Guidelines For The Building and Renovation of Churches in The Diocese of Salt Lake City

Guidelines for the
Building and Renovation

of Churches in the
Diocese of Salt Lake City
Prepared by
The Liturgical Art & Architecture Committee
Office of Worship
Diocese of Salt Lake City
Revised 2020
Guidelines for the Building and Renovation of Churches in the Diocese of Salt Lake City 2
“Every church building is a gathering place for the assembly, a resting

place, a place of encounter with God, as well as a point of departure
on the Church's unfinished journey toward the reign of God.”
(Built of Living Stones, § 17)
September 1, 2020
My dear brother priests, deacons and lay faithful,
One of the most important and formative experiences in the history of a parish
is the process of building or renovating a church. As a sacrament of God’s
presence and the center of worship for the faith community, building or
renovating a church is not only an important spiritual journey for the entire
assembly but also the opportunity for renewal of the life of the parish and of
the Diocese.
It is therefore essential, before beginning any project, to study and reflect upon
the liturgical principles and norms set forth in “Built of Living Stones: Art,
Architecture and Worship” (USCCB) as well as in the “Guidelines for the
Building and Renovation of Churches in the Diocese of Salt Lake City”.
Developed by the Diocesan Liturgical Art and Architecture Committee,

“Guidelines for the Building and Renovation of Churches”, provides the
diocesan procedures as well as liturgical requirements and practical
considerations when building or renovating.
By working in conjunction with the Art and Architecture Committee and the
Office of Worship, the completed project can truly reflect the vision of the
entire diocese and not just the needs of individual pastors or parish
communities.
I wish you all the best and bless you in your efforts to ensure that the process
of building or renovating is a prayerful journey for the entire parish.
Sincerely yours in Christ,
Most Reverend Oscar A. Solis, D.D.

Bishop of Salt Lake City
TABLE OF CONTENTS
Table of Contents ...................................................................................................................................................... 3
Introduction ................................................................................................................................................................ 5
Section I: Diocesan Procedure ........................................................................................................................... 7
Initial Contact ....................................................................................................................................... 7
Phase I: Presentation and Submission of the Preliminary Design .................................. 7
Phase II: Submission of the Detailed Design ............................................................................ 9
Section II: Liturgical Considerations ............................................................................................................. 11
The Plan of the Church ................................................................................................................... 11
The Sanctuary .................................................................................................................................... 11
The Congregation’s Area (Nave) ............................................................................................... 12
The Altar .............................................................................................................................................. 13
The Baptistry ...................................................................................................................................... 13
The Location of the Tabernacle ................................................................................................. 14
The Gathering Space (Narthex) ................................................................................................. 16
The Reconciliation Space .............................................................................................................. 16
A Place for Music Ministry ............................................................................................................ 17
Religious/Liturgical Art ................................................................................................................ 18
Disposition of Art and Furnishings ........................................................................................... 19
Vessels and Vesture.......................................................................................................................... 19
Accessibility......................................................................................................................................... 20
Section III: Practical Considerations ............................................................................................................. 22
Permission to Build .......................................................................................................................... 22
Diocesan Process and Competency ........................................................................................... 22

Consultation and Collaboration ................................................................................................. 22
The Role of Professionals and Volunteers .............................................................................. 23
Liturgical Consultant(s) ................................................................................................................ 23
Forming a Building Committee .................................................................................................. 24
Assessment and Evaluation .......................................................................................................... 25
Catechesis and Formation ............................................................................................................ 26
Sustainable Architecture ............................................................................................................... 27
Liturgical Media in Worship ........................................................................................................ 29
Appendix I ................................................................................................................................................................. 31
Commissioning, Purchasing, or Accepting Donations of Religious/Liturgical Art

for the Worship Space .................................................................................................................... 31
Appendix II ............................................................................................................................................................... 33
Parish Process for Commissioning Religious/Liturgical Art ......................................... 33
Appendix III.............................................................................................................................................................. 34
Suggested Resources ....................................................................................................................... 34
Suggested Resource Books ........................................................................................................... 34

INTRODUCTION
§1 “Building or renovating a church is more than crafting a beautiful space or
simply a construction job. It is about translating a liturgical theology and beauty
into three dimensions. It’s about forming a holy people whose lives are
transformed, motivated and sustained by their experiences in that place. And it’s
an opportunity for building and renewing the community. An opportunity that
calls for reflection on the identity and mission of the assembly first and
foremost.”1
§2 Church buildings are sacred spaces where we can encounter the presence of
God among us and renew our lives as Christians. We gather together in
Churches to celebrate not only the Eucharist, but other liturgies that celebrate
the sacramental aspect of our major life milestones, such as being initiated into
the Body of Christ, being joined together in marriage, and being sent forth into
eternal life. These liturgies are essential to the life of a vibrant Christian
community. Parishes or other communities considering building a new or
renovating an existing Church building, should view it as an opportunity to
renew the liturgical life of the community.
§3 The mission of the Liturgical Art & Architecture Committee (the Committee) of
the Diocese of Salt Lake City is to promote the liturgy of the Church by
reviewing and approving changes to the environment in which that liturgy
takes place. These approvals are based on the conciliar and post-conciliar
documents of the Second Vatican Council as well as the directives of the United
States Conference of Catholic Bishops (USCCB) and the bishop of the Diocese of
Salt Lake City.
§4 The Committee is a sub-committee of the Diocesan Liturgical Commission and

serves as a supervisory body that works in conjunction with the Office of
Worship and acts on behalf of the diocesan bishop.
§5 As the chief liturgist of the diocese, the bishop ultimately directs and approves
the building and/or renovation of parish churches. The Committee serves
parishes involved in the construction, restoration, enhancement, and
renovation of liturgical space by facilitating the implementation of the design
review process in collaboration with diocesan offices and outside experts.
§6 The Committee offers the following guidelines and information for the
planning of building and/or renovation of a church. It is our hope that those
responsible for liturgical leadership will follow these guidelines, which express
1 Marchita Mauck, Places for Worship: A Guide to Building and Renovating (Collegeville, MN:
Liturgical Press, 1995), 7-10.
the Paschal Mystery and empower the full, conscious, and active participation
of the assembly in accordance with the sacramental life of the Church.
§7 The documents listed below have been cited to support the text of the
guidelines.
BLS: Built of Living Stones: Art, Architecture, and Worship
CIC: Codes Iuris Canonici: Code of Canon Law
GIRM: General Instruction of the Roman Missal
RCIA: Rite of Christian Initiation of Adults
SOC: Sanctifying Office of the Church, Book IV: Archdiocese of Chicago

