Capstone

1

Introduction

St. Aloysius Catholic Church in West Allis, Wisconsin, was founded in 1920. The

current church building was built in 1956. Brust and Brust were the architects and,

along with designing St. Aloysius, they designed about 60% of the area’s churches from

1950-1970. Bernard Gruenke, of Conrad Schmitt Studios, was the liturgical consultant.1

The majority of the population of St. Aloysius is composed of the elderly and the

working poor. There are also many middle-class young singles and families and Baby

Boomer families. Since 2004 originally eight, and now seven parishes of West Allis and

West Milwaukee have been supporting two school sites for Mary Queen of Saints

Catholic Academy. The anticipated enrollment was 500, but the highest it has ever

reached was 328, achieved in its the first year. Since then enrollment has been steadily

declining. Therefore, it has become no longer financially feasible to continue to support

two buildings.2

According to the school website, “Meitler Consultants conducted a data study to

assist in choosing the best location to stabilize, strengthen and sustain our quality

1 Information gathered from Fr. Jeff Prasser, current pastor of St. Aloysius.

2 Meitler Consultants, Data Study: Mary Queen of Saints Catholic Academy, (2010), 3.

2

Catholic education in West Allis and West Milwaukee.”3 Meitler Consultants after

analyzing all data recommended a one-school site.4 There were three school buildings

under consideration where the school could continue, and in March of 2010, it was

decided that it would continue at the Greenfield site located at St. Aloyius starting in the

Fall of 2010. No matter what decision is made, there is bound to be both positive and

negitive feedback, but our hope is that this will help our school – and our parish -- to be

stronger in the future.

The study analyzed data regarding the church, as well. In 2008, St. Aloysius had

920 registered parish families, 24 infant baptisms, 14 First Communions, and 49

religious education enrollees.5 In the past year, there have been five weddings and 47

funerals.6

St. Aloysius currently has four weekend masses: one on Saturday afternoon, two

on Sunday morning, and one on Sunday night. As music director, I am responsible for

planning liturgies and providing accompanying music for three masses, preparing the

choirs, training cantors, and preparing a worship aid for the congregation. An additional

Contemporary choir and its director are responsible for the Sunday night liturgy. The

members of this choir have their own instruments and equipment that they set up and

take down each weekend. The director prepares a worship aid exclusively for this

3 Mary Queen of Saints Catholic Academy, “Home Page,“ http://www.mqsca.org/ (accessed Mar. 10,

2010). 4 Meitler Study, 21.

5 Ibid., 7-8.

6 Fr. Jeff Prasser.

3

liturgy. The parish has at least one communal penance service a year and Stations of

the Cross each Friday in Lent. There is Benediction of the Blessed Sacrament every

Tuesday and on the first Friday of every month.

Since July of 2008 six pastors have been present to serve the seven parishes of

the area. The West Allis parishes are Holy Assumption, Immaculate Heart of Mary, Mary

Queen of Heaven, St. Aloysius, St. Augustine, and St. Rita. St. Florian is the only parish in

West Milwaukee. All the pastors serve one parish, except for our pastor and associate

pastor who serve St. Aloysius and St. Rita. The pastor at Immaculate Heart of Mary will

be retiring within a year, the pastor at Mary Queen of Heaven’s term will expire, and we

have begun to consider how our parishes will collaborate in the future.

Since 2005, St. Aloysius has been collaborating with Mary Queen of Heaven and

Immaculate Heart of Mary to host a joint Confirmation liturgy in the spring. In 2008, St.

Rita and the other parishes were also invited to participate. In 2006, a youth minister

was hired at Mary Queen of Heaven and also began working at St. Aloysius, then in need

of someone in this role. Our Religious Education Director works at both Immaculate

Heart of Mary and St. Aloysius. The current school sites have full-time staff at each site.

Collaboration in the future could take many forms, but it will continue to be

more necessary as time passes and needs arise. For example, one area under

consideration would be to have one Director of Worship serve St. Aloysius, Mary Queen

of Heaven, and Immaculate Heart of Mary. Additional musicians would be hired as

needed for liturgy. The three parishes currently serve the west side of West Allis, so a

4

similar collaboration could be inauguarated for the east side of West Allis and West

Milwaukee.

A second proposal has been put forth. In this proposed collaboration, six to

seven parishes would work together with one Director of Worship for all of the parishes.

This would be a much more encompassing position, requiring a secretary for the

director. Again, additional musicians would be hired as needed for liturgy.

As our area parish leaders look to the future and consider possible

reconfigurations of personnel and new uses or modifications of current buildings, our

pastor feels it is an appropriate time to consider what is needed by way of modification

of our worship space. There are many areas of St. Aloysius’ worship space and adjacent

areas that could be adapted to serve the congregation better. In this project, I will focus

on three areas in need of renovation: the baptismal font, the gathering space, and the

space for musicians.

5

Chapter 1: A Place for Baptism

From the earliest documents of the church it is clear that baptism is a vital part

of the Christian faith. The earliest treatise on baptism, written at the end of 2nd century

by the North African theologian, Tertullian, notes that “thanks to our sacrament of

water, by washing away the sins of our early blindness, we are set free and admitted

into eternal life.”7 He calls us the little fish who must follow after Jesus, the big fish

(ichthus): “But we, little fishes, after the example of our ΙΧΘΥΣ Jesus Christ, are born in

water, nor have we safety in any other way than by permanently abiding in water…”8

The second-century church manual, The Didache, includes instructions about baptism:

“Baptize in the name of the Father and of the Son and of the Holy Spirit (Matt 28:19), in

running water.”9 Cold, running water is the preferred kind of water, according to this

document.10 According to the Catechism of the Catholic Church, baptism is “the basis of

the whole Christian life, the gateway to life in the Spirit (vitae spiritualis ianua), and the

door which gives access to the other sacraments.”11 These are just a few of the

numerous documents that have commented on the importance of this sacrament.

7 Tertullian, On Baptism, “Chapter I. Introduction. Origin of the Treatise,” http://mb-

soft.com/believe/txv/tertullt.htm (accessed Mar. 9, 2010) 8 Ibid.

9 Aaron Milavec, The Didache: Text, Translation, Analysis, and Commentary (Collegeville, Minn: Liturgical

Press , 2003), 19. 10

Ibid. 11

United States Conference of Catholic Bishops, "USCCB - Catechism of the Catholic Church," par. 1213, http://www.usccb.org/catechism/text/pt2sect2.shtml#art1 (accessed March 18, 2010).

6

Since it is such a vital part of the faith, it would stand to reason that the place where it is

done is just as important.

The Bible presents two significant images of Baptism that have influenced the

shape of many baptismal fonts and pools: the images of dying and rising and of being re-

born. In his Letter to the Romans, St. Paul writes: “Or are you unaware that we who

were baptized into Christ Jesus have been baptized into His death? We were indeed

buried with him through baptism into death, so that, just as Christ was raised from the

dead by the glory of the Father, we too might walk in newness of life. For if we have

grown into union with him through a death like his, we shall also be united with him in

the resurrection.” (Romans 6:3-5)12 A second image comes in the gospel of St. John,

when the evangelist has Jesus saying: "Amen, amen, I say to you, no one can enter the

kingdom of God without being born of water and Spirit. What is born of flesh is flesh

and what is born of the spirit is spirit. Do not be amazed that I told you, 'You must be

born from above.' The wind blows where it wills, and you can hear the sound it makes,

but you do not know where it comes from it goes; so it is with everyone who is born of

the Spirit." (John 3:5-8)13 Because of these New Testament images, many creators of

baptismal fonts and pools have worked symbolically with the images of womb or tomb

as shapes being appropriate for a baptismal font or pool, as articulated by many

scholars including Regina Kuehn.14

12

Donald Senior, John J. Collins, ed. The Catholic Study Bible: The New American Bible (New York: Oxford University Press, 2006), 1502. 13

Ibid., 1409. 14

Regina Kuehn, A Place for Baptism (Chicago: Liturgy Training Publications, 1992).

