Catholic Church Architecture Research Articles

Modern Trends in Catholic Church Architecture in Georgia

Modern Trends in Catholic Church Architecture in Georgia

Influence of liturgy and socio-culture on the form and meaning of the architecture of Sacred Hearts Catholic Church Odogunyan, Ikorodu, Lagos, Nigeria

Church architecture is the design and building of places of worship for Christians that changed from simple houses converted to meeting places, to architectural styles, of various shapes and sizes. It is a product of culture and human civilization and dynamics of liturgy, and they have forms and are meaningful. There has been little knowledge and understanding of the influence on forms and meanings as regards many local churches, especially as in Sacred Hearts catholic churches in Ikorodu. The need to unravel this knowledge was the focus of this study. The research explored the idea that Form and Meaning of church architecture are influenced by the liturgy and socio culture of the people they belong, and that embedded in the beliefs and values were architecture variables that when assessed bring out the modalities of the influence. Many scholars have examined the relationship between church architectural form and meaning as a reaction to the phenomenon of the desacralization of Catholic Church architecture after the Second Vatican Council, however, the research that addressed the issue of influence on form and meaning of Sacred Hearts Catholic Church Ikorodu architecture has not been carried out. While this was not a wholesome study of history of architecture, it is important to discuss concepts seeking the ordering principles informing the creation of form and meaning for the church under study. The study methodology was qualitative and quantitative and assessed by observation, questionnaire, and interview. The findings enhanced understanding and values attached to the Ikorodu Sacred Hearts Catholic Church and broaden knowledge base for academic research in other churches and fields of research. KEY WORDS. Church Architecture. Church-Form. Church-Meaning. Church-Symbols.

The Application of The Indigenization Technique in Modern Chinese Church Architecture

"Indigenization" is a process that presents a blend and adaptable feature by combining foreign elements with the local natural environment and cultural factors. Church buildings are the most tangible manifestation of the "indigenization" of Christianity. This paper discusses the application of indigenization techniques in modern Chinese Catholic church architecture from four aspects: layout, structure, materials, and decoration. In terms of layout, indigenization is reflected in space, plan, and orientation. The space mainly imitates traditional Western-style churches and simplifies with the simplification of function. In terms of plan form, the basic rectangular space is retained and combined with local architectural features to evolve into some new variants. Orientation, some churches have absorbed local building orientation patterns. In terms of structural indigenization, the main materials are stone, brick, and soil, and the building structure is mainly supported by load-bearing walls and wooden beams. In terms of material selection, indigenization techniques are mainly based on regional resource conditions and are combined with the characteristics of local residences and climate conditions. The choice of building materials is made by considering the availability, processing difficulty, and physical properties of materials. The application of decorative indigenization often borrows common decoration techniques from local residential buildings and combines them with traditional Chinese culture to create a unique Chinese and Western fusion style building, making the church better integrated into the local architectural community and accelerating local residents' acceptance of Catholicism.

The architecture of the Catholic Church in the modern movement in Indonesia

Catholic church architecture is part of the development of architecture, especially in Europe. The rationalism and density of iconic Catholic church buildings in Europe raise the allegation that the architecture of the Catholic church during the modern movement was not found in Europe but appeared in missionary areas, including Indonesia. Queen Wilhelmina adopted the ethical policy in 1901 was a driving factor for the emergence of modern-style buildings in Indonesia, including the Catholic church building. Symbols and ornaments are part of the architecture of the Catholic Church; this is contrary to the anti-ornament school of modern architecture. This research looks at the architecture of the Catholic Church in Indonesia during the 1890 - 1945 period of the modern movement. The research method used descriptive qualitative with secondary data collection. The results showed that the architecture of the Catholic Church in Indonesia during the modern movement had an identity: geometric shapes on the facade, simple symbols and ornaments and a three-dimensional roof.

Catholic Church Architecture in Ibadan, Nigeria after Vatican II: Lessons for Modern Church Designers

The Catholic Church had a rich tradition of church design prior to the liturgical reforms occasioned by Vatican II. The paper examines 20th-century architecture of the Catholic Church in Ibadan, Nigeria in the consolidatory stages of Christianity in the city. Based on documented archival records, oral accounts and field investigations, the paper argues that the earlier 20th-century church buildings of the Catholic Church of Ibadan were largely in line with Charles Borromeo’s (1538–1584) summary of Catholic traditions regarding church design and the later 20th-century Catholic Church buildings were in line with modernist Catholic Church architecture influenced by liturgical reforms occasioned by the Second Vatican Council and the modernist ideology of functionalism.

