Highlands Spirit

Building the New Church of the Incar nation in Highlands, North Carolina

E T H A N A N T H O N Y, A I A I C T P w i t h c o n t r i b u t i o n s b y t h e R e v ’d W. B e n t l e y M a n n i n g a n d M a t t h e w G . A l d e r m a n

d. I am grateful that the Church of the Incarnation in Highlands, North Carolina, is such a Our church, like many parishes, has undergone change and transformation over the e of its history. There have been seasons of growth and expansion, and times of pruning anness. Our church building tells a piece of this story. When we first embarked on this t, we did so out of necessity. Our pews were full, and we imagined a future where more was available. This was a good problem, and we believed the Spirit was calling us to nd.

dition to our need for more space, we also longed to live more fully our Anglican ge. This desire led us into partnerships with many talented artists from around the globe odcarvers, blacksmiths, artists, stencil painters, and stoneworkers. The pages of this book ve you a glimpse of the great talent on display in our sacred space. The artists offered so life and beauty to our church. Finally, this project also involved a full renovation of our House to create a more accessible and welcoming space for members and visitors alike. hes are public spaces whose doors are open to the world—a truth we hope this project clear with the addition of a large front door.

grateful for the architects of Cram and Ferguson. Their knowledge, skill, experience, and n gave concrete expression to our vision and prayer. Together, we dreamed of what be and, in time, shaped those dreams into reality. It was a true blessing to work with this c firm. The care and dedication in their work was a gift to our parish family. Like wellned preaching, the heavenly sounds of a choir, or a beautiful liturgy, church buildings are ering of love that has the power to draw people closer to God. I pray our offering of love and as a powerful witness to the grace we have experienced in this place and, in turn, be duit of that same grace for generations to come.

THE REV’D W. BENTLEY MANNING, RECTOR

of God. I am grateful that the Church of the Incarnation in Highlands, North Carolina, is such a place. Our church, like many parishes, has undergone change and transformation over the course of its history. There have been seasons of growth and expansion, and times of pruning and leanness. Our church building tells a piece of this story. When we first embarked on this project, we did so out of necessity. Our pews were full, and we imagined a future where more space was available. This was a good problem, and we believed the Spirit was calling us to respond.

In addition to our need for more space, we also longed to live more fully our Anglican heritage. This desire led us into partnerships with many talented artists from around the globe —woodcarvers, blacksmiths, artists, stencil painters, and stoneworkers. The pages of this book will give you a glimpse of the great talent on display in our sacred space. The artists offered so much life and beauty to our church. Finally, this project also involved a full renovation of our Parish House to create a more accessible and welcoming space for members and visitors alike.

Churches are public spaces whose doors are open to the world—a truth we hope this project made clear with the addition of a large front door.

I am grateful for the architects of Cram and Ferguson. Their knowledge, skill, experience, and design gave concrete expression to our vision and prayer. Together, we dreamed of what could be and, in time, shaped those dreams into reality. It was a true blessing to work with this historic firm. The care and dedication in their work was a gift to our parish family. Like wellfashioned preaching, the heavenly sounds of a choir, or a beautiful liturgy, church buildings are an offering of love that has the power to draw people closer to God. I pray our offering of love will stand as a powerful witness to the grace we have experienced in this place and, in turn, be a conduit of that same grace for generations to come.

