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Report by Architectural Glass Design Australia Inc. – March 2009
Topic : The current state of the Leadlight, Stained Glass and Architectural Glass Industry
• For the purpose of this report the term “architectural glass” refers to leadlight, stained glass, kiln formed, sandblasted, laminated and decorative glass used as an architectural component, which is installed or fitted into a building to form part of the structure.
• The term “AGDA” refers to Architectural Glass Design Australia Inc., the industry representative body formed in 2002.
• This report presents information as follows :
1. An overview of the industry
2. Reasons for the decline in the industry
3. A strategy to address the decline and take the industry forward
Overview
The heritage of the modern architectural glass industry is to be found in the mainly ecclesiastical work of the distant past, which served a very important purpose in its time, being intended to literally “enlighten” people. Establishment of the industry in Australia began in the 1850s with a short-lived venture in South Australia followed by William Falconer's arrival in Sydney and the Melbourne firm, Ferguson and Urie, expanding their plumbing business into stained glass in the 1860s. As wealth and permanent settlement increased in the wake of the gold rush, stained glass proliferated in churches, civic and domestic buildings. Among the prominent studios to produce significant installations were William Montgomery and Brooks, Robinson & Co. in Melbourne and Lyon & Cottier and Falconer & Ashwin in Sydney. Much of their work survives today, as vital and beautiful as when it was first created. Post-Second World War a shortage of tradesmen, materials and money brought a period of austerity to architecture and building, which caused a huge decline in the number of studios and in the use of architectural glass that was to continue until the 1980s.
An architectural and decorating trend of the late 1970’s to mid 1990’s, where many period style homes were renovated and/or built, and which included a renewed interest in antiques and decoration of the past, saw a huge increase in popularity for that period of time, peaking in the late 1980’s to the early 1990’s. This period also saw a large number of people completing short-term hobby classes in leadlight and setting up businesses, or completing work for friends and family on a part time basis. All of this added to the education and knowledge of the general public about the products of our industry, and contributed to their continued use. In 1997 Holmesglen TAFE at Chadstone introduced an apprenticeship course, Certificate 111 in Leadlighting and Stained Glass. This represented recognition of the resurgence of leadlighting, and the need for skills to be taught at a more advanced level than those found at hobby course level.
Unfortunately by 2003 the tide had turned and industry sources were noting a decline of around 15% in industry sales. It is difficult to assess how many jobs were affected by the decline, however several major studios closed at this time. For example, one particular studio had been operating since 1986, and by 1995 was employing 13 people; by the end of 2003 the number of employees was reduced to one, and entailed the closure of a shopfront studio. By 2008 industry sources were citing a further 47% downturn, with a total of approximately 60 – 65 studios having closed down over the past eight years. This has obviously had a major detrimental impact on employment within the industry.
Reasons for the decline
Although there are many reasons for the decline in our industry, there are two main areas to be addressed:
1. The change in architecture and decorating styles, away from the period features of the 1980’s and 1990’s, to a much more contemporary minimalist trend over recent years. Decorating features were downplayed, and unfortunately the perception of design and construction professionals, including architects, was generally that architectural glass was a period style installation and not suited to the new styles. The industry itself failed to demonstrate the rich potential of all of its products as contemporary architectural features. Very few practitioners promoted the concept of modern, simplistic design in leadlight and stained glass; only kiln formed glass really found a market in contemporary building, and only by a select few studios. Consequently while the restoration/repair sector of the industry is an on-going area, it is a limited market, well serviced by several studios; but the market for new work, the future of the industry, continues to decline and must be addressed if the industry is to survive.
2. Added to the above reason is the massive amount of misinformation which has spread through the construction and glazing industries about leadlight. This has occurred mainly due to an on-going situation with Standards Australia. Our industry belongs to two main areas – the visual arts/design fields, and the construction industry. To maximize the potential of our product, we must satisfy the requirements of both – the aesthetic and design elements of the first, and the legal and practical requirements of the second. Given that the construction industry is a highly regulated one and governed by many restrictions, our industry has found itself constantly affected by decisions made by Australian Standards, the Australian Building Codes Board and the Energy Efficiency initiatives, primarily without any consultation with our industry or any thought or regard given to the effect of these decisions on our diminishing industry. Lengthy battles with Standards in particular, over recent years, has led to the misperceptions mentioned above – that leadlights are not “legal” and that our products are not able to conform to the required buildings codes and standards. This is nonsense, but is constantly perpetuated by builders, architects and glaziers in particular. AGDA has tried to counter this misinformation but lacks the resources to do so as widely and as effectively as is required.
Other factors in the decline of the industry include ;
• The increase in importation of inexpensive glass products from Asia;
• The promotion of new types of glass by large glazing companies which adds to the apparent confusion regarding the viability of our products; and
• The decreasing recognition and knowledge of our products by the general public. Past generations usually at least recognized ecclesiastical stained glass and had some awareness; younger people today are much less likely to have been exposed to architectural glass products.
