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WoodLtd® Studio
offers wide selection of interior and exterior doors, French patio
doors, front entry doors, bi-fold doors, interior wood doors,
sliding doors, garage doors and more. We manufacture custom stained
glass doors and custom art glass doors, beveled glass and French
doors custom designed. WoodLtd® Studio doors are made to order with
the same attention and care we give our windows. The only
difference? Every door and window comes standard with tempered glass
for longevity and protection. Please click on any door below to see
the large image.
Triple insulated glass panels:
our windows consist of a double or triple-thickness tempered and
thick glass panel. The bevel glass panels use clear tempered glass
on the inside, a beveled glass panel assembled using brass channel
is in the middle of the glass unit, and obscure, tempered glass is
on the outside. We can supply these glass panels with clear tempered
glass on both sides (instead of the obscure glass) where privacy is
not necessary
Double insulated glass panels: window may consist of a double
thickness tempered thick glass panel unit. We use tempered safety
glass, to which we permanently fire the beautiful glass design. Next
we permanently secure another piece of clear tempered safety glass
behind this first piece. WoodLtd® insulated glass will provide the
beauty and quality that your beautiful home demands.
History: hollow casting of relief panels
was revived in the 12th century in southern Italy, notably by Barisanus of Trani and carried northward by artists such as Bonanno
of Pisa. In 14th-century Tuscany the principal examples are the
pairs of sculptured, paneled bronze doors on the Florentine
Baptistery; the Gothic south doors are by Andrea Pisano, and the
north doors by Lorenzo Ghiberti. Ghiberti's east doors have come to
be known as the “Gates of Paradise” (“Porta del Paradiso”). Bronze
doors with relief panelsby Antonio Filarete were cast for St.
Peter's Basilica, Rome. Bronze doors were not generally used in
northwestern Europe until the 18th century. The first monumental
bronze doors in the United States were erected in 1863 in the
Capitol at Washington, D.C.
Wood
Door was doubtless the
most common in antiquity. Archaeological and literary evidence indicate
its prevalence in Egypt and Mesopotamia. According to Pompeian murals
and surviving fragments, contemporary doors looked much like modern
wood-paneled doors; they were constructed of stiles (vertical beams) and
rails (horizontal beams) framed together to support panels and
occasionally equipped with locks and hinges. This Roman type of door was
adopted in Islamic countries. In China the wooden door usually consisted
of two panels, the lower one solid and the upper one a wooden lattice
backed with paper. The traditional Japanese shoji was a wood-framed,
paper-covered sliding panel.
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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© 2008 WoodCiti® Group Thailand
