REGINALD E. PADEY is a member of the East Malvern, Vic., Church of Christ and serves on the Properties and Building Committee of the Church Men's Society (Victoria-Tasmania). Mr. Padey was educated at the Royal Melbourne Technical College and the University of Melbourne, and is a member of the Royal Australian Institute of Architects (A.R.A.I.A.), and Royal Victorian Institute of Architects (A.R.V.I.A.).

      I am not taking up the pen to try to provide you with the answers to church design. I merely wish to stimulate your thoughts and to create an awareness of the problems facing the Church and the architect in connection with design and over-all planning.

      A renaissance of church architecture in Australia is long overdue. Few aspects of the building scene are more disappointing than those that relate to church building. Rarely does a place of worship, old or new, cause a passer-by to stop in his tracks because of its beauty, freshness or grandeur. Likewise utility church buildings are so often traditional and ineffective, showing little understanding of the function of Christian congregational life in a modern society.

      In our generation the Church is contributing little, if anything, to architectural progress, and contemporary architecture is contributing very little to the Church.

      Seldom if ever before has this been true. From the dawn of history to the Mid-Victorian age the building of temples and churches was the highest form of architectural expression. The great buildings of Egypt were temples; the great buildings of the Middle Ages were cathedrals. The most beautiful buildings even in our colonial days were churches. Through these ages ecclesiastical architecture set the pace and pioneered styles which were then borrowed and adapted to secular architecture.

      Only in our generation has religious architecture broken away from the present. About the time that secular architecture began reaching forward for a truly contemporary idiom to replace the eclecticism of the turn of the century, church architecture took just exactly the opposite turn toward the past, particularly to the Gothic style.

      I can understand people looking back to the Gothic style because I also have a love of the true Gothic style. This love, however, prevents me from wanting to design or build cheap imitations of that style. In the Gothic era, man's desire to detach himself from earthly matters and approach God was a force that made him create structures of lightness to such an extent that even today, when our structural knowledge has reached a state of exact science, we could not surpass, were we limited to the same materials and methods. In the Gothic church knowledge, intuition and faith were fused to create the material expression of an idea through man's genius.

      Our sham Gothic chiefly fails in its complete inability to capture the essence of the antique. That spirit of daring, of individuality and of imagination which speaks from the true antique on its native ground is never shown here. The rut of conservatism which we follow will never lead us to the true tradition of church building. For the true tradition is to be modern. Gothic architects, finding the solid

sobriety of the great Romanesque buildings no longer appropriate, defied the dogma of the wall with the heresy of the fragile window and the flying buttress. In its turn their heresy became dogma of the Renaissance for forms appropriate to the newer time.

      Yet, in this newest time, which differs so radically from all previous ages, we have again been attempting to build in the mediaeval manner. Strange that so few church-goers thought it incongruous to draw up outside their church in the latest model automobile. Strange too, that the symbol which so many congregations should hold before the community of their intelligent outlook and vital message should be a fake antique. But, if these considerations may be disregarded, there is today one inescapable fact which is bringing about the end of traditional church architecture. This fact is cost. The inability of our congregations to subscribe such sums to build true imitations has left a large vacuum in church building which has been filled with all sorts of compromises between tradition and reality. Our daily papers are constantly reporting churches which will be built in a 'Modern Gothic' style---with synthetic stone tracery windows, or a 'Modified traditional design'--with lych gate and reinforced concrete.

      The effect of such compromises has been on one hand to lose the character and dignity of the Gothic and on the other of foregoing the great possibilities of modern architecture. Church building exists on a featureless level between the two poles, individual examples well deserving the oft heard remark, "But it doesn't look like a Church." We have built watered down Gothic, blown up bungalows and decorated halls.

      Indeed, it could truthfully be said that few periods of history have shown such confusion and architectural ineptitude as the last thirty to forty years of church building in this country.

      The thing that kept the religious architecture of the Middle Ages great and vital through many centuries was its constant quest for new means of architectural expression in stone and glass; its unceasing use of new knowledge, new resources, new devices, new materials--groines, vaulting, skeleton construction, diagonal ribs, pointed arches, flying buttresses, lierne vaulting, fan vaulting, pendant bosses, jewelled glass, window tracery and other opportunities for structural or decorative advances. But all items, whether decoration or structure, were honestly used and truthfully expressed.

      In our generation, more new tools, more new materials, more new techniques have been placed at the disposal of church architects than the Middle Ages ever dreamed of.