THE REV’D W. BENTLEY MANNING, RECTOR

hts reserved dition

ook may not be reproduced or transmitted in any form or by any s, electronic or mechanical, including information storage and al systems, in whole or in part, including illustrations (beyond that ng permitted by Sections 107 and 108 of the US Copyright Law and t by reviewers for the public press), without written permission from and Ferguson Architects, LLC.

hed by Ascalon, Concord, Massachusetts ook was laid out using BookWright. Manufacturing by Blurb.

onal copies may be ordered directly from /www.cramandferguson.com/shop

and Ferguson Architects, LLC, 12 Damon Mill Square, Concord, chusetts 978-451-0900 – www.cramandferguson.com

Forward History

5 6 8

10 Challenges and Opportunities 20 The Renewed Church Building 28 Entering the Parish House 35 The Galilee Porch 36 The Sanctuary Transformed 40 Star of Wonder 42 The Parish Hearth Re-Dedication 47 Coming Home 48 50 The Building Team 51 Dedication 51 Consultants, Artists and Crafts Workers Sources Credits

of my most promising missions, supported in winter he resident congregation that enlarged as the mer homes and inns filled —the Rev’d John A. Deal (1844-1928) Episcopal Missioner in western North Carolina founder of the Church of the Incarnation

and interior

The town of Highlands, North Carolina, and its 1,100 permanent residents, is located on a plateau in Nantahala National Forest at 4,118 feet above sea level. The climate is tropical highlands, with an average of 100 inches of rain per year. All that water feeds several beautiful waterfalls and rivers, and abundant trees and plants, including copious growths of mountain laurel.

The original Chapel of the Episcopal Church of the Incarnation, built in 1896, seats 117. The church was originally open during the summer, when visitors sought a place of worship away from home. A 2002 two-story addition added a new Sanctuary, seating 234 and a choir of 12, and an elevator to provide handicap access, but the connection between the Chapel and Sanctuary was still cluttered with leftover stairs and partitions, and in need of a clear circulation strategy. The Sanctuary successfully accommodated more summer worshipers, but already felt outdated. The lighting was ineffective, and the altar furnishings incomplete.

In 2018 the Rev’d Bentley Manning and the parish vestry asked Cram and Ferguson Architects to study the unresolved problems with the planning and organization of the building, and to look at the lighting and decoration of the Sanctuary, its furnishings, and the other public spaces serving the worship areas. Cram and Ferguson president Ethan Anthony, AIA and Cram designer Matthew G. Alderman visited, surveyed the existing conditions that summer and autumn, and over the next two years developed a plan to better organize the connection between the worship spaces and increase the seating in the sanctuary to 322. The Fifth Street Vestibule, Ravenscroft Passage, Narthex and Library Lounge were redesigned to make them more functional and beautiful.

Work began in late 2020 and continued through the Coronavirus pandemic. The church was re-dedicated by the Rt. Rev’d José Antonio McLoughlin, Bishop of Western North Carolina, in September 2022.

renovated Sanctuary

OPPORTUNITIES

st time we visited the Church of the Incarnation, I was impressed by xtaposition of the lovely Carpenter Gothic Chapel, and the 2002 on that surrounded it. The Parish House was surprisingly nnected from the outside. The Sanctuary was even more closed-in. eemed inconsistent with the Episcopal Church’s philosophy of

ess and outreach.

ught this to the attention of the Building Committee and they agreed e building should better express connection with the community. ghout our design process, we observed and took cues from the way

ioners used their spaces.

he Lower Level, there were multiple competing entrances with no us indication of a destination. On the Main Level, the Fifth Street ule was tired and dark. The internal connection between Fifth and the Narthex ran through a series of undersized, disconnected s. Fr. Manning summed it up, as quoted by Ryan Hanchett in the paper The Highlander: “Right now, we have multiple entrances and it e confusing [...]. Then you get inside and it’s like a maze.” The uary had no presence on Main Street; there was no welcoming l entrance. The ceiling was a major visual distraction; its walls d color; the chancel design had no central focus. The altar, exposed hrust stage, had unused space behind it and little space in front.

designs removed distractions and brought disparate elements er. We simplified circulation, created stronger links between the and Lower Levels, and improved the building’s sense of place on Street. We added Gothic windows to the exterior connector en the Chapel and Sanctuary, and a prominent open stair and door g the Sanctuary to the sidewalk below.

