Our renovated worship space
is the culmination of an extended process of examining, studying, evaluating
and deciding. Some of what has been accomplished will become a permanent
enhancement to our worship space. Other enhancements will serve us well for a
number of decades.
The
process began some years ago as a topic of conversation. Conversation let to discussion.
Discussion led to investigation. Investigation led to a vision. The vision
encompassed not only the replacement of deteriorated decorative elements and
furnishings but also brought into focus a worship space that would be more
conducive to the full, active and fruitful participation of the assembled
faithful.
Believing
that our vision would need guidance and direction, the decision was made to
hire Mr. E. J. Potente as our Liturgical Consultant. Beginning with a Town Hall
meeting at which parishioners were invited to voice what they treasured and
what they saw as needing improvement in our church building, we proceeded to
the next step. A Church Renovation Committee was formed to evaluate and
recommend the specifics. Its composition consisted of the pastor and trustees,
the parish council president, an appointee of the pastor and representatives
from the liturgy, finance and property committees.
The
Church Renovation Committee then met regularly with Mr. Potente with the
purpose of producing a preliminary design. A watercolor rendering illustrating
the preliminary design was then presented to the parishioners. As a significant
amount of controversy permeated the presentation of the rendering,
documentation from the Guidelines of the National Conference of Catholic
Bishops on Art, Architecture and Worship was provided to parishioners. This
enabled parishioners to better understand the reasons for the renovations being
proposed. Following another, more productive meeting, the decision was made by the
parish council to proceed with the solicitation of funding and to request
approval for the project from the Archdiocese. Sufficient funding was received
to proceed with the renovation project and our Waiver and Proxy was received
from the Archdiocese on May 28, 2002.
The
primary components of our renovation project are the following:
1.
The
forming of a Gathering Space by enclosing the space under the former choir loft
with a framed glass partition. This area can also serve as a refuge for mothers
with a crying or disruptive child.
2.
A
complete repainting of the ceiling and all the interior walls with a decorative
scheme that maintains and accentuates the Romanesque style of the rounded arch.
This is seen clearly in the windows and reredos in the center of the sanctuary
and the ones on both sides. The painting scheme is designed to connect the
windows with each other. The designs in the ceiling and above the reredos on
both sides carries through the general design found in the stained glass of the
church windows.
3.
The
sanctuary area was reconfigured to bring the altar and the congregation into
closer proximity as well as to accommodate the relocation of the choir to the
front of the church and to accommodate the relocated tabernacle. Hardwood
flooring has been installed throughout the entire sanctuary for both acoustical
and esthetic purposes.
4.
The
entire nave, the gathering space, the side rooms, the balcony and the stirs to
the balcony have been covered with attractive commercial carpeting. The pews
are angled to direct the focus of the congregation toward the altar and to add
a modicum of visual contact among those assembled on either side of the center
aisle.
5.
A
completely new, state of the art sound system has been installed. Six overhead
surround-sound speakers provide the congregation with faithful and clear sound
for both voice and music. Support speakers have been installed both in the
balcony and in the gathering space. New microphones are expected to contribute
to the quality of the sound system.
6.
A
cornice has been added at the top of both sidewalls to separate the wall from
the ceiling and to enclose the florescent fixtures that illumine the ceiling.
Additional recessed ceiling fixtures provide much brighter lighting in the
sanctuary area as well as in the nave. An arch incorporating the decorative end
of a column from the former altar has also been added to the sanctuary ceiling.
7.
A
new and original oil-on-canvas painting has been created for the center
reredos. The painting depicts the crucifixion of Christ with Mary at the foot
of the cross directing our attention to the supreme sacrifice her son offered
to redeem us. The garden, a symbol of the Immaculate Conception, focuses on
that title of Mary as the patroness of our parish. The rose is the predominant
flower in the garden as Mary is called “Mystical rose” in the Litany of
Loretto. Below this main painting is the Jesse Tree painting. This also is an
original “oil-on-canvas” painting and is a visualization of the prophecy found
in Isaiah 11:1 “A Shoot Shall Sprout From the Stump of Jesse”.
8.
The
altar, the ambo, the Baptismal font and the presider’s chair have been crafted
in accordance with Guidelines of the National Conference of Catholic Bishops.
