Critical Reflection

Integrated Design

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

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.

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?

Fig.A. Notre Dame Floor Plan

Fig.B. Agri Chapel Fig.C. San Alberto Magno Chapel

Without community, there is no faith.

Taking influence from Alvar Aalto’s Saynatsalo Town Hall, the message of harmony is clear throughout. Public and private. Nature and technology. A place for the community of Saynatsalo – an industrial Finnish island – to come together through shared space. Surrounding a centralised courtyard, spaces including a library, offices and shop fronts are arranged within the red brick, U-shaped building. This collective orientation of spaces come together through the unified facade, providing a safe home for all those who share it, to enjoy. A strong message of community is encouraged throughout.4

Seen within my own proposal, the connecting artery is where the main entrance lies. Each key space meanders out from this centralised hub like veins around the building. To the north is the church sanctuary and the south, the community hall. Raised above, the mezzanine café, which overlooks the activity beneath. In clear view of the comings and goings of all users. The centralised connection point encourages the overlap of visitors. With multi-generational design in mind, the space supports and encourages children, parents, elderly visitors to engage in a union of society.

Located in a diverse neighbourhood of families, students and the elderly, a multi-generational place of worship was integral to my design. Easily accessible and in a safe and secure site, my proposed community church welcomes all.

Inspiration taken from the fine artist, Robert J. Lang, where his detailed works of origami are beautifully folded to produce such sensitive, intricate artworks.5 The lightweight forms created from single sheets of paper seem delicate yet their strength is proven as they hold with no need for glue. Taking precedence from the work of Lang into my design has been conveyed within the roof of my main church sanctuary. The asymmetric folded form has been developed with south light in mind – an opening created for a dramatic skylight in this lantern-like shape.

Fig.D. Saynatsalo Town Hall 2nd + 3rd Floor Plans

Fig.E. Lang’s Geometric Origami

The folded zinc roof sits lightly upon the timber structure beneath. Each face within bounces light in a different direction, brightening the space. Upon entering the main church body, the visitor is lead along a walkway ramped upwards, bringing you higher into the area and ultimately, higher to the heavens. The scale of such space is high and open, fresh air circulating the brightly lit, warm interior. Seating is arranged facing directly south, towards the light. The aisle leading up to the altar is long, spanning corner to corner creating a sense of anticipation. Looking up, the angled roof reaches its peak above the altar, glorifying the priest or spokesperson who addresses the audience beneath.

Moving to the opposite side of the building, home to the second key space, being the community hall. A bright and well-ventilated area, with a beautiful towering timber structure above framing the versatile hall. In a similar language to Aalto’s Saynatsalo Town Hall,6 seating is integrated within the timber columns along the longest edges. Allowing for spectators, a waiting area, a seat to tie undone shoelaces or catch your breath. Enough storage and changing branching off from the hall, the space encourages groups of all kinds to come, use and enjoy. After school activities for children such as Scouts or Girl-Guiding. Sporting events such as martial arts or dancing. Lunchtime bowling for an older generation. The space is suited to all – and intends to be used frequently within the area.

Each of these key spaces are united by the first-floor café. Designed to encourage friendships from all walks of life. Overlooking the lanes branching off to Seafield and Westfield, activity can be viewed from all angles. A waiting area for parents, an after-church coffee for friends. This open, public space provides a living room for neighbours to come together, host conversations and enjoy.

In a world where generations rarely cross paths, Roseangle community church encourages interaction, conversation, friendship. A free, liberated space which can be adapted to suit each individual’s need. Easily accessed and connected with the surrounding main streets, the proposal blends into the existing topography remaining respectful and homely while obtaining drama, awe, excitement.

FOOTNOTES

1 “Cathedral of Notre Dame, Ile de la Cite, Paris”, RIBA, accessed May 6, 2021, https://www.architecture. com/image-library/RIBApix/image-information/poster/cathedral-of-notre-dame-ile-de-la-cite-paris-planelevations-sections-and-perspectives/post erid/RIBA100874.html

2 “Agri Chapel / Yu Momoeda Architecture Office”, Arch Daily, accessed May 6, 2021, https://www.archdaily. com/884875/agri-chapel-yu-momoeda-architecture-office

3 “San Alberto Magno Chapel / Juan Pavez Aguilar + José Requesens Aldea”, Arch Daily, accessed May 6, 2021, https://www.archdaily.com/642089/san-alberto-magno-chapel-juan-pavez-aguilar-jose-requesensaldea?ad_medium=gallery

4 “SÄYNÄTSALO, FINLAND, 1952”, Eardley Design, accessed May 6, 2021, https://eardleydesign.com/halls/ saynatsalo/

5 “Robert J. Lang Origami”, accessed May 6, 2021, https://langorigami.com/

6 “AD Classics: Säynätsalo Town Hall / Alvar Aalto” Arch Daily, accessed May 6, 2021, https://www.archdaily. com/783392/ad-classics-saynatsalo-town-hall-alvar-aalto

IMAGES

(Figure A) Notre Dame Floor Plan. Chest of Books (online). Available at: https://chestofbooks.com/ architecture/James-Fergusson/Illustrated-Handbook-of-Architecture---Christian-Architecture/535-P.html (accessed 6th May 2021)

(Figure B) Agri Chapel. Arch Daily (online). Available at: https://www.archdaily.com/884875/agri-chapelyu-momoeda-architecture-office/5a261b96b22e38ced100007d-agri-chapel-yu-momoeda-architectureoffice-photo?next_project=no (accessed 6th May 2021)

(Figure C) San Alberto Magno Chapel. Arch Daily (online). Available at: https://www.archdaily.com/642089/ san-alberto-magno-chapel-juan-pavez-aguilar-jose-requesens-aldea?ad_medium=gallery (accessed 6th May 2021)

(Figure D) Saynatsalo Town Hall 2nd + 3rd Floor Plans. Eardley Design (online). Available at: https:// eardleydesign.com/halls/saynatsalo/

(Figure E) Lang’s Geometric Origami. Robert J. Lang (online). Available at: https://langorigami.com/artwork/when-rebecca-met-shuzo-123/