Sacred architecture

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16 1 2023

Abstract exterior of a church in China

Blanka de Far 2023, Architecture, Sacred architecture Aluminum, Architecture, Church, Sacred architecture

Architectural and interior design: BUuzz/Büro Ziyu Zhuang

German-Chinese architecture practice Büro Ziyu Zhuang has completed a church in Qingdao, China, featuring walls and a tower made from dozens of spaced-out aluminium ribs.

Büro Ziyu Zhuang designed the Chamber Church as part of Chinese property developer Sunac’s Aduo Town project in the Qingdao Zangma Mountain Tourism Resort.

Cerkev izstopa na gorskem ozadju

The church is positioned at the edge of a public plaza connecting it with other nearby amenities. When viewed from the plaza, the forested mountains form a dramatic natural backdrop.

The architects claimed that the building combines a religious experience with secular attitude, explaining that the church “aims to create a spatial container that both respects the past and looks towards the future.”

Njena zasnova se naslanja na klasično cerkveno arhitekturo

The design borrows familiar elements from classical church architecture, such as the bell tower with its spire and rose window, the basilica layout, and the repeating interiors arches.

These features are translated into simplified forms made up of vertical ribs.

Navpična rebra sestavljajo obliko cerkve

To create a modern icon, they needed to create a pure shape that still evokes the archetype of a church.

During the design process, they integrated different vernacular facade images of traditional churches. The derived base volume is then expressed through a series of slices.

Stavbo obdaja umetno jezero

The building is oriented east to west and is positioned at a point where the site slopes upwards, allowing the church to be raised above the plaza in front of it.

A manmade lake that surrounds the building provides privacy on all sides. Steps leading from the plaza to the entrance are flanked by terraced water features that enhance the sense of connection with the local nature.

Cerkev je dvignjena nad trgom v Qingdau

A semi-sunken podium level beneath the lake contains auxiliary spaces for the main auditorium, including a reception area and preparation room. A VIP entrance on the northwest side of the plaza leads directly to the lower floor.

The church was built using a series of steel portal frames clad with glazing. Sixty aluminium fins uniformly distributed along the building’s length form the walls, roof and tower.

Zborna cerkev je izdelana iz šestdesetih aluminijastih lamel

Internally, sheets of glass-reinforced gypsum are individually shaped to enclose an organic, cave-like hall.

The gentle curves lend the space a fluid feel that contrasts with the rigid, geometric appearance of the exterior.

The cavernous space of the assembly hall attempts to give people a sense of peace and shelter in the form of an enclosure, just as the cave once did.

It provides a frame for the ritual and sacredness desired by the people holding the ceremony, thereby triggering a connection between the real and spiritual dimensions.

Notranjost cerkve daje občutek jame

Gaps between the ribs allow daylight to filter through and illuminate the interior with a soft glow. The sun’s movement throughout the day alters the brightness of the space and the patterns of shadow cast on the floor.

The cascading white slices soften the interior light while wrapping the main frame and construction system of the building, giving the entire assembly a concise and austere atmosphere which is both a contemporary aesthetic tendency and an echo of tradition – a fusion of heritage and contemporaneity.

Cerkev je postavljena kot tradicionalna bazilika

The building’s floor plan borrows from the traditional basilica layout, with a nave extending towards a wooden lectern placed in front of an arched window.

The arch frames a view towards the manmade lake, where an island planted with a tree emerges from the water in front of the mountain range behind.

Orientirana je od vzhoda proti zahodu

The photography is by Shengliang Su.

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23 12 2022

Cathedral of the Northern Lights

Blanka de Far 2022, Architecture, Sacred architecture Aluminum, Architecture, Church, Sacred architecture

Architect team: schmidt hammer lassen architects, Link Arkitektur A/S
Client: The Municipality of Alta

Schmidt Hammer Lassen Architects has paid homage to the northern lights by constructing a titanium-clad cathedral that spirals up towards the sky.

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Danish studio Schmidt Hammer Lassen teamed up with Scandinavian firm Link Arkitektur to design the Cathedral of the Northern Lights in Alta, a Norwegian town located 300 miles north of the Arctic Circle.

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The cathedral was conceived as a public attraction for tourists visiting the natural light display, officially known as the Aurora Borealis, which occurs when particles from the sun collide with the earth’s magnetic field. It can be observed frequently between late autumn and early spring.

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With a spiralling body, the cathedral winds up to form a pointed belfry 47 metres above the ground.

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The Cathedral of the Northern Lights is a landmark, which through its architecture symbolises the extraordinary natural phenomenon of the Arctic northern lights.

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Shimmering titanium clads the exterior and was added to reflect the vivid green colours of the lights as they flicker across the sky.

The cathedral reflects, both literally and metaphorically, the northern lights: ethereal, transient, poetic and beautiful. It appears as a solitary sculpture in interaction with the spectacular nature.