RENOVATED MAIN LEVEL

CHURCH BUILDING

ew from the corner of Fifth and Main shows the new bell tower, creates a clear relationship between the new Sanctuary and the el. The Sanctuary has a new front door and a clear and inspiring nce on the street, its spire beckons to the community outside. The is a welcoming face for a well-established church.

uildings of Incarnation are a vibrant manifestation of the parish, enting its spirituality, its values, and its faith. In the renovated h complex, art and craft give shape to the spirit of the community.

CHURCH BUILDING This view from the corner of Fifth and Main shows the new bell tower, which creates a clear relationship between the new Sanctuary and the Chapel. The Sanctuary has a new front door and a clear and inspiring presence on the street, its spire beckons to the community outside. The result is a welcoming face for a well-established church.

The buildings of Incarnation are a vibrant manifestation of the parish, representing its spirituality, its values, and its faith. In the renovated church complex, art and craft give shape to the spirit of the community.

T H E PA R I S H H O U S E

ew timber-framed portal at the Fifth Street entry, designed to asize the Parish House door, provides shelter from Highlands’ rain now, and marks its importance. The old cracked ramp was replaced ently sloping landscaping and an inviting curved flight of slate-clad down to the sidewalk. Ironwork railings, forged from Cram and son’s designs by Alex Babak, an Asheville blacksmith, run along the of the porch.

e apex of the gable timberwork is the leaf-shrouded face of the Man, a figure of English folklore, carved to Cram and Ferguson’s n by Charleston artist and woodworker Mary May. A common motif dieval architecture, it represents both the flourishing of nature and fe in Christ, and thus is uniquely suited to a parish community set he clouds and evergreens.

ia the new Ravenscroft Passage, the Sanctuary.

Chapel’s entry off the Vestibule has been refreshed with new and hardware. Light-wells along the Vestibule’s south wall been replaced with internal back-lighting for the stained glass, now shines with a new vibrance. Also off the Vestibule is an sible restroom, a new Parlor, and a rebuilt stair to the Lower s classrooms and Library Lounge.

ings and closed for counseling or bereavement. We updated

ace, adding double sliding pocket doors and a refreshment

n.

doors are normally open, but can be pulled closed to provide

y. On one wall, a triad of Gothic lancet windows has been

. These recall the Holy Trinity and offer a view of Fifth Street,

rcing the importance of connection to the community.

glimpse the new bell tower of the Sanctuary in the distance.

n glass corridor, allowing light to shine in from the Street frontage has been completely replaced. The new design —and to shine out vocabulary, from thereflecting churchtheinto the orates alight more explicitly sacred nter Gothic of the original Chapel. Pinnacles and lattice-like munity. y adorn the new elevation. A discrete entrance into the Lower —Kristin Landfield, “Sacred Renovation” is integrated into the glazing, appropriate for parish offices and Plateau February 2023 ooms, and simple enough to notMagazine, distract from 2 the Sanctuary and

el. In the Gothic spirit, the proportion of window to solid wall has ncreased to the maximum to fill with sunlight the Narthex above e new stairway linking the Main and Lower Levels.

edeveloped landscaping, the the work of Alex Smith Garden n, Ltd. in Chamblee, Georgia, features phlox, roses, forget-meCarolina silverbells, daisies and delphiniums.

ificant transformation came in the form of an entirely new front e Sanctuary on Main Street. Replacing a blank wall and dark ay is a welcoming, visible and public front door, inspired by the pt of the Galilee Porch. Originally popularized in church design by rnard of Clairvaux as part of the Cistercian reform, a Galilee Porch daptation of the early Christian atrium typically found at the west a church. There, those seeking baptism wait to be admitted.

carnation, the Galilee Porch is the connection between the ip space and the street, and between the church and the munity. Its lofty bell tower marks the Sanctuary as the main sacred , and its design develops further the Carpenter Gothic theme, ng on the vocabulary of the Chapel.

