Almost
every town of size has a stained glass studio of some sort. There
you can have a door light made for your home, kitchen, bathroom
or other location that will feature peacocks, parrots, flowers
or other wildlife and will match your wallpaper or latest upholstering
fabric. You can get your broken "Tiffany" lamp shade that you
bought at Sears or Costco repaired there. You can also buy "suncatchers",
kaleidoscopes, jewelry boxes and even stained glass ceiling fan
pull ornaments! But do you want to have the stained glass windows
for your church made there?
I
don't intend to sound condescending or arrogant. There is a proper
place for these studios, they may do what they do well. But would
you entrust the liturgical environment of your church to them?
The
artist that designs architectural stained glass windows, especially
for a religious setting needs a combination of skills, education,
experience, taste, and sensitivity. For a church project, an understanding
and appreciation of the liturgy is also important.
We
work with both liturgical and non-liturgical spaces. Commissions
can come to us in a variety of ways. People learn of our studio
by having seen some of our work published or they see one of our
advertisements. But, to date, most of our projects come by word-of-mouth
recommendations of past clients.
For
those projects of a religious nature, sometimes committees will
have already defined a theme prior to our first meeting. Some
committees though will have no idea what they want their windows
to say to the viewers, they rely entirely on our suggestions and
recommendations.
The
best projects evolve after the committee has had a chance to meet
us and view a slide presentation of some of our past projects.
During this presentation we describe what our design parameters
and limitations were, the specific liturgical and architectural
requirements we had to address, as well as other special considerations.
There are literally dozens of questions that committee members
might ask, and they are encouraged to do so. This is a chance
for them to become educated. We will attempt to provide answers
that will not only inform and educate the committee but hopefully
make them feel comfortable in selecting our studio for their commission.
A
LOGICAL PROCEDURE
1.
Committees usually contact us by phone, snail mail or e-mail.
2.
We respond by sending a brochure or recommending that they view
our site (as you are now doing).
3. Prior to our initial meeting, we may request a set of architectural
plans, photos, renderings, etc. so we can be somewhat acquainted
with the project).
AT
THE INTERVIEW
4.
We introduce ourselves and get acquainted with each other.
5.
We usually offer a slide presentation of some of our past projects.
During this time we might mention how a specific theme and design
evolved and if there were any special considerations.
6.
We attempt to answer any questions the committee may have (refer
to "FREQUENTLY ASKED QUESTIONS
OF OUR STUDIO" ) such as:
-
a.
how we might approach their particular commission
-
b.
what medium might be the most appropriate for their space
-
c.
what special structural and/or framing requirements need to
be considered
-
d.
what special lighting features we might suggest
-
e.
what are the scheduling considerations
-
f.
other ways in which JPS might be able to help in creating
an appropriate liturgical environment.
-
g.
we will also attempt to provide an estimate for the scope
of the work for budgeting purposes.
7.
Owner should have plans, renderings, proposed construction schedule,
etc. available for review at this meeting.
8.
We also will ask questions of the committee (refer to "FREQUENTLY
ASKED QUESTIONS BY OUR STUDIO").
This
is serious work, it is a process. Realizing that building committees
are the trustees of their congregation's funds, we discuss with
them our philosophy that we are not only designing work for them,
but for their grandchildren's grandchildren. Both of us have an
awesome responsibility, one we do not take lightly. The owners
are investing a lot of money, usually not all their own. Both
parties owe it to the entire parish to invest a little effort
in their project. Once a contract is signed, there is little work
required of the committee other than approving submitted designs
and signing checks promptly! But the committee needs to do a little
work to get the process started.
At
the interview, we request an adequate amount of time to be allotted
for the presentation of our work. Generally this meeting is something
that can not be accomplished in less than 2 hours. You should
be willing to invest this amount of time in the selection of the
artist who will provide the art that will be part of your worship
environment for many generations.
AFTER
THE INTERVIEW
1.
JPS will furnish a written proposal based on the estimated price.
2.
The committee then reviews our estimate and decides, based on
our interview and proposal, if they want JPS to proceed with the
development of conceptual designs. The proposal will usually be
valid for a fixed period.
3.
The committee will execute the proposal.
4.
JPS will receive a down payment for conceptual design development
usually based on a percentage of the total price. The retainer
is non-refundable and nontransferable to another project. It will
be applied to the final price of the project stated in the contract.
5.
The conceptual designs (scale drawings usually 1 : 12 in black/white)
will be submitted to the committee for approval.
6.
Upon approval of the concepts, another payment will be due for
JPS to proceed with development of the final colored designs.
JPS usually submits this along with proposed actual material samples
or color boards.
7.
Upon approval of the final designs, JPS will receive another payment
to begin the cartooning phase of the project. NOTE: A word about
cartoons. These are our shop drawings. They have to be both accurate
and precise. They are made to 1 : 1 scale. This means that if
you have a 12' x 60' window, the cartoon will also be that size.
From this drawing we make patterns for cutting our glass, stone
or whatever. The cartoons are in black and white. They include
notes to ourselves, color number designations, pattern and panel
designations, lead size designations, color orientation, corrections,
etc. They usually aren't pretty!
This
is also a time in which we often have to wait on the general contractor
or glazing subcontractor. We do not like to begin cartooning until
the frames are completed and installed, after which we can make
accurate field measurements and templates. Then, and only then,
does the execution of the project commence. There are some ways
to speed up this process. If the owner provides shop drawings
of frames that have been signed and approved by the architect,
general contractor and frame fabricator, then sometimes we can
use those dimensions for cartooning. But if the panels do not
fit due to any inaccuracy of the shop drawings, additional charges
will be applied to make corrections. Keep it simple, that's always
the best way! We do not want to sacrifice quality for time.
8.
Depending on the size and scope of the project, there may be an
additional payment requested when fabrication is 50% completed
in our studio.
9.
Installation dates vary with the type of medium. For new construction,
usually faceted glass windows are installed soon after the roof
is completed. This helps the contractor "dry-in" and secure his
space. There is no problem with this if the windows are protected
afterwards. Stained glass windows and mosaics are some of the
very last items to be set into place - about the same scheduling
as pews, carpet, etc. are installed. If necessary, installation
will be coordinated with the general contractor. There is seldom
a problem scheduling the installation of "retrofitted" mosaics
or stained glass windows.
10.
In most instances we will request that the owner provide adequate
and safe scaffolding for the installation. This can be provided
by their general contractor. We may also request a safe site to
store the panels and tools.
11.
Final payment is due upon completion of installation.
