CHURCH OF ST. THOMAS MORE · 2018. 5. 2. · Church of St. Thomas More LITURGICAL REPORT CD PHASE February 27, 2013 Introduction Introduction This liturgical report describes through

C H U R C H O F S T . T H O M A S M O R EO c e a n s i d e , C a l i f o r n i a

L i t u r g i c a l R e p o r t C o n s t r u c t i o n D o c u m e n t s P h a s e

2.27.2013

Church of St. Thomas More | LITURGICAL REPORT CD PHASEFebruary 27, 2013

TABLE OF CONTENTS

INTRODUCTION.......................................................................................1

FLOOR PLAN............................................................................................3

RITUAL MAPS..........................................................................................4

LITURGICAL FURNITURE.........................................................................10 ALTAR AMBO BAPTISM FONT PRESIDENTIAL CHAIR AND DEACON CHAIR TABERNACLE ETERNAL LAMP CANDLESTICKS PASCHAL CANDLE REPOSE OF THE BOOK OF GOSPELS DEDICATION CROSSES DAILY MASS FURNITURE ART........................................................................................................25 STAINED GLASS WINDOW AT MAIN ENTRANCE STAINED GLASS WINDOW AT RECONCILIATION CHAPEL MARY SHRINE CRUCIFIX ST. THOMAS MORE SHRINE

MATERIALS............................................................................................29

ACKNOWLEDGEMENTS.........................................................................31

Table of Contents

page 1 Church of St. Thomas More | LITURGICAL REPORT CD PHASEFebruary 27, 2013

Introduction

Introduction

This liturgical report describes through text and visual images the design of the liturgical spaces and furniture for Church of St. Thomas More, Oceanside, CA.

When reviewing the floor plan, the main ceremonial entrance is from an exterior narthex and courtyard. This threshold into the Eucharistic Hall opens into a large area at the Baptismal Font. Parishioners can access the upper infant bowl to touch the living water and bless themselves. The font is centered on the main aisle and is on axis to the Altar. Pew and chair seating encircles the Sanctuary. The floor slopes at the fixed pew seating for greater visibility of the Sanctuary. Chairs in front of the pews are used to provide flexibility for different rites and rituals (refer to the ritual maps in this report).

Access by Liturgical Ministers to the Sanctuary is via a gently rising floor that brings ministers to the back-middle of the Sanctuary. The Altar is centered on all the aisles and to the Sanctuary. The Ambo is placed slightly forward so as to establish a prominence for the Liturgy of the Word. The Presidential and Deacon Chairs are positioned at the head of the Sanctuary platform. The cross/crucifix anchors the Sanctuary. The orientation of the cross is turned towards the Assembly and is positioned to allow natural daylight to fall onto Christ’s head that is turned and raised toward the light.

The Music Ministry is located adjacent to the Sanctuary and is seen as completing the circle around the Sanctuary. Ample space for the various musical groups and instruments has been provided. Space for a future pipe organ has also been provided.

Two shrines bookend the Eucharistic Hall. The patron shrine for St. Thomas More is located opposite the main entrance. Conceived as a large hanging tapestry, the visual scale of the shrine will draw parishioners across the space to the shrine. The shrine for Mary is located opposite the Thomas More Shrine. The Mary shrine is strategically located under the tower and at the entrance to the Eucharistic Reservation Chapel. Conceived as a carved glass depiction of the Annunciation, the contemporary setting will complement the architecture of the church and provide a place for private prayer and meditation.

The Eucharistic Reservation Chapel is located between the Eucharistic Hall and Daily Mass Chapel. The Tabernacle and Eternal Lamp are visible from the Eucharistic Hall. Chair seating with kneelers will be provided for flexibility and to support private prayer. The Tabernacle is on axis to the seating. The Eucharistic Reservation Chapel can be accessed after hours via an exterior door and hallway that leads to the chapel. A sliding door that is an open screen will allow views of the Mary Shrine for parishioners accessing the chapel in this manner.

Built of Living Stones provided the foundation for the design the liturgical furniture. Each piece of liturgical furniture expresses through form, scale and material the richness of the Liturgy and the care that is brought to bear in the design and fabrication of these elements. The genesis of the design of the Altar, Ambo and Baptismal Font was from scripture.

page 2 Church of St. Thomas More | LITURGICAL REPORT CD PHASE

February 27, 2013

View of Eucharistic Hall From Behind Seating


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Floor Plan

MUSIC MINISTRY

CRUCIFIX

ALTAR

TABERNACLE

DAILY MASS CHAPEL

MARY SHRINE

EUCHARISTIC HALL

BAPTISMAL FONT

ENTRY

STM SHRINE

CHAIR

AMBO

RESERVATION CHAPEL

PRIEST’SSACRISTY

RECONCILIATIONROOM

MINISTER’SSACRISTY

Floor Plan


Ritual Maps

Ritual Maps

The worship environment is the setting for the sacramental rituals and rites of the Church to occur. How these rituals are accommodated by the worship environment will create either an agreeable or objectionable experience. These ritual maps serve to illustrate how the worship space at Church of St. Thomas More is organized so as to bring about as good an experience as possible. The ritual maps further demonstrate the number and placement of ministers that can be accommodated for the various rites and rituals.


February 27, 2013

Sunday Mass Entrance Procession- 1

Ritual Maps


Ritual Maps

Sunday Mass Gospel Procession- 2


February 27, 2013

Sunday Mass Fraction Rite- 3

Ritual Maps


Ritual Maps

Sunday Mass Communion Procession- 4


February 27, 2013

Ritual Maps

Funeral Mass Communion Procession- 5


Liturgical Furniture


February 27, 2013

Altar

The altar “represents Christ Jesus, the Living Stone”. 1 The altar is the natural focal point of the sanctuary and is to be “freestanding to allow the priest to walk around it easily … ordinarily it should be fixed with a table or mensa made of natural stone.” The altar is seen as the one Christ and the one Eucharist of the Church. To provide a readily apparent awareness that Christ is the Living Stone, granite was selected as the altar’s material. To also support the concept of the living stone, all the granite pieces are constructed from solid blocks rather than using applied veneer pieces, which too often create a faux image. Granite is also used to convey strength and stability. The altar is located so as to be visible from every seat in the Eucharistic Hall. A critical aspect of the altar design is to provide space for ritual movement of liturgical ministers. Ample room has been provided around the altar to minimize congestion and any awkward situations. Two solid granite pieces each approximately 6,000 pounds in weight will make up the altar. Bronze will be used for the cross, the medallion inlays at the altar top and as the connector between base and top. The altar is square in plan to indicate equality and that everyone is invited to the meal.

