Religious Heritage | The Hague by Katerina Krommyda

GROUP 3.

Religious Heritage The Hague Maria Kelepera Katerina Krommyda Abel Jan Reitsema Ontmoetingskerk [37] Maranathakerk [24] Abdijkerk [1] 速MIT Research & Architectural design AR0681 Msc 2, spring semester 25th足 of March, 2013

Ontmoetingskerk The Hague, Ontmoetingskerk, 1969, G. Drexhage (sketch) Source: Archive NAI DSVB R888, DSVB

INDEX

INTRODUCTION RESEARCH QUESTION

the religious meaning in space

CHAPTERS INTRODUCTION RESEARCH QUESTION The religious meaning in space ABDIJSKERK Urban Context Architectural Design Functions Conclusions and Value Assessment MARANATHAKERK Urban Context Architectural Design Functions Conclusions and Value Assessment ONTMOETINGSKERK Urban Context Architectural Design Functions Conclusions and Value Assessment RESEARCH QUESTION

Tracing back the “church” of the post-war period, on which the colorful development of modern architecture meets one of its greatest reflections (Stock Wolfgang Jean, 2004, page 7)), a thorough understanding of the religious meaning embodied within should be firstly investigated. All aspects of religious architecture and its main typologies witness the reasonably changing approach of people, especially after the second world war, on the expression of their spirituality, perceived in different ways in the course of time.

INTRODUCTION RESEARCH QUESTION The religious meaning in space3 ONTMOETINGSKERK 4 6 9 9

Particular transformations in social forms and the prevailing attitude of the societies, regarding their tendency to religion, have also resulted to a constantly inclining depreciation of the church building. In the Netherlands, several examples of vacant churches, empty buildings with no use, make the problem apparently present. Approximately about 100 churches, monasteries and convents are closing their doors each year over the past three years (Marc de Beyer and Jacoline Takke, 2012, page 10). In order to investigate the appropriate ways of approaching that part of vacant heritage both tangible and intangible meaning of the church building should previously be assessed.

MARANATHAKERK 10 12 15 15 ABDIJSKERK 16 20 25 27 RESEARCH QUESTION

The religious meaning in space Case Studies Conclusions

28 34 43

QUESTIONNAIRE

BIBLIOGRAPHY Consulted Literature

Introduction

The objective

BIBLIOGRAPHY 47

Touching both tangible and intangible values The following study attempts to record, analyze and assess the main tangible and intangible values of the church building, reflected on the three aforementioned case studies. Focusing on especially the religious meaning embedded in the church building type and specifying the relation of it with the sacred function, a strong, invisible at a superficial level memory can be revealed. The overall purpose of the research is to trace and recognize the intangible content of the building, what is actually left and will probably be there no matter what the function is. Religious architecture is maybe the greatest example of building types where every architectural element has been chosen to serve the religious function. The Before assessing any possible transformations of it in the future and the limits of the new accommodated function, analyzing and comprehending the church building from every tangible and intangible aspect, within its overall context (urban/ cultural/ historical/social) can be proved as an essential tool for understanding the factors that defined the past and those that will shape the future. Therefore, no consideration of the structure, the materiality, the architectural essence of the church building can be made without regarding the meaning behind. The religious meaning of the “church” is the overall objective, the indisputable content, the solid foundation on which every future concept of preservation and reuse of that special building type, as an indispensable part of the building fabric, can be undoubtedly consolidated.

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ABDIJKERK

introduction

Church name: Neighbourhood: Adress: Construction year: Architects: Capacity: Monument status:

urban context Abdijkerk Kom Loosduinen Willem III-straat 40, 2552 BS Den Haag 1200 -1250 Unknown 200 seats Rijks Monument

General introduction Abdijkerk is located in the district of Loosduinen, and more specifically in Kom Loosduinen neighbourhood, which has 4.950 inhabitants. The Abdijkerk was built as a chapel of a monastery between 1238 and 1250, in a Roman-Gothic style which more precisely ca be described as Vlaamse Schelde Gothiek. During time the building unterwent many changes. In the 16th century, while the country had to deal with a bad economic situation, the Spanish plundered the community and destroyed the building finally. Only the tower and some parts of the façade remained. In 1580 the remnants of the church were given to the reformed church and the materials of the disappeared monastery were used to reconstruct the church. In 1908 two new neogothic aisles were constructed, which eventually were removed in the seventies of the past century when the church was completely restored in its original shape. The church is listed as a National Monument. For that reason the church is accessible for tourists during the summer. Because the building is listed as a monument, it has strict restrictions for future purposes. That also gives some certitude for the church community to keeping and maintaining the building. (Source: www.abdijkerk.nl)

ABDIJKERK

urban context

[3] relation with the rest church stock

[4] typology _ of the built environment

[1] [6] street fronts

[7] secondary boundaries

[8] shaping a public open space

A b. c. a.