A significant transformation came in the form of an entirely new front for the Sanctuary on Main Street. Replacing a blank wall and dark stairway is a welcoming, visible and public front door, inspired by the concept of the Galilee Porch. Originally popularized in church design by St. Bernard of Clairvaux as part of the Cistercian reform, a Galilee Porch is an adaptation of the early Christian atrium typically found at the west end of a church. There, those seeking baptism wait to be admitted.

At Incarnation, the Galilee Porch is the connection between the worship space and the street, and between the church and the community. Its lofty bell tower marks the Sanctuary as the main sacred space, and its design develops further the Carpenter Gothic theme, building on the vocabulary of the Chapel.

ning as we stood looking at the newly toric Doors, LLC of Philadelphia. Inscribed over them, at vated suggestion, Episcopal Church ofGod theMyIncarnation nning’s is the phrase O Heart is ighlands, NC.The[...]

These clavos doorsand are vibrant (Psalm 108:1). wrought-iron hinge fronts orate Carolina flora such dogwood, mountain laurel, lavish, striking andaswarm. [...]

The Church e aptly-named Jack-in-the-Pulpit. They are the work, e Incarnation’s impressive entrance conveys our designs, of our frequent collaborators Hammersmith werful message: this is a point of access to s in Boston. ecial place—indeed, a consecrated one— invites all to approach, regardless of their rinal beliefs.

—Kristin Landfield, “Sacred Renovation” Plateau Magazine, 2 February 2023

s a new peal from the Verdin Company of Cincinnati. The n ceiling is emblazoned with the Star of Bethlehem, the Scriptural sign of Christ's Incarnation, and a reference to eological namesake of the church.

pointed arches and around the baptismal font. The interlinked Alpha and Omega monogram, for Christ “the beginning and the ending,” appear above. The octagonal stone pattern around the font recalls with its eight sides the Resurrection, metaphorically the eighth day of Creation.

TRANSFORMED

h the Sanctuary was a recent addition, its pale undecorated walls, uss ceiling, and thrust stage were already dated. We added rich ials—carved wood from South America around the altar, a handd altarpiece in tropical hardwood, painted stencils and golden Throughout the interior is an intricately patterned pavement of ted Spanish marble and travertine, reflecting light into a formerly pace.

nterior, visible to the street below through the Galilee’s windows, nts a compelling and inviting space to the community as a whole. the lights are on, passers-by can catch an inviting glimpse of its th and welcome from the street below.

TRANSFORMED Though the Sanctuary was a recent addition, its pale undecorated walls, low truss ceiling, and thrust stage were already dated. We added rich materials—carved wood from South America around the altar, a handcarved altarpiece in tropical hardwood, painted stencils and golden stars. Throughout the interior is an intricately patterned pavement of imported Spanish marble and travertine, reflecting light into a formerly dark space.

The interior, visible to the street below through the Galilee’s windows, presents a compelling and inviting space to the community as a whole.

When the lights are on, passers-by can catch an inviting glimpse of its warmth and welcome from the street below.

along the nave walls

white walls, we used warmer neutrals along the sides of the nave. We de-emphasized the ceiling by painting it a deeper blue, closer in tone to the color of the trusses to merge them with the ceiling above.

LIGHT: All lighting in the Sanctuary has been replaced with new LED technology. A centralized control board replaced the old rotary dimmers. The latest theatrical lighting system allows settings for different liturgies and times of day, and even individual architectural elements within the space.

SYMBOLISM: Flanking each window are painted polychrome medallions enclosing the symbols of the twelve Apostles, as well as those of Mary Magdalene and Elizabeth, mother of John the Baptist.

Interspersed between these is an an excerpt from the opening words of St. John’s Gospel, the greatest Scriptural expression of the Incarnation.

Throughout the stone pavement is a repeated lozenge, or diamond, shape. The four around the baptismal font suggest the nails of the Crucifixion, and combined with the font itself, the five wounds of Christ.

