Using only natural light to document English cathedrals can turn into a logistical and technical challenge. However, Peter Marlow's photography has resulted in a remarkable series of iconic spiritual sites whose contemplative atmosphere is rarely accessible to others. Looking east with the camera towards the nave as the dawn light streamed through the main window opens a purist and mystical perspective to the time when these sacred structures were erected.
Henning Larsen has revealed the first images of the Ørestad Church, the first church to be built in Copenhagen in the last 30 years. The modern monument is built in wood and wood shingle, reflecting Ørestad’s open natural landscape and embracing the identity of the local community. The intention was to create a serene space, detached from the bustle of the city, where the calmness and simplicity of interior spaces can offer residents solace from their everyday life. Construction is expected to start in 2024, and the church will be consecrated in 2026.
A few weeks ago, this year’s edition of the Serpentine Pavilion opened to the public. Designed by Chicago-based artist Theaster Gates, it’s an evocative project, its cylindrical form referencing American beehive kilns, English bottle kilns, and Musgum adobe homes found in Cameroon.
What the pavilion is named tells the viewer a lot more about its intentions as a spatial experience. Titled Black Chapel, it houses a spacious room with wraparound benches, and an oculus above that allows daylight to filter into the space. It’s a fairly minimal interior – designed as a site for contemplation and reflection. This minimal quality of Gates’ Serpentine Pavilion raises particularly interesting questions. How artists and architects opt for a “less is more” approach when designing meditative spaces, but also how these introspective spaces have been equally enhanced by ornamentation.
If one were asked to picture a Catholic Church, the first image to come to mind would probably resemble a medieval gothic cathedral with buttresses, pointed arches, and a spire pointing toward the sky. On second thought, many more styles could easily be identified as catholic architecture: the simple yet grandiose structures of the Romanesque or maybe the ornate styles of Baroque and Rococo. An image more difficult to associate with sacred architecture is that of Modernism. The Roman Catholic Church is a particularly conservative establishment. Modernism, on the other hand, is revolutionary; it is rational, functional, and technical; it rejects ornaments and embraces innovation. Surprisingly, in the years after the end of the Second World War, places of worship defied expectations. Blocks of concrete, raw materials, angular shapes, and exposed structures have all been employed to break from tradition and create churches that barely resemble a church. This article will explore Modernist mid-century Church architecture with the support of images from Jamie McGregor Smith.
Russia’s invasion of Ukraine unleashed a major humanitarian and refugee crisis, with 4.2 million people fleeing into neighbouring countries and 6.5 displaced internally. According to the United Nations Office for the Coordination of Humanitarian Affairs (UNOCHA), 18 million people are projected to become affected in the near future with the current scale and direction of the ongoing military violence. In addition to the threat to human lives, Ukraine’s culture is also at risk, as cities and historic buildings are being destroyed. In March, the United Nations Educational, Scientific, and Cultural Organization (UNESCO) has expressed concern over the damage caused to historic landmarks in Ukraine and called for the protection of its cultural heritage. The following are some of Ukraine’s most prominent architectural landmarks, which are now in danger of being destroyed amid the conflict.
Spanish architect and engineer Santiago Calatrava is rebuilding World Trade Center’s St. Nicholas Greek Orthodox Church and National Shrine in New York City. The church, which was destroyed during the 9/11 attacks, began its reconstruction process in 2015, and is finally reaching completion in 2022. The new structure's design is inspired by a mosaic of Istanbul's Hagia Sophia Grand Mosque, formerly the Church of Hagia Sophia, which was one of the fundamental factors in defining the original architecture of the St. Nicholas Greek Orthodox Church.
The historical Roman town has been busy at work and new exciting buildings, squares, and public parks have bloomed across the city. Since my first trip to Zürich in 2014, a lot has happened around good old Turicum.
After a compelling trip organized by Visit Zürich and my friend Philipp Heer, we were able to visit some of the newest, most interesting and uplifting places of the city. Flitting hither and thither, Roc Isern, David Basulto, and I enjoyed the privilege of a tailored itinerary, access to Zürich's gems, and perhaps the most inspiring, the architects behind these amazing structures.
In the wake of the fires at Paris’ Notre Dame and the Al-Aqsa mosque in Jerusalem, in the past years, we have seen many architects propose new ways of rebuilding these sacred spaces, opening them up to new possibilities.
In Europe and in North America, the maintenance costs and the disuse of sacred spaces have led to the eventual abandonment of churches, shrines and monasteries with great architectural and historical value. This opened a new opportunity for investors and architects to rescue and re-contextualize the historical heritage of these buildings. Below we present 15 examples of adaptive reuse in ancient churches--transformed into hotels, homes, museums, libraries and other cultural spaces.
Henning Larsen has won a competition to design Højvangen Church, the first church to be built in Skanderborg Parish in over 500 years. The new intervention, set to be completed and inaugurated by December 2024, will be a new public gathering point in the growing residential area of Højvangen in Skanderborg, Denmark.
We are in an unholy mess. It is a pandemic, with insane politics, and centuries of hideous racial injustice screaming out humanity’s worst realities. Each day reveals more disease, more anger, more flaws in our culture than anyone could have anticipated.
This season’s inscrutable fears are uniquely human. The natural world flourishes amid our disasters. But architecture is uniquely human, too. Architecture’s Prime Directive is to offer up safety. So in this time of danger, it is a good idea to think about the flip side of so much profane injustice and cruelty, Sacred Space? Architecture can go beyond playing it safe and aspire to evoke the best of us, making places that touch what can only be defined as Sacred.
What is Sacred Space? Whether human-made or springing from the natural world, Sacred Space connects us to a reality that transcends our fears. The ocean, the forest, the rising or setting sun may all define “Sacred”. But humans can make places that hold and extend the best in us beyond the world that inevitably threatens and saddens us. Architecture can create places where we feel part of a Sacred reality.
The largest pilgrimage church in Sicily, The Sanctuary Basilica of Our Lady of Tears in Syracuse was built to commemorate the 1953 miraculous tearing of a plaster effigy representing the Virgin Mary. The ever-growing number of religious devotees prompted the construction of a dedicated church of an appropriate scale. In 1957, an architecture competition was organized for the design of the new church, where 100 architects from 17 countries participated. The winners were Michel Andrault and Piere Parat, and their sculptural design became not only a landmark for the region but a trailblazer for religious architecture at the time.
Changtteul Church, is an old place of worship in Gyeonggi-do, South Korea, that gets its name from the term "changtteul", meaning "a frame containing a window", in Korean. As its name suggests, the building's character lies in its series of windows, giving the visitors both outside and inside a unique experience of light and scenery.
Designers Hanyoung Jang and Hanjin Jang of studio minorormajor utilized the windows of Changtteul as a metaphorical motif for their design concept: the first being the 'window between man and God', and the second being ‘the window between man and nature’, immersing the abandoned religious facility with dramatic experiences.
Rocco Design Architects created a vertical church, on a challenging site in Wan Chai District, Hong Kong. The Wesleyan House Methodist Church, with its 11,000m² program, sits on a tight 800m² plot, making it inevitable to go up and generate a skyscraper structure.
Safdie Architects’ entry for the Abrahamic Family House competition located in the Saadiyat Island Cultural District, in Abu Dhabi, brings together a mosque, a synagogue, and a church within a shared public park.
