The Unitarian Church of Evanston at 1330 Ridge, and Before

Below are descriptions of UCE's earliest building and our current home, including information about the wonderful variety of art in the current building.

1405 Chicago Avenue. The congregation was established in 1891, and for more than twelve years used rented space, including a room at the old Evanston Township High School and in Connor’s Hall above J. C. Connor’s hardware store on Davis Street. Fundraising for a new building started early. In October 1902 , the congregation bought a lot at 1405 Chicago Ave at Greenwood. Church member Marion Mahoney was selected as the architect for the new church.  She was known as one of the best designers of her time and worked in Frank Lloyd Wright’s studio. Mahoney and her husband Walter Griffin later won international fame for their design of Canberra, the capital of Australia.

The first service in the new church was held on May 22, 1904.  Architectural reviewers remarked on “the chaste beauty of the place, its artistic harmonies, its manifest fitness and adequacy for the work to which it was to be dedicated….” In 1924, a community house was added and named Hayford Hall in honor of Dean John Fillmore Hayford of NU, a member also.

In 1956, the congregation, citing its extremely crowded quarters, began a capital campaign for a new building, to be built at the crown of Evanston, high on Ridge Avenue; in September, 1958, they left the little stone church to walk across Evanston and celebrate their first service in the new building (on the new teakwood stack chairs from Denmark). The church on Chicago Avenue and its property were purchased by the First Presbyterian Church housed at the other end of the block, who razed it along with the buildings on the other properties on the block to make room to build a church school building, a chapel, and a parking lot.

1330 Ridge Avenue. Planned in 1956 and occupied in September 1958, the current home of the Unitarian Church of Evanston was designed by the architectural firm of Schweikher, Elting & Bennett, which has designed several churches in the Chicagoland area, including Third Unitarian Church. The UCE design won a “first award” from Progressive Architecture magazine and a citation from the American Institute of Architects for being “an unusually bold concept, appropriate to the religious faith of the congregation”; another reviewer thought  “the spirit of Unitarians, of simplicity and openness to each other and the world, seems to be well-expressed by Schweikher’s great, undecorated concrete shapes, opening out to the world” (Architectural Forum).

Architect Paul Schweikher describes his building thus:  “The building is conceived as an expression of strength, solidarity and simplicity. It represents a fresh rebellion against decorative trends. It consciously intends to induce a feeling for the fundamental principles of the Unitarian religion as opposed to ornamental gadgetry. And the structure is intended, too, to stand as a representation of a firm, personal conviction, as opposed to a representation of escape. … In the language of architecture, the plane, sections and elevations of the building are developments of the “Golden Section”: the square root of five, plus one, divided by two. … Unity to the structure, both inside and out, is given (first) by choosing the simple, geometric shape of the rectangle, and (second) by keeping the interior to one free-flowing space. Such smaller spaces as the balcony and kitchen may be sensed as parts of the whole, rather than separate subdivisions. Careful proportioning of the rectangle was necessary for composure, serenity and dignity.”  One should note especially Schweikher’s innovative use of buttresses (“bents”), which allowed him to construct the sanctuary space completely free of interior pillars.  He likened the look of the sanctuary to that of a Bedouin tent, which is supported at the sides with tent poles and is open at front and back, with the overhead tent canvas sagging a bit in the middle.  The “slit windows” on the east and west sides also are an architectural “first,” and are designed to soften the severity of the concrete walls; says Elaine Mensinger, “Very early in the morning, this church is positively beautiful when the sun is coming through these slits – It’s almost like a fairyland.”

The Building Committee was Richard S. Saunders, Ernest Hendrickson and Ronald Cotts, chairmen; Henry Neuman, Wilbert Seidel, Louis Lederer, Harry Nachman, Mrs. John J.B. Morgan, and the Rev. Dr. Homer Jack.

In the early 70’s the congregation mounted a successful capital effort, which allowed us to cover the concrete floor in terrazzo, finish the lower level rooms, and improve the kitchen. 

