Boston Avenue Methodist Church
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Boston Avenue Methodist Episcopal Church, South
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| Location | 1301 South Boston Ave., Tulsa, Oklahoma  United States
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| Coordinates | 36°8′38″N 95°59′4″W / 36.14389°N 95.98444°WCoordinates: 36°8′38″N 95°59′4″W / 36.14389°N 95.98444°W |
| Built | 1927-29 |
| Architect | Bruce Goff |
| Architectural style | Art Deco |
| NRHP Reference # | 78002270 |
| Significant dates | |
| Added to NRHP | August 31, 1978 |
| Designated NHL | January 20, 1999 |
The Boston Avenue United Methodist Church, located in downtown Tulsa, Oklahoma and completed in 1929, is considered to be one of the finest examples of ecclesiastical Art Deco architecture in the United States, and has been placed on the National Register of Historic Places. Built by a congregation of the Methodist Episcopal Church, South, it was designated a National Historic Landmark in 1999.
The design of the US$1.25 million edifice is credited to two individuals: Adah Robinson and Bruce Goff. Robinson was an art teacher at Central High School in Tulsa, and eventually was chair of the art department in the University of Tulsa. Robinson sketched the original ideas for the church. Bruce Goff, formerly one of her high school students, and the architect in 1924-1926 of her home and studio, then took the sketches and came up with the design for the church. Officially, the architecture firm credited is Rush, Endacott and Rush where Goff apprenticed (from age 12 and became a partner in 1930). There is still some debate over who was more responsible for the building. The church credits Adah Robinson with the design of this building, while Goff experts maintain that it is clearly his design. The definitive book on the subject, Tulsa Art Deco [see References, below] says of that issue that "it is not the purpose of this book to offer a resolution to that controversy."
The original building consisted of a semicircular auditorium, a soaring 225-foot (68.5 m) tower, and a wing containing class rooms. The soaring straight lines of the tower provide physical, visual, and philosophical linkage to the Gothic Cathedrals of past ages as well as allowing the designers to indulge in the Art Deco celebration of the vertical.
At the top of the tower, as well as on many of the other high points and used much in the same manner that churches in the Middle Ages utilized crockets and finials, is a stylized sculpture that represents two hands raised upward in prayer. This motif of praying hands is one that is echoed throughout the building and is one of the areas of design that can be traced back to the early drawings by Robinson.
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