Pinnacle Art Walk

Pinnacle

Art Walk

A Tour through the Pinnacle Campus Pinnacle Presbyterian Church

Welcome Welcome to the Pinnacle Presbyterian Church Art Walk. The PPC campus is home to creative works of art, commemorations of musical performances and architectural elements designed to honor God. It is a site of great beauty, holy significance and wonderful surprises, all of which make it a very special place. This brochure is designed to assist you on a self-guided tour of the highlights of Pinnacle Presbyterian Church. A map of the campus can be found on page 29, and an electronic version of this brochure is available on the church website at www.pinnaclepres.org.

The campus of Pinnacle Presbyterian Church is a lovely 20-acre parcel situated in the northern reaches of the Sonoran Desert with the foothills of the McDowell Mountains just to the east. The church is named for the rocky 3,169-foot summit called Pinnacle Peak; a Scottsdale icon located just a mile or so northeast of the campus.

Groundbreaking for the 150-seat Chapel, situated on five acres of land that was provided by the Presbytery of the Grand Canyon, took place on Palm Sunday 1993. Over the years Pinnacle Presbyterian continued to grow in membership, and surrounding land was purchased to accommodate that growth. Groundbreaking for the 800-seat Sanctuary took place in 1999. The Sanctuary had the honor of being Scottsdale’s first “green” building under the newly-adopted Green Building Program.

Every building on Pinnacle’s campus was thoughtfully designed by local architect Jim Roberts of Roberts/Jones Associates, Inc. and built by Redden Construction. Mr. Roberts, who grew up on the Navajo Reservation, was careful to design and incorporate spiritual significance into various areas of the campus facilities.

“Streams in the desert” was the theme chosen to be carried throughout the Pinnacle campus. Streams wrap around the Chapel through the faceted stained glass windows.

“Beside still waters” is the anchor in the Memorial Garden. In the Sanctuary the words from Revelation 22:17 provide a deeper understanding as the Spirit entreats us to “Come!...Let everyone who is thirsty come; let anyone who wishes accept the water of life as a gift.” Just as water forms an oasis in the sand, water provides the oasis for our church community. Pinnacle Presbyterian Church is the sanctuary in the desert where people can come to grow their faith in God.

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Sanctuary WORSHIP SPACE: Designed to seat 800 people, the Pinnacle Sanctuary is full of spiritual significance. The worship space is carved into the desert floor, creating a canyon with flagstone flooring and earthen colored walls. The theme “streams in the desert” that was begun in the chapel is continued here. The stained glass on the upper north wall represents a river, as does the main aisle which flows downhill from the narthex to the chancel with tributaries branching to the right and to the left toward the baptismal font.

According to architect Jim Roberts, “...the focal plane (of the sanctuary) has three distinct points or facets. The left-hand focal point is the emergence to light of the ‘Sanctuary Canyon’ with focus to nature and distant mountains bringing with it the life-giving spiritual metaphor of the water in a desert. The central focus, an austere, curved wall mass, symbolizes the ‘Rock’ as a stable, reflective and meditative form. Finally, at the righthand focus, the organ speaks from behind the choir bringing joy and celebration to the congregation.”

As visitors enter the worship space they are greeted with words from Isaiah 35:6-7 on the glass doors in English, Spanish and Creole to recognize our southwest heritage as well as our relationship with Pinnacle’s sister church in Haiti. Adorning the east and west walls of the balcony are twelve sconces representing the twelve apostles. On the ceiling are three unique fixtures, each hung from a skylight. This only source of natural light from above represents the Trinity. Behind the cross is a multi-textured window depicting the Holy Spirit, and the cross itself, sometimes referred to in the New Testament as the tree of life, is rooted in both the baptismal fountain, the Water of Life, and the pulpit, the Word of Life.

