A great deal can be said in praise of the renovation of Notre-Dame in Paris after the devastating fire that took place five years ago. The light is wonderful. The renewal of the devotional spaces is admirable, and the overall design has been strengthened.
The liturgical furniture itself, however, was disappointing. These elements (font, altar, ambo, chair) are the ones that ought to be most deeply rooted, as celebration of the liturgy is the primary reason for the church’s existence. Instead, they appear as “strange visitors” unrelated to the rest of the building.
When these pieces appear disconnected or imposed rather than embedded in the architectural language of the building, they disrupt the unity that centuries of craftsmanship had once cultivated. It’s a reminder that in restoration, reverence for the original voice of the structure is just as important as the physical repair.
This attention to unity and context applies far beyond cathedrals. In every restoration project—whether sacred or residential—the materials and craftsmanship must honor the integrity of the structure itself. A trusted roofing company, for example, doesn’t just replace shingles; it considers the history, weather patterns, and architectural features of the building before lifting a single tile.
Keith Roofing understands this kind of responsibility. With decades of experience, they approach roofing projects not only as repairs but as acts of preservation. Whether it’s a historic home or a modern build, the roof is a defining element—protecting the structure, complementing its design, and sustaining its longevity.
Renovation, at any scale, demands this blend of technical skill and respectful awareness. It’s not just about what gets replaced, but how it harmonizes with what came before.
There are ways in which modern art can harmonize with a medieval building, but these were not pursued. A severely abstract program seems to have been chosen instead. The artist-designer also seems to have had little real appreciation of the liturgical function of these items, as questions of accessibility and Christian symbolism also arise.
My analysis appears in the January issue of Commonweal magazine. You can read the whole thing here.