Relationship of Proportions, Floorplan Patterns, Typology, and Symmetry in Religious Architecture with Particular Focus on the Roman Catholic Church Architecture in Interwar Hungary

Symmetry, asymmetry, and proportions are often discussed terms in architecture since Vitruvius. The most prominent Renaissance masters of architecture and architecture theory drew on his reflections when contemplating architectural proportions and symmetry. The surge of Modern- ism in arts in the 20th century brought the question of proportion once again into the limelight. The one building type with some of the longest historical traditions is the church, whose architecture, due to the functional constraints and the often-rigid liturgical rules of the denominations, has been very slow to adapt to the changing times. Church architecture of the interwar period is remarkable in multiple ways, carrying the marks of bygone centuries but also an openness to innovation. In its architecture, the Roman Catholic Church of Hungary sought to maintain the delicate balance be- tween the preservation of tradition and the expansion of modernist trends. In the pursuit to better understanding the co-existence of traditions and modernism in the interwar church architecture, the attitude towards symmetry arises as a potential new vantage point. In comparison to the usual practice of style-based examination, the analysis of patterns in both the layout of facades and floor plan arrangements with the help of a specific typology is pointing to new research directions.

Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture

Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.

A Liturgical Relation with the Spatial Configuration and Architectural Form of The Catholic Church

The phenomenon of the Catholic church after the Second Vatican Council has lost the expression of its sacred form. This study aims to trace the liturgical relation with the spatial configuration of the architecture form from the Catholic Church to get the Ideogram and Godly symbol that will influence the form of architecture of the Catholic Church and can be used as the interpretation of the case studies. The methodology used in this study is firstly, describing liturgical activities associated with the sacred form approach from Eliade, Hoffman, Jones, Barrie, and Martasudjita to trace the sacred concept of the functions of the liturgy and relate it with the anatomical approach of the floor from Salura. Secondly, obtain a reference to the spatial configuration and reference to the architectural form of the Catholic Church. The aim of all these approaches is to obtain the spatial aspect configuration and form aspects. The findings of the spatial configuration or Ideogram and form of Catholic Church architecture are the Godly symbols, as well as the framework for the interpretation of case studies. The results conclude that the Catholic Church form is a symbol of divinity and Ideogram. Thus, if the scope of the environment, tread, building, and figure corresponds to the aspect of reference in creating sacred value, then the architecture of the Catholic church assumable radiating a sacred expression.

A Study on the Feature of Transition Space of Modern Catholic Church Architecture with the Use of Space Syntax Analysis

A Study on the Feature of Transition Space of Modern Catholic Church Architecture with the Use of Space Syntax Analysis

SIMBOL DAN ORNAMEN-SIMBOLIS PADA ARSITEKTUR GEREJA KATOLIK REGINA CAELI DI PERUMAHAN PANTAI INDAH KAPUK-JAKARTA

The Catholic Church building always displays symbols and ornaments as an expression of religious (sacred) faith and atmosphere. Symbols in the form of two-dimensional and three-dimensional objects arranged and beautified the church as well as religious significance. Symbols and ornaments are placed inside the church (interior) and outside the church (exterior), function to support the atmosphere of the church visually and help appreciate aesthetic, psychological and religious faith. Regina Caeli Catholic Church in Pantai Indah Kapuk Jakarta is a Catholic church that is characterized by modern architecture and features symbols and ornaments on the interior and exterior of the church. This paper describes the existence of symbols and ornaments -symbols in the church associated with obedience to the principles of modern architecture that underlies the design of the church. The research problem is how the existence of symbolic symbols and ornaments in the Regina Caeli Catholic Church, which are modern-minimalist architecture? The study was carried out by analyzing secondary data (photos and texts) and literature studies, then compared with the basic guidelines of Catholic church architecture and the principles of modern architecture. As a result, Regina Caeli's Catholic Church architecture is a modern architecture with a modern-minimalist expression. The existence of a symbol of the cross marks the existence of a Catholic church visually, the interior ornaments strengthen the uniqueness as a sacred (religious) space. The Regina Caeli Catholic Church has a modern architecture and provides a place for symbolic symbols and ornaments; there is a mixture of modern architecture with church symbolism as a relogious building.

Elemen-elemen Arsitektur Vernakular dalam Analisa Ruang dan Bentuk pada Gereja Pohsarang

Church is a sacred place for Catholics. Catholic faith itself did not come from Nusantara, hence the nonNusantara shape of Catholic church architecture. This becomes the main reason of doing this research, to analyze how local value affect a religious building that has a very different character, in contexts of space and form. The research is done by comparing three variables: architecture, catholic church philosophy, and Javanese building. Pohsarang church, a Catholic church located in Kediri, East Java is chosen as the case study. By doing the research it is known that Pohsarang church is actually a vernacular architecture, because it implements elements of vernacular architecture that is represented by Javanese culture both in its space and form. Keywords: culture, church, vernacular

Designing the suburban church: the mid twentieth-century Roman Catholic churches of Reynolds & Scott

The pioneering modern movement, liturgically centred, church architecture of the mid twentieth century has become increasingly well documented and understood. Yet, for a long time before the Second Vatican Council most architects and clergy rejected this movement, maintaining traditional approaches and architectural forms. The basilican type dominated Roman Catholic church architecture in mid twentieth-century Britain, drawing loosely on Gothic or Byzantine and Romanesque models, and widely built in the new suburbs of expanding cities. As a typical landmark feature of such suburbs, the conventional church demands to be taken seriously and understood. This article draws on recent work on suburban and middle-class culture to interpret a body of such churches by a prolific firm of church architects, Reynolds & Scott of Manchester. It makes use of a hitherto unexplored archive of the practice's drawings, an interview with a surviving partner, parish and diocesan archives, and consideration of many of the buildings. The conventional basilican church can be reassessed through this evidence. It presents a type of creativity and a design approach that differ from the values embraced by modernism, but that nevertheless engage with the modernity of the suburb in a complex hybridity between the modern and traditional, the sacred and the secular, religious and domestic cultures, the particular, the transnational and the universal.

