Enriching architecture: stained glass windows | ArchDaily
Enriching architecture: stained glass windows
Primarily associated with places of worship, stained glass has been used by artisans around the world for thousands of years in a range of businesses and art installations. Intensifying architecture with vivid colors, the stained glass process refers to a particular action in which glass has been colored via metal oxides during its manufacture, using different additives in order to create a range of hues and tones.
In terms of architectural enhancement, stained glass is often assembled in order to produce representations of decorative art, allowing light to filter through and penetrate a particular structure or building. As a component, it is both decorative and a variety of windows, allowing a substantial and sufficient amount of light into a space, for atmospheric and beneficial effect.
The origins of the application of stained glass in architecture date back to the 7th century when it began to adorn religious structures including churches, abbeys and convents, with the monastery of St Paul de Jarrow once being one of the earliest known examples according to the excavations. By the 8th century, the use of stained glass was intended to adorn elements of ornate Islamic architecture, notably mosques and palaces, with flourishing glass industries in Syria, Egypt, Iran and Iraq.
The origins and evolution of Gothic architecture
In the Middle Ages these stained glass windows were found on countless churches across Europe, simple in form until around the 12th century, stained glass windows became much more splendorous during the Gothic period as architecture became more attentive to the both at height and in light. Monumental in size, these Gothic windows, including rose windows and arched lancet windows, were more decorative in nature, able to support more intricate glass work and let in much more light.
Characterized by its solid nature, the presence of columns, and its commanding appearance, Romanesque architecture often used stained glass to depict individuals in action, with series of Bible-related events encased in medallions. Originating from a more primitive variation of stained glass, the style primarily used red and blue hues. Unfortunately, over time, many have been lost and few remain. Chartres Cathedral (1252) in France, built in the Romanesque and Gothic styles, features some of the most important examples of Romanesque stained glass in France, with depictions of Christ and the Virgin Mary moving in color, best viewed at sunset. sun, as the warm light illuminates the figures with a spiritual vibe.
After the Romanesque period, the Gothic period heralded the formation of new religious orders, which meant that many churches and cathedrals were built, as patronized by the medieval church. This kick of development launched the evolution of representations in stained glass, moving from simple figures to complex iconography. Some examples include the stained glass windows seen at York Minster (14th c.), Wells Cathedral (14th c.) and Sens Cathedral (13th c.).
The Renaissance age offered a different view of the use of stained glass in architecture. While remaining primarily biblical in nature, stained glass was also used in secular buildings, including town halls and even in residential buildings. Panels with silver stain and paint were often used on white glass, applied to clear glass windows in homes, with “work of the seasons” and historical scenes being a popular theme of this period. Representations of people have become more emotive and perspectives have become more accurate.
Declining in popularity, stained glass began to fall out of favor in the late Middle Ages and into the 19th century. With the Catholic Church being the main patron of the arts, the wave of new Protestants was not fond of more elaborate settings, clamoring for simpler, no-frills buildings. Puritan groups and the English parliament sought to remove images of the Virgin Mary and the Trinity, resulting in the destruction of a large amount of stained glass. The destruction eventually came to a halt due to the very cost of replacing colored glass with more ordinary clear counterparts.
As the fascination with the Gothic style of the medieval period came back into fashion in the form of the Gothic revival around 1740, many wealthy people had castles built for them corresponding to the structures described in the Gothic novels. Strawberry Hill Mansion (1717-1797) in London features elements of surviving medieval stained glass, restored and installed for Horace Walpole, an avid collector of the art form. Few others have maintained their interest in the technique, collecting pieces that are on display in museums today. As stained glass began to reappear in circulation, many English firms exhibited stained glass at the great Crystal Palace exhibition of 1851.
The popularity of neo-Gothic led to the construction of a large number of new churches, filled with eye-catching and evocative colored glass. Reviving medieval techniques of glass production, they became widespread, widely used by artists using the style. In the 19th century, the American Arts and Crafts movement sought to transform the art of stained glass into a modern art form, with the likes of Frank Lloyd Wright using elements of stained glass as an integral part of interiors at Wright’s Prairie School. , creating windows with art exhibits not found anywhere else.
During the 20th century, the Arts and Crafts movement and Art Nouveau featured many stained glass windows among furniture and home decor. Contemporary stained glass continues to re-enact the ancient art of stained glass making, using this feature to continue to enhance elements of today’s architecture. Despite lesser demand for stained glass to decorate churches these days, they continue to be made for religious and secular buildings, as part of conservation efforts and flamboyant new design proposals.