For Stephen Hartley, the path to becoming a better architect involves getting your hands dirty.

Hartley, an associate professor of the practice in 电竞赌博平台’s School of Architecture, 希望他的学生通过学习行业词汇,对工匠们为实现建筑师的愿景所做的工作有更深的理解, 了解他们的历史, and, 在可能的情况下, 试用工具.

这就是他去年秋天开设新课程的目的, 叫做用光绘画, that explored the significance and long history of stained glass as an art form and architectural element.

在课程中, students had the chance to try their hand at various techniques including cutting and painting glass, 以及创造和展示他们自己的窗户设计. 这个班还和St. 位于南本德西侧的阿德伯特天主教堂,以评估和记录其彩色玻璃窗的状况.

Professor Stephen Hartley stands at the front of a classroom discussing stained glass renderings.
实践副教授Stephen Hartley在他的课上讨论了制作彩色玻璃的过程.

“我不是想培养玻璃艺术家, but I am trying to help people have a greater appreciation of what it means to do this,哈特利说. “在高等教育和社会中,这种情况经常发生, 我们把自己孤立起来, 甚至从我们从事的领域, and projects break down when we don’t understand one another’s perspectives.

“We need to return to the concept of the designer and builder working in tandem. If we all had a better understanding of everyone else’s roles in making beautiful buildings, 更多美丽的建筑将被建造.”

查尔斯·Z. 劳伦斯集合

2019年,哈特利萌生了“用光作画”的想法, when he found himself in the house of renowned stained-glass artist 查尔斯·Z. 劳伦斯,他刚刚去世. Hartley, 他20年前曾与劳伦斯短暂共事过, had been contacted by Lawrence’s daughter who wanted to donate some of her father’s books.

在与她会面时, 哈特利了解到,这位艺术家还保留了数百幅他参与的项目的草图,包括劳伦斯为华盛顿国家大教堂设计的窗户, DC. Lawrence’s daughter said that she and her siblings did not have room for all the drawings they’d found, 她把它们给了他.

斯蒂芬·哈特利教授站在一张照亮彩色玻璃图纸的光台上,周围是学生. Professor Stephen Hartley discusses stained glass drawings displayed on windows.
Hartley presents artwork and drawings from renowned stained glass artist 查尔斯·Z. Lawrence.

哈特利不仅将草稿视为艺术作品, but as an invaluable teaching tool illustrating the painstaking hours invested in designing a window. In all, 他带回了200多张图纸和全尺寸的模型, as well as two sample windows Lawrence created for the National Cathedral.

Painting with Light began with Hartley presenting part of that collection, and explaining each step in the process of creating a stained-glass window. 在最初的草图之后, 艺术家绘制了一幅详细的图纸,展示了如何将设计分成单独的窗格,并为每一块选择颜色. 下一步是制作一个“灯具”——一个画在透明的牛皮纸上的窗户模型,并把它框起来,这样光线就可以照进来了. 艺术家然后创建一个全尺寸的窗口模板, 每个单独的部分都有标签. And, finally, 像国家大教堂这样的项目, 他或她还将制作样品窗板,并将其运送到现场,以便在一天中的不同时间在这种光线下观看.

哈特利估计,在窗户完成并安装之前,艺术家可以在一个大项目上工作三到五年.

斯蒂芬·哈特利教授和学生们正在研究由查尔斯·Z设计的基督教新教之流的全尺寸卡通画. 劳伦斯在华盛顿特区的国家大教堂.
Students look at a full-size mock-up of a stained-glass window in the Washington National Cathedral.
查尔斯·劳伦斯档案中的设计漫画特写.
Examples of Charles Lawrence original designs found in the donated collection.
斯蒂芬·哈特利教授在查尔斯·Z设计的“基督教新教之流”窗口的古腾堡印刷机上的模拟面板前,向学生们解释光通过玻璃传递的过程. 劳伦斯在华盛顿特区的国家大教堂.
哈特利解释了窗户是如何被放大的,以适应它们在建筑中的位置,这样它们的主题仍然可以被观众理解

克里斯蒂娜Sieben, a fifth-year architecture student with a concentration in historic preservation, 说这门课让她对彩色玻璃有了新的认识.

“能够深入了解建筑的一个特定元素及其历史真的很神奇,”她说。. “我一直在想, oh, 彩色玻璃很美, 但还有很多我不知道我错过了的东西. 我从来没有想过它是如何组合在一起的, 不同方法的优缺点, 也不知道它是如何失败或被修复的. 这让我对它有了更深的理解.

“有了这样的理解,将有助于我围绕它进行设计,并更好地与从事这项工作的公司沟通和倡导. It will help me as I design to really just see the bigger picture of everything I work on.”

St. 阿达伯特天主教堂

对于五年级的建筑系学生Nathan Walz来说,这门课最有意义的一个方面是学生们与St. 阿达伯特天主教堂. 成立于1910年, 这个教区一直是南本德西区社区的基石,最初主要是波兰移民社区,现在主要服务于拉丁裔人口.

教会, 哪一个是在1926年完成的, welcomes more than 900 parishioners for Masses in English and Spanish each weekend. However, 这座建筑需要一个新的屋顶和大规模的翻新, 去年秋天, 教区获得了250美元的奖励,000 matching grant from the National Fund for Sacred Places to begin repairs.

