project type precedents (7/23/03 - this section had many photos with it originally, which are missing here...sorry if it's confusing!)
Similar precedents studied include the following five (5) projects:
1. Conference Center for the Church of Jesus Christ of Latter-Day Saints
Salt Lake City, Utah
Architect – Zimmer Gunsel Frasca Partnership
2. Good Shepherd Catholic Church
Miami, Florida
Architect – Duany Plater-Zyberk & Company
3. Gethsemane Episcopal Cathedral
Fargo, North Dakota
Architect – Moore/Andersson Architects
4. Centenary United Methodist Church
Lexington, Kentucky
Architect – Omni Architects
5. Church of the Nativity
Rancho Sante Fe, California
Architect – Moore Ruble Yudell Architects & Planners
conference center for the church of jesus christ of latter-day saints
Salt Lake City, Utah
Zimmer Gunsel Frasca Partnership
Completed April 2000
Site Plan
Orchestra Level Plan
Terrace Level Plan
Balcony Level Plan
Overview: The Conference Center sits on a full ten-acre site and is 1.1 million square feet. The auditorium’s three levels can seat 21,000 people and is the largest religious assembly hall in the United States. The Center also contains four acres of landscaped roof spaces, a 900-person theater, the home to the 325-member Mormon Tabernacle Choir, and a 1,400-car underground parking structure.
conference center
theater
roof gardens
water feature
water feature
auditorium
spire w/ water feature
conference center
pipe organ
water feature
Conceptual/theoretical/site/design approaches: The design firm was chosen because of “their sensitivity to urban design. We needed a firm that could fit this building into a landscape that includes single-family homes a block away” (Betsky 2001). The client wanted a facility that would be imposing, due to its size, and also have the feeling of a theater, not an arena. “The architect’s response was to pretend the building wasn’t really there. Using the 65-foot slope from one corner of the site to the other, he buried the center under terraced gardens, stairs, ramps, and waterfalls, leaving only a stripped-down temple front to face Temple Square as a main entrance. Visitors can enter at both the orchestra and the balcony level, further minimizing the sense of monumentality” (Betsky 2001). The auditorium projects its warmth through the finishes, and every seat can easily hear and see (unobstructed) the podium up to over 300 feet away. Elegant woodwork is incorporated throughout the conference center, including cherry, pear and mahogany. Plenty of natural light punctuate through the gray granite exterior. Recirculating water flows from the 92-foot spire and cascades 67 feet down the south face of the building in multiple level drops. 300 varieties of Utah wildflowers and 21 native grasses grow on the rooftop gardens. The gardens are planted on top of six inches of foam insulation and feature a full irrigation system to reduce long-term maintenance costs. The conference center honors the physical, historical and spiritual significance of the Temple Square (the adjacent block – see Site Plan above), and transforms the building into landscape by creating a series of terraces that respond to the dramatically sloping site. The terraces create a garden setting that allows the building to participate in the life of the city throughout the year.
good shepherd catholic church
Miami, Florida
Duany Plater-Zyberk & Company
Designed 1990
above: church logo
right: site plan
bottom left: exterior elevation
bottom right: floor plan
Overview: The Good Shepherd Church sits on an eight-acre site in a Miami Suburb. The site includes a central plaza that is defined by the church, two existing parish buildings, and a future school. The church and office complex is 25,800 square feet.
exterior
sanctuary
exterior
sanctuary
Conceptual/theoretical/site/design approaches: The building derives its aesthetics from the proportion of its spaces, openings, and structural elements. “The plan addresses two conflicting parish perspectives regarding worship spaces, a liturgical dichotomy present in the modern Catholic Church. One contingent wanted a church with a tall, linear, and symmetrical nave and the altar at one end. The other faction wanted a post-Vatican II space that seated the congregation around the altar to encourage greater participation. The resolution of these two contrary directives yielded the two principal spaces: a traditional long, tall, and narrow narthex with the entry tower at one end and the baptismal font at its center; and a square nave containing an altar that is almost completely surrounded by the assembly, the choir, and the presider” (Crosbie 1999). The building’s interior is filled with natural light and uses passive solar techniques to minimize heat load. The main assembly space is surrounded by clerestory windows and is shielded by a 7-foot overhang to protect from direct sunlight. The clerestory windows allow for natural cross-ventilation throughout the building. Vents and speakers are hidden behind perforated louvered panels. The plan is based off of a seven-foot grid module and the nave has twelve columns representing the original twelve apostles.
