Illumination of the Sacred

ILLUMINATION OF THE SACRED JACOB HIMMELMAN

CONTENTS Statement 4

CHAPTER ONE Liturgical Architecture

7

CHAPTER TWO Case Studies 13 CHAPTER THREE Wisconsin Lutheran College

25

CHAPTER FOUR Site Analysis 39 CHAPTER FIVE Chapel Proposal 45 References 78

Thesis Committee: James Shields, Gil Snyder, Greg Thomson

Liturgical architecture is the manifestation of God in a physical space, creating an environment for people to engage with the spiritual. It is in the confluence of the physical and spiritual that faith communities can experience God’s presence, interpret the sacred, and provide a cultural context for living out their beliefs.

At its core, liturgical architecture creates a space for theological and scriptural education, for fellowship and scholarship, for exploration of the sacred and a place to understand ways to steward natural resources.

At Wisconsin Lutheran College in Milwaukee, Wisconsin, liturgical architecture is of particular importance in the creation and building of a campus chapel. The mission, vision, and values of the college, as well as the social and cultural demographics of the entire campus community and the location make for a unique design challenge.

The paramount element of the chapel design is the interplay of light both within the worship space and throughout the building.

As the sun shifts in the sky the shadows and light change, creating a connection with creation, and ultimately the sacred.

CHAPTER ONE Liturgical Architecture

8

LITURGICAL ARCHITECTURE Two major theorists in the realm of sacred architecture are Richard Vosko and Duncan Stroik. They approach this subject from differing ends of the spectrum: Vosko from the more humanist perspective and Stroik from a more traditional stance. Richard Vosko is a liturgical design consultant and priest of the Roman Catholic Diocese of Albany, New York, who has overseen the redesign and renovation of numerous churches and cathedrals around the country. Duncan Stroik is an American architect, Associate Professor of Architecture, Design, Theory and Drawing at the Notre Dame School of Architecture and founding editor of the Sacred Architecture Journal.

Duncan Stroik’s involvement in the new renaissance of sacred architecture has led to the formation of the Society for Catholic Liturgy with the belief that a revival of sacred architecture is central to any true renaissance in architecture and of civil society.

The fan shape assembly in sacred spaces, which is used to encourage participation, is not seen as appropriate because it is derived from entertainment and not from the writings of the Second Vatican Council: “There must be no innovations unless the good of the Church genuinely and certainly requires them, and care must be taken that any new forms adopted should in some way grow organically from forms already existing.” (Stroik, Ten Myths of Contemporary Church Architecture, 2011).

In the past people saw the church building as the “domus Dei” or “house of God,” but today many people view the church as “domus ecclesia,” or “house of people of God.” Stroik claims that when the church is merely thought of as house of the people of God, it simply becomes a horizontal living room or auditorium and no longer a house of worship.

For 1500 years, the Roman Catholic Church was considered the finest patron of the arts and architecture. Stroik argues that during the last half of the century, secular society has led the arts. And for modern church buildings to look to the avant-garde of continuously breaking the past would be rejecting rich, traditional church architectural history.

Stroik states that some credit for the current state of church architecture should be given to Environment and Art in Catholic Worship (EACW), a 1978 document drawn up by a standing committee of the Bishops Committee of the Liturgy of the United States Conference of Catholic Bishops. Although the EACW was never voted on by the full body of bishops

8

and does not carry the force of law, it was used as the standard for new church design and renovation for over 20 years.

EACW’s status has been controversial since its inception not only due to its canonical standing but also its content.

EACW uses as a basis the Second Vatican Council’s emphasis on Christ’s presence in the assembly celebrating mass and - in what some consider a stretch - shifts the basis for the design of the “liturgical environment” to the “action of the assembly” of believers rather than the principles from liturgy, theology, or architecture. Stroik again disagrees with the presumed model for the church to focus on hospitality and to act as a “suburban family room” (Stroik, Ten Myths of Contemporary Church Architecture, 2011).

Richard Vosko states that today’s cathedrals should “resonate with the makeup of the diocese they serve.” His perspective draws heavily from Environment and Art in Catholic Worship. The EACW states: “Among the symbols with which liturgy deals, none is more important than this assembly of believers.” However, in Vosko’s opinion, it is the assembly, not the church building, which must “transcend the ordinary” (Vosko, The Language of Liturgical Space: Archetypes and Cliches).The idea of hospitality is not excluded rather it is welcomed. Vosko states that it is the people who make the building holy, not the other way around.

Vosko has seven points he uses to guide the renovation of construction of liturgical spaces: 1.

The Visual - Improved lighting and sound so as to allow all to see and hear the actions of the priest. This often includes moving the organ from the choir to the position directly behind the altar.

2.

