The Devil's in the Details

Consider the egg...

Perfect when produced, this fragile article must be delivered all the way from the farm to the grocery store and arrive in one piece - or else it is worthless. Every part of its journey has to be planned and executed with the utmost care.

Likewise a stained glass window: Perfect (of course!) when created, it represents hours and hours of work, and a substantial investment in materials. It too must be protected - at the studio, on its journey to the site, during the installation, and over the many years of its useful life. If the window is damaged, the consequences can range from temporary inconvenience to a hugely expensive disaster.

How do we protect this fragile creation? Considering the time, money and effort it would take to replace it, Aobsessive care@ is probably a good starting point. Yet many artists seem to consider this part of the job to be just Adetail work,@ and don=t give it the attention it deserves.

Nevertheless, attention to basic safeguards can be well worth the effort; for it is not only the window that=s being protected from harm, but the artist=s reputation as well. A good stained glass artist can create beautiful windows; a professional not only creates the windows, but successfully manages all of the details around their preparation, construction, transport, and installation. Most of them fall within one of three main categories: coordination, care, and coverage.

Coordination

The essence of coordination is arranging who does what, who pays for what, and what happens if things go wrong. On a small job, these arrangements may be made verbally, but for larger projects, a letter of agreement or a contract is strongly recommended. For major stained glass projects, such as a series of windows, a legal contract is essential - to protect both artist and client. Whatever type of document is used, it will be an important means of communication between all of the parties involved in commissioning, designing and building stained glass for an architectural site.

The contract or letter of agreement will cover many aspects of the commission, including the location and dimensions of the artwork, the materials and techniques to be used, and the schedule of work and payments. When developing this document, the artist will need to consult the architect and contractor, in addition to the client. Also, for maximum protection, a lawyer should have the final word on any agreement that the artist signs. Some of the important considerations for protection of the window are:

Timing

A construction site is no place for stained glass windows, and their installation should be scheduled as late as possible in the building process. If the windows go in too early, when there is still considerable construction to be done, the chances of damage are very high.

Site preparation

This is usually the client=s responsibility. The client should arrange to have the exterior clear glass windows cleaned inside and out before the stained glass is installed. The window framing in a building under construction is covered in plaster and paint and the window installation should wait until there is a clean, safe environment.

Insurance

Insurance on the project is usually divided, so that the artist is responsible for the windows up to their delivery to the site (see the ACare@ section, below). The contract should make clear this division of responsibility, and ensure that the client=s insurance will cover the panels once they are at the site.

Framing

Framing is a major issue, and one which can cost the artist a fortune if not addressed at the outset of a project. The contract or letter of agreement should lay out at least the basic responsibilities and finances around framing. If the artist is doing their own framing, the contract budget for the project should include these costs. The contract or letter of agreement should also make it clear who will install protective glazing, if it is needed

In new buildings, the artist needs to work with the architect to choose the right framing system for the windows. Systems can be custom-made, or bought and installed - preferably by the same people who do the aluminum or wood windows.

Whatever system is used, it is important to ensure adequate ventilation between the stained glass and the existing thermopane. This helps prevent condensation and thermal breaks. Another potential hazard is pressure on the glass from the framing system. A badly designed framing system can actually crack the glass - either during installation or at a later time.

Scaffolding

It is best to have the client or contractor arrange for, and pay for scaffolding. However, the artist should specify at what height the installers will need to work. It is helpful to prepare a list of the scaffolding pieces that will be needed, including stages, platforms, crossbars, outriggers, etc. It=s a good idea to get wheels for the scaffolding They come in handy for rolling the scaffolding into another position and taking straight-on photos of the work. The mechanical lifts are great, but can=t be used on some floor coverings; the contractor or superintendent should be consulted before making any arrangements.

Lighting

The lighting of a window and the space around it can have a major effect on the success of the window: Good lighting can make a window look great at night; bad lighting - especially during the day - can make even the best window look washed out. The client is responsible for lighting the space, and the contract or letter of agreement should specify that lighting will be needed, and when it will be installed. Ideally, it should also give the artist the power to review and suggest changes to the lighting.

Inspection

The contract should include a clause that arranges for a joint inspection of the installed windows by the artist and client (or designate). This will help avoid situations where the artist is asked to do a warranty repair on a window, when it is actually the victim of a post-installation accident, such as a workman=s errant elbow. Following the inspection, the client or a designate should sign a certificate of completion.

Warranty

A leaded stained glass window, if undisturbed, will last for centuries. Unfortunately, disturbances happen, and glass sometimes breaks. A warranty can=t protect a window, but it can protect a reputation. By taking clear responsibility for the quality of the product the artist shows his or her confidence in the work. At the same time, the warranty shouldn=t be too open-ended; it should state the time period during which it will be in effect, and specify that its coverage is limited to defects in material or workmanship.

Care

As mentioned above, the artist is responsible for the window up to the delivery to the site. Although it=s impossible to guard against every possible disaster, the chance for mishaps can be minimized by following a few basic safeguards:

Storage

Once a panel is completed, studio and construction schedules may mean that it is some time before it is installed. Where should they be kept until then? At a minimum, panels should be kept in a protected area, out of traffic areas, and away from environmental stresses (direct heat, water, sun). The need for other measures would depend on a number of factors: how busy the studio is, available space, and whether or not the panels need to be accessible for reference or display.

One artist I visited had gone so far as to build a concrete Abunker@ outside his studio, to store completed panels in. This made sense, because the studio was made of wood, the nearest fire department was more than a half hour away, and he sometimes took in restoration work, which would be irreplaceable if destroyed. Obviously, this is the extreme, but it shows the type of thinking about risks that needs to take place in making these decisions.

Packing

In packing a window for transportation to the site, the artist or technician should try to think through the types of physical stresses and possible damage that can befall a window in transport. In this way, he or she can determine what type of protection is needed. Multiple layers and backup systems can save a window if something goes wrong. Keep in mind the version of Murphy=s Law that says: AIf anything can go wrong, it will,@ and pack accordingly.

Transportation

The important thing to know about transportation is that scrimping here may end up being a false economy. An overloaded vehicle, or one to small to safely carry the window, can easily result in broken glass. The vehicle used should be of ample size to fit the panel(s), the carrying board or packing case, and the necessary tools for installation.

Coverage

No matter how careful everyone may be, accidents will happen. Insurance is the last line of defence against the capriciousness of the Fates. Because the artist is responsible for the safety of the panels during fabrication, and on their journey to the installation site; it is vitally important that insurance be arranged for these times.

At the same time, it=s important to remember that insurance doesn=t cover every eventuality. Sometimes it=s easier to do a repair than it is to go through the paperwork and bureaucratic rigamarole involved in making a claim. The advisability of this will depend on the situation, but every installation team should nevertheless bring a well-equipped repair kit and some spare glass to the installation. This way, minor breaks can be fixed, and adjustments for fitting can be made without damaging the window.

Also, if a window contains a very rare glass or a difficult-to-match color, and is in a position where breakage may happen (i.e. at ground level) it may be worthwhile for the client to purchase a small amount of spare glass. This will come in handy in the event that repairs are needed.

It is said that the devil is in the details, and anyone working in glass will know that it=s often the one overlooked detail that ends up being a problem. Sometimes it helps to be philosophical, and realize that we can=t reasonably protect against everything. At the same time, it may be useful to consider the egg....