In 1990, the congregation completed its original plan for the church building by raising capital to build the “wing” and foyer, which were designed by the architectural firm of Hammond, Beeby and Babka (who also did the Chicago Public Library, among other notable buildings in Chicago).  The building committee was Will Van Dyke, John Lowe, Charlotte Tyksinski, Art Salzman, Dick Sieben, Judith Ramey, and Tedwilliam Theodore.   Johna Van Dyke, Pamela Sundell, Carol Caz, and Rosemary Zwick worked with the architects to guarantee abundant light in the rooms and comfortable furnishings. The wing was dedicated in November, 1990, in time for the1991 centennial celebration.  A fourth capital improvement campaign was launched in 1998 to refurbish the sanctuary and the downstairs classrooms, and add a chancel to the sanctuary (also part of the original plans, but foregone because of expenses). 

Sanctuary mural. A mural on the “core” at the south end of the sanctuary was in the original plans for the building.  “Darkness into Light” was produced by artist and church member Martyl Langsdorf and dedicated Oct. 15, 1961. Martyl expresses her theme thus:  “There is and always has been a universal concern with the cosmic, and therefore I am using the idea of cosmogony—the concept of the origin of heaven and earth produced by primitive tribes and systematized by priests and philosophers in unending quest. Both thought and actuality are darkness into light in the plan of the mural.” She further describes the movement of the observer’s eyes from the lower dark corner of superstition, fear, ignorance, and dogma, up into the light of one’s own truth and freedom of thought.

Martyl designed the mural as a memorial to her father, Martin Schweig of St. Louis, and as a contribution to the church. Many members of the church participated in the construction and recording of the construction, which took place on the sanctuary floor. Martyl also collaborated with art conservator Louis Pomerantz  and the building’s architect, Paul Schweikher. The piece is acrylic polymer paint on Belgian linen canvas mounted on 2 panels of aluminum covered wallboard separated by a honeycomb core. It won several prizes for design and also for situation.   At one time, the congregation faced the mural in its worship service.

Stained glass entrance windows. These four windows, flanking the east and west doors to the sanctuary, were designed by Martyl and fabricated by Mark Agnello, son of church member Frances Agnello.  Martyl’s design repeats the theme of her mural, “Darkness into Light.” The seagreen color reflects that of the slit windows.  The windows were dedicated in worship service on September 24, 1978, and rededicated in 2005.

The project began as a memorial to Frances Agnello by her son Mark and her daughter Flavia Claster. The eastern windows are dedicated to their mother, a long-time member of UCE. The western windows are dedicated to long-time member Paul Feltenstein, by his wife Mary. Funding for the project came almost entirely from the Memorial funds.

Sanctuary banners. An original set of banners was hung in the sanctuary in 1969.  Designed by Dorothy Dunn and Martyl and Alexandra Langsdorf, they were fabricated of batik on cotton, 6’ by 10’.  Church members helped fabricate them, dying the fabric and piecing them together.   They expressed the themes of “Man’s Emergence,” “Difficulty,”  “Peace,”  “Being and Nothingness,”  “The Human Spirit,” and “People.”  They were replaced after they became quite faded and the cloth deteriorated (one hangs in Room 12 now). 

In the most recent refurbishment of the sanctuary, new banners were hung in 2002.  They were designed by artist Akemi Nakano Cohn, who also created the hanging in the chancel area.  Ms. Cohn says of her artwork:  “While thinking about the designs for these banners, I knew I wanted to use the idea of light seen through stained glass windows. To me, lights have always meant warmth, intimacy and  hope. I hope they will give the same feelings to viewers in this sanctuary.” The banners were sewn with help from Barbara DeCoster, Lois Heimbaugh, Barbara Seyfried, Lorna Galich, Joan Horberg, Johna Van Dyke, Nancy Harris, Jean Novales, and Barbara Young.  They express these themes:

WEST WALL (Front to Back)

The Search for Truth--Light will always shine to reveal truth. The warm colors indicate heat; both heat and passion drive the search for truth.

Harmony--The blue-green earth reflects serenity. The circle, with its sympathetic colors, symbolizes harmony and peace.

Interdependence of Nature--We are all connected, and we depend on each other. This image is inspired by stained glass. The large plant shapes are lively against the dark background.

Freedom--The freedom to pursue faith–a free and responsible search for truth and meaning. Flower petals and leaf images dance freely in the space.

EAST WALL (Front to Back)

One People One World--The many hands reflect celebration of one world, one people. The entire image reflects acceptance of diverse people, thoughts, and religions.

