The selected directions.

Retain the reviewed balance of ivory, pale stone, warm wood and restrained gold

Restrained crown with a plain Latin cross as the main exterior feature

Smooth, matte ceiling in a slightly lighter warm ivory than the walls

Warm, pale stone-like appearance with subtle vertical texture and a low-sheen finish

Muted, softly brushed gold accents for the ceiling ribs, kept narrow and understated

Retain three clergy chairs to the left of the altar as viewed by the congregation

Develop the slightly forward altar position

Simple, substantial altar form with restrained detailing

Coordinated, substantial ambo with a narrower form

Warm, light tones with a soft, low-sheen finish for the altar and ambo

Retain the quiet, substantial altar-and-ambo appearance shown in Sanctuary-Furniture-Review-C01-V01.png

Keep the ambo on the congregation's left of the altar, forward of the clergy chairs, as shown in the review image

Three coordinated clergy chairs in warm wood tones with lightly padded neutral upholstery; celebrant chair distinguished by a slightly taller back

Plan for a tabernacle so the Blessed Sacrament can remain in the chapel between Masses, subject to Church approval

Central tabernacle position explored, then retained as the direction in C01-INT-11.

Retain the central tabernacle arrangement behind the altar near the sanctuary mast, subject to Church approval

Restrained, softly brushed gold tabernacle appearance with a plain cross and a warm, light pedestal

Simple red-glass sanctuary lamp with a softly brushed gold support on the congregation-facing right of the tabernacle

Simple, shallow surround in warm, light tones with a narrow brushed-gold border

Soft, even wash of warm light from discreet fixtures, with adjustable brightness for Mass and quiet prayer

Linkable individual chairs in curved rows, compatible with congregation kneelers, with lightly padded seats and replaceable seat pads

Warm, medium-light sand colour with a subtle woven texture

Warm wood tones with a soft, low-sheen finish, coordinating with the clergy chairs

Include a small number of coordinated chairs with armrests alongside the standard chairs, retaining warm wood tones and sand upholstery

Integrate each wheelchair position beside a companion seat within the main seating arrangement, with a choice of locations and clear views toward the sanctuary

Quiet, warm, light limestone-like floor with gentle colour variation and a softly honed finish

One continuous floor through the congregation and sanctuary

Warm ivory walls with a fine, subtle plaster-like texture and a matte finish

Three clearly labelled lighting presets: Mass, quiet prayer, and cleaning/setup, with manual adjustment to fine-tune settings

Discreet sound-absorbing finishes blending into the ceiling or upper walls in the ivory palette, preserving the sweeping roof form

Visually discreet speakers matching adjacent surfaces, with concealed wiring and placement guided by the sound design

Discreet, closed built-in storage with simple fronts blending into the surrounding finish, in an appropriate service area

Plan a modest, enclosed clergy preparation space with built-in storage and a clear work surface, subject to fitting within the chapel layout and budget

Prioritise a short, discreet connection from the preparation space to the side of the sanctuary, with the door blending into the adjacent wall finish where possible

Include a modest, flexible area for a cantor and keyboard, with movable furniture coordinated with the interior, preserving sanctuary views, circulation and the seating brief

Explore the front-right position for the cantor and keyboard, outside the sanctuary, preserving clear views, circulation and the seating brief

Plan for two people, a cantor and a separate keyboard player, while keeping the area usable by one person when needed

Normally leave the keyboard set up in its discreet side position, ready for use, with the ability to move it when needed

Restrained wood-toned entrance doors with simple vertical detailing and a soft, low-sheen finish, coordinated with the interior seating

Narrow clear-glass viewing panels within the wood-toned entrance doors

Simple forms with a muted, brushed-gold appearance

Simple, visually discreet fans in a matte ivory finish coordinated with the ceiling, with size and placement guided by the airflow design

Option B: upper geometric stained glass, four lower figurative reserves and quiet clear/light glazing in the other eight lower bays

Sponsor-preferred design direction; parish and specialist review pending

Develop geometric stained glass in the separate upper band. Retain S01, S04, S05 and S08 as the four lower figurative reserves, with the earlier working allowance of one Guadalupe window and three story windows (subject assumption superseded by W02-01 and W02-02). Develop quiet clear/light glazing in S02, S03, S06, S07 and S09-S12. Carry 17.28 m² of upper geometric gross-equivalent area once for budget comparison; it is not approved net glass, final coverage or a fabrication-panel count. Retain the existing architectural appearance and original drawings.

Still open: Parish, family and artist review of sacred subjects, exact bay assignments, reading order and relationship to the mast image; Architect and specialist review of upper-band coverage, distribution, geometry, interruptions, net areas and supported panel divisions; Quiet lower-glazing finish, material, framing and complete assembly; Glass technique, colour samples, support, thickness, safety/weather protection, movement, drainage and maintenance access; Comparable quotations, final cost, contingency coordination, procurement scope and installation phasing.

Preferred design direction only. No final artwork, fabrication dimensions, engineering, supplier, purchase, construction release or final price is approved.

Read the W02 proposed schedule →

Keep Mary at the central tilma. Replace the two Marian window scenes with Christ the Good Shepherd and Saint Joseph teaching the young Jesus.

Sponsor-preferred subjects; parish and artist review pending

In forward preview V02, Christ the Good Shepherd replaces the far-left Marian scene; Saint Joseph teaching the young Jesus replaces the right-hand Marian scene nearest the sanctuary. These are illustrative positions, not final bay assignments. The remaining two figurative subjects were open at W02-01; W02-02 below records their later selection. Option B retains four lower figurative reserves and eight quiet lower bays, with separate upper geometric glass.

Still open: Parish and artist review of subjects, iconography and composition; Remaining two figurative subjects and exact S01/S04/S05/S08 assignments; Architect and specialist review of upper coverage, measured glass sizes, supports, assemblies and fabrication; Samples, comparable quotations, procurement and installation.

Subject direction only. No final artwork, technical dimensions, supplier, purchase, construction release or final price is approved. Earlier G01 and W02 subject labels remain historical cost references; W02-01 supersedes their proposed repetition of Mary in windows.

Read the W02 proposed schedule →

Saint Juan Diego carrying roses replaces the inner-left narrative study; Saint Francis with birds replaces the far-right narrative study. Retain the Good Shepherd and Saint Joseph teaching Jesus. Mary appears only at the central tilma.

Sponsor-preferred subjects; parish and artist review pending

V03 left to right: Christ the Good Shepherd; Saint Juan Diego carrying roses in a plain cloak with no image or apparition; Saint Joseph teaching the young Jesus; Saint Francis with birds. These are illustrative positions; exact S01/S04/S05/S08 assignments remain open. The upper geometric glass and eight quiet lower bays are retained.

Still open: Parish and artist review of all four subjects, iconography, composition and colour; Exact bay assignments, reading order and sightlines; Architect and specialist review of measured glass dimensions, upper coverage, panel supports and fabrication; Samples, complete-scope quotations and installation.

Sponsor direction only. No final artwork, fabrication, supplier, purchase or construction release approved. Mary is excluded from all four window compositions, including secondary figures, apparitions and images on clothing.

Read the W02 proposed schedule →