[2]

Abdijkerk is located at the SouthWest boarders of the Hague, at a great distance from the city center, in an pre-war part of the urban fabric. At a close distance to the North is situated Ontmoetingschurch, which belongs to the future vacant church building stock. The surrounding area has a rural character which results from its low density and the very small scale of the buildings. A network of semi-public transitional zones in between public and private spaces, is a main characteristic of the area and is also interwoven with a network of open green spaces and canals. Abdijkerk can undoubtedly be considered a landmark as its figure is dominant in the skyline of the area. Due to the great height of the bell tower in combination with the small scale of the surrounding buildings and the wide open spaces that surround it, Abdijkerk is visible from a very long distance and functions as an orientation element for the area. The fact that high scale buildings have kept a significant distance from the church, indicates that the importance of Abdijkerk to the silhouette of the neighborhood has already been appreciated and protected.

pre-war urban fabric 1939 post-war urban fabric 1997 highway railway line connection to the city center

overall church stock for research

A’

train station Abdijkerk

[9] boarders (water/streets)

[10] accessibility

[11] vistas towards church

city center

[11a.]

[11b.]

[11c.]

[5] [image 1] Exterior Abdijkerk ,Den Haag, Abdijkerk, 1250 (Photo) [image 2] Interior Abdijkerk,Den Haag, Abdijkerk, 1250 (Photo) [image 3] (diagramm)

[12] spatial sequence of the church’s mass in surroundings

A-A’

[13] presence of the church in the skyline of the area

A-A’

[image 4] (map) [image 5] (diagram), illustration of the authors , data derived from http://www.kerkenindenhaag.nl/ [images 6-11] (diagramms) [images 11a - 11c] (sketches) [images 12,13] (sections)

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ABDIJKERK

Identity

Construction

architectural design

architectural design The construction of the building is based on a traditional principal concept. The massive brick walls supported by buttresses on the two longitudinal sides of the building also constitute the base of the two directions slopping wooden roof construction. The whole mass is getting recessed from the bottom to the top, intensifying the meaning of it as a load bearing composition. The transept on the south side, later addition to the main building also contributes to the mechanical strength of the construction obeying to the same principle. The wooden elements of the sliding roof are, also not visible at the interior space, where the top forms a flat wooden ceiling. The small longitudinal beams of section the straw cladding of the ceiling are supported by vertical projected beams, bridging the span between the two load bearing brick masonries.

section section

plan

planplan

Accessibility construction construction

exterior outline

exterioroutline outline exterior

[14] outline outline

outline Located in the middle of a rural settlement, the Abdijskerk reflects theinterior identity of an outstanding landmark, incorporating all the meaning of the church, as the core of the social life and sacredness. The graveyard, as predominant element of the composition, contributes decisively to the religious content of the old church building, intensifying even more the spiritual sentimentality of space. The traditional form, with the tower and the heavy brickwork demonstrates the power of a representative materiality, as usual for the character of a religious space.

Materiality

interior interioroutline outline

axes axes construction

Even though much older the materiality composition of the building can be compared with the essence of the Maranathakerk. The heavy presence of the buttressed dark brick walls at the exterior surface of them, only interrupted by the light transparent stained glass of the vertical windows is getting imposing to the eye of the visitor, reflecting the outstanding position of the building within the urban context. Natural daylight creating shades at the recessed parts of the main northern wall in between the buttresses, makes the general texture even rougher and attractive. Inseparable part of the exterior space is definitely the large graveyard covering mainly the western and partly the southern part of the extended outdoor space. The thorny greenery surrounding the graveyard axes and defining the special function of it contributes even more to the crude and rough external essence. While entering the building, the shiny white plastered surfaces contrasted with the brown wooden furniture change completely the atmosphere. The penetrating light reflected on the white walls composes an extremely light, almost transcendent ambiance of space, intensifying the smooth textural quality of the interior. The stained glass windows, becoming the sources of exhilaration, contribute even more to the transparency of the interior surfaces. The wall is again the architectural element on which the two ambiences, interior and exterior one are opposed and connected. The wall section can express perfectly the contrast between them, expressing two different intentions for the volume quality of the created atmosphere.

construction construction

volume volume

axesaxes

footprint footprint

[15]

volumes volume

[image 14] (sketch) [image 15] (diagramms)

the tower the entrance_the threshold the nave north orientation the focus point

[18]