Those along the center aisle enclose alternating crosses of St. George and St. Andrew, symbolizing the Episcopal Church’s English and Scottish roots. The chancel entry is emphasized by two golden fields of alternating stenciled lilies and crowns for Christ’s humanity and divinity, and IHS monograms derived from the Greek version of Jesus’ name.

, the choir was seated facing forward on shallow risers, arely enough room for its normal complement of singers o clear line of sight between them and the choirmaster at gan. To remedy this, we designed a set of tiered Englishhoirstalls, A projecting canopy supports an organ case ewter-toned showpipes built by Zimmer Organs, based on ncepts. The stalls are turned to face the altar, with the console relocated to permit the organist to direct the and makes much better use of the available space.

AL WOODWORK: The custom carved paneling and work throughout the Sanctuary was crafted to our designs partner company, Liturgical Arts and Crafts Colombia, led prietor Andrés Mantilla Rey. Each choir pew is fitted with a al rest, and the pew-ends are topped with finials that local flora and fauna. Along the side, the tracery panels railing suggest in their shapes music clefs and stringed ments.

e the stalls, six carved angels stand out against brattishing, orative cresting, depicting stylized Carolina aster flowers, tar-like shape another allusion to the Star of Bethlehem. ngels hold a lute and harp; the other four have in their shields painted with symbols alluding to the history of d music: a Star of David for the Psalms, a Marian fleur-dethe Magnificat; a beehive, the symbol of St. Ambrose, onally said to be the author of the Te Deum; and chant on, called neumes, for St. Gregory. Along with the eagle oars atop the chancel lectern nearby and the two cherubim ets of the altarpiece, they are the work of English master Sarah Goss, woodworker to King Charles III, among many distinguished patrons.

As part of the renovation, the altar was relocated deeper within the chancel, and the communion rail reconfigured into a straight run, more clearly delineating the chancel as sacred. The apse is also defined by carved paneling, concealing the Altar and Flower Guild rooms’ doors.

Above the paneling runs a band of carved daisies, representing the innocence of the Christ Child. The redesigned lighting brings the depth of its colors to life, and draws the eye to its sacred furnishings. The feeling is one of restfulness, of the hush of the stable at Bethlehem.

The altar’s panels bear three shields, depicting loaves, fishes and, at the center, a pelican, symbol of sacrificial love. The brattishing repeats the aster motif, with sprigs of Aaron’s rod as crockets. At the canopy are two Carolina mourning doves, recalling the turtledoves of Christ’s presentation in the Temple. At its center is a triptych, The Star of Bethlehem, by Eric Johnson of the Academy of Realist Art, Boston. This was suggested by Sir Edward Burne-Jones’s The Adoration of the Magi, though it is no mere copy. The figures glow against the darkness, their expressions reflecting their reactions to the newborn King: Mary, lost in love, Joseph pondering the future, and the kings filled with delight, meditating on the luminous Child, or reflecting gravely on their pasts.

Below is the tabernacle, made in German silver by Hammersmith Studios to our designs. The bee symbolizes the Resurrection; the tracery suggests a hive. This was inspired by a folktale of a bee-keeper who placed a stolen Host in his hive, thinking that would improve his honey. Instead, the bees built a honeycomb shrine around the consecrated wafer. Flanking the tabernacle are symbols of Christ and the Virgin from the English Advent O Antiphons: O Wisdom (scroll), O Adonai (Burning Bush), O Root of Jesse, O Key of David, O Dayspring (sun), O King of the Nations (cornerstone), O Emmanuel (chalice), O Virgin of Virgins (crescent and star). The Sterling silver altar cross, made by Boardman Silversmiths, also to our designs, has a medallion of the Lamb of God at its center, the cross arms embellished with apple blossoms for Christ, the new Adam.

ow proceed out of the Sanctuary and down the Narthex stair. We er the warm Library Lounge with a stone hearth, built-in ases and comfortable seating. The fireplace is perfectly designed nter the damp of rainy Highlands afternoons. Comfortable hings encourage sitting with friends before or after church, or a visit with Bentley or Kellan.