SECTION I: DIOCESAN PROCEDURE

§8 The following is the procedure by which a parish2 gains approval for
construction, restoration, enhancement, and renovation of liturgical space.
INITIAL CONTACT
§9 Once a parish has decided to make any change(s) to their worship space, or
building new, they are required to contact the Office of Worship and the
Chancery Office during the preliminary planning stage of the project.
§10 Contact Chancery Office
§11 See “Procedure” in Diocese of Salt Lake City Construction Manual (Short
form).3
§12 Contact Office of Worship
§13 It is required that the parish contact the Office of Worship during the
preliminary planning stage of a project. Discussions with the office may
include:
 Reason for and anticipated scope of the project
 Liturgical considerations and/or implications of the project
 Initial plans for the liturgical formation of the parish
 Preliminary project schedule
 Professionals needed for the project
PHASE I: PRESENTATION AND SUBMISSION OF THE PRELIMINARY DESIGN
§14 After initial contact with the Office of Worship, the parish will meet with the
Committee to review the design proposal. This meeting is an opportunity for
the parish to review and discuss the components of the proposed building
design or renovation that relate to the liturgical nature of the project. The
2
By parish we also mean missions, schools, or any organization within the diocese that has a public
worship space they plan to construct, modify, or renovate.
3 Diocese of Salt Lake City, Construction Manual – Short Form, (Salt Lake City, UT, 2018), pg 1
pastor/administrator, representatives of the parish, and the architect or design

firm are expected to be present for this meeting.
§15 Presentation Checklist4
 A statement describing the need or vision that initiated the design process
 A description of the design process to date
 Information about the involvement of the parish in the project
 Initial plans for the liturgical formation of the parish
 Information concerning any historically significant aspects of the project
 A list of liturgical furnishings that are being newly designed
 A list of liturgical furnishings that are being refurbished
 A description of how the parish will proceed with the design of such
furnishings and fixtures
 An explanation of features for parishioners with disabilities that are

incorporated in the plan
 The names of consultants and designers who have been or will be engaged
in the process
§16 For new building projects, the presentation should include
 Site plan
 Floor plan(s)
 Exterior building elevations
 Interior elevations of the primary surfaces
 Renderings, sketches, or models that illustrate the three-dimensional

character of the project
4
Some of these items might not be applicable to small projects. Please contact Office of Worship if
there are any questions regarding requirements.
§17 For renovation or addition projects, the presentation should include
 Site plan (if the building exterior is affected)
 Existing floor plan
 Floor plan indicating the areas affected by the proposed renovation
 Exterior building elevations and/or interior elevations (as needed to

describe the scope of the project)
§18 Actions by the Liturgical Art & Architecture Committee:
If there are no serious concerns, the Committee will recommend approval of

Phase I to the bishop. The parish will then receive oral or written notification
of approval from the bishop that may include a list of recommendations from
the Committee. The parish will consider the recommendations and be asked to
show resolution at a subsequent (detailed design) submission before moving
to Phase II.
PHASE II: SUBMISSION OF THE DETAILED DESIGN
§19 When the design development drawings5 are complete, the parish
representatives will meet again with the Committee to address and show
resolution of pending recommendations and to review development of the
interior spaces. Design changes that have been made since the previous
submission are also presented at this time.
§20 Designs for the principal furnishings (altar, ambo, and font) and art pieces are
also presented at this meeting. If design work is not complete, it must be
submitted to the Committee before the artists or designers commence
fabrication of the work.
§21 Actions by the Liturgical Art & Architecture Committee
If there are no outstanding concerns, the Committee will recommend approval

of Phase II, to the bishop. The parish will receive oral or written notification of
approval from the bishop. The design may then progress through the
construction documentation6 phase and on to the stages of bidding and
5 American Institute of Architecture, AIA Best Practices: Design Development Checklist, (2020)
6
Construction Documentation is the phase in which final drawings and specifications are created
for the project
construction. This approval is preliminary to the required approvals from the

Diocesan Building Commission.
§22 If the Committee identifies significant design concerns, it will recommend to

the bishop that the parish work with their design professionals to resolve the
areas of concern. The parish will then be required to return to the Committee
for submission of the modified design before proceeding to bidding and
construction.
SECTION II: LITURGICAL CONSIDERATIONS

THE PLAN OF THE CHURCH
§23 “The People of God which is gathered for Mass is coherently and hierarchically
ordered, and this finds its expression in the variety of ministries and the variety of
actions according to the different parts of the celebration. Hence the general
arrangement of the sacred building must be such that in some way it conveys the
image of the assembled congregation and allows the appropriate ordering of all
the participants, as well as facilitating each in the proper carrying out of his
function”. (GIRM 294)
§24 The parish7 church is a structure that symbolizes and embodies the presence
of God in the local assembly. The community at worship (i.e., Eucharist and the
Liturgy of the Hours) is the Body of Christ giving praise and worship to God the
Father, through Christ the Son, in the power of the Holy Spirit. The parish
church should reflect the local community’s image of the living God and its
mission of proclaiming the Good News. It should invite and challenge the
community to offer worship and service with a hospitable disposition.
THE SANCTUARY
§25 “The sanctuary is the space where the altar and the ambo stand, and “where the
priest, deacon, and other ministers exercise their offices. The special character of
the sanctuary is emphasized and enhanced by the distinctiveness of its design and
furnishings, or by its elevation. . . The sanctuary must be spacious enough to
accommodate the full celebration of the various rituals of word and Eucharist
with their accompanying movement, as well as those of the other sacraments
celebrated there.” (BLS 54)
§26 The principal furnishings in the sanctuary:
 The Altar
 The Ambo
 The Presidential Chair
§27 The sanctuary should be accessible for people with disabilities to enable them
to carry out ministry roles. (See Accessibility Considerations §79)
7
By parish we also mean missions, schools, or any organization within the diocese that has a public
worship space they plan to construct, modify, or renovate.
THE CONGREGATION’S AREA (NAVE)
§28 “The space within the church building for the faithful other than the priest
celebrant and the ministers is sometimes called the nave. This space is critical in
the overall plan because it accommodates a variety of ritual actions . . . The body
of the church is not simply a series of unrelated sections. Rather, each part
contributes to the unity of the space by proportion, size, and shape.” (BLS 51, 53)
§29 Design Considerations for Nave
 The congregation’s area should allow ample room for liturgical