Participation - As every worshiper is called to participate in the Eucharist, the altar is relocated as far forward as possible often to the center of the church so the priest is part of the assembly. This also improves sight lines. Items such as altar rails and pulpits are removed as they inhibit the sense of participation. Worshipers should be arranged around the altar so they can see each other.

3.

The “Horizontal” - Traditional “vertical” churches orient in one direction treating God as transcendent whereas more ascetic “horizontal” churches emphasize God’s presence in and with the community.

4.

Symbolism and Simplicity over Ornamentation - Noble simplicity is better than sumptuous display, which only distracts from the actions of the priest during mass.

5.

The Imagination - As the community changes, the church needs to adapt to new art, music, language, and ritual practice.

6.

Flexibility - Church pews are often removed and replaced with chairs to allow the church to be used for other functions.

7.

Other - The tabernacle is typically moved into a separate chapel away from the main church to allow for private Eucharistic adoration. Private confessionals are removed and replaced by face-to-face confessional rooms (Vosko, God’s House Is Our House).

“Liturgical architecture is the perfect metaphor for what may be described as the inner and out layers of spirituality” (Vosko, The Language of Liturgical Space: Archetypes and Cliches). He states if the act of the ritual making presents opportunities for connecting with the sacred, then this act is the responsibility of the entire congregation and clergy. So, the architecture needs to articulate and resonate with the principles.

Churches must be beautiful and sustainable. Vosko proclaims the most important thing about church design is that it must help worshipers become re-enchanted with the glory of God’s creation. There are three ways to do so: 1). Church design must draw attention to the beauty of and diversity of creation, 2). It must become more sustainable and reflect a deep sense of place and, 3). It must show reverence for the local context.

Richard Vosko’s principles on the church and the connection to the beauty and care for the earth are both logical as well as a poetic call to congregation, clergy, and architects of sacred spaces. The more modern approach to sacred architecture feels more applicable to society today and the ever-changing church: “The design of a place of worship is a metaphorical indicator of the ecclesiology reflected in the body of Christ. The Plan reflects what kind of liturgical practice occurs there. It expresses how the gathered assembly understands itself and its responsibility for the enactment of the rituals. Does the plan suggest that worship is directed to a remote intangible God living in some glorious heavenly city? Or does it say that worship is about discovering God in the midst of our own dwelling places, however ugly they might be?” (Vosko, Building and Renovating Places of Worship, 2002).

10

CHAPTER TWO Case Studies 14 Program Analysis 22

14

BIGELOW CHAPEL United Theological Seminary of the Twin Cities New Brighton, Minnesota Joan Soranno and John Cook, Hammel, Green and Abrahamson, Inc.

Respecting the subdued environmental context while adding an inspirational place of worship was the greatest challenge in creating Bigelow Chapel. The building is clad in textured precast stone and infused with warm interior light, and has become the architectural focus of the United Theological Seminary’s multi-denominational campus. The chapel sits horizontally on its site with a 42-foot-high bell tower marking the south end and a glass curtain wall defining the western façade.

Inside the sanctuary, the translucent maple panels radiate warmth, while the curving wood frame wraps visitors in a gentle embrace to create an intimate environment. The interior/exterior glass fins further diffuse light from the curtain wall and skylights, giving a weightless quality to the space.

16

CHAPEL OF ST. IGNATIUS Seattle University Seattle, Washington Steven Holl, Steven Holl Architects “A Gathering of Different Lights” was the guiding theme and concept for the design of the Chapel of St. Ignatius. This metaphor describes Seattle University’s mission and refers to St. Ignatius’ vision of the spiritual life as comprising of internal lights and darknesses – what he termed consolation and desolations – existing together.

Holl conceived of the chapel as “seven bottles of light in a stone box,” with each bottle or vessel of light corresponding to a focal aspect of Catholic worship. Light passes through each bottle in a specific area of the building to define physical and spiritual spaces with pools of clear and colored light.

Chapel Space Color Field Lens Processional Area white clear Narthex red green Choir green red Nave East / West yellow /blue blue/yellow Blessed Sacrament Chapel orange purple Reconciliation Chapel purple orange Bell Tower / Reflection Pool natural light water During the day, each part of the chapel glows with colored light from two sources: light bouncing off of color fields painted on the back of suspended baffles to create a halo of light on the surrounding walls, and light passing through colored glass lenses in the exterior windows and openings in the baffles casts onto the chapel walls and floor. Interior lighting creates a similar effect at night, transforming the chapel into a beacon of multicolored light radiating outward to the campus and to the city.

Throughout the chapel design and construction processes, student input was relied upon heavily in order to best meet their spiritual needs.

