Interpreting Stylistic Adaptions in Church Interiors: Indian Context

Interpreting Stylistic Adaptions in Church Interiors: Indian Context

DESIGN THESIS

BY DAMINI M. GHELANI

Unitedworld Institute Of Design Semester-8 Batch: 2013-2017

Approval The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Interior Design for which it has been submitted.

It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Name of the Student: Damini M. Ghelani ID no: UA1317020

Date:

Thesis Title: Interpreting Stylistic Adaptions in Church Interiors : Indian Context Signature:

Name of the Guide: Ratna Sutaria Shah Signature of the Guide:

UNITEDWORLD INSTITUTE OF DESIGN AHMEDABAD School of Interior Design

Date:

Declaration Damini M. Ghelani I, Mr / Miss ............................................................................................., a student of Semester VIII for the academic year 2016-17 here by abide by the following requisite of thesis, and declare that i will fulfil the criteria for completion of the document which is required for graduation. The school shall not accept the document if it doesnt meet the criteria. Any discrepancy in the document / in completion of the pre-requisite won’t be entertained by the school. In case the declaration is found to be untrue, I am aware that my admission is liable to be cancelled/not being taken into consideration.

Name of the Student: Damini M. Ghelani ID no: UA1317020

Date:

Signature:

Signature of Head of the Department:

UNITEDWORLD INSTITUTE OF DESIGN AHMEDABAD School of Interior Design

Date:

JURY MEMBERS NAME

ORGANISATION

SIGNATURE

REMARKS

CHAIRPERSON

The Evaluation Jury recommends Damini M. Ghelani for satisfactory completion of Graduation Project from UnitedWorld Institute of Design in Interior Design after evaluation of her/his Design Thesis - ‘Interpreting Stylistic Adaptions in Church Interiors : Indian Context ’ and fulfilling the requirements set by the Institute and the Jury members.

UNITEDWORLD INSTITUTE OF DESIGN AHMEDABAD School of Interior Design

ACKNOWLEDGEMENT

First and foremost I would like to thank my external guide Ar. Ratna Sutaria Shah without her guidance and dedicated involvement in every step this thesis would never had been completed.

Special thanks to my parents and my sister who always guided me to the correct path in my life and always being there for me in my difficult times.

A word of thank you to my friends.

Shreena Patel and Suhani Patel for accompanying me for the research and all the support. Deepak Kumar for always giving boost ups and accompanying me for case studies. Ruchi Munoth, Divya harpalani, Judith Abraham, Dhiren Solanki for guiding me whenever I needed.

Sincere thank you who helped me getting right information.

Father of St. James Church, Mr. Daniel Deepak and his wife who gave me their valuable time and share the details about the church.

Mrs. Sophia Fernandes who gave me permission for photography and share the information for case study.

In my journey of thesis our H.O.D Kishori Dalwadi (Unitedworld Institute of Design) had a major part in empowering me and a debt of gratitude in order for being so kind and understanding. I would like to acknowledge Mrs. Gauri Wagenaar (Unitedworld Institute of Design) for her support.

Thanks to Kratika Piparsania, Tarun (Unitedworld Institute of Design), Shweta Narang to guide us making our thesis organized. And thanks to all supporting faculty members.

Also thank you to all my Classmates for being around me these years.

And all my Faculties for helping me reach at the Thesis level.

CONTENTS …………….01

1.

INTRODUCTION AIM OBJECTIVE METHODOLOGY SCOPE AND LIMITATIONS

2.

LITERATURE STUDY

…………...04

CHAPTER 1: CHURCH- ORIGINS AND DEVELOPMENT 1.1 CHURCH- ITS MEANING AND ORIGIN 1.2 CHRISTIAN BASILICAS 1.3 CENTRALIZED BUILDINGS

…………...04

CHAPTER 2: WESTERN CLASSICAL CHURCH ARCHITECTURE 2.1 ROMAN AND BYZANTINE ARCHITECTURE 2.2 GOTHIC ARCHITECTURE 2.3 RENAISSANCE ARCHITECTURE 2.4 BAROQUE ARCHITECTURE CHAPTER 3: MODERN CHURCH ARCHITECTURE 3.1 MODERNISM AS WHOLE 3.2 MODERNIST CHURCH ARCHITECTURE 3.3 COMPARISON OF MODERN CHURCHES

…………...28

CHAPTER 4: CHRISTIANITY IN DIFFERENT PARTS 4.1 CHRISTIANITY IN INDIA 4.2 CHRISTIANITY IN GUJARAT

…………...39

CHAPTER 5: CHURCHES IN COLONIAL ARCHITECTURE (GUJARAT) 5.1 THE NEO-GOTHIC STYLE 5.2 THE COLONIAL VERNACULAR STYLE 5.3 THE REVIVALIST STYLE 5.4 THE ART DECO STYLE CHAPTER 6: USAGES OF CHURCH IN DIFFERENT ERAS 7.

…………...09

…………...41

…………...52

CASE STUDIES 7(A)CASE STUDY-1: CHRIST CHURCH, AHMEDABAD

…………...56

7(B)CASE STUDY-2: ST. MORTIZ CHURCH, GERMANY

…………...73

CONTENTS 8.

SITE ANALYSIS 8.1 SITE LOCATION 8.2 EXISTING DRAWINGS 8.3 EXISTING SITE 8.4 BASIC INFORMATION 8.5 HISTORY 8.6 STRUCTURE 8.7 ANALYSIS 8.8 CLIMATIC CONDITIONS

…………...90

9.

DESIGN 9.1 FACTORS AFFECTING CHURCH DESIGN 9.2 MULTI –PURPOSE USAGES OF THE CHURCH 9.3DESIGN BRIEF 9.4 MOOD BOARD 9.5 PROPOSED DRAWINGS 9.6 SKETCHES 9.7 3D VIEWS

…………..101

10.

BIBLIOGRAPHY

…………..120

INTRODUCTION Churches come under Religious Architecture. The topic comprises the history of the church, the evaluation of different styles in different eras to the modern churches. This includes the study of basic architecture, forms and spaces, space usages, furniture, lighting, materials etc.

Church architecture refers to the architecture of buildings of Christian churches. It has evolved over the two thousand years of the Christian religion, partly by innovation and partly by imitating other architectural styles as well as responding to changing beliefs, practices and local traditions. From the birth of Christianity to the present, the most significant objects of transformation for Christian architecture and design were the great churches of Byzantium, the Romanesque abbey churches, Gothic cathedrals and Renaissance basilicas with its emphasis on harmony.[1] The different types of religious buildings in Christianity and its meaning:

CHAPEL

CHURCH

BASILICA

CATHEDRAL

Langley Chapel, Acton Burnell, Shropshire, England

St. Francis Xavier Church, Ahmedabad, Gujarat, India

St. Peter‟s Basilica, Vatican city, Rome

Siena Cathedral of Santa Maria, Siena, Italy

It serves a more specific population such as convent, school, prison or hospital.[2]

[1] www.wikipedia.com [2] www.quora.com

It is a “house of worship” where Christians gather to perform rituals and interact and hold functions. They can be plain, very simple.[2]

A basilica was originally a Roman building featuring certain architectural elements that supported its use as a public, open facility for business, trading, etc.and some churches were build with similar features hence called basilicas.[2]

A church associated with the administration of an area.

It belongs to senior member of Christian clergyBISHOP.[2]

1

INTRODUCTION AIM: To create the interior ambience of an existing church or renovating a church in such a way that it blends with the existing style as well as giving it a contemporary look with modern amenities.

OBJECTIVE: To accomplish the stated aim, the objectives will be, 1. To study the existing style that the church has.

2. To study the characteristics of that particular style.

3. To design in such a way it blends perfectly with the existing style.

4. To provide the church with modern amenities.

METHODOLOGY: 1. To study the history of churches and the evolution of design that took place over the centuries.

2. To study about the usages of different spaces in the churches in different period of time.

3. To study about different kind of materials used in interiors over the years.

4. To study about the modern churches and their style of interiors.

5. To study the churches and learn about the forms and spaces inside and different functions happening there.

6. To study the existing church and its style and characteristics.

7. To study the given spaces in existing building.

8. To reinterpret the spaces and styles according to modern era which can blend with existing.

9. Designing the interiors with modern amenities.

10. Creating an ambience where one can feel the connection with God.

SCOPE AND LIMITATIONS: 1. The scope of this thesis is to give an idea and study about the churches before and the churches in modern era. And how one can reinterpret the ambience of existing church with contemporary style.

2. This study is limited by the architectural style which is existing in the church.

3. Also the rules and regulations and space interpretation of the Christian religion limits the study.

2

LITERATURE STUDY

5 4

6

3

7 2

1. Main Door 2. Rooms 3. Court 4. Baptistery

1 ENTRY

5. Triclinic (classrooms for catechumens) 6. Platform for altar 7. Sacristy

1.1.2 House Church, Dura-Europe, built c.a. 232 AD. (www..wikipedia.com)

1.1.1 PLAN House Church, Dura-Europe, built c.a.

232 AD. (Origins and development of early Christian architecture, 1952 )

1.2.2 EXTERNAL VIEW Basilica of the Holy Cross in Aparan, Armenia, 4TH Century (wikivisually.com)

1.2.1 PLAN Basilica of the Holy Cross in Aparan, Armenia, 4TH Century (commons.wikimedia.org)

4

LITERATURE STUDY CHAPTER 1: CHURCH- ORIGINS AND DEVELOPMENT

1.1 CHURCH- ITS MEANING AND ORIGIN

The word “Church” has several meanings than the building used for Christian worship. The greek word “ecclesia”, which came to mean “Church” was originally applied in the classical period to an official assembly of citizens. In the Septuagint translation of the old Testament of the term ecclasia is used for the general assembly of the Jewish people especially when gathered for a religious purpose. It may also signify a national religious body, such as the Church of England.

It may refer to the formal institutions of a religion.

Though there are several meanings of the word “Church”, the most common as indicated is a building to shelter the faithful worshippers meeting for prayer.[3] In first to third century, Christianity was not a legal religion. So, the believers of Christ were also not allowed to make their worship places and pray. So, in first to third century, Christians and Jews combined and used to pray in a person‟s house. So in early times, there were House Churches (Figure 1.1.1, 1.1.2).

1.2 CHRISTIAN BASILICAS After victory of Roman Emperor Constantine, Christianity became a lawful and privileged religion in forth century. After that, the churches were made on the house churches or on martyrdoms.

When the Christianity spreads, those house churches wee too small to accommodate large number of people and hence necessary to erect special buildings for worship. Constantine and church officials looked to secular public buildings, and the type they selected was the Basilica. Hence BASILICAS provided model for churches. Since the basilica was an axial in spacial organization, that axis served to focus attention on the altar (Figure 1.2.1, 1.2.2).[4] [3]Thesis by- Prashant Panchal - Study of church architecture of Gujarat (page-13) [4] Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth (page-243)

5

LITERATURE STUDY

EAST ZONE: Centralized Plan

WEST ZONE: Straight Basilican Plan

1.3.1 Map showing different styles of architecture in different parts of Europe

1.3.2 PLAN Church of the Nativity, Bethlehem, Israel, c.A.D. 326-333 (touristinisrael.wordpress.com)

1.3.3 PLAN Mausoleum of Constantina, Rome, c.A.D. 350. (Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth)

6

LITERATURE STUDY

1.3 CENTRALIZED BUILDINGS The other building type favored by the early Christians had a centralized plan (in the eastern part of Europe (Figure 1.3.1), whether round, octagonal, or square, and was derived from royal tombs; the octagonal tomb Diocletian built for himself in his palace compound at Spalato is an example. The centralized plan was also derived from the pagan heroa, a building commemorating the deeds of a divinity or the deceased member of a prominent family. Early Christians began to employ this form for martyria, structures marking the place of suffering or death of a martyr, and also for mausoleums of prominent Christians.[4] Centralized buildings also came to be used for baptisteries, where symbolically believers died to the old life and rose renewed from the water; an octagon was the Lateran Basilica in Rome, the first in the city, built c.315.

