Harlem – New York

Lawrence Hoy – Faith & Form Volume 43, Issue 1 (St Joseph)

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Lawrence Hoy – Faith & Form Volume 43, Issue 1 (article 2)

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Westport artist Lawrence Hoy works on a large crucifix that will be displayed during a Mass celebrated by Pope Francis during his visit to Philadelphia.

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This project began with design and consultation meetings with the pastor, Philip Kelly, and a renovation and building committee from the parish. Their two main requests were to stay within budget and to respect the African-American heritage of the congregation. The parish was founded by German immigrants, and the church was built to emulate the churches they left behind. The new congregation wanted a shift from this pseudo-European design to something “Afro-centric”. Renovata Studios researched the art and furniture of several African tribes including Zulu, Yoruba and Swahili, which inspired a design direction for the new liturgical elements.

Read full article: Faith & Forum, Nov. 1, 2010

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Renovata Studios
Lawrence R. Hoy, B.F.A. ’79, and Peter C. Scurlock, M.F.A. ’82

Founders of Renovata Studios, Inc., a firm specializing in worship spaces, and designers of the Catholic Memorial at Ground Zero. Photographed at the Catholic Memorial (St. Joseph’s Chapel) at Ground Zero.

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On September 11, 2001, our world changed forever. The world of the parishioners of St. Peter’s Parish, the oldest in New York state, and nearby St. Joseph’s Chapel in lower Manhattan was turned upside down. A wheel assembly from one of the airplanes that crashed into the North Tower of the World Trade Center went through a section of the roof of St. Peter’s Church. The day after the attack, emergency crews moved into the chapel and set up the disaster control center for FEMA. They stripped the Chapel and deposited its contents outside in the plaza.

Read full article: Ministry & Liturgy: The Catholic Memorial at Ground Zero

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Historically, baptistries were buildings entirely separate from the building we call “the church”, that is, the hall for the Eucharist, and these baptistries contained relatively deep pools. When fonts were brought inside the church proper, they lost their sense of place.

Read full article: Environment & Art October 2000

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