Top Class Glass Designs

Amanda Hope of Benchmark Communications Ltd, organisers of Design North East speaks to Cate Watkinson of Watkinson Glass Associates, Newcastle and Jules Preston, Chief Executive of the National Glass Centre, Sunderland about glass design in our region and why there is so much recent interest in this man-made material.

When I mention the words glass design, you will more than likely think of the traditional paperweights and vases. However, I found out that there was much more to glass making and design, than meets the eye when I visited Cate Watkinson at her studio in Newcastle Arts Centre. Entering Cate's studio is like stepping into Aladdin's Cave and there is a plethora of fascinating creations to feast your eyes upon.

This has been Cate's base for the past thirteen years, and proves that glass design is a good industry to be in, although she has just recently noticed a huge increase in the amount of glass construction taking place in the North East and has played a part in many of these projects.

With the re-development of the city by Grainger Town Partnerships Project, Cate was awarded the commission for 'top secret' benches at The Monument on Grey Street, in Newcastle, where work will commence in January 2002. Sworn to secrecy by Grainger Town, Cate will only mention a few key words to tantalise us.

"All I can say is glass, granite, lights and poetry. If this has got you intrigued, then you won't have too long to wait to see the finished product as the benches will be unveiled in a special ceremony in the early half of the coming year,"

explains Cate.

"It is a very exciting project to be part of and due to the strong history of glass in this region, I think it is important that glass has been incorporated into the plans to re-develop the city."

Another similar project which Cate is involved in is seating in St Ann's Church Yard, next to Tyne Tees Television. Cate's main influence in glass design has always been nature, whether it be wind or rain, the natural flow of a river or curves of a mountain. She designed the glass and slate seats around the base of the trees in the churchyard, using the natural curves of the leaves to dictate the shape of the seats and lights underneath the glass to give the seats a magical feel. Cate often takes time out to go to the Lake District where she can study nature and take those ideas back with her to pencil work wonders on a blank canvas.

Cate went into great detail with me about the way that nature has altered the land and how this influenced her work.

"For example, the Lake District was actually created by glaciers cutting away at the land to create the beautiful forms we see for ourselves today. This evolvement makes me think of the sandblasting method which I often use to create dramatic effects on glass,"

explains Cate.

The partnering up of lights and glass is also becoming more recently recognised as a way to draw attention to buildings within the city and future plans for the old Asda, Red Quadrant at the Metrocentre, Gateshead have homed in on this factor.

"Capital Shopping Centres who have bought the site, were looking for a local glass designer to create a 'beacon' on top of their roof which could be seen far and wide by motorists travelling on the A1. My winning proposal, which is in the initial stages, was actually based on the idea of sweets and is a large glass cone with steel globes inside which will light up the sky with a rainbow of alternating colours. It will certainly be a talking point once it is unveiled,"

says Cate.

Previous works for Cate include the brightly coloured Security Screen at Newcastle Airport Arrivals Lounge. Not only did Cate have to design this to fit in with the décor and surrounds of the new airport building, she also had to design the screen so that it was dark, thick glass so that people on the outside, could not see through to customs. So she cannot always let her inspiration run wild with the design, she also needs to take into account any criteria specified by her client. Often the company profile or name can play a part in the final design and some of Cate's main requests are for office screens for meeting rooms and partitions, as well as table and mirrors for bars, clubs and restaurants.

Some of Cate's works of art, are currently being exhibited at The National Glass Centre, as well as pieces being displayed by students at University of Sunderland, where Cate also lectures. Jules Preston, Chief Executive of The National Glass Centre took time out to talk to me about the history of glass in the region and the importance of The National Glass Centre, to people in the North.

"The history of glass within the region has always been strong due to the fact that we have been able to source the ingredients we need to make glass, being 70% sand, as well as the coal to heat the glass and make it workable. In previous times, Sunderland was the place to be if you were a glass designer, however, there was a decline in the industry in the early eighties due to cheaper imports and companies falling behind with the times with technological advancements. Particularly imports from Central Europe which were mass-produced were cheaper to buy in the UK, due to a reduction in the costs of labour and overheads. Although the UK today still has the upper hand when it comes to studio glass and individually made works of art,"

explains Jules.

The Glass Centre was opened by HRH Prince Charles in June 1998 and attracts visitors from all across the globe. Sunderland is renowned as the home of glass and was actually the first place to make use of stained glass when Benedict Biscop brought in French artists to build a monastery very near to the site of The National Glass Centre. Jules agrees that glass design in architecture particularly in our region is on the increase and The National Glass Centre itself is made of approximately 50% glass, including a glass roof which visitors can walk across. The new St Peter's Metro Station in Sunderland is a prime example of how glass can be very effective, but it also has the advantage of being a very good insulator, so glass has many benefits.

"The people in the North East have always been, and will continue to be, interested in the world of glass as it is a fascinating material to work with and creates some magical results. You can wander around the Glass Centre, view the exhibitions, experience the glassblowing demonstrations and visit the Gift Shop to see the way in which glass still plays a large part in our lives,"

comments Jules.

So from beautiful individually crafted vases, paperweights and perfume bottles, to glass partitions, tables and chairs, I certainly have had my eyes open to the world of glass and the opportunities that it presents, are now crystal clear.

Education - Glass Design Courses

University of Sunderland
The University of Sunderland's Glass, Architectural Glass and Ceramics department is based within The National Glass Centre and runs a degree course where visitors to the Centre can watch the students at work, as well as buy the finished product in the Shop.

The History of Stained-Glass

Stained glass has always been associated mainly with the beautiful church windows which depict episodes in the Bible, but is also used in many other ways. During the 60s and 70s, stained glass was more widely used with the bright colours associated with the times. Coloured glass as window decoration is of great antiquity in East Asia. Muslim designers fitted small pieces into intricate window traceries of stone, wood, or plaster, and this type of window mosaic is still in use. Stained glass was used in windows of Christian churches as early as the 5th century, and pictorial glass as early as the 10th century. During medieval times and 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.

A Christmas Poem for the Festive Season

Sir John Betjeman, (1906 - 1984)
English Poet

And girls in slacks remember Dad,
And oafish louts remember Mum,
And sleepless children's hearts are glad,
And Christmas-morning bells say 'Come'!
Even to shining ones who dwell
Safe in the Dorchester Hotel.
And is it true? And is it true,
This most tremendous tale of all,
Seen in a stained-glass window's hue,
A Baby in an ox's stall?
The Maker of the stars and sea,
Become a Child on earth for me?
'Christmas (1954)'

Contact Details:

Cate Watkinson, Owner, Watkinson Glass Associates, Newcastle
Tel: (0191) 261 9625

Jules Preston, Chief Executive, The National Glass Centre, Sunderland,
Tel: (0191) 515 5555

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This document is reproduced with he kind permission of The Journal and Benchmark Communications.