Washington Glass Studio Projects

Most of you know about the Washington Glass School’s extensive glass classes and the artwork, but many of you don’t know the third component of the Washington Glass Studio.  The Washington Glass Studio was established in 2001 to deliver artwork to the public realm by creating site specific art for architectural and landscape environments. Here is a highlight of a few recent projects to give a scope of what we are capable of producing.

"Gateway To Community"   Glass and steel arch for Washington, DC Ward 7. Under Construction

“Gateway To Community” Glass and steel arch for Washington, DC Ward 7. Under Construction

We are currently finishing a commissioned public art sculpture in Washington, DC’s Ward 7 in front of the Unity Parkside Health Clinic and across the street from Caesar Chavez High School. This sculpture will be one of the first public art projects in Ward 7. Consisting of a 16 foot high tri-sided glass covered arch, the entire concept was derived from meeting with the community in the Kenilworth neighborhood.

The residents of the community participated in the creation of the glass elements for the public artwork sculpture.

The residents of the community participated in the creation of the glass elements for the public artwork sculpture.

Made up from steel tube sections the steel framework is clad in covered in colorful kilncast glass panels bolted to the structure. Over 300 tiles were required to complete the structure. These 300 tiles we all hand made by volunteers in the community surrounding the arch. The artwork will be internally illuminated with LED lighting throughout the sculpture. Installation is set for end of May/early June.

The Architect of the Capitol provides design direction for the historic Library of Congress Adams Building.

The Architect of the Capitol provides design direction for the historic Library of Congress Adams Building.

Of our recent public art works, the most acclaimed is our cast glass doors for the Library of Congress’ Adams Building. The original doors were cast bronze from the early WPA days. They were designed by Lee Lawrie, who is most known for his designs at Rockefeller Center in NYC. The original bronze bas-relief doors had ceased to be functional years ago, and the entrances were not up to current safety and security code. In a moment of courage and insight, one of the architects of the Architect Of The Capital’s office realized that if the bronze doors were redesigned with glass replicas of the original bronze bas-relief, then he could bring them up to code and increase safety, for much less money.  We then took on this multi-year project, with spectacular results.

LOC.photo.1 good.finished

There were 6 sets of these doors, facing the east and west sides of the Adams Building. American Craft Magazine did a feature story on our work for the Library of Congress and its process – click here to jump to the magazine’s article online.

A smaller scale work was created for the charity organization “Food and Friends” new outdoor park. We made a cast glass Donor Wall that was to honor those who have passed away, to support to charitable work of the organization and to encourage donors to participate. Bas-relief cast glass panels in complementary colors set into a steel framework allows light to pass thru the memorial wall and create colors and patterns on the surrounding plaza. The nature of the glass panels encourages tactile investigation and contemplative interaction.

Food and Friends organization commissioned an outdoor donor wall for their park alongside their Riggs Road facility.

Food and Friends organization commissioned an outdoor donor wall for their park alongside the charity’s Washington, DC facility.

Lastly, one of our most distinguished works was for the Safeway supermarket Bethesda, Maryland. The original store was to be demolished to make way for a much larger structure with parking on the ground floor. As the grocer was committed to Green building, the new structure was to be the first LEED certified grocery store in Montgomery County, and we integrated eco-friendly materials, using recycled glass from the demolished store and re-purposing them to make the new glass and steel ground level building façade. The ground floor building skin was designed to conceal the parking garage function without completely enclosing it.  Here is the result:

Glass recycled from the original site's building was incorporated into Safeway supermarket's first LEED certified building in Montgomery County, MD.

Glass recycled from the original site’s building was incorporated into Safeway supermarket’s first LEED certified building in Montgomery County, MD.

This is only a fraction of what we have competed and what we are capable of doing. No job is too large or too complex. Our architectural design and technical team work well with architects and designers. We are currently looking for additional projects, so let us know in case you know of any, or know someone who might!

The Process: Shady Grove Hospital Glass Artwork

Earlier, the blog had posted about the commission of artwork from Washington Glass Studio to be installed in the chapel in Shady Grove Hospital’s new Aqualino Cancer Care center. The artwork was recently installed – here is a look at the process:

Original design sketch

After the concept design, dimensions and glass techniques proposed was approved, the Washington Glass Studio team worked at getting the glass underway.
First, glass of the right size was needed. The glass triptych panels were 5′-0″ long, much larger than the glass we had in the studio. Getting large shipments of glass and then (successfully) cutting the glass would be a project into themselves!

