Resurrection
Window 
St. Albert the Great Catholic Church Austin, TX "Resurrection" Window
24'-3" x 24'-3"
Fourteen Stations of the Cross
14 @ 3'-0" by 3'-0" each
German, French & Domestic Mouthblown Glass; Machine- and Hand-rolled Glass; Dichroic Glass; Lead; Solder. Cotera, Kolar, Negrete & Reed Associates, Austin, TX, Architects R. D. Habiger Associates, Albuquerque, NM, Lit. Consultant |
Recipient
of the highest Honor Award
from the AIA's Interfaith Forum on
Religion Art and Architecture , 2002
|
|
The sanctuary at St. Albert the Great utilizes native stone,
exposed wood beams, slate tile and a semicircular pew arrangement to create
a warm, open, yet contemplative environment for worship. The smaller Reservation
Chapel is located behind the altar. "Resurrection", a stained
glass window wall, provides separation yet still allows a sense of connection
and spatial flow between the two spaces. This window wall hovers four
feet in front of the stone wall behind the altar creating a shadowed reveal
where the Reservation Chapel's entry doors are located.
|
|
|
As an interior window, "Resurrection" relies
on a nearly achromatic glass palette that allows it to remain animated
when seen from either side in front- and backlighting. In the transmitted
light of the Reservation Chapel, the pure white glasses of the Nave are
transformed into tints of amber that echo the warmth of other materials.
At night artificial lighting further transforms the white glasses. Many
textures of clear glass provide sparkling, refracted glimpses into the
Reservation Chapel without diminishing intimacy of the smaller space.
As the only exception to an otherwise achromatic palette, dichroic glass
accents stream down adding color that mysteriously changes as the viewer
moves past.
|
|
|
"Resurrection" is the thematic culmination of
the Fourteen Stations of the Cross Windows which flank both sides of the
nave (the fourteenth depicts the laying of the body of Christ into the
tomb). Taking the butterfly, an early Christian symbol of resurrection,
as its starting point, the stained glass uses a lower "landscape"
of clear glasses to represent the empty tomb (chrysalis) while serving
as a reminder of the transient nature of our corporal existence. Rising
upwards is a powerful statement in both wispy and denser whites that provides
a quiet, yet dramatic backdrop for the celebration of the Mass.
click images for a larger version.
|
|