A presentation for my ID231 class under Prof. Gaille Vergara of UP-CHE CTID. It is on the history of Stained Glass bridging over to the Philippine's discourse with the material.

1. Stained Glass
historical development of an interior material

2. Stained glass windows are TYPES
translucent glass shards cut into a
desired shape. It was often done as Leaded glass window.
a mosaic during its early years but
It is joined with cames or H-shaped lead
has evolved into a mixture of strips. Exterior leaded glass is pressed into a
techniques. Additional detailing, bed of glazing sealant or tape.
shading or texturing may be done
by painting pigments or acids.
(Spence, 2011)
Figure 1. Leaded Glass window From Spence, W.
(2011). Construction materials, methods and techniques: building
for a sustainable future. New York: Delmar Cengage Learning.
Faceted glass.
It is fashioned from one inch thick colored
glass slabs. It is cut into a way where light
rays can reflect on to many directions. It has a
wide range of translucency, and opacity. It is
often set in reinforced concrete or epoxy resin
matrix. The panels are then mounted on metal
frames or in a masonry wall.
Figure 2. Faceted Glass Window From Spence, W.
(2011). Construction materials, methods and techniques: building
for a sustainable future. New York: Delmar Cengage Learning.

3. Material Content
A glass that is given its desired color
during its molten state with the use
of chemical admixtures.
(Ching, 2012)
Traditionally, the glass is
Iron Oxide Nickel and Selenium
held together with the use • Gives the glass a Cobalt Oxide • Bronze Tint
of malleable lead pale blue-green tint • Greyish tint
Metals Used to Impart Color to Glass
Cadmium Sulfide Yellow
Gold Chloride Red
Cobalt Oxide Blue-Violet
Silver Nitrate Silver Nitrate Pot Metals
Manganese Dioxide Purple • Yellowish Tint • Yellowish Tint • Red-pot metal was
Nickel Oxide Violet the first to be used
Sulfur Yellow-Amber to create “RUBY”
Chromic Oxide Emerald Green
Uranium Oxide Fluorescent Yellow, Green
Iron Oxide Greens and Browns
Selenium Oxide Reds
Carbon Oxides Amber Brown Amorphous or crystalline material
Antimony Oxides White
Copper Compounds Blue, Green, Red
Tin Compounds White
Lead Compounds Yellow
Manganese Dioxide A "decoloring" agent
Sodium Nitrate A "decoloring" agent Modern Colorants Retrieved from http://geology.com/articles/color-in-glass.shtml

4. History and Development
International

5. International Figure 3. This early fifteenth-century manuscript illumination of
The Travels of Sir John de Mandeville, depicts a medieval glass-
house at work. From Brown, S. (1992). Stained Glass: An
Illustrated History. London: Bracken Books.
History and
Development
1. Antique glass
Antique glass is made by
blowing a glass sheet into an
annealed cylinder or “muff,” cut
down the length with a glass
cutter, and reheated to be
flattened into a sheet. This type
of glass is handmade and also
possesses a unique texture. It
is favored by artists for its
imperfections with character.
(Wrigley, 1996) There are
different variations available in
the market with its varying
colors and translucency.

6. International
History and
Development
2. Christian Churches and
Cathedrals
The art of stained glass truly
flourished through the Catholic
Church. It was incorporated into
the design of churches since the
topic of “light” has been discussed
within the bible. God first created
light in Genesis 1:3 in the Story of
Creation. Christ describes his
children to be the “Children of the
Light” and he himself as the “Lux
Vera” or the one true light. Stories
were imprinted on the windows to
help the church-goers understand
biblical passages and histories of
important people with a short
glance. The effect was awe-
inspiring as people looked Figure 4. St. Agustine in his study by Hans Suess von Kulmbach
upwards within a light-filled From Brown, S. (1992). Stained Glass: An Illustrated History.
interior. (Brown, 1992). London: Bracken Books.

7. International
History and
Development
3. The Silver Stain Revolution
Colors explored up to the
time when Silverstain was
introduced were only limited
to reds and blues. Silver
nitrate has the ability to turn
white glass into yellow. It is
often used to brighten reds
and turn blue glass into
green. (Moor, 1989) With
the addition of this
compound, the primary
Figure 5. The Presentation in the Temple from the Infancy of
colors are made complete Christ window at St. Denis by Suger From Brown, S. (1992).
and the color wheel with all Stained Glass: An Illustrated History. London: Bracken Books.
its potentials can be used.

8. International
History and
Development
4. Sixteenth Century and the Age of Enamels
The sixteenth century is marked with political unrest. Oliver Cromwell in England
and the French revolution resulted in the mass destruction of religious art. The
Protestant Reformation significantly altered the demand for imagery in churches.
Plain glazing became a popular choice for Protestant churches (Brown, 1992)
This movement lasted up to the eighteenth century.

