Historically, stained/leaded glass was developed and used in churches and cathedrals. In more recent (yet still historical) times, this medium regained prominence with other uses. And, as it is a timeless one, it has progressed into the modern age today.
Perhaps the biggest misconception regarding it is that it is limited to certain very traditional uses, and thus cannot be applied to modern homes and other contemporary architecture.
This is a complete FALLACY.
This erroneous notion came about from the fact that this medium was developed originally and exclusively for churches and cathedrals for a very long time.
However, in the nineteenth to twentieth century, this medium saw a revival into more modern use with artists such as Louis Comfort Tiffany and Marc Chagall and made its way into popular design styles at the time like American Craftsman, Art Deco and Art Nouveau, and even started to get incorporated by the likes of Frank Lloyd Wright and Greene and Greene.
And today, in our contemporary age, stained/leaded glass is indeed used in very modern designs. However, the fact of the matter is that this not popularly known. It hasn’t had a sweeping revival in the here nad now, at least not yet.
It is a whole renaissance that is starting to blossom. And we at Progressive Art Stained Glass Studio are proud to be a catalyst in this movement.
Unfortunately though, with some, the misconception that this medium is associated exclusively with certain traditional uses still exists.
Nothing can be further from the truth. Stained/leaded glass is one of the most versatile mediums around. It can be used in just about any style of design and type of building. Its only limitation is with one’s vision with it.
Let’s disabuse the misbelief and hopefully expand one’s vision of its versatility and creativity.
There are certain characteristics of contemporary architecture that are popular, in particular, the following:
However, the mistaken belief by some is that these are strictly limitations. While they may be popular design elements, it is important to know that: 1) the keynote of modern/contemporary design is being innovative, as this is what has sparked every great movement and style, and 2) that stained/leaded glass can be integrated into any of these design characteristics and styles accordingly.
Whether as a strictly integrated element or a progressive one, we can accommodate stained/leaded glass into just about any project successfully, for we have the unique qualifications of knowledge, experience and savvy in architecture, construction, development, design and art, with a special place in our hearts for the contemporary. There is a reason we call ourselves Progressive Art Stained Glass Studio.
Hare are some basic points regarding the use of stained/leaded glass in contemporary architecture:
The design can be of linear, curvilinear, geometric or even abstract orientation.
It does not have to be colored if one does not wish for a color palette. There is a myriad of glass available that is of a clear nature.
It does not necessarily have to be bold, but can be quite subdued if desired.
It does not have to be a complex design, but can be a simple one.
Not always does it have to be exterior, but can very well be a strictly interior element.
It can add a very welcomed contrast, if that’s what’s desired.
It doesn’t have to be a focal point or grand, but can even be an element that simply adds an accent.
These are just some noteworthy points. There is a plethora of ways it can be applied to just about anything modern. There are practically NO limitations in MOST cases. Ultimately, it depends on the individual project and what you envision with it. Whatever it is, try us with a complimentary consultation and you just might gain an insight and spark a new revelation and inspiration for your creative vision.
Since the scope of our work embraces the entire cycle of production from design to installation, we work in cooperation with any of a number of various building industry professionals. If you are a building industry professional, the following information is provided to give you an orientation to the relevant and important points of working policy and protocol we maintain with your profession and field.
We value these relations highly and look forward to establishing more and more of them.
Honesty & Reliability
Since 1995, in addition to our quality crafstmanship and artistic integrity, we are known for our honest and reliable customer service. This not only includes property owners, but extends to general contractors, architects and interior designers too, who are oftentimes the liaison to the actual client, and, in many cases, technically speaking, our client (since we often get commissioned directly by them as a subcontractor for our specialty services), as well as to any other building industry professionals we may deal with.
As you know, generally speaking, this industry tends to be rather involved and methodical; it’s both attention- and time-consuming. With effective and organized management, systematic execution of targets, tight coordination and efficient productivity, the mission gets accomplished a whole heck of a lot faster, which benefits everyone involved.
Please realize that our own background with founder and artist/designer Simon Simonian includes hard-won knowledge and experience in both architecture and construction. We understand firsthand the importance of having subcontractors and vendors who are trustworthy and reliable.
Coordination Policy
When working directly with architects, general contractors or interior designers, it is our firm policy that we do not attempt to circumvent or bypass them by dealing with the client directly, where this is not desired or warranted, unless specifically requested by the firm or company to do so, which is sometimes the case. Our liaison point always remains with the applicable building industry professional.
Our Relationship with General Contractors, Project Managers and Superintendents
As we oversee every aspect of creation, not just design, but production and installation also, it necessitates cooperation with general contractors or their project managers or superintendents.
