Grace Church - One of Prov's Great Architectural Treasures: Architectural Critic Will Morgan

William Morgan, GoLocalProv Architectural Critic

Grace Church - One of Prov's Great Architectural Treasures: Architectural Critic Will Morgan

Grace Church PHOTO: Will Morgan
Grace Church on Westminster Street is one of the Providence’s great architectural treasures.

Behind the fortress-like walls of this recreation of an English parish church is a rich tapestry of stained glass, ornate carving, and timber vaulting.

In complete contrast to this commanding presence, the church’s new pavilion is a glass box as light and airy as the Gothic pile is dark and mysterious.

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The new copper adorned pavilion to the west of the church is a remarkable achievement both in terms of contextual design and as a contributor to the urban fabric.

Where there was a parking lot–as Christopher Barker, parish administrator, recalls, “we used to hold coffee hour outside, on asphalt”–is now a 3,000 square foot meeting and event space, already a popular destination for wedding receptions.

Three eight-foot tall doors open out upon an additional 2,000 square feet of handsomely landscaped outdoor terrace.

Grace Church & Pavilion PHOTO: Will Morgan

Grace Church PHOTO: Will Morgan
The architect of Grace Church was Richard Upjohn, one of America’s greatest ecclesiastical architects.

His Trinity Church on Wall Street in New York was signature work and arguably the most influential church in the mid-19th-century.

The first church in the nation to have an exterior cross (Americans were suspicious of popery then), Trinity offered a stony echo of Medieval England as opposed to the wooden New World meeting house.

Upjohn designed several other Providence buildings, including St. Stephen’s Church on George Street, but Grace remains his most abiding legacy here.

So how do you add to such a building? It is worth noting that when Grace enlarged their chancel in 1912, they hired, Ralph Adams Cram, the leading church designer of his time.

For the 21st-century pavilion, the church turned to Centerbrook Architects and Planners, in part because of familiarity with the firm’s sensitive extension to the First Unitarian Church on Benefit Street fifteen years ago.

As the rector, Jonathan Huyck says, “We intended to build something that would be contemporary, and also complimentary of the old church,” and we “immediately gelled” with Centerbrook.

Pavilion at Grace Church PHOTO: Tom Rossiter for Centerbrook

Based in the eponymous village in Connecticut, Centerbrook is the legatees of the Post-Modernism guru and Yale architecture dean Charles Moore.

He pioneered reviving classical forms but applied them in a whimsical and irreverent way.

Centerbrook has built a solid reputation as a firm that can be trusted to design a house or a church, a museum or a school that is respectful of its neighbors, and which both delights and rarely offends.

The exterior of the Grace Church pavilion, with its peaked gable and copper tracery is a felicitous solution to grafting onto a significant piece of architecture and maintaining the streetscape.

As a Centerbook partner and RISD graduate, James Childress noted, “Grace was special to me. I think Providence is the best small city in America, I was thrilled to work downtown.”

The interior, alas, while well suited as an event space, has all the panache of a middle-brand hotel’s hospitality suite.

After the rich interior of the church, the pavilion’s design seems a little pale.

Pavilion Interior PHOTO: Tom Rossiter for Centerbrook

The pavilion’s abundance of clear light might be seen as an antidote to the over-the-top Victorian nave next door.

There are some handsome details, namely the suspended wood ceiling panels (with micro perforations to admit pinpricks of light) and the translucent panels of the west wall that are meant to suggest rice paper.

What could be farther from then ornate painted walls of the church than these reverberations of a kind of Quaker-Japanese aesthetic?

What is most striking is the way the ceiling has been sliced apart, as if it were a schematic diagram of the ribs of Chartres or Salisbury cathedrals.

While intriguing, this comes across as a cartoonish reference to the glory of medieval masonry.

The thinness of the various membranes that define the enclosing space reinforces a sense of translucence, but its shallow historicism borders on a stage set.

Vaulting diagram: Pavilion ceiling PHOTO: Tom Rossiter for Centerbrook

Copper cladding on Pavilion entrance
All in all, the addition to Grace Church is a modest triumph.

It has meaningfully enlarged the church’s facilities and created a welcoming space downtown.

The church gets high marks for recognizing both its heritage and the streetscape, for its willingness to commit capital to hire a respected architectural firm.

A Christian pilgrim’s labyrinth, designed by the rector and RISD professor Andrew Raftery, is outlined in the open court between church and street.

As Raftery, who has a studio in the church, says of the pavilion, “It is a wonderful contribution to Providence. I am really proud of this church.”

 

 

Will Morgan
Providence architectural writer William Morgan has taught about cities and their history at Princeton, the University of Louisville, and Roger Williams University. He is the author of Louisville: Architecture and the Urban Environment.

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