18

ST. JOHN’S ABBEY AND UNIVERSITY CHURCH United Theological Seminary of the Twin Cities Collegeville, Minnesota Marcel Breuer

The monumental gateway to this granite-clad church is a freestanding bell tower, or banner, which rises to 112 feet and flares to a width of 100 feet at its apex. Two massive parabolic arches that shelter the church’s low horizontal entrance support the banner. The church’s sacral identity derives from the spatial amplitude of the vast open interior.

The massive cantilevered balcony serves as the main entrance, opening to the dramatic and mystical form of the nave. The rhythmic concrete supports create a grotto-like effect that embodies the austerity of monastic life. The primary experience in the nave is one of light, derived from the multicolored illumination of the stained glass entrance elevation as well as the massive lantern over the altar. The chief ornamentation is the texture of the concrete, which is impressed with the lines of the wooden formwork.

“Colors which you can hear with ears; Sounds to see with eyes; The void you touch with your elbows; The taste of space on your tongue; The fragrance of dimensions; The juice of stone.”

— Marcel Breuer

20

OUR LADY OF THE ANGELS CATHEDRAL Los Angeles, California Rafael Moneo Leo A. Daly, Executive Architect and Engineer At 65,000 square feet, 11 stories and 151 million pounds, the Cathedral of Our Lady of the Angels is a massive structure built to last 500 years.

Inside the cathedral, natural light floods the main interior space through slanted shafts in the walls as well as through the cross “lantern� at the front of the building. Rather than standard stained glass windows, Moneo employed glass-sheltered alabaster mosaics to flood the nave with opaque light in subtle earth tones. The building features one of the largest single uses of alabaster windows in the world, measuring more than 30,000 square feet.

Nine steel trusses and four main walls support the vast ceiling, eliminating the need for interior pillars and providing clean sight lines for the entire congregation. The floor is laid out in more than 60,000 small paving stones of Spanish Jana limestone.

In a break with tradition, the main entrance to the cathedral is located at the front of the building, guiding visitors through a long ambulatory encircling the interior nave. Such a configuration invites visitors to reflect on their spiritual journey as they are drawn toward the center of the cathedral.

Five Points to Sacred Architecture 1. The Cathedral as Landmark 2. Definition of the Sacred Precinct in the City 3. The Spiritual Journey and the Crossing of Thresholds 4. The Crescendo of Light Towards the Altar 5. The Layering of Space to Establish the Sacred Nick Roberts, Project Manager at Leo A. Daly, Executive Architect

REVERSE PROGRAM SQUARE FOOTAGE ANALYSIS Bigelow Chapel Seating Capacity

22

200

Chapel of St. Ignatius

St John's Abbey & University Chur

Seating Capacity

Seating Capacity

230

1700

Room

SF

Room

SF

Room

SF

Chapel Chaplain's Office Gardens Mechanical Narthex Organ Processional Restrooms Vestibules

2041 152 2672 410 482 49 951 325 186

TOTAL

7268

Altar Baptistery Brides' Room Choir Main Chapel Narthex Processional Restrooms Sacristy Side Chapels Storage Vestibule

344 98 78 390 2246 745 369 315 141 240 34 70

TOTAL

5070

Altar Baptismal Font Bishop's Throne Processional Confessional Elevator Entry Plaza Garden (Enclosed) Garden (Sunken) Main Chapel Narthex Multi Purpose Organ Outdoor Terrace Restrooms Sacristy Shrine Side Chapel Stairs TOTAL

400 284 225 6423 362 55 5115 6915 3268 14485 1261 2397 332 4596 166 1458 1035 2128 1449 51954

Room

SF per Person

Room

SF per Person

Room

SF per Person

Sanctuary Processional Narthex Vestibule Restrooms

10.2 4.7 2.0 1.0 1.6

Sanctuary Processional Narthex Vestibule Restrooms Baptistery Altar Side Chapel Sacristy

9.8 1.6 3.0 0.3 1.4 0.4 1.5 1.0 0.6

Sanctuary Processional Narthex

8.5 3.8 0.7

Gardens

13.0

Restrooms Baptistery Altar Side Chapel Sacristy Gardens Entry Plaza

0.1 0.2 0.2 1.3 0.9 6.0 3.0

Ignatius 230

St John's Abbey & University Church

Our Lady of the Angels Cathedral

Seating Capacity

Seating Capacity

1700

3000

SF

Room

SF

Room

SF

344 98 78 390 2246 745 369 315 141 240 34 70

Altar Baptismal Font Bishop's Throne Processional Confessional Elevator Entry Plaza Garden (Enclosed) Garden (Sunken) Main Chapel Narthex Multi Purpose Organ Outdoor Terrace Restrooms Sacristy Shrine Side Chapel Stairs TOTAL

400 284 225 6423 362 55 5115 6915 3268 14485 1261 2397 332 4596 166 1458 1035 2128 1449 51954