7

Lutheran liturgical scholar S. Anita Stauffer developed a helpful chart that shows

the progression and history of the sizes and shapes of spaces for baptism, from running

water, to pools, to fonts. In the first three centuries of the Common Era, baptism

preferably occurred wherever living (running) water was available. As the rites of

initiation became more elaborate and the Elect entered the water naked, special

baptistries were built that were attached, detached, or loosely connected to churches.15

The baptismal pools were built in the ground. Many were able to be walked through

from one side to the other. Walking from one side of the water to the other was

understood as a symbolic action, an image of the Israelites’ journey to freedom and

Jesus’ journey from death to resurrection.16 In the West, adult baptism was most often

celebrated and usually occurred at the Easter Vigil.17

Early baptisteries and fonts took many different shapes that symbolized an

understanding of baptism as related to death and resurrection with Christ. Hexagonal

fonts symbolized the sixth day, the day of Christ’s death. Octagonal fonts symbolized

the Eighth Day, the day of resurrection. Cruciform fonts symbolized the victory of the

resurrection. 18 Rectangular shapes symbolized the tomb, and circular shapes

symbolized the womb and re-birth.19 Early fonts were large and held abundant amounts

of water. They could be up to 25 feet across in width and several feet deep. Baptism

15

S. Anita Stauffer, "Space for Baptism" Reformed Liturgy & Music 19:4 (Fall 1985), 174. 16

S. Anita Stauffer, Re-Examining Baptismal Fonts: Baptismal Space for the Contemporary Church (Collegeville MN: Liturgical Press, 1991), Videocassette. 17

Ibid., 174. In the East, baptism was associated with the Feast of Theophany (January 6th

). 18

Walter M. Bedard, The Symbolism of the Baptismal Font in Early Christian Thought (Washington: Catholic University of America Press, 1951), 38-41. 19

Stauffer, 175.

8

was by immersion, with the presider pouring water onto the candidate’s head while the

person stood in the water.20

From the 6th to 8th century, Stauffer notes that adult baptism decreased while

infant baptism increased, ultimately making infant baptism the norm. Fonts no longer

needed to be large enough for adult immersion and moved from baptisteries to fonts in

the church itself, usually by the entrance. These fonts were large enough for immersion

of infants.

From the Middle Ages until the present, baptismal space has “deteriorated both

functionally and symbolically.”21 Affusion (pouring) and aspersion (sprinkling) of water

over the candidate’s head became the practice for baptism. Fonts became smaller and

smaller with less and less water.22 Covers for the fonts were introduced and became so

highly decorated that eventually the font covers became the visual symbol instead of

the water.23

In her video presentation, Re-Examining Baptismal Fonts: Baptismal Space for

the Contemporary Church, Stauffer suggests three things that a church’s baptismal font

should be today: a container for living water, large enough for immersion of adults and

infants, and a visual statement of burial in Christ.24 She also states that the water

20

J.G. Davies, The Architectural Setting of Baptism (London: Barrie and Rockliff, 1962), 2. 21

Ibid., 176. 22

Ibid., 69-70. 23

Stauffer, 176. 24

Ibid.

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should be visible and tangible, because it is the central symbol.25 Unfortunately, many

churches’ fonts fall short of these suggestions.

Another Lutheran liturgical scholar, D. Foy Christopherson, in his book A Place of

Encounter, points to Principle S-8 of the ELCA's principles for worship: “the place and

practices of baptism proclaim the church’s faith. A generous space around flowing

water reinforces the meaning of baptism for the assembly.”26 To truly understand the

meaning of baptism there needs to be abundant water, and the assembly must be

present to fully participate.27 Christopherson states the importance of having the font

near the entrance of the worship space. Here, it can be “a powerful witness to this

sacrament as our entrance into the community and gives us encouragement to return to

the font regularly.”28

Roman Catholic liturgical design consultant Richard Vosko states the importance

of having the baptismal font located between the entrance and the altar space. In this

position, the baptistery serves as a “distinct transitional space or passageway. This

bridge between the two spaces is not a corridor but a spacious and wide promenade.”29

It also needs space around it for people to gather around it.30 Vosko states that the font

must be large enough for immersion. Its largeness and use of moving water reenforces

25

Ibid., 177. 26 D. Foy Christopherson, A Place of Encounter Renewing Worship Spaces (Worship Matters) (New York:

Augsburg Fortress, 2004), 37. 27

Ibid. 28

Ibid, 38. 29

Richard S. Vosko, God's House Is Our House: Re-imagining the Environment For Worship (Collegeville, Minn: Liturgical Press, 2006), 81. 30

Ibid.

10

the font as a powerful symbol. He suggests that an older font could be part of a new

larger font.31

This was done in Milwaukee’s cathedral

when it was renovated in 2001, pictured left.

The baptismal font in the Cathedral of St. John

the Evangelist in Milwaukee is shaped like a

tomb and “points from the darkness of the west to

the rising sun in the east, its three steps a reminder

of Christ’s three days in the tomb. On axis with the

altar, it directs us to the place where we gather for

the nourishment we need to live out our baptismal

covenant.”32 It is 24-inches deep and made of

granite and marble. The upper font was part of the renovation of 1943, and water flows from

the upper font into the pool below.33

Richard Vosko reenforces the idea that an important focal point for the church

should be the font. It is “a crossing where the Christian embraces and is embraced by

the life, death and resurrection of Jesus Christ. The living water is a reminder of the

death we died and the life we live, a constant presence to the church as we gather and

disperse.”34

31

Ibid, 82. 32 The Cathedral of St. John the Evangelist, "Virtual Tour of the Cathedral,"

http://www.stjohncathedral.org/tour/baptistry.htm (accessed March 18, 2010) 33

Ibid. 34 Vosko, 79.

11

Built of Living Stones, the US Conference of Catholic Bishops’ document

published in 2000 that deals with new construction and renovations of church buildings,

states four criteria for designing a baptismal font: one, that it be large enough to hold

enough water for immersion of infants and adults; two, that the congregation should

participate in baptisms (whose participation is determined by where the font is located);

three, that its location should demonstrate the relationship between baptism and

sacraments; and four, that a private space should be prepared for neophytes to use for

dressing immediately after baptism at Easter Vigil.35 Of course, many fonts built before

the year 2000 do not fit these criteria. The font in my parish, St. Aloysius, is one of them.

In an article, Pastor Ronald J. DeHondt asks other pastors, “How’s your font

working?”36 If he asked me about our parish font, I would have to say, “Not very well.”

The font at St. Aloysius represents what a font of the early 20th century typically was: a

bowl on a pedestal. There are many other area churches that have this same kind of

font. It is useful for infant baptisms, but it is only useful for adults if the presider drips

water on their heads from the water in the font. Unfortunately, this font is attached to

a wall and is not free-standing.