9. International
History and
Development
5. Gothic Revival to Arts and Crafts
Throughout Europe, and in England in particular, dissatisfaction with mass
produced products of the industrial age led to the Arts and Crafts movement.
This age restored stained glass into all its glory. Artists honed their skills in the
traditional art and made it their own. Machines were starting to make the glass-
making process easier but handmade glass was still preferred.
Figure 4. Prior’s Early English glass Retrieved from
http://www.benyonstainedglass.com/www.benyonstainedglass.coms/info.php?p=10

10. International
History and
Development
Different styles emerged in the
twentieth century. The west was
experiencing a change of artistic
vocabulary transitioning into Art
Nouveau with its sweeping, curving
forms reminiscent of nature’s plant
stems, leaves and flora. In America,
angular geometric forms were used by
Louis Sullivan, Frank Lloyd Wright and
the architects of the Prarie school.
England was still into the Arts and
Crafts tradition and continued to create
in the Gothic idiom. Germany however,
had Walter Gropius and his Bauhaus
aesthetic with its abstract and
figurative traditions. After the Second
World War, mainstream artists took on
Cubism, Expressionism and
Abstraction to the next level. Stained Figure 6. Josef Albers’ Window in Red, made at the Bauhause in
glass was used as a material to 1923 Retrieved from Moor, A. (1989). Contemporary Stained
express these different kinds of styles Glass. London: Reed International Books Ltd.
in different parts of the Western world.
(Moor, 1989)

11. International
History and
Development
There was a shortage of large-
scale commissions which pushed
artists to work on domestic, small-
scale panels. This led to an
exploration of detail-oriented
additions such as the collage
techniques where they fused
glass and appliqué. Float glass
was used by American Ed
Carpenter in tandem with
industrial and traditional glass to
create screens, skylights and
windows.
Figure 7. Ed Carpenter’s Kaiser Permenete Medical Center,
Portland, Oregon 1985 Retrieved from Moor, A. (1989).
Contemporary Stained Glass. London: Reed International Books
Ltd.

12. Figure 8. Trix Hausmann, the Galleria, Hamburg, W. Germany
1983 Retrieved from Moor, A. (1989). Contemporary Stained
Glass. London: Reed International Books Ltd.
Trix Hausmann, the Galleria, Hamburg, W. Germany 1983

13. History and Development
Stained Glass in the Philippines

14. Local
History and
Development
1. Spanish Colonial
Period
Gothic Churches in the
Philippines echo
Renaissance details with
the presence of Moorish
influences. The Spanish
Colonial Period in
Philippine architectural
development is clearly
seen in the two most
important building types:
the church and the
bahay na bato.
Figure 9. Las Casas Filipinas de Acuzar taken October 2008

15. Local
More pictures from Las Casas Filipinas de Acuzar
Figure 10, 11 & 12. Las Casas Filipinas de Acuzar taken October 2008

16. Local
Figure 13,14 & 15. San Sebastian Church exterior and interior
shots taken December 2008
San Sebastian Church, Manila
Basilica Minore de San Sebastián

17. Local
History and
Development
2. The American Colonial and
Art Deco
Art Deco was popularized in
the Philippines by western-
educated Filipinos. Art Deco
itself was derived from a
1925 exhibition in Paris that
had the strongest impact in
America. It influenced not
only the visual arts but also
fashion, jewelry, furniture,
sculpture and architecture. It
reflected a time for the
avant-garde where
machine-crisp style was
characterized by linear,
hard-edge angular
composition with Figure 16. The Metropolitan Theatre. From Lico, G., Montinola, L.,
Noche, M., Silva, J., Villalon, A.(2010). Art Deco in the
geometrically stylized Philippines. Montinola, L. (Ed.). ArtPortAsia Pte Ltd.
decoration. (Villalon, 2010)

18. Local
Figure 17. Art Deco window by Juan Figure 18. Far Eastern University by Figure 19. Lighting Fixtures inside the
Luna From Lico, G., Montinola, L., Antonio Dumlao From Lico, G., Metropolitan Theatre. From Lico, G.,
Noche, M., Silva, J., Villalon, A.(2010). Montinola, L., Noche, M., Silva, J., Montinola, L., Noche, M., Silva, J.,
Art Deco in the Philippines. Montinola, Villalon, A.(2010). Art Deco in the Villalon, A.(2010). Art Deco in the
L. (Ed.). ArtPortAsia Pte Ltd. Philippines. Montinola, L. (Ed.). Philippines. Montinola, L. (Ed.).
ArtPortAsia Pte Ltd. ArtPortAsia Pte Ltd.