Altar Baptistery Bell Tower Circulation Confessional Entry Plaza Courtyard Elevator Mechanical Narthex Nave Processional Restrooms Sacristy Side Chapel Stairs Vestibule Vestry TOTAL

3860 685 402 305 191 53910 8262 173 106 729 12761 3011 156 575 411 440 601 375 86953

5070

SF per Person

Room

SF per Person

Room

SF per Person

9.8 1.6 3.0 0.3 1.4 0.4 1.5 1.0 0.6

Sanctuary Processional Narthex

8.5 3.8 0.7

Restrooms Baptistery Altar Side Chapel Sacristy Gardens Entry Plaza

0.1 0.2 0.2 1.3 0.9 6.0 3.0

Sanctuary Processional Narthex Vestibule Restrooms Baptistery Altar Side Chapel Sacristy

4.3 1.0 0.2 0.2 0.1 0.2 1.3 0.1 0.2

Entry Plaza

18.0

CHAPTER THREE Wisconsin Lutheran College

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Current Chapel 32 WELS: Worship 34

FROEDTRERT HOSPITAL

WEST WISCONSIN AVENUE

HIGHWAY 45

WEST BLUEMOUND ROAD

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HISTORY OF WISCONSIN LUTHERAN COLLEGE When a handful of dedicated Wisconsin Evangelical Lutheran Synod members gathered to organize this liberal arts college in the early 1970s, they had no facilities and no faculty. Their persistence allowed them to open their doors in the fall of 1973 with part-time faculty and two-dozen students. It wasn’t until 1975 that the school had its first full-time president.

In 1977, the school purchased facilities that included five complete buildings on an 8.5-acre campus, and a complex set of future plans that allowed for growth and development. In 1982, the college reached a significant milestone when it purchased the entire academic library from Milton College. Volunteers moved and installed this 60,000-volume library.

In 1983, the college purchased and installed science laboratory furnishings from the University of Wisconsin Center at Medford.

After careful study, the faculty and administration submitted a comprehensive curriculum plan to the Board of Regents describing a complete four-year program of study in 11 majors with 15 minors. In 1984, the Board of Regents approved the program for implementation.

The Board of Regents began extensive master site planning to ensure that the facilities required for a four-year college could be constructed at the present site. In July of 1985, an 18-room home on 2.65 acres adjacent to the college property was purchased. Architectural consultants acknowledged that the newly expanded campus could accommodate the projected growth of the student body.

In May 1987, the first 12 students graduated with baccalaureate degrees from the new four-year curriculum. In June of 1987, the Executive Commissioners of the North Central Association granted Wisconsin Lutheran College initial accreditation as a baccalaureate degree-granting institution.

By September 1987, construction had begun on the first building to be erected on campus. One year later, the Marvin M. Schwan Library was completed. In July of 1991, after two years of negotiation with the City of Wauwatosa, construction began on the college’s second new building, the Recreation Complex and was dedicated in September 1992. A third building, the Center for Arts and Performance was completed in 1996, and the Campus Center was finished and dedicated in 1998. Two much-needed residence halls were constructed and dedicated in September 2000. After two years of additional negotiation with the City of Wauwatosa and campus neighbors, construction began on a new science hall. In February 2004, the college purchased 26 acres of land in the northwest quadrant of the Milwaukee County Grounds as a site for its new outdoor athletic complex. The football team completed its first season at Warrior Field that fall.

Dr. Gary Greenfield, who served as the college’s first full-time President for 28 years, retired in June of 2003. Dr. Timothy Kriewall was inaugurated as the second full-time president on September 7, 2003, and served until his retirement on June 30, 2008. On April 24, 2009, Dr. Daniel W. Johnson was inaugurated as third full-time president.

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BUILDINGS 1. Gary J. Greenfield Administration Building 2. Campus Center 3. Marvin M. Schwan Library 4. Modern Language Building 5. Center for Arts and Performance 6. Recreation Complex 7. Generac Hall 8. East Residence Hall 9. West Residence Hall

30

ARCHITECTURE The campus architecture is consistent in its Italianate style, with red brick facades and terra cotta tiles roofs, which remain true from the oldest building – the Administration – to the newest additions, the residence halls and science building.

The new chapel proposal will have to blend harmoniously with this cohesive design aesthetic, keeping in mind the Italianate style while meeting the modern needs of the campus for worship, fellowship and pursuit of the spiritual.

2 1 3

4 5

ARCADES The existing quad is surrounded by buildings, all of which have

1

arcades. These serve to direct people to pass through, not around the buildings when walking through campus. Generac Hall also has an arcade anchoring the eastern end of the campus. The placement of the new chapel will have to take into account the function and aesthetic of arcades to blend in to the campus.

