In an increasingly diverse world, the emergence of multi-faith spaces represents a significant shift in architectural design, reflecting the evolving religious landscape of contemporary society. These spaces, which began to be formally established in the 1950s in public buildings like airports and hospitals, serve as microcosms of social transformation and peaceful coexistence. They allow various traditions to harmoniously share environments, embodying principles of inclusivity, flexibility, and adaptability.
As communities grow more multicultural and increasingly diverse, these spaces serve as physical manifestations of religious inclusion, encouraging the acceptance of religious and ethnic minorities within multicultural landscapes. Their proliferation reflects a growing need for inclusive environments that cater to diverse spiritual needs while promoting interfaith understanding. However, designing and implementing these spaces presents complex challenges, often sparking debates about representation, neutrality, and the very nature of sacred space. These discussions underscore the delicate balance architects must strike in creating spaces that are both universally welcoming and spiritually meaningful.
Architecture has always mirrored societal shifts, and the rise of multi-religious spaces reflects increasing religious diversity in modern societies. These spaces embody pluralism and coexistence, serving as neutral grounds where different religious practices can coexist side by side. Architecturally, they challenge the traditional notion of sacred, pushing designers to create inclusive, versatile environments adaptable to various rituals. This adaptability is not merely functional but a profound statement about fluid religious identities in contemporary society. The theoretical foundation of multi-religious architecture lies in fostering community and mutual respect among diverse groups. Architects must create neutral yet spiritually significant environments that accommodate various rituals without compromising sacredness. In a world of religious conflicts and cultural misunderstandings, these spaces play a crucial role in promoting peace and unity, offering sanctuaries where individuals from different backgrounds can come together in mutual understanding.
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Is Religious Architecture Still Relevant?The most common solution to this challenge is what can be termed as "negative design". This approach typically results in windowless, white rooms with minimal ornamentation and flexible furniture arrangements. Religious texts and symbols are often kept in storage, only to be brought out when needed. This design strategy aims to create a neutral canvas that can be temporarily transformed to suit different religious needs, while at the same time addressing the paradox of a space that wants to be religious without in fact being so. As a response, architecture develops strategies to incorporate universal symbols such as light, water, or other natural symbols. In this way, it transposes religion into spirituality, creating a sense of the sacred without referencing any particular faith.
However, this method does come with its own set of controversies. Can a space be truly sacred if it's designed to be religiously neutral? How does the use of a space define its character, regardless of its physical design? These questions challenge our understanding of the relationship between form and function in religious architecture letting some critics argue that these blank sterile spaces can be bland or lacking in spiritual atmosphere due to their intentional neutrality, while others contend that sacredness can emerge from the intentions and practices of users rather than from specific architectural features. The use of space indeed plays a crucial role in defining its character, often transcending its physical design. This concept aligns with the idea that sacredness can be user-defined rather than inherent in the architecture itself. In multi-faith spaces, the temporary transformation of the space through rituals, objects, and practices of different faiths demonstrates how use can override neutral design.
This attempt to be universally inclusive by being neutral often results in spaces that feel impersonal and disconnected from any spiritual tradition. On the other hand, some designers contend that truly inclusive spaces should embrace and celebrate religious diversity rather than attempting to erase all signs of faith. This "positive design" approach balances representations of different faiths without creating a hierarchy or causing offense, incorporating each element harmoniously — a delicate movement that requires careful consideration and often extensive consultation with religious leaders.
Interfaith in Airports and Public Institutions
The debate over multi-faith space design goes beyond aesthetics, raising questions about the feasibility and desirability of creating universal worship spaces. Critics argue that such spaces are paradoxical due to the distinct and sometimes conflicting sacred space requirements of different religions. Despite these challenges, innovative solutions have emerged. Designers have created modular spaces that adapt to various religious needs and have used abstract symbolism and natural elements like light and water, which hold spiritual significance across traditions. Successful multi-faith spaces exist worldwide, particularly in democratic environments. A notable example is the United Nations Meditation Room, sometimes called "A Room of Quiet", which opened in 1957 under Dag Hammarskjöld's supervision. This space, featuring Bo Beskow's abstract fresco and a 6.5-ton iron ore block symbolizing endurance and faith, is devoid of religious symbols, fostering inclusivity and spiritual reflection for all faiths.