We now proceed out of the Sanctuary and down the Narthex stair. We discover the warm Library Lounge with a stone hearth, built-in bookcases and comfortable seating. The fireplace is perfectly designed to counter the damp of rainy Highlands afternoons. Comfortable furnishings encourage sitting with friends before or after church, or a casual visit with Bentley or Kellan.

rt is ready; I will sing, and praise with the best mber that I have. ake, thou lute and harp; I elf will awake right early. ll give thanks unto thee, O D, among the peoples; I sing praises unto thee ong the nations. thy mercy is greater than heavens, and thy truth heth unto the clouds.

—Psalm 108:1-4

heart is ready; I will sing, and give praise with the best member that I have.

Awake, thou lute and harp; I myself will awake right early.

I will give thanks unto thee, O LORD, among the peoples; I will sing praises unto thee among the nations.

For thy mercy is greater than the heavens, and thy truth reacheth unto the clouds.

—Psalm 108:1-4

dedication service

18 SEPTEMBER 2022 By autumn of 2022, the transformation of the Sanctuary and Parish House neared completion. The copper pinnacle of the steeple had arrived by truck via twisting mountain roads and then placed atop the church entry by crane. The scaffolding that painters had stood on to stencil the ceiling was gone; travertine, marble, and wood were all in place. The congregation had been worshipping in the new Sanctuary since the start of Holy Week that spring, but now came time for Bishop McLoughlin to dedicate the new altar and the parish to celebrate the culmination of their labors.

The renovated nave was packed for the Festal Eucharist. The anticipation was palpable. The black- and white-vested choristers were handsomely framed by their new stalls throughout the liturgy. Fr. Manning and the other clergy surrounded the bishop as he blessed the new altar, describing it as a “sign of the heavenly Altar where your saints and angels praise [God] forever.” The sermon was given by the Rev’d Erika Takacs, a meditation on how architecture can inspire the worshipper to prayer and also to go out and make a difference. From the high pulpit, she declared, “This church is a space that does what it is supposed to do, because every carving and ornament, every owl and eagle, every bright star on this deep blue ceiling, every neume held in the arms of an obliging angel, every twist of the iron on your own remarkable doors was seen as a precious piece of an essential whole [...]. You have done this [...] not to escape the bustle and choke of this world but because you know that any faithful engagement with the world starts with us on our knees [...].”

I was grateful myself for the opportunity, after the Sermon, to stand behind the great eagle lectern and express my thanks and that of all of us at Cram and Ferguson. And afterwards, we all shared well-deserved refreshment in front of the new fireplace.

been very rewarding for us to work with the Building Committee, ways a joy to see both Bentley and Kellan at the end of our journey Boston. Bentley, Kellan and the Building Committee have been warm elcoming, and we have felt we were invited to share in their love for hurch and their community for a time. We have been fortunate to their hospitality and patience in meetings, and their company at erful parties hosted by their parishioners. Bentley has been a great er in this work. I count his friendship as one of the great rewards I gained from the project. He has always been open-minded and t to think through sometimes difficult material with us with the to find the best solution with the resources at hand. The Coronavirus mic presented an extraordinary array of challenges and difficulties quired patience and perseverance from all. Building a church is an easy task, but it is far easier when your client acts with standing and thoughtfulness.

offer our gratitude, as a team and individually, to the leadership of nation that shared this extraordinary journey with us, and the Parish e have come to know as a result of designing and helping to ce this wonderful project. It is truly worthy to sit beside that fine old nter Gothic chapel on the Plateau.

e home. Home in God. Home in the t of love, that hasn’t stopped and won’t and can’t stop beating for you [...]. So, ome home, dear ones. The doors are ays open.