[image 16-18] (diagramms) inside

outside

[images] Materiality_patchwork The Hague, Abdijkerk, 1250 (photos)

[16]

Although the current concept of access into the building seems to be slightly different from the initial one, construction the approach of the main nave is happening by the two longitudinal sides of the church (north and south). Both sides have two equal side entrances (on each one), while now the entrance has been defined as one main access from the north side of the building. Even if outline it is not clear what was the initial meaning of both sides, the quality is even now completely different. The north side has more openings than the southern one as well as a large open [17] space in front of it. The now main entrance is now the boundary between the axes public yard and the private nave, while no transition space is interposed in between. The entrance to the graveyard is also on this side of the building. The south side has, on the other hand, a completely different approach. The added transept, which can be volume rather an older one, quite close to the main construction, is forming the transition space between the courtyard and the main nave area. The entrance is made from the small side of the longitudinal transept and this is where the visitor is prepared for the more intimate footprint religious function.

brickwork

stained glass windows brickwork brick battresses

greenery & furniture gravel & stone

graves

greenery

速mit, religious heritage the hague

wooden roof

pulpit

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stained glass organ

brickwork

wooden roof

ABDIJKERK

Typology

The Abdijkerk could be divided in two parts, the main church space including the tower connected to the community space besides. By its monumentality the church is attracted to several activities. Besides the regular church service on Sundays, it is accessible for tourist during the summer. During the week there are also some activities organised by the church. For smaller groups they use more often the community space besides.

architectural design

functions

The main typology of the building reflects the idea of the traditional church. The main nave is enclosed into the rectangular plan. The longitudinal transept is adjusted on the southern side of the building. Additional spaces have been added as vertical extensions to the main plan.

the focus point_the pulpit

the congregation

The shape of the plan The main nave is a longitudinal space composed by the main part of the congregation divided in two parts. Side corridors have been inscribed in space to allow the circulation. At the western narrow side of the nave the prominent tower is adjusted right in line with the central axis of the plan.

the transition space

[19]

[image 26] Community space,Den Haag, Abdijkerk (Photo) [image 27] (table)

Other activities

repeated activities

other activities

tourists

[25] utilization of building spaces by different users

Tue

Wed

Thu

Fri

Sat

[26]

Sun 10.00- 13.00

9.30- 12.00 9.30- 12.00 9.00- 12.00 9.00- 22.00 9.00- 12.00 20.00- 22.30 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00

Tourists [27] operating timetable of different users

14.30- 15.30

regular

incidental

ABDIJKERK

conclusions and value assessment Urban Context Values:

• landmark • orientation element • respected from the surrounding buildings

[20]

Architectural Design Values:

Religious functions and others the religious space

• imposing, traditional form • stained glass windows • symmetrical longitudinal nave • clear direction to the focus point

[21] the transitional space

Negative elements:

the religious space

Functions Values:

the communal space

• monumental identity • visiting destination • imposing graveyard •

Negative elements:

• limitations in establishing a new function not vacant

circulation

[24] function organization

Repeated activities

entrance

vacant

meeting rooms

Protestant Church

[images 19-21] (sketches) [images 22,23] (diagramms)

[23]

church

Mon

Light and climate The large vertical windows on both longitudinal sides of the nave allow natural daylight to food the interior space. The dazzling sunrays penetrate directly into the building almost shading completely the sanctuary wall. The focus point is hidden behind the dissolving light and the transcendent ambience is getting even more influential.

[22]

Protestant Church

1 Church 2 Tower 3 Community Space

[image 25] (diagram)

The roof in section The shape of the flat roof in section orients the interest mainly to the side vertical windows interrupting the heavy presence of the side walls.

less vacant

[image 24] (diagramm)

the tower/the landmark

The focus point The main orientation to the choir reflects the significant position of the sacred objects, the altar and the pulpit. The congregation is apparently oriented to the religious focus point, as well as the overall composition.

Vacancy

the graveyard

The axis of symmetry The overall articulation of space is mainly defined by the central longitudinal axis achieving also the symmetry of space. The starting point of the axis is the tower, physically connected with the interior, while the choir is the destination of the path.