For many years our font remained unused, because it was impractical. Despite

the awkwardness of our wall font, a few years ago our pastor resurrected it by cleaning

it up, and he started using it once again. A portable small pedestal font was also

acquired at some point, and for many years this font was used for the baptism of infants

35

U.S. Catholic Bishops - Committee on the Liturgy, Built of Living Stones: Art, Architecture, and Worship Guidelines of the National Conference of Catholic Bishops, (Washington D.C.: United State Catholic Conference, 2000), no. 69. 36

Ronald J. DeHondt, "How's Your Font Working?" Liturgy 90 27:4 (May/June 1996), 10-11, 14.

12

instead of the permanent wall font. For the Easter Vigil, one of two different sized

plastic tubs was brought out. This temporary arrangement worked fine, since we only

had one or two baptisms each year, and some years we did not have any. Typically, a

large black tub was used. The Elect would kneel in it and have water poured over them.

I have only witnessed a submersion baptism once using this tub. That individual truly

was an example to the assembly of dying with Christ as he gasped for air coming out of

the water. At the Easter Vigil in 2009, the Elect, a mother and daughter, chose to use

the permanent baptismal font with water being poured on their heads while they were

standing. Our font is useful for infants, but if every font should be useful for both

infants and adults, ours is surely not working very well at all.

DeHondt challenges communities like my own to be aware of our call to die and

rise with Christ and use rituals that symbolically speak of this paschal mystery. To do

this, one would have to have a font large enough and with enough water for someone

to potentially drown.37 I have seen very few baptismal fonts that meet this challenge.

In order to truly understand what our current font looks like and how it

functions, below are some photos with descriptions.

37

Ibid, 11.

13

The position of the baptismal font is pictured above. It is made of marble and

built into the wall. Four years ago, we began having votive candles, and they were

placed on either side of it. At that time, the font was not in use. Now, when baptisms

occur monthly on Sunday afternoon, the Easter candle is moved over to the wall font

and the families gather around -- after the parishioners lighting candles or praying have

left the area, that is.

As you can see, the area is very limited. The piano is also stored in this area

when not in use. During combined Confirmation masses when our church hosts, the

combined choir sits in this area, because there is no where else to put all the singers.

14

Below are closer photos of the font itself. The sacramental oils are displayed

above it. The second photo shows what the font looks like on the inside with the lid

removed. The current position of the baptismal font is not by an entrance. Since it is

built into the wall, it cannot be moved. If we tried to move it, it probably would crack or

break in parts.

In sum, this situation is not helpful

because the font is in the middle of a

tight space and is off to the side. It is not

a focal point of the church, as a

contemporary baptismal font is meant to

be. The space it is in is very small, and

when family members gather around the

font, the area can seem crowded. It

would be impossible for even a small part

of the entire congregation to gather

around in this area for baptisms.

This font only accomodates the

baptism of infants or the Elect who wish

to have water dripped on their head.

It is simply a bowl on an immovable

pedestal. When the Elect are to be

15

baptized at the Easter Vigil, other temporary tubs are brought out. There is no living

water in this font, and water needs to be placed in it when it is used.

There are a few options that our parish leaders might consider to improve this

situation. One option is to use what we currently have and expand it so that it can

accommodate both infants and adults. This would require an additional task of filling

the current font and finding a way to circulate water through it to filter into the larger

font. It would be a beautiful way to show the old serving the new, as other churches

have done. However, this would only make an inadequate, awkward situation worse

than it already is.

Another option could be to build a new font elsewhere, such as a gathering

space, that is large enough for immersion. In this way, those who enter would be

reminded of their baptism, and our baptismal font or pool would be a prominent

symbol. Instead of being on a wall off to the side, our baptismal space would be always

visible and would remind those that enter of their baptismal call. This font could include

a pedastal font and an immersion tub -- of some appropriate symbolic shape -- to

accommodate both infants and adults.

16

A few examples of fonts

can serve as a model for

our consideration. One

example can be found at

St. Mary’s Catholic

Church in Hales Corners,

WI. This church was

renovated in 2003, and

the font is pictured above. The octagonal pedastal font directs warm water to flow

down into the immersion font for adults. It is located by the church’s main door and

leads directly into the worship space.

Another example is found at Immaculate Heart of Mary in West Allis, WI. This

church was renovated in

2001 and has a

round/cruciform font. It

has a large immersion

font for adults, and a

pedastal font for infants.

It is pictured here

without water because

the photo was taken

17

during Lent, but it has water in it every other part of the year. It is located at the

entrance of the church, near the gathering space.

A third example

can be found at St.

Stephen’s Catholic

Church in Oak Creek, WI.

This church was built in

1847, but was re-built in

2009 when they moved

to a new location. This

cruciform font, pictured above, has a pedastal font for infants from which flows water

down into the immersion pool for adults.

In each of these examples, baptism takes place in a defined space specifically

designed for initiation. It serves to remind the entire community how important this

sacrament is as “our entering into the death and resurrection of Jesus the Christ, and

thereby into the holy, priestly community of God.”38 It is more than just something that

is pushed off into the corner. Baptism deserves a place of prominence to remind us of

its importance to our faith. Ideally a baptismal font or pool should be located at or near

the entrance to the worship space, but sometimes this is simply not possible. Wherever

38

Richard Giles, Re-Pitching the Tent: The Definitive Guide to Re-Ordering Church Buildings For Worship (Collegeville, MN: The Liturgical Press, 1999), 167.

18

it can be located, the water ideally should be assessible to all to remind us of our

baptism when we enter the space.

At St. Aloysius, there are holy water fonts at the entrances (which are on both

the west and east sides of the church), but the congregation otherwise has little

connection to the baptismal font. Our font is covered and empty all the time except

when a baptism is about to occur. I doubt most people even realize we have one or that

we use it. A few years ago I truly believed we did not have a permanent baptismal font.

The only one I saw used was small portable font for infants and large portable

temporary wading pools for adults. I can only imagine the difference it would make for

the congregation if they could truly experience a baptismal font as it was meant to be

experienced, with its flowing waters and its prominent presence.

19

Chapter 2: A Place for Gathering

Article 288 in the 2003 edition of the General Instruction of the Roman Missal

states that for the celebration of the Eucharist the People of God gather in a church or

other respectable place.39 Churches must be suitable for the sacred action and to

enable active participation by all.40 The worship space itself must be suitable to the

liturgical action, but the place we gather before and after liturgy is also very important.

The People of God who gather for Mass have a “coherent and hierachical structure”

which is shown through different kinds of ministries and liturgical actions. The building

must convey “the image of the gathered assembly and allows the appropriate ordering

of all the participants.”41

Built of Living Stones has a section on the gathering space, also known as the

narthex. It is a “place of welcome,” physically located between the sanctuary and

outside of the church. It is a place to gather and also to enter and exit the building. As

39

U.S. Catholic Bishops, Article #288, General Instruction of the Roman Missal (Washington, D.C.: United States Conference of Catholic Bishops, Inc., 2003). Afterward cited as GIRM.

40 “Sacrosanctum Concilium: Constitution on the Sacred Liturgy,” in Liturgy Documents Volume 1, 4

th ed.

(Chicago: Liturgy Training Publications, 2004), no. 124.