[4]

In the Eastern part of of Constantineâ€&#x;s empire, new churches took a different form incorporating in a more dramatic way centralized martyria in the buildings erected on the spots associated with the life and death of Christ (Figure-1.3.2). [4]

Centralized structures were used for Christian mausoleums in the West as well. One example in Rome, the mausoleum of Constantineâ€&#x;s daughter Constantina, survives in excellent condition and suggests the character of Constantian building in general (Figure-1.3.3).It had become the practice for the faithful to build their tombs as close as possible to spots associated with the early martys; the mausoleum of Constantine himself was attached to the basilica of Saint Marcellinus and Peter in Rome. [4]

[4] Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth (page-245)

7

LITERATURE STUDY ROMAN AND BYZANTINE (EATERN ROMAN) 3RD -10TH CENTURY

GOTHIC STYLE MEDIEVAL PERIOD

RENAISSANCE 14TH-17TH CENTURY

BAROQUE LATE 16TH CENTURY

NEO-CLASSICAL (ENLIGHTENMENT) 2.1 Timeline for Western Classical Architecture

8

LITERATURE STUDY CHAPTER:2 WESTERN CLASSICAL CHURCH ARCHITECTURE Churches have evolved over two thousand years of Christianity.

From the birth of Christianity to the present, the most significant objects of transformation for Christian architecture and design were the great churches of Byzantium, the Romanesque abbey churches,Gothiccathedrals and Renaissance basilicas with its emphasis on harmony. Here is the brief description of these styles:

2.1 ROMAN AND BYZANTINE ARCHITECTURE: DEFINATION: Romanesque Architecture is an architectural style of medieval Europe characterized by semi-circular arches. the word "Romanesque" means "descended from Roman" and was first used in English to designate what are now called Romance languages (first cited 1715).[1] ORIGIN: From 3rd to late 10th century.

CHARACTERISTICS: • BUTTRESSES Buttresses are generally of flat square profile and do not project a great deal beyond the wall. In the case of aisled churches, barrel vaults, or half-barrel vaults over the aisles helped to buttress the nave, if it was vaulted.[5] •ARCHES & OPENING: The arches used in are nearly always semicircular, for openings such as doors and windows, for vaults and for arcades. Wide doorways are usually surmounted by a semi-circular arch, except where a door with a lintel is set into a large arched recess and surmounted by a semi-circular "lunette" with decorative carving.[5]

[1] www.wikipedia.com [5] Helen Gardner, Art through the Ages

9

LITERATURE STUDY

2.1.2 Capitals

2.1.3 Byzantine and Roman Capitals (commons.wikimedia.org)

2.1.4 Vaults and Roofs (britanica.com)

10

LITERATURE STUDY •ARCADES: An arcade is a row of arches, supported on piers or columns. They occur in the interior of large churches, separating the nave from the aisles, and in large secular interiors spaces, such as the great hall of a castle, supporting the timbers of a roof or upper floor.

Arcades also occur in cloisters and atriums, enclosing an open space.[1] •PIERS: Piers were often employed to support arches. They were built of masonry and square or rectangular in section, generally having a horizontal moldings representing a capital at the springing of the arch.

Sometimes piers have vertical shafts attached to them, and may also have horizontal moldings at the level of the base.[6] •COLUMNS: Colonnades and attached shafts are also used structurally and for decoration. Monolithic columns cut from a single piece of stone were frequently used in Italy, as they had been in Roman and Early Christian architecture. They were also used, particularly in Germany, when they alternated between more massive piers. Arcades of columns cut from single pieces are also common in structures that do not bear massive weights of masonry, such as cloisters, where they are sometimes paired(Figure 2.1.1).[6] •CAPITALS: The foliate Corinthian style provided the inspiration for many Romanesque capitals. The Corinthian capital is essentially round at the bottom where it sits on a circular column and square at the top, where it supports the wall or arch. This form of capital was maintained in the general proportions and outline of the Romanesque capital. This was achieved most simply by cutting a rectangular cube and taking the four lower corners off at an angle so that the block was square at the top, but octagonal at the bottom(Figure 2.1.2, 2.1.3).[7]

[1] www.wikipedia.com [6] Fletcher, Banister; Cruickshank, Dan, Sir Banister Fletcher's a History of Architecture, Architectural Press, 20th edition, 1996 (first published 1896).

[7] Rolf Toman, Romanesque

11

LITERATURE STUDY

2.1.5 Plan and 3D view of Old Saint Peter's Basilica, Rome, A.D. 319-329 (Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth)

2.1.6 Plan, Section and 3D view Hagia Sophia (Church of Divine Wisdom), Istanbul, Turkey, B.C. 532-537 (Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth)

2.1.7 Church of St. Trophime, Arles, France (Wikivisually.com)

12

2.1.8 Hagia Sophia (Church of Divine Wisdom), Istanbul, Turkey,B.C.532-537 (Sacreddestinations.com)

LITERATURE STUDY PLANS : Most cathedrals and great churches have a cruciform ground plan. In churches of Western European tradition, the plan is usually longitudinal, in the form of the so-called Latin Cross with a long nave crossed by a transept(Figure 2.1.5).

Latin Cross

Greek Cross

A square plan in which the nave, chancel and transept arms are of equal length forming a Greek cross, the crossing generally surmounted by a dome became the common form in the Eastern Orthodox Church, with many churches throughout Eastern Europe and Russia being built in this way. Churches of the Greek Cross form often have a narthex or vestibule which stretches across the front of the church(Figure 2.1.6).[6]

EXTERNAL FACADES: Romanesque church facades, generally to the west end of the building, are usually symmetrical, have a large central portal made significant by its moldings or porch, and an arrangement of arched-topped windows (Figure 2.1.7, 2.1.8). [6]

[6] Fletcher, Banister; Cruickshank, Dan, Sir Banister Fletcher's a History of Architecture, Architectural Press, 20th edition, 1996 (first published 1896).

13

LITERATURE STUDY

GOTHIC CHARACTERISTCS

HEIGHT (VERTICALITY)

SOLD WALLS

CLUSTERED COLMNS

LARGE VERTICAL WINDOWS

POINTED RIBBED VAULTS

FLYING BUTTRESSES

STAINED GLASS (COULORED LIGHT)

2.2.1 Characteristics of Gothic Architecture

14

LIGHT

ROSE WINDOWS

LITERATURE STUDY 2.2 GOTHIC ARCHITECTURE: DEFINATION: Gothic architecture is a style of architecture that flourished in Europe during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture.

ORIGIN: Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance.[1] CHARACTERISTIC: •A characteristic of Gothic church architecture is its height, both absolute and in proportion to its width, the verticality suggesting an aspiration to Heaven. A section of the main body of a Gothic church usually shows the nave as considerably taller than it is wide.

In England the proportion is sometimes greater than 2:1.[6] • On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces.

• Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Stained glass provided as a medium for figurative and narrative art (Figure 2.2.1).[8]

[6] Fletcher, Banister; Cruickshank, Dan, Sir Banister Fletcher's a History of Architecture, Architectural Press, 20th edition, 1996 (first published 1896).

[8] Grodecki, Louis (1977). Nervi, Luigi, ed. Gothic Architecture.

15

LITERATURE STUDY

2.2.2 Plan, External and Interior 2.2.3 Plan, External and view of notre dame, paris, 1163- Interior view of bourges 1182 (pinterest.com) cathedral, france, 1195-1230 (Wikivisually.com)

16

2.2.4 Plan, External and Interior view of chartres cathedral, france, 11941220 (pinterest.com)

LITERATURE STUDY PLANS, EXTERNAL FACADES AND INTEROR VIEWS: Most large Gothic churches and many smaller parish churches are of the Latin cross (or "cruciform") plan, with a long nave making the body of the church, a transverse arm called the transept and, beyond it, an extension which may be called the choir, chancel or presbytery.

There are several regional variations on this plan (Figure 2.2.2, 2.2.3, 2.2.4).

STAINED GLASS WINDOWS: Probably the most important form of Gothic architectural art was the stained glass window.

These were the multimedia stories of their day.

These windows offered illiterate Christians a glorious glimpse into the tales of the Bible. It tells the stories of Bible, not in words but in Light (Figure 2.2.5, 2.2.6, 2.2.7).

17

LITERATURE STUDY

2.2.6 Stained glass window of Sainte-chapelle, paris, 13th century (sainte-chapelle.org)

2.2.5 Stained glass window of chartres cathedral, france, 1194-1220 (frenchmoments.com)

2.2.7 Stained glass window of notre dame, paris, 1163-1182 (frenchmoments.com)

18

LITERATURE STUDY 2.3 RENAISSANCE ARCHITECTURE: DEFINATION: Renaissance architecture is the architecture of the period between the early 14th and early 17th centuries in different regions of Europe, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture.

Stylistically, Renaissance architecture followed Gothic architecture and was succeeded

by Baroque architecture.

ORIGIN: Italy of the 15th century, and the city of Florence in particular, was home to the Renaissance. It is in Florence that the new architectural style had its beginning, not slowly evolving in the way that Gothic grew out of Romanesque, but consciously brought to being by particular architects who sought to revive the order of a past "Golden Age".

CHARACTERISTICS: • COLUMNS & PILASTERS The Roman orders of columns are used:- Tuscan, Doric, Ionic, Corinthian and Composite. The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system.

[6] Fletcher, Banister; Cruickshank, Dan, Sir Banister Fletcher's a History of Architecture, Architectural Press, 20th edition, 1996 (first published 1896).

19

LITERATURE STUDY

2.3.1 Plan and external view of Basilica di San Lorenzo, Florence Tuscany, 1470 (studyblue.com)

2.3.2 The interior Columns Basilica di San Lorenzo, Florence Tuscany, 1470 (wikipedia.com)

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LITERATURE STUDY •ARCHES: Arches are semi-circular or (in the Mannerist style) segmental. Arches are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch.[6] •VAULTS: Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular. The barrel vault is returned to architectural vocabulary. [6] •DOMES: The dome is used frequently, both as a very large structural feature that is visible from the exterior, and also as a means of roofing smaller spaces where they are only visible internally. [6] •CEILINGS: Roofs are fitted with flat or coffered ceilings. They are not left open as in Medieval architecture. They are frequently painted or decorated.

•DOORS: Doors usually have square lintels. They may be set within an arch or surmounted by a triangular or segmental pediment. Openings that do not have doors are usually arched and frequently have a large or decorative keystone.

•WINDOWS: Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments, which are often used alternately. [6]

[6] Fletcher, Banister; Cruickshank, Dan, Sir Banister Fletcher's a History of Architecture, Architectural Press, 20th edition, 1996 (first published 1896).

21

LITERATURE STUDY

2.3.4 External view of Villa Rotunda, Vicenza, Italy, 1592 (pinterest.com)

2.3.3 Plan & Section of Villa Rotunda, Vicenza, Italy, 1592 Designed by Andrea Palladio (father of renaissance) (pinterest.com)

2.3.5 Interior view of Villa Rotunda, Vicenza, Italy, 1592 (pinterest.com)

22

LITERATURE STUDY โ ขPLANS: The plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church, the module is often the width of an aisle (Figure 2.3.3).

FACADES: Faรงades are symmetrical around their vertical axis.

Church faรงades are general surmounted by a pediment and organized by a system of pilasters, arches and entablatures. The columns and windows show a progression towards the centre (Figure 2.3.4).

23

LITERATURE STUDY

2.4.1 Plan Of Vierzehnheiligien Pilgrimage Church, 1744ad, Germany (Wikipedia.com)

2.4.2 Interior views Of Vierzehnheiligien Pilgrimage Church, 1744ad, Germany (alamy.com)

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LITERATURE STUDY 2.4 BAROQUE ARCHITECTURE: DEFINATION: Baroque architecture is the building style of the Baroque era, begun in late 16th-century Italy, that took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion, often to express the triumph of the Catholic Church It was characterized by new explorations of form, light and shadow, and dramatic intensity.

CHARACTERISTICS: Baroque is more apt to mime the shaping out of an imaginary mass of soft plastic or clay. For Baroque architects a building was to some extent a kind of large sculpture.

Some of the main characteristics of Baroque architecture are: •Baroque era were energy, great amounts of tension and a sense of movement from the buildings. Its painting, sculpture and architecture evolved from mannerism and broke away from the rules of contemporary architecture.[9] • They demanded freedom to plan, design and decorate their buildings with what they wanted. [9] •Columns had twisted shafts which were placed in front of pilasters surrounded by cornices and covered with curved and broken pediments. They contained “over the top” and often unsuitable details with carved decoration. [9] • Interiors had gilded sculptures often in awkward poses; the architecture was noted for its curved lines. [9]

[9] https://www.ukessays.com/.../architecture/baroque-architecture-characteristics

25

LITERATURE STUDY

2.4.3 Plan Of Michaelskirche Church, 1750ad, Germany (wikipedia.com)

2.4.4 Interior views Of Michaelskirche Church, 1750ad, Germany (wikipedia.com)

26

LITERATURE STUDY •Baroque had a dynamic look and feel to its design; it was a useful classification for isolating the tendencies and products of stylistic change. •It was seen as spacious, brilliant, theatrical, passionate, sensual, ecstatic, opulent, extravagant, versatile and virtuoso. It was an age of expansion following on an age of discovery, its expansion led to still further discovery about architectural design and decoration. [9] GROUND PLANS: The ground-plans common to the architecture of the Renaissance were the square, the circle, and the Greek cross - a cross, that is, with equal arms.