We recognize that the general contractor is the central coordinating body for all construction affairs and respect that. It is very imperative for us to remain in excellent, tight coordination with contractors and/or projects managers and superintendents as necessary, especially regarding installations.
Installations are particularly crucial affairs and coordination is vital, not only with contractors, but with their pertinent subs too. It is necessary to ensure they occur at optimum times, with minimized job site traffic in the form of bodies, tools, equipment and materials.
Our information is submitted to construction companies and general contractors to be included in their library and files as a subcontractor.
Our Relationship with Architects
Since our work involves every aspect from design to creation and installation, it may necessitate collaboration with architects, primarily during the design phase.
We recognize that the architect is the creative source of projects they are involved with. While we are the creative source behind whatever stained glass project we do, remember, our original work is custom, which means that we accommodate whatever design is required and will meet it. The architect remains the creative director and we recognize and respect that. We maintain a unique relationship where we work under their creative direction for a project yet maintain our exclusivity in design, in a manner that does not intrude upon their creative vision, but instead accommodates, compliments and realizes it.
The architect is a specialist in what they do, and we are a specialist in what we do. When it comes to design, the relationship can be either collaborative or accommodating, however the architect and/or client wishes it to be.
The designer/artist, Simon Simonian is himself a trained architect with that background and thus possesses the empathy, appreciation and regard for an architect’s integrity.
Our information is submitted to architectural firms to be included in their library and files as a service vendor.
Our Relationship with Interior Designers
As our work is not only structural and exterior, and can also be interior and even incorporated into furnishings, it may necessitate collaboration with interior designers.
Our policy, regard and protocol with them is exactly the same as it is with architects, as specified above.
But one special aspect is that in addition to commissioning structural stained/leaded glass, we also offer various kiln-fired glass creations as well as interior leaded glass pieces that can be used as décor items. We also offer a collection of Simon Simonian’s fine art.
As with architects, our information is submitted to interior design firms to be included in their library and files as a service vendor.
Our Relationship with Developers
Developers of mostly higher-end luxury homes and estates may choose to include stained/leaded glass in their custom homes, particularly skylight domes. This may even potentially increase the market value of their properties, as has been claimed by many developers we’ve dealt with, by their own origination.
Our Relationship with Metalworkers
Whenever there is a skylight project, we will work directly with metalworkers, as precise sizes and dimensions and other technical factors are crucial to their structures.
Our Relationship with Door & Sash Companies
Not all door and sash companies are the same. Some manufacture, some distribute, some install. We are able to work in collaboration with makers of custom doors to incorporate stained/leaded glass into their products. And of course, we work in conjunction with door and window installers, as necessary.
Our Relationship with Glass Companies & Glaziers
Sometimes, people will mistakenly contact glass companies who provide regular or tempered glass, inquiring about stained/leaded glass. Our involvement with such companies is more as a recipient of referrals.
Glaziers are people who install regular glass, especially in windows and doors. We oversee and do our own installations for stained/leaded glass. However, as our panels can also be included with regular glass or tempered glass (as protective outer coverings, etc.), we will work with glaziers in those cases to ensure proper coordination regarding installation.
Our Relationship with Skylight Companies
As with glass companies, sometimes people will mistakenly contact skylight companies who provide regular skylights, inquiring about stained/leaded glass ones. Our involvement with such companies is more as a recipient of referrals.
When it comes to exterior skylights or domes (those situated on rooftops as opposed to ceilings), a protective structure is built around them in order to house them and to protect them from the elements. This structure is taken care of entirely by general contractors who then also commission skylight companies for the clear covering on the structure which allows sunlight. We are not involved with this aspect at all.
Cabinetmakers
We will work in collaboration with makers of custom cabinets to incorporate stained/leaded glass into their creations.
Furniture Makers
We will work in collaboration with makers of custom furniture to incorporate stained/leaded glass into their creations.
Electricians and Electrical Engineers
Occasionally, certain projects such as various light fixtures and artificially illuminated skylights and lightboxes may necessitate some coordination with electricians.
Presentations
If your firm or studio or office would like a presentation about our services and what we do, this is also feasible. Please contact us and we can hopefully arrange this.
We at Progressive Art Stained Glass Studio thrive on challenges. This is our motto. With artist/designer Simon Simonian’s unique qualifications, the sky is the limit.
Hardly anything is too intricate or complex to accomplish for us in stained/leaded glass. This applies to design, size and shape.
We take pride in the fact that we can do most projects, no matter how demanding technically they may seem.