processions and rites (Easter Vigil, immersion/submersion baptism,
funerals, etc.).
 The seating for the congregation may be either fixed or flexible but should
allow for those who use wheelchairs or walkers to be accommodated.
 Aisles should allow ample room for wheelchair maneuvering and spaces
for wheelchairs should be included throughout the assembly area in
accordance with local code and regulations, not solely at the front or rear of
the Nave.
 Kneelers should be provided for all seating, both fixed and flexible.
 Antiphonal seating, while originally designed for monastic churches, may

be used where deemed appropriate by the parish and the diocese.
 Children’s area. Every effort should be made within the parish to

welcome and include faithful of all ages and abilities within the
congregation’s area. A children’s area may be provided contiguous to the
congregation’s area. If included, this area should be designed with
materials and finishes that are consistent with the nave.
 Public address systems should be accessible for the deaf or hard of

hearing, including use of FM, infrared or other systems, which include
personal amplification for individuals.
 Lighting should be provided that enhances the sacred environment and

provides appropriate illumination for reading, movement, and full
participation in the liturgy.
THE ALTAR
§30 “The altar is the natural focal point of the sanctuary and is to be freestanding to
allow the [priest] to walk around it easily and Mass to be celebrated facing the
people. Ordinarily it should be fixed . . . with a table or mensa made of natural
stone . . . The pedestal or support for the table may be fashioned from ‘any sort of
material, as long as it is becoming and solid.’” (BLS 57; GIRM 298, 300, 301)
§31 In the Diocese of Salt Lake City:
 The altar can be fashioned from solid wood, marble, or granite. The use of
other material requires the approval of the Bishop. It is encouraged that the
selected material be sourced locally if possible.
 The altar must be the center of attention in the worship space and should
normally be immovable.
 A cross with a corpus should be placed on the altar, next to the altar, above
the altar, or on the sanctuary wall. (BLS 91)
THE BAPTISTRY
§32 “The rites of baptism, the first of the sacraments of initiation, require a
prominent place for celebration... The baptismal font and its location reflect the
Christian’s journey through the waters of baptism to the altar.” (BLS 66; RCIA
25)
§33 The location of the font, the design and materials should be important
considerations when planning the design of the church. The font should be on
axis with the altar, visible and easily accessible to all while entering the church
building to facilitate its use as the sole source of holy water in the making of
the Sign of the Cross. This location serves as a reminder to all that our journey
to Christ began in baptism. Because of the relationship to the celebration of the
Eucharist, the font should never be located in the same area as the altar.
§34 Except in extraordinary circumstances, the baptismal font is to be fixed in

place. “The font should be large enough to supply ample water for the baptism
of both adults and infants.” 8 Additional criteria for choosing the design of the
font can be found in Built of Living Stones, paragraph 69.
§35 In the Diocese of Salt Lake City, whenever a new church is built or renovated,
provisions should be made for a font that allows for the
8 United States Conference of Catholic Bishops, “Built of Living Stones”. (Washington, DC: United
States Conference of Catholic Bishops, 2001), 27.
immersion/submersion of infants and adults if possible. (see SOC IV 103.10.2;

RCIA, 25, 213).
THE LOCATION OF THE TABERNACLE
§36 “There are a number of possible spaces suitable for eucharistic reservation . . .
The bishop is to determine where the tabernacle will be placed and to give
further direction. The bishop may decide that the tabernacle be placed in the
sanctuary apart from the altar of celebration or in a separate chapel suitable for
adoration and for the private prayer of the faithful. In making his determination,
the bishop will consider the importance of the assembly’s ability to focus on the
eucharistic action, the piety of the people, and the custom of the area. The
location also should allow for easy access by people in wheelchairs and by those
who have other disabilities.” (BLS 74)
§37 Parish churches are at the same time places of liturgical action as well as
places of public devotion. Ordinarily, the Blessed Sacrament should be
reserved in a separate chapel. This direction is to be followed in the design of
new churches and renovation of old churches. Consideration for alternate
locations will be given in cases where existing conditions might suggest
otherwise.
§38 New and Renovation Church Design
 The Eucharist must be reserved in a part of the church that is

“distinguished, conspicuous, beautifully decorated and suitable for prayer”.
(CIC, c.938)
 The separate chapel should be configured of appropriate size for the

congregation, allowing adequate area for the placement of seating and
kneelers as well as placement of wheelchairs.
 The décor of the separate chapel should include appropriate art, beautiful,
simple, worthy of the Blessed Sacrament and representing “the rich
treasury of symbolism that is associated with the Eucharist.” (BLS 73)
 The tabernacle location should be clearly visible from all areas in the
worship space.
 It must be immovable, made of solid, opaque, and inviolable material and

capable of being locked.
 The location of the tabernacle should be “marked” by the presence of an oil

or wax candle clear sanctuary lamp. Electric lamps are not appropriate and
therefore prohibited.
 The tabernacle is not to be placed on the altar at which Mass is celebrated.
 There shall only be one tabernacle for reservation in a church. (CIC 938 §1;
See exception to the requirement that there be only one location for the
reservation of the Blessed Sacrament §41-42)
§39 Special Considerations in the Renovation of Churches
§40 If physical conditions do not allow the addition of a separate chapel, the
following guidelines are to be followed (see BLS 79- 80):
 The placement of the tabernacle should permit and not interfere with the
actions and movements of all the liturgical rites.
 The placement of the tabernacle must allow for a focus on the tabernacle
for those periods of quiet prayer outside the celebration of the Eucharist.
 There should be some distance between the tabernacle and the altar.
 If the tabernacle is located directly behind the altar, consideration should

be given to using distance, lighting, or some architectural device that
separates the tabernacle and reservation area during Mass, though
allowing the tabernacle to be visible at other times. Lighting, distance, and
screening (as demonstrated at the Cathedral) are appropriate
considerations.
 The area for the reservation of the Eucharist must be worthy and
distinguished, never temporary, makeshift, or difficult to find.
 The tabernacle may be left on the former main altar, especially if the entire
church was built with that as its designated location. (BLS 250)
§41 Exception to the requirement that there be only one location for the
reservation of the Blessed Sacrament:
§42 It is recognized that there may be projects involving the renovation of existing
worship spaces or projects where there is a new worship space contemplated
on the same parish site of an existing worship space and, as such, the parish
may be considering having two locations for the reservation of the Blessed
Sacrament. While having two locations for the reservation of the Blessed
Sacrament at any parish location is strongly discouraged, the Bishop may
review, under special circumstances, the consideration for the possibility of
having two locations for the reservation of the Blessed Sacrament.
THE GATHERING SPACE (NARTHEX)
§43 “The narthex is a place of welcome – a threshold space between the