41 GIRM, Article no. 294, Ibid, 90.

20

individuals enter the space, they exit the outside environment of their lives and enter

the environment of liturgy and then return to their lives upon leaving.42

In the early Christian house churches, the courtyard – or atrium – served the

purpose of gathering. In the early 4th century after the Edict of Milan, huge rectangular

basilicas originally used for governmental or civic purposes were adapted for Christian

use. When churches were no longer located near natural outside gathering spaces,

basilicas were often near the city center or public markets, a place where people

gathered and socialized,.43

Throughout history, the concept of having a

gathering place in front and, later on, within the

church continued to develop. One key example of a

gathering place is the piazza of St. Peter’s in Rome,

pictured left. The architect Gian Lorenzo Bernini

designed this courtyard in the middle of the seventeenth century and sought to

“embrace Catholics so as to confirm them in their faith; heretics, to reunite them to the

church; and infidels, to enlighten them in the true faith.”44

St. Peter’s may be an extreme example, but it provides a model that can be

adapted to other churches. Marchita Mauck suggests that a church’s gathering place is

42

Built of Living Stones, no. 95.

43 Marchita Mauck, Shaping a House for the Church (Chicago: Liturgy Training Publications, 1990), 10-11.

44 John Rupert Martin, Baroque (New York: Harper and Row, 1977), 151.

21

designed in a way that it “elicits from the participant an anticipation of what is to come

and facilitates the gradual assimilation into the larger group.”45 In other words, the

gathering space can facilitate our becoming the Body of Christ we are called to be.46

Many public places, such as shopping malls, have design principles that invite

and encourage interaction. They have sufficient area, a focal point, paths, human scale,

ease of movement, visual richness, and variety.47 The scale is much different in a mall

than in a church, but some common design aspects can be considered. Both places

draw people in and then send them back out into the world.

After making this comparison, Mauck then goes on to present some specifics for

church gathering spaces. First, the size of the gathering space needs to be large enough

in relation to the assembly’s size. This can be as large as at least one-third the area of

the worship space. Second, the gathering space should be related to the other parts of

the church, and it is vital that it be on a main path. Third, the quality of the space

depends on: the nature of the light; the nature of the materials; sound and noise

control; whether it is used for over-flow seating; whether it includes a kitchen, storage

or restrooms; hospitality versus security; degree of adaptability, multi-use and cost.48

Every church’s gathering space is going to be different, depending on what it is used for

and what the space available is.

45

Ibid, 14. 46

Ibid. 47

Ibid, 17-20. 48

Ibid, 22.

22

Mauck states the importance of providing a gathering space that “makes visible

the significance of the coming together of the whole church for worship.”49 Gathering

for worship identifies us as a Christian assembly.50 Our gathering spaces must allow all

to participate and gather together in worship.

Richard Vosko states that worship begins even before the congregation enters

the building. The physical spaces, such as parking lots and sidewalks, are also important

spaces to consider. All these spaces are sacred and represent “sacred journeys that

have occurred or will occur there.”51 Therefore, every part of the building – inside and

outside – must be inviting and welcoming.52

He cites elements that are important for a gathering community. Pathways lead

to places of worship. “A path leads to a portal, which is at once a place of arrival and a

place of departure that opens the way to another path.”53 One major barrier-free

entrance should lead everyone – whether physically able or disable – to and through the

gathering place to provide the same gathering experience for all involved.54

Other elements of gathering that factor into whether a church building is

experienced as welcoming include one simple sign, landscaping outside the building,

appropriate lighting, the plaza, artwork, meditation or memorial garden, bells and bell

49

Ibid, 23. 50

Ibid. 51

Vosko, 71. 52

Ibid. 53 Christopher Stroik, Path, Portal Path, no. 10 in the Meeting House Essays (Chicago: Liturgy Training

Publications, 1999), 32.

54 Ibid, 71.

23

tower, thresholds, easily opened doors, one common doorway, glass that permits a view

into the worship space, and support spaces.55 Whether or not some of these elements

are present will depend on the space available inside and the outside the building. If a

building is near a main street, a plaza may not be possible for example.

Vosko states the importance of the church commons. It is “the gathering place,

an interior space we pass through (with time to linger) as we come to and depart from

our worship and other events.”56 It serves as an extended pathway from outside to the

worship space. It draws us into the very center of the building. It is designed to

accommodate different projects that the congregation takes part in, but should not look

cluttered. It demonstrates that the people are very involved with different activities.57

Anglican liturgical design consultant Richard Giles also devotes a chapter of his

book to a discussion of the importance of the gathering place. According to Giles, the

purpose of it is to “provide a ‘hearth’ around which the community of faith can gather,

relax and feel most at home.”58 Just as many homes have a fireplace in the gathering

place, some churches today also have this feature in their gathering spaces. Hospitality

is the key to success in a gathering place.59

Through the gathering place, the community enters the worship space. Here,

“welcomes are made, greetings completed and books given out, before entering the

55

Ibid, 72-78. 56

Ibid, 77. 57

Ibid. 58 Giles, 161.

59 Ibid.

24

assembly for a period of quiet reflection before worship begins. The gathering space

provides a transition to silence.”60 In creating a gathering place, we can help people feel

comfortable by having the best materials, a comfortable setting and superior lighting.

The gathering space at St. Aloysius is very limited currently. There is a commons

area, seen in this photo below, but this is a very narrow space. Here are some photos to

show what the current situation is otherwise for our gathering.

Pictured left is the

commons area by the

handicapped-

accessible entrance.

St. Aloysius has two

main entrances, and

this photo shows that

the area is very

narrow.

There are three doors from the outside on both the west and east sides of the

church. Each leads directly ahead to a wooden door, which leads to the worship space.

60

Ibid, 163.

25

The main doors on the west

and east sides of the church lead to

the center aisle of the church.

Within the marble walls of this area

on the east end are two restrooms, a

reconciliation chapel, and an usher’s

storage room. The west end is

almost identical, except that there is a cry room instead of reconciliation chapel.

Pictured here is the main door passageway on the east side.

Inside, the current amount of space between the back walls and pews is very

limited. Earlier this year, the pastor removed the back row of pews, and re-located

those pews to the commons area. Once a month, the congregation gathers for

Hospitality

Sunday in this

newly-opened

area on the east

end of the

church. A few

parishioners bring

in baked items

and juice. Coffee

26

is brewed on-site. After the Sunday masses on this weekend, this area can become

quite crowded. Pictured here is the set-up for Hospitality Sunday on the eastern side.

The west end of the church has an identical set-up, but the table is used by a

parent from the school to sell Scrip gift certificates, and occassionally this becomes the

space for the location for other displays. The tables have also been used to put out

fliers, calendars, and other items for parishioners to pick up as needed.

This adapted gathering space is not adequate for many reasons. First, space is

extremely limited. It works fine for the gathering of ministers before liturgical

processions, but if there needs to be more people than a few in the area it gets very

crowded. Two years ago when we hosted a combined Confirmation liturgy, there was

simply not enough room to line up all the candidates for their procession.

Second, the church does not have one main entrance as the authors have

suggested there should be. There are two side entrances. No matter how we change

the space, this fact cannot change. We can take steps to create a gathering space, but it

will only gather people to one side of the church. We have space on each side in the

back, but there is not one place through which the community can gather before or

after mass. There are multiple places.

The Roman Catholic rites related to adult initiation and funerals state the ways

that the gathering space is to be used in these rites. In the Rite of Acceptance into the

Order of Catechumens, “the candidates, their sponsors and a group of the faithful

gather outside the church (or inside at the entrance or elsewhere) or at some other site

27

suitable for this rite.”61 This indicates that the preference is for having a space for

gathering where the rite begins.

