Austin Mennonite Church

This small religious center started its life as Windsor Park Presbyterian Church, with its inaugural service taking place in October 1960. The building, which reflects the influence of both the Mid-Century Modern design aesthetic as well as the architecture of Frank Lloyd Wright, is now the home of the Austin Mennonite Church.

This striking A-frame (also called a tent-form) structure is a prominent project in architect Eugene Wukasch’s prolific career. Wukasch designed over 70 religious structures, and was known for his belief in utilizing modern aesthetic ideals while still honoring the past. The architect was quoted in the Austin American-Statesman that a modern church must meet two criteria: First, it must have a clear and easy-to-find entrance. Second, it must symbolically  present itself as a church in its outward appearance. This project succeeds on both points; specifically, its form recalls historic grand churches while being contemporary in style.

The steep rake of the roof is capped by a broken ridgeline at its peak in order to make room for a linear skylight between the two roof planes. Under this roof, the two end walls of the sanctuary are filled with random, multi-colored, handmade stained-glass panels. This creates a vibrant play of color and light that constantly changes as the sun moves across the sky, and becomes a bold lantern at night when lit from within.

The main space of the sanctuary reflects contemporary thinking about flexible functionality and less formal overall use. Having no fixed seating allows the space to be opened up when the chairs are removed, or reconfigured into multiple arrangements with the movable seating.

The design shows the inspiration of famed American architect Frank Lloyd Wright in its use of a planning grid composed of equilateral triangles. The triangular grid is expressed by the scored lines in the concrete floor; the shapes of certain structural elements; and how the wood beams are compiled into complex connections. This intricate play of geometry extends to built-in features such as benches and cabinetry, which adhere to the angular grid lines.

Although Wukasch utilized universal contemporary themes, he also employed limestone, thick wood beams, and local tradesmen to connect to regional elements and make the structure fit within the local context. Wukasch also combined mechanical ventilation (cutting-edge technology at the time) with careful site placement to deal with the harsh Texas climate. He not only positioned the structure to capture cross-ventilation, but also employed new sub-surface heating and cooling technologies.

In the book Modernism and American Mid-20th Century Sacred Architecture, the author of a chapter about Wukasch summarized the architect’s approach with this statement: “Wukasch’s churches share qualities of humble monumentality and a proclamatory stance in the landscape of rural vernacular churches in Central Texas. They contributed to the formal and material language of a nascent Central Texas modernism…Above all, Wukasch approached church-building as a communal art and thereby arrived at a true regionalism.” – Darwin Harrison, AIA