Lucy Taylor
CRITICAL REFLECTION In tegr a ted
Des ig n
For centuries, churches have been a common place of shared worship for Christian believers around the world. They are safe, sacred spaces which encourage the coming together of community through belief. Traditionally, Christian Churches form a cross in plan – the nave in which seating is positioned either side of the central aisle representing the vertical beam and each transept branching out to form the horizontal element of the cross. This familiar plan can be seen in grand churches such as that of The Notre Dame in Paris.1
Fig.A. Notre Dame Floor Plan
However, modernity has altered the traditional form recognised within places of faith. Spaces such as the Agri Chapel in Japan2 or the San Alberto Magno Chapel in Chile3 are two examples of church sanctuaries within more modernist, cubic settings. This approach to church design creates more freedom, the need for presbyteries, transepts or an ambulatory is exchanged for a much more open and liberated plan. Versatile. These spaces are much wider and less rigid than previously experienced. Movement around the space is less restrictive and the width of the aisle is opened, wider, more space to breathe.
Fig.B. Agri Chapel
Fig.C. San Alberto Magno Chapel
Breath, movement, freedom. In this ever-changing world, versatile spaces are welcomed. Multi-functional places to worship, communicate, play, learn are encouraged in order to ensure buildings are continuously used and enjoyed. Traditionally, churches lay silent until the swelling of a Sunday service. Why design a beautiful space for it to be used one day a week?
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