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Glass in architecture, on the one hand, is an extraordinary, colourful detail ranging from the stained glass in Saint Chapelle to the door of the Church of the Sacred Heart in Munich. On the other hand, it is also a timeless vision of the new art connected strongly with architecture, which reflected and still reflects the avant-garde aesthetics, like the Crystal Palace. A series of prophetic visions of architects links "glass" as a synonym of progress in the technology and understanding of architectural detail as a flash of a transparent pane of glass. The methodology is based on the author's own experience as a designer of stained glass windows, as well as an architect and, finally, as a researcher working as an academic teacher. Careful studies of literature and periodical publications in the field have also provided significant information on techniques for the application of art glass. The issue is the emergence of new technologies related to the application of artistic glass in architecture. Created glazing stands in contrast to the traditional stained glass technique, where lead-containing section lines are commonly visible, and represents new artistic qualities. It is no longer a simple window but a part of the structure of a building which is characterized by unique physical and aesthetic properties. Here also important are problems of restoration work in the historical interiors where new contemporary additions are required. The problem is how to treat the interventions: are the new forms supposed simply to fit into the interior following the existing style or are they also supposed to supplement it and so their artistic image can become priority. But the context can determine the new forms only to a certain extent because, to quote Joseph Maria Olbrich: To every age its art, and to art its freedom. A good case in point is Marc Chagall and his stained-glass windows (Mainz, church of St. Stephan, 1978-1985). [ABSTRACT FROM AUTHOR]