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.

A contribution to the field of theological aesthetics, this book explores the arts in and around the Pentecostal and charismatic renewal movements. It proposes a pneumatological model for creativity and the arts, and discusses different art forms from the perspective of that model. Pentecostals and other charismatic Christians have not sufficiently worked out matters of aesthetics, or teased out the great religious possibilities of engaging with the arts. With the flourishing of Pentecostal culture comes the potential for an equally flourishing artistic life. As this book demonstrates, renewal movements have participated in the arts but have not systematized their findings in ways that express their theological commitments—until now. The book examines how to approach art in ways that are communal, dialogical, and theologically cultivating.

Mid-20th century sacred architecture in America sought to bridge modernism with religion by abstracting cultural and faith traditions and pushing the envelope in the design of houses of worship. Modern architects embraced the challenges of creating sacred spaces that incorporated liturgical changes, evolving congregations, modern architecture, and innovations in building technology. The book describes the unique context and design aspects of the departure from historicism, and the renewal of heritage and traditions with ground-breaking structural features, deliberate optical effects and modern aesthetics. The contributions, from a pre-eminent group of scholars and practitioners from the US, Australia, and Europe are based on original archival research, historical documents, and field visits to the buildings discussed. Investigating how the authority of the divine was communicated through new forms of architectural design, these examinations map the materiality of liturgical change and communal worship during the mid-20th century.

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.