“And behold, the veil of the Sanctuary was torn in two from top to bottom. The earth quaked, rocks were split …“

Matthew 27:51

“When he opened the fifth seal, I saw under the altar the souls of those who had been slain because of the word of God.”

Revelation 6:9

“The cup of blessing that we bless, is it not a participation in the blood of Christ? The bread we break, is it not a participation in the body of Christ?”

1 Corinthians 10:16

1 Built of Living Stones, paragraph 572 Built of Living Stones, paragraph 57




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11609 W. Pico Blvd.Los AngelesCalifornia90064

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Liturgical Design Consultant

7601 Jefferson NE, Suite 100Albuquerque, NM 87109505.761.9700 t

0 1'1" = 1'-0" 2'

AMBO - PLAN VIEWB60 1'1" = 1'-0" 2'

AMBO - REAR ELEVATIONB3 0 1'1" = 1'-0" 2'

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GRANITE HONED FINISH

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MAXIMUM HEIGHTOF BOOKREST

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INLAY BRONZEMEDALLIONS - FLUSHWITH GRANITE TOP

BRONZE INLAY CROSS -FLUSH WITH GRANITE TOP

@ CENTER OF TOP

POLISHED GRANITETOP SURFACE

GRANITE TOPHONED FINISH @SIDES & BOTTOM

GRANITE BASEARTIST CARVEDHONED FINISH

APPROX. GRANITE WEIGHTSALTAR TOP - 6,000#ALTAR BASE- 6,000#

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February 27, 2013

Ambo

The ambo continues the theme of strength and stability through the use of granite and bronze. The scale of the ambo will support the requirement that it be the “central focus of the area in which the word of God is proclaimed.”3 The design combines a base of granite that matches stone at the altar. The bookrest is made of bronze. The bookrest will raise and lower via a hand-crank gear mechanism so as to allow the ambo to be “accessible to everyone, including those with physical disabilities,” even a reader in a wheelchair.4 The adjustable bookrest position accommodates different reader heights including children or a person in a wheelchair. A single central post supporting the bookrest provides greater openness so as to allow for better visibility of the altar from seating. The stone element would have same textural finish as at the altar. The bookrest expands to allow for multiple Cantors and their sheet music at the ambo.

“We proclaim to you what we have seen and heard, so that you also may have fellowship with us. And our fellowship is with the Father and with his Son, Jesus Christ.”

1 John 1:3

“The word of God endures forever” 1 Peter 1:25

“Let the word of Christ dwell in you richly, as in all wisdom you teach and admonish one another, singing psalms, hymns, and spiritual songs with gratitude in your hearts to God. And whatever you do, in word or in deed, do everything in the name of the Lord Jesus, giving thanks to God the Father through him.”

Colossians 3:16-17





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February 27, 2013

Baptismal Font

The font is located just inside the main ceremonial doors and at the main aisle. This placement shows that baptism is the entrance into the church and the connection between baptism and Eucharist. As the Church states, “through the waters of baptism the faithful enter the life of Christ. For this reason the font should be visible and accessible to all who enter the church building.”5 The font was also placed at the main aisle and along the entrance pathway to emphasize that “the rites of baptism, the first of the sacraments of Initiation, require a prominent place for celebration. Initiation into the Church is entrance into a Eucharistic community united in Jesus Christ.”6 The font is designed for both infant and adult baptism. The upper infant font is to be made from custom cast glass. It rests on a granite plinth shaped in the sacred geometry of Vesica Piscis. This fish shape is a symbolic reference for joining of heaven and earth through Christ. The Water flows from the infant bowl into a basin at the top of the granite plinth and then down its face to disappear below the cover. Under the cover, the lower pool is for adult baptism at the Easter Vigil. The cover is removed prior to the vigil services begin. The cover is composed of bronze, travertine and granite set in a symbolic cross pattern. Composed in a circle to represent eternity the lower font is approximately 8 feet in diameter with three steps leading into and out of the water. The three steps allude to the Trinity as we enter baptism and proceed from baptism to Eucharist. Water in the lower pool would only be present during the Easter Vigil.

“After Jesus was baptized, he came up from the water and behold, the heavens were opened, and he saw the Spirit of God descending like a dove coming upon him.”

Matthew 3:16

“… we who were baptized into Christ were baptized into his death.” Romans 6:3

“… and this water symbolizes baptism that now saves you …“ 1 Peter 3:21


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GRANITE STEPS ON VERT. GRANITE SUPPORTS

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OUTLINE OF FONT COVER

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TOP STEP FLUSH WITH RECESSED CURB

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GRANITE PLINTH(SEE SECTION DTL THROUGHPLINTH/BOWL)

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CAST GLASSUPPER BOWL -

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[ -25"]

[ -18"] [ -11"] [ -4"][ -4"] [ -11"] [ -18"] FLOOR [ 0'- 0"]

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BAPTISMAL FONT COVER - @ FLOORC5

8'-8" DIA

2"

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WATER IN LOWERBASIN ONLY ONCE

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APPROX. GRANITE WEIGHTS:FONT PLINTH - 6,000#FLOOR - 1,680#SIDE WALLS - 2,200#

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REMOVABLE BRONZE COVER(COVER REMOVED ONCE PER YEAR@ EASTER VIGIL)

OPENING FOR PLINTH(NOT SHOWN FOR CLARITY)

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1 1/2" = 1'-0" 1 1/2'1'0 1/2'

BAPTISMAL FONT - SECTION DETAILC31 1/2" = 1'-0" 1 1/2'1'0 1/2'

