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The Special Spaces Project

 

Nicole Lovenjak

Concrete and Coloured Light: The Work of Christopher Wallis in the Social Science Centre Atrium Stairwell

 

As one walks north through The University of Western Ontario’s Concrete Beach and into the main entrance of the Social Science Centre (figure 1), one feels the overwhelming presence of grey concrete. Incorporated into the interior design of the Social Science Centre are the exterior elements of the building and the surrounding concrete environment (figure 2). This is most notably seen in the concrete side panels of the main squared stairwell and the same red brick used for the entrance as the stairwell steps. In great contrast to the structure of the stairwell is another design feature which works with the elements of light and transparency.

This installation, completed in August of 1986 by stained glass artist Christopher Wallis, includes the arrangement of coloured glass within a thirty-four square foot concrete grid on the atrium ceiling (figure 3). Wallis employs a distinctive coloured light effect by placing sandblasted safety glass at differing but precise angles to diffuse and modulate the coloured light.

Since Wallis’ arrival to Canada from London, England in 1956, he has designed more than 800 stained glass windows. His work includes, among many others, windows for St. Paul’s Anglican Church in London, Christ Church Anglican Cathedral and Government House in Victoria, Rideau Hall in Ottawa and Osgoode Hall in Toronto. He also established his own business, Christopher Wallis Stained Glass Ltd., located in Grand Bend, Ontario.

The stairwell and Wallis’ installation contrast distinctive design features: the neutral grey of the concrete versus the colourful light of the stained glass. Thinking just in terms of the design principle of contrast, this creates a dazzling effect. I feel that the installation is intended to function much in the same way as one would walk into a dark church interior and be truly moved by the brightly coloured stained glass walls and ceiling. Wallis’ work is quite unique, especially in reference to his more traditional stained glass works for church windows. The different angles of the sandblasted glass, as opposed to flat glass, give a playful nature to the piece. However, the concrete dominates this stairwell and while the glass window does provide a burst of colour, this is only at the very top of the stairwell.

Wallis’ design and diffusion of light leads to much confusion: unlike a well-lit atrium that allows many to enjoy the benefits of natural light, this skylight designed within a concrete grid and surrounded by even more concrete of the stair paneling allows very little light to penetrate through past the stairwell (Massey 189). The grid and the opaque safety glass trap the light making the atrium darker instead of brighter. It appears that intended use does not coincide with actual use. The intention of the design of the coloured glass atrium was to provide ample light levels to meet the needs of students in the study area. While the atrium does effectively light up the traveling space of the staircase, it stops there. Light cannot travel through the opaque concrete and becomes trapped in the stairwell.

The colours of the stained glass do not travel well down into the stairwell, for each descending level, the natural light is reduced significantly (figure 4). Natural sunlight does in fact reach the bottom floor where a food court now exists, but only hits three or four tables directly below the skylight. As well, very few study nooks make use of the natural light source. For example on the second floor, study areas off from the stairwell are lit using fluorescent lighting.

The stained glass is paired with four thin fabric panels hanging from the ceiling grid. These panels repeat the form of a square: extending the length from the grid down the first floor, two panels run parallel to each other, and the other two are perpendicular to the first two. This vertical element of the panels suggests to the viewer to look up towards the stained glass grid feature, a privileged sight for only those who do look up. The use of the panels might also be in place to suggest transparency and how light can also pass through the fabric to diffuse light (figure 5). Nevertheless, this slightly odd pairing seems like an afterthought and not entirely harmonious with the stained glass grid. The intensity of colour is much duller than that of the stained glass and the panels appear faded, stained and worn.

The landings of the staircase also give the viewer multiple vantage points in which one can stop and look at the entire installation while he or she ascends or descends the staircase. This also means that one can easily walk around the piece and receive a three hundred and sixty degree view of all the varied angles of the sandblasted glass. However, those not able to use the stairwell would miss viewing the panels in the round or would be unable to use the top landing to view the installation up close. The placement of the panels in the center of the staircase allows for swift traffic flow, but since the stairwell is a traveling space, this means that Wallis’ piece may be frequently overlooked. Many times, an atrium allows the external environment to be brought into the interior (Massey 189). For the Social Science Centre this begins with the concrete slabs but because of this, natural light cannot access more study areas close to the stairwell. What remains quite interesting about the space is the well crafted design idea of the contrast between the opaque, stark, neutral concrete stairwell and the bright coloured stained glass.

Citations:
Massey, Anne. Interior Design Since 1900, 3rd edition. New York: Thames and Hudson Inc., 2008.

 


 

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The University of Western Ontario
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