congregation’s space and the outside environment. In the early days of the
Church, it was a “waiting area” for catechumens and penitents. Today it serves as
gathering space and as the entrance and exit to the building. The gathering
space helps believers to make the transition from everyday life to the celebration
of the liturgy, and after the liturgy, it helps them return to daily life to live out the
mystery that has been celebrated. In the gathering space, people come together
to move in procession and to prepare for the celebration of the liturgy.” (BLS 95)
§44 An adequately sized gathering space should be provided to accommodate

visiting of the faithful and aid in keeping the congregation’s area (nave)
reverent. When designing the space, consideration is to be given for the
movement of people using wheelchairs or walkers, and people with vision
impairments.
THE RECONCILIATION SPACE
§45 “In the sacrament of penance, God forgives sins and restores broken relationships
through the ministry of the Church. The Rite of Penance does not describe the
place for the celebration of the sacrament except to say that it be in the space
‘prescribed by law.’” (BLS 103)
§46 The Diocese of Salt Lake recommends that the reconciliation space (sometimes
referred to as a confessional) shall be located within the nave of the church. It
should be accessed from the nave, not an adjacent hallway or room. Just as the
Sacrament of Reconciliation is important to the Church, so should the
reconciliation space be in a prominent location. Its location should reflect the
sacrament of reconciliation’s relationship to the sacraments of Baptism and
the Eucharist
§47 The reconciliation space should be visible and accessible for all persons. It
should be sufficient size to accommodate the necessary furnishings for
penitent and confessor. It should contain a screen or fixed grille to ensure the
option of anonymity for all penitents; but it should also allow for face-to-face
confessions for those who wish to do so.9
9 United States Conference of Catholic Bishops, “Revised Guidelines for the Celebration of the
Sacraments with Persons with Disabilities.” (Washington, DC: United States Conference of
Catholic Bishops, 2007), Introduction.
§48 Consideration is to be given in cases where space is limited due to existing

conditions. Visibility into space for safety / security, particularly during a
renovation of existing reconciliation space, or during a new space in an
existing nave.
§49 Design consideration should also be given to security for the penitent and the
confessor. Potential visibility and physical separation should be considered.
§50 The space should be a soundproof10 place with a chair for the priest and a chair
and kneeler for the penitent.
§51 Space for wheelchairs, possibly through moveable furniture, shall be

considered for both penitent and confessor. Refer to local accessibility code
and guidelines (See Accessibility Considerations §79).
§52 Lighting should be warm and inviting. Braille signs and some form of
amplification should be provided to aid those with visual or hearing
disabilities, but not compromise the confidential nature of the sacrament.
§53 Sacred art that expresses the wonderful gift of God’s mercy, a crucifix symbolic
of Christ’s victory over sin and death, and icons or images reflective of baptism
and the Eucharist should be considered to enhance the atmosphere of prayer.
A PLACE FOR MUSIC MINISTRY
§54 “Music is integral to the liturgy. It unifies those gathered to worship, supports the
song of the congregation, highlights significant parts of the liturgical action, and
helps to set the tone for each celebration”. (BLS 88)
§55 The space chosen for the musicians should express that they are part of the
assembly. The musicians should be visible to the music director, cantor, and
the assembly of worshipers. Ideally, they should be located to enable their own
full participation by seeing and hearing the liturgy. Music ministries will vary
from parish to parish. Accommodations should be made for various
configurations of choir, instruments and sound reinforcing equipment so that
these elements do not cause distraction.
§56 A stand for the song leader is to be distinct from the ambo, which is reserved
for the proclamation of the Word of God, i.e. the Responsorial Psalm.
10
Consult with design professional. This can be achieved by providing walls / dividers with a certain
sound transmission coefficient (STC) or sound masking technology (such as white noise or a fan)
§57 Consideration should be given to the acoustics of the congregation space to

eliminate or reduce the need for sound reinforcing systems, as these systems
can be expensive and require specialized knowledge to operate correctly.
§58 If Sound Reinforcement Technology (SRT) and instruments are required,

special care should be given to the design, selection and placement of this
system and its components so as not to be a distraction to the congregation
visually or acoustically.
§59 Mixing boards and amplifiers should be concealed yet be readily available for
the music director to adjust during services. Microphone cables should be
considered in the planning/ design phase and provisions made to conceal
cables to prevent tripping hazards and to avoid clutter.
§60 Musical instruments should be of high quality and selected for their sound
quality, construction, and beauty. Consideration should be given to piano and
organ size and location to avoid direct sunlight. If an organ is to be purchased,
consideration should be given to the quality, size and special requirements
demanded of this instrument. Suitable covers for these instruments should be
provided.
§61 Additional directives concerning music can be found in the General Instruction
of the Roman Missal and Sing to the Lord: Music in Divine Worship.
RELIGIOUS/LITURGICAL ART
§62 “In the Christian community’s place of prayer, art evokes and glorifies ‘the
transcendent mystery of God – the surpassing invisible beauty of truth and love
visible in Christ.’… artworks truly belong in the church when they are worthy of
the place of worship and when they enhance the liturgical, devotional, and
contemplative prayer they are inspired to serve”. (BLS 142 & 143)
§63 The creation of a noble worship space should be fundamental to the building
and restoration of churches. Each church in the diocese should strive to
include an image of the Blessed Virgin Mary and the patron saint of that parish.
Duplication of images of saints (e.g. Marian images) is strongly discouraged.
§64 Sacred images should add to the overall cohesiveness of the architecture and
not distract from the central experience of the liturgy. Commissioned or
donated art should meet certain criteria identified in Built of Living Stones
(BLS 146,147,148) as authentic, of quality, and appropriate.
§65 “Art chosen for the place of worship is not simply something pretty or well made,
an addition to make the ordinary more pleasant. Nor is the place of worship a
museum to house artistic masterpieces or artistic models. Rather, artworks truly
belong in the church when they are worthy of the place of worship and when they
enhance the liturgical, devotional, and contemplative prayer they are inspired to
serve.” (BLS 143)
§66 The location of sacred imagery within a church should always be the result of
thoughtful deliberation and part of the formation process. (See Appendix I:
Commissioning, Purchasing, or Accepting Donations of Religious/Liturgical Art
§126 - §130)
§67 When considering the acceptance of donations of religious art be clear that the
art must meet certain criteria for religious/liturgical art such as the criteria
identified in Built of Livings Stones (BLS 146, 147, 148)
DISPOSITION OF ART AND FURNISHINGS
§68 “Sacred art that is no longer useful or needed or that is simply worn out and
beyond restoration deserves to be treated with respect.” (BLS 166)
§69 Bishops, as stewards of the Church’s artistic heritage, encourage pastors to

