Painting with light

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, 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, understanding their history, and, when possible, trying out the tools.

That was the goal behind a new class he created last fall, called Painting with Light, 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.

During the course, 学生们有机会尝试各种技术，包括切割和绘画玻璃, as well as creating and presenting their own window designs. The class also worked with 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.

“I’m not trying to train glass artists, 但我在努力帮助人们更好地理解这样做的意义,” Hartley said. “Too often in higher education and in society, we silo ourselves, even from fields we engage with, 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, more beautiful buildings would be built.”

Charles Z. Lawrence Collection

The idea for Painting with Light came to Hartley in 2019, 当他发现自己在著名彩色玻璃艺术家Charles Z. Lawrence, who had recently passed away. Hartley, who had briefly worked with Lawrence 20 years earlier, 劳伦斯的女儿联系她想捐出她父亲的一些书.

While meeting with her, 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. 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, and she offered them to him.

Hartley saw the drafts not only as works of art themselves, 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, he brought back more than 200 drawings and full-scale mock-ups, 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. After an initial sketch, 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. The artist then creates a full-scale template for the window, with each of the hundreds of individual sections labeled. And, finally, for a project like the National Cathedral, 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.

Christina Sieben, 建筑学五年级学生，主修历史保护, said the class has given her a new perspective on stained glass.

“能够深入了解建筑的一个特定元素及其历史真的很神奇,” she said. “I’ve always thought, oh, stained glass is beautiful, but there’s so much more to it that I had no clue I was missing out on. I’d never thought about the intricacies of how it is put together, the pros and cons of different methods, or how it can fail or be repaired. It’s given me such a deeper appreciation of it.

“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. 它将帮助我在设计时真正看到我所做的一切的大局.”

St. Adalbert Catholic Church

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. Adalbert Catholic Church. Established in 1910, 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.

The church, which was completed in 1926, 每周末接待900多名教友参加英语和西班牙语弥撒. However, the building is in need of a new roof and extensive renovations, and last fall, the parish was awarded a $250,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.

Being able to contribute to St. Adalbert’s renovation was particularly gratifying for Walz, 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.

“有大量的时间花在各种学生项目上, and a lot of those projects never leave the building,” he said. “So, 能够创造出一个最终产品来帮助修复，这真的很特别.

“Buildings in the public sphere—like churches, libraries, museums, and concert halls—create a sense of community and cultural identity. 投资这些人人都能获得的资源是至关重要的.”

A church can also be an arrival point for an immigrant community—and St. Adalbert is doubly so, Walz continued.

“When an immigrant population comes to the U.S. 并站稳脚跟，一座教堂的建筑说，‘我们要扎下根来. We’re here to stay,’” Walz said. “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.”

The class made site visits to St. 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. 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。. “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。.”

Final projects

Throughout the semester, 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.”

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 said.

“I think in an experiential course like this one, you’re better able to make connections between things,” Walz said. “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, visiting ancient buildings in Rome, 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.”

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. Though they weren’t able to create permanent windows from their designs, they created and presented luminaires as their final projects.

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. For Goertz, a senior chemistry major, 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.

“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. But why not get the most out of your undergraduate education?” he said. “There’s so much here that is unique to the Notre Dame experience. We’re not just a business school or a STEM school, and I’ve found a lot of opportunities I wouldn’t have anywhere else.”

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, and medieval studies—as well as architecture.

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, stained glass as a medium has a unique power to elicit awe and wonder, 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’,” Hartley said. “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, telling stories in vibrant light that they would have never seen.

“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.”