2 3

4 5

34

CURRENT CHAPEL The current chapel is located in the Gary J. Greenfield Administration Building. It was renovated in 1998 with new carpeting and upholstery, a new sound and lighting system, and a movable altar and pulpit. Also, the original marble was exposed and refurbished in the aisles, nave and transepts. It seats 418 maximum (126 in the main wing and 292 between the right and left wings). It has limited AV capabilities and a Schlicker pipe organ in the balcony.

The entrance to the current chapel is circuitous and is not prominent within the Administration Building. Also, this facility cannot accommodate the entire campus community. A chapel is needed with the seating capacity around 800 to facilitate the needs of the campus and help them meet goals of hosting winter commencement ceremonies, speakers, conferences and events for the campus and the community at-large.

WISCONSIN EVANGELICAL LUTHERAN SYNOD: WORSHIP The following statement is the belief of what worship is and should be according to the Wisconsin Evangelical Lutheran Synod: Worship is a special time. In God’s house, God’s people step away from the distractions and difficulties of daily life and gather as a spiritual family in the promised presence of God himself. Why do we come? What is the primary focus of our worship? On what we do? Or on what God does for us?

Certainly there are things that we do in our worship. We join with brothers and sisters in the faith and call upon God to be with us. We humbly and sincerely admit how far we have fallen and how miserably we have failed our God. There, in worship, we join our voices in hymns of prayer, praise, and proclamation. Every week we express what we believe in creeds that have been spoken by Christians for centuries. There, we pray.

But if we think of worship as primarily something we do, we are missing the most important part of our worship. Worship is about what God does for us.

Lutheran worship—biblical worship—is above all God speaking to us in his Word. It is God proclaiming through human messengers the crushing blows of his law. In worship, God lovingly speaks to sin-burdened sinners the sweet good news of sins forgiven and death defeated. In readings and sermons, God instructs, strengthens, equips, and motivates his people for lives of Christian service. Worship is where God comes to us in his sacraments, adopting sinners into his family through Holy Baptism and strengthening the faith of his people by giving them his true body and blood in the Lord’s Supper. In worship, with every syllable of his Word that is proclaimed and spoken, God assures us of what he has done for us; in turn, he also reminds us of the mission that he has now entrusted to us. When the focus of worship is on what God does for us, then our worship will be a blessing. It will help us to understand ourselves and all of our weaknesses. It will direct us to the grace and love of God. It will transport us to the foot of the cross, where Jesus demonstrated a love both undeserved and inconceivable. It will fill us with joy that continues long after the time for worship ends.

Sad to say, many lose sight of this primary focus and think of worship as primarily an activity that they do. When that happens, people tend to develop certain unhealthy expectations of worship. They begin to view worship as something that

36

should be “fun” or entertaining. They adopt a consumer approach to worship, expecting that worship should be shaped by their own tastes and that it should cater to their own comfort level. They insist that worship should reflect what they want, what they like, and what they find pleasing. They run the risk of losing sight of what God wants to do for them in that precious time in his house.

Public worship is so central to our church experience that we couldn’t possibly conceive of the church without it. In worship we join together to confess our sin and to receive the precious news of God’s forgiveness in Christ. In worship we kneel beside those who share our faith and receive the body and blood of our Savior. In worship we witness and celebrate the new life that God creates in Holy Baptism. In worship, God conveys his grace to us in Word and sacrament, and we proclaim his grace with our songs of thanks and praise.

The Lutheran church has always been known for its emphasis on Christ-centered and gospel-proclaiming worship.

From the time of the Reformation, the Lutheran church has also been a liturgical church. There is good reason for that.

Martin Luther himself stressed the importance of holding on to the historic liturgies of the Christian church, since those liturgies provided the framework for regular proclamation—to members and visitors alike—of the timeless truths heard

by Christians for centuries. Liturgical worship provides worshipers with a connection to generations of Christians who have gone before. To be liturgical does not mean to be stale, stodgy, mindlessly repetitive, and tradition-bound. Rather, a liturgical church treasures those elements of worship that the church throughout the ages has found to be valuable and beneficial.

© WELS Forward in Christ

CHAPTER FOUR Site Analysis 38 Program Analysis

41

SITE SELECTION The proposed chapel site is centrally located around many student activities, with a residence hall to the west, Generac Hall to the northeast (which houses classrooms and laboratories), and the Recreation Complex to the north. This new chapel will create a quad within the campus as well as a new hub of student activity.

The site itself is 195’ x 290’, the maximum building footprint is 111’ x 250’ equaling 27,750 square feet. The site also slopes to the south, with a grade change of 18’. Currently there are a few houses owned by WLC along Bluemound Road. The building will face both the new quad and the street while not imposing on the neighbors to the east. It will need to have a basement in order to accommodate the grade change, which creates an opportunity for additional student programming. The grade change also allows for an additional parking on the lowest level.

