As a landmark of contemporary religious architecture in Portugal, the Church of the Sacred Heart of Jesus stands in contrast to traditional models, representing a work free from historicist stigmas. Resulting from a design competition organized in 1960, the church is notable for its civic dimension, urban role, and its anti-monumental and social significance. Integrated into the regular grid of the Avenidas Novas neighborhood, this example of the Movement for the Renewal of Sacred Art is part of a larger parish complex that often goes unnoticed by passersby. Its external street creates an unexpected public space, inviting people to enter and engage in a courtyard where architecture and the city merge. Finely crafted in terms of spatiality, detail, and light, the church holds many surprises for those who venture inside.
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.
Religious architecture has always had a unique power to transcend the physical realm, transporting visitors to a spiritual journey. In many belief systems, it serves as a space between the earthly and the universal divine. This designed experience can often be facilitated through different choices, where light, form, materiality, and circulation play essential roles. Furthermore, architecture and design hold the power to have a profound impact on one’s lived spiritual experience.
This exploration of religious architecture in the global south showcases the integration of tradition and contemporary innovation. Whether it’s the Omani Mosque, where heritage and Islamic tradition are honored, or the Abrahamic Family House that features a mosque, a church, and a synagogue in dialogue and coexistence. Form and public access are explored through a design in Brazil, while a monastery in Uganda expands its size to serve guests and novitiate.
Studio Libeskind, working in close partnership with the Memorialization Working Group, has unveiled the preliminary design for the memorial for the 11 killed on 27 October 2018 at the Tree of Life Synagogue in Pittsburgh, United States. The design was developed in a process led by the victims’ families, communal leaders, and concretional representatives. The building’s official groundbreaking is expected in 2024.
Though lesser known, the Hungarian city of Veszprém is one of the oldest and most important cities in the country. Designated as the European Union Capital of Culture for 2023, Veszprém boasts a longstanding history, visible through its evolving, yet well-preserved architectural monuments. In fact, one of the first notable observations as one walks through the city streets is its eclecticism and layers of historically diverse buildings, that sporadically arise. Despite the difference in styles and architectural languages, they collectively tell the story of the county and its spiritual and political relevance. Its pedestrian-friendly streets, many parks and public spaces, connect the Veszprém monuments, as one delves into a historic promenade.
Near the center of Helsinki, Finland, in the Töölö neighborhood, one can find the Temppeliaukio Church, an unusual-looking Lutheran church nestled between granite rocks. Approaching the square from Fredrikinkatu street, the church appears subtly, a flat dome barely rising above its surrounding landscape. An unassuming entrance, flanked by concrete walls, leads visitors through a dark hallway, and into the light-filled sanctuary carved directly into the bedrock. The exposed rock walls earned it the alternative name “The Church of the Rock.” To contrast the heaviness of the materials, skylights surrounding the dome create a play of light and shadows and a feeling of airiness.
The church is the result of an architectural competition won by the architect brothers Timo and Tuomo Suomalainen in 1961. Their original solution was recognized not only for its creativity but also for the respect it showed to the competition’s goal: “to include the organization plan for the whole Temppeliaukio Square, taking into attention that as great part as possible of the rock outcrop of the square to be preserved.” The winning proposal achieves this by embedding the church inside the rock and placing parish facilities on the edges of the hillock. This article explores the story behind the Temppeliaukio Church both narratively and visually, through the lens of Aleksandra Kostadinovska, a professional photographer from Skopje.
Designed by Skidmore, Owings & Merrill (SOM), the new American Buddhist Cultural Society Temple, also known as the San Bao Temple, has broken ground in San Francisco, California. Located on Van Ness Avenue, the new six-story facility will include a community center, a Buddhist shrine, and a meditation room on the upper levels, along with three levels of private dormitories for visiting monastics and volunteers. In the center of the building, a light-filled atrium offers additional amenities, such as a public art gallery, bookstore, teahouse, and community gathering hall. The temple is expected to open by the end of 2024.
The significance of daylight in volumes of space exceeds its function of illumination. Light is a creative tool manipulated by architects to infuse a space with a metaphysical spirit, influencing the emotional states of its occupants. Having a phenomenological effect on the human psyche, light and shadow have been played with to invoke a sense of divinity and spirituality into the character of religious buildings. The interplay between architecture and light is a powerful one, shaping a deeper experience of spirituality.
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.
It is easy to show cool images of adaptive reuse. The contrast of living history and control over it makes for dynamic visuals. But there is a deeper meaning to adaptive reuse. Architecture embodies humanity and humanity changes, so our buildings change.
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.
Courtesy of Flickr user Flemming Ibsen under CC BY-NC 2.0
Religion, in one form or another, has formed the core of human society for much of our history. It therefore stands to reason that religious architecture has found equal prominence in towns and cities across the globe. Faith carries different meanings for different peoples and cultures, resulting in a wide variety of approaches to the structures in which worship takes place: some favor sanctuaries, others places of education and community, while others place the greatest emphasis on nature itself. Indeed, many carry secondary importance as symbols of national power or cultural expression.
AD Classics are ArchDaily's continually updated collection of longer-form building studies of the world's most significant architectural projects. The collection of sacred spaces collated here invariably reveal one desire that remains constant across all faiths and cultures: shifting one’s gaze from the mundane and everyday and fixing it on the spiritual, the otherworldly, and the eternal.
In a film for the BBC Magazine, Spanish architect Santiago Calatrava talks through his designs for the new St. Nicholas Church - the only non-secular building on the 9/11 Memorial site. The building, which broke ground last year, has been described by Calatrava as a "tiny jewel" for lower Manhattan, comprising of a white Vermont marble shrine sat beneath a translucent central cupola that is illuminated from within. The new church, of Greek Orthodox denomination, replaces a church of the same name which was destroyed during the attacks of 9/11. It is sited close to its original location on 130 Liberty Street, overlooking the National September 11 Memorial park and museum. With the building set to open in early 2016, Calatrava discusses the key conceptual ideas and references behind its unique, controversial design.
If the winners of Faith & Form's 2014 Religious Art & Architecture award are any indication, it may be something different every time. A high ceiling, curved walls, stained glass windows or lush landscaping -- no two winners are alike, and yet each offers viewers a fresh way of interacting with the divine.
Take a look at some of Faith & Form's 2014 award and honor award winners for religious architecture after the break
The Scandinavian countries have developed great buildings that resonate with both the scarce light in winter and the long summer days. Henry Plummer, Professor Emeritus at the University of Illinois at Urbana-Champaign, has very carefully studied the various daylight phenomena in the Nordic countries, with extensive photo journeys and brilliant writing that combines an analytical perspective with a poetic touch. His view of daylight looks beyond the practical advantages of using reflective white spaces to facilitate bright rooms; the passionate photographer is much more interested in the light effects that play with the local beauty of nature and touch the human soul.
Read on for more about how Nordic light enters white spaces
The use of light can lead to very diverse feelings: a ray of sunlight calls attention; glare overpowers; the nocturnal sky fascinates, while a dense dark forest arouses fear. Religions have made use of these experiences to convey the mystic aspects of their respective deities — accordingly, so too do their erected buildings.
After the break, an exploration of the different approaches for using light as a vehicle of symbolic meaning and spiritual experience in religious spaces.