Connection with nature Interaction between the interior of the church and the nature is achieved directly through the large longitudinal, vertical windows composing both the north and south walls, as well as indirectly through the penetrating natural daylight.

the intermediate space

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Abdijkerk can undoubtedly be considered as a landmark with its figure dominant in the skyline of the area. Due to the great height of the bell tower in combination with the small scale of the surrounding buildings, the whole composition is visible from a very long distance serving as an orientation element for the area. The fact that high scale buildings have kept a significant distance from the church, indicates the importance of Abdijkerk to the silhouette of the neighborhood already appreciated and protected. The overall typology and composition of the Abdijskerk witnesses the identity of a traditional church building. The heavy presence of the main buttressed brick walls, only interrupted by the light transparent stained glass of the vertical windows is getting imposing to the eye of the visitor, reflecting the outstanding position of the building within the urban context. The articulation of the interior space reflects the idea of a directly oriented space, composed along the main longitudinal axis of symmetry. Enclosed in the linear, rectangular shape of the plan, the nave, underlines the strong orientation to the choir, reflecting also the significant position of the pulpit, the focus point of space. The Abdijkerk as being one of the oldest buildings in The Hague, has a strong monumental identity mainly reflected on the influence of the building within the urban context. The importance of the monument as a visiting destination, especially during the summer months contributes to the significance of the composition. Except for the regular church service taking place in the main nave, other smaller activities are organised in the communal space indirectly connected to the central religious one. Its status as a national monument engages the maintenace of the religious function, rejecting any possible reuse of the building for other purposes. The imposingly sentimental content of the graveyard, as a prominent element of the composition, also sets restrictions in the same direction. C9

MARANATHAKERK

introduction

Church name: Neighbourhood: Adress: Construction year: Architects: Capacity: Monument status:

urban context

Maranathakerk Stadshoudersplantsoen 2e Sweelinckstraat 156, 2517 HB Den Haag 1949 Otto Bartning and Frits Eschauzier 150/200 seats Request for Word Heritage List (Unesco)

General introduction Maranathakerk is located in the district of Duinoord, specifically in the neighborhood of Stadshoudersplantsoen which has 1.719 inhabitants. The active members of the church are approximately 200. The design of the Maranathakerk is in principle based on the design of the German architect Otto Bartning (1883-1959). Bartning was widely known for the Protestant churches he designed in Germany. After the Second World War, he developed the so-called “noodkerken”. These were churches based on a timber construction, which could easily be built, and were an answer for the large demand of churches in that period. Together with Emil Staudacher, a Swiss engineer, he designed 48 churches. Almost all of these churches are still in use. The design of the Maranathakerk is a typical design of Bartning due to the positioning of the main entrance on the side of the building and to the continuous windowframes under the roof. In 2001 the church is renovated by Braaksma and Roos. Today, the church has to deal with shrinking memberships. However, the intention is to preserve the function of the church for the upcoming years.

[1]

[6] street fronts

[7] secondary boundaries

[8] shaping a public open space A B a.

[2] c.

[image 1] Exterior Maranathakerk Den Haag, Maranathakerk, 1949 (Photo)

b. A’

[image 2] Interior Maranathakerk Den Haag, Maranathakerk, 1949 (Photo)

B’ [9] boarders (water/streets)

[10] accessibility

[11] vistas towards church

MARANATHAKERK urban context

[3] relation with the rest church stock

[4] typology _ of the built environment

C10

Maranathakerk is located in an area which is easily related both with the city center and the sea. It is located to a close proximity to a large number of other Protetsant churches which are located mainly to its southwest. This part of the Hague has undergone severe changes in the last century. During the WWII it was occupied by the Atlantic Wall and consequently, after the end of the War when it was demolished, the area was left destructed and deserted. Maranathakerk was a part of the reconstruction of the area. The area surrounding the church has an urban character, with typical builtding blocks, shaped by buildings on the street fronts and enclosed open semi-private spaces. The street fronts have a continuous and similar character, while the transitions between public and private are very abrupt. There a few green open spaces which however do not form a distinct network. In this urban context, Maranathakerk seems to integrate both in scale but also in architectural expression. Its volume and height remain constrained in the norms of the built environment of the neighborhood. Its tower and pointy roof show a variation of form in the skyline of the area without however standing out. Regarding the street front, the church breaks the existing line and recedes backwards in order to create a transitional space. The sequence of the street front is expressed with a light element, a green fence.

pre-war urban fabric 1939 post-war urban fabric 1997 highway railway line connection to the city center

overall church stock for research train station Abdijkerk city center

[11a.]

[5]

[11b.]

[12] spatial sequence of the church’s mass in surroundings

A-A’

[13] presence of the church in the skyline of the area

A-A’

[14] spatial sequence of the church’s mass in surroundings

B-B’

[15] presence of the church in the skyline of the area

B-B’

[image 3] (diagramm) [image 4] (map)

[11c.]