Erwin Timmers and Tim Tate receiving the large pane of sheet glass.

The process of cutting such a large sheet of glass involved many from the studio – just to keep the score line straight.

The glass is larger than the pair of work tables.

Erwin Timmers preps the glass for cutting.
The cutting crew: L-R Erwin Timmers, Michael Janis, Audrey Wilson.

After the glass is cut and cleaned, work inside the kilns proceeds. Audrey Wilson set beds of dry sifted plaster within the large kilns, and began creating the molds the glass would be melted into.

Audrey working on the glass mold that is set up in the kiln.

After firing, annealing and cooling the glass panels, the edges needed to be ground and polished smooth – a noisy messy job. 

Audrey takes to working outdoors to do the wet grinding.

Now the glass is ready for the site. Tim and Erwin traveled to the new cancer facility to install the glass panels into the steel slots that were previously set into a concrete plinth. The surrounding area to the glass panels will incorporate a rock garden.

Erwin Timmers and Tim Tate being installing the panels into the steel framework.
Artists Tim Tate and Erwin Timmers stop for a chat about the glass artwork.
The finished work from inside the Aqualino Cancer Center chapel.

 Adventist Healthcare’s executive director of Cancer Care Services sent a note about the just installed artwork – she wrote to the Shady Grove Art Consultant Lillian Fitzgerald: “… I was in the ACC today and the whole stone and glass took my breath.  The glass is the most beautiful work I have ever seen.  Thank you for your vision...

A great note to end the story of the process of the artwork!

New DC Public Art Project Announced!

Glass archway proposed by Washington Glass Studio for DC’s new Unity Parkside Health Care Center.

The Washington Glass Studio was recently awarded the DC Commission on the Arts& Humanities’ Public Art commission for an outdoor sculpture located at DC’s new Unity Parkside Health Care center, now under construction. The new health center is located just down the road from the Kenilworth Park and Aquatic Gardens, a National Park Service site that boasts some of the most beautiful water lilies and lotus flowers in the months of June and July. 

Architectural rendering of the finished Unity Parkside health care center in Ward 7.

The Washington Glass Studio proposed making a 16 foot high arch of colorful glass and images of healing. 

Inspired by the comments from the community meeting and site review– our objective was to create a sense of place for DC’s Kenilworth – Parkside community.

The design and documentation of the artwork was to be outlined in detail in the presentation.
The site in early May, 2013. The mound of dirt is the artwork location.

The fabrication work for both the glass and the steel framework will soon start. Completion is targeted for early 2014.

Audrey Wilson works on constructing the half-scale maquette created for the presentation to the Council.

Washington Glass Studio sends a big thank-you to the DC Creates! Public Art Program selection committee, the DCCAH Council, Unity Parkside Health Care, and the Ward 7 community!

American Craft Magazine Features Washington Glass School

American Craft magazine June/July 2013

The American Craft Council(ACC) is a national, nonprofit educational organization founded with a mission to promote understanding and appreciation of contemporary American craft. Their programs include the bimonthly magazine, American Craft, annual juried shows, various workshops, seminars and conferences, and more.

The June/July 2013 issue of American Craft Magazine showcases the cast glass work being made for the U.S. Library of Congress Adams Building. Julie K. Hanus – American Craft’s senior editor and Perry A. Price    the ACC’s director of education had come to the school in April and made a report on the process and the artists involved. 

From the magazine: The original doors were designed in 1939 by Lee Lawrie, the sculptor whose Atlas graces Rockefeller Center. They’re massive bronze works, depicting 13 mythological and historical figures of language and learning. Over time, they had begun to fail, straining at the hinges, and didn’t meet modern building codes. Rather than altering the historic doors to address these issues, the Architect of the Capitol made a bold decision; in addition to conserving the Lawrie doors, they would reinterpret these unique Adams Building features in glass.

Jeff Wallin and Ray Ahlgren of Fireart Glass in Portland, OR casting the glass panels. Photo by Charlie Lieberman

Review of each of the LOC cast glass panels with the Architect of the Capitol. L-R Paul Zimmerman/HITT Contracting, William Warmus/Art critic, Tim Tate, Michael Janis, Kevin Hildebrand/AOC, Erwin Timmers.