consult with experts to create a list of objects that have artistic or historical
value for any given church.
§70 Valuable historical objects or those donated to the Church as the result of a
vow may not be sold without permission of the Holy See. In the events that
there is a desire to dispose of such objects, the bishop should be contacted so
that the concerns of canon law and the donor are fulfilled.
§71 There may come a time when certain materials become worn or are no longer
suitable to serve the needs of the liturgy. In those cases, the Office of Worship
or the Chancery Office should be consulted regarding policies addressing
disposal of such items.
VESSELS AND VESTURE
§72 “Sacred vessels may be in ‘a shape that is in keeping with the culture of each
region, provided each type of vessel is suited to the intended liturgical use and is
clearly distinguished from [utensils] designed for everyday use.’” (BLS 164)
§73 Materials and design of sacred vessels should reflect reverence for the nature
of the Divine Presence, which they are intended to hold. Liturgical vestments
and vessels should be made of materials that are worthy, durable, and not
easily broken.
§74 Domestic-style vessels (e.g. ordinary wine decanters) should not be used in
liturgical settings. Sacred vessels should be made of noble metal. The interior
of chalices and other Eucharistic vessels should be gilt-lined.
§75 Vestments should symbolize the minister’s functions and add beauty and
nobility to the celebration.
ACCESSIBILITY
§76 “The Church recognizes that every parish community includes members with
disabilities, and earnestly desires their active participation.”11
§77 Parishes should emphasize inclusion of people with physical, mental, or

emotional disabilities into all aspects of Liturgy. All new construction and
renovation work must integrate the requirements of the Liturgy with current
laws, codes, and ordinances for accessibility. It should also find solutions that
allow individuals with disabilities to participate in all ministries of Liturgy
where permitted.
§78 Representation from the community should include parents of small children,
the elderly, and the disabled in the planning process.
§79 Accessibility Considerations
§80 Accessibility issues that should be considered include (but are not limited to):
 Impaired physical mobility (lack of balance, canes, walkers, strollers,

toddlers, etc.)
 Wheelchair users (manual, electric, and scooter)
 Limited use of hands
 Visual impairment (lack of site, braille, glare, contrast, color blindness, etc.)
 Auditory impairment (deafness, hearing aids, etc.)
 Mental and Emotional Impairments
11 United States Conference of Catholic Bishops, “Revised Guidelines for the Celebration of the
Sacraments with Persons with Disabilities.” (Washington, DC: United States Conference of
Catholic Bishops, 2007), Introduction.
§81 Primary travel routes to the church building should be free of stairs whenever
possible, creating one common entrance for all God’s people, including those
with mobility impairments or health conditions.
§82 Ample accessible parking should be near entrances. Accessible entrances

welcome all God’s people equally.
§83 Adaptations to existing buildings can be expensive, but failure to make the
community's places of worship accessible will exact a far more costly human
and ecclesial toll. The goal is always to make the entire church building
accessible to all of God's people.
§84 The National Catholic Partnership on Disability provides extensive resources

for parishes and dioceses. More information, including accessibility inventories
is available at www.ncpd.org or by calling (202) 529-2933. The Diocesan
Commission for People with Disabilities is also available to assist parishes as
they build or renovate worship space and facilities.
§85 Refer to local jurisdiction’s applicable codes and requirements and ADA
Standards for Accessible Design.
SECTION III: PRACTICAL CONSIDERATIONS

PERMISSION TO BUILD
§86 “Within the process of building or renovating a church, the diocesan bishop has
an irreplaceable role and final responsibility. The construction of a new church
requires the permission of the bishop, who must consult and determine that the
building will contribute to the spiritual welfare of the faithful, and that the
parish has the necessary means to build and care for the church.” (BLS 34)
§87 In the Diocese of Salt Lake City, the bishop has several groups to advise, guide
and support his decision in ensuring that all construction and capital
improvements are appropriately fulfilled. He exercises his authority through
the guidelines and procedures established by the Diocesan Finance Council,
the Diocesan Building Commission, and the Committee.
§88 The Chancery Office assists those involved in building and renovating, from
concept to completion. The Diocese of Salt Lake City Diocesan Construction
Manual is available from that office.
DIOCESAN PROCESS AND COMPETENCY
§89 “In constructing or renewing a place of worship, it is the bishop who, in his role of
fostering and governing the liturgy, must assume primary responsibility and
authority for the regulation and direction of such projects. The diocesan
liturgical commission or diocesan commission on liturgy and art assist with
liturgical education and the development of the liturgical and artistic
components of the building’s design.” (BLS 178; GIRM, 387; SC, 124)
§90 In the initial stages of the project, the parish should be in communication with
the Chancery Office to work together in developing a budget for the project as
well as a financial plan. It can provide a construction manual, with procedures
and policies that parishes must follow for all building projects. When a parish
project involves the building of a new church or any renovation to an existing
church, the Office of Worship is to be consulted.
CONSULTATION AND COLLABORATION
§91 “Since no single pastor or parish possesses the totality of expertise or vision
required to execute a project of such great scope, the congregation and the clergy
will need to recognize the areas of their own competence, the role of the diocesan
bishop and diocesan personnel, and their limits beyond which the assistance of
experts will be required.” (BLS 177)
§92 During the building process, the parish may find it beneficial and sometimes
necessary to consult with and or to engage the services of architects, lighting
and acoustical consultants, interior designers, artists, landscape architects, and
liturgical consultants.
THE ROLE OF PROFESSIONALS AND VOLUNTEERS
§93 “In deciding to employ professionals, and in hiring specific people, the parish
must be aware of any diocesan directives and requirements for contracts and
licenses and is encouraged to utilize the expertise of diocesan staff with
experience in this area.” (BLS 196)
§94 Parishes should employ contractors who are licensed and insured, and who
exhibit the appropriate skills for the scope and magnitude of the project. The
Diocesan Construction Manual has specific guidelines and requirements
regarding contracts, finance issues, insurance, etc.
LITURGICAL CONSULTANT(S)
§95 When building or renovating worship spaces, many parishes have found it
helpful to hire a consultant for liturgical space. The consultant assists the
pastor, building committee, architect, and parish staff to provide liturgical
catechesis about the importance, role and value of worship, the impact the
church building has on worship and the principles and norms of liturgical
design.
§96 “The liturgical consultant(s) selected by the parish work(s) with the architect
and other members of the design team from the earliest stages of the process to
help them apply the principles and norms of liturgical design to the practical and
liturgical needs of the parish being served. This includes examining the acoustics,
the flow and movement for processions, appropriate styles for liturgical
celebrations, the interrelationships within the Eucharist as well as the
relationship of the Eucharist with the other sacraments, and all the elements
required by the Church’s liturgy. In addition, the consultant may have expertise
in design and can help to coordinate the design and fabrication of appropriate
furniture and other objects to be used during liturgical services, as well as the
liturgical art to be placed within the church.” (BLS 200)
§97 The following parishes have benefited by working with a consultant during
their building and/or renovation project.
 Christ the King, Cedar City
 Holy Family, Ogden