The spiralling form continues inside the building, where offices, classrooms and exhibition areas wrap around a 350-person hall, which will be used for church congregations.

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This isn’t the first time the northern lights have provided the inspiration for architecture. Henning Larsen Architects and artist Olafur Eliasson drew inspiration from the lights when designing the Harpa Concert and Conference Centre in Reykjavík, Iceland.

A number of architectural projects have been completed in the northern parts of Norway in recent years. Peter Zumthor built a memorial to commemorate suspected witches, while Reiulf Ramstad Architects has added platforms high up in the Norwegian mountains.

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Source

Photography is by Adam Mørk.

Gallery

: Situacija

: Tloris

: Načrt kletne etaže

: Vzdolžni prerez

: Prečni prerez

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13 11 2022

Tops San Giacomo Apostolo church with undulating copper roof

Blanka de Far 2022, Architecture, Sacred architecture Architecture, bricks, Plaster, Sacred architecture, Wood

Client: CEI Conferenza Episcopale Italiana, Parrocchia di San Giacomo Apostolo, Ferrara
Architect: Benedetta Tagliabue – Miralles Tagliabue EMBT

Spanish studio EMBT has designed a brick-and-plaster-clad church in Ferrara, Italy, which has a copper roof informed by hot air balloons and an interior that aims to be a modern take on primitive churches.

The church was developed over 10 years and completed in 2021. It sits in the parish of San Giacomo Apostolo in the Arginone neighbourhood of Ferrara and has an uneven, organic shape.

The shape of the church roof nods to hot air balloons

The sculptural design and wavy copper-clad roof reference the hot air balloons that fill the sky above Ferrara each year.

The inspiration came one day when they were analysing the territory and the environment, when they saw the sky of Ferrara full of hot air balloons for the international festival that is held every year in September.

The church is located in Ferrara, Italy

They imagine a light and friendly church, which comes from heaven and is located in the place where the Christian community needs it most, a contemporary church, rich in strength and symbolism, surprising and familiar at the same time, inspired by the early days of the church.

The exterior of the 710-square-meter church has a facade made of alternating brick and plaster that creates a striped effect.

In some sections, the bricks have been placed in a three-pointed protruding design in reference to the Renaissance-era Palazzo dei Diamanti in Ferrara.

Brick and plaster create a striped facade

The church was designed on a “visual and spiritual axis” to a new bridge and the city of Ferrara across the river. It has a spacious plaza in front that functions as a meeting place as well as an extension of the church courtyard.

A large wooden gate leads inside, where the altar sits at the centre underneath a large skylight. A classroom, side chapel, baptistery and annexes are organised radially around it.

The exterior features angled bricks that reference a local Renaissance building

The central space, which is dedicated to the apostle St James, has raw concrete walls and a stone floor. Its altar was made from a block of white Travi stone that was left almost totally untreated, adding to the rough-hewn feel of the interior.

It has four small crosses, one in each corner, and also features a secret drawer that holds a relic.

Concrete walls clad the interior of the church

The raw, unadorned design of the altar was chosen to “recall the most primitive moments of the church when a mass was celebrated with found objects and where the symbol acquired an even greater importance”, the studio said.

Above the nave sits a large cross made from wooden beams that were salvaged from Ferrara’s old town hall.

A wood baldachin is suspended under the skylight and was designed to evoke the shape of the shell of St James, a traditional symbol connected to the apostle.

Artist Enzo Cucchi created the artworks for the interior, including large grey stone crosses that protrude from the church walls and colourful ceramic pieces.

Two wooden beams form a cross above the altar

The organic feel of the interior is underlined by furniture made from different types of laminated wood, resulting in a striped look that resembles the exterior.

Tagliabue also designed the suspension lamps for the church, which are made from thin wooden slats that create small domes.

The undulating shape of the roof can be seen inside the church

A weekday chapel is attached to the main church but has a separate entrance and leads on to a sacristry, penitentiary, parish house and more classrooms. The parish hall, classrooms and rectory measure 873 square metres in total.

EMBT has worked on the church since 2011, when the studio won a competition to design the project for the Arcidiocesi di Ferrara-Comacchi.

Ancillary spaces are connected to the main church

EMBT was founded in Barcelona in 1994 by Benedetta Tagliabue and late architect Enric Miralles. Other recent designs by the studio include a mass-timber metro station in Naples and a music conservatory in Shenzhen covered in wooden and ceramic louvres.

The photography is by Marcela Grassi.

Source

Gallery

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15 10 2022

Mario Cucinella Architects creates “serene and monolithic” church in Italian hill top town

Blanka de Far 2022, Architecture, Sacred architecture Architecture, Church, Sacred architecture

Client: Diocesi of Cassano all’Jonio
Architecture: Mario Cucinella Architects

Bologna-based Mario Cucinella Architects has created the concrete Santa Maria Goretti Church, which incorporates a cross-shaped entrance, in the town of Mormanno, southern Italy.