The doors began installation in the spring of 2013 and the entry areas began to transform.

From the interior of East facing building lobby.
The exterior of the first set of six pairs of doors.

The magazine will be on the stands soon – and is online right now! – Click HERE to jump to the American Craft Council website.

Washington Glass Studio team L-R Tim Tate, Sean Hennessey, Michael Janis, Audrey Wilson, Erwin Timmers

The Process: Nancy Donnelly Creates Baptismal Font

As part of the ongoing series titled “The Process” the Washington Glass School blog focuses on the methodology of an artist or technique. Today, Nancy Donnelly gives an in-depth look at a glass artwork commission she has recently completed for the Lewinsville Presbyterian Church in McLean, VA. Have a look as she outlines how she made the fused glass central baptismal font for the church.

For this community, baptism is the central rite. Nancy describes what they were looking for in art glass: “They wanted to see the water in action…they wanted a big bowl, nice shallow curve so the water would be scoopable, clear glass with a wavelet pattern in blues, darker in the center and fading toward the rim.”  The font was to be situated in the center of the space, located in a stand that would reveal the water to the congregation.

Nancy made a variety of bowls.

Said Nancy, “I’ve made many glass bowls, but none that big. I knew there would be a number of samples made until I got it right and could present the best one.” Nancy made a number of fused glass test pieces in the Washington Glass Studio. 
Nancy was concerned about how the colors looked and how the edges would be finished, as well as how deep a bowl profile was needed. 

Test 3 – issues arose on how the glass edges could grab the sides of the molds as it moved down.

Nancy said of her test process, “I made glass sandwiches, (colored frit fused between two sheets of glass). I knew this method could be risky, as bubbles could form as the trapped air is locked between the sheets of glass as the glass melts. Bubbles are part of glass, and my worry was, how big is too big?

Nancy also wanted to emphasize the feeling of rippling water. “In the first go, my wavelets looked like little upside-down drawings of seagulls. The second try I got a lot of big bubbles at the rim. On the third one, I tried avoided bubbles by filling in with clear frit, which did not turn out well!” she explained. In the final glass baptismal font, the aqua colors of the frit have a nice, soft undulating texture.

Senior Pastor Deborah McKinley at the Baptismal Font

The glass baptismal was completed and installed in time for the Easter holiday, and the glass was well received by the Lewinsville congregation. Well done, Nancy!

Architect of the Capitol Blogs On New Cast Glass Doors

The AOC inspects the cast glass interpretation of the ‘Cadmus sculpture maded from the original bronze doors of the Library of Congress.

Cadmus was credited by the ancient Greeks with introducing the original Alphabet or Phoenician alphabet.

The US Architect of the Capitol (AOC) is responsible to the United States Congress and the Supreme Court for the maintenance, operation, development and preservation of 17.4 million square feet of buildings and more than 460 acres of land throughout Capitol Hill. The AOC also provides professional expertise on the preservation of architectural and artistic elements entrusted to its care, and provides recommendations concerning design, construction and maintenance of the facilities and grounds.
The AOC blogs about the new cast glass doors for the Library of Congress, now being installed. 

The original doors, designed by noted American artist, Lee Lawrie in 1938, feature high-relief sculptures of (mythical and real) world figures that have contributed to the written word and communication.

Click HERE to jump to the US AOC blog post.

Library Of Congress Cast Glass Doors Update

>

The Washington Glass Studio created shop drawings for each cast glass panel based on the original sculpture forms from the US Library of Congress Adams Building.
Sean Hennessey and Marie Schneggenburger

The Library of Congress had earlier this year commissioned sculptured glass doors as the famed institution provides much needed upgrades to the entry of the historic building. As mentioned in earlier postings, the Washington Glass Studio has been creating the artwork panels, collaborating with artists and artisans across the United States, from theatrical set designers to pioneers of the American Studio Glass Movement to make artwork worthy of an icon of the United States.

Washington Glass Studio’s Sean Hennessey works with Marie Schneggenburger and Erin Cumbo to take molds from the original bronze doors. After protection to all adjacent surfaces was in place, each the door bronze sculptures were cleaned and prepped for the mold taking process.

Marie Schneggenburger cleans and masks off the original bronze door sculptures.