Those typical of Baroque architecture were the ellipse or the oval, or far more complex schemes derived from complicated geometrical figures. The simple, elementary and analytical plans during renaissance period was replaced by complex, rich, dynamic designs, more appropriate to constructions which were no longer thought of as 'built', or created by the union of various parts each with its own autonomy, but rather as hollowed out, shaped from a compact mass by a series of demarcations of contour (Figure 2.4.1, 2.4.3).[10] WALLS: Besides their complex ground-plans, the resultant curving walls were, therefore, the other outstanding characteristic of Baroque buildings. Not only did they accord with the conception of a building as a single entity, but they also introduced another constant of the Baroque, the idea of movement, into architecture, by its very nature the most static of all the arts. The idea of giving movement to an architectural element in the form of more or less regular curves and counter-curves became a dominant motif of all Baroque art (Figure 2.4.2, 2.4.4). [10]

[9] https://www.ukessays.com/.../architecture/baroque-architecture-characteristic [10] http://www.visual-arts-cork.com/history-of-art/baroque-architecture.htm

27

LITERATURE STUDY

3.1.1 Villa Savoye by Le Corbusier (1927) (wikipedia.com)

3.1.2 Sydney Opera House by Jørn Utzon (wikipedia.com)

3.1.3 TWA Flight Center at JFK Airport

by Eero Saarinen (1962) (wikipedia.com)

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LITERATURE STUDY CHAPTER:3 MODERN CHURCH ARCHITECTURE 3.1 MODERNISM AS WHOLE: Modern architecture or modernist architecture is a term applied to a group of styles of architecture which emerged in the first half of the 20th century and became dominant after World War II. It was based upon new technologies of construction, particularly the use of glass, steel and reinforced concrete; and upon a rejection of the traditional neoclassical architecture and Beaux-Arts styles that were popular in the 19th century.[11] Modern architecture emerged at the end of the 19th century from revolutions in technology, engineering and building materials, and from a desire to break away from historical architectural styles and to invent something that was purely functional and new (Figure 3.1.1, 3.1.2, 3.1.3).

Modern architecture is an expression of an individual. It does not adapt any particular style or era, it depends on an individual‟s thinking and choice. It gives a “freedom of expression” to the architect or designer.

3.2 MODERNIST CHURCH ARCHITECTURE: It would seem that the reductivist buildings commissioned for Roman Catholic worship today are the direct correlary of Church teaching, modern liturgical studies and contemporary theology. Of course, if that were so, Modernist architecture would be the officially sanctioned style of the Church and difficult to criticise. [12]

The current church architecture is not merely the child of modern theology, it is also a child of the "masters" of Modernism: Le Corbusier, Walter Gropius,Alvar Aalto, Mies van der Rohe, Frank Lloyd Wright and others.

[11] Tietz, Jurgen (1999). The Story of Architecture of the 20th century. Konemann.

[12] Article by- Duncan Stroik(architect and associate professor of Architecture at the University of Notre Dame) Modernist Church Architecture(Catholic Dossier)-1997

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LITERATURE STUDY

3.2.1 Exterior and Interior view of Notre Dame Du Haut, Ronchamp, France, 1955

By Le Corbusier (foundationlecorbusier.org)

3.2.2 Exterior and interior view of Route De La Taurette, France, 1960

By Le Corbusier (mimua.eu)

30

LITERATURE STUDY The Church willingly accepted and even adopted the architecture of the secular realm for its sacred buildings.

New churches were designed as "meeting-houses," as if going back to early Christianity when believers met in each others' homes. Architecture, having lost its ability to signify the sacred, became seen as merely providing for the assembly's material or functional needs. The concepts of the church as auditorium and theater in the round derive from early Calvinist buildings which were designed to enable people to see and hear the preacher, such as at Charenton, France. Modernism was particularly attracted to the auditorium and theater types because of their scientific claims to acoustical and visual correctness, as well as the belief that the form of abuilding should be determined by its function.

In the Reformation, destruction of altar, tabernacle and sanctuary were commonplace, and often a pulpit or baptismal font replaced the altar as a focal point. The theological proscriptions against images and symbols in the Reformation were taken up by the Modernists in the 20th century, becoming a minimalist aesthetic requiring austerity and the absence of image.[12] It was made clear by the early promoters of Modernism, such as Louis Sullivan, Frank Lloyd Wright, and Otto Wagner, that any semblance of historical elements or styles was not of our time and must be rejected. At first this rejection of tradition took the form of subtracting or abstracting traditional motifs in buildings. Later, being inspired by non-objective paintings and sculpture, Modernist architecture sought to end the distinction between floor and ceiling, interior and exterior, window and wall, and sacred and profane, which architecture has historically gloried in.

After World War II, the Modernist movement was embraced as an expression of technological triumph of the war. Many pastors followed the lead of government and big business by building abstract, asymmetrical and futuristic churches in modern materials. In France, for the rustic church of Notre Dame at Assy, Dominican Father Piere Marie-Alan Couturier commissioned fifteen

[12] Article by- Duncan Stroik(architect and associate professor of Architecture at the University of Notre Dame) Modernist Church Architecture(Catholic Dossier)-1997

31

LITERATURE STUDY

3.2.4 “Marie-Alain Couturier, O.P., (15 November 1897 – 9 February 1954) wasa French Dominican friar and Catholic Priest ho gained fame as a designer of stained glass windows. He was noted for his modern inspiration in the field of Sacred art. (revolvy.com)

32

LITERATURE STUDY of the best known Modernist artists to make murals, tapestries, mosaics, and stained glass.

Also under the patronage of Couturier, the architect Le Corbusier designed perhaps the two best-known churches of this century: the pilgrimage church at Ronchamp (Figure 3.2.1) and the Dominican Monastery at La Tourette (Figure 3.2.2). Le Corbusier made it very clear from the beginning that he was not a religious man and undertook the projects because he was given the freedom to express his ideas within an open landscape.

Ronchamp is the epitome of the church as abstract sculpture and was likened by Le Corbusier to a temple of the sun. La Tourette, on the other hand, is a severely orthogonal building with a tomb-like concrete chapel and a cloister that can not be used.[12]

The monastery had many problems, including a high incidence of depression due to its prisonlike cells and oppressive spaces which forced it to close (for a time it became a retreat center for Modernist architects). Father Couturier (Figure 3.2.3), believing that all "true art" is "sacred art," argued that it was better to have a talented atheist making Christian art or designing churches than to have a pious artist who was mediocre. This premise was the opposite of the historic view of the church as a "sermon stone," a work of faith by architect, parish and artisans. For Couturier, the church building was no longer seen as a teacher, minister, or evangelist but rather as a space for functional assembly. Likewise, the architect was no longer an inspired co-creator but a conduit for his own personal expression and the "spirit of the age�.[12]

[12] Article by- Duncan Stroik(architect and associate professor of Architecture at the University of Notre Dame) Modernist Church Architecture(Catholic Dossier)-1997

33

LITERATURE STUDY 3.3 COMPARISON OF MODERN CHURCHES 3.3.1 BASIC INFORMATION First Unitarian CHURCH OF ROCHESTER

RONCHAMP

Architects Louis Kahn Location Rochester, NY, United States Architect Louis Kahn Project Year 1969

Architect: Le Corbusier Location: Notre Dame du Haut, 13 Rue de la Chapelle, 70250 Ronchamp, France Project Year: 1954

Louis Kahn was known for his infusion of culture and creating a sense of place within modern architecture.

In 1950, Le Corbusier was commissioned to design a new Catholic church to replace the previous church that had been destroyed during World War II.

CHURCH AT FIRMINY

Architects Le Corbusier Location Firminy, France Architect Le Corbusier References Le Corbusier, Raeburn Project Year 1963

Michael

The Church at Firminy by Le Corbusier was another evolution of the core thoughts and practices of the architect throughout his many years of designing.

CHURCH OF LIGHT

CHURCH ON WATER

SHONAN CHRIST CHURCH

CHURCH OF ST. ALOYSIOUS

Architects Tadao Ando Location Ibaraki, Osaka, Japan Architect Tadao Ando References galinsky.com, wikiarquitectura.com, ando.tableseven.org Project Year 1999

Architects Tadao Ando Location Hokkaido near Tomamu, Japan Architect Tadao Ando References Philip Drew, Massimo Vignelli Project Year 1988

Architects Takeshi Hosaka Location Kanagawa, Japan Area 175.0 sqm Project Year 2014

Architects Erdy McHenry Architecture Location 935 Bennetts Mills Rd, Jackson, NJ 08527, United States Area 0.0 ft2 Project Year 2009

The Church of the Light embraces Ando‟s philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions equally, if not more so, as that of his concrete structures.

“You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.” by Tadao Ando.

A protestant church is standing at a rich green residential area at a 10-minute walk from the Shonan beach. The meetinghouse of the 50-year old church became too small and it came to a decision that a new church would be constructed on a new site.

The new Church of Saint Aloysius tells the story of its purpose through its architectural expression.

Two significant conceptual explorations gave form to the design for this church: “repitching the tent”, expressed in the delicate soaring roof lines evoking the concept of simple worship

34

LITERATURE STUDY 3.3.2 PLANS AND ELEVATIONS

First Unitarian CHURCH OF ROCHESTER

RONCHAMP

CHURCH AT FIRMINY

CHURCH OF LIGHT

CHURCH ON WATER

SHONAN CHRIST CHURCH

CHURCH OF ST. ALOYSIOUS

35

LITERATURE STUDY 3.3.3 OPENINGS (SOURCE FOR NATURAL LIGHT First Unitarian CHURCH OF ROCHESTER

The source of natural light in this church is the double height which is on the altar and the sunlight directly falls on the altar.

The towers act as filters that saturate the sanctuary throughout the day constantly changing the perceptive qualities of the space even as the seasons change.

RONCHAMP

The southern wall of the chapel have a bunch of niches of different sizes that provides as a source of natural light.

Some niches are provided with colored glass to enhance the beauty. the lighting effects create a speckled pattern, almost like a starry night, of sparse openings that are complimented by a larger opening above the cross that emits a flood of light, creating a powerful religious image as well as a transformative experience.

CHURCH AT FIRMINY

The church has many skylights in many different forms which provides natural light. Natural light floods in through light boxes and through a series of organized openings that are a direct reference to the constellation Orion. The light boxes are designed in a way that will bring light to the alter on specific religious holidays, like Good Friday and Easter Sunday.

CHURCH OF LIGHT

The church of light defines the light in a cross. There is a big greek cross void behind the altar from which the light penetrates inside the church. The cross has plain glass in it. Ando‟s decision to place the cross on the east façade allows for light to pour into the space throughout the early morning and into the day, which has a dematerializing effect on the interior concrete walls transforming the dark volume into an illuminated box.

CHURCH ON WATER

The church of water have one wall facing to the water, the wall is made of glass and a big cross made of metal. It is vice versa of what there is in „church of light‟. Here, the part excluding cross provides light to the interior.

SHONAN CHRIST CHURCH

This church was aimed at creating space appropriate to prayer and worship with the six curved surface roofs at different heights, which allowed natural light to pour down between those roofs.

Direct sunlight was inappropriate for the time zone of service, but considering that direct sunlight was appropriate for the time zone except for service, this construction was designed to create a space of skylight during the time zone for service (10:3012:00 in Sunday morning) and direct sunlight during other time zones.

CHURCH OF ST. ALOYSIOUS

In this church, the walls are divided in two equal parts. The below part is solid wall and the upper part is covered with glass which provides natural light. The glass is divided in further small parts separated by metal plates.

36

LITERATURE STUDY 3.3.4 FURNITURE AND ITS MATERIAL First Unitarian CHURCH OF ROCHESTER

The furniture in this church all made up of wood. The chairs, the tables, the doors, storage cupboards and the raised platform for altar, pulpit, all are made of wood. The wood is light colored.

The chair has combination of brown and grey on fabric to match with the walls.