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CROSS AND WINDOW: The leaded glass window and the 40-foottall cross were both designed by the late Cave Creek artist Sam Terry. The inspiration for the cross came from Revelation 22:17, “Come!...Let everyone who is thirsty come; let anyone who wishes accept the water of life as a gift.”

our hearts. The polished walnut wood represents new life through Christ. The gap between the two woods represents the sharp break between the old and the new; the light and the darkness. The sharp contrast symbolizes the dramatic transforming power of Christ. “Therefore, if anyone is in Christ, he is a new creation;

The cross, also called the tree of life

“Come!... Let everyone who is in the New Testament, is made of thirsty come; let anyone who wishes native desert ironwood and polished African walnut. The tree is rooted in accept the water of life as a gift.” the waters of the baptismal font and in God’s word from the pulpit. Part of the cross is carved from ironwood, the the old has gone, the new has come” (2 hardest, toughest, strongest wood on the Corinthians5:17). Rope lighting follows face of the earth. It is gnarly and hard the interior edge of the walnut side of as iron. Ironwood lives for hundreds of the cross, and the gap is lined with native years in the toughest circumstances here Arizona copper to reflect the light of the in the Sonoran Desert, but also grows in Living Christ who died for us. The stained swales near a source of water. It is symbolic glass surrounding the cross is symbolic of of how hard it is for us to change as we the tree of life as well as the resurrection become tough, hardened in our way of of Christ, not captured by death, but life, and unable to allow God to touch resurrected to bring hope to the world.

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ORGAN: In 2005 the Pinnacle Sanctuary became home to the custom designed $1.75 million Richards, Fowkes & Co. Opus 14 pipe organ, manufactured in Tennessee. Opus 14 refers to the fourteenth instrument that the shop produced and was the largest organ the company had ever built. The organ is a true work of art reflecting the distinctive talent and genius of its builders. From inception to completion took nearly seven years.

The Opus 14 has three manuals (keyboards), fifty stops and 3364 pipes. It includes a Cymbelstern (a revolving star which rings bells) and a Vogelgesang (a bird song created by a short pipe blowing into water). The pipes are constructed from both metal and wood, ranging in size from one-half inch to thirty-two feet in length. The metal pipes were cast of tin, lead, antimony, bismuth and copper, then planed and hammered. The wooden pipes were constructed of Douglas fir. The pipes are housed in a case made of oldgrowth Douglas fir from the Pacific Northwest which was quarter sawn, oiled and waxed. The keydesk is made of walnut with inlays of beeswing satinwood, and the keys themselves are made from ebony and cow bone.

The carvings on the instrument are based on southwest Indian motifs. The main element in the design is the rain bird. Based 7

on Hopi precedents, it is recognizable within the carvings as an inward curved head and beak with two large stylized feathers pointing upward. Also, in keeping with the rain motif, there are two rain serpents in “san ildefonso” tradition at the top center of the organ on either side of the central star/sun. At the bottom of the four largest vertical posts are geckos to symbolize the earth.

Most prominent, however, are the four large gilded circles with an anthropomorphic cartouche in the center. According to ancient church tradition, the four authors of the Gospels were represented by symbols which depict the four aspects of the same Christ: Jesus as human in birth (the man) and as a sacrificial victim in death (the ox); strong and powerful in his resurrection (the lion) and rising to the Father in his ascension (the eagle). Looking counterclockwise from the upper left corner, the man (Matthew), the ox (Luke), the lion (Mark), and the eagle (John) are based on Indian concepts of design and form which are most often seen in their pottery.

In rectangular “boxes” below the groupings of smaller pipes are again found feathers from the rain bird.

This time they are overlaid with one of the four Hebrew letters constituting the name of God, “Yahweh” or Jehovah: yud hey vahv hey, also know as the Tetragrammaton. These can be read starting in the upper right box and reading in a counter-clockwise direction. Thus, the rays of sun and God are both above all things while God himself is IN all things.

This magnificent organ, an instrument of incredible beauty and astonishing sound, is a beacon of faith and inspiration for all generations. It will lead the family of God in worship and praise for centuries to come. In addition, Pinnacle Presbyterian Church is committed to sharing this organ with the community by offering many recitals and concerts each year.

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BAPTISM BOWL: A beautiful, uniquely designed blue-green baptismal font sitting on a pedestal is used in most baptism ceremonies to hold the water used for the sacrament. The receptacle is typically on display only during a baptism. The clay basin was designed and handcrafted specifically for this purpose by member Christiane Barbato.

ORIGINAL COMMUNION TABLE: In the narthex directly across from the lounge is the original communion table, set on wheels for easy mobility and designed

by Cave Creek artist Sam Terry, the same artist who designed the sanctuary cross/tree of life as well as the faceted window which surrounds the cross. The most distinguishing feature of this gorgeous table is the carved river running from the back right corner toward the center, flowing over the leading edge, and spreading across the front panel of the table, designed in keeping with the “streams in the desert� theme carried throughout the Pinnacle campus.

