The South Trinity Windows -
The Blue symbolizes Jesus. The tree, which
can be seen through the window changes the colour of the window through
the seasons. The green leaves block the summer sun, but also cast a
green hue through the window, while in the fall warmer colours of the
changing leaves can be seen.
Estonian Archbishop said to Haufschild "I don't care what you do just
so long as there is a big Jesus in that window," pointing to the South
window. As with other projects Haufschild listened and designed the
window with a "big Jesus" that over time became smaller and not as
noticeable with each new design, until the final design was what
Haufschild envisioned all along. In the end the Archbishop called
Haufschild and said, "I'm glad you didn't listen to me." "That happens
to me a lot," says Haufschild. Clients will often admit their idea in
the end was inappropriate for the space and many, like the Archbishop,
who at first seem unpleased, in the end are thrilled with the result
and relieved Haufschild didn't just do what they wanted. This is a sign
of a true stained glass artist.
Latvian window - the red lines are a suggestion of the Latvian flag,
The image is a famous national statue that is guarded 24 hours a day by
soldiers. The square where the statue is located is where brides will
go to place flowers. At the very top of the statue is a
figure with three stars (double click on the image to enlarge twice).
The three stars symbolize the three provinces of Latvia says Liepins.
figures surround the base of the statue and this side was chosen for
the windows because of the figure breaking the chains symbolizing
freedom. Haufschild was given photos to work with, these images were
silk screened and have a pixel quality similar to newsprint. "I wanted
to emphasize the graphic quality," says Haufschild.
The Estonian window is beside the Latvian window. The blue, white and black lead lines reflect the flag. The statue shown no longer exists.
the main floor is the Refugee Window. The window suggests the pain and
suffering of those who fled across the Baltic Sea. In row boats
families trying to escape had to tell their children to be silent so
that the submarines attempting to torpedo the boats could not hear them
through the sonar. The refugee window is on the main floor while the
Latvian and Estonian windows are on the balcony level. Haufschild
wanted the smaller side windows to have a continuous theme running from
the main level to the upper level.