SITE SECTION

42

sity Church

n

GUIDING POINTS

PROGRAM ANALYSIS

Our Lady of the Angels Cathedral Seating Capacity These guiding 3000 points helped to shape and direct the

Room Altar Baptistery Bell Tower Circulation Confessional Entry Plaza Courtyard Elevator Mechanical Narthex Nave Processional Restrooms Sacristy Side Chapel Stairs Vestibule Vestry TOTAL

Room Sanctuary Processional Narthex Vestibule Restrooms Baptistery Altar Side Chapel Sacristy Entry Plaza

SF design process.

They are based an exchange from a 3860 685

402 consultant, Richard Vosko, and research leading liturgical

305 191 and conversation with Wisconsin Lutheran College 53910 8262 administrators.

173 106 729 12761 3011 • Create a156 landmark within the campus 575 • Define a411 gathering place outside to experience nature 440 601 • Establish a common entryway 375 86953

•

Utilize the interplay of light

•

SF per Person Create unity 4.3 within worship with a central focus

•

0.2 Accommodate a variety of activities

•

Steward natural resources responsibly

1.0 0.2 0.1 0.2 1.3 0.1 0.2

18.0

Seating Capacity

800

Room

SF

Room

Sanctuary Processional Narthex Vestibule Restrooms Baptistery Altar Side Chapel Organ Choir Sacristy Coatroom Parlor Campus Ministry Offices Storage Mechanical Kitchen Coffee Shop Multi-Purpose Offices Classrooms Computer Lab Lower Lobby Restrooms TOTAL

8000 1200 2400 800 1120 240 800 800 240 800 320 400 800 1040 400 1600 600 1000 4000 400 3000 1200 2000 1600 20960

Sanctuary Processional Narthex Vestibule Restrooms Baptistery Altar Side Chapel Organ Choir Sacristy Coatroom Parlor Campus Min Storage Mechanical

Room

SF per Person

Sanctuary Processional Narthex Vestibule Restrooms Baptistery Altar Side Chapel Organ Choir Sacristy Coatroom

10.0 1.5 3.0 1.0 1.4 0.3 1.0 1.0 0.3 1.00 0.40 0.5

CHAPTER FIVE Site Plans 46 Building Plans

50

Building Sections

54

Guiding Points

62

w

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

No.

Side Chapel Coat Room DN

Women's Narthex Restroom Men's Restroom

Parlor

DN

O

Storage

Proj

Office Office

Un

Office Office

DN

Classroom Project Number Date Drawn By Checked By

A Scale

NEW CAMPUS PLAN The new campus plan has the proposed chapel defining the boundary along the newly created quad, while maintaining the campus’s urban edge along Bluemound Road. The larger volume of the chapel to the west is the worship space, the long volume is the service support building.

The chapel design provides circulation between the two volumes allowing for movement between and within the various spaces.

www.autodesk.com/revit

www.autodesk.c

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

No.

Description

Date

No.

Side Chapel

Side Chapel

Coat Room

Coat Room DN

DN

Women's Narthex Restroom Men's Restroom

Women's Narthex Restroom Men's Restroom

Owner

Parlor

DN

Storage

Storage

Project Name

Office Office

Unnam

Office Office

DN

Classroom

Classroom

Date Drawn By Checked By

Project Number Issue Date Author Checker

A103 Scale

1/32" = 1'-0"

Project Number Date Drawn By 4/12/2012 3:06:05 PM

Project Number

48

Project N

Office Office

Unnamed

Office Office

Own

Parlor

DN

DN

SLIDING BARS

GREEN SPACES

This shifting bar scheme present in the chapel design is

The chapel building defines a new southern quad while also providing a new

also visible in other campus buildings. It serves to facilitate

public plaza on Bluemound Road for the use of the campus and surrounding

the understanding of the different volumes while providing a

community.

passageway for the chapel.

Descript

Checked By

A10 Scale

www.autodesk.com/revit

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Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

No.

Description

Date

No.

Side Chapel

Side Chapel

Coat Room

Coat Room DN

DN

Women's Narthex Restroom Men's Restroom

Women's Narthex Restroom Men's Restroom

Owner

Parlor

DN

Storage

Storage

Project Name

Office Office

Unna

Office Office

DN

Classroom

Classroom

Date Drawn By Checked By

Project Number Issue Date Author Checker

A103 Scale

1/32" = 1'-0"

Project Number Date Drawn By 4/12/2012 3:06:05 PM

Project Number

PATHS

ARCADES

The creation of new campus paths guide people through the buildings.