 Saint Christopher, Kanab
 Saint John the Baptist, Draper
 Saint Mary of the Assumption, Park City
 Saint Thomas Aquinas, Hyde Park
§98 Hiring a consultant for liturgical space, early in the project (before the
architect), is an investment that in the long run can save time and money by
eliminating costly delays or modifications after construction. The consultant
can assist in architect / artist selection. If you would like further information
on hiring a liturgical consultant, please contact the Office of Worship.
FORMING A BUILDING COMMITTEE
§99 The parish building committee should represent the various and different
groups of your faith community. A committee whose members only reflect one
ministry, culture, or economic status may be viewed as not having the best
interest of the entire community at heart. In addition to representation from
the parish council, the liturgy community, and finance board; Pastors should
also invite longtime parishioners, families with children, the elderly, and
disabled. A committee of 10-12 members is recommended, with a balance
between men and women, of all ages, and should seek to represent the diverse
ethnic backgrounds of the parish.
§100 As a parish begins the building process, it is recommend to consult a designer

or liturgical consultant that knows how to evaluate your ministries, building
spaces, and vision; then translate that vision into a well thought out master
plan and floor plan. They can provide information on both liturgy and
architecture and help the parish prepare to make important decisions about
the building process.
§101 Parishes should be aware of any diocesan directives or requirements for

contracts and licenses and be sure that all legal and insurance requirements
are met. See Diocesan Construction Manual for specific guidelines and
requirements in matters dealing with contracts, finance issues, insurance
coverage, etc. This manual can be obtained from the Chancery Office
§102 The architect in collaboration with the pastor, building committee and the
liturgical consultant will help to develop the master site plan. “The Master Site
plan will look at the location of the new building in relationship to existing
structures, including the orientation to the entire site and their relationship to
the surrounding environment.”12 The master site plan is important in

developing the schematic design of the worship space.
§103 The bishop has several groups to advise, guide and support his decision in
ensuring that all construction and capital improvements are appropriately
fulfilled. He exercises his authority through the guidelines and procedures
established by the Diocesan Finance Council, the Diocesan Building Commission,
and the Diocesan Art and Architecture Committee. Each has an important role
and is available to assist you during the building process.
ASSESSMENT AND EVALUATION
§104 Evaluation and assessment of your current liturgical practices as well as your
current space is important. The Office of Worship can provide you with an
assessment form to assist in this process. The assessment looks at the worship
area and environment, the assembly, ministries, music and celebration of the
Liturgical Rites.
§105 An assessment of your current space should include:
 Office, meeting, and educational spaces
 Hospitality spaces
 Outdoor spaces, playgrounds, green areas
 Technology needs for worship and educational purposes
 Parking issues, traffic patterns, service deliveries and garbage pickups
 Security and safety issues
 Storage
§106 Taking time to revisit or develop the parish’s mission statement will assist in
the assessment and planning process. In addition, the following considerations
may be explored:
 What is the history of the faith community?
 Does the building fill the spirit and make parishioners feel good to be
there?
12 Mauck, Marchita, Places for Worship: A Guide to Building and Renovating (Collegeville, MN:
Liturgical Press, 1995), 59.
 Does the architecture of the building/space say something about the

assembly’s culture?
 What technologies were used to save energy or protect the environment?
 How well does the church reflect Gospel values ?
CATECHESIS AND FORMATION
§107 One important component to any building or renovating project is parish-wide

formation. Catechesis can provide a solid base for general knowledge and
awareness regarding the various elements of the project. It can also provide
the opportunity for adult faith formation and renewal as the parish prepares to
worship in its new space. It can also help parishioners understand why a
project is being considered and allow them a role in the decision.
§108 These Guidelines provide you with a set of reflective questions to begin the
parish dialogue. Whatever form your catechesis takes, it should always be on-
going and inclusive.
§109 When considering a project, the parish might reflect on the following
questions:
 How do we see ourselves as a symbol of the risen Christ?
 How have we been called to be disciples and what concrete ways are we
“carrying our cross?” (Mt 10:37-39)
 How do we currently celebrate the Church’s liturgy (e.g., baptism,

confirmation, Eucharist, marriage, funerals)? Does our celebration invite us
to live a life of radical discipleship?
 How can our building influence and shape our worship? Our theology?
 Are all members of our community able to access our facilities in a way that
enables their meaningful participation in parish life?
§110 Parish catechesis can take many forms. Published materials such as bulletin
inserts or updates on the process might be appropriate. A slide presentation
on church architecture or a presentation on how worship plays a part in the
design of the space may be appropriate. Parish meetings, such as a listening
session or town hall, allow the assembly to gather and dialogue. Other
opportunities for catechesis could include workshops or retreats, which would
allow those gathered to discuss and reflect.
§111 Preparation on the part of the pastor and planning committee early on should
include a study of Church documents:
 The Constitution on the Sacred Liturgy
 The General Instruction of the Roman Missal
 Built of Living Stones
 Rite of Dedication of a Church and an Altar
§112 It should also include study on various liturgical elements, such as the altar,
ambo, and baptismal font, as well as the Liturgical Year and the liturgies of
each season. The Office of Worship is happy to assist with the catechesis and
formational process.
SUSTAINABLE ARCHITECTURE
§113 Buildings have a substantial impact on the health and wellbeing of people and
our planet. They use resources, generate waste and are costly to maintain and
operate. Sustainable architecture includes designing, constructing and
operating buildings, and the sites around them, to maximize occupant health,
use fewer resources, reduce waste and pollution, and decrease life cycle costs.
Life cycle cost is defined as the expense to maintain and operate a building
over time.
§114 In his encyclical letter Laudato Si’13, Pope Francis calls us to be protectors of
God’s handiwork, the resources of creation. As such, our church facilities must
be planned and designed using the principles of sustainability. With each
building project, the parish committee and design and construction
professionals are encouraged to work together to consider these principles
and set goals to implement them in ways that are both valuable and beneficial
to the project and the community.
§115 Sustainable design principles include:
 Sustainable site selection including consideration of climate, protection and

restoration of habitat, and proximity to public transportation sources
 Sustainable site design including open space, rainwater management, light

