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Each of my glass commissions is unique and is informed
by, amongst other things, the ethos of the clients,
the budget, the location, function and aspect of the
building together with input from the staff and users.
Most of my designs are descriptive in that the imagery
usually relates somehow to the provenance, history
or function of the building.
Although the procedure is never identical from one
commission to the next, most tend to follow the pattern
below.
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| Initial Contact: |
Usually, a commissioner
will have identified a location or site for the glasswork.
It is useful to know the available budget at this
stage. |
| First Meeting: |
I’ll arrange to meet the client
either on site or at their office. We’ll discuss
the technical details of the commission, possible techniques,
perhaps talk it through with the architects, look at
site plans etc. If the building already exists, I will
take accurate measurements of the apertures, take some
photographs and generally get a feel for the place.
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| Consultation: |
I’ll meet and discuss the ideas
for the design with the relevant stakeholders. In addition
to the Client, the architect and other professionals
involved, it is generally beneficial if the staff or
users of a building feel that they have had some input
into the work. Sometimes there can be conflicting requirements
that need to be resolved. |
| Research: |
Usually the location and function of
a building will suggest a theme for the design. In the
light of the results of the consultation process, I
will then research appropriate visual material. This
may involve visits to public record offices, libraries,
collections etc. |
| Design Stage: |
When I’ve collected an adequate
amount of source material, I’ll return to my studio
and manipulate it to develop an initial design. I usually
intend that the designs are beautiful and stimulating,
but also contain a depth of meaning. The design will
be developed on paper at one-tenth scale or smaller,
depending on the size of the commission. Occasionally,
when appropriate, I may make a three-dimensional model
of the window, to illustrate how the glass will complement
the architecture. |
| Presentation: |
The Design will then be presented to
the Client(s) for discussion. I’ll explain the
methodology and meaning of the work, and we will listen
to any feedback. If the Client wants me to make some
changes, I’ll go away and make modifications.
These two stages will be repeated until the Design is
agreed. |
| Sampling: |
Depending on the size of the commission,
I may produce a full-scale sample of the intended work
in order to check colours etc, which I’ll show
to the Client for approval. |
| Manufacture: |
After a final check of the exact glass sizes, an approved
Design will be realised by one, or more, of the techniques
below, and by exploring possible surface treatments.
Where possible, I prefer to make my work myself in my
studio, because it gives me more control over the manufacturing
processes. However, the scale or process required for
some commissions is too large for me to accommodate,
and these are made for me by other specialist glass
studios. |
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Delivery & Installation:
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The glass will be delivered to site. Sometimes I
organise my own team of fitters whilst, at other times,
the glass will be installed by the contract glaziers. |
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For any commission, it is
usually best to assess the available budget and then
use that information to determine an appropriate technique
and coverage.
In all cases, the eventual
cost will be determined by the size of the window,
the technique required, the complexity of the Design,
the location, delivery and installation charges and
other overheads.
In addition, I usually charge
a Design fee, and I am registered for VAT, currently
17.5%.
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As a very rough rule
of thumb, the following table may give an approximate estimation
of costs.
| treatment |
per square metre |
| Decorated clear float glass eg slumped, acid-etched
or sandblasted: |
£300 |
| Coloured float glass: |
£1000 |
| Traditional hand-blown coloured glass: |
£2500 |
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