      We have available aluminium, plywood, plastics, stainless steel, plate glass, fibre glass and concrete--all in virtually unlimited forms, colours and textures. They deserve to be used as carefully and as lovingly as stone once was, and they are worthy of the highest uses. Their employment will give rise here, as already overseas, to new shapes, light patterns and atmosphere, exhilarating, dignified and austere, according to how they are used.

      Here are the new materials which, combined with some of our traditional materials, form the basis of church architecture of today. But the adventuring spirit of the mediaeval builders has somewhere been lost. Amongst the thousands of churches erected in the past decade, not more than a few dozen have made any attempt to take advantage of present day building techniques to develop a religious, contemporary architecture in keeping with our times, more moving and more spiritually satisfying than that of any other Age.

      Some architects place the blame for the backward march of church design on the congregations, who recognise few buildings as churches which are not modelled on those of a past era. But it may also be said that architects, whether from ignorance, lack of ability, economic necessity or an overwhelming sense of courtesy, have never protested strongly enough to turn this architectural backwater into the creative flood which once it was and should be now.

      But happily the Phoenix is rising. Indeed, in many countries it has already ousted the dreary Dodo. This is true in Denmark, Sweden and Switzerland. It is partly true of U.S.A. In these countries the creative force of modern architecture is now generally accepted. Even in Australia there are signs of an acceptance of contemporary ideals. In fact, two church administrators have made very forthright statements to that effect:

      Bishop Sheville of the Anglican diocese of North Queensland says firmly:--"We will not have any Gothic builders here--contemporary design is essential."

      The Rev. Alan Walker has stated:--"Religion in Australia cries out for symbols which will express the fact that God is full of life and joy and peace and power. God belongs, not to a past era or to some future moment, such as the moment of death. He belongs to the "now", to the moment of living. It is this relevancy of God which must be conveyed. The architecture of a church should therefore, in my judgment, never be merely traditional. It must express the present reality of God."

      When a new church is built it is in a sense an expression of the whole vital and growing Christian community, a fruition of a reality which Christians confess to be the unbroken Body of Christ of all ages and places where believers gather to worship. As in all other buildings the church enclosure must be functional. However, unlike many other buildings, its function is primarily one affecting the spiritual and emotional side of man. The Gothic churches achieved a high emotional quality because of their scale, honesty of structure, natural materials and the use of beautiful stained glass windows.

      How can the emotional quality be achieved in contemporary architecture in the smaller buildings of today?

      Because, before God man is at his simplest, the contemporary idiom seems the most natural in the world for church design. Simplicity and truthfulness are the keynotes of contemporary design, but, as we all know, simplicity is always the most difficult to achieve in any sphere. Consequently, the various elements of the structure have to be considered very carefully.

      Of all modern building techniques, the arch or portal frame seems the most naturally adapted to the average requirements for church design. Whether it be timber, steel or concrete, this form of structure gives a clean uninterrupted line to the interior of the church. Truss construction, with its inevitable angular product presents the age-old problem of ideal proportioning and tends to present a chillier, more austere interior, Furthermore, in order to achieve a psychologically satisfying auditorium, the rectangular form more often than not dictates proportionately greater height than arch construction, and consequently higher cost per square foot.

      The structure has to be expressed truthfully, not built into fake columns and brick piers. Secular buildings are truthful in their expression of structure, should not churches be just as honest? I know of numerous churches that

have been erected as steel framed buildings, with steel columns ultimately being built into false brick buttresses and interiors finished with imitation stonework and false arches.

      Like that of the theatre the church enclosure is used as a setting for a highly personal and usually emotional reaction on the part of the audience. Visual stimulation is one of the most important design elements. Structure, colour and the handling of light appears to be its chief components.

      The creators of the great Gothic churches were well aware of the psychological impact on the congregation when they introduced colour into churches. Even by present day standards, luminous colours can be an extremely moving design element, and therefore leads many to question the obsolescence of stained glass. There is no need however, to use elaborate stained glass windows, as economical coloured glass is available.

      White light is the most ticklish of all to handle as it has little or no emotional or symbolic content. It is generally agreed that when white light is used, it is best directed from the rear or sides of the church toward the altar. It is illogical to confront and distract the congregation with clear or translucent spots of light.

      Perhaps because of their profound influence on the emotions of all who have ever studied the Gothic churches, the use of raw materials has carried over as one of the happiest elements in contemporary church design. There is a warmth about wood and stone that speaks directly to man's fundamental instincts. The large plain areas that characterise contemporary churches make perfect spots for the use of these select materials.