The Rite of Baptism for Children includes the reception of the children at a

gathering space. The celebrating priest or deacon goes to “the entrance of the church

where the parents and godparents are waiting with those who are baptized.”62 This

reception at the entrance applies for individual children and groups of children and also

occurs at the start of the Rite of Bringing a Baptized Child to the Church.

In the Order of Christian Funerals, the introductory rites begin at the door of the

church. Here, the deceased is sprinkled with Holy Water, the pall is placed on the

casket, and then the “minister and assisting ministers precede the coffin and mourners

into the church.”63 This same procedure is used for the Vigil for the Deceased with

Reception at the Church and for Funeral Mass.

At St. Aloysius, we are not able to perform these rites as they are prescribed.

One of our former pastors had funeral masses begin at the back of the church, but this

practice has not been consistant. Only a few infant baptisms have taken place during

mass, and the ones that have did not start at the door. It is difficult to judge the reasons

for these discrepancies, but having a place to gather would probably help the rites to be

more consistently performed.

61

“Rite of Christian Initiation of Adults, ”The Rites of the Catholic Church Volume 1, Study Edition. (Collegeville, MN: Liturgical Press, 1990), no. 48,

62 “Rite of Baptism for Children,” Ibid., no. 35, 74, 107, 132, and 165,.

63 “Order of Christian Funerals,” Ibid., 48.

28

The leadership of St. Aloysius has a few options to consider that might provide

this needed ritual gathering space. One option would be to remove pews from the back

of church on the eastern side of the church. Daily mass, masses with small attendance,

funerals, and most weddings all take place on this side. This side is also handicap-

accessible with a straight sidewalk that leads to the street. This is also the side that is

used for coffee and baked goods each Hospitality Sunday.

Another option is to the remove pews from the back of church on the western

side of the church. On this side there, is located the only street parking available for the

church that is close to this entrance. The only other parking lot available is quite a

distance down the street on the opposite side of the church. Although there are many

stairs on this side, it is where most people sit.

Removing pews from either side seems to be the only option because of the

construction of the building. The walls are marble, and above each entrance is a

balcony, so it would seem to be impossible to take out these walls to expand that way.

On the other side of the walls are also established rooms for various purposes, so again

this makes expanding this area challenging.

A few examples of gathering spaces can serve as models for our parish’s

consideration of future solutions.

29

Pictured left is the

larger space at the entrance

of St. Stephen’s in Oak Creek,

WI. On the other side of the

glass is a very large commons

area, including a

kitchen/dining room, the

church office, a coatroom, a

meeting room, and a chapel. The baptismal font is at the entrance, and it is surrounded

by quite a bit of open space. This would allow many people to gather around the font

for baptisms or to gather before or after mass. The entire church is handicap-accessible.

Although the altar is up on a few steps, there is also a ramp that leads up to it in the

back.

Another example is

found at Immaculate Heart

of Mary in West Allis, WI.

IHM is a basement church

and originally one had to go

down several steps to get to

the worship space. One of

the goals of their renovation

was to create a gathering space, pictured above, because they had never had this

30

before. The entrance is now on the main level of the parking lot and the gathering

space leads into the worship space by steps and a ramp. The baptismal font is at the

entrance to the worship space. The baptismal font has much space around it. One side

of it leads into the worship space, and the other leads to an outdoor butterfly garden

that is also a gathering space. This is the door, outlined in stained glass, which brides

enter from for weddings.

31

Chapter 3: A Place for Musicians

Music ministry is a ministry that is very important for liturgy. It is of the “highest

importance in the celebration of the divine mysteries.”64 Therefore it is vital that

liturgical musicians and their space in the church interior be valued and in the best

position for them to exercise their ministry well. Music “unifies those gathered to

worship, supports the song of the congregation, highlights significant parts of the

liturgical action, and helps to set the tone for each celebration.”65

The General Instruction of the Roman Missal includes a short section on seating

for musicians. It quotes the liturgical document Musicam sacram by stating that “the

choir should be positioned with respect to the design of each church so as to make

clearly evident its character as a part of the gathering community of the faithful fulfilling

a specific function.”66 From this position choir members should be able to fully

participate in the Mass.67 Regarding the organ and other instruments, they should be in

64

National Conference of Catholic Bishops, “Order for the Blessing of An Organ,” in The Book of Blessings (New York: Catholic Book Publishing Company, 1989), no. 1325. 65

National Conference of Catholic Bishops, Bishops' Committee on the Liturgy, Music in Catholic Worship (Washington, D.C.: United States Catholic Conference, 1983), no. 23.

66 Sacred Congregation of Rites, “Musicam sacram: Instruction on music in the Liturgy”

http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_instr_19670305_musicam-sacram_en.html (accessed Mar 20, 2010), no. 23. 67

Ibid.

32

a location where they can “sustain the singing of both the choir and the congregation

and be heard with ease by all if they are played alone.”68

Regarding liturgical space for musicians, “[T]he choir and organ shall occupy a

place clearly showing that the singers and the organist form part of the united

community of the faithful and allowing them best to fulfill their part in the liturgy.”69

Cantors and song leaders also need to be able to see the music director and to be seen

by the assembly. The ministers are to be part of the assembly and to be heard by

them.70 The choir should also never “crowd or overshadow the other ministers in the

sanctuary nor should it distract from the liturgical action.”71

In 2008, the United States Conference of Catholic Bishops released the liturgical

document Sing to the Lord: Music in Divine Worship.72 This document draws from and

adds to several previous documents and has five main sections: Why We Sing, The

Church at Prayer, The Music of Catholic Worship, Preparing Music for Catholic Worship,

and The Musical Structure of Catholic Worship.

In section three, The Music of Catholic Worship, the location of musicians and

their instruments is addressed. They “should be located so as to enable proper

interaction with the liturgical action, with the rest of the assembly, and among the

68

GIRM, no. 313. 69

Sacred Congregation of Rites, “Inter oecumenici: Instruction on implementing liturgical norms”

http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-

ii_instr_19670305_musicam-sacram_en.html (accessed Mar 20, 2010), no. 97.

70 GIRM, no. 294; Music in Catholic Worship, 33-38.

71 Built of Living Stones, no. 90.

72 U.S. Conference of Catholic Bishops, Sing to the Lord: Music in Divine Worship. (Washington, D.C.:

United States Conference of Catholic Bishops, 2008).

33

various musicians.”73 As noted in Built of Living Stones, it also states that their location

must allow them to be able to fully participate and being able to see and hear the

liturgical action.74 Their placement should show that they are part of the worshiping

community, but also able to serve in their ministry.75

Vosko presents a chapter on music ministry, instruments, and acoustics in his

book. He states four roles of the musicians: to support the assembly, to sing hymns

with new energy, to sing antiphonally, and to perform musical selections that the

assembly does not sing. He also reiterates the church’s guidelines that music ministers

are part of the assembly and should not be separated from them.76

Regarding the location for the music ministry, he states that a choir loft is not an

ideal place for them, because this location removes them from the assembly and is not

accessible to those who cannot climb stairs. Ideally, the organ should also not be in the

loft, but this preference is not always possible. If the organ cannot be moved and a new

one cannot be obtained, the choir and cantors must adapt to the distance and time

lapse.77

Vosko notes that many different kinds of arrangements can work well for music

ministry, and in a rectangular, older church that the best places would probably be one

end of the room or the other. In any renovation regarding the place of music ministry

and musical instruments, it is important for local church leaders to discuss possibilities 73

Ibid, no. 95. 74

Ibid. 75

Ibid, no. 98. 76

Vosko, 97. 77

Ibid, 97-98.

