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The destructive connotations of glass have been exploited
further over recent years, as modern houses are beginning to appear with blue tinted
glass windows. This development began in the Sandbanks in Bournemouth. Original
drawings and artist’s impressions of architectural developments create building
designs with blue windows. In order to stick to the original proposal, blue-tinted
windows have been used in the actual buildings. This has created uproar, as the
occupiers of these buildings are continuing to complain that the windows are
not allowing enough natural light to enter the rooms, due to the darkness of
the colour (Savage, 2015). This is significant considering the debate over the
disadvantages of a glass building experienced from the outside. It seems as
though glass façades have begun to dominate the architectural landscape from
all directions. Practicality, as well as the satisfaction of the building’s
occupiers, has been demoted by the desire for aestheticism and an ever-increasing
economic greed. The blue-tinted windows are creating both a physical and visual
boundary between the inside and the outside. Originally glass windows were
intended to blur the boundaries between interior and exterior space, in order
to reduce the spatial limitations of architecture. The debatably transparent material
was presented as an urbanised substitute in architecture for artistic
techniques like traditional trompe-l’oeil painting, as architects were ‘no
longer content with conquering the wall on
the wall, in other words with dissolving it by means of illusion’ (Neumeyer,
1999, p. 249). This ideology has been distorted in the development of glass used
within architecture over time, and it is this development that has attracted
artists to study and explore its possibilities through artistic means.

It seems as
though it is impossible to defeat the spatial limitations of architecture
completely. As long as a physical object or boundary that divides space is
existential, then our ability to move with total freedom in
a space is impossible. In order to
explore this further, it is feasible that architects and artists will move away
from this fascination with the architectural wall and focus their concentration
on a building’s top and bottom as opposed to its sides. Mantegna partially
explored this avenue in the Camera degli
Sposi. However, the ability to look down upon a city from a glass
skyscraper is a new development that has enhanced the possibilities of a
building’s roof in art and architecture. Turrell has explored this to some
extent in his Skyspaces. The aperture
cut out of the ceiling unites interior and exterior space, diminishing the negative connotations surrounding symbolic
division in modern glass skyscrapers. It is the use of light within the
aperture of a Skyspace that allows
the spatial limitations of architecture to be defeated through this unity. Light
is a powerful tool for both artist and architect. It is the only aesthetic
material that cannot physically obstruct space, while having the ability to
reduce spatial limitations.

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This study
of artwork and architecture has shown stages along the continuum from clearly
divided interior and exterior space right through to their unity, where a sense
of infinite and immeasurable space is achieved. The spatial limitations here
are reduced to varying degrees depending on the different artistic approaches
and application of materiality, imagery, site-specificity, illusion and light. The
viewer also plays a crucial role and the success and understanding of the
artistic intention is realised according to the individual’s perception and
experiences. It has been proven throughout this text that when the spatial
limitations of architecture are substantially reduced, a building’s functionality
is also diminished. It is vital for the collaborative journey of art and
architecture that we consider both the benefits and shortcomings of
architectural limitations versus the positive and negative consequences of
their defeat.

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