19. Local
History and
Development
3. Modern Structures: Churches
Even if the architectural
vocabularies have evolved
through time, designers still
choose to include stained glass
windows in Churches.
New technologies and
techniques are applied but the
general use and purpose of
stained glass remains
unchanged. This fact clearly
shows that stained glass is
still relevant in modern
structures.
Figure 20. St. Therese of the Child Jesus, stained glass depicting her life and
struggles taken July 2012

20. Local
History and
Development
3. Modern Structures: Houses
A house in Quezon City uses
stained glass as a feature to
add light, ventilation and color
to the outdoor space.
Figure 21 & 22. House in Quezon City,
Exterior and Landscape

21. Local
Figure 13. An accordion partition
incorporating stained glass and
louvers with grills

22. New Forms
Modern Times

23. International
Tinted glass
1. Also known as heat absorbing 1. Tinted glazing 1. Warm-toned
glass, is used for the purposes of bronze/grey glazing can
controls glare and affect interior and
reflecting and absorbing solar excess solar heat exterior color schemes
radiation. When multiple layers are 2. At night time,
gain year round
used, the outermost layer is the occupants are on
one which should be tinted. display while blocking
• Increased iron content 2. [For winter days] After occupant views at night
produces a green glass with absorbing heat, it 3. Thermal stress may
cause the glass to
the best transmittance of distributes heat at break from tension
daylight nighttime. stresses on the glass
• Grey-tinted glazing is neutral edges.
in tone, so interior colors are 4. The cost factor. Antique
rendered fairly 3. Provides some glass is relatively
privacy / undesirable expensive as the cost
accurately. Gray glass has varies enormously.
the lowest transmittance of views, while allowing Reds are usually the
visible and solar light. Light- some view out when most expensive. Rolled
transmittance ranges from the illumination is glass is considerably
very dark with only 10-15% less expensive than
substantially higher genuine antique glass
of light passing through to than the inside during whereas float glass is
very light with 70-80% of the the most economical.
the day.
light passing through.

24. International
Heat Treated Glass
Regular annealed glass is reheated 1. Patterns can be used 1. Optical distortion
and then rapidly cooled. The cooling for aesthetic purposes 2. Heat treated glass
process causes shrinkage in the glass, or concealing cannot be worked
thus placing the outer surfaces into (cut/ drilled) after
high compression with the core of the treatment
glass in compensating tension. Heat 3. It is subject to
treating methods are either vertical or possible breakage
horizontal. Each method produces a after installation due
degree of bow and warp evident as to subsequent
optical distortion patterns in the treated transformation of
glass. impurities in the batch
(compounds of nickel
or sulfur)

25. International
Double Paned Glass
using tinted glass on the outer 1. By using its natural 1. More costly to use
ability to absorb heat,
pane and using low-emissivity
it acts as a barrier
glass for the inner pane, when when applied in a
a proportion of the heat re- double paned system.
radiated inwards from the
body-tinted glass is reflected
back out again by the low-
emissivity coating.

26. References
Alarcon, N., (1998). Philippine Architecture: During the pre-Spanish and Spanish Periods. Manila: UST Publishing House.
Alarcon, N., (2008). The Imperial Tapestry: American Colonial Architecture in the Philippines. Manila: UST Publishing House.
Binggel, C. (2010). Building Systems for Interior Designers. New Jersey: John Wiley & Sons, Inc., 189-190
Brown, S. (1992). Stained Glass: An Illustrated History. London: Bracken Books.
Cañete, R. (2010). Bathed in Glorious Marian Light: Galo B. Ocampo’s Stained Glass Window at the Manila Cathedral. Bluprint Magazine. Volume 3
Ching, F. (2012). Visual Dictionary of Architecture. New Jersey: John Wiley & Sons, Inc., 37, 112
De Leon, C. (2010, March 30) Glass distinction. Manila Bulletin Publishing Corporation. Retrieved from http://www.mb.com.ph/node/250343/gla.
Dela Paz, C. (2011). Antonio G. Dumlao: The Forgotten Great. Retrieved from http://www.artesdelasfilipinas.com/archives/118/antonio-g-dumlao-the-forgotten-great
Harris, C. (2005). Dictionary of Architecture and Construction. McGraw-Hill Professional
Lyon, A. (2010).Materials for Architects and Builders. London: Routledge
Lico, G. (2007). Building modernity: A century of Philippine Architecture and Allied Arts. Intramuros, Manila: The National Commision for Culture and the Arts.
Lico, G., Montinola, L., Noche, M., Silva, J., Villalon, A.(2010). Art Deco in the Philippines. Montinola, L. (Ed.). ArtPortAsia Pte Ltd.
Moor, A. (1989). Contemporary Stained Glass. London: Reed International Books Ltd.
Spence, W. (2011). Construction materials, methods and techniques: building for a sustainable future. New York: Delmar Cengage Learning.
Wrigley, L. (1996). The complete stained glass course. New Jersey: Chartwell Books, Inc.