Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.By Aimee Farrell\u201cWe are all trying to view reality through a filter,\u201d says Parisian interior designer Pierre Marie. \u201cAnd stained glass has a kind of magic that enables you to see the outside world through this beautiful, dreamlike lens.\u201d Its real power? \u201cIn telling stories. If it is too abstract or conceptual, then what stories are we leaving behind?\u201dMarie is one of a new cohort of designers and decorators playing with the resplendent, if restrictive, charms of stained glass. \u201cIts limitations are its strength,\u201d said Edward Burne-Jones, the Pre-Raphaelite pioneer whose richly decorative windows formed the bedrock of a major Arts and Crafts revival of the art in the 19th century. Stained glass had spent centuries in the design doldrums when Burne-Jones and others, working with William Morris, beamed its dazzlingly colourful rays beyond churches and into Victorian homes.\u00a0Marie\u2019s compelling glass designs \u2014 created in collaboration with stained-glass specialist Ateliers Duchemin \u2014 springboard from this history. They include an Art Nouveau embodiment in his newly refurbished headquarters and a complex 16-panel piece for the private salon of Herm\u00e8s\u2019s recently opened Vienna store. But they also take stained glass design into new narrative terrain. A diptych in Marie\u2019s own Nouvelle Ath\u00e8nes home preserves his Algerian partner\u2019s crimson-tinged memory of a Saharan desert sandstorm. Vividly crystalline folding screens offer instant gratification: no installation required.\u00a0Stained glass as both a visual reminder of the history of a home and a reflection of the stories of its inhabitant is a dichotomy Texas-raised, London-based interior designer Brandon Schubert has drawn on to scintillating effect. He advises taking cues from the architecture of the setting, weaving in personal narratives and carefully considering the impact on the existing interior. \u201cRed and blue glass has a huge effect on the quality of light; yellow and green glass less so,\u201d says Schubert, who works with Herefordshire conservationist and artist Jim Budd. Recent striking pieces include a privacy screen in a client\u2019s bathroom and decorative glass reinstated in the hallway of a late Victorian London home. \u201cThe colours you choose depend entirely on the energy level you\u2019re trying to create. It\u2019s a work of art you will see every day; it represents you.\u201d\u00a0Patrick Williams, of Bath-based interior design studio Berdoulat, took that sentiment to heart when he commissioned artisan Jamie Clark to make a stained glass panel to mark the 70th birthday of his late father. A memento of his favourite things, it features 70 roses, asparagus spears and almond blossom. Williams has long been fascinated by stained glass, employing it in residential projects including as a room divider in a shared children\u2019s bedroom, complete with little roundels depicting the occupants in Pre-Raphaelite-style portraits, and pocket doors mirroring the swans and reeds of a client\u2019s watery living room vista of Hampstead ponds. The colours you choose depend entirely on the energy level you\u2019re trying to create. It\u2019s a work of art you will see every day; it represents you\u201cAs well as creating beautiful shards of coloured light, coming home at night, when it\u2019s backlit, it forms a warm, welcoming glow,\u201d he says.\u00a0Stained glass\u2019s sensual, rich appeal is similarly celebrated by the architectural interior designer Fran\u00e7ois-Joseph Graf, who drew on the Morris era when installing windows for London hotel At Sloane. The windows are pared back in their execution and informed by the vernacular of their surroundings. To Graf they are a testament to a quintessentially English, quiet elegance \u2014 despite being made in Chartres by Ateliers Loire. \u201cAs a form of privacy in the home, they\u2019re far better than a pair of fluffy curtains,\u201d says Graf, who is currently working on colourful skylight and window designs for a turn-of-the-century Monte Carlo home.\u00a0\u00a0\u201cIt\u2019s such a democratic form of decorative art,\u201d says Juliette MacDonald, professor of craft history and theory at the University of Edinburgh, and co-author of forthcoming book Illuminating Stained Glass. \u201cAnyone can walk into a church and experience that moving moment when the sun\u2019s rays fill the internal space with colour and drama.\u201d There\u2019s a very particular wonder conjured by more medieval creations \u2014 glass was occasionally blended with powdered gold, rubies, sapphires or lapis, in contrast to the more prosaic metal oxides of today.\u00a0\u00a0Although historic stained glass window making is on the red list of endangered crafts (as of 2023, The British Society of Master Glass Painters has 61 accredited members) MacDonald has observed a renewed interest in recent years. \u201cPeople are recognising that this timeless craft is not opposed to contemporary design \u2014 it fits well into homes,\u201d she says.\u00a0But would-be practitioners beware: it took three years of evening classes for Benedict Hughes, one half of London design duo Amata Benedict, to create his own painterly window quartet. An ode to Greek philosopher Empedocles and his theory that the world is composed of four elements \u2014 fire, air, earth, and water \u2014 the workshop window commands more comments from visitors than anything else. \u201cIt brings this ecclesiastical air into the most mundane space,\u201d he says. \u201cIt gives life.\u201d\u00a0Find out about our latest stories first \u2014 follow @ft_houseandhome on Instagram<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.By Aimee Farrell\u201cWe are all trying to view reality through a filter,\u201d says Parisian interior designer Pierre Marie. \u201cAnd stained glass has a kind of magic<\/p>\n","protected":false},"author":1,"featured_media":216301,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-216300","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/216300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=216300"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/216300\/revisions"}],"predecessor-version":[{"id":216302,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/216300\/revisions\/216302"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/216301"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=216300"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=216300"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=216300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}