No one doubts the seismic shifts that have taken place in how we understand worship in the late-20th and early-21st centuries. What varies is how to discuss these shifts intelligently, dispassionately and in a manner that fosters forward momentum in the conversation rather than digressions into petty pet peeves. In "An Architecture of Immanence: Architecture for worship and ministry today" (Eerdmans, ISBN 0802832091) Mark A. Torgerson has made a profound contribution to the conversation and given a helpful paradigm upon which to begin at least one aspect of the conversation.
At its simplest the paradigm or paradox at hand is the notion of God's transcendence or other-ness over and against God's nearness. God's holiness and the fact that God created everything-that-is sets God wholly in another realm, utterly beyond the grasp of humanity. That is countered by God's nearness, most dramatically expressed in the incarnation through Jesus the Christ. Torgerson's basic premise is that whereas prior to the mid-20th century the church emphasized God's transcendence, in more recent years the church has come to find increased meaning and relevance in the notion of God's nearness and one-ness with humanity. For the purposes of this book, church architecture is the lens through which this theological shift is explored.
I have long been fascinated and captivated by church architecture and hoped to find many, many pretty pictures of churches in this book. In that regard I was sorely disappointed. What I found was an incredibly engaging discussion of a theological precept, with church architecture serving to illustrate the point. Because, Torgerson notes, architecture influences the activities it contains, in this case worship and Christian education and service, I was immediately drawn into the discussion. I believe the paradox of transcendence/immanence is quite valid and feel that understanding how that pendulum is swinging can help interpret a great deal about current trends not only in architecture, but in worship and in worship music. Torgorseon would probably say he was writing a book about changing trends in church architecture, using the lens of a theological precept to focus the discussion. Either way, this is a thoroughly engaging discussion for theologian, architect, artist and indeed any person of faith.
The thing with paradoxes is that each pole relies upon the other for its ultimate expression. One cannot understand immanence without the context of its opposite, transcendence. As the church goes too far toward one or the other poles, it looses part of its identity and part of its authority or relevance. Thus, where transcendence predominates how the church designs its buildings, people are swallowed up (literally) and feel irrelevant and separated from their faith. And yet, where immanence plays too great a role, the awesome nature of God is shrouded and people can lose a sense of their need for God and their own salvation.
Torgerson pulls from many sources related to architecture to help define the way architecture depicts the theological shift. He explores the work of several key architects of the last century to show how their work embodies the shift toward a theology of immanence. I learned a great deal about the modern architecture movement and what we must now be experiencing as post-modernism in church design. But most enticing for me was his exploration of worship and liturgical documents from Roman Catholic and Protestant traditions that help articulate the shifting trends.
All this being said, I think Torgerson believes we are about to reach the end of the arc of this swing of the pendulum. He believes that architecture of immanence has served its purpose to pull the church away from a predilection for transcendence. He sees more signs now that churches are seeking to work their way back toward the center in architecture and more generally in worship.
Torgerson concludes with a few select guidelines for the future of church architecture. These same guidelines I think can be interpolated to serve as guidelines for the future of worship in general.
1) a value for common Christian witness and an attention to beauty
2) the importance of sustainable church design (and awareness of the world and our faith as
a global presence)
3) the importance of maintaining a unique testimony and public presence
A couple of questions began gnawing at me as I neared the end of the book. What does the architecture and decor of Black Mountain Presbyterian Church say about us as a congregation; and more importantly is that what we want to say to those who visit and worship here? And more poin
tedly: most of us would notice immediately if we went to a friends house for dinner and saw that there had been no changes in decor or furnishings for 50 years. People in the market for a new home expect that changes and improvements have been made over the life of the home unless it's new construction; we would be nervous if we didn't notice anything "re-done" since initial construction. Couldn't we same the same about a church? Ours is a beautiful sanctuary and facility, in a decidedly mid-century modern architectural style. Very recently a couple of pews were removed and floor space added to the chancel area; yet recent worship services have shown the lay musicians at least that space is limited and flexibility for function nearly non-existent. We have installed a new table, font and Christ candle. How well, though, are the same space configuration, same color, same wood, same windows serving us 50-plus years after construction, and how well do those convey to a guest? Some things to ponder; please leave a comment.