Strategy:
1. Background about AGDA
2. Aims of AGDA
3. Exhibition
4. Proposed future initiatives ______________________________________________________________________________ 1. Background about AGDA
The origins of Architectural Glass Design Australia (formerly the Australian and New Zealand Leadlight and Stained Glass Association) are to be found in 2002, when Bronwyn Hughes and Liz Coleman of Holmesglen TAFE, gathered members of the industry together at a meeting called in response to a Draft proposing changes to Australian Standard 1288 Glass and Glazing. The draft, had it been adopted, would have forced the double glazing of all front doors and entryways using leadlight, amongst other restrictions. The Association fought a three year battle with Standards, with the result being a victory for our industry; Standards Australia listening to the many proposals submitted by the Association, and modifying the restrictions placed on leadlight and stained glass. The threat from Standards Australia taught a valuable lesson: that if the industry joins together to act as a cohesive body, it is possible to protect its own interests; to not do so, is to be open to intervention and influence from others who do not have the interests of this industry as a priority. It is important that Government and other bodies have a recognisable representative of the industry to address when necessary.
To facilitate this, AGDA is joining together with the members of the industry; the training provider Holmesglen Institute of TAFE; and major suppliers and wholesalers to the industry, to work together to ensure a future for the industry.
For the seven years AGDA has existed, the organization has been run by a changing committee of seven members of the industry, who have volunteered their time and efforts to address the issues facing the industry. But the task has become too great for volunteers, as dedicated and committed as they have been; there is simply too much to do and too many areas to be attended to, if a difference is to be made in the state of the industry. Limited sponsorship and membership subscriptions have initially funded the activities of AGDA, however with the diminishing numbers in the industry self-funding is impractical and not achievable. AGDA needs major funding to continue this very important work. If our industry continues to diminish at the current rate, we may not survive as an industry at all.
2. Aims of AGDA
There are two very important strands of our industry – the first being the traditional, period and ecclesiastical heritage of stained glass, which gives us the responsibility to perpetuate the skills required to conserve existing glass art. We must also train young people to ensure these skills survive, and that conservation and restoration is effected in the correct and proper manner in the future. This is a huge responsibility on our current industry, that we must not let our skills and practices disappear. Conservation of stained glass will be required into the future, and the importance of this work being effected properly and conserving the art glass heritage that exists cannot be underestimated.
The second strand is the huge untapped potential market for contemporary leadlight, stained glass and kiln formed glass. This market is the key to assuring a future for our industry – the new work provides the continuation which allows the restoration and conservation skills to survive also. Both areas are equally important.
The aims of AGDA are to ensure that :
1. The heritage of our industry is protected, skills are passed on and the conservation of old glass is effected in the proper manner.
2. The members of this industry are encouraged to practice in the most professional manner possible, with access to all appropriate information at all times.
3. The industry develops the huge potential that exists in contemporary architectural glass, responds to the requirements of twenty first century construction and evolves into an industry that demonstrates diversity in design and techniques. Exciting, appropriate contemporary products are produced which lead us on from the rich heritage of our past to forge a new future in architectural glass.
4. The public awareness of architectural glass is raised, and to educate both the public and design and construction professionals, about the importance of conserving existing glass, and the possibilities of our contemporary products.
5. Interest in architectural glass is generally promoted and young people are encouraged to consider the industry as a possible career, and to appreciate architectural glass as a potential use in any building.
Exhibition
As part of AGDA’s determination to forge ahead and fulfil the aims as stated above, an exhibition has been organized at Chapel off Chapel in Prahran, to run from Monday 19th october 2009 to Sunday 8th November 2009.
The exhibition is open to all members of our industry, and will feature work which responds to the architecture of the twenty first century. Selected works will demonstrate contemporary design, use of glass, and the potential of the products of this industry as architectural features. The exhibition will be promoted to members of the design and construction industries – architects, builders, interior designers. It will also be promoted in general and specific publications, through several related mailing lists and to the public through as many avenues as possible. This exhibition is the first step towards promoting the potential of our industry’s product range – it will present a body of work specifically collected and chosen to showcase contemporary architectural glass. A major sponsor is being sought to support the exhibition.
Proposed Future Initiatives
AGDA has suggested the following to raise public awareness and to target specific industry problem areas.:
• Establish communication with the Australian Institute of Architects, other design professionals, builders, developers and town planners, with a view to educating them about the contemporary potential of our products.
• Establish better communication with government bodies such as Australian Standards. Australian Building Codes Boards and others. •
Lobby government bodies to ensure our industry is not overlooked when major decisions are being made that could affect this industry.
• Educate builders, architects and glaziers about the suitability and compliance of our products.
• Implement a program to take presentations to architecture and interior design students to introduce them to our products.
• Introduce a program for schools (Grade 5 and 6 level) – demonstration of a small leadlight panel being made combined with information and glass samples.
• Promotion of our industry in all ways possible, including making more use of our website.
• Education of the public about the correct conservation of old glass and the potential applications of new designer glass.
• The installation of contemporary glass in new and established public buildings.
• The formation of a national Association to enable the industry to address these issues cohesively and effectively.
• The provision of an affordable, supportive, creative and educational environment that fosters the development of talented young glass designers for the future.
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