Principles + Elements

The shape of the church is geometric and hierarchical, with a strong rectilinear form. There is an emphasis on brutalism, with proportional lines throughout the composition overall. The exterior of the building falls under the umbrella of minimalism, featuring pattern and continuity in the rigid placement of the glass windows.

Connections

Connections within this building can be defined by history and human experience. The design as a whole reflects the modernist ideals of the 1940’s, while controlled lighting and seating arrangements account for human experience. There is a distinct dialogue between the building’s architectural intent and the worship practices it supports, connecting physicality and spirituality.

Materials

The materials present in the church are wood, limestone, and brick, with limestone acting as the main structural base. Each material contributes to the dark and moody composition of the space, deepening the sense of reverence. The wood introduces warmth while the brick conveys permanence.

Light + Color

The manipulation of light throughout the church creates a feeling of solemnity, with the atmosphere differing between day and night. Natural light emits through vertical, rectangular windows during the day, while warm, ambient lighting emerges at night. In this way, there is a transformation from liturgical fellowship to quiet contemplation. Beyond that, the neutral colors delegate focus solely on worship instead of ornamentation.

Experience

The experience of the church can be defined by the serious tones of the environment that foster worship and devotion. It acts with the same purpose as any other church, only it is unique in that it cultivates a strong sense of discipline and order. Through neutral tones, high ceilings, and hard lines, the space serves as a vessel for collective spiritual discipline.

Theories

This building can be categorized alongside the theories of modernism and functionalism as they relate to design. In terms of modernism, this building relies on minimal ornamentation and expresses itself through the gravitas of its structural forms. Regarding functionalism, this building is inherently defined by use and purpose as opposed to decoration.

Technology

The technological aspects of this building are shaped by the construction methods of the time it was built, that being the year 1942, and the compositional decisions of architect Eliel Saarinen. Beyond that, the structural clarity poses a sense of deliberate intention, reinforcing the interior’s spatial cohesion. Further, the controlled use of vertical windows demonstrates the early modernist idea of illumination as a method for manipulating experience.

Finishes

The exterior facade of First Christian Church is finished with a combination of brick and limestone. The interior of the space features brick and limestone as well, with wood incorporated throughout the flooring, seating, doors, and altar. Glass is prominent throughout the space as well, particularly in the windows.

Furnishings

The space is mainly furnished by pews, or bench seating. By facing the altar, the pews act as a guide for congregational focus and attention, reinforcing hierarchy and order. Additionally, the spacing and uniformity of the pews promotes direct sight lines and a collective forward gaze.

Telling Stories

The First Christian Church of Columbus, Indiana was originally built for Tabernacle Church of Christ. Commissioned to reimagine a traditional place of worship, architect Eliel Saarinen strayed away from conventional designs. In doing so, this building has since become a landmark of cultural significance, emphasizing the shift in how sacred spaces engage with today’s congregations.

Links

https://comeseecolumbus.com/directory/first-christian-church/

https://sah-archipedia.org/buildings/01-005-0080

https://www.docomomo-us.org/register/first-christian-church