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Category: 2017

Article by Benoît Dusart in L’Art Même

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3rd of 3 projects at été 78

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Hommage à Edwin H. Land, 2017

Halogen lamps, special white lamp designed in collaboration with GVA lighting (model FL-100), various objects

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The space is illuminated by two different white lights that have the same whiteness and color temperature (about 3000K). Common colorful objects are displayed on two pedestals: fruits, flowers, color samples, beer bottles, etc.

The objects illuminated by the special white light dramatically change: pilsener beer look like sparkling rosé, dull blue objects appear bright turquoise, warm yellow plastic becomes bright orange, lemons become whitish, dark purple flowers appear dullish blue.

All colors except for white, grey and black are changing. People with “normal” color vision are experiencing something like color-blindness. People’s skin and blue eyes also change, they somehow appear more beautiful…

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Here’s the text written for the show (in French):

Opening, 2nd of 3 projets @ été78

There’s still a chance to see this 2nd chapter of the exhibition on Saturday March 11 at été78, rue de l’été 78, 1050 Brussels.

Exhibition views, été78, 1st of “3 projets”

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Views from the 1st part of the exhibition “Mémoire d’atelier sur trois projets” at été78 in Brussels. The text draft is available here: Soleil de minuit text

Mémoire d’atelier sur trois projets @ été78, Bruxelles – vernissage 18/02/2017

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3 exhibitions in a row at ETE78, rue de l’été n°78, 1050 Brussels!

Vernissage Feb. 18th from 4PM to 8PM

 

Prototype-window

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I just received these two pictures from the glass studio Debongnie – my partner in stained-glass. A prototype-window that will be presented next week for the final of a competition.

 

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Rosace, quasicristal dodécagonal

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Variations of the visual appearance of a stained glass window during the course of the sun in the sky.

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Le ciel, le soleil et un vitrail orienté Est

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[Document in French] A timeline of the visual appreance of a stained-glass, in parallel the colors of the Sunlight and the colors of the Sky, during a sunny summer day.

(PC : click-droit > “ouvrir l’image dans un nouvel onglet” pour voir l’image en grand)

(right-click > “open image in a new tab” to zoom)

Sunlight / Stained-glass

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Simulation of the changing visual appearance of an East-oriented Stained-glass window depending on the daylight color and orientation:

7:30 AM: before the sun rises, the sky illuminates the window

7:45 AM: a yellow Sunlight reaches the window

8:00 AM: the Sunlight is already whiter

12:00 AM: the Sunlight is white

12:30 AM: the Sunlight disappears, only the sky illuminates the window

4:00 PM: idem

6:00 & 8:00 PM: the sky’s color changes slightly

All this has been simulated using physical data about the light of the Sun and the Sky in the south of France, and physical data acquired by scanning colored glass with a spectrophotometer.

 

Glass-light interactions on the prototype

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With the studio Debongnie (http://vitraux-debongnie.be), we are working on a Stained-Glass prototype to be installed in a 13th Century Cistercian Abbey in the south of France. My project passed the pre-selection and we are in the final of the competition against 2 other duos artist/glass-studio.

Cistercians didn’t put colors, pictures or crosses on their windows. Their windows were supposedly « albae fiant, et sine crucibus et pricturis » (white – or colorless(?) -, and without cross and representations). Very few original 12 & 13th Century Cistercian windows survived and we know little about how they interpreted this rule.

My proposal is to produce “white light” in the Abbey, by a combination of different optical types and colors: transparent light greenish blue, light blue and light reddish blue mostly, and opalescent whites that diffuse light and are less transparent.

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METAMORPHOSIS

During the course of a sunny day, the light will vary. The visual appearance of the window will be changing a lot because of this variation.

Behind the window is a yellowish-white stone-wall. Before noon the window and the wall behind it are in the shadow. Around noon, the sun illuminates the window directly and the opal glass are becoming very bright. During the afternoon the wall behind becomes illuminated, allowing the transparent colors to appear. Finally around 4-5PM the shadow moves on the window and the opal glass stops being so bright.

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GOLD + BLUE = WHITE LIGHT

Interestingly, opal glass will appear white but will project amber light on the walls or the floor of the building. The average color of the light passing through the window has been computed to be white. The glass selected last month in the factory Lamberts in Waldsassen were chosen to produce this effect, and the situation has been simulated with the light spectrum as measured last summer in the south of France.

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BLUE SKY REVEALS THE COLORS

Finally, there’s the possibility of seeing the sky from an angle in the Abbey. When people will look at the window with the sky behind, it will reveal new colors again. What looked almost colorless will appear as different shades of blue and yellowish whites.

 

Picture of the first third of the window-prototype

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Finally, the glass version !

This is a stained glass element made with a traditional technique. The black lines are a combination of hand painted “grisaille” and lead.

I’ll soon describe the entire project in a longer post, stay tuned ;)

 

The map!

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the map of the stained-glass

This is really the result of intense work during 4 1/2 months. More news soon.

…working on a Stained-Glass prototype

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A paper model with “scanned” and calculated colors for the blue sky behind…

Below, the left one simulates a cloudy sky, the right one the blue sky

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This is the design made by something like 5000 lines of code in Python 2.7 ;)

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Opal glass

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Why does it has two colors? The opal layer scatters blue light, white light passing through it appears orange (some blue is missing). Exactly the same phenomenon that explains why the sky is blue and the sun yellow, orange, red at sunset.

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