RONCHAMP

The furniture in Ronchamp is very minimal. It is made up of African wood created by savina. The furniture includes benches, altar rail, table and pulpit.

The communion bench is made up of cast iron.

The furniture here is very minimum and most of the space is empty.

CHURCH AT FIRMINY

The furniture here is also made from wood. The furniture includes benches, table, and pulpit. .The benches are placed on steps that starts from altar.

The bench is combination of metal and wood. Metal is used as the structure and wood is used to make the sitting part and the supporting part + book keeper.

CHURCH OF LIGHT

CHURCH ON WATER

The furniture in this church is a part of minimalism. The benches are made of repurposed scaffold (wooden planks).

The furniture includes benches, table and pulpit. The furniture is finished with black oil stain.

The arrangement of benches gradually decreasing along the way. Emphasize the quality between prayer and priest. Furniture lining up straight enhance the integrity of the form.

The furniture in „Church of waterâ€&#x; gives a contrast effect to the interior. The furniture is made from wood with light shade. The furniture includes benches, tables baptismal font, few chairs.

The furniture design is very linear as compare to other churches.

Again the furniture reflects minimalism.

SHONAN CHRIST CHURCH

CHURCH OF ST. ALOYSIOUS

This church has more use of furniture than other churches.

Main material is again wood.

The furniture includes benches, baptism pool, pulpit, pastor stage, storage shelves and the partition walls are also made of wood. The furniture is inspired from modern style including the storage style.

There is a wooden cross on the wall behind altar.

The church has semi-circular arrangements of pews according to its plan. The furniture is mostly of wood with matches with the ceiling.

The furniture includes benches, pulpit, altar table, and some extra chairs. The benches have book holder behind them which is not in any of the churches mentioned here and it also have padded seats.

The pulpit and altar table are made of stone which shows the importance of that furniture.

37

LITERATURE STUDY 3.3.5 WALL TREATMENTS First Unitarian CHURCH OF ROCHESTER

There are unfinished concrete walls throughout the church and some are concrete exposed brick walls in the main areas. It shows the rawness of the church.

Some panels are used in spectrum colors on walls.

These panels were designed not only for visual effect but also to correct a problem of sound reverberating from the concrete walls.

RONCHAMP

The interior as well as exterior walls of Ronchamp have rough textured white color. The stark white walls add to this purist mentality that when the light enters into the chapel there becomes this washed out, ethereal atmosphere.

Stone tile flooring

CHURCH AT FIRMINY

The whole church is designed to have concrete on its walls, both internally and externally.

Recognizing the small congregation of the city, the architect wanted to embrace and celebrate the miners and steel workers that produced most of the goods of the area, which explains his use of concrete. He hoped that this material would also give him control over the volume and spaces in his overall goal of giving light a true meaning.

Concrete tile flooring

CHURCH OF LIGHT

Here again, concrete is used as the main material on the walls. As the concrete adds to the darkness of the church by creating a more humble, meditative place of worship.

The way in which the concrete is poured and formed gives the concrete a luminous quality when exposed to natural light.

Re-purposed scaffold (wooden planks + metal poles) finished with black oil stain

CHURCH ON WATER

Again Tadao Ando uses concrete in the walls of this church. He believes that architecture should speak less, it has to merge with the nature. So believing in that, he must have chosen concrete as it is the rawest material of all.

Black granite flooring

SHONAN CHRIST CHURCH

CHURCH OF ST. ALOYSIOUS

The walls here are reinforced concrete rib and sound absorption. On the other hand, the partition walls are made of wood which complements the concrete walls.

The walls are finished with concrete brick cladding on every side of the wall in the interior. These bricks are cladded in a rough manner such that some are embossed and some are debossed. Some walls are cladded with grey tiles used by cutting it in thin strips.

Wooden flooring

Vitrified flooring

38

LITERATURE STUDY CHAPTER:4 CHRISTIANITY DIFFERENT PARTS

IN

4.1 CHRISTANITY IN INDIA Christianity took its birth in India in the first century when St. Thomas, one of the twelve disciples of Jesus came to India. The ancient tradition strongly believes that apostle Thomas had come to South India in 52 A.D. He had preached the gospel, converted imported Brahmin families and established seven churches over there. Later on he was speared to death by a Brahmin at Mylapore near madras in 72 A.D. Thus St. Thomas was the first missionary in India. This tradition cannot be proved, but it may be true as there are several sources available to justify it.[3] Then in fourth century, a group of between three and four hundred Christians from Syria migrated to India.

They settled at the coast of Malabar because a Christian community already existed there. Then again in the ninth century, a second migration of Christians from Syria a came to the same area.[3] The growth of Christianity in India till the 15th century A.D. is virtually unchronicled as well as not much inspiring. But at the end of the fifteenth century (1498), Portuguese came to the west coast of India.

Later on they conquered various areas and forced the local people to accept Christianity.[3]

[3]Thesis by- Prashant Panchal - Study of church architecture of Gujarat (page-6)

39

LITERATURE STUDY 4.2 CHRISTIANITY IN GUJARAT Gujarat, one of the most fascinating yet least known areas of India has quite interesting history of Christianity. The earliest Christianity of St. Thomas and Syrian Christians of Persia had not extended to Gujarat in earlier days. No other information about the Christianity in Gujarat before the fourteen century is available.

The Nestorian Christians who were the members of the Persian church of the East, lived in broach in the fourteenth century. The very first missionary to come to Gujarat was Jordan, a Dominican monk who came from France with four Franciscan friars in 1321. He had worked successfully in Broach in baptizing lot of people over there. After the time of Jordan, there is not any information about Christianity in Gujarat until the coming of the Portuguese.

The Portuguese who were Roman Catholics, came to India in 1498. They conquered Daman in 1554, and Diu in 1559. They forced the people to accept Christianity. They had also erected several churches during this period. The Amanians were also staying in Surat during this period. And they also had erected a church which had now been demolished. But their cemetory is still existing in Surat.

Then in 17th century, the East India Company and the French and the Dutch had established their trading stations in Surat. Then Carmelites came to Surat in 1699. They were not interested in preaching Christianity, but they had erected a church in 1759.

[3]Thesis by- Prashant Panchal - Study of church architecture of Gujarat (page-9)

40

LITERATURE STUDY CHAPTER 5CHURCHES IN COLONIAL ARCHITECTURE (GUJARAT) BRITISH RULE IN GUJARAT (1817 TO 1947) The most substantial contribution of the British was the establishment of Cantonment, the military headquarters northeast of the city in 1830. They built their colonies same as town planning trends that prevails in Britain. They had built colonial style building comprising spacious, sprawling bungalow, gardens and complexes. During this time, the crowded quarters within the walled city were the southern and eastern wards, while the northern and western wards were relatively open. This, namely Dariapur and Shahpur was the British initially decided to base themselves and start their citybuilding activities on a small but noticeable scale.

Institution building commenced as the first priority through the Roman Catholic Church in 1842 and the first English school in 1846. Residential building activity was also witnessed during 1850 to 1870 in the form of the detached dwelling type, especially in the Dariapur area where many houses in the English style were believed to be built with many glass windows as was noted by the historian Mangalal Vakhatchand. The General Post Office ere constructed at Gheekanta which were typical representatives of the colonial administrative buildings with exposed brick facades painted red with trussed roof.

The city started developing and gradually regained its 1866 AD by the municipality and the government urged the citizens to develop the town in a planned way, with regard to health and convenience of the people, avoiding the congestion of the old city.[14]

[14] Thesis by- Kriti Doshi- Study of colonial Architecture of Gujarat (page-11)

41

LITERATURE STUDY

5.1.1 Gujarat College, Ahmadabad, 1860 (paronamio.com)

5.1.2 CNI Church, Ellis Bridge, Ahmadabad (alamy.com)

42

LITERATURE STUDY The entire colonial phase spanning a period of about 130 years with the introduction and development of a deistic style of architecture and subsequently the characterization on the interiors thereby creating a complete environment there could be classified as: 1. The Neo-gothic-style: 1840-1900 2. The Colonial Vernacular Style: 19001935 3. The Revival Style: 1930-1947 4. The Art Deco Style: 1940-1947 Though these were not definitively time bound and did overlap and spill over into the next during its spread, reach and percolation into the design psyche of the people of the city, their classifications emphasize the period when the style was at its new and flourishing best.[14]

5.1 THE NEO-GOTHIC STYLE In 1860, Victorian Gothic Revival invaded in India.

This style had been employed for churches as it had along been regarded as Christian style. Many churches and public buildings were built in this style in the large cities of India- such as Bombay, Calcutta, etc. It was designed and executed essentially by the British Military Board and the engineers of the Public Works Department, it had strong ecclesiastic overtones and originally north European character.

The style was liberally utilized initially through religious spaces like the Roman Catholic, Church at Gheekanta, the Irish Presbyterian Church, St. Georgeâ€&#x;s Church in Shahibaug and later in the CNI church across Ellis bridge (Figure 5.1.2).[14]

[14] Thesis by- Kriti Doshi- Study of colonial Architecture of Gujarat (page-13)

43

LITERATURE STUDY

5.1.3 POINTED ARCH DOORS Gujarat College, Ahmadabad,1860 (paronamio.com)

5.1.4 POINTED ARCH WINDOW CNI Church, Ellis Bridge, Ahmadabad (alamy.com)

5.1.5 VERTICAL EMPHASIS Gujarat College, Ahmadabad, 1860 (paronamio.com)

5.1.8 VAULTED CEILING CNI Church, Ellis Bridge, Ahmadabad (alamy.com)

5.1.6 ROSE WINDOW CNI Church, Ellis Bridge, Ahmadabad (alamy.com)

44

5.1.7 WALL BUTTRESSES CNI Church, Ellis Bridge, Ahmadabad (alamy.com)

LITERATURE STUDY This was followed by its adoption for buildings of the British Institutional and Administrative service like the Collectrote, the Metropolitan Courts at Gheekanta, the Municipal Corporation building at Khamasa gate and the GPO. The third type of British building to follow this same style was educational institutions like the IP Mission School the Gujarat College (Figure 5.1.1) and the Government girls School at raikhad. Soon local industrialists and philanthropists embraced the Neo-Gothic for educational institutions.[14] •Characteristics of Neo-Gothic Style: 1. Pointed arches doors or windows (Figure 5.1.3, 5.1.4) 2. Irregular appearance 3. Vertical emphasis (Figure 5.1.5) 4. Variety of materials 5. Rich colors and decoration 6. Flying Buttress 7. Vaulted Ceiling (Figure 5.1.8)

[12] Thesis by- Kriti Doshi- Study of colonial Architecture of Gujarat (page-15)

45

LITERATURE STUDY

5.2.1 Stock Exchange Building, Manek Chowk, Ahmedabad, 1894 (flickr.com)

5.2.2 Sheth Vadilal Sarabhai Municipal Hospital,Ellisbridge, Ahmedabad 1931 (archive.indianexpress.com)

46

General

LITERATURE STUDY 5.2 THE COLONIAL VERNACULAR STYLE The beginning of the twentieth century was a phase that saw a large amount of building activity, both residential and institutional termed as representing the “colonial vernacular styleâ€&#x;. Within this style the attempt was to create a space that in its conception, organization and articulation was European. Such houses were largely built in the typical bungalow style, the types that were commonly featured and talked about in books of the 19th century on the English and colonial houses, discussing their plan and organization patterns and functions carried out, they remained largely traditional, resulting in the house being a mix of both the idioms.

The style was absolutely predominant in the era between 1900 and 1935 emerging as the singular preference for residences and public buildings with an equal fervour. While having found its roots in the elite preserves on the eastern banks of the Sabarmati in the early 1900s, this style was marked by the residences of the Parekh families at lal Darwaja, public buildings like the Manek Chowk Stock Exchange (Figure 5.2.1), the Rits hotel the Victoria Jubilee Hospital and the Vadilal Sarabhai Hospital (Figure 5.2.2).[14]

[14] Thesis by- Kriti Doshi- Study of colonial Architecture of Gujarat (page-17)

47

LITERATURE STUDY

5.3.1 M.J. Library, Ellisbridge, Ahmedabad (unidel-group.com)

5.3.2 Sheth Mangaldas Hall, Ahmedabad (kamalmangaldas.net)

48

LITERATURE STUDY 5.3 THE REVIVALIST STYLE During this phase, the elite families began to commission residences for themselves in the Revivalist style, triggering off new changes in the design environment of the city largely heralded due to the freedom movement and the search for new Indian design vocabulary.