ROBERT PROCTOR, Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975

ROBERT PROCTOR, <i>Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975</i>

Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975. By Robert Proctor. Ashgate Studies in Architecture. Burlington, Vt.: Ashgate Publishing Limited, 2014. x + 412 pp. $109.95 cloth.

Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975. By Robert Proctor. Ashgate Studies in Architecture. Burlington, Vt.: Ashgate Publishing Limited, 2014. x + 412 pp. $109.95 cloth.

Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975. By Robert Proctor.

<i>Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975</i>. By Robert Proctor.

천주교 광주교구 성당건축의 특성에 관한 연구 - 광주·전남지역 성당을 중심으로 건축요소별 분석 -

The Archidiocese of Gwangju have kept up vigorous activities and cultures as local religion's medium and continued consideration of architectural aspects. The purpose of this study is intended to determine architectural characteristic features that appear on Catholic Dioceses of Gwangju and Jeon-nam. The research defines the architectural elements and characteristics that are influenced by the field survey and bibliography. The research is based on analysis of overall characteristics of architectural plan, elevational shape, and liturgical spaces of Catholic Church architecture in Dioceses of Gwangju and Jeon-nam. The Architectural plan have longer rectangular overall. By period have: 0.3:1 before 1950s, from 0.2:1 to 0.6:1 during 1970s, and two parts as 0.4:1 and 0.7:1 since 1980s. The major structural frames have brick masonry before 1950s and transfer to reinforced concrete method. As Roof shape, the cathedrals have gable roof before 1980s and transfer to flat roof since 1980s. The roof materials mostly make use of corrugated steel sheet From 1950s to 1970s, steel sheet and concrete during 1980s, and steel sheet since 1990s. The elevational materials consisted with red face bricks overall. The window style have semi-circular arch during 1950s and transfer to tall narrow rectangular since 1960s. As the characteristics of liturgical spaces, the ceiling shape have flat and semi-circular during 1950s, flat and trapezoid during 1960s, and varied shape since 1990s. the apse which tabernacle is located in have increased in number from 1990s and increased more during 2010s. the adoration chapel utilize during 1980s. The side aisle use mostly from 1980s to 1990s.

Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975 By Robert Proctor Farnham Ashgate, 2014412pp., includes 16 colour and 196 mono illus. Price £60.00 (hb)

Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975 By Robert Proctor Farnham Ashgate, 2014412pp., includes 16 colour and 196 mono illus. Price £60.00 (hb) - Volume 18 Issue 2

Pathologies of concrete in Saint-Vincent Neo-Byzantine Church and Pauchot reinforced artificial stone

Reinforced concrete is a key element of the architectural evolution and has been specifically involved in the development of Catholic Church architecture, particularly during the second part of the XXth century.This article focuses on the Saint-Vincent Church, Liege district, Belgium. With concrete as major building material, this was built in only 20months, from 1928 to 1930. This monumental building, from Neo Byzantine style, however presents some degradations. A visual inspection, as well as non destructive and laboratory tests, are presented and analyzed. They help to make a clear diagnosis and to assess hypothesis on the real state of this high-quality architectural building. Moreover, specific investigations have been realized on a special mortar used for wall construction: Pauchot reinforced artificial stone.

비평적 지역주의(The Critical Regionalism)로 본 한국 성당건축의 지역성 표현 - 개화기에서 1980년대까지의 성당건축을 중심으로 -

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

American sanctuary: understanding sacred spaces

1. Introduction Louis P. Nelson I. Inscription 2. New England Orthodoxy and the Language of the Sacred Gretchen Buggeln 3. God in Gotham: Architecture and the Design of Sacred Space in New York's Central Park Paula A. Mohr 4. The Urban Practice of Jewish Space Jennifer Cousineau II. Identity 5. Salvage/Salvation: Recent African American Yard Shows John Beardsley 6. Spaces for a New Public Presence: The Sri Siva Vishnu and Murugan Temples in Metropolitan Washington, D.C. Joanne Punzo Waghorne 7. Getting beyond Gothic: Challenges for Contemporary Catholic Church Architecture Paula M. Kane III. Instability 8. Word, Shape, and Image: Anglican Constructions of the Sacred Louis P. Nelson 9. The Mezuzah: American Judaism and Constructions of Domestic Sacred Space Erika Meitner 10. Mythic Pieties of Permanence: Memorial Architecture and the Struggle for Meaning Jeffrey F. Meyer IV. Toward a Method 11. Reading Megachurches: Investigating the Religious and Cultural Work of Church Architecture Jeanne Halgren Kilde Select Bibliography