Det­ta­glio del pro­get­to ed. 2020

SPA­RA­NO MOO­NEY – SAINT JOSE­PH THE WOR­KER CHURCH

Desi­gner John Spa­ra­no
Loca­tion 7405 S Red­wood Rd, West Jor­dan, UT 84084
Desi­gn Team

Spa­ra­no + Moo­ney Archi­tec­tu­re (John Spa­ra­no, Anne Moo­ney, Seth Striefel)
Anno 2013
Pho­to credits

1. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Exte­rior. 1_Exterior
2. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Exte­rior, Bell Tower. 2_Exterior
3. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Exte­rior. 3_Exterior
4. Jere­my Bit­ter­mann, Main Sanc­tua­ry Entran­ce. 4_Exterior
5. Jere­my Bit­ter­mann, Day Cha­pel Entran­ce and Cour­tyard. 5_Exterior
6. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Main Sanc­tua­ry. 1_Interior
7. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Main Sanc­tua­ry. 2_Interior
8. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Main Sanc­tua­ry and Bap­ti­smal Font. 3_Interior
9. Jere­my Bit­ter­mann, St. Jose­ph the Wor­ker Cha­pel of the Sacred Heart. 4_Interior
10. Jere­my Bit­ter­mann, Day Cha­pel Inte­rior. 5_Interior

Foto ester­ni

Descri­zio­ne del progetto

The pro­ject is loca­ted in a wor­king class resi­den­tial nei­gh­bo­rhood near the Bin­gham Canyon Cop­per Mine, the dee­pe­st open pit mine in the world, and major employer in the area. Named for the patron saint of labo­rers, this parish church has a rich histo­ry and cul­tu­ral linea­ge based in the prac­ti­ce of con­struc­tion tra­des and craft. Dra­wing from this, a palet­te of mate­rials was selec­ted that expres­ss the tran­sfor­ma­tion of the raw mate­rial by the wor­ker, revea­ling the craft of con­struc­tion. The­se mate­rials inclu­ded walls of board-for­­med con­cre­te, con­struc­ted in the tra­di­tio­nal method of stac­king rou­gh sawn tim­bers; a rain­screen of clear mil­led cedar; ver­ti­cal grain fir tim­bers used to crea­te the altar rere­dos and inte­rior of the Day Cha­pel; bent cop­per panels used as the clad­ding for the Day Cha­pel and sky­light struc­tu­re over the altar; and gla­zing com­po­nen­ts requi­ring a highly craf­ted assem­bly inclu­ding lami­na­ted gla­zing with color inter-layers, acid etched gla­zing with reli­gious motifs, and clear glass insu­la­ted uni­ts with mul­lion­less corners.
The con­cep­tual basis for this pro­ject emer­ged as a reflec­tion of the com­mu­ni­ty, each mem­ber of the church con­tri­bu­tes to the who­le. In this way a myriad of indi­vi­dual­ly craf­ted parts was brought toge­ther into a cohe­si­ve enti­ty, pro­vi­ding dia­lo­gue bet­ween the indi­vi­dual and the col­lec­ti­ve. The form of the sanc­tua­ry is based on the ellip­ti­cal sha­pe that typi­cal­ly occurs when a group of indi­vi­duals inte­ract. The sanc­tua­ry geo­me­try is com­po­sed of two off­set ellip­ses of which the outer ellip­se con­tains the litur­gi­cal cha­pels and niches, and the inner ellip­se com­ple­tes the main sanc­tua­ry spa­ce. The off­set ellip­ses give the sen­se that the outer walls of the sanc­tua­ry are thic­ke­ned (as much as 10’ at the fur­the­st sepa­ra­tion), refe­ren­cing the uni­n­ha­bi­ta­ble poche wall — a rich histo­ri­cal pre­ce­dent in sacred archi­tec­tu­re — now ren­de­red habi­ta­ble for litur­gi­cal func­tions. The depth of the walls is most visi­ble via a series of colo­red aper­tu­res that extend throu­gh the thic­ke­ned wall. Becau­se of the­se aper­tu­res, the spa­ce chan­ges throu­ghout the day with the color of the aper­tu­res gro­wing more inten­se when highlighted by the sun: colo­red light washes the spa­ce, reflec­ting on the floor and walls, and the color dim­ming as night falls. The thic­ke­ned walls and aper­tu­res act as media­tion bet­ween the sacred and secular.

Rela­zio­ne illu­stra­ti­va del progetto
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Foto inter­ni

Dise­gni tecnici

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