The original moldings were sprayed with the silicone rubber matrix. The process took place in the summer of 2012, when the East Coast of the US experienced record high temperatures, and some modifications to the silicone process took place, with a step where we brushed on the material to ensure capture of the intricate detail from the originals. The crew started early each morning, to try and minimize their time in the sweltered sun.

The doors are ready for the mold matrix.
Sean Hennessey applies the silicone rubber with what looks like a prop from the movie “Ghostbusters”.

For a short flickr video of the mold-taking process at the Library of Congress doors – click on the arrow below:


After the molds and their “mother mold” material are removed from the doors, they are brought back to the studio for evaluation.

Tahmurath – the Persian hero – had some of the most complex undercuts that required additional molds of the deepest sections.
Detail from Tahmurath bronze sculpture.

The next step of the glass casting process involves one of the early fused glass pioneers – Ray Ahlgren. Ray Ahlgren’s Fireart Glass Studio in Portland, Oregon developed specialized techniques for the final firing of the cast and laminated panels.

Ray Ahlgren

Ray Ahlgren has been working with glass for over 40 years. He received a Bachelor’s Degree in Ceramics from the University of Wisconsin and a Master’s Degree in Fine Art in glass at the Art Institute of Chicago. Prior to starting Fireart Glass in 1980 he co-founded Bullseye Glass Company. In the early 1970’s the early Bullseye Glass Company made glasses for the stained glass trade. Founders Dan Schwoerer, Ray Ahlgren and Boyce Lundstrom worked on the problems that arose when melting this type of glass together in a kiln.

Ray Ahlgren and Dan Schwoerer in 1973.

That’s when they discovered incompatibility. To be successful, they then had to figure out how to test for it and get rid of it. The product they eventually developed was a glass that would be compatible with other glasses and withstand multiple firings without cracking during the cooling process. Kilnformed glass moved forward and developed glass into a leading sculpture medium. We were fortunate to be able to include Ray’s expertise and insight into the technical aspects, as well as his meticulous craftsmanship.

Using the silicone rubber molds, Ray made wax figures that were set as per the original mold, correcting any imperfections.

Tahmurath wax original is set up and dam for plaster is built around.

Plaster is then poured around the wax sculptures, and carefully brushed into voids to eliminate air pockets.

Ray Ahlgren details the plaster across the wax as Erwin Timmers looks on.
Ray fills the dam and levels the casting block.

After the plaster sets, the wax is removed from the casting mold, creating the void where the glass blanks will be melted into.

Inside the kilns, glass was fired into the plaster molds.
Cast glass panel of “Ogma“.

In November 2012, Erwin Timmers brought the Architect of the Capitol’s Library of Congress team to Fireart Glass studio to see the progress of the castings.

Ray Ahlgren removes a cast glass panel from the kiln.

Ray removes the plaster and explains process to LOC’s Yvonne Gurney.
One of the cast glass panels has the plaster rinsed off for review.
WGS’ Erwin Timmers points out details to Yvonne.
The completed panels were inspected as part of the LOC review.

The Library of Congress project continues on, with site work proceeding through the winter months. Parts of the refurbishment are not cosmetic, including installation of new electronics and security into the historic building. The install of the glass panels will happen in early 2013, and we will post new photos of that process, as well as some great process shots taken at Fireart Glass Studios.

The Process: Taking a Mold From Historic Bronze Doors

With the Memorial Day Weekend here, a blog posting that touches on themes of American Art & history is in order.

Library of Congress, Washington, DC, Adams Building

The Process looks at how the Washington Glass Studio artists are recreating the original, historic bronze doors from the Library of Congress (LOC) Adams Building in kiln-cast glass. 
As mentioned in an earlier post, the Architect of the Capitol (AOC) oversees this landmark building, and they sought out ways to provide up-to-date functional aspects for their structures, all while balancing the requirement for maintaining the artistic legacy of its buildings – a daunting task in an ever changing world. Their design for the LOC Adams building was to have the historic bronze entry doors (that could not be brought up to code) set in the “open” position, and install new code-compliant functional glass doors for the public access – with the glass doors designed to reference the original door sculptures. (Click HERE to jump to link post of sculpted bronze door features.) Washington Glass Studio is creating the new cast glass panels, and this edition of The Process looks at how the molds are being taken from the original doors in-situ. 