Built overlooking the mountainous Pollino National Park, the modern church stands at the edge of the hilltop town of Mormanno.

Santa Maria Goretti Church was built on the edge of Mormanno

Mario Cucinella Architects aimed to design a building that was both contemporary and connected to the local community.

“We wanted to create a contemporary building that expresses a strong sense of continuity as we felt for a church, in particular, this sense of connection is important,” said Mario Cucinella Architects founder Mario Cucinella.

It has views over the surrounding mountains

The concrete church is surrounded by curving white walls that surround the four-leaf clover-shaped main auditorium.

According to the studio, this form was derived from reinterpreting the shape of Baroque churches in the Calabria region of Italy.

The church entrance incorporates a cross

“Our design for Santa Maria Goretti is serene and monolithic and looks at local precedents of Calabrian ecclesiastical architecture, but also natural forms in a way that is perhaps primeval or timeless,” Cucinella told.

“We looked at Baroque precedents in Italy, like San Carlo alle Quattro Fontane by Borromini, and the way these embody ritual.”

In part to make the purpose of the contemporary building clear, the church’s main entrance forms the upright beam in a cross that is illuminated at night.

“The church is entered through a cross-shaped incision that is lit up at night and becomes a beacon for the building,” explained Cucinella.

The main auditorium has largely bare walls

Inside, the church’s main auditorium walls were left bare to highlight “the architectural and sculptural form of the building”.

The studio designed simple stone furniture that can be rearranged depending on the space’s use, while folds of translucent fabric were hung from the 16-metre-high ceiling.

“We designed simple furniture for the interior that highlights the architectural and sculptural form of the building and also allows the congregation to focus on the symbolism of the artworks and the play of light created through the fabric that hangs from the ceiling,” added Cucinella.

Translucent fabric hangs from the high ceiling

The studio also created a single storey parish centre alongside the church.

Topped with a green roof, this building contains a parish hall, several classrooms and a residence for the clergy.

A parish hall was built alongside the church

Recent contemporary religious buildings published include a minimalist chapel in northern Mexico made from travertine and concrete and an open-sided church in Bogotá designed to allow people to worship during the pandemic.

The photography is by Duccio Malagamba.

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Gallery

14 9 2022

Reading Between the Lines

Blanka de Far 2022, Architecture, Sacred architecture Architecture, Church, Sacred architecture, Steel

Architects: Gijs Van Vaerenbergh
Location: CHURCHES LOOZ, BELGIUM
Photographs: Filip Dujardin

‘Reading between the lines’ is a project by the duo Gijs Van Vaerenbergh, a collaboration between young Belgian architects Pieterjan Gijs and Arnout Van Vaerenbergh. Since 2007, they have been realizing projects in public space together that start from their architectural background, but have an artistic intention. Their projects do not always originate out of the initiative of a classical client, for example, and carry a large degree of autonomy. Their primary concerns are experiment, reflection, a physical involvement with the end result and the input of the viewer.

‘Reading between the lines’ is part of ‘pit’, an artistic trajectory with works by some ten artists in the region of Borgloon-Heers (in the Flemish province of Limburg). ‘Pit’ will be the first part of the exhibition project Z-OUT, an initiative in which Z33, the contemporary art museum of the city of Hasselt, presents art in public space (see also www.z33.be). On September 24th, Gijs Van Vaerenbergh will reveal a construction in the rural landscape, by a cycle route, that’s based on the design of the local church. This ‘church’ consists of 30 tons of steel and 2000 columns, and is built on a fundament of armed concrete. Through the use of horizontal plates, the concept of the traditional church is transformed into a transparent object of art.

Depending on the perspective of the viewer, the church is either perceived as a massive building, or dissolves — partly or completely — into the landscape. Those viewers that look from the inside of the church to the outside, on the other hand, witness an abstract play of lines that reshapes the surrounding landscape. In this way, church and landscape can both be considered part of the work — hence also its title, which implies that to read between the lines, one must also read the lines themselves. In other words: the church makes the subjective experience of the landscape visible, and vice versa.

‘Reading between the lines’ can be read as a reflection on architectural themes such as scale, the ground plan etc., but the project also emphatically transcends the strictly architectural. After all, the church does not have a well-defined function and focuses on visual experience in itself (one could even consider it to be a line drawing in space). At the same time, the construction demonstrates that this experience is in effect a consequence of the design, since it explicitly refers to the various stages in its conception: the design drawing, the model… Apart from that, because the church does not fulfil its classical function, it can be read as a heritage related reflection on the present vacancy of churches in the area (and their potential artistic reuse).

All these layers merge in one work of art that is open to various readings, from a strictly architectural one to an artistic one. At the same time, ‘Reading between the lines’ is an accessible spatial intervention that gives, among others, a cyclist that happens to ride past, an unexpected visual experience.

Source

Galerija