Spiritual Growth--The image of sunrise and sunset, a perfect balance that inspires awe. We learn about life from many different cultures.

The Web--We are all different, yet from similar roots and we accept one another. 

Celebration--The image celebrates the gift of life. We join in accepting this fragile world. Birds fly happily and the colors are cheerful.

Sanctuary chancel hanging. In 1983, Johna Van Dyke designed a hanging triptych for the north window.  It was spun of wool and fabricated by several members of the congregation (Johna, Jan Laukkanen Gerber, Kathy Talmage, Rosemary Zwick),  taking turns working an antique spinning wheel on site in the sanctuary.

In 2004, as part of the sanctuary refurbishment, a new hanging by Akemi Nakano Cohn was dedicated, entitled “Light Curtain of Forest.”  It is a beautiful flowering panel fabricated in a process of creating figures with intricate cut-outs, resembling the piecing of stained glass, on a translucent nonwoven fabric; the panels are hung so as to move slightly with a breeze.  Cohn says of the work, “Harmony was the key word while I was making this project.  Animals and other of nature’s creatures are hidden in the forest, creating a new experience each time one looks at it.”  It also filters the sunlight of the window wall through its translucent material and the cutouts.

Members of UCE participated in the design and  fabrication of the hanging, including Johna VanDyke, Gay Riseborough, Pamela Sundell, Libby Sohn-Hirsch, Cheryl Neal, Anne Cousineau, Jerry and Lorna Galich, Linda LaPlante, and John Heimbaigh. 

The chancel. The chancel was designed and fabricated in 2004. Architect Mark Miller led a design team of members Robb Geiger, John Heimbaugh, and Johna Van Dyke.  They began with the pulpit designed by Robb Geiger, and John Heimbaugh developed a conception for the chancel. They worked for softened lines, using ovals and curves, to contrast with the rectangularity of the sanctuary space.  They chose a warm wood, caramelized bamboo, both for its deep golden color and its status as a “green material,” which is to say it reproduces and replaces itself quickly, and so is environmentally “friendly.”  The space is flexible, as well: the choir risers can be lowered to make a completely flat stage, or a second set of risers may be brought out of the chancel to create risers across the entire length of the stage.  The pulpit and altar tables, as well as the “prow,” can be moved and removed.  The chancel received “honorable mention” in 2005 in “Hardwood Floors,” for its innovative use of wood technology.  

Room 3 mural. “Imaginaries” was painted by long-time church member and artist Rosemary Zwick in 1991, shortly after the wing was dedicated.  She visualized the design as a flower garden, but created a mural of “pure abstract color, leaving people free to make their own interpretation.”

“Flaming Chalice” mosaic. The stone mosaic in the new foyer was crafted also by Rosemary Zwick, in 1992.  She created this beautiful ceramic mosaic in appreciation and love for UCE and what it meant in her life.

“Triple Chalice” newsletter logo. This lovely piece on the newsletter masthead was designed by John Heimbaugh.  It is often used as an unofficial “logo” for UCE publications.

Altar chalice. Rosemary Zwick designed the altar chalice in 1983.  Its inauguration was part of the 90th Anniversary celebration of the UCE congregation, along with the original chancel hanging.

Processional banners. Johna Van Dyke designed the leather processional banner (actually too heavy to process with) that graced the podium area of the sanctuary before renovation.  A light-weight banner was designed by Frank Robertson and crafted by Jean Thompson, a representation in cotton fabric of the window wall and chalice on an aqua background. The newest banner has been created by Carol Nielsen, a navy frame around a translucent reproduction of the “triple chalice” logo of our newsletter.

Lower level mural. In 2002, visiting artist Eduardo DeSoignie, the children in the RE “11 o’clock arts” program, and Johna Van Dyke together conceived and painted the mural, called “Evolution.”

Afterword. The artwork of several members of UCE brings warmth and light to our “simple” building:  Martyl Langsdorf, Rosemary Zwick, Johna Van Dyke, Mark Miller,  Robb Geiger, and John Heimbaugh. They were joined by many more members who lent their competent hands to the realization of the work of these visionaries.  Together, they have lovingly made our house a home, and we are truly blessed.