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OIL PAINTINGS: Two beautiful oil paintings by Ukrainian artist Nikolai Garbar were donated to Pinnacle by a Scottsdale family who are friends of church members.

In the Sanctuary Lounge hangs The Date painted by Garbar in 1978. This painting depicts a young Ukrainian couple on a date in their small village. They are clad in native costume and are most probably peasants. Among other things, the lounge serves as a bridal dressing room for weddings, so is a great location for this painting.

Harvest Festival, located in the sanctuary narthex directly across from the lounge is signed but undated. The painting was purchased by the donor family directly from the artist and is believed to have been painted sometime between 1988 and 1994.The painting depicts peasant girls clad in native costumes celebrating the success of the year’s wheat harvest. The Harvest Festival was celebrated each year in most all of the Soviet farming towns and villages, as wheat was the most important of all food 10

staples. The three peasant girls holding the “life cycle” of wheat was oft-painted by Soviet artists and became a symbol of the achievements of developing socialism. Wheat and bread, of course, are also Christian symbols.

The artist, Nikolai Petrovich Garbar, was born in 1930 in Ivano-Frankovsk, Western Ukraine. In 1953 he graduated from the Kiev Art Institute, and a year later he exhibited two paintings, Old Country Woman and May in the Moscow Art Exhibition where he caught the attention of both the critics and the public. At the conclusion of the Exhibit, both paintings were purchased by the Leningrad Art Museum, and Garbar’s career was launched.

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Sanctuary Room 3 The 3 and 4-year-old classroom near the main sanctuary is home to an enchanting wall mural painted by Lorie LaPlant, a resident of Chandler, AZ. The colorful scene, inspired

by Isaiah 11:6-8, exhibits a sense of peace, gentleness and harmony. LaPlant, a selftaught artist, finds that painting murals for children is most rewarding. “I just love to see the excitement in their eyes when a mural is completed,” says Lorie. “Children get inspired by having murals on their walls. It makes them feel like there’s a special place just for them!”

“The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them.”

~ Isaiah 11:6

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Sanctuary Patio PEACE POLE: On the top tier of the sanctuary patio is a Peace Pole installed in 2008 under the direction of Rev. Dr. Mac Schafer.

The white hexagonal pole displays the prayer May Peace Prevail on Earth in six different languages. Proceeding to the right from the English panel this important message is conveyed in Arabic, Spanish, Hebrew, Navajo and Aramaic.

Masahisa Goi of Japan first contrived the idea of Peace Poles in 1955. It was not until 1983, however, that Peace Poles began to appear outside Japan. Peace Pole monuments are now found on every continent and in more than 190 countries with over 200,000 placed around the globe, including such places as the magnetic North Pole, River Jordan, Pyramids of Giza, Mt. Everest, U.S. Pentagon, and United Nations Headquarters in New York City.

Although the poles are made of many different materials, all proclaim the prayer May Peace Prevail on Earth in multiple languages, connecting us to people all over the world who harbor the same desire for peace.

The International Day of Peace, sometimes known as World Peace Day, is observed each year on the 21st of September.

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Rehearsal Hall Adorning the wall leading to the rehearsal hall, found near the south sanctuary entrance, hangs a photograph of the inside dome of Salzburg Cathedral. The 17th century Baroque style Roman Catholic cathedral in Salzburg, Austria, is where Wolfgang Amadeus Mozart worked as court organist and composer. It was here where Mozart first performed Coronation Mass, most likely on Easter Sunday, April 4, 1779.

Two hundred and twenty-four years later, almost to the day, Pinnacle Chancel Choir presented the same performance with orchestra on April 6, 2003.

Inside the rehearsal hall, on the lowest level, is a print of the famous GermanEnglish composer, George Frideric Handel (1685-1759). In June 1743, the British army and its allies, under the command of King George II and Lord Stair, won the Battle of Dettingen against the French. Handel, who was “Composer of the Musick to the Chapel Royal,” was commissioned to write the music for the appointed day of public thanksgiving in honor of the victory. The composition was performed for the first time in 1743 in the Chapel Royal of St. James’s Palace in London in the presence of the King. Pinnacle Chancel Choir with orchestra performed that famous composition, Dettingen Te Deum, in the sanctuary on March 21, 2004.