pollution prevention and reduction of heat island effect
 Efficient use of water, both indoors and outdoors
13 Pope Francis. 2015. Laudato Si’: On Care for Our Common Home [Encyclical].
 Mechanical and electrical systems designed to operate efficiently, reduce

energy use and life cycle costs
 Consideration of renewable energy sources
 Well-designed building enclosures that conserve energy, increase

durability and provide thermal comfort
 Selection of building materials that are renewable, contain recycled

content, are extracted, or made locally or regionally and are free of toxins
and other hazards
 Reduction of waste generated by construction activities
 Provision of space for collection and storage of recyclables by building

occupants
 Indoor environmental quality including air quality, access to daylight and

views, pleasant acoustic conditions, and occupant control over lighting and
thermal comfort
 Encouraging awareness and education of sustainable design with project

features
 Planning or implementing on-site renewable energy use (such as

photovoltaic panels)
 Other innovative ideas and strategies relevant to the project
§116 The Choice of Building Materials
§117 “A church building is a lasting expression of a faith community's life. Because the
church building is destined to endure, parishes and the professionals who assist
them should ensure that the components of the building, especially the building
materials, are sturdy and substantial enough to stand the test of time. While
traditional building materials have served the Church well in the past, more
recently developed materials and building techniques might better serve a
contemporary structure. In all instances, the building that is designed for an
extended life will need fine, durable materials. The use of materials available
locally and of designs that are expressive of local culture can be an advantage to
parishes.” (BLS 215)
§118 “Faithful stewardship of the earth's resources demands that the Church be a
partner in the development of a sustainable architecture. Materials, construction
methods, and procedures that are toxic to the environment or that are wasteful
of the earth's resources should be avoided. Providing heating, ventilating, air
conditioning, and lighting systems that are energy- efficient is financially sound
practice and, at the same time, environmentally responsible. It is an exercise in
parish stewardship.” (BLS 216)
§119 Building Maintenance
§120 “The design process will include planning for the long-term and short-term
maintenance of the new or renovated building. The beauty and utility of a place
of worship can be sustained only by an ongoing, careful attention to its upkeep
through regular maintenance. Therefore, funds for both general maintenance
and capital improvements should be anticipated in every future parish budget.”
(BOLS 219)
§121 “Durability and maintenance expenses are critical factors in the selection of
building materials and of the mechanical, electrical, and plumbing systems.
Decisions made on the basis of short-term economy can be very costly when
viewed from the perspective of long-term expenses. A well-thought-out plan for
maintenance that includes a financial component is necessary in the case of
existing structures. In addition, special attention may be needed when the
maintenance of historical buildings is at issue.” (BOLS 220)
LITURGICAL MEDIA IN WORSHIP
§122 Media art refers to artworks that depend on a technological component to

function and can take many forms. It can be a digitally displayed image that
may make an individual see something they may have missed in a prior
viewing. It can be a combination of images and sounds that leave a permanent
impression in one’s memories, triggers an emotion, or creates an insight. It is
art that invites the viewer to participate more fully in worship.
§123 In worship, media art that is truly liturgical art also has the potential to
provide “a portal to the mystery of God,” because it can bring beauty into our
worship.14 More than just a projected image of the music lyrics during mass, it
can draw the assembly into a deeply spiritual experience that supports the
gospel, preaching, music and all components of the liturgy to enhance the
worship experience.
§124 Media art can encourage participation, convey information, reinforce, and
enrich oral communications and provide beauty to the worship space. If done
thoughtfully and with great care media art can lead the assembly from one
segment of worship to another. It can connect the community to the past and
14 Crowley, Eileen, Moving Word: Media Art in Worship (Minneapolis, MN: Augsburg Fortress
Publishers, 2006), 8.
present. It can add a new dimension to music or prayer, and it can stimulate
worshipers to action or interaction.
§125 A parish should develop a strategy for the use, implementation, and continual
update of the media art. It should also plan for removal and update of
hardware as technology improves or becomes obsolete.
APPENDIX I
COMMISSIONING, PURCHASING, OR ACCEPTING DONATIONS OF RELIGIOUS/LITURGICAL
ART FOR THE WORSHIP SPACE
§126 “Art chosen for the place of worship is not simply something pretty or well made,
an addition to make the ordinary more pleasant. Nor is the place of worship a
museum to house artistic masterpieces or artistic models. Rather, artworks truly
belong in the church when they are worthy of the place of worship and when they
enhance the liturgical, devotional, and contemplative prayer they are inspired to
serve.” (BLS 143)
§127 The Committee and the Office of Worship are available to answer your
questions regarding choosing religious/liturgical art for the worship space.
§128 Guidelines to Assist in selection of Religious / Liturgical Art for Worship

Space15
 Read and study Built of Living Stones, Chapter 3: The Work of Our Hands: Art
and Artists Assisting the Church at Prayer.
 New artwork should be aesthetically consistent with the church’s

architecture.
 New artwork should complement and not overwhelm or detract from the
actions of worship and liturgy.
 Be aware of the distinction between religious art and fine art and between
personal taste and religious/liturgical art values. (BLS 146)
 When purchasing an existing piece of art, parishes should be cautious of

ordering art from a catalog. “The integrity and energy of a piece of art
produced individually by the labor of an artist is always to be preferred above
objects that are mass produced.” (BLS 147)
 Parishes should be committed to the equitable treatment of artists. Do not

expect artists to do work without compensation during the design stage. Be
prepared to pay for work and design as well as for the finished piece of art.
15 Diocese of Columbus, Art and Environment Sub-Commission, 2003.

 When considering and selecting art, parishes should consider the

communities unique cultural and ethnic experiences.
§129 Guidelines to Assist in Acceptance of Donations of Religious Art16
§130 When considering the acceptance of donations of religious art be clear that the
art must meet certain criteria for religious/liturgical art such as the criteria
identified in Built of Livings Stones 146-148.
 Develop a parish policy regarding art donations.
 Be wary of donations with “strings attached.”
 Make clear that once art donations are accepted, they become the property
of the church to be used as the church determines and that the church is
responsible for the future disposition of the item.
 If a donation of artwork appears to be of historic value, locate and contact

someone who can offer guidance for the restoration, display, protection,
and registration of historic art pieces.

