Sense of Residence, Four Seasons Hotel, San Francisco. Carved glass interlaced panels. 14 foot dia. by one foot deep. Kindred twins terminate each end of the 60' gold leaf barrel vault. Fiber optic lighting angled to each panel edge. Luminous etched glass visualizes the harmonies of naturally occurring geometric harmony. (c. 2001)
Sculptural glass half-rounds terminating both ends of a gold-leaf 60-foot barrel vault. Four Seasons Hotel, San Francisco. Main lobby. After installation, and with the mechanical lifts still in the lobby, this image shows my hand. Was seeing the palm lit with diffused light. (c. 2001)
Project Q. Bel Air. Typical build for setting the 116 linear feet of glass balustrades along the entry bridge, two rotundas, and helical stairway. (c. 2002)
Project Q, Jones Residence. One-hundred sixteen linear feet along the handrails. Surrounding two interior rotundas, one helical stairway, and across the entry bridge. Though appearing in a Netflix documentary and private promotional materials of the client with well know individuals, the interior views of the work installed is not shown here. Project scope included a gestural wine cellar entry door panel from a new painting at the suggestion of the client as etched glass. Also, work included two bath windows with layered Japanese maple leaves. (c. 2004)
Project Q. Approved carved glass sample panel. Typical of the 116 linear feet installed. Each square inch unique. Responding to the imagined traffic, gravity up along the helical stair, wind twirling around each rotunda and rushing in at the entry across the bridge. At feet away from his piano, a distinctly lyrical duration. (c. 2004)
Como Contemplar, St. Ignatius Church, San Francisco University. Commission scope included the heavy glass door, transom panel, and two 11" tall cast bronze pulls. (c. 2009)
Como Contemplar, St. Ignatius Church, San Francisco University. Manresa Gallery door and transom. (c. 2009)
Break during Como Contemplar production in Vancouver, BC. (c. 2009)
In-house design based on the client drawings. Model to study the World Games Station / R17. (c. 1999)
In-house architectural model by ckj for project of World Games Station / R17, Half Cliff Mountain, Kaohsiung, Taiwan. Eleven thousand square feet of art glass. Contract awarded. (c.2005)
World Games Station / R17, glass fabrication acceptance and signing, Taipei, Taiwan. (c.2009)
World Games Station / R17, construction. View south. (c. 2006)
World Games Station / R17, Track level view from bridge, 470' long glass canopy detail. Midday sun projects color below. (c. 2009)
Aria, Entry Lobby Glass, 2 Lincoln Square, New York City. Elegant gesture single tree with vibrant leaves, as if lit through by the sun. Suggesting calm beneath the covering canopy. Echoing a silver leaf maple in nearby Central Park. Single eleven-foot tall glass panel. Layers include, from closest, silkscreened leaves over fired to the full-area ultraclear structural layer. Seeing through to the stair-side, fine mouth-blown Lamberts Flash glass is silicone laminated to the full-opening structural layer. The Flash glass is richly colored, with leaves carved carved through to the white glass core. Leaves finer details are from laser etch pattern. Within the etching, hand painted details are kiln fired. (c. 2010)
Kaohsiung International Airport Station / R4, Artist: Lutz Haufschild, Model view, Virtual fabrication in the service of Haufschild: C. K. Janssen. (c. 2006)
Emerald Laminata by Lutz Haufschild, Kaohsiung International Airport Station / R4, seeing director Chou at the site. (c. 2009)
Tree of Life, Sculpted glass wall, Kaohsiung International Airport Station / R4, Artist: Lutz Haufschild, Virtual fabrication in the service of commissioned artist Haufschild. (c. 2009)
Tree of Life, Sculpted glass wall, Kaohsiung International Airport Station / R4, Artist: Lutz Haufschild, Virtual fabrication in the service of commissioned artist Haufschild. (c. 2009)
The Veil, St. Vincent de Paul Catholic Church, Houston, Texas. Design with LLC partner. (c. 2000)
Then-proprietary etch method developed in-house, c.2000. Layered etching methodology and etched glass sample. Project sample panel approved. (c. 1999)
In-house study for proprietary layered etching method, (c. 1999)
Spirit of City Creek, exploration of four layers of leaves flurried in planes distributed at more than one and a half inches. Exquisitely responsive. Laser etched sample panel. (c. 2010)
Spirit of City Creek, Typ. glass wall etch layers distributed evenly though 1-5/8" (c. 2010)
Spirit of City Creek, final glass unit inspection. Salt Lake City, UT (c. 2011)
Spirit of City Creek, Salt Lake City, UT. Approx. 15,000 square feet of heavy glass with layered laser etching. Ceiling and walls, excluding the entirely clear central volume. 140' long. Arcing over two light rail tracks and Main Street. One-half block south of Temple Square. (c. 2012)
Spirit of City Creek, northwest corner. The symmetric bridge quadrants each have an operable ceiling to cycle the fresh valley air. (c. 2012)
Spirit of City Creek, Opening day, c.2012. Steven Sharp Nelson, cellist. Regarding the etched glass on the bridge ceiling and walls, he told me, "Great acoustics." We laughed, but he was serious too. (c. 2012)
Datakinetic Veneer, virtual sculptural installation, KRTC Digital Art Gallery, Kaohsiuing, Taiwan. (c. 2006)
Quick sketch. Projected straight path fluid across waves. (c. 2017)
Studio test of the etching layers in aluminum. A distant glimpse of the patterns carved into layers of Grand Stair glass balustrade and upper balcony, Ritz Carlton Hotel Charlotte. (c. 2010)