Torgerson begins by discussing God's transcendence and immanence and showing how church architecture has traditionally interpreted these key concepts. He then traces the theological roots of immanence's priority from liberal theology and liturgical innovation to modern architecture. Next, Torgerson illustrates this new architecture of immanence through particular practitioners, focusing especially on the work of theologically savvy architect Edward Anders Sövik. Finally, he addresses the future of church architecture as congregations are buffeted by the twin forces of liturgical change and postmodernism.

Every Sunday we walk through those doors and enter a sacred space. It is familiar, maybe comforting--or maybe not. It might be downright uncomfortable and unwelcoming. What can we do about it? In twelve thoughtful and provocative essays, the writers ask important questions about the relationship between sacred spaces and the worship that takes place in them: -How do our buildings convey a vision of God's kingdom on earth? -How are our places of worship reflecting our beliefs? -In what visible, tangible forms are we proclaiming a faith in the living God? -How are our church buildings helping this church bring the Gospel into a new century?

This visually stunning and carefully researched book encompasses some of the most significant Catholic churches of Chicago, addressing both their architectural and theological significance. Color photographs beautifully illustrate the insightful text. It is a book suitable for those interested in local history, architectural achievement, theological awareness, or those who simply desire to glory in the visual beauty of Chicago's historic churches.

Thinking about church architecture has come to an impasse. Reformers and traditionalists are talking past each other. In Theology in Stone , Richard Kieckhefer seeks to help both sides move beyond the standoff toward a fruitful conversation about houses of worship. Drawing on a wide range of historical examples with an eye to their contemporary relevance, he offers refreshing new ideas about the meanings and uses of church architecture.

Both architecture and anthropology emerged as autonomous theoretical disciplines in the 18th-century enlightenment. Throughout the 19th century, the fields shared a common icon—the primitive hut—and a common concern with both routine needs and ceremonial behaviours. Both could lay strong claims to a special knowledge of the everyday. And yet, in the 20th century, notwithstanding genre classics such as Bernard Rudofsky’s Architecture without Architects or Paul Oliver’s Shelter, and various attempts to make architecture anthropocentric (such as Corbusier’s Modulor), disciplinary exchanges between architecture and anthropology were often disappointingly slight. This book attempts to locate the various points of departure that might be taken in a contemporary discussion between architecture and anthropology. The results are radical: post-colonial theory is here counterpoised to 19th-century theories of primitivism, archaeology is set against dentistry, fieldwork is juxtaposed against indigenous critique, and climate science is applied to questions of shelter. This publication will be of interest to both architects and anthropologists. The chapters in this book were originally published within two special issues of Architectural Theory Review.

Performing Immanence: Forced Entertainment is a unique probe into the multi-faceted nature of the works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Félix Guattari. Jan Suk explores the transformation-potentiality of the territory between the actors and the spectators, namely via Forced Entertainment’s structural patterns, sympathy provoking aesthetics, audience integration and accentuated emphasis of the now. Besides writings of Tim Etchells, the company’s director, the foci of the analyses are devised as well as durational projects of Forced Entertainment. The examination includes a wider spectrum of state-of the-art live artists, e.g. Tehching Hsieh, Franko B or Goat Island, discussed within the contemporary performance discourse. Performing Immanence: Forced Entertainment investigates how the immanent reading of Forced Entertainment’s performances brings the potentiality of creative transformative experience via the thought of Gilles Deleuze. The interconnections of Deleuze’s thought and the contemporary devised performance theatre results in the symbiotic relationship that proves that such readings are not mere academic exercises, but truly life-illuminating realizations.

The role of architecture within the French Reformed tradition has been of recent scholarly interest, seen in the work of Helene Guicharnaud, Catharine Randall, Andrew Spicer, and others. Few, however, have investigated in depth the relationship between Reformed theology and architectural forms. In The Visual Theology of the Huguenots, Randal Carter Working explores the roots of Reformed aesthetics, set against the background of late medieval church architecture. Indicating how demonstrably important the work of Serlio is in the spreading of the ideas of Vitruvius, Working explains the influence of classical Roman building on French Reformed architecture. He follows this with an examination of five important Huguenot architects: Philibert de l'Orme, Bernard Palissy, Jacques-Androuet du Cerceau, Salomon de Brosse, and Jacques Perret. The distinct language of Huguenot architecture is revealed by his comparative analysis of three churches: St Pierre in Geneva, a medieval church overhauledby the Reformers; St Gervais-St Protais, a Parisian Catholic church whose facade was completed by the French Reformed architect Salomon de Brosse; and the temple at Charenton, a structure also designed and built by de Brosse. These three buildings demonstrate how the contribution of Huguenot architecture gave expression to Reformed theological ideas and helped bring about the renewal of classicism in France.