For the Indian people especially the elite, a need to revive their past was more out of nostalgia as their own Western exposure, travel and interactions had made them see their own culture anew, making their attempt at a revival more in search for an identity. It was in this response probably that this phase was first ushered in by Ambalal sarabhai, who commissioned Surendranath kar for his new estate, The Retreat at Shahibaug in 1934.

Colonial revivalism on the other hand fond expression primarily through the British architects and a few of their Indian students and other architects, who before 1850 saw themselves as part of the European architectural development of the country but not as part of the stylistic development of the nationâ€&#x;s architecture.[14]

[14] Thesis by- Kriti Doshi- Study of colonial Architecture of Gujarat (page-19)

49

LITERATURE STUDY

5.4.1 Electricity House, Relief Road, Ahmedabad (flickr.com)

50

LITERATURE STUDY 5.4 THE ART DECO STYLE Art deco as a style arrived in India at a time that chronologically with the Revivalist phase and the first appearance of Modernism through the art schools in Bengal and Baroda. While both of these were looked upon as harbingers of a new freedom that was free from the imperial clutches and associated with being non-british or non-colonial, it was again the old elite families or the nouveau riche who as clients opted for such movements.

The aspect of Art deco was what found acceptance among a large number of moneyed Indian clients who were well exposed through travels abroad to this style of interior design in hotels, ocean-liners and other products.

Adopting the Art deco expression became their tool to reflect the image of the „modern‟ who had “emerged from the shackles of backwardness an ignorance and was seeking his place in the new world as an equal.”

Examples of the Art Deco in the city were, Relief road, Relief cinema in 1951, for which a designer from Bombay was called in. This was also the time when Lalbaug was renovated by Bately where the colonial elements on the porch columns and the staircase were largely altered opting yet again for revivalist elements, reinforcing that both these phases were contemporary to each other and largely preferred as well.[14]

[14] Thesis by- Kriti Doshi- Study of colonial Architecture of Gujarat (page-21)

51

LITERATURE STUDY

5 4

6

1. Main Door 2. Rooms 3. Court 4. Baptistery

3

5. Triclinic (classrooms for catechumens) 6. Platform for altar 7. Sacristy

7 2

1 ENTRY

6.1 PLAN House Church, Dura-Europe, built c.a. 232 AD. (Origins and development of early Christian architecture, 1952 )

6.2 PLAN Old Saint Peter's Basilica, Rome, A.D. 319-329 (Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth)

6.3 PLAN (Thesis by- Prashant- Study of church architecture of Gujarat)

52

LITERATURE STUDY CHAPTER 6: USAGES OF SPACES IN DIFFERENT ERAS In the first to third century, the Christians had House churches to worship (Figure 6.1), so the usage of spaces in that time period is as follows: 1. Court 2. Sacristy (preparation for priest) 3. Platform for Altar 4. Baptistery (individualâ€&#x;s purification through water) 5. Classroom for Catechumens (who is preparing for baptism) 6. Other rooms

After the house churches, early Christian Basilicas had a totally different layout and with the layout the spaces changes accordingly: 1. Atrium (Courtyard) 2. Bema (for the increased no. of clergy) 3. Colonnade (for the division of spaces) 4. Transept (extended arms of bema) 5. Apse (raised platform for Altar covered with dome/semicircular roof) 6. Narthex (Vestibule) 7. Nave (prayers for large gatherings)

After many years, the space usages of churches changes with the religious needs and beliefs of the people, churches in 18th century had these kind of space usages: 1. Entrance (porch) 2. Nave 3. Vestry 4. Pulpit 5. Altar 6. Store rooms 7. Verandah

53

LITERATURE STUDY

6.4 PLAN St. Patrickâ€&#x;s Catholic Church, Robertsdale, Alabama (Places of Worship by Richard W. Jackson)

6.5 PLAN Church of Brethren, Live Oak, California (Places of Worship by Richard W. Jackson)

54

LITERATURE STUDY In the modern architecture or modern times, the churches are used for multipurpose, hence, the spaces were created such to make it multipurpose. The furniture was mainly loose and movable so that every space can be used for another purpose and some part is remained fixed.

Usages of churches in Modern Churches: 1. Chapel 2. Altar 3. Sanctuary 4. Multiuse Hall 5. Admin Area 6. Kitchen 7. Storage Space 8. Social Area 9. Library (Optional) 10. Children area (optional) 11. Meditation (Optional)

55

CASE STUDIES 7. CASE STUDIES 7(A) CASE STUDY- 1 CHRIST CHURCH, MIRZAPUR, AHMEDABAD (A.D.1848)

56

CASE STUDIES

7(A).1.1 Front Elevation

7(A).1.2 Side elevation

7(A).1.3 Site Plan

57

CASE STUDIES Name: Christ Church Location: Ahmedabad, Gujarat, India Type: Protestant Church Consecration Date: 6TH January 1848 Renovated: 21st May 2006 Style: Gothic

7(A).1 HISTORICAL BACKGROUND Christ Church at Mirzapur is the oldest Protestant Church in Ahmadabad. The “Society for the Propagation of the Gospel�

(SPG) of England established its mission station in Ahmadabad in 1830. Due to the efforts of Rev. George L.Allen, the missionary of the SPG and Rev. Thomas Carr, the first Bishop of Bombay, the British Government built the present Christ Church in Mirzapur. It was also consecrated by Bishop Carr on 6th January,1848. It was built for the British officers, both civil and military as well as local Indian Christians. This Anglican church has come under the management of C.N.I. (The Church of North India) in the year of 1970.[3]

[3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-42)

58

CASE STUDIES

7(A).2.1 Pointed arch openings

7(A).2.2 Western tower

7(A).2.4 Entrance porch

VESTRY

NAVE

7(A).2.3 Zoning ENTRANCE

7(A).2.5 Formation of Greek Cross

59

ALTAR

CASE STUDIES 7(A).2 GENERAL CHARACTERISTICS Christ Church of Ahmadabad is a Gothic style structure with Pointed arched openings of lancet type (figure 7(A).2.1) and wall buttresses .The bell-tower over the western wall resembles the western towers of European churches mainly of England (figure 7(A).2.2). The plan is prepared from two unequal oblongs of which larger is the nave and smaller the altar (figure 7(A).2.3).

Adjoining to the nave is the vestry on the north side and entrance porch on the south side (figure 7(A).2.4).[3] The longitudinal axis of the church lay directly east and west with altar at eastern end. The main entrance is through south porch which was very common in the parish Churches of Medieval England. The nave without aisles is the main internal space which provides large preaching space for the Protestant faith.[3] The eastern end of the nave measuring 9â€&#x;-6â€? in total is raised by one step to accommodate pulpit and choir (Figure 7(A).2.6). The railing near this step provides a visible barrier between the nave and the sanctuary(Figure 7(A).2.7).

[3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-42)

60

CASE STUDIES

7(A).2.9 Baptism font

7(A).2.13 Book stand

7(A).2.12 Chair in altar

7(A).2.14 Table for priests

7(A).2.10 Communion table

7(A).2.8 Pews

61

7(A).2.7 Kneeler

7(A).2.6 Pulpit

CASE STUDIES n the nave two rows of wooden benches are provided which have some carvings (Figure 7(A).2.8). The wooden pulpit is kept on left side near the altar while the large octagonal baptismal-font is kept near the western end of the nave (Figure 7(A).2.9).

The altar is joined to the nave at its eastern end by a large lancet arch and it is reached by few steps. It contains a wooden “communiontable� for the holiest sacrament of Eucharist (Figure 7(A).2.10). The vestry for the pastor is on north side adjoining to the nave. It is 2133mm X 2133mm in dimension same as to the entrance porch which is on south side of the nave (Figure 7(A).2.11).[3]

[3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-43)

62

CASE STUDIES 7(A).3 SCHEMATIC DRAWINGS

7(A).3.1 PLAN (EDTED) (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

7(A).3.2 ELEVATION-SOUTHERN FAÇADE (EDITED) (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

63

CASE STUDIES

7(A).3.3 SECTION AA‟(EDITED) (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

7(A).3.4 ELEVATION-WESTERN FAÇADE (EDITED) (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

7(A).3.5 SECTION B‟B (EDITED) (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

64

CASE STUDIES

7(A).4.3 Sun Movement around the Church

3X

X 7(A).4.4 Proportioning System (Thesis by- Prashant- Study of church architecture of Gujarat)

7(A).4.5 Circulations and Movements in church

65

CASE STUDIES 7(A).4 ANALYSIS

7(A).4.1 Visual lines through Church

7(A).4.2 Light sources in Church

66

CASE STUDIES

7(A).5.1 Wall buttresses

7(A).5.2 Interior white walls

7(A).5.3 Timber roof

67

CASE STUDIES 7(A).5 ELEMENTS Christ Church at Ahmadabad is constructed from locally available materials such as clay bricks, wood, etc.

WALLS They are the main structural elements which support the sloping roof. They consist clay brick masonry laid in mortar beds. They finished with plaster both from inside and outside. The west side wall is made with offsets to create interesting façade. The hood-moldings over the openings as well as deeply projecting wall buttresses try to break monotony of wall surfaces (Figure 7(A).5.1). In the interiors, the walls are plastered and painted white and cream at the bottom. The color keeps the interior calm and peaceful (Figure 7(A).5.2). [3] ROOFS The open timber roof has got the inclination of forty-five degrees. The wooden trusses are resting on 2‟-0” thick walls. They provide support to wooden purlins over which woodenboarding is fixed to avoid heat penetrating the interiors. The altar, vestry, and entrance porch have close boarded timber roof resting on side walls (7(A).5.3). [3]

[3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-44)

68

CASE STUDIES

7(A).5.3 Timber roof

7(A).5.4 Colored glass wooden windows

7(A).5.5 Buttresses

7(A).5.6 Pointed arch window

CHARACTERISTICS OF GOTHIC STYLE

69

7(A).5.7 Bell tower

7(A).5.8 Rose window

CASE STUDIES OPENINGS All the openings in this church are spanned by lancet arches. All the doors and windows are having wooden frames. They are simply having wooden panels. The upper triangular portion of all the windows consist pierced tracery work done in wood. The hood-moldings are helpful to protect the openings from rain.[3] The circular windows in west as well as east side walls are having wooden louvers. They provide additional light and ventilation to the interiors. Above lintel level, colored glass are used in the arches with patterns made in wood. When light falls on the openings, the colored glass and wood patterns comes out beautifully 7(A).5.4).

BUTTRESSES They are actually the structural members and counteract the oblique pressure occurring due to the load of sloping roof above. They are divided into three stages which are separated from one another by steep slopes. All these features are significant both aesthetically and structurally. The buttresses are placed diagonally at the corners of vestry and entrance porch, because the resultant thrust at the corners is always diagonal (Figure-7(A).5.5).[3]

[3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-44)

70

CASE STUDIES

7(A).6.1 Pew design

7(A).6.2 Barrier between benches and entrance gate

7(A).6.3 Pulpit design

7(A).6.4 Communion table

7(A).6.6 Baptism Font

7(A).6.5 Chair design and carved leg design

71

CASE STUDIES

7(A).6 FURNITURE ELEMENTS The furniture elements in the church were mainly made of wood. Wood is a locally available material in that particular area. The furniture elements includes benches in the nave, baptismal-font, doors and windows, storage cupboards, pulpit and choir railing, communion-table, one table near pulpit. Wood is the basic material used in all the furniture.

Carving is done on every furniture as it is one of the main crafts in Gujarat.

The furniture element which covered almost 5060% of the church is bench (Figure- 7(A).6.1). It is used for sitting as well as the back of every bench serves as a stand for the holy book.

There are 16 benches in the nave. There is approx 1200mm of distance between two columns of benches. In addition, there is a barrier between the bench and the entrance gate which also made of wood with same kind of carvings.

The other main furniture element is Baptismalfont (Figure 7(A).6.6). It is an article of church furniture used for Baptism. Baptism is the Christian religious rite of sprinkling water on to a personâ€&#x;s forehead or of immersing them in water, symbolizing purification or regeneration and admission to the Christian church. In many denominations, baptism is performed on young children and is accompanied by name-giving.