34

with the design team – architect, acoustical consultant, liturgical designer, and organ

builder – in order to make the best choice possible before final plans are made.78

Vosko presents some factors that should be considered when choosing a place

for music ministry. You must consider what each ministry and instrument needs. You

need to have a flexible setting that can be adapted as needed. The area itself should be

pleasing to the eye. Of all the criteria, the most important is to consider who the

ministers are and what their needs are.79 Acoustically, the best arrangement for the

singers is to be located on tiered risers. This arrangement allows their sound to carry

and allows them to see the director. Instrumentalists are best suited in front of the

singers.80 In this arrangement, space can also be available on the floor in front of the

risers for those in wheelchairs.

Vosko admits that while creating the best possible acoustical setting is

important, it is also difficult to achieve. The worship space should be resonant for

singers and instrumentalists. However, the acoustics of a worship space also need to

support spoken language so that worshipers can hear words clearly. Modifying the

amount of absorptive materials may also be necessary, especially in older buildings.

Making such adaptations can be especially difficult if the acoustical situation is very

poor. An acoustical consultant can be very helpful in this situation.81

78

Ibid, 101. 79

Ibid, 101-102. 80

Ibid, 102. 81

Ibid, 104-105.

35

Once the acoustical setting has been enhanced or established, then a sound

system can be considered for the space. It should be the most up-to-date audio system

as possible with audio recording and playback features. These systems can have manual

control for modification or controls that are set and cannot be changed (by those

unauthorized to change them).82

Deciding where to put the loud speakers can be a challenge. Vosko states,

“*I+deally, everyone in the assembly should be able to hear clearly without noticing

where the amplified sound is coming from.”83 Again, professional help is important in

this step and every step.84

Having a sufficient number of microphones and the appropriate kinds of

microphone is also an important step.85 Microphones should be unobtrusive and

flexible. Any equipment that is used in the church should be quiet. Worship spaces

need a sufficient amount of electric outlets in locations where they are or may be

needed, within the music area and elsewhere in the space. All equipment and musical

instruments should be situated in ways that do not distract the assembly from the

liturgical action.86

Richard Giles also has a chapter of his book, Re-Pitching the Tent, devoted to

music ministry. He presents several principles regarding this ministry. These principles

are: music is the most important part of worship and leads to a community’s renewal;

the choir includes the entire assembly; and certain individuals with musical gifts assist

82

Ibid, 105. 83

Ibid, 106. 84

Ibid. 85

Ibid. 86

Ibid., 107.

36

the assembly in praising God

through song. Also, the

musicians are part of the

assembly; musicians play a

part in enriching the liturgy;

many musical traditions

should be embraced to

honor the diversity of our

populations; and the organ should be located at the western end of the church when

possible.87

The area for musicians at St. Aloysius has been changing in the past year. Until

December of 2009, all members of the music ministry served from the choir loft,

pictured here. The choir loft suited the parish well for many years and provided storage

for the contemporary choir equipment, the piano and organ, and choir music storage, as

well as serving as a location for the choir itself. As the years went on, and I took over as

music director, it became more and more obvious that this situation was not ideal. It

provided lots of storage and a place for everything and everyone involved, but the

musicians and I never felt like a true part of the assembly and many members dropped

out over the years, because they could no longer easily navigate the stairs. Another

problem was that the loft was always cold, and there was a terrible draft from the

ceiling that caused discomfort for many.

87

Giles, 198-200.

37

When our current pastor came to the parish in July of 2008, he stated early on in

his tenure that one change he would like to make would be to bring the choir

downstairs. This opened me to the possibility of making the change, and I thought of

ways to do it. At the start of Advent in 2009, the music ministry re-located to the

ground floor of the church.

It took some getting used to, for the assembly and for us, but overall it was

well received. The only negative feedback I have received is from one older member

who expressed the concern that the choir was taking seats away from disabled

members of the congregation. I have had to explain the rationale behind the move to a

few people and the youth choir, but overall there has not been any problem with the

new set-up.

The challenge in this move was that this caused us to lose all of our storage. It

would have made little sense to continue to store choir materials in the loft and carry

them down every week. This situation was remedied when a cantor provided me with

two grocery store boxes that could serve as storage. This is not an ideal situation, but it

has been working.

38

Pictured left is the

storage that exists for choir

materials. The youth and

adult choir materials are

stored in the boxes, and

additional hymnals are on the

windowsill. The music stand

is used for the cantor and

office supplies are in the bag on the floor. The choir typically uses one hymnal, but

some weeks need two. Because these are heavy books and go into one box with their

music binder, the box can be quite heavy. To lessen the weight, I have taken out the

Worship hymnals from the box on weeks when they are not needed.

The accompaniment books

and all other materials are stored in the

stairwell, pictured left. In the current set-up,

everything needs to be stored in this way. It

is then brought out for the first Saturday

mass and then put away after the last

Sunday mass every weekend. I have recently

been informed that storing anything on a

stairwell is a fire hazard. However, since I

have no other option, the stairwell needs to be used in this unsafe way.

39

There are currently

two different set-ups for the

downstairs arrangement.

The first photo shows the

set-up for masses that do

not utilize the choirs. To set-

up each week, I push the

piano from its place by the

pillar behind the ambo to this position, and then carry out the accompaniment books,

the cantor music stand and set-up the cantor microphone. Additionally, I put up the

hymnal and order of worship page numbers on a marquee by the choir loft. After the

last mass, everything must be moved back to store.

The second photo

shows the set-up for choir

masses. It is almost identical

to the other set-up, but the

choir music box is brought

out and members gather

their materials before sitting

down. They sit in the pews

in front of the piano.

40

Where the choir sits in this arrangement is problematic for two reasons. One,

when they sit down and I am seated at choir rehearsals, they cannot see me because

the piano is quite high. This piano used to be in the loft, but was switched with the one

on this floor in December. The other one was much shorter, but its sound was not ideal.

Second, the choir is seated in front of congregation members who sit in this

section. Depending on the mass attendance, there may be 20-40 people seated here.

There are people to the rear, side, and front of them; the other side of the altar has the

exact same pew set-up. Unfortunately, the sound coming from the choir is best heard

by the people directly across from them. During the Eucharistic prayers, they remain

standing to lead the acclamations. This leads to them blocking the view of the

assembly members behind them.

An additional complication is the microphone cord. In the choir set-up, the

microphone is next to the piano, but that also leaves a large amount of open space

between the piano and the ambo. The microphone cord does not lie flat and spans this

space, because the plug is on the pillar (the cantor uses this microphone during these

masses). Before communion, a choir member or I move this microphone over by the

pillar to avoid a congregation member possibly tripping. This problem could be easily

remedied by covering it with a cord channel from a home improvement or office supply

store, but this solution has yet to be tried. During communion, the congregation in this

section processes within this space. At times, to the music ministers, it feels as though

41

the communicants are invading our music space. To put it mildly, this is a less-than-ideal

situation.

Another complication is that the organ was not moved and is in no condition to

be moved. Therefore, whenever it is used, the choir and cantors have to adjust to the

sound delay and attempt to sing with the organ despite the distance delay. Obviously, I

must climb the stairs whenever the organ is to be used.

