Stained Glass |
|
||
|---|---|---|---|
Stained Glass Restoration in Post-Katrina New Orleans Not long after Hurricane Katrina, in the spring of 2006, we were asked to New Orleans, Louisiana, to meet with several churches about replacing stained glass windows damaged by the storm. After calling every hotel in the Slidell, Louisiana, area that I could find operable and acceptable, we were not able to find accommodations. In fact, they wouldn’t even accept reservations, far in advance. The explanation was that they were overbooked with workers, brought in to help with the re-construction of the area. I finally found rooms in Picayune, Mississippi, which was as close to New Orleans as we could stay at that time. At a much later date, we were able to reserve rooms and stay in Slidell. Upon arrival in New Orleans, I was overwhelmed by the destruction of the storm. It had been almost a year since the hurricane, and the destruction was still almost unreal. It was one thing to read about it in the newspaper, and it was something else to see the newsreels, but without having been there, you could never truly appreciate the total devastation. In addition to the problems you may be aware this type of event would cause, things that most of us take for granted in everyday life were almost nonexistent in certain places. For example, in some places where we worked, there were no fast food restaurants or convenience stores operable, for blocks and blocks, or, in some places, for miles. There were so many workers in need of food; we saw several ladies preparing plate lunches at their homes and walking with them to job sites, to sell to the hungry construction workers. There were also certain places off the freeway where you could see gas stations and restaurants, but they were all closed, and there were no people or vehicles in sight. Therefore, we had to plan accordingly where to stop for gas and food. 1. Holy Faith Temple Baptist Church Reverend Dyson wanted to replace the windows and frames while the church was being renovated. This church is located in the historical district of New Orleans; therefore, Reverend Dyson had to get permission from the historical society of New Orleans to change the design of the windows. We discussed this process, and it was quite an ordeal. They had already chosen a design and most of the colors. Reverend Dyson also wanted to incorporate the church’s personalized symbol into the stained glass, which was a beautiful addition. He also wanted protective covering for their new stained glass. We gathered the information we deemed necessary for the moment and proceeded to the next location. 2. First Free Mission Baptist Church This church is located in the historical district of New Orleans, as well; therefore, the replacement windows were required to be as much like the original windows as possible. This created new and interesting problems, because the building codes had changed a great deal since the original windows were constructed. The largest single piece of glass was on the borderline of what the new building code would allow. Also, the glass in the original windows was separated by wood sash, and we use aluminum sash. The aluminum sash provides a much stronger resistance to the elements. We also installed tempered glass for protective covering. This combination of glass and stronger materials should withstand much more force than the original windows. While there, our master glazer sifted through the debris of the original windows to match colors and textures of the original stained glass. We measured openings and made patterns of the gaping holes left in the church, where the stained glass had been. We acquired old photos of the church and were able to draft patterns from these, combined with the measurements and patterns we made on site. However, the color in the photos was very poor. We mailed several glass samples to the church to try to match the original colors. Members of the church cooperated with us to help choose the colors, as close to the original colors as possible. After much deliberation, investigation, and consultation, the colors were finally chosen. The gothic frames were curved and assembled in our shop. We use a heat bending method for curving the gothic top frames; therefore, the painting (powder coating) must be done after the frames are curved, or it will destroy the finish. Once the frames are curved and assembled to the satisfaction of our quality control, they must be disassembled to be powder coated if they are ordered in any color that is not anodized. Ordinarily, the frames are reassembled here once they are returned with the baked-on enamel, but due to the size of these particular frames, these frames were only partially assembled, in order to transport them safely. The frames and stained glass panels were then loaded onto a specially designed trailer, built with glass racks to transport glass, frames, and tools. The frames and glass panels were padded and secured on the trailer with various fastening devices. Extra precautions are also taken when there is extended travel involved to protect the glass and frames. Due to the size of these windows, the stained glass had to be constructed in panels of various sizes and placed in the frames on the job site. Because of the size of each piece of stained glass, we used a larger zinc inner bar for added strength. In the original windows, there had been wood sash. Due to the height of these, and lack of space between the buildings windows, it was necessary to obtain a 45-foot knuckle, boom, man lift in order to install the frames and stained glass. This made it more difficult to install. Normally, our crew foreman, Larry Willingham, will prepare a window opening, and our master glazer, Shannon Powell, will follow behind him installing the glass, while Larry prepares the next opening. Because of the area surrounding the church, we could only use one lift at a time, and this slowed down our progress slightly—Larry would have to go up in the lift to prepare the opening, and Shannon would have to use the lift to install. This meant only one window could be worked on at a time. We then installed tempered glass as an extra protective covering for the stained glass windows. This is a common practice now, and I always recommend it to anyone investing in stained glass, but there was no protective covering over the original windows at any of these churches. 