At its simplest the paradigm or paradox at hand is the notion of God's transcendence or other-ness over and against God's nearness. God's holiness and the fact that God created everything-that-is sets God wholly in another realm, utterly beyond the grasp of humanity. That is countered by God's nearness, most dramatically expressed in the incarnation through Jesus the Christ. Torgerson's basic premise is that whereas prior to the mid-20th century the church emphasized God's transcendence, in more recent years the church has come to find increased meaning and relevance in the notion of God's nearness and one-ness with humanity. For the purposes of this book, church architecture is the lens through which this theological shift is explored.
I have long been fascinated and captivated by church architecture and hoped to find many, many pretty pictures of churches in this book. In that regard I was sorely disappointed. What I found was an incredibly engaging discussion of a theological precept, with church architecture serving to illustrate the point. Because, Torgerson notes, architecture influences the activities it contains, in this case worship and Christian education and service, I was immediately drawn into the discussion. I believe the paradox of transcendence/immanence is quite valid and feel that understanding how that pendulum is swinging can help interpret a great deal about current trends not only in architecture, but in worship and in worship music. Torgorseon would probably say he was writing a book about changing trends in church architecture, using the lens of a theological precept to focus the discussion. Either way, this is a thoroughly engaging discussion for theologian, architect, artist and indeed any person of faith.
The thing with paradoxes is that each pole relies upon the other for its ultimate expression. One cannot understand immanence without the context of its opposite, transcendence. As the church goes too far toward one or the other poles, it looses part of its identity and part of its authority or relevance. Thus, where transcendence predominates how the church designs its buildings, people are swallowed up (literally) and feel irrelevant and separated from their faith. And yet, where immanence plays too great a role, the awesome nature of God is shrouded and people can lose a sense of their need for God and their own salvation.
Torgerson pulls from many sources related to architecture to help define the way architecture depicts the theological shift. He explores the work of several key architects of the last century to show how their work embodies the shift toward a theology of immanence. I learned a great deal about the modern architecture movement and what we must now be experiencing as post-modernism in church design. But most enticing for me was his exploration of worship and liturgical documents from Roman Catholic and Protestant traditions that help articulate the shifting trends.
All this being said, I think Torgerson believes we are about to reach the end of the arc of this swing of the pendulum. He believes that architecture of immanence has served its purpose to pull the church away from a predilection for transcendence. He sees more signs now that churches are seeking to work their way back toward the center in architecture and more generally in worship.
Torgerson concludes with a few select guidelines for the future of church architecture. These same guidelines I think can be interpolated to serve as guidelines for the future of worship in general.
1) a value for common Christian witness and an attention to beauty
2) the importance of sustainable church design (and awareness of the world and our faith as
a global presence)
3) the importance of maintaining a unique testimony and public presence
A couple of questions began gnawing at me as I neared the end of the book. What does the architecture and decor of Black Mountain Presbyterian Church say about us as a congregation; and more importantly is that what we want to say to those who visit and worship here? And more poin
tedly: most of us would notice immediately if we went to a friends house for dinner and saw that there had been no changes in decor or furnishings for 50 years. People in the market for a new home expect that changes and improvements have been made over the life of the home unless it's new construction; we would be nervous if we didn't notice anything "re-done" since initial construction. Couldn't we same the same about a church? Ours is a beautiful sanctuary and facility, in a decidedly mid-century modern architectural style. Very recently a couple of pews were removed and floor space added to the chancel area; yet recent worship services have shown the lay musicians at least that space is limited and flexibility for function nearly non-existent. We have installed a new table, font and Christ candle. How well, though, are the same space configuration, same color, same wood, same windows serving us 50-plus years after construction, and how well do those convey to a guest? Some things to ponder; please leave a comment. 
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