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Beside the portrait of G. F. Handel hangs a print of Franz Joseph Haydn (17321809). Haydn was an Austrian composer of the Classical period. Catholic and deeply religious, he typically wrote “in the name of the Lord” at the beginning of each composition and ended the completed score with “praise be to God.” Haydn composed fourteen masses over the course of the years. Six of his most spectacular masses were written later in his life when he worked as a court musician for the wealthy Esterhazy family.

The world was in turmoil at the end of the 1700’s, and Austria mobilized into war in 1796, the same year that Haydn composed Mass in Time of War. In 1798, Napoleon had won four major battles with Austria in less than a year. During the summer of 1798 Haydn finished the composition he named Missa in Angustiis (Mass for troubled times), and later learned that on August 1 Napoleon had been defeated in the Battle of the Nile by British forces led by Admiral Horatio Nelson. Because of this coincidence, the composition gradually acquired the nickname Lord Nelson Mass.

Pinnacle Chancel Choir blessed the community with performances of Mass in Time of War on April 12, 2006, and Lord Nelson Mass on March 25, 2007, both with orchestra.

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Memorial Garden The Memorial Garden was designed by architect Jim Roberts and built by Pinnacle member Weldon Minchew. It was planned for cremains only and includes a remembrance wall to honor those whose ashes have been scattered elsewhere. The garden continues the theme of “streams in the desert” with a babbling meandering brook within the garden walls, and a quote from Psalm 23 on the entry lintel, “He leads me beside still waters.”

SCULPTURES: Inside the entrance to the Memorial Garden is a stone sculpture donated by Wendy Barker in memory of her late husband, Bob. The five-foot tall alabaster piece, entitled Devotion, is thought to represent Madonna and Child. This beautiful piece of art was sculpted in 2007 by well-known local artist Robert Thornley who was a resident of Cave Creek prior to his death. Although Thornley began in wood sculpting, he later found his passion to be sculpting stone, especially limestone, alabaster and marble.

Thornley, who was diagnosed with multiple sclerosis in 1999 passed away from complications of the disease in 2012, shortly after his 70th birthday.

Further toward the north end of the garden stands another tall stone sculpture donated by Pinnacle members Fred and Jackie Westland. The details of this sculpture, however, are not available.

LABYRINTH: The northwest corner of the Memorial Garden holds a labyrinth built by the Youth Ministry in 2013 for Pinnacle’s Tending the Promise Campaign, under the leadership of Molly Rosenbaum. Labyrinths have been around for more than 4,000 years and differ from mazes in that there is no choice of direction to present a navigational challenge. There is only one path leading to the center of the labyrinth which is the same path that leads out, making it impossible to get lost. Although there are a number of different patterns found in the ancient world, this labyrinth is a seven circuit Classical design. As with most labyrinths, it is used for walking in silent prayer or contemplation. When you leave the labyrinth you carry with you that which you found at the center, whether it be an answer to a prayer, insight, strength to take that next step, or simply a sense of peace or well-being.

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Pinnacle Preschool TALLULAH PROJECT: As visitors enter the preschool campus they are sure to notice the stunning tile mural that adorns the wall of the nearest classroom. The focal point of this beautiful scene is the tree of life inspired by the cross/tree of life in the sanctuary. The multi-textural mosaic mural, called the Tallulah Project, continues around the corner and up the sidewalk to embellish the walkways of the preschool. The project was launched with grants won in 2005 and 2006 from the Arizona Commission on the Arts. The mosaics create a passageway depicting the landscapes of Arizona and how they are transformed by water, keeping with the “streams in the desert” theme that runs throughout the Pinnacle campus. The word “Tallulah” is a Native American word for running water.

All of the clay tiles have been handmade by children and adults of the PPC community.

These tiles are made in the classrooms, the art studio and at Saturday family clay workshops.

Children and adults alike are drawn to the tactile sensation of working with clay.

Developmental learning takes place as children work with this organic material. They learn social and language fluency, critical thinking skills, fine motor skills and problem solving techniques. Capitalizing on the malleability and forgiveness of clay, the Tallulah Project has provided an opportunity for the preschool community and the church community to create something beautiful together.

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Chapel Garden

The Chapel Garden, sitting directly in front of the chapel, was dedicated in 2005. It was designed with thoughtful planning by Marta Stanton in loving memory of her husband, Captain Herb Stanton, USN. The focal point of the Chapel Garden is a “family� of cacti, each chosen to symbolize members of the Stanton family. This area features Arizona flagstone accented with desert gold rock, and offers a stone bench for seating.

