot that the door doesn't open; I was wondering about that.
More money than sense.
In the UK is it more money than pense? (a play on pensive)
Personally, I think it's OK, and maybe even good, if sometimes humans do things for aesthetic purposes instead of paperclip optimization.
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