BAPTISMAL FONT - SECTION DETAILC1

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

BAPTISMAL FONT - SECTION DETAILD1

4"

1'-1"11"11"

4" 8"

4"7"

7"7"

3"

1'-5

"

WATER FEED & INTAKE DEVICEHIDDEN FROM VIEW UNDER STEPS

WATER LINE @LOWER BASIN

OUTLINE OF LIDWHEN IN PLACE

4"

1'-9

"4"

2" GRANITE LEDGE

3" GRANITE

TROWEL APPLIEDWATERPROOFING

1 12" GRANITE FLOORING

MORTAR BED

CONCRETE SLAB OVERCOMPACTED GRANULAR FILL

WATERSTOP (TYP)

OUTLINE OF LIDRESTS IN POCKET

WITH A CENTRAL SUPPORT

TRAVERTINE FLOORING

2'-5

"2"

2'-2

"

8"4"

1/2"

1'-7"TBD2"WIDTH TBDBY FONTEQUIPMENTDESIGNER

10"

8'-8" DIA

3"

3" GRANITE



MORTAR BEDINTAKE DEVICE

SUPPLY PIPE

TRAVERTINE FLOORING

GRANITE PLINTHW/ 3" DIA HOLE FORPIPING

UPPER RESEVOIR

28" DIA X 5" DEEPCAST GLASS BOWL

WATER FLOWS DOWNFACE OF PLINTH

OUTLINE OF LID @CENTER

8'-0" DIA

8'-8" DIA

8'-0" DIA

8'-8" DIA

2"

1'-5

"

FROM PUMP/FILTER EQUIPMENTWATER FILL PIPE

PIPE RETURN TO PUMP

WATER LEVELOVERFLOW DEVICE

ELEVATED SLABRE: ARCHITECTURAL DRAWINGS

CONCRETE FOUNDATION

TRAVERTINE SET INTO POCKET

WATER FILL PIPE

INLET RETURN TO PUMP

2" 6"

5"2"

2" GRANITE STEPSTHERMAL FINISH


MORTAR BED

12" GRANITE FLOORING

CONCRETE FOUNDATION WALLBY STRUCTURAL ENGINEER

CONCRETE FOOTINGBY STRUCTURAL ENGINEER




3"

WATER OVERFLOW DRAIN

NOT TO EXCEED 2"

SEALANT

THICKENED CONCRETE SLABUNDER PLINTH

SEALANT

WATERSTOP (TYP)

SEALANT



GRANITE TREAD SUPPORTS(SEE A5 / IF-202)

3/4" = 1'-0" 3'2'0 1'

BAPTISMAL FONT - ELEVATIONA33/4" = 1'-0" 3'2'0 1'

BAPTISMAL FONT - ELEVATIONA1

3/4" = 1'-0" 3'2'0 1'

BAPTISMAL FONT - SECTIONB33/4" = 1'-0" 3'2'0 1'

BAPTISMAL FONT - SECTIONB1

D1

IF-202

C1

IF-202

C3

IF-202

WATERSTOP

CONCRETE SLAB (4")

COMPACTED GRANULAR FILL

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CONCRETE SLAB (4")





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OUTLET TO PUMP



INLET FROM PUMP



STEPS @ LOWERBASIN

3/4" = 1'-0" 3'2'0 1'


B3

IF-20228" DIAMETER


TOP OF RIM +2'-5"

LOWER BASIN [ -25"]


[ -25"]

[ -18"] [ -11"] [ -4"][ -4"] [ -11"] [ -18"] FLOOR [ 0'- 0"]

B1

IF-202

3/4" = 1'-0" 3'2'0 1'


8'-8" DIA

2"

3'-0" RAD 2'-1" RAD

3'-10" RAD

A3

IF-202

A1

IF-202

2" WIDE GRANITE DAM

WATER RESEVOIR


A YEAR


1'-0

"

8'-7"

1'-4

"




1/2"

4'-8" RAD


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'


4"

1'-1"11"11"

4" 8"

4"7"

7"7"

3"

1'-5

"




4"

1'-9

"4"

2" GRANITE LEDGE

3" GRANITE



MORTAR BED


WATERSTOP (TYP)



TRAVERTINE FLOORING

2'-5

"2"

2'-2

"

8"4"

1/2"


10"

8'-8" DIA

3"

3" GRANITE




SUPPLY PIPE

TRAVERTINE FLOORING


UPPER RESEVOIR




8'-0" DIA

8'-8" DIA

8'-0" DIA

8'-8" DIA

2"1'

-5"


PIPE RETURN TO PUMP



CONCRETE FOUNDATION


WATER FILL PIPE


2" 6"

5"2"



MORTAR BED







3"


NOT TO EXCEED 2"

SEALANT


SEALANT

WATERSTOP (TYP)

SEALANT




3/4" = 1'-0" 3'2'0 1'



3/4" = 1'-0" 3'2'0 1'



D1

IF-202

C1

IF-202

C3

IF-202

WATERSTOP

CONCRETE SLAB (4")


DIM

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CONCRETE SLAB (4")


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OUTLET TO PUMP



INLET FROM PUMP



STEPS @ LOWERBASIN

3/4" = 1'-0" 3'2'0 1'


B3

IF-20228" DIAMETER


TOP OF RIM +2'-5"

LOWER BASIN [ -25"]


[ -25"]

[ -18"] [ -11"] [ -4"][ -4"] [ -11"] [ -18"] FLOOR [ 0'- 0"]

B1

IF-202

3/4" = 1'-0" 3'2'0 1'


8'-8" DIA

2"

3'-0" RAD 2'-1" RAD

3'-10" RAD

A3

IF-202

A1

IF-202

2" WIDE GRANITE DAM

WATER RESEVOIR


A YEAR


1'-0

"

8'-7"

1'-4

"




1/2"

4'-8" RAD


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'


4"

1'-1"11"11"

4" 8"

4"7"

7"7"

3"

1'-5

"




4"

1'-9

"4"

2" GRANITE LEDGE

3" GRANITE



MORTAR BED


WATERSTOP (TYP)