—The Rev’d Kellan Day quoted by Christopher Lugo “Welcome Home, Dear Ones” The Highlander, 13 April 2022

come home. Home in God. Home in the heart of love, that hasn’t stopped and won’t stop and can’t stop beating for you [...]. So, welcome home, dear ones. The doors are always open.

—The Rev’d Kellan Day quoted by Christopher Lugo “Welcome Home, Dear Ones” The Highlander, 13 April 2022

2 0 1 8 - 2 0 2 3 Church of the Incarnation The Rev'd W. Bentley Manning Rector The Rev'd Kellan Day Assistant Rector* Charles M. Banks Organist and Choirmaster Randy Foster Owner Representative Adam Emery Parish Administrator Kirsten Huscusson Parish Administrator Teresa Hollingsworth Finance and Membership Oscar Vanegas Sexton Building and Design Committee Brad Armstrong Ruth Claibourne Mike Delamore Janis Erikson Julie Farrow Jean Head Launch Magruder Heath Massey John Mitchner Stephanie Reeves Vernon Skiles Cram and Ferguson Architects Ethan Anthony, AIA ICTP Principal Architect Matthew G. Alderman Project Designer Kevin Hogan Project Manager Edward Anthony Design Drafter ___________________ *now Rector of St. James Episcopal Church in Greenville, South Carolina

olume is dedicated to all of the many people who participated in making this the great project that it is. cate this edition to my wife, LUZ EUGENIA REY CASTELLANOS ANTHONY, who has been my ation for over forty years, and who organizes the travel that has brought us into contact with the ess of British and European church and monastic architecture. This great body of work informs hing we do and is the font of knowledge and spirit from which we take our inspiration. As the pal Architect and team leader for the firm, I celebrate the great work of our team on this project. I vised and signed off on the entire effort and the day-to-day management of the work that accomplished oject. I also dedicate this edition to the work of the office members who contributed to the project:

HEW G. ALDERMAN, Project Designer, who devoted himself to the project beginning with representing m on the first visit in April of 2017, in response to the church’s invitation, and carried on throughout the ars to the dedication of the project in September of 2022.

M. HOGAN, Project Manager, who visited the site many times during the extended construction due to oronavirus Pandemic. Kevin interacted with the Owner’s representative, Randy Foster, and contractor nnel including Tim Winchester, Alexander MacColl and various site superintendents, answering ons and solving problems as they arose.

RD R. ANTHONY, Project Delineator, Modeler, and Design Drafter, who built the design computer l and worked through many problems in the detailed design. He pulled together much of the contract ment set with Kevin including many of the construction details.

FER KELLEY, Office Administrator in our Concord office who made all of the arrangements for our site and accounted for all of the expenses. Jen was the voice of Cram and Ferguson on many projectd calls from suppliers, vendors and the contractor.

ÉS MANTILLA REY, of Liturgical Arts and Crafts Colombia, worked closely with Edward and Matthew zing the shop drawings and producing the woodwork throughout the Sanctuary. Andrés set up the hop, hiring the carvers who constructed the altarpiece, altar, paneling, choirstalls and chancel seating.

OHNSON, Fine Artist, labored with skill, speed and passion on the painting The Star of Bethlehem, his ligious commission. Watching it come to life under his brush was a true joy.

AND SUSAN CLOSE, through their company Hammersmith Studios, made the door hardware and the nacle door. Their artistry and dedication are legend.

many pieces of upholstered and antique wooden furniture throughout the building were provided, ed and curated by STEPHANIE AND WILLIAM REEVES.

Ethan Anthony, Kevin Edward Matthew M.Anthony Hogan G. AIA ICTP President and Alderman Project Design Manager Drafter Principal Architect Project Designer

A N D

C R A F T

W O R K E R S

NEERING: Structural – CEtech Associates, PA, Franklin, NC. anical, Electrical and Plumbing – Sims Group Consulting Engineers, heville, NC.