If you can envision it, we’d like to help you realize it. If you feel it’s impossible or challenging, bring it on.
Stained/leaded glass artist/designer Simon Simonian maintains the artistic integrity that each design is to be original and exclusive. This means that no design ever gets repeated elsewhere. It exists uniquely for that client.
But, quite often, an individual will see something they really like in our portfolio and will ask for that particular design to be done for them too.
So what do we do in such a case? Our aim is always to meet or exceed the client’s expectations. And the solution is quite simple.
We will indeed create something in that very design which they are seeking, but it won’t be identical. It will be a custom design that is exclusively for them. To do otherwise would lack originality and it would no longer be special.
In every single case where this has happened, the client was extremely pleased with the finished product and thanked us for the exclusivity.
Creativity is the driving force behind art.
Now, what if a client has a particular design or scene or motif they saw somewhere, such as in a magazine, book or online, and wishes to get it commissioned onto stained/leaded glass?
This too happens, and we are certainly able to realize it for them.
There is a certain art to doing this, where it won’t just be cloning, but will still be an original design and won’t risk any copyright infringement either.
You see, when you transfer any design onto stained/leaded glass or even kiln-fired glass, its effect becomes entirely different. The outlines become more promiment with the lead. And the glass, with its colors, diffusion of lighting and textures, takes on a whole new appearance. Essentially, it becomes its own creation.
And what if a client has a particular design that they themselves did, or a photograph that they themselves took, and wishes to get that commissioned onto stained/leaded glass?
The same exact principle applies here too.
The end result has always been satisfaction for the client. This has been the case since our inception in 1995.
In the great majority of the projects we have done so far, the client has originated that the final product was even better than what they had hoped for.
Stained/leaded glass, especially when structural, must be sturdy, safe and sound. There is no exception to this rule.
Just because an individual makes stained glass does not mean necessarily that they are capable and qualified to create structural creations such as domes, large windows, etc. This truly requires real proficiency and mastery.
Unfortunately, sometimes individuals who wish to commission such projects fall into a trap. Not knowing this field, they seek sources who are simply unqualified and end up misguiding them, even if inadvertently.
This is simply but a fact, so much so that individuals needing such repairs usually get turned down by other studios purely because those studios and stained glass artisans are unqualified, lacking the proper skill, knowledge and ability to do such repairs.
Progressive Art Stained Glass Studio is usually where the buck stops, their last hope, and specifically sought after for such specialized repairs.
Look, this is not a boast or an effort to “sell” anyone on our studio and our services; it’s just factual information. Such repairs have traditionally brought gainful business to the studio, so as far as being remunerative goes, it’s actually considered an advantage for us.
However, the purpose of Progressive Art Stained Glass Studio isn’t to become lucrative with such projects; it’s to forward a progressive renaissance with original artistry with this special medium. Factually, there is no competition, for the qualifications of artist/designer Simon Simonian are unique and incomparable.
It’s honestly sad to see individuals lose money unnecessarily and suffer heartbreak and headaches simply because they were unaware.
When designing and constructing (and installing) structural works in stained/leaded glass, wrong or shoddy materials simply CANNOT be used, neither can wrong techinques or imprecise design calculations. The correct process and technique has withstood the test of time. Stained/leaded glass structures are known to last ages.
Aside from incurring additional and unwanted expenses, a liability of poorly made stained/leaded glass structures, especially overhead ones like skylights and domes, is that they can pose an actual hazard due to threat of collapse.
It also affects adversely contractors, architects and interior designers by harming their reputations unecessarily.
Simon Simonian’s professional knowledge and experience with architecture and construction coupled with his talent in fine art results in incomparable prowess in stained/leaded glass, including his proprietary methods. This provides for a very special and unique set of qualifications.
Everything at Progressive Art Stained Glass Studio is overseen directly by him and done in-house.
Stained/leaded glass is a craft. It requires technical proficiency, fine materials and manual dexterity to construct properly. However, the artistic element in the finished creation may or may not be present. How well something is made and its aesthetic value are two different aspects; they stand independently of each other, in reality.
A finished product can be of superior quality but can lack artistic value.
This goes so far as many stained glass artisans and hobbyists declaring that they don’t even claim themselves to be artists, but consider themselves more technicians.
What makes something actually artistic though? Some may argue that this is a purely subjective matter, that beauty lies in the eye of the beholder. We’re not denying this and our purpose here is not to start any sort of philosophical debate about what art is, but rather to define what constitutes art in the medium of stained/leaded glass.
