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Maximize a room's
space without compromising on quality with our out-swing French
door. Ideal for areas where an in-swing door would clutter the flow
of a room, this door features an engineered design approach: a
strong, stable stile ensures smooth operation while finger-joint
engineering increase stability. Dowel-panel construction makes for
stronger corner assemblies and substantial stiles and rails increase
structural durability and enhance aesthetics.
Brief History: specialized modern doors, the
louvered (or blind) door and the screen door have been used
primarily in the United States. The Dutch door, a door cut in two
near the middle, allowing the upper half to open while the lower
half remains closed, descends from a traditional Flemish-Dutch type.
The half door, being approximately half height and hung near the
centre of the doorway, was especially popular in the 19th-century
American West.
Glass an inorganic solid material
that is usually transparent or translucent as well as hard, brittle,
and impervious to the natural elements. Glass has been made into
practical and decorative objects since ancient times, and it is
still very important in applications as disparate as building
construction, house-wares, and telecommunications. It is made by
cooling molten ingredients such as silica sand with sufficient
rapidity to prevent the formation of visible crystals.
The varieties of glass differ widely in chemical composition and in
physical qualities. Most varieties, however, have certain qualities
in common. They pass through a viscous stage in cooling from a state
of fluidity; they develop effects of color when the glass mixtures
are fused with certain metallic oxides; they are, when cold, poor
conductors both of electricity and of heat; most types are easily
fractured by a blow or shock and show a conchoidal fracture; they
are but slightly affected by ordinary solvents but are readily
attacked by hydrofluoric acid
Art Glass: normally means the
modern art glass movement in which individual artists working alone
or with a few assistants to create works from molten glass in
relatively small furnaces of a few hundred pounds of glass. It began
in the early 1960s and showed continued growth through the end of
the century. The glass objects created are not primarily utilitarian
but are intended to make a sculptural or decorative statement. On
the market, their prices may range from a few hundred to tens of
thousands of dollars (US). The best known of the moderns is Dale
Chihuly who uses many of the best independent glass workers to
create his large and colorful works. Prior to the early 1960s, art
glass would have referred to glass made for decorative use, usually
by teams of factory workers, taking glass from furnaces with a
thousand or more pounds of glass. This form of art glass, of which
Tiffany and Steuben in the U.S.A., Gall in France and Hoya Crystal
in Japan and Kosta Boda in Sweden are perhaps the best known, grew
out of the factory system in which all glass objects were hand or
mold blown by teams of 4 or more men. In fact, the turn of the 19th
Century was the height of the old art glass movement while the
factory glass blowers were being replaced by mechanical bottle
blowing and continuous window glass. In the factory, every member of
the team does the same job repeatedly turning out dozens or hundreds
of the same item in a days work. In an art glass studio, ideally,
"production work" (goblets, vases, pitchers, art marbles etc.) shows
more hand worked variation than was allowed in pure factory work
environment and each piece shows some of the lead glass worker's
creativity, the gaffer. In addition to smaller production pieces,
most studio glass workers also try to turn out larger individual
pieces which might be the equivalent of a master piece in the
journeyman system of guild and factory work
Stained Glass: in general,
windows made of colored glass. To a large extent, the name is a
misnomer, for staining is only one of the methods of coloring
employed, and the best medieval glass made little use of it.
Background: Colored glass as window decoration is of great antiquity
in East Asia. Muslim designers fitted small pieces of it into
intricate window traceries of stone, wood, or plaster, and this type
of window mosaic is still in use. Colored glass was used in windows
of Christian churches as early as the 5th cent., and pictorial glass
as early as the 10th cent. Medieval Stained Glass: With the
development of medieval architecture, stained glass assumed a unique
structural and symbolic importance. As the Romanesque massiveness of
the wall was eliminated, the use of glass was expanded. It was
integrated with the lofty vertical elements of Gothic architecture,
thus providing greater illumination. Symbolically, it was regarded
as a manifestation of divine light. In these transparent mosaics,
biblical history and church dogmas were portrayed with great
effectiveness. Resplendent in its material and spiritual richness,
stained glass became one of the most beautiful forms of medieval
artistic expression. The early glaziers followed a sketched cartoon
for their window design. They used a red-hot iron for cutting the
glass to the required pieces, afterward firing in the kiln those
that had received painted lines and shadings. The pieces were then
fitted into the channeled lead strips, the leads soldered together
at junction points, and the whole installed in a bracing framework
of iron called the armature. The lead strips were adjusted to the
articulation of the design and formed an integral part of it. The
coloring of glass was achieved in the melting pot, where metallic
oxides were fused with the glass. The metallic ores, although at
first crude and limited, ultimately produced admirable color
variations. The glass, available only in small pieces, gave thereby
a jewellike quality to the colors. The pieces, by their uneven
surfaces and varying thicknesses, gave the advantage of irregular
and scintillating refractions of light. Only fragments remain of
glass from the 11th cent. The period of greatest achievement in the
art extended from 1150 to 1250. Some examples from the 12th cent.
can be seen in the windows of Saint-Denis (Paris), Chartres, and Le
Mans in France, as well as at Canterbury and at York Minster in
England. The windows of this period were characterized by rich dark
colors, single figures, and scrollwork. A recurrent design, that of
the Jesse tree, continued in use until the 16th cent. By the
beginning of the 13th cent. figures were abundantly used in scenes,
being enclosed in geometrical medallions, such as circles, lozenges,
or quatrefoils. A window was composed of many of these medallions.
Color became more detailed and varied, and the prevailing scheme of
red, blue, green, and purple, with small amounts of white, created
tense and vibrant harmonies. In France the cathedral at Chartres is
an unrivaled treasury of 13th-century glass; Sainte-Chapelle, Paris,
is a triumph of architecture in which the walls present an illusion
of being made entirely of fragile, exquisite stained glass. In
England there are outstanding windows at York, Lincoln, and
Salisbury. In the 14th cent. as medieval glass-making waned,
medallion compositions were replaced by a single figure framed in
canopied shrines. Many windows showed clear areas designed in
grisaille
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