72

CASE STUDIES 7(B) CASE STUDY- 2 ST. MORITZ CHURCH, STRABE 21, 86150 AUGSBERG, GERMANY (2013)

[3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-44)

73

CASE STUDIES

7(B).1.1 Side Elevation (www.pinterest.com)

7(B).1.2 Front (www.detail-online.com)

CHURCH

7(B).1.3 Site Plan (archdaily.com)

74

CASE STUDIES Name: St. Moritz Church Location: Augsberg, Germany Consecration Date: Year 1019 Last Renovated: Year 2013 Style: Modern Architect: Philippine-Welser

7(B).1 HISTORICAL BACKGROUND The church of St Moritz has been through many changes since its foundation nearly a thousand years ago. Devastating fires, changes in liturgical practice, aesthetic evolution and wartime bombing have each left their mark on the fabric of the building. Starting off as a Romanesque basilica in 1019, St Moritz Church was rebuilt in the Gothic style in 1229. Master builder Johann Jakob Herkommer from Füssen subjected the building to a thorough Baroque transformation in 1714. The bombing on the 24th and 25th of February in 1944 only spared the outer walls, but the parish soon engaged a leading master builder of the time to rebuild the church.

Dominikus Böhm gave the church interior a reduced, typically post-war aesthetic – a hint of what Pawson was to create later. A series of further conversions in the course of the following decades began to smother the expressive Böhm design, causing the parish to take an unusual step in 2007. As part of a temporary art installation entitled "Void", the local artist Juliane Stiegele was commissioned to remove or cover all fixtures, fittings and furnishings visible in the church, which were not absolutely necessary for the liturgy, in favour of a kind of "visual fast". The purpose of this latest intervention has been to retune the existing architecture, from aesthetic, functional and liturgical perspectives, with considerations of sacred atmosphere always at the heart of the project.[15]

[15] https://www.dezeen.com/2013/07/31/st-moritz-church-by-john-pawson/

75

CASE STUDIES

NAVE

APSE

7(B).2.1 Zoning

7(B).2.2 Formation of Latin cross

7(B).2.5 Clerestory windows[a]

7(B).2.3 Sculptures in the nave [a]

7(B).2.4 Clerestory windows [a]

[a] Image reference: http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

76

CASE STUDIES 7(B).2 GENERAL CHARACTERISTICS

St Moritz is laid out according to the clear linear principles of a Wegekirche and this spatial character, with its strong forward focus on the apse, is retained and reinforced in the current re-ordering, with the eye purposefully drawn through the nave to the apse, which is designed as a room of light, heralded by the Baroque sculptor Georg Petelâ€&#x;s figure of Christus Salvator (Figure 7(B).2.1 ).[16] The treatment of the apse windows represents the culmination of a wider strategy for light, whose aim is to achieve a clear distribution of light, with the apse as the brightest area in the church. After the apse, the area of the nave where the liturgy is performed is brightest, whilst the side-aisles revert to more subdued light conditions. The Baroque clerestory windows, relieved of their former function of illuminating the artwork and decoration, now serve as indirect sources of light. [16] The apse is the brightest space in the church, followed by the nave where the altar sits on a new podium. Lighting in the side aisles is more subdued, where clerestory windows and carved sculptures of the apostles maintain links to the church's Baroque past (Figure 7(B).2.3, 7(B).2.4 , 7(B).2.5 ).

[16] http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

77

CASE STUDIES

7(B).2.6 Pews [a]

7(B).2.7 [a]

7(B).2.8 Windows in altar [a]

7(B).2.9 Room of light [a]

7(B).2.13 Organ[a]

7(B).2.12 Baroque sculptures [a]

7(B).2.3 Baroque clerestory windows

7(B).2.11 Altar and Choir [a]

7(B).2.10 Baptistery[a]

7(B).2.3 Baroque Sculptures (http://www.johnpawson.com/works/moritzkirche/)

CHARACTERISTIC OF BAROQUE STYLE [a] Image reference: http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

78

CASE STUDIES The longitudinal axis of the church lay directly east and west with altar at eastern end. The main entrance is through west porch. The nave without aisles is the main internal space which provides large preaching space for the Protestant faith. The nave again is divided in three parts by columns which creates verandas on both the sides (Figure 7(B).2.1). On the eastern side of the nave, two steps are raised for the main altar which has a table and sitting on both the sides (Figure 7(B).2.11). Again three steps were raised for the chancel with choir stalls. Then six steps were raised for the sculpture "Christ the Saviour" figure by the Baroque sculptor Georg Petel ,which is there from the time when the church was built (Figure 7(B).2.9).[16] In the nave two rows of wooden benches are provided which have a modern touch and no ornamentation (Figure 7(B).2.6). On the left side of the altar, a space is created were a cross with Jesus Christ is placed with some benches (Figure 7(B).2.7).[16]

[16] http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

79

CASE STUDIES 7(B).3 SCHEMATIC DRAWINGS

7(B).3.1 SITE PLAN (http://www.archdaily.com/456312/interior-remodelling-stmoritz-church-john-pawson)

7(B).3.2 PLAN (EDITED) (http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson)

80

CASE STUDIES

7(B).3.3 TRANSVERSE SECTION AA‟ (http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

7(B).3.4 LONGITUDENAL SECTION BB‟ (http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

81

CASE STUDIES

7(B).4.3 Sun Movement around the Church

7(B).4.4 Circulation and Movements in Church

82

CASE STUDIES 7(B).4 ANALYSIS

7(B).4.1 Visual lines before renovation.

Before renovation the artifacts were placed on the columns, which distracts the visual field from entrance to the altar.

Visual lines Distracting visual lines Artifacts

7(B).4.2 Visual lines after renovation.

After renovation, the architect smartly relocate the artifacts on the side walls of the church, which creates the clear visual field straight to the altar.

83

CASE STUDIES

7(B).5.1 St Moritz Church in 2007 before conversion.[a]

7(B).5.3 Altar furniture [a]

7(B).5.2 St Moritz Church in 2013 after conversion. [a]

7(B).5.4 Altar table [a]

7(B).5.5 Baroque sculpture“Christ the saviour� [a]

7(B).5.6 Before and after renovation changes

[a] Image reference: http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

84

CASE STUDIES 7(B).5 RENOVATION IDEA The wish to give this positive "fasting" experience a permanent setting led to the commissioning of John Pawson with the conversion of the church.

Although traces of its Baroque history remain in the shapes of the windows, the spatial organisation and the carved figures of the apostles in the aisles, the atmosphere is completely different now. Dean Helmut Haug, who represented the parish in the conversion project, says that the white is also a challenge, emphasising that St Moritz Church is not a living room, or even a cosy church. [16] Only very few additional shades of colour on the borderto colourlessness can be found. The floor is covered with light beige Portuguese limestone, which also constitutes the monolithic altar block weighing four and a half tons (Figure-7(B).5.4).

The dark stained wood of the pews and choir stalls, as well as the edging of the organ above the entrance offers a sombre contrast(Figure7(B)5.3). Apart from very few exceptions – such as the "Christ the Saviour" figure by the Baroque sculptor Georg Petel in the choir apse (Figure7(B)5.5)– there are no colour detractions even in the sparse sculptural decoration. [16]

The work has involved the meticulous paring away of selected elements of the church‟s complex fabric and the relocation of certain artifacts to achieve a clearer visual field(Figure 7(B).5.6). Drawing on existing forms and elements of vocabulary, an architectural language has evolved that is recognizable in subtle ways as something new, yet has no jarring foreign elements.[16]

[16] http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

85

CASE STUDIES

7(B).6.1 High choir windows [a]

7(B).6.2 LED Lights in altar [a]

7(B).6.3 LED Lights in Christ room [a]

7(B).6.4 Light sources in church [a] Image reference: http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

86

CASE STUDIES 7(B).6 LIGHTINGS The finely veined, onyx panels laminated to glass that Pawson had fitted in front of the high choir windows are also almost white (Figure 7(B).6.1).

They act as homogeneous light surfaces; only the outlines of the bars of the outer glazing are visible behind the translucent stone. A key gesture of the intervention is the quiet transformation of the apse windows, which must function architecturally as a source of light and liturgically as an expression of the threshold to transcendence. The existing glass is replaced with thin slices of onyx. The effect of this is to generate the optimum light conditions, screening out direct sunlight and bathing the space in a haze of diffused luminescence.[16] The sun rises a second time in St Moritz Church when it starts to get dark outside. Concealed LED lights fitted in the choir apse, at the bottom of the columns in the nave and in the calottes of the double-walled cupolas originating from Dominikus Bรถhm, fill the church with a slightly yellowish light (Figure 7(B).6.2 & 7(B).6.3).

[16] http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

87

CASE STUDIES

7(B).7.1 Pew design[a]

7(B).4.2 Altar stool and choir design[a]

7(B).7.3 Pew, stool, choir and bench design

7(B).7.4 [a]

7(B).7.5 View of High Altar from Choir [a]

[a] Image reference: http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-john-pawson

88

CASE STUDIES 7(B).7 FURNITURE ELEMENTS IN CHURCH The furniture elements in the church were mainly made of wood. Wood is a locally available material in that particular area. The furniture elements includes benches in the nave, baptismal-font, doors and windows, storage cupboards, pulpit and choir stalls, communion-table. Dark stained wood is the basic material used in all the furniture. The furniture is designed with minimalism.

The furniture element which covered almost 30-40% of the church are pews (Figure7(B).7.1). It is used for sitting as well as the back of every bench serves as a stand for the kneeler/hassock. There are 40 benches in the nave.

There is a specific linear pattern followed in every furniture. As the main aspect of designing is minimalism, lines are the best way to depict simplicity and minimalism. every furniture has a “line� character in it, whether it is through groove or by design. It shows a similar character in every furniture element (Figure- 7(B).7.3).

89

DESIGN 8. SITE ANALYSIS ST. JAMES CHURCH, FATEHGUNJ, VADODARA, GUJARAT, INDIA

90

DESIGN 8.1 SITE LOCATION

8.1.1 SITE LOCATION

LOCALITIES

CHURCH CLERGY HOUSE

ROAD 8.1.2 SITE PLAN

91

ROAD

LOCALITIES

ROAD

SEXTON HOUSE

DESIGN 8.2 EXISTING DRAWINGS

8.2.1 Existing PLAN (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

8.2.2 LONGITUDINAL SECTION (Thesis by- Prashant Panchal- Study of church architecture of Gujarat)

8.2.3 SECTION (Thesis by- Prashant Panchal- Study of church architecture of Gujarat) 92

DESIGN 8.3 EXISTING SITE

8.3.1 External facade

8.3.2 Entrance Porch

8.3.3 Nave view from entrance

8.3.4 Altar view from nave

8.3.5 Wooden trusses(ceiling)

8.3.6 Bishopâ€&#x;s Chair

8.3.8 Entrance Door 8.3.9 Administration Office

93

8.3.7Semi-open Verandah

8.3.10 Storage Area

DESIGN CHURCH: ST. JAMES CHURCH (White Church) LOCATION: Vip Rd, Fatehgunj, Vadodara, Gujarat, India TYPE: Protestant Church CONSECRATION DATE: Year 1824 STYLE: Indo-Gothic Style LATITUDE: 22°19‟ N LONGITUDE: 73°11‟ E 8.4 BASIC INFORMATION: Saint James Church (White Church) is located in fatehgunj area of city. The church was built in 1824 as CNI White Church. The architect of the church was Sinkler Stevens, who made it in IndoGothic style. It is probably among the two oldest existing churches in the state. The church was made during the reign of Maharaja Sayajirao Gaekwad 2. The church is painted in white, which is why its known as White Church.[17] The entrance of this church is from western side and on the left side of it, the stone in rememberance of Resident James Sutherland.

Also stones mentioning British Officer‟s William Kidman Lester and Sgt. Onoorv MD are seen on the wall of church. .The White Church is dedicated to the memory of James Sutherland Esquire (1790-1840), Political Commissioner for Gujarat and Resident at the Court of Highness the Gaekwad.[17] 8.5 HISTORY St. James Church has an eventful history and Its history dates back to the arrival of the Protestant missionaries in Gujarat in the early 17 century, following the establishment of the factories of the East India Company. A number of churches were built during this period. In 1814 Thomas Fanshawe Middleton was consecrated Bishop of Calcutta; his jurisdiction included not only the whole of India and Sri Lanka but also Australia.[17] [17] www.historyofvadodara.in

94

DESIGN

8.6.1 3D view of the roof structure ;wooden trusses with wooden roof

8.6.2 3D view of the roof structure ;wooden trusses with wooden roof; King Post

8.6.3 Site picture of wooden trusses

95

DESIGN The appointment of Bishop Middleton and the establishment of British power in Gujarat led to an increase in the number of company chaplains.

