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Catholic Church Projects
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John Voosen
I trace my architectural roots through my family to the office of Louis Sullivan
in late nineteenth century Chicago where Herman Gaul began his architectural
career. He worked with Sullivan until 1902 when he formed his own firm to concentrate
on serving Roman Catholic communities including St. Nicholas in Evanston in
1904. My father joined the firm in 1938 and except for a period during WWII
he worked with Herman Gaul until his uncle died in 1949. For over 24 years,
in partnership with Michael Gaul (Herman’s son), my father designed churches
throughout the country.
My informal education was immersion in church design and construction discussions at the dinner table and during visits with my father to his projects in construction. My formal education started in a Chicago public school, then continued under the direction of Benedictine sisters and later with the Franciscan Sisters. Four rigorous years of a Jesuit boarding high school prepared me for eight simpler years at Harvard – the college and Graduate School of Design. During the GSD years, I worked at the planning office of Tufts New England Medical School. We explored, built, and tested ideas linking architecture, delivery of medical services, and peoples’ social responses in different environments. Since graduation, my work and interest gradually returned to family firm’s roots.
Now, more than 35 years later, on any weekend, more than 60,000 people worship
in the churches I designed that seat as few as 16 people and as many as 1,400
– churches that represent more than $40,000,000 of renovation and new construction
– churches in area that are almost 30 St. Nicholas buildings. The designs
arise from the teamwork of parishioners, staff, builders, artists, craftsmen,
engineers, architects, musicians, teachers, consultants, vendors, and even code
officials. All can make significant contributions if we listen. When working
with a historic church like St. Nicholas, the strongest members of the creation
team are the structure itself, its environment, and its (hi)story. We must listen
carefully to its story and respond as directly as possible to help it become
an instrument with which the community can create its most sacred music.