TRAVERTINE FLOORING

2'-5

"2"

2'-2

"

8"4"

1/2"


10"

8'-8" DIA

3"

3" GRANITE




SUPPLY PIPE

TRAVERTINE FLOORING


UPPER RESEVOIR




8'-0" DIA

8'-8" DIA

8'-0" DIA

8'-8" DIA

2"

1'-5

"


PIPE RETURN TO PUMP



CONCRETE FOUNDATION


WATER FILL PIPE


2" 6"

5"2"



MORTAR BED







3"


NOT TO EXCEED 2"

SEALANT


SEALANT

WATERSTOP (TYP)

SEALANT




3/4" = 1'-0" 3'2'0 1'



3/4" = 1'-0" 3'2'0 1'



D1

IF-202

C1

IF-202

C3

IF-202

WATERSTOP

CONCRETE SLAB (4")


DIM

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WATERSTOP

CONCRETE SLAB (4")


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Electronic File:


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310 312 3900 t310 312 3998 f

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1" ACTUAL








OUTLET TO PUMP



INLET FROM PUMP



STEPS @ LOWERBASIN

3/4" = 1'-0" 3'2'0 1'


B3

IF-20228" DIAMETER


TOP OF RIM +2'-5"

LOWER BASIN [ -25"]


[ -25"]

[ -18"] [ -11"] [ -4"][ -4"] [ -11"] [ -18"] FLOOR [ 0'- 0"]

B1

IF-202

3/4" = 1'-0" 3'2'0 1'


8'-8" DIA

2"

3'-0" RAD 2'-1" RAD

3'-10" RAD

A3

IF-202

A1

IF-202

2" WIDE GRANITE DAM

WATER RESEVOIR


A YEAR


1'-0

"

8'-7"

1'-4

"




1/2"

4'-8" RAD


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'


4"

1'-1"11"11"

4" 8"

4"7"

7"7"

3"

1'-5

"




4"

1'-9

"4"

2" GRANITE LEDGE

3" GRANITE



MORTAR BED


WATERSTOP (TYP)



TRAVERTINE FLOORING

2'-5

"2"

2'-2

"

8"4"

1/2"


10"

8'-8" DIA

3"

3" GRANITE




SUPPLY PIPE

TRAVERTINE FLOORING


UPPER RESEVOIR




8'-0" DIA

8'-8" DIA

8'-0" DIA

8'-8" DIA

2"

1'-5

"


PIPE RETURN TO PUMP



CONCRETE FOUNDATION


WATER FILL PIPE


2" 6"

5"2"



MORTAR BED







3"


NOT TO EXCEED 2"

SEALANT


SEALANT

WATERSTOP (TYP)

SEALANT




3/4" = 1'-0" 3'2'0 1'



3/4" = 1'-0" 3'2'0 1'



D1

IF-202

C1

IF-202

C3

IF-202

WATERSTOP

CONCRETE SLAB (4")


DIM

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CONCRETE SLAB (4")



February 27, 2013

Presidential Chair & Deacon Chair

The Presidential and Deacon Chairs are positioned behind the Altar and Ambo at the head of the Sanctuary. These chairs are placed at a low wall so that they face “towards the people.”7 The Presidential Chair will have a higher back than the Deacon Chair and the Presidential Chair will have arms. The design of the chairs will show a distinction between these chairs and the other seating in the church building.”8 Hardwood is used to give warmth and establish the symbolic distinctiveness that is required.9 A small table between chairs would allow for placement of liturgical books and other items.

7 Built of Living Stones, paragraph 648 Built of Living Stones, paragraph 639 Built of Living Stones, paragraph 63




Tabernacle

The design of the tabernacle will “express the importance Christians place on the presence of the Blessed Sacrament.”11 The tabernacle will be made from bronze, stainless steel and stone. The tabernacle is conceived as a vessel inside a vessel. The bronze outer vessel is like a sheath that opens to expose a cylinder of stainless steel that is the locked vessel of the tabernacle. The outer sheath of bronze incorporates a heavily worked surface that shows the hammer blows of the forming process. The outer shell has a cruciform shaped opening at the doors that allows the viewer a hint of the smooth stainless steel inner vessel that holds the reserved Eucharist. A shelf is available in front of the inner vessel when the outer shell is opened. The cruciform shaped opening of the bronze shell is repeated on the stainless steel vessel as a polished form against a smooth satin finish of the stainless steel cylinder. The inner surface of the tabernacle will be surfaced with a felt or cloth. The tabernacle sits on a base of granite that is from same source as the other liturgical furniture.

11 Built of Living Stones, paragraph 72


February 27, 2013

Eternal Lamp The Eternal Lamp is composed of an internal 14-day beeswax candle encased by cast glass slabs. The candle flame will be visible from the Eucharistic Hall. An intensification of the candle flame will be caused by being reflected in multiple directions from the internal facets of the cast glass. The Eternal Lamp will be suspended from the 15 foot ceiling and is designed to easily allow changing of the candle. Cables run through pulleys concealed at the ceiling support so that the candle can be pulled down for changing. The heavier cast glass sheath acts as a counter balance for the raising and lowering of the candle when it needs to be replaced.




Candlesticks

Altar candlesticks are to be made from bronze and wood with possible glass accents. Candlesticks are set into movable stands so as to allow for flexibility in candle placement. Because of the processional opportunity and to establish a level of ceremony for the Liturgy, the candlesticks are designed to process as both processional torches and as long-handled candlesticks.


February 27, 2013

Paschal Candle

The choice for paschal candle in terms “of size, design, and color should be made in relationship to the sanctuary in which it is placed.”10 To provide this connection to the other liturgical furniture the design of paschal candle stand combines materials from all the other liturgical furniture pieces. The base is made from stone and bronze, and the candle support is bronze. The candle support slips into a movable stand for placement at the ambo, baptismal font or at the funeral casket.