The company maintained an Anglican Chaplain in Surat. The first chaplain of Baroda, Henry Jeffereys, was appointed in 1818.[17] The church was consecrated by Bishop of Calcutta Reginald Heber in 1825 along with two other churches in Surat and Kheda. But the church in Kheda is now in ruins even as the ones in Vadodara and Surat are still in regular use.

Baroda, with its British Residency, continued to be a British military and civil hub for many years.

In November 1870, William Taylor, a leading preacher and evangelist, arrived in Bombay. In 1872, he was invited to Baroda by a group of army officers-mainly European and Anglo-Indianin the service of the Gaekwads of Baroda.

Since its inception, the church has grown significantly with increased membership. In 1992, the church took over a small church at Jamoli village in Bharuch district after Gujarat Diocese proposed that the bigger churches should adopt smaller and weaker churches. Since then Jamoli church has also prospered considerably.

According to Daniel Deepak, a priest at the St James Church, the church had held a grand celebration of its 175 years of establishment in the year 2000. "Prayers were held and everyone connected with the church was given mementos.

Those who had seen the church since years recalled the old days," he said. [17] 8.6 STRUCTURE So far as the architecture is concerned, like all churches in Gujarat, this, too, owes a lot to the artistic ability and historical interests of J Sinclair Stevenson, who developed an attractive IndianGothic style. St. James Church is a very early example of 19th century Gothic, though the low pitched roof is more akin to the classical style.[17]

[17] www.historyofvadodara.in

96

DESIGN 8.7 ANALYSIS

8.7.1 Open and Semi-Open areas on the site

8.7.2 Noisy side and Wind Movement on the site

8.7.3 Sun Movement around Church

97

DESIGN 8.8 CLIMATIC CONDITIONS Vadodara features Tropical wet and dry climate. There are three main seasons: Summer, Monsoon and Winter. Aside from the monsoon season, the climate is dry. The weather is hot through the months of March to July – the average summer maximum is 40 °C (104 °F), and the average minimum is 23 °C (73 °F). From November to February, the average maximum temperature is 30 °C (86 °F), the average minimum is 15 °C (59 °F), and the climate is extremely dry. Cold northerly winds are responsible for a mild chill in January. The southwest monsoon brings a humid climate from mid-June to mid-September. The average rainfall is 93 cm (37 in).

98

DESIGN 8.7.4 CIRCULATION FOR WORSHIPERS:

8.7.5 CIRCULATION FOR PRIESTS:

99

DESIGN 8.7.6 AREA SEGREGATION OF THE CHURCH 5%

5% 5% NAVE

15%

VERANDAH ALTAR

70%

VESTRY STORAGE 8.7.7 ZONING OF THE CHURCH

VESTRY

VERANDAH

NAVE

ENTRANCE

VERANDAH

ALTAR

STORE ROOM

Church„s interior is about 27meters X 9meters excluding the two transept, out of which 70% is the NAVE and 15% is the outdoor verandah which is semi-covered.

The rest are altar, vestry and storage area which covers the 5% of the area each.

They cover around 8.5meter square area.

100

DESIGN 9. DESIGN 9.1 FACTORS AFFECTING CHURCH DESIGN

9.2 MULTI-PURPOSE USAGES OF CHURCH

101

DESIGN 9.3 DESIGN BRIEF My aim for the design is to create a space which is contemporary and adds to the beauty of existing style as well as user friendly. Also to provide as many amenities or services as possible.

The site I choose is in Vadodara City of Gujarat, which is known for its historical monuments. St. James Church is one of the oldest church in the state. It has the essence of old indo-gothic style of architecture. So, the idea is to renovate the Church such that it does not loose it essence of the old style. In addition to that, giving it all the modern amenities and contemporary look.

Looking at the existing situation of the site , there are several points that I found that needs to be enhanced: • Inappropriate lighting conditions • Improper use of different kinds of materials • Unreliable additions in existing building • Unorganized furniture near altar and administration office • No service areas provided Church is a place where people gather and pray to god, it is a place of peace. It must give a person feel of calmness and sacred place. To add the calmness of the place I have given an even white flooring all over the church and white walls in addition. It can give a soothing mood to the person entering the space. Also, the church is known as White Church, so it gives justice to its name. To add the beauty of indo-Gothic style, I proposed an addition of pointed arch in the interior to give a feel of linearity , endlessness and tallness. Stained glass windows are major components of Gothic architecture, so a blend of stained glass with modern touch is given in the windows.

102

DESIGN

9.3.1 NEW CIRCULATION (AFTER RENOVATION)

103

DESIGN Minimal design is what I got inspired from, it correctly defines a religious place as the only focus is to pray to god. The services that I added to my design are as follows: • Washrooms in the outer area • Changing room for the priest with proper circulation • Provision for extra storage for occasions • Well-organized administration office • Pantry service for occasions like Lord‟s supper or some get-together • Well-planned Choir and music band area • Small library area for readers

104

DESIGN 9.4 MOOD BOARD

105

SITE PLAN ST. JAMES CHURCH, VADODARA

SCALE- NOT TO SCALE

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.1

B

CHANGING ROOM 2121 X 1157

ENTRY

CHAIR LEDGE

380.0 REM. 380.0

REM.

STAINED GLASS WINDOW

920.5 ADMIN CHAIR

VERANDAH LVL+300

EQ

EQ

EQ

350

EQ

EQ

EQ

TILL WALL

1878.6

STORAGE AREA 8350 X 2659 TILL WALL

LEDGE AND CABINETS BELOW

ADMIN TABLE

STAINED GLASS WINDOW

BOOK STORAGE

EQ REM.

BOOK STORAGE

STAINED GLASS WINDOW

STORAGE SHELVES

REM. WARDROBE EQ

EQ

1500 DRESSING EQ

EXTRA CHAIR'S STORAGE

884.8

LVL+300

2500 WARDROBE EQ

EQ

ENTRY

EQ

BOOK STORAGE

REM.

BOOK STORAGE

EQ 350

460.3

STAINED GLASS WINDOW

OVERHEAD CABINETS

LVL+300

460.3

STAINED GLASS WINDOW

910

ADMIN OFFICE 4397 X 4064

REM.

REM.

STORAGE NICHE

920.5

230 230

230

REM. STORAGE NICHE 230

REM.

380.0

1170

380.0

380.0

LVL+300

PULPIT RAILING

1228

200.0

1228 CHAIRS

BISHOP'S CHAIR

3252.4

PEWS MODESTY PANEL

OVERHEAD LCD TV1

CHOIR

740

3048.2 914.4

914.4

350.0

914.4

350.0

914.4

350.0

914.4

350.0

350.0

914.4

1583.3

1494.3

2318.2

NAVE LVL+300

437.8

REM. HOLY CROSS

LVL+550

HALL 27477 X9223

EQ.

ENTRY LVL+300

613.4

3676.1

350.0

EQ.

A

1880

PORCH

914.4

LVL+700

LVL+400

LVL+300 1980.0

ARCHED WINDOW

KNEELER

LECTERN

TABLE FOR MUSICAL INSTRUMENTS

A'

1891.6

ENTRY

1880

EQ.

785

1228

COMMUNION TABLE

740

ALTAR LVL+850

CHOIR 3252.4

1880

MODESTY PANEL

KNEELER ARCHED WINDOW

CHAIRS

793

CHAIRS

RAILING

BISHOP'S CHAIR

SLIDING DOOR

LEDGE

SINK

STORAGE BOOK SHELVES

LVL+300

153.4 REM.

HOB TILL WALL

KITCHEN 8350 X 2659

153.4

REM.

EQ REM.

READING TABLE

1160

ENTRY

TILL WALL

REFRIGERATOR SERVICE PLATFORM

340.3

STORAGE CUPBOARD

EQ

BOOK SHELVES

421.1

620

620

340.3

1280

REM.

2690

VERANDAH LVL+300

STAINED GLASS WINDOW

TILL WINDOW

STAINED GLASS WINDOW

STAINED GLASS WINDOW

TILL WALL

620 STAINED GLASS WINDOW

EQ REM.

306.8

1280

849.6

EQ

BOOK STORAGE

613.7

BOOK STORAGE

BOOK STORAGE

854.0

BOOK STORAGE

TILL WALL

REM.

1840 STORAGE FOR BAPTISM FONT

PEWS

TABLE FOR MUSICAL INSTRUMENTS

200.0

ENTRY

EQ.

LVL+400 OVERHEAD LCD TV2

BOOK SHELVES

LIBRARY 4465 X 4064 LVL+300

TILL WALL

REM.

TILE DROP

WASH AREA 2056 X 1784 LVL+200

ENTRY

B' FURNITURE LAYOUT ST. JAMES CHURCH, VADODARA

SCALE- 1:100

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.2

WALL PAINTED IN WHITE

STAINED GLASS WINDOW

WOODEN ARCH

STAINED GLASS WINDOW

WOODEN ARCH

STAINED GLASS WINDOW

WOODEN ARCH

STAINED GLASS WINDOW

WOODEN ARCH

WALL PAINTED IN WHITE

WALL PAINTED IN WHITE

WOODEN ARCH

WOODEN ARCH

WOODEN ARCH

WOODEN ARCH

HOLY CROSS

TILL TRUSS

TILL TRUSS

RAILING COMMUNION 300.0 TABLE

PULPIT

914.4 350.0

914.4

914.4

350.0

350.0

914.4 350.0

914.4

914.4

350.0

914.4

350.0

914.4

350.0

601.9

350.0

3676.1

BACK LIGHTING

WOODEN ARCH WALL PAINTED IN WHITE

STORAGE DRAWER

CHOIR

LVL +300

LVL +550

LVL +700

LVL +850

ALTAR

1076.5

STOOL READING TABLE

CHOIR

458.5

645.6 LVL +400

452.2

EQ EQ EQ

CHAIR CHAIR

850 814.5

920.5

458.5

943.3

ADMIN OFFICE

RAILING TABLE FOR MUSICAL INSTRUMENTS

1891.6

1986.8

CHAIR

WHITE PAINTED WALL

COMMUNION TABLE

TABLE FOR MUSICAL INSTRUMENTS

850.0

TILL WALL

850.0

690 EQ EQ EQ TILL LINTEL

HOLY CROSS

RAILING

445

EQ

WOODEN FRAME

WHITE PAINTED WALL

815.1

REM.

BOOK SHELVES

GLASS

ITALIAN MARBLE STORAGE SHELVES

614.3

ALTAR

BACK LIGHTING

WOODEN FRAME

STORAGE NICHE

WOODEN FRAME

GLASS

GLASS

1494.2

WALL PAINTED IN WHITE

WOODEN FRAME GLASS

ITALIAN MARBLE

WOODEN FRAME

1584.8

CHOIR

REM

WALL PAINTED IN WHITE

LVL +850

LVL +550

3046.7

NAVE

SECTION AA'

LVL +700

CHAIRS

LVL +400

LVL +400

350.0

KNEELER

4141.3

914.4 350.0

1560

920.5 LVL +300

SB07

EQ

914.4

1120.0

SB09

1360

BOOK STORAGE 1120.0

BOOK STORAGE

590

LVL +300

1980.0

BOOK STORAGE

464.0

848.0

ENTRY

BOOK STORAGE

LECTERN

TABLE FOR MUSICAL INSTRUMENTS SB08 1145

300.0 PEW

904.3 1120.0

TILL TRUSS

TILL TRUSS

TILL TRUSS

TILL TRUSS

TILL TRUSS

TILL TRUSS

OVERHEAD LCD TV1

LIBRARY

SECTION BB'

