A brief historical narrative on the church's background, per
Wikipedia:
"University Baptist Church [...] was organized in 1907–1908 to serve students at the University of Texas. Originally leasing space from the Highland Presbyterian Church, the church was officially chartered on September 27, 1908, with 80 original members.
In 1914, the church absorbed members of the then-defunct Central Baptist Church, soon growing to almost 500 members. In 1916 the church purchased land at the southwest corner of 22nd Street and Guadalupe Street to construct a church building. Philadelphia architect Albert Kelsey designed the structure in the Spanish Colonial Revival style to match the University of Texas buildings across the street. It was built to house 1,100 people and was an immediate cornerstone of the "Drag" (Guadalupe Street).
The church welcomed African Americans as members in 1943, becoming one of the first integrated churches in the Southern Baptist Convention. The church was expelled from the Austin Baptist Association for doing so (though it was later readmitted). The church earned further notoriety in the 1970s when it began ordaining women as deacons.
In 1995, the church was again expelled from the Austin Baptist Association for ordaining a gay men as deacon. The church stood by its position, and in 1997, for this and other reasons, the church voted to disaffiliate itself with the Southern Baptist Convention. In recent years the church has become known for its welcoming stance toward homosexuals and has joined several like-minded church organizations. It is affiliated with the Alliance of Baptists, the American Baptist Churches USA, the Association of Welcoming and Affirming Baptists, and the Baptist Peace Fellowship of North America.
The main church building, completed in 1921, [...] features a carved stone facade facing Guadalupe Street and cathedral ceiling vaults with an excellent acoustical signature, and has hosted performances by Willie Nelson and Larry Gatlin."
Below is a much more detailed accounting of the church building itself, per the
Texas Historical Commission Atlas:
"[...] The church building consists of a sanctuary, cruciform in plan, with a classroom wing extending from the its southwest quadrant. The sanctuary occupies the northern half of the site and stands as the most prominent part of the building. Designed in the Spanish Colonial Revival style, constructed of brick with cast stone detailing, and capped with a clay tile roof, the church sanctuary utilizes a variation of the traditional basilican form. The interior space and exterior form of the sanctuary clearly reflect its Greek cross plan and exhibit intricate detail and ornament applied to simple surfaces. The church maintains its original site and the only feature added to the property is a playground placed east of the classroom wing in open space between the sanctuary to the north and the neighboring commercial building to the south. The sanctuary has undergone only minor renovations since its construction and renovations to the classroom wing have been mostly cosmetic, leaving much of its original plan configuration and building fabric intact. From the minimal changes to its site organization, building fabric, and use, the University Baptist Church represents a clear expression of its original design and, therefore, maintains a high degree of integrity. [...]
The church property is bounded by 22nd St. to the north, Guadalupe St. to the east, a two-story commercial building to the south, and an alley to the west. The University Baptist Church sanctuary and classroom wing occupy the northern and western edges of the site, respectively, enclosing an outdoor space, currently used as a playground, in the site's southeast quadrant. The church sanctuary occupies the northern half of the site, its main axis running east-west. Two transepts extend to the north and south from the midpoint of the sanctuary's main axis. From the southwest re-entrant angle of the sanctuary, a two-story classroom wing extends along the site's western edge. The church property stands back approximately 20 feet from Guadalupe St., following the typical setback for buildings along this street's western side. To the north, along 22nd St. the sanctuary's northern transept extends to within 15 feet of the street with the sidewalk passing close by its gable end. An alley running north-south from 21st St. to 22nd St. bisects the city block containing the church property and forms its western boundary. The sanctuary and two-story classroom wing sit on the alley's edge. The classroom wing extends to within 10 feet of the commercial building forming the site's southern boundary. Through its effective placement within its site, the University Baptist Church sanctuary and classroom wing has maintained its original site configuration, remaining untouched by additions and neighboring buildings.
The church sanctuary stands as the most significant part of the church building, containing the highest level of exterior and interior detail. The sanctuary follows a Greek cross plan, reflected in the building's massing. Masonry bearing walls establish the sanctuary's main axis and transepts and form the building's structure which rises approximately four stories. Atop the bearing walls, wood scissors trusses carry the main roof. The bearing walls are constructed of tan common brick accentuated at the entrance and transepts with cast stone ornament. Each axis and transept terminates in a parapetted gable end wall that reflects the slope of the clay tiled roof and is topped with a cast stone cap. In each of the four quadrants formed by the intersection of the main axis and transepts, a lower roof of the same slope extends from the brick wall to cover the sanctuary stairs and circulation spaces.