RAL CONTRACTOR: JDavis Construction, Anderson, NC.

TS: Altarpiece Painting – Eric Johnson Fine Artist, FL. Decorative Painter – John Canning and Company, Cheshire, CT. Wood Sculpture ah Goss, Somerset, UK, and Mary May, Charleston, SC.

S: Historic Doors, LLC, Kempton, PA.

E FLOORING: Stone Cross SL, Espinardo, Murcia, Spain.

OM WOODWORK AND FURNISHING: Liturgical Arts and Crafts mbia, Bucaramanga, Colombia.

LWORK: Blacksmithing and Tabernacle – Hammersmith Studios, n, MA. Railing – Babak’s Iron and Art, Asheville, NC. Altar Cross – man Silversmiths, Inc., Wallingford, CT.

ED GLASS: Statesville Stained Glass, Statesville, NC.

N CASE AND PIPES: Cornel Zimmer Organbuilders, Denver, NC.

EN DESIGN: Alex Smith Garden Design, Ltd., Chamblee, GA.

S: The Verdin Company, Cincinnati, OH.

HANCHETT, RYAN. “Heaven and Earth United.” The Highlander, 12 November 2020.

LANDFIELD, KRISTIN. “Sacred Renovation.” Plateau Magazine, 2 February 2023.

LUGO, CHRISTOPHER. “Welcome Home, Dear Ones.” The Highlander, 13 April 2022.

Excerpts from the above are used with permission.

C R E D I T S Cover and photography on pages i, ii, 3, 5, 9, 11, 13, 14, 15, 16, 17, 19, 21, 22, 23, 24, 25, 26, 27, 29, 30, 31, 33, 34, 35, 36, 37, 38, 43, 44, 45 and 52 © Stephen Barling, Barling Photography, LLC, Charlottesville, VA. Photography on page 1 by Dronegenuity, Hudson, MA. Photography of carved angel on page iii by Sarah Goss. Photography of Green Man carving on page 10 by Mary May. Photography on page 35 by Eric Johnson. All other photography by Cram and Ferguson Architects, LLC. All plans and renderings © Cram and Ferguson Architects, LLC. Seal of the Church of the Incarnation on page 1 used with permission.

This book is set in Cheltenham, designed by Bertram G. Goodhue and Ingalls Kimball in 1896. Book design by Matthew G. Alderman.

mall white clapboard chapel of the Church of the Incarnation has been Building the New Church of the Incarnation in Highlands, North Carolina ence on Main Street in Highlands, North Carolina, for more than a ry. As its community expanded, so did the building that housed it. By not only had it outgrown the chapel, but the new sanctuary built next nly twenty years earlier was already in need of renewal. Working with rish, the church design firm of Cram and Ferguson Architects drew on egacy of 135 years of work to craft a stunning new vision for nation that brought beauty and color to their sanctuary while paying ge to its Carpenter Gothic roots. A new front, crowned with a steeple, d up the building to the street with bold red doors embellished with forged ironwork. The interior of their worship space was brightened panish marble, hand-carved cedar, and stenciled stars on a deep blue g. Discover this exemplar of new traditional church architecture in the ls of the Appalachians, and follow the community of Incarnation, the ners, clergy, craftsmen, artists and builders, on the journey that made sion a reality.

E T H A N A N T H O N Y, A I A I C T P

A B O U T

C R A M

A N D

F E R G U S O N

ally founded in 1889 by the eminent medievalist Ralph Adams Cram, and Ferguson Architects’ contemporary work continues, under nt firm principal Ethan Anthony, this tradition of quality traditional ecture in the academic and ecclesiastical realm, combining, historic etics with current technology to craft beautiful and functional houses rship, imbued with an authentic feel. Drawing on the firm archives and l study of precedent have allowed Cram and Ferguson to revive ods and details lost to history, until now.