gethsemane episcopal cathedral
Fargo, North Dakota
Moore/Andersson Architects
Floor Plan
Building Section
Overview: The cathedral seats 350 with expansion to double that capacity in the great hall to the west of the sanctuary. A 40-seat chapel, a narthex, and a courtyard with a covered loggia are also part of the building. Classrooms and support spaces are grouped to the north of the entry.
exterior
chapel
sanctuary
sanctuary
Conceptual/theoretical/site/design approaches: This cathedral replaces the original building that was in-town of Fargo that was destroyed by fire; the congregation chose to relocate to a site that allows for greater expansion. The plan is based off the typical cruciform plan. The furniture and elements within the sanctuary are movable to allow for flexibility for future worship needs. The classroom spaces are separated from the worship spaces to the north to provide a buffer from winter winds. Exterior materials were chosen to take on the vernacular of farm buildings of the region: whitewashed board and batten siding, metal standing seam roofing, and green shingles. The interior spaces use concrete block walls, concrete floors, and painted wood trusses. “The woodwork recalls the ornament of the original church” (Crosbie 1999). A ‘memory palace’ space is created in the great hall to hold artifacts saved from the original church to keep memories alive for future generations of the congregation. This cathedral was the last major project by architect Charles Moore. He incorporated the cathedral organ, built by Robert Sipe of Dallas, Texas, into the sanctuary; its voicing is notable for both warmth and clarity.
centenary united methodist church
Lexington, Kentucky
Omni Architects
floor plan
axonometric
Overview: The church complex is placed on a 14-acre site and includes a 1,200 seat sanctuary, 20,000 square-foot Family Life Center, a 125 seat chancel, a 3,600 square-foot Fellowship Hall, a kitchen that can serve 600, and a 35,000 square-foot educational wing. The educational wing includes 12 pre-school, 10 elementary, 6 youth, and 14 adult education classrooms. Offices and other support spaces are located central within the layout to allow for maximum visibility and accessibility.
exterior
gymnasium
exterior
exterior
exterior
sanctuary
interior
sanctuary
Conceptual/theoretical/site/design approaches: The complex was placed on the “site to maximize the building area, yet with a minimum of disturbances of the existing site features and views. The church’s placement at the high point gives it added stature” (Crosbie 1999). One of the major design concerns was to construct the project in a durable and timeless material, for which brick was ultimately chosen. The design is organized around a central courtyard with three major components: worship space, education space and fellowship space. The fellowship hall includes ample recreation space. The sanctuary utilizes natural light from above and features “crisp, simple detailing.” The sanctuary uses sloped seating to allow for optimum visibility of the central pulpit. It also includes a large pipe organ, a baptismal, and a sophisticated sound system. The chancel is designed to be flexible with movable liturgical furniture. Structure and organization of the building utilizes masonry as the main building material. A mediation garden links the wings and serves as a setting for arts and crafts fairs, performances and liturgical processions. A fountain is designed based on the ‘River of Life’ and travels from the sanctuary to a quiet pool. A garden at the base of the bell tower is designed for “personal meditation with an atmosphere of quiet solitude.” Trails leading from the facility meander down the hillside and provide access to a stream and outdoor recreation and educational spaces including picnic areas, field recreation, jogging/walking trails, and an outdoor chapel and performance areas. The Family Life Center is viewed as an opportunity to address physical and mental health of membership.
fountain
courtyard
church of the nativity
Rancho Sante Fe, California
Moore Ruble Yudell Architects & Planners
Site Plan / Floor Plan
Building Section
Overview: The church sanctuary holds 550 people in a semi-circular layout. Future plans call for a school behind the church compound and will be linked to it by porches, gardens and courts.
covered walkway heading toward sanctuary
narthex entrance
sanctuary
sanctuary
Conceptual/theoretical/site/design approaches: The main concept behind the design of the complex was to create a parish around which a Christian community would develop, much like early missionaries. A walled compound is created creating a “sense of a place apart from, yet open to, the community” (Crosbie 1999). “A dirt road on axis with the church building leads through a grove of trees to the main cloister. This notion of a protected cloister is also commonly found in early missions. The cloister combines paved surfaces with gardens, creating gathering spaces. The complex includes the church building, a parish hall, four chapels, and a columbarium; they are all oriented inward toward a central protected courtyard. A tower dominates the courtyard to mark the skyline commonly associated with older missions. The sanctuary arranges the seating in a fan creating a strong sense of “community and proximity to the celebrants.” The altar wall utilizes indirect natural light.
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