Whole not a "new" project per se (though it certainly is that if you consider it within the time-scales of the Church) a project that we've wanted to briefly make note of is that of the chapel of the Dominican Sisters of Mary, Mother of the Eucharist located in Ann Arbor, Michigan.
One of the most striking things to outsiders, apart from the fact they are a rare example of a thriving religious community who have had to expand in order to accommodate their exponential growth, is their strikingly beautiful chapel, a work which was accomplished in partnership with the likes of Baker Architects and Daprato Rigali Studios.
However, what also strikes me in this project it is an object lesson in the potentialities for beautification in 'regular' liturgical spaces. What do I mean by that? Quite simply, as difficult as it is, I would invite our readers to remove their focus for a moment from the sanctuary and look at the surrounding architecture for a moment. There is nothing particular "exotic" about it. It is note an ornate, medieval styled building replete with gothic ribbing, ornate stained glass windows or the like. Not at all. What it is is a mid-century modern shell characterized by straightforward materials and simple, clean lines.
To assist in understanding my point, I've taken the liberty of digitally removing these elements. I've also assed a fairly typical mid-century style parish crucifix. Here is what we end up with:
At this point, the most striking thing about the chapel is the wood-panelling that surrounds the choir, and one can see how the state of things is fairly indicative of new Catholic liturgical architecture from the 1950's onward.
Suffice it to say, the difference is marked. Obviously at this point, all of one's attention fixates on the sanctuary and the altar specifically. What this shows, to my mind, is that if you don't believe that a few well placed renovations cannot radically transform a liturgical space -- well, you'd be incorrect. Obviously it has to be done intelligently, with a sense of colour and compensation, but I think it fair to say the differences between the first and second photo are substantial, not only aestheticaly, but also in terms of liturgical emphasis.
However, what also strikes me in this project it is an object lesson in the potentialities for beautification in 'regular' liturgical spaces. What do I mean by that? Quite simply, as difficult as it is, I would invite our readers to remove their focus for a moment from the sanctuary and look at the surrounding architecture for a moment. There is nothing particular "exotic" about it. It is note an ornate, medieval styled building replete with gothic ribbing, ornate stained glass windows or the like. Not at all. What it is is a mid-century modern shell characterized by straightforward materials and simple, clean lines.
To assist in understanding my point, I've taken the liberty of digitally removing these elements. I've also assed a fairly typical mid-century style parish crucifix. Here is what we end up with:
At this point, the most striking thing about the chapel is the wood-panelling that surrounds the choir, and one can see how the state of things is fairly indicative of new Catholic liturgical architecture from the 1950's onward.
Now let's add back in the painting to the apse, as well as the gilt reredos and shrines which characterize this chapel today:
Suffice it to say, the difference is marked. Obviously at this point, all of one's attention fixates on the sanctuary and the altar specifically. What this shows, to my mind, is that if you don't believe that a few well placed renovations cannot radically transform a liturgical space -- well, you'd be incorrect. Obviously it has to be done intelligently, with a sense of colour and compensation, but I think it fair to say the differences between the first and second photo are substantial, not only aestheticaly, but also in terms of liturgical emphasis.
But enough of the commentary, let's take a broader look at the chapel. As already noted, this is a religious house, so it is characterized by a choir for the religious. The sanctuary itself follows a model that has been popular since the later 1990's and early 2000's, encompassing a traditional altar/reredos "of reservation" behind, with a free-standing "altar of sacrifice" before. (In this instance, there is technically no second altar behind, simple the tabernacle and reredos).
This particular altar is simple, yet noble, following a very Roman style in the use inlaid polychrome for the altar's decoration.
We can also see the inclusion of an altar rail, separating the sanctuary from the rest of the church -- which also includes beautifully coloured and patterned floors.
To either side of the apsidal arch, wonderfully coloured in blue with decorative gold, stencilled constellation of stars, we see two further gold gilt niches which help to frame and draw one's attention to central focal point of the church: the altar.
A truly impressive chapel.
A closer look also reveals the beautiful gilt metalwork that are part of the design.
Finally, here are a few more details to give our readers a better sense of the colours and details fround on the reredos itself -- for it is certainly the most substantial piece of liturgical art in the entire arrangement.
A truly impressive chapel.
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