10Built of Living Stone, Paragraph 94

Repose of the Book of Gospels

The Book of Gospels is processed into the Sanctuary and placed onto the altar. Along with processing of the Book of Gospels are two (2) hand-held candle holders that are also placed at the altar. At the reading of the gospel, two altar servers and the Deacon would process with the Gospel Book from the Altar to Ambo. After the Gospel reading the candles are returned to the altar candle stands and the Book of Gospels remains at the ambo. To provide access to the Holy Scripture, during the week a book stand for the Book of Gospels will be located in the Eucharistic Reservation Chapel.10





Dedication Crosses

Four (4) dedication crosses are located at the perimeter of the Eucharistic Hall surrounding the Assembly. The placement will have one dedication candle for each of the four cardinal directions. Candle holders are made from bronze and will be anchored to the wall. Above each metal candle holder is a stone slab with a Greek cross sandblasted into the stone surface. This cross image will match to the cross image at the altar top.


February 27, 2013

Celebrant Chair at Daily Mass Chapel

Scale:

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FURNITURE PLANS, SECTIONS,& DETAILS - DAILY CHAPEL

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WOOD MENSA4'-0"

3'-3

"

4 1/2"

1/2"

WOOD MENSA

WOOD INLAYOF ALTERNATESPECIES

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

ALTAR - DAILY CHAPELA61 1/2" = 1'-0" 1 1/2'1'0 1/2'

ALTAR - DAILY CHAPELA5PLANELEVATION (ALL SIDES EQUAL)

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE4

SIDE ELEVATIONCELEBRANT CHAIR -

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE5

FRONT ELEVATIONCELEBRANT CHAIR -

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE6

PLANCELEBRANT CHAIR -

4'-0"

4'-0

"

9"2"

1'-7

" OP

EN

FO

R M

ETA

LA

RTW

OR

K

2"3"

2"

2'-6 3/4"OPEN FOR ARTWORK 2"

2'-1

1"4"

6 5/8"

90°90°

AMERICAN CHERRY WOOD LEGREFER TO A2/IF-1043/8" PIN STRIPEDARK WOOD INLAY ATOUTSIDE CORNER ONLY

DARK WOOD FRAMEFOR METAL WORK

B2

IF-104

WOOD MENSABELOW

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

AMBO - DAILY CHAPELC6

5 3/4"

4"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'

AMBO - DAILY CHAPELC5SIDE ELEVATION

2'-0

"

1'-5

"

1'-4

"

1'-1

1"

4'-5

"

3'-3

"

15°

3'-5

"

1/2"3 1/2"

8"2"

1'-8

"2"

2" 10"

3'-3

"3'-5

"

BACK ELEVATION

2'-6

"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


REMOVABLE BOOK REST

REMOVABLE BOOKREST

RE: C4/IF-104

BOOK SHELF

CARVED WOOD PANEL

AMERICAN CHERRY WOOD LEGREFER TO D2/IF-1043/8" PIN STRIPEDARK WOOD INLAY ATOUTSIDE CORNER ONLY


5 1/2"

PLAN

WOOD MENSA2'-2

"

REMOVABLE BOOKREST ABOVE

2'-2"

2'-2

"

5"11

"8"

1"

PLAN - AMBO MENSA

PLAN - AMBO BOOKSREST

BOOK REST

1"

1'-9"

2' - 2"

B2

IF-104

E2

IF-104

C2

IF-104

1'-7

"

1'-5

"

1'-0"

1'-2"

3"

2'-3"

3"

FRONT ELEVATION1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-2"

3'-4

"

3'-3

"

2'-6

"

METAL AND WOOD PANELINSERT (3 SIDES)

2'-6 3/4"

METAL AND WOOD PANELINSERT (ALL SIDES)

NOTE: DRAWING IS FORREPRESENTATIVE PURPOSES ONLY.FINAL ARTWORK DESIGN BY ARTIST

2 1/2"

2 1/

2"

3/4"

3/4"

4 1/2"

4 1/

2"

3/8" PINSTRIPE DARK WOODINLAY AT OUTSIDE CORNERONLY

AMERICAN CHERRYWOOD LEG

3/8"

1 5/

8"

1/2"

1" 1/2"

DARK WOOD INLAY

1 1/4"

3/4"5/8"3/8"

3" = 1'-0" 9"6"0 3"

EDGE OF WOOD MENSAB2

3" = 1'-0" 9"6"0 3"

ALTAR LEG - PLANA2 3" = 1'-0" 9"6"0 3"

PANEL DESIGN - ALTARA3

3/8"

3/8"

3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANC2

1 1/2"

1 1/

2"

3/4"

3/4"

3 1/2"

3 1/

2"



3" = 1'-0" 9"6"0 3"

AMBO LEG - PLAND2

3/8"

3/8"


3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANE2

1" 1/4" PINSTRIPE DARK WOODINLAY

ALTERNATE WOOD

3" = 1'-0" 9"6"0 3"

PANEL DESIGN - AMBOC1

1 1/

2"1/

2"1

1/2"

1 1/2"1/2"1 1/2"

1'-7

"

2'-6 3/4"

METAL FRAME

10"

1'-8

"

PARK WOOD INLAY

CARVED WOOD PANELSINSERT INTO METAL FRAME

CARVED WOOD PANEL

METAL FRAME

Ambo at Daily Mass Chapel

Scale:

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Electronic File:


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WOOD MENSA4'-0"

3'-3

"

4 1/2"

1/2"

WOOD MENSA


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE4


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE5


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE6


4'-0"

4'-0

"

9"2"

1'-7

" OP

EN

FO

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LA

RTW

OR

K

2"3"

2"


2'-1

1"4"

6 5/8"

90°90°



B2

IF-104

WOOD MENSABELOW

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


5 3/4"

4"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-0

"

1'-5

"

1'-4

"

1'-1

1"

4'-5

"

3'-3

"

15°

3'-5

"

1/2"3 1/2"

8"2"

1'-8

"2"

2" 10"

3'-3

"3'-5

"

BACK ELEVATION

2'-6

"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


REMOVABLE BOOK REST

REMOVABLE BOOKREST

RE: C4/IF-104

BOOK SHELF

CARVED WOOD PANEL



5 1/2"

PLAN

WOOD MENSA2'-2

"