Overall, this situation is not helpful for several reasons. In the position where we

currently are located for mass, we have no permanent storage, no permanent set-up,

and no place of our own. The choir loft still needs to be used to house the

contemporary choir’s equipment, their choir music, and the organ. It is also still used

for funerals and weddings when there is only a keyboardist and cantor for weddings and

keyboardist and small choir for funerals. We minister from the choir loft then in order

not to invade the space for the families and to permit easier access to the piano and

organ.

There are a few options that might be considered to alleviate this situation. One

option would be to locate the choir under the choir loft with amplification. This is

currently where the baptismal font and vigil candles are. However, as shown in the

baptismal font chapter, this space is very limited and relatively small in relationship to

the number of music ministers we have. Chairs would work in this area. The combined

choir for Confirmation has used this space twice in the past when our parish hosted this

celebration. However, from these experiences I can attest to the fact that this space is a

42

“dead zone” – no sound can travel very far or very well. Ideally, the choir should be

located in an area where their sound can travel without sound enhancement. In the

space below the choir loft, this is not possible.

Another option would be to place chairs where the piano currently is located for

non-choir masses, that is, next to the ambo. From this location they could project their

voices towards the altar, but not necessarily towards the congregation. It would also

not solve the problem of the choir being able to see me at all times. Another similar

option would be to have chairs on risers in this area.

Perhaps what would probably work best would be to take out a few front pews

(or cut them in half) to redirect the communion path of the congregation.

These options make a place for the choir, but do not solve the problem of our

not having any storage. There are two options for storage that could be created. My

pastor has suggested that the glass doors and windows leading to the choir loft could be

covered and shelving built onto the stained glass window next to the emergency exit

door (where the boxes and supplies are currently stored). Another option would be to

have a cabinet built into which all of this material could be stored. While this would not

give a place for everything, at least a majority of things would have a place.

Another option that was suggested by my Capstone advisor and my eigth-grade

piano student is to place the choir on an entire quarter of the space where the choir

currently is placed – the handicapped accessible side of the church. My piano student is

43

planning to design the risers to use in this area for his Boy Scout Eagle project in a few

years. His proposal is to have risers in this area facing the opposite side, but starting

further back with the piano in front in them. A bar would be put between the ceiling

pillars and the risers would go across where the pews currently are. The pastor

suggested to him that the pews that are removed could be cut into chairs and used on

the risers, but real chairs would work better. It was also suggested in this set-up that

the organ (a new one, because the current one is very bad condition) be placed in the

balcony directly behind this side of the church, but it would be more ideal on the floor

of the church in this area. Although my student pictured this set-up on the eastern side

of the church, my pastor suggested that it would work better on the western side. In

this way, the eastern side could be used for the gathering space and baptismal font.

This is an excellent option, and by using a quarter of the worship space, storage

could be created. Thin walls or cabinets with shelving could be built to provide storage

for choir supplies including hymnals, binders, accompaniment books, music stands,

microphones, choir music cabinets, and other contemporary choir equipment. In this

space, a small rehearsal room could even to be built.

I have visited several churches with excellent areas for musicians, but none that

could serve as a model for the last option that I presented. However, I will provide

some examples of churches that have risers that could serve as a model.

44

One example is the

music area of St. Stephen’s

in Oak Creek, WI, which is

pictured left. The slanted

back wall serves as a shell to

project the choir’s sound

forward. There is also a

handicap-accessible ramp to

the altar area. In this church there is only organ and an ambo with microphone for the

cantor. The choir is also amplified. The material and wood used on the chairs is the

same as the pews throughout the church. The pews form a semi-circle around the altar

area, so the choir’s sound is directed towards them.

Another example is

the music area of

Immaculate Heart of Mary in

West Allis, WI, which is

pictured left. This area has

an organ and a piano, and to

the left of the piano is

storage for many percussion

instruments. The percussion storage is mostly behind a small wall that holds the

church’s crucifix that is directly behind the altar.

45

This church has a Director of Liturgy who accompanies and a choir director who

stands in front of the choir. There is also a cantor music stand with microphone, and the

chairs on the risers are the same material and wood as the chairs and pews of the entire

church. This area is to the rear and right of the altar area and a combination of pews

and chairs for the congregation are in a semi-circle around the altar. Although the choir

is perpendicular to the pews directly in front of them, their sound is projected to all

parts of the congregation. This church also has a separate rehearsal room for the choir.

Here the choir warms-up and leaves their belongings and then can easily enter the

church close to the start of liturgy.

Another example can

be found at St. Mary’s Catholic

Church in Hales Corners, WI.

This church has an excellent

music area, which is pictured

left. The risers are directly in

front of a beautiful stained

glass window of Madonna and

child and there is both a piano and organ. There is a Director of Liturgy and Music who

directs the choir and an Associate Director of Music for accompaniment. This area is to

the side of the church and behind some of the pews. The pews are in a semi-circle

around the altar area, and the same material and wood is used on the chairs on the

risers.

46

Another example

can be found at Our Lady of

Lourdes Church in

Milwaukee, WI. This church

was built in 1959 and

renovated in 1991. Their

current set-up is pictured

left. The choir is located on

risers behind the congregation, and they have an organ, piano and several percussion

instruments (stored on the other side of the organ). This church also has a cabinet for

storing choir hymnals and accompaniment books. Additional equipment is stored

behind the risers. The same chairs are used for the assembly and the choir.

When I visited the church recently the chairs for the congregation were arranged

in a semi-circle around the altar area, while during a previous visit they were in rows

facing the altar that was located to the left of the music area. I was told by a staff

member that the semi-circle arrangement is typical for Lent, and this will be the

arrangement as the church prepares for their next renovation in the near future. When

it is renovated, the choir will shift to the other side of the platform and overflow seating

will be put where the choir currently is.

47

Conclusion

Building a new church or renovating an existing one can be a challenging and

very rewarding project, one that requires a comprehensive parish process. Being

involved in the process can be rewarding for the people working directly on the building

project, but with adequate liturgical catechesis about worship and the process itself, it

also it can be rewarding for the people who will worship in that space. The process of

building and renovating a church – if well done – has the potential to lead to the

renewal of the worshipping community.

In his article in Liturgical Ministry, Scott O’Brien states that liturgical spaces can

serve as a place for ecclesial conversion. He suggests that the role of the architecture is

to “create a people who are situated in the world in a uniquely human way…disclosing

the community’s identity to be as sheltering as is their God.”88 The building itself

represents the community which is housed there. Liturgical space is “a house of God

and a house of the Church as People of God who share a similar identity as servant for

88 Scott O'Brien, “Liturgical Space as Place of Ecclesial Conversion.” Liturgical Ministry 11 (Spring 2002):

83-84.

48

the sake of the world.”89 Liturgical architecture is a metaphor and symbol that “speaks

a deeper meaning than just the functional and practical.”90

There are many success stories of parishes that have been able to construct a

new building or renew an existing one. One such success was St. Helen Catholic Church

in Dayton, Ohio. Kathleen Harmon, S.N.D. de N., music director for the Institute for

Liturgical Ministry in Dayton, Ohio; Rev. Paul DeLuca, pastor of St. Helen; and Walter D.

Seward, a member of St. Helen, wrote of their experience in the essay, “Renovating a

Liturgical Space: How One Parish Succeeded.”91 Each person gives his or her perspective

on the process and what they learned along the way. In the same issue of that journal,

Harmon also presents the process for catechesis and forms used in the parish.92

According to the pastor, the first step is to develop “a clear liturgical vision.”

