The time when church buildings were granted a dominant role and could create spatial and local significance is now over, at least in new urban developments of the 1960s. In this urban planning situation, the architect could only utilize two options: spatial definition and formal distance from the surroundings. The small forecourt adopts the scale of the plot. The square, self-contained space of the church is created from white finely structured masses that reflect daylight. The rhythm of individual surfaces in their entirety appears almost exaggerated. Parson attempts to rigorously utilize architectural means that were tested by
Wright,
Schindler, or - in a different cultural context - also
Scarpa. The theme of the church is interpreted here in a completely "conventional" way in the sense that it is primarily understood as an artistic task and is also architecturally processed.
Achleitner, Friedrich,
Österreichische Architektur im 20. Jahrhundert. Vol. I:
Oberösterreich, Salzburg, Tirol, Vorarlberg, Vienna: Residenz Verlag, 1980, p.332
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