By 1961 trees prevented a clear view of the exterior. Prior to concern for the handicapped, there was a flight of stairs, giving prominence to the main entries of the church.

Architect: Rudolph Schwarz. Reflecting the tenets of modern architecture the exterior is unadorned. The massing of the building with the fenestration gives dynamic to the exterior structure.

Architect: Dominikus Bohm. Carillon tower, with a corner of the church.

The pulpit is attached to a rib, where two of the elipses are joined. It is given height, as well as a sounding board to emphasize its prominence.

The great church room is enveloped by a curtain wall of colored glass, set in concrete frames. While the structure was revolutionary, the liturgical arrangement was quite traditional with the altar centrally placed on an ...

The third quarter of the 20th century was a period of marked liturgical and architectural change. A bibliography of publications is found in Christ and Architecture by Bruggink and Droppers. The photos found below much of ...

A closeup of the colored glass set in concrete frames. The light passing through the glass, especially in sunlight, diminishes the appearance of the frames while enlarging that of the glass.

The arched ceiling panels are supported by slim reinforced concrete pillars, minimally interrupting sight lines. The organ is in a small balcony in the rear.

Architect: Karl Moser. The massive concrete carillon dominates the street scene, as does the body of the church, flush with the line of the street.