      Since the church is acquiring more and more human scale, landscape architecture is becoming more and more essential to the over-all design. The object is no longer to construct an edifice that will dominate the surrounding area, but to design a building that will be harmoniously related to the community. As the church becomes more and more related to human scale, so does its relationship with nature increase.

      But vital church architecture requires more than technical means and their creative use in aesthetically pleasing buildings, A new approach to the public is required. It is not only on architectural grounds that church building is lacking today. The fact that it is forced into a mediaeval disguise also drastically inhibits the Churches' relationship with the community.

      A quick glance at a typical church will show that it has never been planned to entice people within. The front of the building is generally solid except for two small arched windows, one either side of the entry porch, in which are set a pair of solid doors, generally kept closed for six days of the week. Not a very inviting picture to the passer-by. If we are going to keep our doors closed to the public for six days of the week, at least let us provide glass doors, or doors set in a glazed entrance foyer, so that the public may obtain tantalising glances of the interior. A foyer would solve many of our problems re draughty entrances. It should also be well lit, for people are like moths, they like plenty of light.

      A few years ago, Banking Organisations would not hear of having glass fronts to the premises. Now the position is directly the opposite, they insist on having glass fronts, even if facing West, because they do not want the public to feel that they are shut out.

      How much more important is it that our churches do not express the feeling that the public are shut out of the House of God.

      For the Churches' own sake an outward look is required today. We must face the world. Religion is redemptive and should never become a way of escape, a mere refuge from the trials of life.

      There must be a greater development of an understanding of the nature and the purpose of church auxiliary premises, such as halls and community buildings and Sunday schools. Youth halls are still being erected with low ceilings, windows within 3 feet of the floors and with walls sheeted with fibrous plaster and the youth clubs are expected to play ball games, etc. in these halls and not damage anything.

      When planning any proposed new projects, we must develop a master plan to work to--not build a unit at a time and ultimately find that extensive alterations have to be carried out to satisfactorily coordinate the various units.

      My fear is, however, that we are not rising to the hour of opportunity. Church committees are conditioned by the thinking of the leaner years and are planning on too limited a basis. I know of several of our brotherhood churches erected in the last six years that are already too small and, unfortunately, were never planned for future extension.

      We must remember that automation, as a new industrial revolution, is almost upon us. It will certainly bring a reduction in the working week to perhaps 25 hours in the next 15 years. With leisure time greatly extended, how shall people spend their hours, particularly the teenagers? We can already see that secular clubs with their anti-social aspects such as poker-machines have stepped into the vacuum which has grown in man's desire for community.

      Creative community centres and activities are most urgently needed because the need for community life is certain to increase. Mass society has already emerged in our large cities and loneliness has become a modern sickness of the soul. Should the Church be the true community centre?

      The Rev. Alan Walker has made the following statement:--"Church auxiliary buildings should be planned to be the community centre of the people. This means that pleasant, well-lit comfortable club-like premises become essential equipment for the modern church. Such facilities will include an assembly hall, foyers and club rooms where fellowship can be expressed. Also large scale eating facilities are required. After all, Jesus Himself used the fellowship of eating as the basis of the Sacred Rite of the Last Supper. Church lounges should be as cosy and comfortable as the foyer of a modern club or picture theatre." When considering the cost of providing such facilities, we must also consider the question--Is the Christian Church to build small churches in every local area, aiming to have enough such centres so that a church will always be within walking distance from the homes of the people? Or should another policy be followed of planning much larger church centres at more infrequent intervals across the country, thus expecting people to travel by private or public transport to them?

      Something is to be said for both approaches. Certainly with modern traffic perils parents will not permit children to walk far to Sunday School. On the other hand, the building of too many churches blocks the growth of worthy churches. It is also possible to plan in both ways, with a large district church which becomes the focal point of Christian witness in an area. Around it can be built smaller satellite church centres, with some activities--such as perhaps a youth community centre work--being done on a district basis in the larger central church.

      Some over-all plan should be decided on, as this affects the buying of sites and laying out of master plans at the present time. Are we to wait another 20 years, or will the Church face this important issue now?

      St. John wrote his summing up of all the Gospel in the words--"The word was made flesh and dwelt amongst us and we beheld His glory, the glory of the only begotten of the Father, full of grace and truth."

      It is relevant to this time and place that the church must express this concern with contemporary things and of plans for the future and must wrestle to show forth here treasure of eternal truth in finite space and in this time. Yet since our God is a God of truth and beauty, the Church must make this expression as finely as she can.