Part I Part II
As discussed in Architecture & The Mind of the Church – Part I regarding the Catholic view of architecture and theology, we properly understand church buildings as vehicles for communicating to us what happens in the Mass through the liturgy, what God has done and is doing for all of humanity, and what he is doing in the Church for those who have taken heed of the Gospel. At times it can seem incredibly intimidating to be Catholic. There is so much to know. The Bible alone is daunting to most, filled with chapter after chapter, listing rules for living and telling stories and lineages of hundreds of unfamiliar characters. Add to Scriptures the history of the Church and all of the theology that comes from it – sacramental theology, moral theology, canon law, the list goes on. We have an incredibly rich treasury from which to draw in all aspects that relate to the liturgy. How do we accurately convey the important lessons of the faith with a building? Which stories do we tell? What images do we use? Fortunately, we don't have to start from scratch, which is where, in my opinion, many church architects can go wrong by attempting to start with a blank slate. Tradition is not only a big help, it's a necessary part of the design of a church.
“Church design approach can primarily be categorized into two schools of thought: imitating and elaborating on what has been done in the past, or reinventing.”
TRADITION AND TRADITION
A word on tradition: the term without a doubt raises blood pressures almost immediately. In response to the broadly over-simplified terms modern and traditional, typical responses range from, ‘Well, which tradition do you mean?’ to ‘Since when is modernism still modern?’ The terms do more justice to an underlying design philosophy than they do to describing a particular style. Church design approach can primarily be categorized into two schools of thought: imitating and elaborating on what has been done in the past, or reinventing. To get a little beyond the political aspects of the debate, we need to clarify what we mean by tradition and how we understand it playing a part in the development and growth of the Church. Tradition with a capital T is not the same as an architectural tradition. The Roman Catholic Church professes the guidance of the Holy Spirit assured by Christ. The Church's authority, since the earliest centuries of the faith, has primarily come from two co-equal sources: Sacred Scripture and Sacred Tradition. The Tradition that authored the Scriptures was born of the liturgy and preserves it still today. Tradition with a capital T holds authority in matters of faith and morals and includes Magisterial teachings, certain papal writings, and the broader collection of dogmas and doctrines made available in documents such as the Catechism of the Catholic Church. Accordingly, Sacred Tradition has something to say about the architecture of a church. St. John Paul II put this beautifully in his encyclical Ecclesia De Eucharistia:
Architecture, sculpture, painting and music, moved by the Christian mystery, have found in the Eucharist, both directly and indirectly, a source of great inspiration. Such was the case, for example, with architecture, which witnessed the transition, once the historical situation made it possible, from the first places of Eucharistic celebration in the domus or “homes” of Christian families to the solemn basilicas of the early centuries, to the imposing cathedrals of the Middle Ages, and to the churches, large and small, which gradually sprang up throughout the lands touched by Christianity. The designs of altars and tabernacles within Church interiors were often not simply motivated by artistic inspiration but also by a clear understanding of the mystery.
Architectural design traditions are born from Sacred Tradition and should embody it inherently. The extent to which they do determines their success. The difficulty for both the end users of the church building and its design professionals is that designers are told what to do but not exactly how to do it. 'Build a space suitable for the liturgy' seems to mean very different things to different people. The documents leave a lot of room for interpretation, and this is where the architect's understanding of the sacramental life of the Church is crucial.
“...the church building is a symbolic representation of the perfection and eternity of heaven.”
What exactly is the Vatican urging? Education and formation. Fortunately, this is already happening. Priests and lay people alike are receiving better education and formation, and in many places, improvements in the built environment are being demanded as a result. True, there is no perfect church on earth; in its essence, the church building is a symbolic representation of the perfection and eternity of heaven. We do the best we can to reflect the glory of heaven in stone and glass, to borrow the idea from Fr. Robert Barron. That said, we have an obligation to be well formed and faithful, to the best of our abilities, to the responsibilities the Church gives us. One of those responsibilities is to respect the deposit of faith from ages past. That is where the question of how we treat tradition with new architectural styles comes in.
Volumes of books have been written about contemporary churches of the last few decades, particularly those which were intended to re-imagine and replace the architectural traditions that came before. While the landscape for new church design is changing, the trend remains a hotly debated topic. I am personally not interested in a wholesale dismissal of modernism, or an unequivocal endorsement of every traditional church. Neither stance offers a good explanation of what about churches makes them more or less successful for liturgy. That knowledge is what shapes the churches we will build for years to come. Without an openness to progress (provided this progress is guided by a proper sacramental understanding), we stifle the potential for growth and change what allowed the great architectural traditions to flourish. Each style and tradition drew from and expanded upon ones before. There are many examples of thoughtful modern interpretations of traditional design to varying degrees. One of my favorite is in Chicago. Pictured at the top of this article and above, Queen of All Saints Basilica is a beautiful art deco-inspired neo-gothic church. The art deco style, synonymous for many with the spirit of the Roaring Twenties, can be seen in well known national landmarks like the Chrysler