3. Pure Light Baptist Church While working on these churches, many pastors and parishioners of other churches visited us, several of which were seeking a stained glass studio for reparations. We also had two pastors follow us on the highway until we stopped and they asked us about stained glass. I can only assume stained glass workers were hard to come by there, at that time. Our goal was to bring some sense of healing and restoration to the church communities of New Orleans through the gift and skilled talents of our window design. These designs sometimes give a quite calming spirit of hope with an array of colors that display the joy of God. “The vibrant multi-colored windows of faith are constant reminders of yesterday,” concludes Reverend Dyson. “But yet they represent the vision of a new future and provide the strength and courage for everyone no matter what race or creed, whoever views the marvelous attraction to begin a new day and a new way of seeing the blessings of God through a window of faith!” Rebecca Powell is vice president of Powell’s Stained Glass, www.powellsstainedglass.com. Sidebar I In today’s rapidly changing society, the needs, desires, and questions that arise when a church considers building a new sanctuary are different than they were 20, 10, or even 5 years ago. One of the consistent concerns that we hear from churches today has to do with the need to accommodate multimedia presentations. With the large windows that adorn many church sanctuaries, it is next to impossible to darken the room sufficiently in order to make such presentations. One of the solutions that we have developed and begun to offer to churches is that of installing large light boxes in the place of ordinary windows. These light cabinets fill what would normally be a window opening with a series of fluorescent lights that have a Kelvin measurement equal to that of natural sunlight. The light fixtures are then hidden behind a large stained glass window so that the finished result is relatively indistinguishable from a normal church window. The distinct advantage of this is that the windows can be “turned off” in order to give presentations in the sanctuary. One specific and remarkable example of this concept is the series of “windows” that we built for Christ United Methodist Church (CUMC) of Jackson, Mississippi. The studio began work with CUMC in 2003. Their new facility was designed to seat 1,500 people. Fire and safety codes for such a large space required that exit hallways surround the sanctuary. These exterior hallways prohibited the inclusion of windows on the interior walls of the sanctuary to let in natural light. The architects for the building did, however, design recessed niches into the side walls to approximate the look and feel of six large windows. The studio worked closely with the architect during the construction of the building to ensure that the metal stud wall would accommodate the light box structures described above. The studio then built a wooden sub-frame to support the stained glass in an aluminum frame. This wood was stained and finished to match the other wood moldings used throughout the sanctuary. The sub-frame was covered with wood casings that could be temporarily removed when the florescent lights needed to be maintained. The finished stained glass was lighted by eleven 8-foot electronic-ballast fluorescent light fixtures. Special color balanced fluorescent light bulbs (T-8 5000 Kelvin) were used to approximate sunlight and give an accurate rendition of the stained glass. Because of depth restrictions, the bulbs were only 8 inches away from the stained glass windows themselves. In order to minimize the effect of horizontal bars of light that might be visible through the stained glass, an 1/8-inch thick translucent white acrylic sheet was installed between the lights and the stained glass to diffuse the light and give even illumination. Andrew Young, owner of the studio and designer of the stained glass, knew from the beginning that the windows were to be artificially lighted. Since the windows were not going to benefit from the inherent qualities of natural sunlight and all of its changing moods, the glass selection became very important. The glass was selected based on opacity, variations of texture, and color gradations. These qualities were chosen to help mask any horizontal bands of light that may be visible even through the acrylic sheet and also to make the stained glass interesting to the viewer inside the sanctuary even when the windows were not illuminated or “turned on.” The success of the windows at CUMC demonstrates that it is possible to have your cake and eat it, too. As many churches move to auditorium settings where the use of audiovisual components are crucial, stained glass can still be incorporated to add color, beauty, and Christian symbolism to the worship experience. Diana Scarborough is the sales and marketing manager for Pearl River Glass Studio, www.prgs.com. Sidebar II There are approximately 400,000 religious buildings in America, and the vast majority has some form of inspirational glass. And with good reason. To many people, there is nothing more beautiful than a stream of light shining through a stained glass window, the vibrant colors and intricate designs providing comfort and warmth to everyone inside. At the same time, these carefully crafted masterpieces can represent a major investment. How much of an investment? High-quality pictorial stained glass currently costs from $800 to $1,000 per square foot. At those levels, it takes only 1,000 square feet of stained glass to top the $1 million mark in artwork. Based on the 2,000+ church and synagogues I have inspected and appraised throughout the United States, an estimated 3,000 to 4,000 congregations in America have stained glass in excess of $1 million per site. At these costs, creating new stained glass windows or repairing damaged glass is not something that should be left to the inexperienced. Considering the cost and the impact one of these artistic wonders can have, selecting the proper studio and artist may be one of the most important decisions you will make when it comes to your facility. So, how do you decide? It is estimated that there are 3,500 stained glass companies throughout America. Most of these businesses fall into the “mom and pop” category, and almost all will have someone on staff with an artistic flair. While most of these small studios have no trouble handling leaded transoms for new houses or offices or even a neighborhood church or synagogue. It is the national, or at least the regional firm, that should be commissioned for the larger or more artistically complicated projects. This is true whether you want quality “catalog” stained glass, truly unique and high-quality custom stained glass designs, on-site restoration or studio restoration. Even among national firms, however, there is significant specialization. As a result, selecting the firm that best fits your needs requires some research. In general, there are four categories of stained glass studios. 1. The Plum 2. The Orange 3. The Pear 4. The Apple The bottom line is that before you select a studio to produce or restore your stained glass window, carefully consider the type of work to be done and budget accordingly. Then spend time researching those companies that are best able to meet your needs. The results will be well worth the effort. Dr. Gary M. Gray is one of the world’s most respected stained glass consultants and author of the new The Stained Glass Appraisal Guide. Product Roundup Associated Crafts Higgins & Associates Stained Glass Studio Krinklglas Pearl River Glass Studio, Inc. Powell's Stained Glass The Stained Glass Appraisal Guide Wallpaper For Windows Conrad Schmitt Studios Illuminado Film |
|||
 |
 |
 |
 |
 |
| © 2008 Religious Product News |
