"Our general idea in designing this organ was to produce something simple which would go well with the column it stands behind. Since the cross is centered in the room, we thought it would be best to have the organ face the cross, as if to direct the attention to the organ back to the center of the room."    — Charles Fisk to Edward A. Sövik

The process of achieving perfect harmony of both building and organ design was central to both organ builder and architect. At the time the organ was contracted for, the church's building was still in the design stage. For the first time, Charles Fisk was able to work in collaboration with an architect, Edward A. Sövik. The spare but graceful design of the case and the favorable acoustical climate of the building were thus achieved by organ builder and architect in an atmosphere of mutual respect. A year after the organ was completed, Charles Fisk commented to a member of Sövik's firm: "We ourselves feel that it is one of our most successful instruments. A good part of the reason for the organ's tonal success is the building's acoustics, which for music are simply elegant. I was grateful to see that the organ, which might inadvertently have become a visual focal point, seemed not to obtrude upon the serenity of the place."