Arcades surround the northern quad, so the chapel building also has

Also, there is a central path running through the chapel building,

an arcaded front. This allows the community to experience the building

allowing students living in the surrounding area a new direct route up

before they actually enter.

to the campus. An external path is also available when the building is

Project

Office Office

Unnamed

Office Office

Ow

Parlor

DN

DN

locked.

Desc

Checked By

A1 Scale

3

2

1

50

ROOF PLAN

3

Side Chapel 2

Coat Room DN

Storage

Narthex

Parlor

DN

Sacristry

Office

1

Campus Ministry

Storage

Office

Office Office Office

Office Office Office

DN

Classroom

SECOND FLOOR PLAN

2 A104

Storage

Seminar Room Mechanical

1 A110

Computer Lab Multi-purpose

Coat Room DN

Storage

Lobby

Classroom

Classroom

UP

Coffee Shop

1

Kitchen

Classroom

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Classroom

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FIRST FLOOR PLAN

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2

Fan Room

1 A110

UP

1

PARKING GARAGE PLAN

North 1/16" = 1'-0"

NORTH ELEVATION 1

WEST ELEVATION 3

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West 1/16" = 1'-0"

East 1/16" = 1'-0"

EAST ELEVATION

2

SOUTH ELEVATION

4

South 1/16" = 1'-0"

ection 3 /8" = 1'-0"

1

SECTION 1

2

3

SECTION 2 1

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Section 2 1/8" = 1'-0"

3

www.autodesk.com/revit

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

Consultant Address Address Address Phone

SECTION 3 1

Section 1 1/8" = 1'-0"

Consultant Address Address Address Phone

Phone

Consultant Address Address Address Phone

Storage

Consultant Address Address Address Phone

Seminar Room Mechanical

Side Chapel

Consultant Address Address Address Phone

Computer Lab Multi-purpose

Coat Room

Coat Room DN

DN

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Consultant Address Address Address Phone

Storage

Narthex

Storage

Lobby

Classroom

Parlor

DN

Sacristry

Office

Classroom

UP

No.

Coffee Shop Campus Ministry Kitchen

Storage

Office

Office Office Office

Office Office Office Classroom

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Classroom

Classroom

Pro

U Project Number

58

Date Drawn By

BUILDING PROGRAM Worship Worship Support Offices Classrooms Event

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There are two worship spaces: the main sanctuary and a side chapel.

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The worship support: consisting of the campus ministry offices, the sacristy and a parlor.

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Adjacent to campus ministry are six faculty offices.

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Classrooms are on both levels, with a computer lab and seminar room on the lower level.

•

There are two events spaces, the multipurpose room and the coffee shop. The coffee shop would be available for the entire community, not just the faculty and students, with its prominent front on the plaza facing Bluemound Road.

CLADDING: LUDOWICI VENTILATED NEXCLAD SYSTEM The chapel is clad in a terra cotta tiles, as part of the Ludowici Ventilated NexClad System. This pays homage to the traditional materials of the campus, while using them in a new modern rendition. This tile would be used on the pitched roof of the worship space and all the walls.

Air, Water & Vapor Barrier 1/2" Gyspum 4" Rigid Foam Insulation 8" Steel Stud 3/4" Duroc Sheathing

Air Cavity Nexclad Tile

Rail Lock Down Clip

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N E X C L A D

S Y S T E M ™

Standard Size Physical Characteristics-Imperial Size (in)

Center to Center Module (in)

9” x 14” x .875”

8.25” x 11”

10.75” x 16” x .875”

10.125” x 13”

Q

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GUIDING POINTS CREATE A LANDMARK WITHIN THE CAMPUS

DEFINE A GATHERING PLACE OUTSIDE TO EXPERIENCE NATURE

ESTABLISH A COMMON ENTRYWAY

UTILIZE THE INTERPLAY OF LIGHT

CREATE UNITY WITHIN WORSHIP WITH A CENTRAL FOCUS

ACCOMMODATE A VARIETY OF ACTIVITIES

STEWARD NATURAL RESOURCES RESPONSIBLY

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CREATE A LANDMARK WITHIN THE CAMPUS This guiding point is accomplished with the monumental scale of the worship volume, which creates the highest point on the campus. Along with the chapel holding the southern end of the quad, this space becomes a landmark on the campus and in the community.

At night, the chapel becomes even more of a landmark when beams of light pierce the night sky, creating a beacon on the campus.

DEFINE A GATHERING PLACE OUTSIDE TO EXPERIENCE NATURE

This plaza faces Bluemound and creates an inviting entrance to the surrounding community, allowing a connection between campus and the city. The trees provide shade and tranquility while holding the street edge; this space could be used before or after services or throughout the day.

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ESTABLISH A COMMON ENTRYWAY

The common entryway is a vital link between the surrounding community and the rest of the campus. With two entry points, this internal path will easily become a gathering place. The terra cotta tiles are carried through the interior to further emphasize that this entry is sliding between two volumes.