2'-2"

2'-2

"

5"11

"8"

1"

PLAN - AMBO MENSA


BOOK REST

1"

1'-9"

2' - 2"

B2

IF-104

E2

IF-104

C2

IF-104

1'-7

"

1'-5

"

1'-0"

1'-2"

3"

2'-3"

3"

FRONT ELEVATION1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-2"

3'-4

"

3'-3

"

2'-6

"


2'-6 3/4"



2 1/2"

2 1/

2"

3/4"

3/4"

4 1/2"

4 1/

2"



3/8"

1 5/

8"

1/2"

1" 1/2"

DARK WOOD INLAY

1 1/4"

3/4"5/8"3/8"

3" = 1'-0" 9"6"0 3"


3" = 1'-0" 9"6"0 3"

ALTAR LEG - PLANA2 3" = 1'-0" 9"6"0 3"


3/8"

3/8"

3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANC2

1 1/2"

1 1/

2"

3/4"

3/4"

3 1/2"

3 1/

2"



3" = 1'-0" 9"6"0 3"

AMBO LEG - PLAND2

3/8"

3/8"


3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANE2


ALTERNATE WOOD

3" = 1'-0" 9"6"0 3"


1 1/

2"1/

2"1

1/2"

1 1/2"1/2"1 1/2"

1'-7

"

2'-6 3/4"

METAL FRAME

10"

1'-8

"

PARK WOOD INLAY


CARVED WOOD PANEL

METAL FRAME

Scale:

1" ACTUAL

Project Name:

Drawing Title:

Date: Issued For:

Drawing Number:

Scale:

Electronic File:


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310 312 3900 t310 312 3998 f

AS SHOWN

1" ACTUAL



WOOD MENSA4'-0"

3'-3

"

4 1/2"

1/2"

WOOD MENSA


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE4


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE5


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE6


4'-0"

4'-0

"

9"2"

1'-7

" OP

EN

FO

R M

ETA

LA

RTW

OR

K

2"3"

2"


2'-1

1"4"

6 5/8"

90°90°



B2

IF-104

WOOD MENSABELOW

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


5 3/4"

4"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-0

"

1'-5

"

1'-4

"

1'-1

1"

4'-5

"

3'-3

"

15°

3'-5

"

1/2"3 1/2"

8"2"

1'-8

"2"

2" 10"

3'-3

"3'-5

"

BACK ELEVATION

2'-6

"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


REMOVABLE BOOK REST

REMOVABLE BOOKREST

RE: C4/IF-104

BOOK SHELF

CARVED WOOD PANEL



5 1/2"

PLAN

WOOD MENSA2'-2

"


2'-2"

2'-2

"

5"11

"8"

1"

PLAN - AMBO MENSA


BOOK REST

1"

1'-9"

2' - 2"

B2

IF-104

E2

IF-104

C2

IF-104

1'-7

"

1'-5

"

1'-0"

1'-2"

3"

2'-3"

3"

FRONT ELEVATION1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-2"

3'-4

"

3'-3

"

2'-6

"


2'-6 3/4"



2 1/2"

2 1/

2"

3/4"

3/4"

4 1/2"

4 1/

2"



3/8"

1 5/

8"

1/2"

1" 1/2"

DARK WOOD INLAY

1 1/4"

3/4"5/8"3/8"

3" = 1'-0" 9"6"0 3"


3" = 1'-0" 9"6"0 3"

ALTAR LEG - PLANA2 3" = 1'-0" 9"6"0 3"


3/8"

3/8"

3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANC2

1 1/2"

1 1/

2"

3/4"

3/4"

3 1/2"

3 1/

2"



3" = 1'-0" 9"6"0 3"

AMBO LEG - PLAND2

3/8"

3/8"


3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANE2


ALTERNATE WOOD

3" = 1'-0" 9"6"0 3"


1 1/

2"1/

2"1

1/2"

1 1/2"1/2"1 1/2"

1'-7

"

2'-6 3/4"

METAL FRAME

10"

1'-8

"

PARK WOOD INLAY


CARVED WOOD PANEL

METAL FRAME




Altar at Daily Mass Chapel

Scale:

1" ACTUAL

Project Name:

Drawing Title:

Date: Issued For:

Drawing Number:

Scale:

Electronic File:


HF RH



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310 312 3900 t310 312 3998 f

AS SHOWN

1" ACTUAL



WOOD MENSA4'-0"

3'-3

"

4 1/2"

1/2"

WOOD MENSA


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE4


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE5


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE6


4'-0"

4'-0

"

9"2"

1'-7

" OP

EN

FO

R M

ETA

LA

RTW

OR

K

2"3"

2"


2'-1

1"4"

6 5/8"

90°90°



B2

IF-104

WOOD MENSABELOW

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


5 3/4"

4"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-0

"

1'-5

"

1'-4

"

1'-1

1"

4'-5

"

3'-3

"

15°

3'-5

"

1/2"3 1/2"

8"2"

1'-8

"2"

2" 10"

3'-3

"3'-5

"

BACK ELEVATION

2'-6

"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


REMOVABLE BOOK REST

REMOVABLE BOOKREST

RE: C4/IF-104

BOOK SHELF

CARVED WOOD PANEL



5 1/2"

PLAN

WOOD MENSA2'-2

"


2'-2"

2'-2

"

5"11

"8"

1"

PLAN - AMBO MENSA


BOOK REST

1"

1'-9"

2' - 2"

B2

IF-104

E2

IF-104

C2

IF-104

1'-7

"

1'-5

"

1'-0"

1'-2"

3"

2'-3"

3"

FRONT ELEVATION1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-2"

3'-4

"

3'-3

"

2'-6

"


2'-6 3/4"



2 1/2"

2 1/

2"

3/4"

3/4"

4 1/2"

4 1/

2"



3/8"

1 5/

8"

1/2"

1" 1/2"

DARK WOOD INLAY

1 1/4"

3/4"5/8"3/8"

3" = 1'-0" 9"6"0 3"


3" = 1'-0" 9"6"0 3"

