Though many students lovingly refer to this building as their second home, they do not deny its not-so-welcoming exterior. In its status as a highly trafficked building, it may seem counter-intuitive that students are even drawn to a building that, despite having such a lively interior, presents such outer dreariness. This is the contradictory nature of Mudd Library and its architecture.

College senior Julia Vogl, however, intends to dramatically alter Mudd’s outer appearance, even if only for two weeks. From April 9-21, this studio art major will display 40 window art installations in the 40 front windows of Mudd for her senior honors project.

“[The windows] will transform a space that we’re really familiar with,” said Vogl.

The windows, which are site-specific to the library and measure four, will be visible from the building’s exterior. Mudd’s 40 front windows — 17 on the fourth floor, 13 on the third and ten on the second — that provide light for its 40 scholar study offices, will be transformed into life-size light boxes resembling stained glass.

Oberlin seniors working on honors projects may apply for these Mudd offices for either the semester or the entire year. As would be imagined, these spaces are constantly occupied, as well as clearly noticeable from Wilder Bowl.

“It’s [exciting to think of] people working inside your art,” she said.

Vogl, who has been planning this project since September, was fascinated with the duality of the structure itself.

“It has such a colorful and alive inside, and a static, bland outside,” she said. “Mudd is in the center [of campus] and is the bleakest of all of our architecture. It is like a solid canvas, just waiting to be taken over.”

As most at Oberlin acknowledge, there are many buildings on campus that may be classified as “bleak.” According to Vogl, though, Mudd has unique status among Oberlin students.

“The meaning in Mudd is that it is the library,” she said. “Usually there is stained glass in a church. [However], the library is our Mecca, for students.”

For the project, Vogl is using Plexiglas panels and translucent stained glass spray paint so that the panels will eventually be installed inside the existing windows. The stained glass designs will vary, but all are full of “organic shapes” to contrast Mudd’s rigid architecture.

As Vogl notes, stained glass is usually visible only from the inside of a building, but in the Mudd project, the viewing primarily will be from the outside and at night. Vogl hopes that the windows will serve to transform the space, making it more welcoming.

“My [intention] is to bring art outside of the gallery and to the public,” she said. “You don’t have to go inside to see the windows.”

Inspiration for the project stems from Vogl’s fascination with skyscrapers and other types of buildings. She explains that her interest lies in the phenomenon of how light changes throughout the day and its influence on the reflections that a building creates accordingly.

This relationship between light and reflections has helped to inspire her current project. Just as shadows contrast the structure of skyscrapers, Vogl’s project, with its own organic shapes, will contrast the structure of Mudd.

“[The images] are subconscious surreal organic forms that will relate to other images inspired by the space,” she said. “Some began as doodles in class, but became much more than that.”

She hopes to transform the space to make people question the purpose and function of the building, as well as the purpose of architecture in general.

“The space will change with the change of light. It’s a 24-hour piece,” she said. “Every time you see it, it will look different.”

Though she hopes that the installation will remain in the windows at least until Commencement, Vogl has mixed feelings about whether she would prefer it to be permanent.

“It could have more power if it was not permanent,” she said. “Then it would be an experience. People could remember the time when it wasn’t like this in contrast to what it is now. It would just be an episode that happened that would be ingrained in their memory, as opposed to becoming a part of the architecture and forgotten. If it stays forever, it could be taken for granted.”

If the piece does become permanent, though, Vogl would also be pleased.

“All good art asks a lot of questions,” she said. “If it stays forever, hopefully it will always ask those questions.”

Vogl imagines that the installation will elicit varied reactions from those on campus.

“They will either enjoy it or hate it; I hope that it provokes discussion and questions circulating about other buildings on this campus,” she said.

The project, which is her first of this nature and scope, will take about seven months in total to complete. She spent Winter Term on campus working on the pieces, and will continue through April.

At this point, Vogl has raised half of the necessary funds for the project. She intends to circulate a general proposal to the campus — dorms, co-ops, etc. — for donations.

In addition, she has received much support for her project from the Mudd staff and the seniors who utilize the scholar study offices. She sent proposals of her project to both groups, specifically requiring each scholar study resident’s approval for the windows. She intends to send another proposal this week to new residents for this semester.

Despite intense planning and effort on her part, the project will truly remain a mystery, even to Vogl, until its installation in April.

“As much as I can tell you about it now, it’s still going to be a surprise,” she said. “I don’t really know what will happen [when it is installed]. It is so big, I can only imagine. Irrespective of the outcome, though, I’ve learned so much that it has made it all worth it.”

With three months to complete the project, there is a great deal to be done and much to look forward to. Ready yourselves for the change, Oberlin; you have been warned.