Born in a barn

After a long hiatus including - among other things - four months in Paris, I am back in Washington, back at the grindstone of my last year of academic study, and back - incidentally - at the drawing board. Why not inaugurate the year of Our Lord two thousand and fifteen with a bit of paper architecture? This particular design is for a small parish church (seating perhaps 200-300 persons). The seeds of this scheme have been germinating for quite some time now (including while in Paris). The genesis was a small corner of the fascinating architectural museum at the Cité de l'architecture et du patrimoine where there were several models of the wooden structure of European barns exhibited. The one below caught my eye:

Of course, perhaps it says something about a mental imbalance of mine that the first thing I thought of when I saw that model was "man, this would make an interesting church!" Perhaps instead the thought came to mind because it reminded me both of the St. Henry Ecumenical Chapel in Finland and - albeit more tangentially - to Kramer Chapel on the campus of Concordia Lutheran Seminary in Fort Wayne.

Whatever the method, my brain began associating these varying images. One of my personal challenges when I undertake a theoretical design such as the one below - free from all constraints of budget and disobliging clients - is to strike the appropriate note when it comes to traditional architecture. Many have noted well that we may be in the midst of a nascent renaissance [a rebirth about to be born? Etymology...] of Catholic church architecture. Indeed, the "heavy hitters" of the movement such as Duncan Stroik, James McCrery, and others, have already blazed an encouraging path. However, I must confess that it sometimes leaves me a bit unsettled. Perhaps I have been too much indoctrinated by architectural modernists, but I can't help but feeling like much neo-traditional church building is a bit artificial. Much of the work seems archaeological; going to the high Renaissance or the Counter-Reformation for example, and choosing your favorite model to build cheaply.

Of course, I generalize, but I also don't think it need work this way. I am convinced we can develop an architecture that points to God and to Catholic truth without slapping Corinthian columns and pink marble on every sanctuary we come across. Yet, the iconoclasm and disorientation of churches in the dominant contemporary idiom of the moment go in a far worse direction. I certainly don't have all of this figured out - and I probably never will - but I will just reiterate by saying that this intellectual feeling outlined above is constantly in my mind when I put pen to paper for these sorts of little exercises.

Back to the church at hand. Thus inspired by the above precedents and thoughts, I did a few studies of different elements in my sketchbook. I liked how in the original barn model the wood structure was so expressive and layered. I also enjoyed how readable the structural principles were: wooden arch descending to rest on heavy stone walls. Now, nobody goes to church with the intention of a structures lesson, but it speaks to a deeper point nonetheless. Intelligibility and reason are two aspects of God that figure prominently in our thinking about the incarnate logos Jesus Christ. God created an intelligible and ordered universe which we are to have careful stewardship over. Building in a manner consistent with the logic and proportions (and materials) found in nature reveals our thoughts on the universe and our place in it.

After considering what I had drawn, I was unsure what the overall feeling would be, so I quickly built a prototype in SketchUp to see how the trusses would work together. As this was a quick, half-baked study, I just borrowed some elements from a previous design to mock up the sanctuary and the pews, etc. I was pleased with the overall form and impression given by the design. However, in the original model, the roof would've covered the entire structure, allowing daylight only through small windows in the stone walls. In a church I think that lack of light would be inexcusable (though it is the case in some of the more horrific suburban churches thrown up in the 70s). I decided on a sort of skylight method that would allow light in above the main arch of the nave. Playing with the shadow settings in SketchUp, I was pleasantly surprised with the way the light would play off the surface of the ceiling and filter through the trusses.

So, I stopped there for awhile until coming back to the project just yesterday. I've been pretty busy this week working for my professor on a very, very, VERY, tedious project (the joys of being a research assistant!), and I needed some time to do something creative. As the process of this design has been largely an interior matter, I went for an exterior view:

This design is a variant of a couple of aesthetic themes that litter my sketchbooks. The first is the "big triangle". Now, gabled roofs are nothing new in church design, but they are seldom very expressive. The major exception are the small English Gothic parish churches that are often almost all gable but typically feature a little bell-tower at the peak. Perhaps I am being too Postmodern, but I love the symbolism and power of the pure gabled roof (it calls to mind images of home, points the eyes heavenward, and even has a monumental purity because of its descent from the pyramid). Thus, the "big triangle" fits in well with the other theme I enjoy developing which is austerity - particularly in its Art Deco-ish manifestations: pure, largely unornamented geometrical volumes combining in varying compositions.

Thus, in this scheme, there is little exterior ornament. It is applied sparingly where it would be to greatest effect. The most detailed portion of the entire exterior are the portals - arguably where most people would come into direct contact with the building. Thus, I've hinted at perhaps carved tympanums (tympana?) above the doors and perhaps a carved saint or two in the niches flanking the central door. Beyond that, the exterior is quite severe.

Today, I took another look at the interior - paying close attention to the sanctuary, which I had not given thought to in the first SketchUp iteration. Again, ornament and detail is applied where it can be to maximum effect - here it is at the altar and the reredos. The form of the altar and its setting is based on the design of the exterior portals at the front of the church. A symbol often co-opted from the Romans in the basilican churches of the Mediterranean was that of the triumphal arch: Christ's death has opened the gates to heaven, toward which we gaze during the Holy Mass. It is architecturally and theologically fitting, then, that the priest - the alter Christus - would stand at such a gate to offer the holy sacrifice.

The rest of the sanctuary is traditionally arranged. Several steps separate the altar from the floor of the sanctuary, which is itself a few steps up from the nave. Certain folks with certain agendas may say that this engenders a much too clerical view of the mass. However, apart from the purely practical benefit of making the actions of the altar more visible, the elevation of the altar has beautiful scriptural symbolism. I think of the Psalmist singing "Who shall ascend the mountain of the Lord, and who shall stand in this holy place" and Isaiah saying "Get you up to a high mountain, O Zion, herald of good tidings; lift up your voice with strength [...] say to the cities of Judah 'Behold your God!'" and of course one also thinks of the Lord's ascent to Calvary which gives meaning and weight to both images.