UTILIZE THE INTERPLAY OF LIGHT

The utilization of light is accomplished at three different scales. First, at the smallest in the side chapel, the light washes over the birch paneling creating a warm soft glow for a time of quiet reflection. This space would be used for intimate gatherings or by individuals desiring a place of calm.

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UTILIZE THE INTERPLAY OF LIGHT

The second utilization of light occurs in the lobby, which is accomplished by skylights that wash the terra cotta tiles in changing light. The floor is made of glass panels allowing diffuse light into the lower level, and the floor is held away from the walls and connects only at the doors to give a bridge-like feeling.

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UTILIZE THE INTERPLAY OF LIGHT 5 AM

At the largest scale, the main worship space utilizes light to create a worshipful and sacred space. The random apertures create an ever-changing pattern of light and shadow on the birch paneled interior. The interplay of

7 AM

light is important in the connection between the act of worship and creating an environment of repose.

9 AM

A sun study of the changing light shows the effect of light on the worship space. Starting with the sunrise, streams of light are created along the floor

11 AM

and western wall. As the sun shifts in the sky to noon, and throughout the afternoon, it creates dramatic effects throughout the space. From dusk to sunset, light filters through the skylights to create an even more intimate

1 PM

3 PM

5 PM

7 PM

experience.

CREATE UNITY WITHIN WORSHIP WITH A CENTRAL FOCUS

Unity is created within the worship space with the altar placed in the center, with the baptismal font at the entry and the ambo beyond. This arrangement creates a sense that everyone present is participating in the sacred act of worship.

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ACCOMMODATE A VARIETY OF ACTIVITIES

With the ability to change its arrangement based on the type of use, the chapel is able to accommodate more activities than just worship. Since no furniture is fixed, the space allows for lectures, concerts and winter commencement to be held here. This also provides a space for the college to host conferences using the main chapel, classrooms, and multipurpose space. The Administration envisioned the building being used far beyond its regular chapel services.

STEWARD NATURAL RESOURCES RESPONSIBLY

Caring for creation is an important value not only to WLC but also in the Lutheran faith tradition. Rainwater will be collected form the steep slope of the roof and stored in a large cistern under the quad to be used for irrigation. Also, geothermal cooling will reduce the reliance on fossil fuels.

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CONCLUSION This new campus chapel creates an environment for the entire campus community to engage with the spiritual. At its core, liturgical architecture creates a space for the theological and scriptural education, for the fellowship and scholarship and exploration of the sacred.

Jacob Himmelman M. Arch., May 2012 Thesis Committee: James Shields, Gil Snyder, Greg Thomson

REFERENCES DeSanctis, M. (2000, April). Notre Dame’s neo-classicists yearn to build grand old churches. National Catholic Reporter.

Dupre, J. (2001). Churches. New York: HarpeCollins Publishers Inc. McNamara, D. (2009, April). A Triumph of Sacred Architecture - A Church That Teaches. Adoremus Bulletin, 15(2).

Stroik, D. (2011). Environment and Art in Catholic Worship - A Critique. The Institute for Sacred Architecture, 2.

Stroik, D. (2011). Ten Myths of Contemporary Church Architecture. The Institute for Sacred Architecture, 1.

Vosko, R. (2002). Building and Renovating Places of Worship. America Press, Inc. Vosko, R. (2011). Worship Space Today. America Press Inc. Vosko, R. (2006). God’s House Is Our House. Collegeville, MN: Liturgical Press.

Vosko, R. (2009). The Language of Liturgical Space: Archetypes and Cliches. Retrieved from http://www.naal-liturgy.org Wisconsin Lutheran College. Retrieved Dec.15, 2011, from http://www.wlc.edu

Photo Credits:

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Page 5.

The High Renaissance in Italy. Retrieved May 2, 2012, from http://t771unit4.pbworks.com

Pages 14-15.

Hammel, Green and Abrahamson, Inc. Retrieved Nov. 3, 2011, from http://www.hga.com

Pages 16-17.

Dupre, J. (2001). Churches. New York: HarpeCollins Publishers Inc.

Pages 18-19.

Dupre, J. (2001). Churches. New York: HarpeCollins Publishers Inc.

Pages 20-21.

Nick Roberts : Architecture + Urbanism. Retrieved Oct. 22, 2011, from http://aplusu.org

Pages 28-29.

Wisconsin Lutheran College. Retrieved Dec.15, 2011, from http://www.wlc.edu

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Wisconsin Lutheran College. Retrieved Dec.15, 2011, from http://www.wlc.edu

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Ludowici Roof Tile. Retrieved Apr.1, 2012, from http://www.ludowici.com