Abstract

This article is a critical investigation of the buildings and writings of Étienne-Joseph Gaboury, a prolific French Canadian architect who, in the 1960s, designed several modern parish churches and engaged with various liturgical documents issued in the context of the Second Vatican Council. How have the various calls of priests and theologians advocating for artistic and liturgical renewal—calls which became increasingly frequent in the North Atlantic world after World War II—been adapted and implemented in specific architectural landmarks by Gaboury, such as his famous Précieux-Sang Church and Blessed Sacrament Church in Manitoba? I argue that Gaboury’s account of the origins of Christianity and his description of religious experience in both embodied and spiritual terms, found in his essay “Design for Worship”, can be understood not simply as an aggiornamento, or bringing the Church “up to date,” but also as echoes, in aesthetic and architectural terms, of some of the key tenets of the “new theology,” which were central to the changes put forth by the Second Vatican Council. I also argue that Gaboury’s interests in materiality and in the evocative power of light need to be read through the rise of phenomenology in postwar North American architecture. By looking at various archival documents, I propose that Vatican II was not a unilateral, top-down paradigm shift, or a rupture with tradition, but rather a complex and ongoing negotiation between the architect, ecclesial authorities and lay people.