对于Stephen Hartley来说，成为一名更好的建筑师的道路包括亲自动手.
Hartley, 他是电竞赌博平台建筑学院的副教授, wants his students to have a deeper appreciation for the work craftspeople do to fulfill an architect’s vision—by learning the vocabulary of the trades, 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, 它探索了彩色玻璃作为一种艺术形式和建筑元素的意义和悠久的历史.
在课程中, 学生们有机会尝试各种技术，包括切割和绘画玻璃, 以及创造和展示他们自己的窗户设计. 这个班还和St. 阿达伯特天主教堂 on South Bend’s westside to assess and document the condition of its stained-glass windows.
“我不是想培养玻璃艺术家, 但我在努力帮助人们更好地理解这样做的意义,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, 当我们不理解彼此的观点时，项目就会失败.
“我们需要回到设计师和建造者协同工作的概念. 如果我们都能更好地理解其他人在建造美丽建筑中的作用, 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, 当他发现自己在著名彩色玻璃艺术家查尔斯·Z. 劳伦斯，他刚刚去世. Hartley, 他20年前曾与劳伦斯短暂共事过, 劳伦斯的女儿联系她想捐出她父亲的一些书.
在与她会面时, Hartley learned that the artist had also kept hundreds of sketches from projects he’d worked on—including windows Lawrence did for the Washington National Cathedral in Washington, DC. 劳伦斯的女儿说，她和她的兄弟姐妹们没有地方放他们找到的所有画作, 她把它们给了他.
哈特利不仅将草稿视为艺术作品, 但作为一种无价的教学工具，说明了在设计窗户时投入的艰苦时间. In all, 他带回了200多张图纸和全尺寸的模型, 以及劳伦斯为国家大教堂设计的两个样品窗.
《电竞赌博平台》始于哈特利展示的部分收藏, 并解释了制作彩色玻璃窗的每一步. 在最初的草图之后, the artist creates a detailed drawing showing how the design will be separated into individual panes and selecting colors for each piece. The next step is to create a “luminaire”—a mock-up of the window painted onto clear vellum and framed 这样光线就能穿透它. 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, he or she will also create sample window panels that are shipped to the site to be viewed in that light at different times of day.
Hartley estimates that an artist can work on a major project for three to five years before the windows are completed and installed.
克里斯蒂娜Sieben, 建筑学五年级学生，主修历史保护, 说这门课让她对彩色玻璃有了新的认识.
“Just to be able to dive deep into one particular element of architecture and its history has been really amazing,”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.
“Having this understanding will help me design around it and better communicate with and advocate for the companies who do this work. 它将帮助我在设计时真正看到我所做的一切的大局.”
St. 阿达伯特天主教堂
One of the most meaningful aspects of the class for fifth-year architecture student Nathan Walz was the students’ work with St. 阿达伯特天主教堂. 成立于1910年, the parish has been a cornerstone of South Bend’s westside neighborhood—first for a primarily Polish immigrant community and now serving a predominantly Latino population.
教会, 哪一个是在1926年完成的, 每周末接待900多名教友参加英语和西班牙语弥撒. 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,从国家圣地基金获得的1万美元配套补助金，开始修复工作.
能够为圣. 对华尔兹来说，阿德伯特的改造尤其令人满意, who has a concentration in historic preservation and hopes to focus on ecclesiastical architecture in his career.
“有大量的时间花在各种学生项目上, 很多这样的项目从未离开过大楼,他说. “So, 能够创造出一个最终产品来帮助修复，这真的很特别.
“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. 投资这些人人都能获得的资源是至关重要的.”
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.
“当一个移民人口来到美国.S. 并站稳脚跟，一座教堂的建筑说，‘我们要扎下根来. 我们会留下来，’”沃尔兹说. “这是一个重要的历史时刻，首先是波兰移民建立了圣. 然后是西班牙裔社区，他们接受了它，并把它变成了自己的. 如果你失去了那个标记，那么这个身份的很大一部分也就失去了.”
这个班实地考察了圣. Adalbert to photograph and document the condition of each window and then spent weeks creating a detailed report of their status and the recommended repairs for the church. 哈特利希望这将是与教区长期合作关系的开始.
“我们天主教的使命之一就是为社区和有需要的人服务. 阿德伯特需要我们的帮助，这样他们才能继续为他人服务。. “Whenever we can use our instruction to engage with our community—and allow our students to learn to communicate with clients and address real-world issues at the same time—I think that’s a success.”
最后的项目
整个学期, 哈特利允许学生们尝试各种彩色玻璃制作技术, 从切割玻璃到混合和涂漆，再到一种叫做“化学粘边”的修复技术.”
Working in the historic preservation workshop in Walsh Family Hall and donning safety glasses to cut their own lines in sheets of glass brought everything they learned in the classroom to life, Walz说.
“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. “I came to 电竞赌博平台’s architecture program because I was interested in buildings and how they’re put together. And the hands-on experiences we’ve had—whether that’s working with wood and stone in a historic preservation class, 参观罗马的古建筑, 或者在这里用彩色玻璃做实验——确实增强了我们的学习能力.”
The students also worked individually and in small groups throughout the course to design their own stained-glass windows. 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.
Sieben, Walz, and senior Gabriel Goertz worked together on their final project: a three-panel luminaire depicting the evolution from the natural world to the built environment through architecture. 对于Goertz, 化学专业大四, 这门课挑战他以不同的方式思考，并探索完全超出他的学科的兴趣.
“I feel like sometimes students don’t take the time to explore their interests because they’re so career-focused. 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.”
Hartley plans to continue offering the class in the future and hopes to share it with more students from other disciplines—including those studying art, theology, 还有中世纪研究——以及建筑.
虽然这种艺术形式自中世纪开始以来在许多方面都有了发展, 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.
“It all started with the windows being created in the cathedrals of the Middle Ages as a kind of ‘poor man’s Bible’ for those attending Mass,哈特利说. “I can’t imagine how powerful it would have been for people in that time to step inside and see those huge expanses of stained glass, 用他们从未见过的生动的光线讲述故事.
“Today, stained glass still has the ability to inspire us—and to serve as a tangible expression of a spiritual connection.”
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