The idea arrived while leafing through a book from the Metropolitan Museum of Art, almost like light through a stained-glass window. What began as a narrative about the near-biblical exploits of The Face gradually became a broader exercise in imagining what Face-centered stained glass might look like in cathedrals around the world.
Such a tradition demanded a grandiose platform, which is why this became one of the first three-dimensional spaces built specifically around The Face. Creating the windows was difficult because stained glass depends on intricate structure, color, symbolism, and light. Somewhere along the way, reverence may have been traded for irreverence. The light still comes through beautifully.