From the air, the roof creates a cross. From the ground, more of a space-age effect.
An appropriate concern for acoustics drove many of the interior design decisions: terrzao floors, exposed brick walls, a brick reredos curved inward to reflect the clergy's voices. In later years, succumbing to the inevitable tension between the value of acoustics and a wish for "warmth," the floors were carpeted and the pews cushioned. But a recent renovation project reconsidered those dubious improvements and has returned the hard surfaces to the space.
During the renovation, the shaft of the rooftop cross was opened up to create a skylight, to dramatic effect.
More from the PNC tour materials:
Taylor made the interior purposely simple to focus the congregation's attention. He sought out a striking white marble with gold streaks for the altar to draw all eyes to the central area of worship. The stained glass windows, designed by Crosby Willett of Willett Stained Glass Studios of Philadelphia, represent major events in the church calendar. They present a color gradation rising from dark to lighter colors. The striking window behind the altar represents the Holy Spirit symbolized by a dove traveling to the heart of man which is just above the level of the altar. The window rises the full height of the building, with the physicality and earthly reality of man at the lower level.
A few more photos.
Previously: Fadum house, Kamphoefner house.
Next: Rothstein house, Uyanick-Eichenberger house.