Liturgical Architecture is an essential element in the sacramental experience and encounter with the Divine. Although it shares qualities of devotional imagery, it is fundamentally oriented toward communal action and prayer. It also bears witness metaphorically to the nature and spirit of the local Church which gathers within it and can even be a sign and symbol of the Church’s presence within the larger society. The twentieth century German architect, Rudolf Schwarz, articulates seven models for a church building progressing from the original intimacy of the small gathering to the indefinable brilliance of the Cathedral of All Time. These models, although potentially perceived as innovations, have many historical precedents both architecturally and liturgically. Some examples will be examined in relation to Schwarz’s models alongside contemporary examples of the same. What emerges is a broad sweep of designs which are always ancient, yet always new, and equally capable of revealing the many facets of liturgical and sacramental theology.
A Theology of Architecture
In his introduction to Likeness and Presence, Hans Belting notes that “Theologians (are) only satisfied when they (can) ‘explain’ the images.”1 In essence, Belting argues that images (and by corollary any material thing with sacramental potency) offer a uniquely direct encounter with God and thus must be ‘controlled’ by theology in order to preclude undesirable or inappropriate departures from the tenets of Faith. Theologians, he notes, generally confirm existing practice and seek to give it an orthodox framework.2 With this in view, it is useful to begin with a brief examination of two expressions of the theology of church architecture.
In book 10, chapter 4 of his Ecclesiastical History, Eusebius records a panegyric on the occasion of the dedication of the church at Tyre.3 In part, Eusebius describes the Church as “this living temple, of a living God, formed out of yourselves…”4 and the faithful Christian as a holy of holies into which only Christ, the great High priest alone can enter. After describing the attention to detail in the building (even the floor has been appropriately decorated) Eusebius offers a broad perspective on the church noting that the building is a great wonder for those who only attend to appearances, but it is more wonderful as an archetype, prototype, and divine model.5
Within a century of this statement, St. Augustine of Hippo is more explicity regarding architecture in his Sermon 336 on the dedication of a church. Augustine compares the building of the church with the building of the Church, a process that goes on through time.6 Furthermore, the fitting together of timber and stone gives confidence to those who wish to enter. Likewise, when Christians are properly ‘fitted together’ in charity they form an equally secure Church into which people are drawn. In Augustine’s words, “The work we see complete in this building is physical; it should find its spiritual counterpart in your hearts.”
Rudolf Schwarz and the Building of Churches
Rudolf Schwarz (1897 – 1961) studied architecture in Berlin from 1914-1919 and became involved with liturgical work as a result of his involvement with the Catholic Youth Movement, Quickborn. During this time he contributed to the renovation of the organization’s chapel at Burg Rothenfels. He taught at the Colleges of Design at Offenbach and Aachen until the school was suppressed by the NAZIs in 1934. He continued to do freelance work, publishing his most important work Vom Bau der Kirche in 1938. In 1940 he was reduced to the role of load planner in France until the end of WWII. After the war, Schwarz he became involved with the reconstruction of Cologne and new church construction throughout Western Germany.7 Schwarz was deeply influenced by the Liturgical Movement, counting among his associates Romano Guardini, and Dominikus Boehm.8
The Models
In Vom Bau der Kirche (On the Building of the Church) Schwarz articulates seven ‘models’ for church architecture, describing each in terms of their sacramental and symbolic significance. The following outline is an overview of each model along with buildings which realize various aspects of each. An effort has been made to include an historical and contemporary example in an effort to demonstrate visually that all these models express a long-standing theological/liturgical/sacramental tradition even as they express the new insights of modern times.
1. The Ring or Holy Intimacy
2. The Open Ring
3. The Chalice of Light
4. The Holy Journey
5. The Darkened Chalice
6. The Holy Vault
7. The Cathedral of All Time
NOTES
1-Belting, Hans, Likeness and Presence, pg.1. Belting is speaking primarily of images but the principles can also be applied to church architecture – indeed any material thing which has sacramental potential.
2- It will be necessary to resist the temptation to delve deeply into this question in favor of discussion of the subject at hand. GRH
3- Eusebius, Ecclesiastical History, pg. 244 et al. This event takes place shortly after the Edict of Milan.
4- Eusebius, pg.251
5- Eusebius, pg. 262. See also footnote 87 in the same source. Restoration of the church building is emblematic of the restoration of the soul.
6 - Office of Readings for the Common of the Dedication of a Church, alternative reading II.
7- Pehnt, Wolfgang, Rudolf Schwarz: Architekt einer Anderen Moderne Verlag Gerd Hatje, Germany, 1997
8- Guardini wrote a forward to the 1947 edition of Vom Bau der Kirche, the edition used for this study.
