Competition project for the creation of stained glass windows,
NEW CHURCH OF MONTIGNY
2017
Visual artists :
Didier Sancey with Alice Sancey.
Master glassmaker : Wilhelm Peters, Paderborn.
Architects: ENIA architects, Matthieu Chazelle, Simon Pallubicki, Brice Piechaczyk.
Client: Diocese of Pontoise
Church of Montigny, Note of intent, extract
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Light and space
The zenithal light and the lateral bays illuminate the church, the large stained glass window must be the place of the meeting between the natural light and the symbolic. Facing south, the large stained glass window receives direct light in a glare that must be controlled.
The facade on the city is divided into 4 parts, the design of the stained glass window of the Space of Glory must contribute to the unity of this facade.
Light and project
The sunlight runs through the large stained glass window from East to West. This dynamic will be used to mark a perception always different according to the hours and the seasons.
Here, in Montigny, the large stained glass window by the superposition of the glasses and by the colors will filter the natural light without dazzling. The light as much real as symbolic will be tamed. This is the challenge of this large stained glass window.
The idea is to play with a superposition of glasses and colors partly visible on the outside and which allows to obtain the filtered light inside.
Thus the stained glass window will be visible from the outside, like a sign, day and night.
In the summer, the sun shines through the large stained glass window in some points. The light is diffused through transparent, opalescent, opaque or translucent colors, it diffuses gently in the church, it radiates. The colors are linked, connected in white or colored lights that diffuse in the space of glory.
On a sunless day, a soft light appears in clear or colored transparencies.
At night some opalescent colors reflect the light of the church and the light, artificial, inside the large stained glass window.
The large stained glass window filters the sunlight, it transcends it into
spiritual light.
It is a sensor of the invisible beyond the stained glass window, of the surface with multiple colors. It is an eye that captures the invisible and transmits it into the space of the church, it is in the great tradition of colored stained glass since Abbé Suger.
This large stained glass window is a revelator of reality beyond the visible. A complex surface, a filter towards the sky, in its real dimension as a support of the sacred, here in an architecture where its dimensions transcend it in a sensitive vibration.
Didier Sancey, March 11, 2017
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