Those guidelines state: “The principal ritual furnishings within the sanctuary
are the altar on which the eucharistic sacrifice is offered, the ambo from
which God’s word is proclaimed, and the chair of the priest celebrant. These
furnishings should be constructed of substantial materials that express dignity
and stability. Their placement and their design again make it clear that
although they are distinct entities, they are related in the one Eucharistic
celebration.” The new altar contains components from the former altar. You may
notice that the former decorative columns now function as the legs that support
the mensa of the new altar.
9.
The
handicapped access has been revamped to more closely conform to the state
codes. Flexible seating and space for wheels chairs has also been provided to
accommodate the handicapped and those with physical limitations.
We are indebted to E. J.
Potent for leading us through the process of getting us to where we had to go.
His expertise provided us with a design that enabled the renovation committee
to attain and even exceed our church renovation objectives. He also had the
ultimate responsibility for the implementation of the processes that
transformed the design into the beautiful and practical church interior in
which we now worship.
Tim Bach and Kahl
Construction justified our confidence in them as our General Contractor. “Doing
things right” comes naturally to a perfectionist like Tim. His employees were
industrious beyond what is normally to be expected, even working evening and
Saturdays to keep our project on schedule. The reconfiguration of the sanctuary
floor was extremely strenuous wok as was the installing of the cornice, but
they were more than up to the task. The construction of the partition for our
gathering space called for precision work and it was done precisely. Their
pride in workmanship and that of their subcontractors is evident and
appreciated.
Stradel’s Artistic Studios
erected the scaffolding that provided a platform for the painting of the
ceiling and for the electrical and sound contractors. Their task was so
indispensable to our overall project. Repairing cracks in the plaster, covering
the former decorative designs, priming the surfaces, applying the final coat,
redoing some areas painted because it was decided to change the color,
implementing the decorative schemes, applying the gold leaf, and then
dismantling the scaffolding were all part of what their crew did. Equally
appreciated was their cooperative attitude in doing some favors above and
beyond what was required of them in the contract.
Wester Electric was
responsible for the wiring not only for the new light fixtures but also for the
new sound system. They also installed the new light fixtures in the sanctuary
ceiling, in the nave and also in the cornice. Wiring the new ceiling fans was
also their responsibility. The timely and quality work they contributed to the
project is much appreciated.
Richard Grundgeiger of
Celestial Sound designed our new sound system. His approach as to how to
provide the best sound in our church and the success he has had with sound
systems in other churches and/or
cathedrals impressed us as having much merit. This is a “state of the art” sound system and we
are confi- dent that it will serve us well for many years to come.
The altar, ambo, presider’s
chair and baptismal font were designed and constructed by the Studios of
Potente, Incorporated. The Romanesque architectural style, compatible with the
artistic style of the church, is reflected in their design. This visual
consistency of design among the sanctuary furnishings evokes the realization
that although they are distinct entities, they are related in the one
Eucharistic celebration.
Possibly the most exciting
and theologically important element in the renovation are the original
paintings which adorn the center reredos wall. John Benavides is the primary
artist of the painting depicting the Crucifixion with Mary at the foot of the
cross surrounded by the rose garden. His brother Sam, who specializes in
wildlife paintings, was asked to contribute the darkened sky that forms the
backdrop to the crucifixion scene. Trent, one of Sam’s sons who is also an
artist, contributed to the project by stretching the canvas on the frame. The
Jesse Tree painting is the creation of Sam Benavides. Its inspiration comes from
Isaiah 11:1 “A shoot shall sprout from the stump of Jesse”. Jesse was the
father of King David and we recall that the prophet also proclaimed the Messiah
would be a descendent of King David. Santos Benavides is one of our newer
parishioners and a brother to John and Sam and an uncle to Trent. Santos asked
his brothers to create the paintings as a favor to him and as a contribution to
our church. To our great good fortune, they agreed to do so. The initiative of
Santos, the receptivity to the request by John and Sam, the skill of Trent in
stretching the canvas - all had to come together for these paintings to adorn
our sanctuary. The question that arises is: did Mary have a part in things
developing as they did?