When Christian chapels were first built within British secular institutions such as Great Ormond Street, they utilised the tradition of using stained glass to create images of Christian narrative. Due to the association of stained glass with British Christian churches, this research asks can stained glass continue to be used to create narrative in such places or are other forms of artworks in glass more appropriate? Some of the formally Christian chapels are being adapted to become spaces used by people of different faiths and those of no faith. The terms used to describe these places are various. This study uses the term quiet room, as it is inclusive, rather than prayer room, which implies an act of faith, or multi-faith space that implies it is only for the practice of a religion. When referring to a space or study that uses a different term, that will be used as appropriate. This thesis includes case studies of four potential methods of art glass fabrication used in sacred spaces, in order to understand how they might affect the use of the space. A second set of case studies analyses the use of glass and imagery in institutional multi-faith quiet rooms and discusses how glass is being used. Two practice-based case studies explore the way in which, as a stained glass artist, I design windows for sacred and secular spaces using knowledge acquired from the previous case studies. The case studies examining quiet rooms show glass continues to be used to enhance the spaces for the multi-faith situation. From this and practice based case studies it is suggested that despite the link with Christian churches, glass artworks can be used effectively in quiet rooms if designed appropriately. This thesis considers the use of natural imagery in quiet rooms and concludes that light is of special interest both as a source of natural imagery as well as in its relationship with glass. This thesis aims to be of interest to those involved in the commissioning of and the artists creating new glass artworks in such spaces.

The nature and form of public funding for the visual arts is investigated, specifically as it relates to the artist and exhibition. From a regional perspective in the field the study evaluates development seeking to find the most effective ways to support the artist, facilitate new work and enable public engagements. The study is as much about my contribution to the visual arts in the north - as it is a distinctive narrative history. Focus is given to projects, applied ideas and issues to which I contributed. My earlier experiences of lecturing in Chicago and being an artist in Wales influenced my thinking and work at Northern Arts (1974-1992). An innovative artists’ support model was created, with a network of schemes, programmes and organisations. Artists’ rights, the crafts and market place initiatives were developed. Gallery, production facilities and services were improved. Direct exhibition provision was ended; independent trusts were supported. Exhibition outside the gallery was explored through residencies, sited commissions and different forms of public art, which underpinned the region’s award of ‘UK Year of Visual Arts’ 1996. ‘Win–Win–Win’ situations and creative learning environments were sought where the artist, the host and the public benefit. Changing contexts and work-based roles, as an art consultant (1993-2003) and academic (2000-2010) enabled new ideas, opportunities and insights. Alongside the core funded national and local art galleries and organisations, or the private/commercially driven galleries and concerns the ‘third way’ of visual arts development through a higher education platform is assessed. At the University of Sunderland this enterprise was addressed through research, glass education, knowledge transfer and the National Glass Centre. Working approaches and strategies used to develop support are offered as transferable development practices. Evolution and my contribution are evidenced over four decades to extending art practice, widening exhibition and artists’ support.

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published_or_final_version / Electrical Engineering / Master / Master of Philosophy

Tang Sin Ying. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report."

No description available.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaf 25).