ALTAR LEG - PLANA2 3" = 1'-0" 9"6"0 3"


3/8"

3/8"

3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANC2

1 1/2"

1 1/

2"

3/4"

3/4"

3 1/2"

3 1/

2"



3" = 1'-0" 9"6"0 3"

AMBO LEG - PLAND2

3/8"

3/8"


3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANE2


ALTERNATE WOOD

3" = 1'-0" 9"6"0 3"


1 1/

2"1/

2"1

1/2"

1 1/2"1/2"1 1/2"

1'-7

"

2'-6 3/4"

METAL FRAME

10"

1'-8

"

PARK WOOD INLAY


CARVED WOOD PANEL

METAL FRAME

Scale:

1" ACTUAL

Project Name:

Drawing Title:

Date: Issued For:

Drawing Number:

Scale:

Electronic File:


HF RH



© R

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, IN

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20

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NOT FORCONSTRUCTION

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310 312 3900 t310 312 3998 f

AS SHOWN

1" ACTUAL



WOOD MENSA4'-0"

3'-3

"

4 1/2"

1/2"

WOOD MENSA


1 1/2" = 1'-0" 1 1/2'1'0 1/2'



1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE4


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE5


1 1/2" = 1'-0" 1 1/2'1'0 1/2'

DAILY MASS CHAPELE6


4'-0"4'

-0"

9"2"

1'-7

" OP

EN

FO

R M

ETA

LA

RTW

OR

K

2"3"

2"


2'-1

1"4"

6 5/8"

90°90°



B2

IF-104

WOOD MENSABELOW

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


5 3/4"

4"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-0

"

1'-5

"

1'-4

"

1'-1

1"

4'-5

"

3'-3

"

15°

3'-5

"

1/2"3 1/2"

8"2"

1'-8

"2"

2" 10"3'

-3"3'-5

"

BACK ELEVATION

2'-6

"

1 1/2" = 1'-0" 1 1/2'1'0 1/2'


REMOVABLE BOOK REST

REMOVABLE BOOKREST

RE: C4/IF-104

BOOK SHELF

CARVED WOOD PANEL



5 1/2"

PLAN

WOOD MENSA2'-2

"


2'-2"

2'-2

"

5"11

"8"

1"

PLAN - AMBO MENSA


BOOK REST

1"

1'-9"

2' - 2"

B2

IF-104

E2

IF-104

C2

IF-104

1'-7

"

1'-5

"

1'-0"

1'-2"

3"

2'-3"

3"

FRONT ELEVATION1 1/2" = 1'-0" 1 1/2'1'0 1/2'


2'-2"

3'-4

"

3'-3

"

2'-6

"


2'-6 3/4"



2 1/2"

2 1/

2"

3/4"

3/4"

4 1/2"

4 1/

2"



3/8"

1 5/

8"

1/2"

1" 1/2"

DARK WOOD INLAY

1 1/4"

3/4"5/8"3/8"

3" = 1'-0" 9"6"0 3"


3" = 1'-0" 9"6"0 3"

ALTAR LEG - PLANA2 3" = 1'-0" 9"6"0 3"


3/8"

3/8"

3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANC2

1 1/2"

1 1/

2"

3/4"

3/4"

3 1/2"

3 1/

2"



3" = 1'-0" 9"6"0 3"

AMBO LEG - PLAND2

3/8"

3/8"


3" = 1'-0" 9"6"0 3"

WOOD INLAY PLANE2


ALTERNATE WOOD

3" = 1'-0" 9"6"0 3"


1 1/

2"1/

2"1

1/2"

1 1/2"1/2"1 1/2"

1'-7

"

2'-6 3/4"

METAL FRAME

10"

1'-8

"

PARK WOOD INLAY


CARVED WOOD PANEL

METAL FRAME


February 27, 2013

Stained Glass Window at Main Entrance

This stained glass window is for a large window opening above the baptismal font that faces South/Southeast. The orientation and size of the window is of concern because of direct sunlight and glare that would occur with a clear window. The stained glass window will cut out the direct sunlight and glare coming into the Eucharistic Hall while at the same time imparting a metaphor of contemplation for the viewer. The artist has collaborated with the architect so as to integrate the art with the architecture of the church.13

The theme for the window is “the dawn after the dark night”. Light eclipses the darkness and is the symbol of hope and Jesus resurrection. The main actor is light.

The glass is mouth blown. The lavender-gray dark opaque glass is made in Germany by the oldest manufacturer of mouth blown glass

in the world, Lamberts Glashutte. It is flashed with micro layers of color and opacity blown into the glass when it is still molten. It is sprayed and fired in the artist studio with a shaded purple glass enamel and cranberry luster to give a very subtle movement of color. The delicate rose-lavender to soft yellow glass is a very special mouth blown glass made by Freemont antique Glass in Seattle, Washington. The rose color is made of gold. The yellow is made of silver. This glass also has a layer of light opal, which diffuses the light. It shades in a way creating what can be called “atmospheric light”, which the architect says “is a wash of color, a duality of light and layers of ideas”. There are small slivers of hand-made bevels (prisms), emphasizing the transition between the darkness and the light.

The stained glass window wraps around the corner with light breaking the corner causing the eye

to vibrate. The more traditional lead caning will not be used to create the window. Instead a modern more sustainable approach of laminating glass to glass will be used. All the glass is carefully cut and edge polished before it is laminated with a special Germany optical silicone onto a substrate piece of tempered glass. This will give the window a much lighter effect since there are no lead lines. Every piece of glass in the window will be hand selected by the artist.

Elizabeth Devereaux of Chico, CA is the stained glass artist.


Art


Art

Stained Glass Window at Reconciliation Chapel

This stained glass is for a floor to ceiling corner window in the Southwest corner of the Reconciliation Room. A meditation garden with olive trees is located outside of this window.