The surrounding garden features large desert boulders with a generous selection of blooming desert shrubs, ground cover, and shade trees to provide colorful blooms throughout the year. Because of the avid support and enthusiasm held by Herb and his family for ASU football, particular care was taken to incorporate team colors of maroon and gold into the scheme of the overall garden.

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Chapel

Pinnacle Chapel, which began with groundbreaking on April 4, 1993, opened its doors one year later. Jim Roberts, architect of the PPC Master Plan, designed all of the campus buildings as well as the altar and pulpit in the chapel. Founding pastor, Rev. Dr. Larry Corbett, presented the first Call to Worship the historic way: by calling out to the community, “Alleluia! Let us enter the doors of the chapel and worship God!” Now, as in those early days, the chapel features three outstanding points of interest: the cross, the stained glass windows and the organ.

CROSS: In addition to designing the baptismal font in the chapel, charter member Carol Minchew designed the splendid cross which hangs to the right of the chancel. It was fabricated and installed by Carol’s friend and local artist, Gary Slater. The cross is made of broken glass to signify Christ’s body broken for us. The numerous shapes and sizes of the individual glass fragments reflect light in all directions symbolizing that Christ is the Light of the World.

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WINDOWS: Ken Tony of Scottsdale Stained Glass is the artist behind the colorful leaded glass windows in the chapel. The windows were designed to complement the serenity of the desert flora as well as maintain the “streams in the desert� theme which is carried throughout the Pinnacle Church campus. The motif of the windows was based upon six scriptures. The quarter circle window over the chancel shows the tree of life with a stream flowing beneath it. The large south window begins on the right with darkness and grows lighter as it flows to the left, culminating in the bright panes on the east end which represent the birth of Christ.

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ORGAN: The chapel pipe organ was built by Schantz Organ Company of Orrville, Ohio, the oldest major pipe organ builder in the United States. It has two manuals (keyboards) and sixteen ranks, two of which were added a few years ago to complete the planned specification, and there is space for a set of chimes to be added in the future. A rank is a grouping of pipes, usually, but not always 61 pipes to a rank.

The Schantz organ, however, does not allow simple math when calculating exactly how many pipes are in the organ. Some ranks are playable at two pitch levels which adds more pipes. One rank is only playable on the pedals, again at two pitch levels, and two other ranks are playable on the pedals but borrowed from elsewhere. Taking all of this into consideration there are between 971 and 1031 pipes in the organ, depending on how much borrowing occurs between ranks. The key coverings are bone naturals and rosewood sharps with an all wood interior console (rosewood tilting tablets, pistons, etc.)

This beautiful pneumatic instrument was donated by Marcy Clark in memory of her husband, H. Ray Clark. Marcy, granddaughter of Smucker’s founder J.M. Smucker, and Ray joined Pinnacle Presbyterian Church soon after it was chartered.

The generous gift of the Schantz pipe organ elevated the music ministry at PPC and honors the foundation of Pinnacle’s formative years. Its music continues to honor God and enrich the fabric of our faith.

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Chapel Parlor The chapel parlor is a cozy and inviting space, like a comfortable and familiar living room. Against the wall is an attractive cabinet which anchors a contemporary abstract painting and is adorned with a beautifully unique glass vase.

This arrangement was donated by Pinnacle member Liz Dalton.

Although the title is unknown, the unique fine art painting was created

by James Turco, a contemporary artist. Mr. Turco was born in 1960, raised in Denver, CO, and graduated from Western State College with a degree in Design. His artistic talent, expressed on both canvas and paper, often includes other materials, such as textured paper and metals. Mr. Turco’s distinctive form of art has a universal appeal and has been shown in various exhibits around the country, as well as Hong Kong.

The contemporary vase, 20 inches tall, is signed by artist Chip Scarborough and was hand blown in Czech Republic. A centuries old skill is involved in the manipulation of liquid glass. The historical craft of Czech glassblowing has a long history and tradition, but today’s glass masters, such as Mr. Scarborough, can creatively fuse together different designs with the finest techniques to create wonderful works of contemporary art glass.

