In the wake of the recent fires at Paris’ Notre Dame and the Al-Aqsa mosque in Jerusalem, we have seen many architects propose new ways of rebuilding these sacred spaces, opening them up to new possibilities.
Historically, after the decline of the Catholic Church and the increasing loss of faith in several locations in Europe and in North America, the maintenance costs and the disuse of sacred spaces has led to the eventual abandonment of churches, shrines and monasteries with great architectural and historical value.
This opens 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.
If there is any consistent factor in his work, says Pritzker-winning architect Tadao Ando, then it is the pursuit of light. Ando’s complex choreography of light fascinates most when the viewer experiences the sensitive transitions within his architecture. Sometimes walls wait calmly for the moment to reveal striking shadow patterns, and other times water reflections animate unobtrusively solid surfaces. His combination of traditional Japanese architecture with a vocabulary of modernism has contributed greatly to critical regionalism. While he is concerned with individual solutions that have a respect for local sites and contexts Ando’s famous buildings – such as the Church of the Light, Koshino House or the Water Temple – link the notion of regional identity with a modern imagining of space, material and light. Shoji walls with diffuse light are reinterpreted in the context of another culture, for instance, filtered through the lens of Rome’s ancient Pantheon, where daylight floods through an oculus. Ando’s masterly imagination culminates in planning spatial sequences of light and dark like he envisioned for the Fondation d’Art Contemporain François Pinault in Paris.
While French firefighters were putting out the destructive blaze at the Notre Dame Cathedral, another holistic site was also up in flames. Jerusalem's Al-Aqsa Mosque, which is among the holiest sites in Islam and was built almost 1,300 years ago, was struck by blaze while the monumental Catholic Church was also devastated with fire.
The fire is said to have started in the Al-Marwani Prayer Hall - also known as Solomon's Stables - part of the same compound as Al-Aqsa mosque and the Dome of the Rock. Fortunately, firemen of the Islamic Waqf department of the city were able to control the fire before any harm was done to the individuals or the other prayer halls. While the cause remains unknown, sources claim that the fire could have been ignited accidentally by children who were near the prayer hall at the time.
This year's winners include 35 projects that span a variety of religious denominations, sizes, and location. Additionally, the award has recognized two trends defining contemporary religious architecture: "the preference for natural materials in worship environments, and inventive design solutions to address tight budgets."
Located in south-east Turkey, the 11,000-year-old Göbekli Tepe is considered to be the world’s oldest temple, greatly surpassing England’s Stonehenge, and the Egyptian pyramids. The ancient site, awarded Unesco World Heritage status in July 2018, predates pottery, writing, and the wheel, leading archaeologists such as its discoverer Klaus Schmidt to ask if Göbekli Tepe may, in fact, be not only the world’s first piece of architecture but a crucial catalyst for the onset of settled societies.
Spread across eight hectares near the city of Sanliurfa, the Göbekli Tepe is an artificial mound hosting a series of sunken circular structures adorned with limestone carvings, believed to have been occupied for thousands of years before their abandonment.
https://www.archdaily.com/900795/the-worlds-oldest-piece-of-architecture-tells-a-new-story-about-how-civilization-developedNiall Patrick Walsh
In his latest photographic collection, Federico Scarchilli captures Cistercian order in the form of Abbazia di Fossanova, Casamari, and Valvisciolo. Simple and utilitarian, Cistercian architecture reflects the transition between the Romanesque and Gothic periods. During this time, many religious authorities felt excessive ornamentation was a distraction to spiritual studies.
OMA New York has released initial details of its design for the Audrey Irmas Pavilion, a new addition to the Wilshire Boulevard Temple in Los Angeles, California. The OMA scheme, currently seeking planning approval, seeks to “forge new connections within the existing campus and create a new urban presence to engage Los Angeles.”
Having won a competition for the pavilion's design in 2015, the OMA scheme represents the firm’s first commission from a religious institution and their first cultural building in California. Designed in collaboration with Gruen Associates, the Audrey Irmas Pavilion will form the newest addition to the Wilshire Boulevard Temple, the oldest Jewish congregation in Los Angeles. The scheme will serve as a multi-purpose gathering space in what Rabbi Steve Leder regards as “the city’s most diverse neighborhood.”
https://www.archdaily.com/891674/oma-reveals-pavilion-design-for-wilshire-boulevard-temple-in-los-angelesNiall Patrick Walsh
The Bahá'í International Community has unveiled a proposal for the national Bahá'í House of Worship of Papua New Guinea. In the capital city of Port Moresby, a celebration was held at the temple’s future site to showcase the scheme, coinciding with the Bahá'í New Year. Inspired by the art of weaving, the architects’ vision was for a temple where the people of Papa New Guinea could unite to worship and find inspiration.
On the 61st anniversary of Ghana’s independence, President Nana Addo Dankwa Akufo-Addo has unveiled plans for a New National Cathedral of Ghana to be built in the capital city of Accra. Led by British-Ghanaian architect David Adjaye of Adjaye Associates, the design is envisioned as a “physical embodiment of unity, harmony and spirituality” where people of all faiths will be welcome to gather and practice their faith.
How does contemporary religious architecture adapt to the needs of the modern world? Each year, Faith & Form magazine and the Interfaith Forum on Religion, Art and Architecture (IFRAA) award acknowledges the best in religious art and architecture. This year’s winners included 27 projects spanning in religious denomination, size, and location. Beyonds this, the award recognizes three common trends present in religious architecture today: re-adaptation of existing facilities, community-based sacred spaces, and simplicity in design. Read on to see all 27 winners.
As revealed by the Pappas Post, last week the construction company distributed a letter to its subcontractors informing them that the building contract had been terminated after The Greek Orthodox Archdiocese of America defaulted on making payment. In the letter, Skanska directed subcontractors to stop all work and to remove all tools and materials from the site, or risk not being able to recover them.
Snøhetta has unveiled the design of a new residential skyscraper to be built in Manhattan’s Upper West Side that will feature a unique, multi-level amenity terrace carved from the tower’s form. Located at 50 West 66th Street just steps from iconic New York City landmarks including Lincoln Center and Central Park, the tower aims to sensitively respond to the historic architecture of its context through its intricate form and refined material palette.
Helsinki-based practice AOR have presented designs for a church in the Finnish town of Ylivieska which also doubles as a bridge spanning the Kalajoki River. The proposal, which was awarded a shared third prize in an open competition, intends to "revive the historical role of the church as a dominant building in the river landscape."
A few years ago, while visiting, or rather exploring, Notre-Dame, the author of this book found, in an obscure corner of one of the towers, this word carved upon the wall:
These Greek characters, black with age, and cut deep into the stone with the peculiarities of form and arrangement common to Gothic calligraphy that marked them the work of some hand in the Middle Ages, and above all the sad and mournful meaning which they expressed, forcibly impressed the author.
Standing like a concrete mountain amid a wood, the jagged concrete volume of the Neviges Mariendom [“Cathedral of Saint Mary of Neviges”] towers over its surroundings. Built on a popular pilgrimage site in western Germany, the Mariendom is only the latest iteration of a monastery that has drawn countless visitors and pilgrims from across the world for centuries. Unlike its medieval and Baroque predecessors, however, the unabashedly Modernist Mariendom reflects a significant shift in the outlook of its creators: a new way of thinking for both the people of post-war Germany and the wider Catholic Church.