The theme represents the fluidity between giving and receiving, between redemption and forgiveness. It is the ascending and descending movement of God’s grace in the act of reconciliation. The design “nourishes the sense with beauty” and also “disclose the transcendent value and aura of mystery in the Christian message.”14

The design uses transparent mouth blown glass of various textures as well as use purples, lavenders and possibly silver colors. Purple and lavender refer to Penance, while silver is a reflection of salvation. Clear reamy and purple to clear glass will invite in and frame the exterior landscape, creating an atmosphere of peace in the room. Yet the glass in the lower areas of the window will be textured to ensure privacy in the room. There is a diagonal movement to the laminated prisms, as they move to the other window at right angles.

Elizabeth Devereaux of Chico, CA is the stained glass artist.



February 27, 2013

Crucifix

The main cross/corpus is placed to anchor the entire sanctuary area.

Jesus’ head is lifted up and looking into the natural light streaming through tall windows.The moment of the crucifixion that is depicted is that of Jesus’ gesture of thanksgiving, aliveness, purpose, and looking beyond death as He once again places His life in the Father’s hands.

Lynn Kircher of Jaroso, Colorado is the artist.

Art


Art

Mary Shrine

The theme for the shrine is inspired by the first line of The Virgin Prayer (based on Luke 1: 48) “You must seek to be a blank slate”. The shrine is a diptych glass sculpture composed of a ‘Mary’ glass and a ‘Gabriel’ glass, in an asymmetrical composition.

The Mary glass: A young Virgin Mary is the only figure on a large glass panel. She stands to the far right, in a maiden’s working clothes, hands clasped gently, an attitude of humility. She faces slightly right, her head mildly inclined, her gaze a bit downward, looking in the direction of a magnificent light, while not directly at it.The large Mary glass symbolizes the ‘blank slate’ she became to receive the Son of God within her. The sparseness of additional design elements suggests the imperative state of emptiness required of spiritual receptivity, and reflects Mary’s wholehearted “Fiat” to do only the will of the Father.

Mary’s face, hands, garments, etc. are highly detailed, symbolizing her entirely human, earthly state. Around her, however, swirls a whisper of a movement/energy, symbolizing the presence of the Holy Spirit, and corresponding to the same movement/energy in the Gabriel glass, while more subtle in the Mary glass. This encircling originates to the left of Mary,

coming from the message of God told by the angel, and becomes softer and quieter as it encircles Mary. It symbolizes her partaking in the realm of Heaven while yet in earth in receiving the Word within her, and her protected state of sin-less nature. Most design elements are carved on the back of the Mary glass, with some elements airbrushed or etched on front.

The Gabriel glass: A great, growing movement, and sense of marvelous light in this piece which contrasts the more quiet sense of the Mary glass design. Gabriel’s form ‘comes and goes’, with areas of positive etch, and areas in silhouette/positive etch. Gabriel’s ‘wings’ are more of a pure movement, as of the Holy Spirit – like wind or fire. The Gabriel image will be carved/etched on both the front and back sides of the glass.

The shrine for Mary is placed at the base of the tower. The ceiling at the shrine area ascends upward giving added emphasis to the space and the prayer experience in the space.

Claire Wing of Dallas, Texas is the artist for the carved glass Mary Shrine. A local example of her work is the Marian shrine at St. Peter’s in Fallbrook, CA.

St. Thomas More Shrine

The St. Thomas More Shrine is visible upon entering the church through the main ceremonial doors. A large tapestry is being planned for the floor to ceiling wall at this location. The current scale for the tapestry is 10 feet wide by 20 feet tall. The final size and proportion will be determined in consultation with the artist. Adjacent to the tapestry will be a bank of candles. The shrine is also located at the point of exit to a Meditation Garden located on the north side of the church building. Stations of the Cross will be eventually located in this exterior garden space.

John Nava has been hired as artist for the tapestry. He is the artist for the tapestries installed at the Los Angeles Cathedral.


February 27, 2013

Materials

Both authentic and ancientness is provided through a limited pallet of elemental materials. Granite, bronze and glass give a connection to the earth and a respect of faith traditions. Solid materials of bronze and granite give weight and importance while the translucent glass embarks lightness and mystery. These principle materials are complemented by the creamy travertine, white and grey concrete, plaster and cherry wood being used for the building finishes.

The granite is a rare stone that is quarried from the Cascade Mountain Range in northwest Washington. When cut and polished the stone exhibits a gem-like quality with colors of deep blue to earthy green all within a white veining matrix. Each stone element will be cut to size then hand crafted to achieve the final finish and proportion. Both polished and honed finished surfaces will be used for the furniture. Bronze is a metal alloy composed mostly of copper with low percentages of tin, aluminum or magnesium. We will source a bronze that provides a brown statuary finish. The brown earthy color will harmonize with the architectural design and finishes.

Cast glass will be custom made by melting silica glass pellets into a sheet form. This sheet will be placed back in the kiln to be molded into the final shapes and sizes. The artist can add color and vary the glass density to create unique images, such as the Holy Spirit dove image shown.

The handprint of the artist will be evident through the working of the stone, metal and glass. Every piece of Liturgical Furniture will be a unique one-of-a-kind element. “Quality is evident in the honesty and genuineness of the materials that are used, the nobility of the form embodied in them, the love and care that goes into the creation of the work of art, and the personal stamp of the artist whose special gift produces a harmonious whole, well-crafted work.”15

Stephen Hirt from Seattle, WA is the artist for all the stone, metal and glass pieces of furniture.


Materials


Materials


Acknowledgements

Acknowledgements

Pastor:

Reverend Michael Ratajczak

Interior Design Team:

Kathy Arciero Charlene Buhlert Mary Castle Diana Diaz Mario Diaz Lorraine Doering Ann Eriksson Pat Goscienski Phil Goscienski Brian Leahey Douglas Lynn Sondra Parks Kathleen Quinn Chris Smith

Architect:

Renzo Zecchetto Renzo Zecchetto Architecture, Inc. Los Angeles, CA

Liturgical Design Consultant:

Robert Habiger Dekker/Perich/Sabatini Albuquerque, NM

Documents

CHURCH OF ST. THOMAS MORE · 2018. 5. 2. · Church of St. Thomas More LITURGICAL REPORT CD PHASE February 27, 2013 Introduction Introduction This liturgical report describes through