教堂的大彩色玻璃窗. 印第安纳州南本德的阿德伯特天主教堂.
彩色玻璃窗在St. 阿达伯特天主教堂

能够为圣. 对华尔兹来说,阿德伯特的改造尤其令人满意, 谁专注于历史保护,并希望在他的职业生涯中专注于教会建筑.

“There’s an enormous amount of hours that go into various student projects, 很多这样的项目从未离开过大楼,他说. “So, it was really special to be able to create an end product that will actually contribute to this restoration.

“公共领域的建筑,比如教堂, 库, museums, 音乐厅——创造一种社区和文化认同感. It’s crucial to invest in these resources that are accessible to everyone.”

教堂也可以成为移民社区的到达点. 沃尔兹继续说,阿达贝更是如此.

前景是一台带有彩色玻璃窗图像的笔记本电脑, 背景是一名男学生站在彩色玻璃窗前. 一名女学生跪在彩色玻璃窗底部测量尺寸,而一名男教授站在她上方, helping. Two students assess and document the damage on the stained glass windows at St. 南本德的阿德伯特天主教堂.
Students in the Painting with Light class assessed and documented the condition of each of St. 阿德伯特的彩色玻璃窗.

“当一个移民人口来到美国.S. and establishes themselves, a church building says, ‘We’re putting down roots. 我们会留下来,’”沃尔兹说. “It was an important historical moment first for the Polish immigrants who founded St. Adalbert’s and then for the Hispanic community who adopted it and made it their own. And if you lose that marker, then a large part of that identity is lost as well.”

这个班实地考察了圣. 阿德伯特对每个窗户的状况进行了拍摄和记录,然后花了几周时间制作了一份详细的报告,报告了窗户的状况和对教堂的修复建议. Hartley hopes it will be the beginning of a longer-term partnership with the parish.

“Part of our Catholic mission is to serve the community and those in need, and St. Adalbert’s needs our help so that they can continue to serve others,他说. “只要我们能够利用我们的教学与社区互动,让我们的学生学会与客户沟通,同时解决现实世界的问题,我认为这就是成功。.”

教堂祭坛上方的彩色玻璃窗. 南本德的阿德伯特天主教堂.h. 教堂唱诗班阁楼的彩色玻璃窗. 南本德的阿德伯特天主教堂.

最后的项目

整个学期, Hartley allowed the students to try out various stained-glass-making skills, from cutting glass to 混合和涂漆 to a repair technique called “chemical edge bonding.”

在沃尔什家族会堂的历史保护车间工作,戴上安全眼镜在玻璃片上切割自己的线条,使他们在课堂上学到的一切都栩栩如生, Walz说.

贴有标签的小瓶油漆.
哈特利演示了混合玻璃颜料的正确技术.

“我认为在像这样的体验式课程中, 你能更好地在事物之间建立联系,华尔兹说. “我来到电竞赌博平台的建筑专业,是因为我对建筑以及它们是如何组合在一起的感兴趣. 还有我们的实践经验——无论是在历史保护课上处理木头和石头, 参观罗马的古建筑, or experimenting with stained glass here—have really enhanced our learning.”

在整个课程中,学生们还以个人或小组的形式设计自己的彩色玻璃窗. 尽管他们无法从他们的设计中创造出永久的窗户, 他们创造并展示了灯具作为他们的最终项目.

Professor Stephen Hartley uses a syring to demonstrate edge bonding in his Painting with Light class. 一幅双手混合颜料的图像. Professor Stephen Hartley demonstrates mixing and painting glass in his Painting with Light class. Students learn to cut glass in the Preservation Workshop during Stephen Hartley’s Painting with Light class.
在历史保护工坊, 学生们试着用手切玻璃板, 混合和涂漆, 修理玻璃.

Sieben, Walz, 和大四学生Gabriel Goertz一起完成了他们的最后一个项目:一个三面板的灯具,通过建筑描绘了从自然世界到建筑环境的演变. 对于Goertz, 化学专业大四, the class challenged him to think in a different way and explore an interest completely outside his discipline.

“我觉得有时候学生们没有花时间去探索他们的兴趣,因为他们太关注职业了. 但是为什么不充分利用你的本科教育呢?他说. “在电竞赌博平台有很多独特的体验. 我们不仅仅是一所商学院或STEM学校, 我发现了很多在其他地方找不到的机会.”

哈特利计划在未来继续开设这门课程,并希望与更多来自其他学科的学生分享这门课程,包括那些学习艺术的学生, theology, 还有中世纪研究——以及建筑.

Students painting a luminaire on a lightbox with paintbrush and palette in hand.
三个发光体坐在一张灯台上. Professor Stephen Hartley stands at a light table with a student examining his luminary.
建筑系学生Nathan Walz正在画一个灯具. Walz, 克里斯蒂娜Sieben, 和Gabriel Goertz一起创造了一个三面板的灯具,描绘了从自然世界到建筑环境的演变.

While the art form has evolved in many ways since its beginnings in the Middle Ages, 彩色玻璃作为一种媒介有一种独特的力量,能引起敬畏和惊奇, he said.

“这一切都始于中世纪大教堂的窗户,作为参加弥撒的‘穷人的圣经’,哈特利说. “我无法想象当时的人们走进教堂,看到那些巨大的彩色玻璃会有多么震撼, 用他们从未见过的生动的光线讲述故事.

“Today, 彩色玻璃仍然有能力激励我们,并作为一种有形的表达精神联系.”

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