Airports have also emerged as pioneering locations for multi-faith spaces, providing travelers with essential areas for spiritual reflection and prayer amidst the hustle and bustle of travel. Notable examples include Heathrow Airport, which features prayer rooms in each terminal overseen by a Multi-Faith Chaplaincy team, and Dublin Airport's Multi-Faith Prayer Room. These spaces often incorporate features like foot-washing stations for Muslim rituals and flexible layouts to support various worship styles while maintaining a neutral decor to foster inclusivity. Despite the challenges of balancing functionality and spiritual resonance, airport multi-faith spaces symbolize religious tolerance and inclusivity in our increasingly globalized society. As such, they continue to evolve, reflecting the diverse backgrounds of the millions of travelers who pass through these hubs each year.
Funerary Spaces
Funerary spaces have long been a reflection of the diverse beliefs within a community, and in recent years, they have increasingly adopted multi-faith approaches to accommodate the spiritual needs of different religious groups. These spaces, often found in crematoriums, memorial parks, or cemeteries, are designed to accommodate various cultural and religious practices surrounding death and remembrance while fostering a sense of shared humanity in times of loss. The Bushey Cemetery in Hertfordshire, United Kingdom, designed by Waugh Thistleton Architects, exemplifies this approach. While primarily serving the Jewish community, the cemetery's design incorporates elements that make it welcoming to people of all faiths. The prayer hall, with its simple geometric form and use of natural materials, creates a contemplative space that transcends specific religious iconography. The surrounding landscape, featuring native wildflower meadows and mature trees, provides a universal setting for reflection and remembrance.
Another notable example is the Inagawa Cemetery Chapel and Visitor Centre in Hyogo, Japan, designed by David Chipperfield Architects. This project demonstrates how funerary architecture can create spaces that honor individual religious traditions while fostering a sense of inclusivity. The chapel's minimalist design, with its monolithic concrete structure and strategic use of natural light, creates a serene atmosphere that resonates with various spiritual beliefs. This approach emphasizes the universal themes of contemplation and reflection, allowing individuals from different faiths to engage with the space in a meaningful way.
Multi-Religious Complexes
Another notable example of a successful multi-faith complex is the Abrahamic Family House in Abu Dhabi, designed by Adjaye Associates. This complex features three distinct buildings, each dedicated to one of the Abrahamic religions: a mosque, a church, and a synagogue. The design of each structure strives to evoke the spatial qualities specific to its faith tradition while maintaining a cohesive architectural language. This approach aims to encourage dialogue between these three religions that often view themselves as separate, while still providing distinct spaces for worship. The complex includes a central forum and garden area, serving as a shared space for interfaith interaction and exchange. By housing these separate yet interconnected religious spaces within the same complex, the Abrahamic Family House demonstrates how these spaces are physical manifestations of interfaith dialogue and cooperation, offering a sanctuary where individuals from different backgrounds can come together in mutual respect and understanding.
As an architect I want to create a building that starts to dissolve the notion of hierarchical difference – it should represent universality and totality – something higher, that enhances the richness of human life. - Sir David Adjaye, Founder and Principal Adjaye Associates
A similar intention, but with a different architectural approach, can be seen in the House of One project in Berlin, designed by Kuehn Malvezzi. This project brings Christian, Jewish, and Muslim worship spaces together under a single roof, with a central communal area fostering interfaith dialogue. The architects have employed a allowing individual practice and interfaith interaction. The design allows for flexibility and adaptability to accommodate various religious needs. This design philosophy reflects the project's motto of "Three religions. One house" emphasizing unity while respecting the individual traditions of each faith. For this reason, the House of One is not just an architectural project but also a symbol of religious coexistence and understanding. It aims to create a space where people of different faiths, as well as those without religious affiliations, can come together, learn from each other, and engage in meaningful dialogue.
Beyond their role as places of worship, multi-religious spaces are dynamic environments that serve various community functions. These spaces serve a practical purpose and symbolize our collective aspiration for a more inclusive and understanding world. They are akin to libraries or community centers, providing venues for educational programs, cultural events, and social gatherings. This multifunctionality is a hallmark of contemporary architecture, reflecting the diverse needs of modern communities and the ability of architects to create environments that respect diverse spiritual needs while fostering a sense of shared humanity. This challenge requires architectural skill a deep understanding of different religious traditions and the ability to navigate complex social and cultural dynamics, balancing the need for neutrality with the desire for spiritual resonance. Ultimately, these spaces are places of devotion even for those who don't have one.
This article is part of the ArchDaily Topics: Multi-Purpose Spaces. Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
