The original design followed a plan that was fashionable in the later decades of the twentieth century. It was effectively a kind of church in the round with elevated, sloping, theatre style seating surrounding the altar. There really was no clearly defined sanctuary and the altar and ambo were not fixed. The whole notion of this type of arrangement was based upon the particular pet ideas of liturgists of later twentieth century who typically were fixated on horizontal notions of the liturgy and liturgical architecture.
Here we can see the church in its "before" incarnation:
BEFORE:
So, what to do with a space like this? How can it be brought into alignment with a classical Catholic liturgical ordering? First off, the sloping seating was removed and the floor levelled and a clearly defined (and raised) sanctuary space was created, inclusive of an altar rail surrounding the sanctuary. Wood-carved statuary set into niches were also added, as well as a grandiose crucifix and stained glass window. A new, fixed, stone altar of sacrifice and altar of reservation (with a reredos) were also installed. A Romanesque style ceiling was added, as were arches and columns. Painted stencilling was added to the ceiling. In short, the church was effectively redone entirely.
These various works were undertaken by Nic Charbonneau and John Parker Wilmeth of Harrison Design with the stonework for the new baptismal font, altar of sacrifice and altar of reservation by Rugo Stone. The decorative painting was completed by Conrad Schmitt Studios and the carved statuary by ALBL Oberammergau. Finally, the altar rail and pews were completed by New Holland Church Furniture.
Let's take a look at what they managed to accomplish.
AFTER:
 |
| Altar of sacrifice |
 |
| Altar of reservation |
A truly impressive transformation. Let's hope the church now gets attention for its art and architecture for rather different reasons than it did previously.