Ultimately, it’s ones reaction to the final creation. While taste is subjective, there is an almost uniform response when one is in the presence of a beautiful creation. Instictively, one is awed, impressed or moved to some degree or another. It’s an effect that cannot be suppressed or denied.
And this intuitive response on the part of the viewer tends to be prevalent with all or most of an individual’s works, or tends to be lacking entirely. The determing factor here is whether or not the stained/leaded glass craftsman is an artist or not.
Essentially, it’s an innate talent. Either one is gifted with it or they’re not (their inherent gifts are manifested otherwise). This is an axiom. Anyone can become potentially a highly skilled technician in any craft or area, but that doesn’t necessarily mean they are an artist. That talent is inborn.
Simon Simonian not only possesses some of the most unique qualifications for designing and building structural stained/leaded glass, with professional knowledge and experience in both architecture and construction, but is also a fine artist, a talent which manifested itself at age 2.
His fine art works span various media, from oil and acrylic paintings to relief sculptures and pastel and charcoal drawings, and it is out of that artistry where his calling for stained/leaded glass was born.
It is a longstanding operating policy of Progressive Art Stained Glass Studio to offer complimentary consultations for any potential project, whether or not one has decided to actually do the project or not.
Even if one is merely considering or entertaining the possibility of getting stained/leaded glass done, it is HIGHLY recommended that they receive an initial complimentary consultation directly from our studio.
There are NO further obligations or strings attached. This is entirely for the benefit of the potential client.
There is a very specific reason for this recommendation, born out of many years of tried-and-true professional experience.
For one, it gives one the correct and proper technical information about structural stained/leaded glass and its applicability, feasibility and procedure, so that one is then actually able to make an educated decision regarding whether or not they wish to commission their project or not.
And, if one has decided they definitely want to commission such a project, the vital information given in the consultation saves one from incurring unnecessary expenses and other headaches.
Stained/leaded glass as a medium tends to be quite often misunderstood about its aesthetic values and artistic integration. These misconceptions, if they exist, get cleared during this consultation.
Using stained/leaded glass structurally, as in the form of windows, skylights or domes, has very key technical aspects and details about its process that are not broadly known. This necessitates proper coordination with other aspects of development or renovation so as to have the right prediction and the right planning so that actions can then be dovetailed in their right sequences and in a timely, cooperative manner.
If this is not done, it results in construction actions (e.g., drywall, painting, framing, electrical) that may need to be redone, dismantled or modified, which results in lost money and production time.
As Simon Simonian has professional knowledge and experience in both architecture and construction, he possesses unique qualifications as a stained/leaded glass artist/designer, so is able to correlate that and bring that expertise to the table, and thus offer the most optimum advice to prospective clients, property owners, contractors, superintendents, architects, interior designers and other building industry professionals and tradesmen.
Therefore, it behooves one very much to take advantage of the no-strings-attached complimentary consultations of Progressive Art Stained Glass Studio.
Domes have a very special quality and significance in architecture.
In ancient Greece, Rome and Persia, their circular shape represented the heavens and eternity. At the famous Pantheon in Rome, at the apex of the dome is a circular opening known as an “oculus” (which means “eye”) that allows light to shine through. The penetration of light signified a “divine” presence.
This also denoted a protective association with domes, as domes have an encompassing nature, and because of their placement and location above one, they exude a sort of quality of “watching over” and shielding one against harm, negativity or undersirable forces. Even the Hebrew term “kippah” (the skullcap or yamulke worn in the Jewish faith) literally means “dome”.
Because of the sublime aesthetic characteristic of stained/leaded glass, since its revival in the nineteenth century into the contemporary world, it almost seems natural that it would evolve into a skylight dome in design.
As they are quite technical and difficult to design and construct properly, and as there are very few artisans capable of doing so, stained/leaded glass skylight domes are considered quite prestigious. To have one is a distinguishing phenomenon.
Simon Simonian is quite renowned for his incomparable stained/leaded glass skylight domes, and for a reason.
Not only does he possess architectural and construction knowledge, experience and proficiency in addition to his fine art talent, but he has a very safeguarded proprietary method for achieving such structures which cannot be duplicated. The secrets of his trade are so intrinsic that they cannot even be taught or communicated even if he wanted to.
Let’s examine the fact that a dome is an entirely ROUND structure. However, one comprised of leaded glass is factually composed of individual pieces of glass that are FLAT. Therefore, the entire structure should look somewhat faceted or angled, technically speaking, such as with geodesic domes.
But the appearance of Simonian’s domes are round. There is fluidity in the lines, which make them appear curvilinear.