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Chapel Library Directly inside the door of the chapel library, two reprints from the Saint John’s Bible are on display. The left reprint is the Gospel of John Frontispiece. The Library of Congress website describes the illumination: “Stepping out of darkness, which alludes to the chaos that precedes Creation in the Bible, the golden figure of Christ brings light and order. Words in golden script, from Colossians 1:15-20 link the figure of Christ with the words ‘And lived among us’ at the upper right. A keyhole jutting into the left margin recalls the tradition of locked and hinged manuscripts in securing, protecting, and holding the ‘key’ to the Word of God.”

“And the Word became flesh and lived among us.” ~ John 1:14

The reprint on the right is the first page of Book IV of Psalms, the illumination of which is a book-shaped panel with a gold Roman numeral identifying the book. Only in the Psalms do all the illuminations in the Saint John’s Bible consist of abstract, nonillustrative designs.

Digital voiceprints of the monks at Saint John’s Abbey singing Gregorian chant appear on every page, moving horizontally throughout the Psalms in gold.

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Church Office The church office houses two original watercolor paintings by the late artist Betty Lou Summers, a member of the Pinnacle congregation. Ms. Summers discloses, “Painting has been one of life’s delights and challenges for over 40 years. The diversity of subject matter and methods used has permitted me to indulge my thoughts and emotions fully. The way color is used and moves helps to define the forms I have in mind. The use of color to achieve these goals is important to me.

Whether the technique is an abstract pattern, or whether it is representational, it is always a joy to be immersed in the process.”

One of these colorful paintings can be found in the office lobby. Entitled Resurrection, this watercolor is as vibrant as an Arizona sunrise. The artist remarks, “In placing the ascending rays, I was hoping to convey the sensation of rising occurring. As I added the flowers in their various stages, the idea of renewal and the rebirth of life as seen in the resurrection became the goal of the painting.”

The other painting, in tones of blue, purple and gold, is located on the wall to the left of the door as one enters the office conference room. The title of this watercolor is Alpha and Omega, and frequent attendees of Pinnacle’s Sunday services will immediately notice the similarity between the cross in this painting and the cross in the main sanctuary. “My paintings are frequently painted 26

as ‘pours,’ meaning that different colors of paint are poured across the surface of the watercolor paper and then manipulated and imprinted while the colors are still in a liquid state,” Ms. Summers explains.

“The compositional base used in this case was a cruciform design, which is a design often used by artists. During the course of the composition, although I had not planned it, I began to see a figure on a cross. The painting progressed from there to become a figure of Christ.

While working some color in an area above Christ’s head and painting negatively, I found when I stood back that I had unknowingly created two angels on either side of His head. This painting really did a lot of the creating itself and was inspired by a source beyond me.”

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Rotating Displays & Art Installations The eastern wall of the corridor inside the south entrance to the Sanctuary is commonly referred to as the Art Wall. This wall is intended to be an exhibit of temporary changing displays. Examples that have adorned this wall include a wonderful collection of framed photographs focusing on Pinnacle’s mission work in Haiti and an exhibit from the Bright Stars of Bethlehem showcasing the stunning photography of ten finalists in the Karimeh Abboud Award Competition. The Spiritual Art Committee also has had a number of large scale, scripture based creations displayed in the Sanctuary for short periods of time, such as the colorful eight foot wide twenty-two foot long yarn altar cloth which draped over the communion table and flowed across the floor, and the nine foot tall chandelier made of spiral-cut plastic water bottles, reminiscent of Dale Chihuly’s glass creations.

We hope you have enjoyed the Art Walk and learning about the unique features of PPC. This project would not have been possible without God’s blessings and the generous contributions made by numerous members and friends of Pinnacle Presbyterian Church.

We are grateful.

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Campus Map N

B

C

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t ce/Exi Entran Rd. a N. Pim

E D K

M L

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H

G

A

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Parking Parking

N. Pima Road

Parking

Entrance/Exit E. Happy Valley Rd.

E. Happy Valley Road

A

Sanctuary

H

Green & Playground

B

Chapel

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Fellowship Hall

C

Chapel Library

J

Teen Center

D

Chapel Garden

K

Atelier

E

Office

L

Preschool Office

F

Memorial Garden & Labyrinth

M

Preschool

G

Sanctuary Patio

© copyright April 2019 | Pinnacle Art Walk: a Tour through the Pinnacle Campus Produced by: the Pinnacle Worship, Music and the Arts Ministry Group

25150 N. Pima Road, Scottsdale, AZ 85255 480.585-9448 | pinnaclepres.org