Waitrose & Partners Weekend Issue 584

31 13 J ANUARY 202 2 Photography: Prisma by Dukas Presseagentur GmbH/Alamy, Patrick T. Fallon/AFP via Getty Images, Jon Bower/Alamy, Andrew Wood/Alamy, Pawel Libera/LightRocket via Getty Images, PA Images/Alamy help power the building and because it uses nothing but sustainable fuel, the heating bill is negligible.” David believes that glass should also be considered environmentally friendly because it can be recycled infinitely and he would like to seemanufacturers ditching plastic in favour of glass. “It’s a completely renewable material and can go on being remade forever. Because of this it should be thematerial of choice at the centre of the circular economy,” he says. Around 70%of all glass used is for containers such as bottles or jars and around 87%of that is already recovered. In the UK, Wales is leading the way – the country is already recovering 90%of all container glass on themarket. “They don’t recover that amount of flat glass, such as windows, but that tends to be inmuch longer-term use, anyway,” David adds. However, in the race for innovation, it’s important not to forget glass’s whole other life, in our homes, art and culture. FromCinderella’s glass slipper to the exquisite ornaments produced by René Lalique, to the crystal decanters we use to pour wine, glass plays an enormous part in our daily lives. Britain has several buildings devoted to glass, the newest of which is due to open in April. Stourbridge GlassMuseumwill housemore than 10,000 items, reflecting the history of glassmaking in the area and David is looking forward to it as yet another part of the glass story. “To this day, I still proclaim that glass is a forgottenmaterial, theremust be a million times more investment inmetals and polymeric materials such as plastic than there has ever been in research into glass,” he says. “I’mhoping the Year of Glass will change that – our technology horizon is infinite.” BRITAIN’S MOST GLORIOUS GLASS and where to änd it The Rotunda Chandelier Created in 2001, American artist Dale Chihuly’s Rotunda Chandelier dominates the entrance to London’s Victoria & Albert Museum. Drawing on the traditions and techniques of the Murano glassworks in Venice, the piece is part-blown, part moulded, and comprises more than 1,400 separate pieces of blue and green glass, hanging for a length of 27ft. It’s part of Chihuly’s ‘chandelier’ series and took a team of six people äve days to wire together. The Chagall Windows The Russian-born Jewish artist Marc Chagall created a number of stained-glass windows, including one in Chichester Cathedral in West Sussex, where the window illustrates Psalm 150: “Let everything that has breath praise the Lord.” But he also produced a series of windows for All Saints’ Church in Tudeley, Kent, after being commissioned to commemorate the memory of Sarah d’Avigdor-Goldsmid, the late daughter of Sir Henry and Lady d’AvigdorGoldsmid, who died in a sailing accident in 1963. Inspired by its setting, Chagall went on to create 11 more windows for All Saints’, with the änal one installed in 1985, the year of his death. Because they are set at eye level, the marks he made upon them can clearly be seen. The MCC Waterford Crystal Trophy Anyone who has watched the änal Ashes Test of a series since 1999 will have spotted this masterpiece. It’s the trophy which was produced to hand over to the winner of the bi-annual England v Australia cricket series because the original Ashes urn can’t be moved abroad. At just under 50cm, the trophy (below) is embossed with the poem that appears on the original, terracotta Ashes urn. It was created following public demand for a trophy which could travel between the two countries. Waterford is famed for its exquisite glass workmanship and remains a by-word for high-quality domestic glassware. The Waterford Crystal Lismore Diamond Cut Glass Vase (£550/each) is the most expensive piece of glassware sold by John Lewis. The Glass Church St Matthew’s near St Helier in Jersey was a modest chapel when it was ärst built in 1840 but that all changed in the early 1930s, when Florence Boot, Lady Trent, decided to honour her late husband, Jesse, who started the chemist’s chain. Lady Trent commissioned the master glass craftsman, René Lalique, to reimagine the church’s interior, complete with a three-metre glass cross, an inscribed glass font and four crystal angels. When it was änished Lalique is said to have destroyed the moulds he’d used, in order to ensure that it could never be replicated. ON POINT Glass sculptures of angels by René Lalique at St Matthew’s Church in Jersey (above); The Crystal building in London ( left)

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