E. Fay Jones: Marty Leonard Chapel (Interior)

(All rights reserved 2009) The following photos are all my own work, but are free for non-commercial use so long as I am credited. Larger, uncropped, higher resolution images are available upon request. Please contact me if you have a desire to use them in any commercial work.

In part two of this week's main photo spread, we explore the interior of E. Fay Jone's "Marty Leonard Chapel" and witness the sublime beauty within. If you have not yet seen the exterior photos of the chapel, please see Part One of this spread by clicking here.

As one steps through the door of the Marty Leonard Chapel, there is an ever present aura of peace and light. The glass ceiling and crossbeams overhead illuminates the floor with a light grid all the way from the nave to the bema. The saltire "X" pattern is used to great effect in nearly every glassed area of the chapel, the exception being the slanted casings shown in yesterday's exterior footage. From within, at this angle, the slanted window casings give each side a complimentary column of half-chevrons made of light. The effect of the concentrated light is unmistakable: the focus should be upon those who walk up or down the aisle, and those who stand before it. Though the congregation is certainly not left in darkness, their presence is quietly muted from eyesight.

This is achieved through an extremely intricate pattern of crossing saltire beams in the vault. Rather than using arches, Jones has supported the weight of the ceiling through an incredible number of precisely placed triangles which from one angle appear organic and chaotic...

...and yet from another angle, snap into orderly patterns that mesmerize and crystallize. The subtext of finding order in chaos, of patterns in nature, and the sanctity of space.


As the crossing is approached, the transepts are beautifully realized, and yet remain far enough off to the side that they are hidden from view except for those actively looking at them. The power of the "light grid" on the floor is such that the eye wishes to look at the altar, not those sitting to the far left and right of it.

The corner of the transepts use a great deal of indirect lighting to counteract the contrasting darkness of being outside the nave. One way this is achieved without drawing attention to either side is by turning the corners into long windows with the slanted panes seen earlier. Then, a subtle brick column in front lends depth as well as a block against the direct light. The space also creates a quiet spot for an usher to wait comfortably, or perhaps for a congregant to unobtrusively move from the nave to the transept, blocked from view by both.

Past the crossing, upon the bema, looking forward towards the nave, the officiant is treated to nearly as beautiful a sight, with the slanted window casings creating full chevrons to either side just before the transepts begin. And if one looks upward from this angle...


...the most beautiful, illuminated view of the vault is seen. Again, the symbolism of the layout and position of the sun cannot be lost. From the congregation's point of view, the focus is on the officiant and the altar. From the officiant's point of view, the focus is on the heavens. It stands to reason that one who devotes their life to their god would have a better view of the heavenly demesne.


Much like Frank Lloyd Wright, E. Fay Jones designed every aspect of the building, down to the even the light fixtures. This theme for the light fixture remains consistent throughout most of the chapel, and is used to great effect as an object of beauty, light, and shadow.

To either side of the balcony is a pair of windows that carries another very thematic shape through the structure. On the house left, pictured above, is a tiny sound and lighting booth where tech crew can keep an eye on the house to catch their cues.

On the house right, the window helps to illuminate a stairwell leading up to the balcony.

The door frames leading to the balcony are a great counterpoint to the windows, while at the same time being vaguely recognizable as a religious shape, without being specific enough to decide what kind.

The view from the balcony is incredible, even more colorful than the view from the primary level.

Even the tiny stairwell leading up to the sound and lighting booth, is planned with great care to provide the utmost aesthetic quality, while at the same time providing ample light to see by.

From the sound and lighting booth, yet another perspective on the ceiling helps one to appreciate just how intricate a work of art it is.

The Marty Leonard Community Chapel
provides a serene setting where the
youth of Lena Pope Home can give and
receive acceptance and forgiveness,
develop character, understand the
unexplainable, accept the unaccept-
-able, forgive the unforgivable, de-
velop and refine a moral values
system, and seek peace and a new
beginning.

The Chapel provides a peaceful place
where the youth can let down their
walls and where they can surrender
and relinquish control of their lives
to a higher power that will not aban-
don them, will not abuse them, will not
judge them, but will love them no mat-
ter what, and forever.

This interfaith chapel provides an
uplifting environment that inspires
people to think their highest and best
thoughts. It is a place for worship, in-
spiration, prayer, guidance, celebra-
tion, joy, meditation, hope, relaxation,
research, education, music, and spiri-
tual enrichment.
Mission Statement

The office on the lower level even has a desk and trash cans designed by Jones as a part of its furnishings.


The reception hall within is modest, unassuming, and elegant in its simplicity. Indirect lighting above gives a soft, relaxing light. To the left are three photos of the Thorncrown Chapel, also designed by E. Fay Jones.

Lastly, the exit leading to the ambulatory is well-shaded, designed such that the mind is focused, and given a sense of purpose before leaving the sanctuary within. All around, The Chapel is probably one of the most beautiful works of architecture in Fort Worth, Texas, and is made even more so for me in that my wife and I were married here three years ago. I would heartily recommend this site for any ceremony, for its beauty, convenience, and friendly staff.

If you have not yet seen the exterior photos of The Chapel, please see yesterday's blog entry for the first half of the photo session.

Special thanks to the staff at Marty Leonard Chapel for the tour, warm welcome, and tolerance of my countless photographs. Anyone wishing to know more about The Chapel can visit their website at http://www.martyleonardchapel.org

E. Fay Jones: Marty Leonard Chapel (Exterior)

(All rights reserved 2009) The following photos are all my own work, but are free for non-commercial use so long as I am credited. Larger, uncropped, higher resolution images are available upon request. Please contact me if you have a desire to use them in any commercial work.