SECTIONS ST. JAMES CHURCH, VADODARA

SCALE- 1:100

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.3

CHANGING ROOM 2121 X 1157 LVL+300

ADMIN OFFICE 4397 X 4064

START

LVL+300 TILE_VITRIFIED TILE GLASS WHITE 1200X800

STORAGE AREA 8350 X 2659

VERANDAH LVL+300

TILE_VITRIFIED TILE GLASS WHITE 1200X800

LVL+300

START

CHOIR

NAVE LVL+300

ENTRY LVL+300

WHITE EPOXY FLOORING

LVL+700

LVL+400

LVL+300

PORCH

ENTRY

LVL+550

HALL 27477 X9223

ALTAR LVL+850

CHOIR LVL+400

START

TILE_VITRIFIED TILE GLASS WHITE 1200X800

KITCHEN 8350 X 2659

VERANDAH LVL+300

LVL+300

TILE_VITRIFIED TILE GLASS WHITE 1200X800

ENTRY START

LIBRARY 4465 X 4064 LVL+300

LEGEND

TILE DROP

WASH AREA 2056 X 1784 LVL+200

SYMBOL FLOOR TYPE WHITE EPOXY VITRIFIED TILE GLASS WHITE

FLOORING LAYOUT ST. JAMES CHURCH, VADODARA

ENTRY

SCALE- 1:100

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.4

CHANGING ROOM

SB26

IDU

ADMIN OFFICE

SB25

VERANDAH

STORAGE AREA

EQ

F

EQ

SB15 EQ

SB10

A

EQ

IDU

EQ

IDU

SB14

EQ

EQ

EQ

6305.8

SB09

IDU

A

A

3495.4

SB08

IDU

SB07

A

EQ

1540

CHOIR

EQ

CHOIR

A

IDU EQ

EQ

EQ

EQ

EQ

A

IDU

SB03 EQ

EQ

IDU EQ

EQ

EQ

EQ

SB04

A IDU

SB05

SB06

EQ

SB20

SB16

STORAGE

IDU SB12

VERANDAH

KITCHEN

SB13

SB11

SB15

ODU

A

F

LIBRARY

WASH AREA

SB23

SB22

SB21

SB19

SB02

1500

1540

ENTRY

ALTAR

NAVE

REM

PORCH

SB28

EQ

1500

SB01

IDU

EQ

SB24

SB27

EQ

ODU

SB18

SB17 EQ

LEGEND SYMBOL FIXTURE TYPE CONCEALED SPOT LIGHT (R,75) WALL MOUNTED FAN

SYMBOL FIXTURE TYPE ODU

OUTDOOR UNIT

A

WALL SPEAKER LED STRIP LIGHTS

HANGING LIGHTS ONE-WAY SWITCH WALL MOUNTED LIGHTS

IDU

F

FIRE EXTINGUISHER

A

FIRE ALARM

INDOOR UNIT

ELECTRICAL LAYOUT ST. JAMES CHURCH, VADODARA

SCALE- 1:100

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.5

30MM THICK ROSEWOOD SIDE SUPPORT

24MM THICK BOOK STAND

24MM THICK ROSEWOOD BACK REST

24.0

3252.4

30.0

30.0

EQ

24MM THICK EQ ROSEWOOD BACK REST

95

95

REM.

REM. 24

123

490.2

123

24

REM.

170

848

848.0

24MM THICK ROSEWOOD SITTING

443.7

24MM THICK ROSEWOOD SUPPORT FOR SEAT

150.0

150.0

443.7

30MM THICK ROSEWOOD SIDE SUPPORT ROSEWOOD FOOTREST

122

REM.

FRONT ELEVATION

122

850

SIDE ELEVATION

122

170

24MM THICK BOOK STAND

850 REM.

24MM THICK ROSEWOOD BACK REST

122.0

490.2

24MM THICK ROSEWOOD SITTING

30MM THICK ROSEWOOD SIDE SUPPORT

REM.

3-D VIEW

3252.4 30.0

30.0

PLAN

PEW DESIGN 30MM THICK ROSEWOOD SIDE SUPPORT

24MM THICK ROSEWOOD PANEL

30.0 3252.4

24MM THICK BOOK STAND

20MM THICK ROSEWOOD VERTICAL MEMBERS

24 30.0

EQ

EQ

EQ

EQ

20.0

EQ 20.0

EQ 20.0

EQ

EQ

20.0

EQ

20.0

20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0 REM

20.0

EQ

170

REM

848

20.0

EQ

105

DIVIDE INTO 16 EQUAL PARTS

848

105

REM.

FRONT ELEVATION

122 20MM THICK ROSEWOOD VERTICAL MEMBER SUPPORT

170

24MM THICK BOOK STAND

122

DIVIDE INTO 16 EQUAL PARTS

REM

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ

EQ

20.0

20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

EQ 20.0

122.0

576

EQ

80

ROSEWOOD FOOTREST

150.0

80

150.0

30MM THICK ROSEWOOD SIDE SUPPORT

REM

122

576

SIDE ELEVATION

24MM THICK ROSEWOOD PANEL 20MM THICK ROSEWOOD VERTICAL MEMBERS 20MM THICK ROSEWOOD VERTICAL MEMBER SUPPORT

REM 3252.4

30.0

PLAN

3-D VIEW

30.0

MODESTY PANEL DESIGN

FURNITURE DETAILS ST. JAMES CHURCH, VADODARA

SCALE- 1:20

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.6

24MM THICK ROSEWOOD LEDGE

24

24

24MM THICK ROSEWOOD LEDGE

170

12MM THICK WHITE MARBLE TOP

12

REM

12

REM

12MM THICK WHITE MARBLE TOP

460

24 920.5

24MM THICK ROSEWOOD FRAME (SUPPORT)

EQ

REM.

615

1230 24

24MM THICK ROSEWOOD FRAME (SUPPORT FOR MARBLE TOP)

600

24MM THICK ROSEWOOD FRAME (SUPPORT)

24

EQ

EQ

920.5

24MM THICK ROSEWOOD CURVED STRIPS (USED AS MODESTY PANEL FOR CHOIR)

600

24

EQ

24

24MM THICK ROSEWOOD FRAME (SUPPORT FOR MARBLE TOP)

REM. 785

24

FRONT ELEVATION 170

SIDE ELEVATION

REM.

785

24MM THICK ROSEWOOD LEDGE

24MM THICK ROSEWOOD CURVED STRIPS (USED AS MODESTY PANEL FOR CHOIR)

1230

PLAN

3-D VIEW

MUSICAL INSTRUMENT TABLE

12MM THICK WHITE MARBLE TOP

280

REM

EQ

REM

EQ

24

1890 REM.

280

24

12MM THICK ROSEWOOD FRAME (SUPPORT FOR MARBLE TOP)

EQ

EQ

840

REM 500 24MM THICK ROSEWOOD BASE

24

24

500

840

REM

24MM THICK ROSEWOOD

EQ

REM.

REM. 480

FRONT ELEVATION

20.0

20

20.0

20

480

SIDE ELEVATION

12MM THICK WHITE MARBLE TOP

1890

PLAN

3-D VIEW

ALTAR TABLE

FURNITURE DETAILS ST. JAMES CHURCH, VADODARA

SCALE- 1:20

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.7

WALL

WOODEN FRAME

WOODEN FRAME

GLASS

GLASS PLYWOOD

LAYERS OF WHITE MARBLE

LAYERS OF WHITE MARBLE

SLIT IN THE PLY

SLIT IN THE PLY

PLYWOOD

WHITE MARBLE HOLY CROSS LAYERS OF WHITE MARBLE

WOODEN FRAME

3D VIEW WOODEN FRAME GLASS

PLYWOOD

SLIT IN THE PLY

WOODEN FRAME C-SECTION WOODEN FRAME

GLASS

WALL

PLAN

ALTAR BACK WALL DETAIL ST. JAMES CHURCH, VADODARA

LAYERS OF WHITE MARBLE

SECTION

SCALE- 1:25

DAMINI GHELANI

ALL DIMENSIONS IN MM

UNITEDWORLD INSTITUTE OF DESIGN SEM-8

N

DRAWING NO.9.5.8

DESIGN 9.6 SKETCHES

9.6.1 Wooden Arch with beam lighting on both the sides attached to every existing truss in the church

9.6.2 Stained Glass Window with two openable shutter and one fixed glass in the middle

114

DESIGN

9.6.3 Wooden Lectern near Pulpit for Priests

9.6.4 Hanging Lights (Gothic inspired)

115

DESIGN

9.7 Plan for 3d View Points

116

DESIGN 9.7 3D VIEWS

9.7.1 From the entrance towards the Altar

9.7.2 Altar and Choir

117

DESIGN

9.7.3 Choir and Altar furniture

9.7.4 Altar and communion table

118

DESIGN

9.7.5 Stained Glass Windows and arch

9.7.6 Porch Design

119

BIBLIOGRAPHY CONTENT CREDITS [1] www.wikipedia.com [2] www.quora.com [3]Thesis by- Prashant Panchal- Study of church architecture of Gujarat (page-13) [4] Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth (page-243) [5] Helen Gardner, Art through the Ages [6] Fletcher, Banister; Cruickshank, Dan, Sir Banister Fletcher's a History of Architecture, Architectural Press, 20th edition, 1996 (first published 1896).

[7] Rolf Toman, Romanesque [8] Grodecki, Louis (1977). Nervi, Luigi, ed. Gothic Architecture.

[9] https://www.ukessays.com/.../architecture/baroque-architecturecharacteristics [10] http://www.visual-arts-cork.com/history-of-art/baroque-architecture.htm [11] Tietz, Jurgen (1999). The Story of Architecture of the 20th century. Konemann.

[12] Article by- Duncan Stroik(architect and associate professor of Architecture at the University of Notre Dame) Modernist Church Architecture(Catholic Dossier)1997 [13] www.archdaily.com [14] Thesis by- Kriti Doshi-Study of colonial Architecture of Gujarat [15] https://www.dezeen.com/2013/07/31/st-moritz-church-by-john-pawson/ [16] http://www.archdaily.com/456312/interior-remodelling-st-moritz-church-johnpawson [17] www.historyofvadodara.in

120

BIBLIOGRAPHY

ILLUSTRATION CREDITS CHAPTER-1 Fig. 1.1.1 Origins and development of early Christian architecture, 1952 Fig. 1.1.2 www..wikipedia.com Fig. 1.2.1 www.commons.wikimedia.org Fig. 1.2.2 www.wikivisually.com Fig. 1.3.2 www.touristinisrael.wordpress.com Fig. 1.3.3 Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth

CHAPTER-2 Fig. 2.1.2 & 2.1.3 www.commons.wikimedia.org Fig. 2.1.4 www.britanica.com Fig. 2.1.5 Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth Fig. 2.1.6 Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth Fig. 2.1.7 www.Wikivisually.com Fig. 2.1.8 www.Sacreddestinations.com Fig. 2.2.2 & 2.2.4 www.pinterest.com Fig. 2.2.3 www.Wikivisually.com Fig. 2.2.5 www.frenchmoments.com Fig. 2.2.6 www.sainte-chapelle.org Fig. 2.2.7 www.frenchmoments.com Fig. 2.3.1 www.studyblue.com Fig. 2.3.2 www.wikipedia.com Fig. 2.3.3,2.3.4 & 2.3.5 www.pinterest.com Fig. 2.4.1 www.Wikipedia.com Fig. 2.4.2 www.alamy.com Fig. 2.4.3 & 2.3.4 www.wikipedia.com

CHAPTER-3 Fig. 3.1.1, 3.1.2 & 3.1.3 www.wikipedia.com Fig. 3.2.1 www.foundationlecorbusier.org Fig. 3.2.2 www.mimua.eu Fig. 3.2.4 www.revolvy.com

121

BIBLIOGRAPHY

ILLUSTRATION CREDITS CHAPTER-5 Fig. 5.1.1 www.paronamio.com Fig. 5.1.2 www.alamy.com Fig. 5.1.3 & 5.1.5 www.paronamio.com Fig. 5.1.4, 5.1.5 & 5.1.6 www.alamy.com Fig. 5.2.1 www.flickr.com Fig. 5.2.2 www.archive.indianexpress.com Fig. 5.3.1 www.unidel-group.com Fig. 5.3.2 www.kamalmangaldas.net Fig. 5.4.1 www.flickr.com

CHAPTER-6 Fig. 6.1 Origins and development of early Christian architecture, 1952 Fig. 6.2 Understanding Architecture: Its Elements, History and Meaning (Architecture & Planning): Leland M. Roth Fig. 6.3 Thesis by- Prashant Panchal- Study of church architecture of Gujarat Fig. 6.4 & 6.5 Places of Worship by Richard W. Jackson

CHAPTER-7 Fig. 7(A).3.1, 7(A).3.2 , 7(A).3.3, 7(A).3.4& 7(A).4.4 Thesis by- Prashant- Study of church architecture of Gujarat Fig. 7(B).1.1 www.pinterest.com Fig. 7(B).1.2 www.detail-online.com Fig. 7(B).1.3 www.archdaily.com Fig. [a] Image reference: http://www.archdaily.com/456312/interior-remodelling-stmoritz-church-john-pawson

CHAPTER-8 Fig. 8.2.1, 8.2.2 & 8.2.3Thesis by- Prashant Panchal- Study of church architecture of Gujarat

122