This gave the project a direction that “derived from the Church’s self-understanding as

body of Christ continuing his redemptive work in the world today and an understanding

of liturgy as the regularly repeated ritual that immerses the baptized in this mission and

nourishes them to carry it out.”93 The next important steps were to create a strategic,

long-term plan for the project and to develop a finance and building and grounds

committee. In order to achieve all that needed to be accomplished, a ten-year plan was

89

Ibid. 85. 90

Ibid, 86. 91

Kathleen Harmon, Paul DeLuca, and Walter D. Seward, "Renovating a Liturgical Space: How One Parish Succeeded." Liturgical Ministry 14 (Spring 2005), 82-92. 92

Kathleen Harmon, “Sacred Space for a Sacred People: Catechesis for Building and Renovating Liturgical Space.” Liturgical Ministry 14 (Spring 2005), 49-81. 93

Ibid., 83.

49

set in place. The remainder of the article describes the plan and its impact on all

involved.94

Many authors and liturgical consultants have published resources and

publications regarding the building and renewal of liturgical spaces. These include

Marchita Mauck, Richard Vosko, Richard Giles, Nancy DeMott, Tim Shapiro, Brent Bill,

and James Healy. Each author presents a different process based on research and past

experience. To compare and contrast them appropriately, a chart is included in the

Appendix.

It is my hope that St. Aloysius Church may someday soon engage in a renovation

process that will not only rectify our current problems in our insufficient spaces for

baptism, gathering, and music making, but that will also help to renew our worshiping

community.

94

Ibid.

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Appendix

Author Prelimary Preparation Process

Mauck Form a Committee, Develop a Parish Mision Statement, Assess Physical Resources and Financial Capabilities

Select liturgical consultant, select architect, form and work with Planning Committee, work with assembly, Master Site Plan/Schematic Design/Design, Construction, Post-Construction Reflection

Vosko Obtain Diocesan approval, clear goals for the project

Select architect and other professionals, form a committee, conduct project catechesis, seek congregation input, develop study and master plan, raise funds, develop the designs, work with artisans, prepare rituals, prepare construction documents, negotiate bids, construction, dedicate and care for the church

Giles Conduct church council training/formation

Develop strategic development plan, appoint professionals, do community cathechesis, review proposals from professionals and present to community

DeMott, Shapiro, Bill

Ask…Who are We as a Congregation? Who Are Our Neighbors? Who is God Calling Us to Be?

What will the building convey? What building approach will be used? What service providers will we use? What sources of funding will be used? How will the congregation be informed? How will we maintain our spiritual focus? How will we ensure that the work is done properly?

Healy Assess the needs, communicate with parishioners

Select an architect, do fund-raising,

develop parish strategic planning,

commission architectural master plan,

conduct financial feasibility study, do

cathechesis, take groups on church

visits and perform assessments, develop

the church design, do construction,

interior design, dedication

51

Bibliography

Bedard, Walter M. The Symbolism of the Baptismal Font in Early Christian Thought. Washington, D.C.: Catholic University of America Press, 1951.

Boyer, Mark G. The Liturgical Environment: What the Documents Say, 2nd ed. Collegeville, MN: Liturgical Press, 2010.

Christopherson, D. Foy. A Place of Encounter: Renewing Worship Spaces. Minneapolis: Augsburg Fortress, 2004.

Davies, J.G. The Architectural Setting of Baptism. London: Barrie and Rockliff, 1962. DeHondt, Ronald J. "How's Your Font Working?" Liturgy 90 27: 4 (May/June 1996): 10-

14.

DeMott, Nancy, T. Shapiro, and B. Bill. Holy Places: Matching Sacred Space with Mission and Message. Herndon, VA: The Alban Institute, 2007.

Giles, Richard. Re-Pitching the Tent: Re-Ordering the Church Building for Worship and Mission. Collegeville, MN: The Liturgical Press, 1999.

Harmon, Kathleen. “Sacred Space for a Sacred People: Catechesis for Building or Renovating Liturgical Space.” Liturgical Ministry 14 (Spr 2005): 49-81.

________, Paul DeLuca, and Walter D. Seward. "Renovating a Liturgical Space: How One Parish Succeeded." Liturgical Ministry 14 (Spring 2005), 82-92.

Healy, James E. Building a New Church: A Process Manual for Pastors and Lay Leaders. Collegeville, MN: The Liturgical Press, 2010. Kuehn, Regina. A Place for Baptism. Chicago: Liturgy Training Publications, 1992.

Liturgy Documents Volume 1, 4th ed. Chicago: Liturgy Training Publications, 2004.

Mauck, Marchita B. Places for Worship: A Guide to Building and Renovating. Collegeville, MN: The Liturgical Press, 1995.

52

________. Shaping a House for the Church. Chicago: Liturgy Training Publications, 1990.

Martin, John Rupert. Baroque. New York: Harper and Row, 1977.

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Milavec, Aaron. The Didache: Text, Translation, Analysis, and Commentary. Collegeville, MN: Liturgical Press, 2003. National Conference of Catholic Bishops, Bishops' Committee on the Liturgy. Music in Catholic Worship. Washington, D.C.: United States Catholic Conference, 1983.

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O'Brien, Scott. “Liturgical Space as Place of Ecclesial Conversion.” Liturgical Ministry 11, 14 (Spr 2005): 81-88.

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Stauffer, S. Anita. Re-Examining Baptismal Fonts: Baptismal Space for the Contemporary Church. Collegeville MN: Liturgical Press, 1991. Videocassette. ________. "Space for Baptism." Reformed Liturgy & Music 19:4 (Fall 1985): 174-178. U.S. Catholic Bishops, Committee on the Liturgy. Built of Living Stones: Art, Architecture, and Worship Guidelines of the National Conference of Catholic Bishops. Washington, D.C.: United States Catholic Conference, 2000.

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Internet Resources:

The Cathedral of St. John the Evangelist. "Virtual Tour of the Cathedral." http://www.stjohncathedral.org/tour/baptistry.htm (accessed March 18, 2010) Sacred Congregation of Rites. “Musicam sacram: Instruction on music in the Liturgy.” http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat- ii_instr_19670305_musicam-sacram_en.html (accessed March 20, 2010). Sacred Congregation of Rites. “Inter oecumenici: Instruction on implementing

liturgical norms.” http://www.vatican.va/archive/

hist_councils/ii_vatican_council/documents/vat-ii_instr_19670305_musicam-

sacram_en.html (accessed March 20, 2010).

Tertullian, “Chapter I. Introduction. Origin of the Treatise.” On Baptism. http://mb-soft.com/believe/txv/tertullt.htm (accessed March 9, 2010) United States Conference of Catholic Bishops. Catechism of the Catholic Church. http://www.usccb.org/catechism/text/pt2sect2.shtml#art1 (accessed March 9, 2010).

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Vita Author: Stephanie Weak Date of Birth: 6-21-1981, Milwaukee, WI Education: Alverno College, Bachelor of Music, 2003 Catholic Theological Union, Master of Pastoral Studies, 2010 Positions Held: July 2006-Present: Director of Music, St. Aloysius Catholic Church July 2001-2003, 2005-2006: Interim Co-Director of Music, Director St. Aloysius Catholic Church August 2005-June 2006: Music Teacher St. Mary Catholic School August 2004-June 2005: Music Teacher St. Catherine Catholic School March-May 2004: Whitnall School District Substitute January 2004-Present: Music Teacher St. John Kanty Catholic School Summer 2002-2005: Unit Counselor, Camp Alice Chester Summer 2006-Summer 2008: Nature Specialist, Camp Alice Chester