APPENDIX II
PARISH PROCESS FOR COMMISSIONING RELIGIOUS/LITURGICAL ART17
Step 1: Form a parish liturgical art review committee that includes the pastor, the donor (if
there is one) and artistically and liturgically knowledgeable parishioners.
Step 2: Develop a list of potential candidates - ways to do this include:
 Giving preference to local and regional artists.
 Discussions with the Committee and the Office of Worship.
 Look at religious/liturgical artwork in publications such as Environment &

Art Newsletter, Faith and Form and on individual artists’ web sites.
 Visit local parishes that have recently commissioned and installed

religious/liturgical art.
Step 3: Send letters to potential candidates requesting resumes, brochures, portfolios,

references, etc.
Step 4: Review information submitted and visit churches where their artwork is located.
Step 5: Narrow down the choices and set-up interviews and presentations of work.
Step 6: Interview and view presentations (usually in the form of slides of work) from
selected candidates. Consider qualifications, spirituality/theology, artwork,
references, design process, and “fit” with your parish.
Step 7: Select the artist and sign a contract or letter of agreement. The contract should
include how much will be paid, and when and what will be done if the committee
rejects artwork in the design process. Be sure the Artist understands the parish
culture, needs, budget and timeline and make sure to secure the right to graphic
reproduction of the artwork for parish use.
Step 8. During the initial process, the Committee should be able to review, approve, modify,
or reject the artist’s model, sketch, rendering, and/or mock-up of the commissioned
artwork.
Step 9: Once the artwork is completed, it should be blessed or dedicated in the worship
space. (See Book of Blessings.)

APPENDIX III
SUGGESTED RESOURCES
§131 Professional Affiliations:
 Association of Consultants for Liturgical Space (ACLS)
 Federation of Diocesan Liturgical Commissions (FDLC)
 North American Academy of Liturgy (NAAL)
 United States Conference of Catholic Bishops (USCCB)
 American Institute of Architecture – Interfaith Forum on Religion, Art and

Architecture (IFRAA)
§132 Religious Arts/Architecture Foundation
 The Center for Religious Architecture
 Christians in the Visual Arts
 Art + Christianity Enquiry
SUGGESTED RESOURCE BOOKS
Crowley, Eileen D. Liturgical Art for a Media Culture. Liturgical Press,

Collegeville, MN, 2007.
Crowley, Eileen D. Moving Word: Media Art in Worship. Augsburg Fortress

Publishers, Minneapolis, MN, 2006.
Gerhard, Albert. Space for Active Participation: Theological and Liturgical

Perspectives on Catholic Church Architecture. Munich: Prestel, 2002.
Healy, James E. Building A New Church: A Process Manual for Pastors and Lay
Leaders. Liturgical Press, Collegeville, Minnesota, 2009.
Lysik, David, ed. The Liturgy Documents: A Parish Resource. Vol. 2. Chicago, Ill.:
Liturgy Training Publications, 1999.
Lysik, David, ed. The Liturgy Documents: A Parish Resource. Vol. 1. Fourth
Edition. Chicago, Ill.: Liturgy Training Publications, 2004.
Mauck, Marchita. Places for Worship: A Guide to Building and Renovating

Liturgical Press Collegeville, Minnesota, 1995.
McNamara, Denis R. Catholic Church Architecture and the Spirit of the Liturgy,
Hillenbrand Books, Chicago,IL, 2009.
The Partnership for Achieving Construction Excellence, The Field Guide for
Sustainable Construction, Penn State University, 2004.
Stroik, Duncan. The Church Building as a Sacred Place: Beauty, Transcendence,

and the Eternal, Liturgical Training Publications, Chicago, Illinois, 2012.
Torgerson, Mark, An Architecture of Immanence: Architecture for Worship and

Ministry Today, Wm. B. Eerdmans Publishing, Michigan, 2007.
Vosko, Richard. God’s House Is our House: Re-imagining the Environment for
Worship, Liturgical Press, Collegeville, Minnesota, 2006.

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Guidelines for the

Building and Renovation

“Every church building is a gathering place for the assembly, a resting

My dear brother priests, deacons and lay faithful,

Developed by the Diocesan Liturgical Art and Architecture Committee,

Sincerely yours in Christ,

Most Reverend Oscar A. Solis, D.D.

Section I: Diocesan Procedure ........................................................................................................................... 7

Initial Contact ....................................................................................................................................... 7

Phase I: Presentation and Submission of the Preliminary Design .................................. 7

Phase II: Submission of the Detailed Design ............................................................................ 9

Section II: Liturgical Considerations ............................................................................................................. 11

The Plan of the Church ................................................................................................................... 11

The Sanctuary .................................................................................................................................... 11

The Congregation’s Area (Nave) ............................................................................................... 12

The Altar .............................................................................................................................................. 13

The Baptistry ...................................................................................................................................... 13

The Location of the Tabernacle ................................................................................................. 14

The Gathering Space (Narthex) ................................................................................................. 16

The Reconciliation Space .............................................................................................................. 16

A Place for Music Ministry ............................................................................................................ 17

Religious/Liturgical Art ................................................................................................................ 18

Disposition of Art and Furnishings ........................................................................................... 19

Vessels and Vesture.......................................................................................................................... 19

Section III: Practical Considerations ............................................................................................................. 22

Permission to Build .......................................................................................................................... 22

Diocesan Process and Competency ........................................................................................... 22

Consultation and Collaboration ................................................................................................. 22

The Role of Professionals and Volunteers .............................................................................. 23

Liturgical Consultant(s) ................................................................................................................ 23

Forming a Building Committee .................................................................................................. 24

Assessment and Evaluation .......................................................................................................... 25

Catechesis and Formation ............................................................................................................ 26

Sustainable Architecture ............................................................................................................... 27

Liturgical Media in Worship ........................................................................................................ 29

Commissioning, Purchasing, or Accepting Donations of Religious/Liturgical Art

Parish Process for Commissioning Religious/Liturgical Art ......................................... 33

Suggested Resources ....................................................................................................................... 34

Suggested Resource Books ........................................................................................................... 34

§4 The Committee is a sub-committee of the Diocesan Liturgical Commission and

BLS: Built of Living Stones: Art, Architecture, and Worship

CIC: Codes Iuris Canonici: Code of Canon Law

GIRM: General Instruction of the Roman Missal

RCIA: Rite of Christian Initiation of Adults

SOC: Sanctifying Office of the Church, Book IV: Archdiocese of Chicago

SECTION I: DIOCESAN PROCEDURE

§10 Contact Chancery Office

§12 Contact Office of Worship

 Reason for and anticipated scope of the project

 Liturgical considerations and/or implications of the project

 Initial plans for the liturgical formation of the parish

 Preliminary project schedule

 Professionals needed for the project

PHASE I: PRESENTATION AND SUBMISSION OF THE PRELIMINARY DESIGN

pastor/administrator, representatives of the parish, and the architect or design

§15 Presentation Checklist4

 A description of the design process to date

 Information about the involvement of the parish in the project

 Initial plans for the liturgical formation of the parish