This characteristic is vital, for it’s the roundness which imparts the aesthetic integrity.
This curvilinear appearance is actually an optical illusion. How it is achieved remains not to be known intellectually or analytically, but to be experienced aesthetically, possibly even transcendentally, by the viewer.
A stained/leaded glass skylight dome is a statement. It is grand and majestic but not in an overbearing manner, but in a stately and sophisticated manner. It is bold, yet subtle. It is tangible yet otherworldly. It is a crowning jewel and a highlight, a focal point but does not detract from the integrity of its environment, but instead enhances it greatly.
In estates, stained/leaded glass skylight domes are usually located in the foyer (entry), but can be incorporated into most types of rooms.
They are composed of a thousand or several thousand individual pieces of glass. One of our largest domes was comprised of nearly 10,000 individual pieces of glass! It spans 20 feet in diameter and has a height of 5 feet, hovering 20 feet above in a grand entrance to an estate in Bel Air Crest, California.
One uncommon but intriguing variation is the inverted dome, where its three-dimensional orientation is convex as opposed to concave. Simonian has even designed and constructed a hybrid dome, having incorporated an inverted smaller one into the apex of a larger dome.
One extremely rare structure is the oval-shaped dome. These are considered architectural marvels. Simonian is capable of and has designed and constructed such domes, one of the very few people in the world to have done so.
Progressive Art Stained Glass Studio is one of the world’s foremost studios in stained/leaded glass skylight domes.
Simon Simonian’s architectural and building experience and knowledge coupled with his artistic endowment and passion for creating impressive functional art in this medium of stained/leaded glass has blossomed into preeminence in skylight domes.
It all started shortly after our formation when a prominent developer of luxury properties actively sought out a qualified individual to repair a stained/leaded glass skylight dome that was newly (and obviously very poorly) made and already damaged in one of his investment properties.
He’d searched literally everywhere, with all others declining on the grounds that they lacked the ability to do this task, as repairing a skylight dome is something that requires specific expertise. Confident in his ability, Simon took on the job, and successfully repaired and salvaged the dome.
The developer was so impressed that he decided to commission Simon exclusively to design and create original domes for all of his various luxury development projects, which he did all the way up to his retirement. He even claimed that these domes were a pivotal factor in these estates selling.
Word had spread and other developers of very high-end residential properties sought Simon for his original skylight domes.
A “skylight” is defined as: a window installed in a roof or ceiling.
When stained/leaded glass is made into such skylights, domes or otherwise, it becomes a very special and outstanding feature of its environment.
But how such beautiful structures are integrated into buildings is quite often misunderstood or not understood.
Let’s shed some clarity.
The first thing to realize is the basic categories of such structures. Stained/leaded glass skylights can be two-dimensional (flat) or three-dimensional.
Flat ones are usually rectangular (linear) or circular/oval (curvilinear). But other geometric shapes are also possible, as are even irregular ones.
Three-dimensional ones can be semicircular* (domes) or they can be of linear geometric shapes (e.g., triangular, trapezoidal, hexagonal, etc.)
The second thing to realize is that stained/leaded glass skylights can be structured into ceilings (interior) or roofs (exterior).
This gives our basic orientation.
Roofs can be horizontal or slanted. Three-dimensional skylights are usually reserved for horizontal orientations and not slanted ones.
With interior skylights/domes, they are situated at the ceiling, and, if three-dimensional, between the ceiling and the roof, in which case their height must fit comfortably into the attic space. As the roof blocks out the sun, they are illuminated artificially.
With exterior skylights/domes, they are situated at the roof, and, especially if three-dimensional, are encased by a special closed area to house them and protect them against the elements. This is comparable to a customized attic space in appearance and function. It is usually covered in a sturdy transparent material (a regular skylight) to allow accessibility to natural sunlight. However, such structures also have artificial lighting so as to allow them to be illuminated during periods lacking sunlight, such as eveningtime or nighttime or overcast skies.
As stained/leaded glass skylights/domes are popular heavily in affluent residences and estates, the availability of artificial lighting allows them to be visible in all their glory at any time, day or night, perfect for entertaining or just enjoying one’s residence 24/7.
The proper installation and lighting of such structures requires excellent and knowledgeable coordination, planning and consultation with contractors, superintendents, architects, electricians, lighting engineers and the like. Progressive Art Stained Glass Studio possesses unmatched qualifications with the right expertise required for this.
* Domes are not truly semicircular as “semicircle” refers to half of a sphere. They are actually slightly less than half, but we use “semicircular” here purely as a descriptive term.
