Explanation Text

The Brief

Purpose of the Falklands Chapel

a) The Chapel is primarily a national shrine. "The atmosphere within the chapel is designed to reflect the memory of the brave men who made the ultimate sacrifice in service of their country. It must be appropriate to receive visiting families, friends and fellow servicemen who come to pay their respects to the fallen,"
b) The building, at the same time, will be the chapel for the College, used on a daily basis.
c) In addition it will be used for some secular activities such as concerts, etc.

The nature of the architecture

a) The shape and materials used in the building aim to produce an atmosphere of peace and tranquillity.
b) The architectural language of the building is simple and formal. The windows need to reflect this conception.
c) The design is based on classical axial symmetry. This expression of order and formality reflects the military and naval traditions with which the chapel is associated.
d) The shape of the building reflects various images - an eye, the hull of a ship, cupped hands...

The Design

a) Although there is no requirement to propose treatment to all the glazing, the fenestration of the Chapel should nevertheless be seen as a whole, a continuous rhythm that includes the east and west slot windows as well as the north and south windows. The south window is reserved for the Old Pangbournians Memorial window.
b) There is no pre-determined brief for materials, methods or areas of glazing.
c) There are no defined suggestions as to how the Falklands War should be commemorated, but there is Archive material that can be referred to by the artist if required.
d) The window should clearly reflect the following facts and concepts:
The Falklands war
A Memorial to the dead
The deity
Peace out of chaos

e)There is some support for the proposal of a suspended screen (approx 6 x 6m) in front of the North window.
This would be similar to the proposed hanging for the Old Pangbournians Memorial window. But alternative approaches are possible.

f) The Trustees are keen that the work should include the colours of the islands - "blues of the sea and sky, greens of the lands contrasting with dark rocks".
g) The following thoughts have been suggested re the Falklands Islands and the Memorial windows:

The skies are crystal clear or opalescent.
The beauty of the sunsets
The deity
Whether abstract or figurative the design should not include ships, people, crests or sheep!
The islands are by their nature uncompromising and isolated
Peace out of chaos

The Concept

"The scale of the achievement of assembling 44 warships and over 70 support vessels for a conflict over 7000 miles away, was staggering. Thousands of tons of equipment and over 9000 troops were put ashore, a third of them, the Royal Marines, were in the naval service."
Tony Bastable - From the Falklands to the Gulf

The task of designing a memorial is always a difficult one. When invited to design the Lockerbie Window I was asked to create a "memorial and not a reminder". In this project I have also used this precept.

The function of a stained glass window, particularly in a sacred environment, is to create an atmosphere within the building which enhances the architecture and adds a quality to all aspects of the interior space.

Such a work should be specific to the theme and designed for the location so that a sense of completeness between theme and building is achieved

I presented two concepts for this commission. One which utilized the main area of the north window, the second would be mounted in a frame mounted in front of the natural light source as suggested in the brief. The concept behind both of these solutions was basically the same and sought to respond directly to the stipulations contained in the design brief. The design for the full frame was selected.

My research into the Falklands War brought home very forcefully the enormity of the task which was undertaken in 1982. Assembling the Task Force, supplying and transporting it almost 8000 miles to face not only a very well equipped and dangerous enemy but also to face the rigors of the South Atlantic winter. My concept is based on this whole journey, the journey to the Falklands and back again.

The design is made up from the three natural "elements" of water, sky/air, and earth/rocks. These three "elements" have a logical association to the three branches of the armed forces, the Navy/Submariners, the Air Force and the Army and SAS who all participated in this operation.

I have sought to create an image built up from glimpses of seascape, landscape and sky using horizontal perspective to give a sense of the distance traveled by the Task Force and the fact that these are relatively small islands a very long way from home. Although made up from constantly changing viewpoints I have sought to achieve a sense of harmony and to arrive at "peace out of chaos".

In the middle of each design is a subtle representation of a cross, a symbol of the sacrifice made. The horizontal part of the cross contains the suggestion of the islands surrounded by water, the various inlets and anchorage points particular reference to the landscape around San Carlos Water. Here I have used the reflective quality of still water to convey a sense of lament. The vertical part of the cross in both designs divides the sea into two parts which represent the outward and homeward journey. This part of the cross refers to and symbolizes the astonishing feat undertaken by 2^nd and 3^rd Parachute regiment and 45 Commando in crossing the islands on foot liberating firstly Goose Green and Darwin followed by the taking of the mountains surrounding Stanley, then finally the liberation of Stanley itself.

The Location

Having formed this very interesting and beautiful architectural feature, it would have been a great pity not to have utilized it fully. The use of the existing frame permits the architecture to work as intended and gives a greater sense of the outward and homeward journey which is central to my concept. The window would make the best possible use of the available natural light which can be supplemented by floodlighting on particularly dull days or for evening use.

A stained glass window is designed to be viewed from the inside, what is visible from outside is normally of no great consequence, the intention is to create a quality of light and colour to enhance the interior of the building. It has also been stated in the brief that the window should work within the architecture this proposal fulfills that desire.

Materials and Technique

The window would be made using what is known as flashed glass. This is a layer of coloured glass bonded in the making to a layer of a paler base glass. This coloured layer can be partially or completely removed by etching allowing a complete range of tonal effects to be achieved. A form of this technique has been used since the 14^th Century and is very permanent and very high quality.

This is the main method that would be employed and each section of the grid would be one complete piece of glass.

Should glass painting be employed it will be traditional black glass paint used to reinforce the depth of colour. The only other colour which could be added is called silver stain which is fired on to and absorbed into the fabric of the glass becoming permanent. Silver stain has the ability of turning clear glass various shades of yellow, blue glass to green etc. Both would be fired onto the glass at a temperature of 600C.

I have also indicated the use of silver stain within the cross area of the window in accordance with the wishes of those present at the previous meeting.

In such works and in such a building I prefer to use only time proven techniques which will endure over a very long period of time.

Installation

This window is made up from sections approximately 450mm x 450mm. Each section is be a self-contained sealed unit made from 2 layers of glass with a layer of dry air between. The outer layer of glass would be 4mm float glass sandblasted on the inner face. The stained glass will be the inner layer. The use of the sandblasted glass allows the available light from whichever source to be diffused giving the maximum benefit to the window. The panels are inserted directly into the frame.

The Symbolism

The Sea

The primordial waters; chaos; formlessness; material existence; endless motion; it is the source of al life, containing all potentials; the sum of all possibilities in manifestation; the unfathomable.

The Sky

Transcendence; infinity; height; the Heavens; sovereignty; order in the universe.

Earth - Rock

Permanence; stability; reliability, rigidity; coldness and hardness;

References

Video

SAS - The Soldiers Story - Falklands to Columbia - Carlton

Battle for the Falklands - Martyn Lewis - ITN and Granada

From the Falklands to the Gulf (the inside story) - presented by Tony Bastable - World Wide Pictures.

Books

The Falklands Conflict - Valerie Adams - Wayland

The Battle for the Falklands - Max Hastings and Simon Jenkins - Michael Joseph

Internet Sites

South Atlantic Medal Association 82

Falklands 15 Years On - The News - Portsmouth

The Falkland Islands Government

The Falkland Islands Tourist Board

Memories from the Falkland Islands