Fort Worth, Texas is blessed enough to have five buildings designed by AIA Gold Medalists Philip Johnson, Louis Kahn, I.M. Pei, Tadao Ando, and E. Fay Jones. On the Southwest corner of I-30 and Hulen, is one of these remarkable gems of brilliant architecture, landscaping, and design recognized worldwide: The Marty Leonard Chapel. Designed by E. Fay Jones, the Chapel, known locally as "The Community Chapel" or sometimes as "The Lena Pope Chapel," will be quite familiar to anyone who is familiar with the Thorn Crown Chapel in Eureka Springs Arkansas.


Jones, who left this world on Aug 31, 2004, was able to achieve something most of us could only ever dream of: having our childhood hero as a Mentor. When he was a young boy, Jones was inspired to go into Architecture after watching a matinee film about a Frank Lloyd Wright building. Later on he would study under Wright and achieve world renown, despite having no desire to become a Starchitect. But even a brief glimpse of his works on photos are enough to recognize just how well he has mastered the art.

With most structures, one could be content showing merely a few interior photos and perhaps a few outside perspectives. But to fully understand why the Marty Leonard Chapel is so beloved and important, one must follow the great circle around it. Jones not only understood the concept of denial and reward, he helped to define it, and considered it an absolutely essential aspect of great architecture. From the Freeway and shopping center northeast of The Chapel, one is gifted with a select angle. But the further to either side one travels around, the more obscured The Chapel becomes, its entry and true face hidden from view.

By the time one enters the parking lot, the Chapel may only be glimpsed between brief gaps in the trees. Instead, a small monument stands near the entrance.


A serene, beautifully crafted bronze statue of Conrad Pope stands atop a base that reads:

"Beyond The Blue"
Conrad Pope, 1908-1914
Son of Ewell and Lena Holston Pope
Young Conrad was the
inspiration for "MOM" Pope's
passion in serving orphans and
children in need.
Circle of Hope is the legacy to
continue her dream.

Beside and beyond the monument is a gently meandering path that gives only fleeting glimpses of The Chapel.

Jones referred to this as "The Path of Life." The philosophy is that one can see where one is at all times, but may only see brief glimpses of where one is going between the gaps. Looking back, you see where you came from, though how you remember it, and how it looks now, are two very different views. It is a beautiful rendering of the denial and reward system, and gives us incredible insight into the mind of E. Fay Jones.

Finally, the path comes to an end directly in front of a beautiful set of waterworks, the design and acoustics of which are such that it is not heard until you are right upon it. The sound is gentle, not overpowering, but is such that it fills the entire plaza in front of the chapel with a calming background noise that drowns out the noise of traffic beyond as well as allowing for privacy in conversation mere feet away.

And, turning left, one is finally rewarded with the first true look at the front of The Chapel. Even still, the entirety of it cannot be fully seen in one go. Only the most flattering angle is ever revealed by the foliage at any given time. Stepping onto the plaza, one feels like they have just stepped into another land: one of serenity, calm, and contemplation. The effect is exactly like that of a small chapel in the wooded clearing...

...while at the same time offering a quiet sense of majesty. The Chapel is very light on adornment. There are no angels, crosses, stars, or crescents carved into the woodwork. Instead, the same geometric patterns are used and reinforced throughout the entire structure. As the congregation faces in an easterly direction, and there is not a stitch of figurative art in the entire chapel, one could hold Christian, Jewish, Muslim, or services of any other denomination quite easily. But we will save the interior for tomorrow's entry. Back to the exterior...

The courtyard plaza area is small and unassuming. It allows for a wide processional: indeed, five full-grown men can easily walk abreast towards the front doors from the fountain. And yet it feels like a small and intimate setting. Off to the sides are little protrusions into the garden, each providing just enough separation of space to give those standing there privacy from the other protrusions. The generous foliage gives ample shade, which on a 100+ degree summer day is absolutely more than welcome.

Jones, like Wright, designed everything down to the trash cans and these external lights are a testament to the continuation of theme throughout the garden. They are just unobtrusive enough to be easily dismissed by the eye, and yet beautiful enough to impress when stared at directly. Yet, even to do so, one is treated to another view of the surroundings they might not have seen before.

MOM POPE
We the "Home Kids" dedicate this living memorial
on this first annual homecoming day to our
beloved Mom Pope. In appreciation for her many
years (1930) of dedicated caring, loving, and
teaching us in all things to do our best. We
thank also the many sponsors of Mrs. Pope and
The Lena Pope Home for their never ending support.

MRS LENA POPE
1880 - 1976
Lena Pope Home Alumni Assn
Dedicated on
July 4, 1976

Truthfully, I had never given much thought to who Lena Pope was, or the story behind why this Chapel was created, or much else on the history... but after having read this and the other memorial plaques and monuments lovingly dedicated throughout the yards, I will now have to find out who this incredible woman was. And note the chapel was dedicated on the 200th Anniversary of the United States Declaration of Independence.

Even the sides of The Chapel were designed with a great purpose in mind. There are multiple entrances on each side, allowing for quiet entry to the chapel from the congregation, or as an entrance in front of the congregation.

Each side is well-shaded with plenty of room for anyone waiting for their cue to watch for it, unseen by the crowd within. Say, a group of groomsmen, for instance, waiting for the officiant to subtly beckon them forth.

The congregation is well-shaded on the sides, while still allowing plenty of light in through the incredible slant-pane design of the windows. The effect works incredibly well, bathing the sides in indirect light.

And as any good architecture should do, it makes art of the surrounding area. Despite having a freeway and a shopping outlet just down the hill, from the cool shade, it looks like a relaxing, pleasant view...

...almost as if one were looking down at a small, quaint village.


At last, the doors to the chapel, with their own unique design leading to an even more unique interior, which we will examine tomorrow.

(ed. Special thanks to Charles for the correction about how many AIA gold medal buildings there are.)