The glass artwork "Tageszeiten" by Hans Weidmann, located in the stairwell of a university chemistry institute, presents a quiet dialogue between art, architecture, and the passage of time. Created in 1962, its three panels of birds—an owl, a bird of prey, and a soaring bird—are not merely decorative but are thoughtfully integrated into the building's existing grid of antique glass. This integration speaks to a mid-century modernist ideal where art serves the architecture, enhancing rather than overwhelming the functional, sober space of an academic stairwell. The choice of birds to symbolize the times of day, with the imagery growing brighter as one ascends, transforms a simple vertical journey into a metaphorical one from night to day. The work's reduced, simple forms demand a moment of pause and observation, offering a poetic counterpoint to the rigorous scientific inquiry happening within the institute's walls. It stands as a testament to a time when public art in institutional spaces was designed to elevate the everyday experience through subtle, intelligent harmony.