The church's primary (east) entrance faces Guadalupe St. and terminates the east end of the sanctuary's main axis. An intricately detailed cast stone frontispiece on the entrance facade forms the sanctuary's most distinguishing feature. Framing the sanctuary entrance, the frontispiece follows a three-part horizontal and vertical organization. At ground level, three low, deep set, arched openings sit atop a short flight of steps. Intricate cast stone portals define each opening, interrupting the strong horizontally coursed cast stone forming the base of the frontispiece. Within each opening, colorful glazed terra cotta tiles depicting the bluebonnet (Texas' state flower) line the walls and vaulted ceiling, creating a transition space leading from the sidewalk to a dark wood door. Each arched wood entrance door is of stile and rail construction holding diamond shaped panels. Above the central door rests a scroll bearing the church's name while a dove sits above each of the flanking doors. Above the door openings, flowing plant and leaf forms rise to fill out the top of the frontispiece base. Hidden from view above each door, planters built into the top of the frontispiece base provide a place for greenery on the entrance facade. Atop base stand four Corinthian columns, the bottom quarter of each patterned with stylized blossoms and the top three-quarters encircled with a garland of blossoms spiraling up the shaft. This spiral ornament reflects the "Solomonic" or twisted column, a typical Spanish Baroque feature utilized in the Spanish Colonial Revival. Between each column rise three tall, arched windows, one above each entrance door. The column capitals support an entablature that, in turn, supports four finials, one above each column. From the entablature, a central window rises into the gable of the entrance facade. Intricate cast stone surrounds the window to form an ornate pinnacle to the frontispiece.
The gable ends of the two transepts each contain one large window within an intricate cast stone surround and several smaller windows lacking ornament. On the north transept below the large window, two of the smaller windows are also detailed in cast stone.
The sanctuary sits atop a partially submerged basement that contains a kitchen, an assembly hall, classrooms, and restrooms. The sanctuary's main entrance falls midway between the basement and the main sanctuary level. On either side of the entrance, stair wells lead up to the sanctuary foyer and down to the basement. The three arched frontispiece windows light the sanctuary foyer. Originally, three transomed doors gave access from the foyer to the sanctuary but the central door has been replaced with a storage cabinet. The sanctuary's interior reflects its cross-axial plan. The entrance terminates the eastern end of the east-west axis and the choir loft, baptistery, and pulpit platform terminate the western end. The north and south transepts each hold seating on the main floor and on a balcony level. At the intersection of the cross axes the corners are chamfered to form an octagonal space that rises up to a lantern at the intersection of the two vaulted plaster ceilings. This octagonal space serves as the sanctuary's main seating area with rings of wooden pews extending out from the pulpit platform in concentric rings. Pews extend into the eastern end of the main axis which also contains seating on a balcony level. Two alcoves enframed with composite columns open to the north and south from the main axis' eastern end. Smooth finished plaster forms the wall and ceiling surfaces. Ornamental plaster brackets line the undersides of the balcony fronts, which are paneled with wood and topped with brass railings. The sanctuary floors, originally finished wood, are now carpeted.
The choir loft, baptistery, and pulpit platform contain the highest level of detail and material quality and comprise the sanctuary's most important interior feature. A semi-circular wooden platform extends from the opening of the main axis' western end. A wood pulpit extends from the northern side of the platform and, above the pulpit, hangs a speaker box installed in 1967. A wall of pink marble rises from the back of the platform. The smooth undecorated surface bears an inscription taken from the book of Romans and forms a colorful backdrop and point of focus. At the base of the wall, a large baptistery pool, also of pink marble, extends into the platform. The pool floor sits approximately three feet below the platform level and is accessed by concealed stairs to the left and right. On each side of the pool, a door provides access from the platform to the pool, the choir loft, and to various service spaces. The choir loft sits atop the pink marble wall behind and above the pulpit platform. An intricate radial plaster design rises above the choir loft and, in its center, holds the pipes of the church organ, installed in the 1950s. While originally painted gold with colored highlights, the radial plaster design is currently painted white. The pulpit platform, baptistery pool, and choir loft form the focal point of the sanctuary and, having been altered little, maintain much of their original materials and reflect the architect's original design intent.
The classroom wing extends from the sanctuary's southwest re-entrant angle. The classroom wing is organized around a central corridor running the length of the building, rises two stories, and is covered by a hipped roof of clay tile. A two story bay window protrudes from the southern end of the building's east facade into the playground and stands as the wing's most prominent element. Central corridors exit the building's southern end on both floors with a bracketed timber stair providing access from the second floor down to the playground. Two main entrances open into the central corridor near the sanctuary. The eastern entrance opens into the playground and contains the original wood door and is covered by bracketed timber canopy cantilevered from the wall. The western entrance opens into the alley and contains new aluminum storefront doors and a new decorative surround in stucco. The classroom wing maintains much of its original floor plan with the main alteration being the creation of a choir-practice suite at the southern end of the second floor corridor. Most finishes remain intact such as dark stained wood doors, frames, and trim, although the original wood floors have been carpeted and suspended acoustical ceiling tiles have been installed.
As the material forming the church's ornament, the cast stone exhibits many elements typical of Spanish Colonial Revival architecture. Organic elements such as plants and leaves form the bulk of the ornament while arches top the major window and door openings and curved brackets, scrolls, and shells highlight prominent positions. Unique to University Baptist's cast stone ornament are stylized bluebonnet blossoms incorporated by the architect, Albert Kelsey, into the large transept window surrounds and the frontispiece.
Both the sanctuary and classroom wing are constructed of tan common brick coursed in running bond with headers every seventh course. Toward the sanctuary entrance the brick rests on a granite base but the granite ends as it rounds the corners of the front facade. For the rest of the sanctuary and for the classroom wing, the brick extends directly to the ground. The use of common brick with deeply raked mortar joints, the lack of brick headers and sills on windows, the characteristic detailing of the window frames, and several characteristic cast stone details testify to MrfKelsey's original intention that the building be finished with stucco."