God said: "Let there be light." So the world is no longer dark, and how to grasp the flash of light and shadow and integrate its changes into the building has become a subject that many architects pursue. As a transparent material, glass is often woven into a net that captures light and shadow by many architects.

The famous architect and sculptor James Carpenter has recently been invited by the Shanghai Branch of the American Institute of Architects (AIASH) to give a speech at the World Landmark Shanghai Center with Shi Senbin, a well-known glass artist in Shanghai. The theme of this forum revolved around how Carpenter adapts to natural light and shadow through glass installations, and how Shi Senbin applies glass craftsmanship to architecture.

Activity site

People with non-architectural backgrounds may not be familiar with Carpenter, but in fact, many people should have already seen his works: GUCCI Ginza store in Tokyo, Blue Corridor of Sands Hotel Singapore, the World Trade Center rebuilt on the 9/11 site Building Seven, Fulton, the largest subway interchange station in New York, etc., are all designed by Carpenter. Unlike most architects who only care about the transparency of glass, he is more sensitive to light. Through refraction and focus, absorption and reflection, color and rhythm, he uses architectural language to direct a movie of light and shadow.

New York Fulton Station

Seven World Trade Center

Carpenter has been committed to the development of glass materials for many years, trying to make these glass with unique technology can be used to manipulate light, and these studies have led him back to architectural practice itself.

Sands Hotel Art Installation

Unlike Carpenter, artist Shi Senbin hopes to present the details and beauty of Chinese colored glaze craftsmanship on architecture. He believes that the difference between colored glaze and glass, in addition to the difference in the production process and chemical composition, is a cultural symbol. As one of the long-established crafts in China, colored glaze naturally carries more historical meaning and cultural imagination than "glass".

Shi Senbin also tried to apply lacquer art and other traditional crafts that are different from colored glaze across borders, so that colored glaze has more breakthroughs in measurement, performance and art, and meets the creative desires of artists and architects. Whether it is the long glass scroll in the center of Shanghai and the glass sculpture on the top floor, or the 49-meter outdoor glass giant Buddha in Huangshi, which is about to be completed, all are proofs of Shi Senbin and his team's technological strength.

"Shanghai Eyes" sculpture is made by Shi Senbin's original jade glass technique

The first long scroll of colored glaze, "Heart Xiangshanshui", carries the historical and cultural significance of colored glaze

The colored glaze art mural "Hua Zang World" in Wuxi Lingshan Fan Palace

Although the two artists have different forms of expression, their artistic pursuits and innovations are similar. Through this opportunity, the two artists and architects have inspired each other a lot, and it is also expected that the two artists can create more refreshing works in the future.

Carpenter, who came from afar, also specially visited Kang Yuan and exchanged crafts with Shi Senbin and Shi Jun and his son.

From left to right: Shi Jun, Mr. Carpenter, AIASH Chairman Chris Chen, Shi Senbin

Forum scene

Carpenter tells you how to capture light and shadow with architecture

Shi Senbin finally presented Carpenter glass sculptures as a beautiful ending to the exchange of Chinese and Western glass art

Group photo