Sean Hennessey, the master caster, sets up his mold making equipment and preps the doors.

The LOC was very concerned that the mold taking process could adversely impact the patina of the bronze doors, so before any work on the doors was completed, testing of the materials and release agents were conducted on an inconspicuous section of the backside of the doors.

A section of the door backside was tested for any reaction to the materials.
The sample came off with no residue or impact to the original  bronze finish.
Given the go-ahead, Sean enjoys a day in the sun.
The bronze door area surrounding the bas-relief is masked off. 
Care is taken for the surrounding area. Sean shown here assisted by Erin Cumbo.
The layering of the silicone rubber mold material starts.
The mold is allowed to set-up until firm, and then peeled off.
“Mother Mold” material is added to give structural strength to the casting.
The finished rubber mold.

The molds will later be used to create the original forms for the kiln-casting process – more about the glass casting process in later postings!.

US Library of Congress’ New Cast Sculptural Glass Doors

>

Aerial view of US Capitol on the Mall, Washington, DC. Library of Congress is center bottom of photo.

The Washington Glass Studio (WGS) has started the creation of the new cast sculptural glass doors for the Library of Congress (LOC) in Washington, DC. The design of the project started in 2004, when the Architect of the Capitol (AOC) first asked WGS about advise on their initial proposal to replace the original historic bronze doors of the LOC Adams Building, as the doors required security and changes to be code-compliant. The AOC also sought to reference the artistic heritage of the original doors in this important United States building.

One of the original bronze door pairs by sculptor Lee Lawrie

The original (11′-0″H) bronze doors had functional issues and will be retained in their present hold-open position, recessed into architectural niches. The 16 sculpted bronze doors feature high-relief sculptures by American artist Lee Lawrie, whose best known work is the architectural sculpture on and around New York’s Rockefeller Center. Lawrie’s bronze doors were designed to commemorate the history of the written word, depicting gods of writing as well as real-life Native American Sequoyah. 

Lee Lawrie,  1877-1963,  American sculptor, best known for his architectural work at NY’s Rockefeller Center, especially for the free-standing “Atlas” sculpture.
Ogma and Sequoyah, sculpted bronze figures by Lee Lawrie. Door detail, Library of Congress John Adams Building, Washington, DC.
The original bronze figures depict:

The new door design incorporates cast glass panels mounted within a bronze framework,  incorporating current egress and security requirements. The kilnformed sculptural glass will be made from molds taken off the original door sculptures. Using clear Bullseye glass to cast, the sculpted glass panels will then be laminated to tempered glass for safety. The new glass doors will create a contemporary luminosity to the building entrances, while keeping the character of the historic landmark structure.

original bronze doors – east side  (top)
Design of new bronze and cast glass doors – west side (bottom)

The scale of the project has prompted a collaboration between Washington Glass Studio and Fireart Glass Studio in Portland, OR. The project “dream-team” includes (Bullseye Glass co-founder) Ray Ahlgren, Erwin Timmers, Michael Janis, Tim Tate and Sean Hennessey. 
Master mold caster, Sean Hennessey, has started the project, creating the molds from the existing bronze doors in-situ. Some photos of that process will be posted later.

Vanderbilt University Glass Panels (Part 2)

>

Vanderbilt University’s Critical Care Tower Nurse Stations

Ardent readers of the Washington Glass School blog will remember earlier posting about theVanderbilt University, where the University’s new Critical Care Tower installed kilnformed glass panels. The project has expanded and additional floors were designed to incorporate more of the kilnformed glass panels in new areas, each with the floating leaf motif. The leaf is the symbol of Vanderbilt University and the oldest part of the Vanderbilt campus is known for its abundance of trees and green space. The campus was designated as a national arboretum in 1988.
The imagery of swirling leaves were always part of the design of the custom glass architectural panels.
Mick Coughlan and Erwin Timmers worked on the creation of the new series of glass panels – some shots of the panels in progress:


Mick Coughlan gives the glass set into the kiln one last clean.

The deep-relief dry plaster kiln casting method is used to create the panels.

Erwin Timmers edge polishes the glass panels. Dousing everything with water.

After the edge polishing Mick & Erwin’s glass edge grinding, impromptu dryers (aka hot kilns) sported wet clothing.