By Mary Frances McCarthy
HERALD Staff Writer
(From the issue of 7/1/04)

Following is the second part in the two-part series on Catholic architecture.

"Churches are not simply gathering places but signify and make visible the Church living in this place, the dwelling of God with men reconciled and united in Christ" (Catechism of the Catholic Church No. 1180).

"The Church has not adopted any particular style of art as her own; she has admitted styles from every period according to the natural talents and circumstances of peoples, and the needs of the various rites." (Sacrosanctum Concilium 123).

If the Church claims no style of architecture as her own, how then are parishes and architects to decide how to design a church?

In the Diocese of Arlington, it is suggested that parishes consult the U.S. bishops’ Built of Living Stones, the Chancery Policy and Reference Book and pertinent sections of the General Instruction of the Roman Missal and Code of Canon Law, so that they are familiar with liturgical requirements before they build. While none of these books gives guidelines on the shell of the building, they outline what is necessary to make a Catholic Church function well as a gathering place for people of faith.

Over the last two centuries, Catholics in Northern Virginia have witnessed the growth of Catholicism in this region, and have witnessed changes in architectural styles as churches have been built year after year.

The first churches, built during the 18th and 19th centuries — St. Mary Church in Alexandria, founded in 1795; St. Mary Church in Fairfax and St. Mary Church in Fredericksburg, both founded in 1858; Sacred Heart of Jesus in Winchester, founded in 1870, St. John the Evangelist Church in Warrenton, founded in 1874; and St. James Church in Falls Church founded in 1882 — all looked like the most basic concept of a church, with pitched roofs and bell towers, and pews arranged in straight rows directly facing the altar.

In the mid 20th century, the look of area churches began to change. Modern architecture led to churches that were more circular or fan shaped instead of cruciform. There was less emphasis on ornately decorated churches, and more emphasis on the community becoming more active participants.

While these churches can function as churches just as well as the "traditional" cruciform church, the movement of the altar away from the front of the church and into the center can sometimes confuse church goers, removing some of the emphasis of what everyone is focused on when they are more able to observe the small child playing or the fidgety pre-teen on the opposite side of the altar from them. With fewer decorations, children lose out on part of their education. Many "modern" churches were built without stained-glass windows — a medium often used to depict stories from the Bible or illustrate the Beatitudes or the saints. This beautiful medium gives young children, who might not have the attention span to listen closely to a homily or sermon, a way to indirectly learn about their religion and its traditions. Statues of saints and larger-than-life crucifixes can serve the same purpose, not only to teach children, but also to remind adults why they are attending Mass.

In recent years, there has been another shift in church architecture as parishes realize some of the benefits of more "traditional" architecture.

In a cruciform church, there is never confusion over where your eyes — and also your heart, mind and soul — should be focused during Mass. Making room on the altar for the Eucharist to reside in the tabernacle leaves no doubt that the church is a Catholic Church. Liturgical art in the form of etched or stained-glass windows, statues and Stations of the Cross not only serve as tools for teaching, but also instruments of prayer.

The new churches being built in the diocese — including Holy Trinity in Gainesville, St. Raymond of Penafort in Fairfax, Our Lady of Hope in Potomac Falls and St. Veronica in Herndon — would be considered "traditional" architecturally.

Holy Trinity Church, with its cruciform floor plan and steep-pitched roof, will cause visitors’ eyes to be drawn to the front of the church, and upward, encouraging reverence and awe.

"People want a church that looks like a church, not a church that looks like a Pizza Hut," said Jim O’Brien, the architect who designed Holy Trinity Church. "When you go to church, you ought to feel like you’re coming home. You want to get that comfort and peace."

Even down to the smallest details, Holy Trinity Church will reflect its name. A pattern of three interlocking circles — a trefoil — symbolizing the trinity, is repeated in several places throughout the church. O’Brien chose to use this symbol throughout the church because it is a "fascinating example of the decorative arts in support of religious iconography, which happens to have some structural merit and can thereby transcend into architecture." The trefoil will appear in a large window above the entrance to the church and in round trefoil arches supporting the ceiling in the sanctuary.

The placement of the tabernacle, altar and congregation seating were even designed around three interlocking circles. The tabernacle is centered in one circle, the altar in the center of a second, and the first few rows of pews bordering the edge of a third.

Even though the churches he designs are beautifully designed, traditional churches, O’Brien said, "The purpose of the church is for worship. It’s not so much about the building; it’s about the relationship between God and his people. What will foster that (relationship) is what needs to come out."

One of many relationships O’Brien keeps in mind when designing is the relationship and posture of the worshiping community in relation to the altar. In "modern" architecture there was an emphasis on people gathering around the altar, so churches were round or fan-shaped structures. In more traditional architecture, there is a frontal relationship and more clear separation between congregation and altar.

As an architect, O’Brien said it is his job to simply "capture the vision our clients have. We’re just a tool in their hands and in the hands of God."

When asked where his inspiration for his work comes from, O’Brien said, "Our work is our prayer. We start with prayer and asking for help. I think it is the work of the Holy Spirit. All this work is for God’s glory."