[image 5] (diagram), illustration of the authors , data derived from http://www.kerkenindenhaag.nl/ [images 6-11] (diagramms) [images 11a-11d] (sketches) [image 12-15] (section)

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C11

MARANATHAKERK

architectural design

Identity

Accessibility

Maranathakerk in peacefully integrated in the urban chacampanile racter of the neighborhood becoming another important element of it, distinct for its function but without being declared loudly. The representative but sober appearance of the composition attracts and prepares the visitor for the upcoming religious experience. Not only the campanile, replacing the traditional tower and capturing the importance of the landmark, but also the inviting courtyard in the front serves as the most inviting [16] threshold. entrance

From the public road to the main nave the access is articulated in the main concept of a gradual approach of the intimate sacred part of the building. The sequence of public and private space, as well as the important transitional ones in between, creates a gradation of privacy and exposure underlining also the difference in function among the several parts of the composition. The access, made by the south-west side of the building is clearly defined by the open courtyard in front of it and the pavement leading gradually to the main entrance. The intentional “recess” of the building from the boundary of the public road is the first transition space, preparing the visitor for the interior function. After passing the entrance, the interior hall is the main gathering area, preparing even more the visitor for the sacred function. Transparent walls define the boundary between this space and the main nave. The main nave is eventually the intimate, more private part of the building and the final destination. The gradation of privacy is also a gradation of importance, regarding the religious function, from the less important exterior to the most significant sacred nave at the interior of the building.

plan plan

section

construction

courtyard

leading path

exterior outline exterior outline

Materiality The materiality essence of the building both reflected on textures of different used materials and colors of them subordinated by the use of natural daylight, shades and shines is different between the interior and the exterior part. While approaching the building from the outside you can experience the rough texture of the brown-red brickwork and the roof tiles, along with a few details of dark wood forming the openings. A few trees at the open courtyard in the front entrance, as well as the thorny fence surrounding the building and defining the outdoor living areas contribute even more to the crude and rough atmosphere of the exterior space. Walking into the interior space of the building this heavy and austere essence of the outer part is replaced by an interesting composition of different materials, combined in a coherent atmosphere of mild, similar tones of almost the same color. The pastel green reflected on the wooden cladding of the roof and the furniture, as well as on the arch of the choir gives the essence of a light, almost “transparent” space. The white plaster makes the walls even lighter contributing to the pleasant and relaxing atmosphere. The wall is the architectural element on which the two ambiences, interior and exterior one are opposed and connected and expresses perfectly the contrast between them.

interior outline interior outline

Typology

Construction

construction construction

The typology of the building reflects a lot of the main features of a the traditional modern church. The main areas of the building are enclosed to the rectangular plan, while the part of the entrance is clearly defined as projected to the one side of the plot. The south-eastern transept is an additional part of the building, adjusted later on and forming the angular arrangement of the complementary functions. The front courtyard is clearly defined by the this embracing angle of the composition.

outline

axes

The order of the construction is reflected on the role of the roof, supported on the load bearing brick walls. The prefabricated roof construction composed by rhythmically repeated curved wooden beams, also connected with other vertical ones has imposed the rules on the supporting structure underneath. As the roof was delivered as a gift from Germany initially intended for ships construction is the main architectural element, the crown which has defined the [17] supporting base. The strangely special atmosphere of the roof is diversified by the essence of the brick masonry underneath, although both integrated into a coherent composition. The connecting element of them can be traced on the “ship like” section of the side aisles and the specially formed beams bridging the span between the circular col[19] umns and the external walls of the structure. volume

The shape of the plan The main nave is a longitudinal space composed by the main part of the congregation inscribed by the two arrows of columns forming the boundaries with the two side aisles. The aisle serves here mostly as a side corridor and secondarily as an additional seating area.

private

transitional space

the courtyard the threshold/ in between

the focus point

public

[21] accessibility

altar

altar pulpit

section

pulpit

section

construction

[22] the focus point/ regular service

construction

[23] the focus point/ communal event outline

outline

footprint

[18]

C12

The focus point The main orientation to the choir reflects the significant position of the sacred object, the altar, as well as the side positioned pulpit. A difference in height distinguishes the level of the congregation from the choir and the location of the altar. Even if the focus point is apparently the altar and the semi-circular choir, different arrangements of the seatings and the pulpit can reflect different approaches on the relation between them. The pulpit is therefore a meaningful element of the composition.

volume volumes

[20] [images 16-18] (sketches) [image 19] (drawing), source: Bouw, Vol. 4, Nr. 43, (1949) [image 20] (diagramms)

outside

[images] Materiality_patchwork The Hague, Ontmoetingskerk, 1969, G. Drexhage (photos)

The axis of symmetry The overall articulation of space is mainly defined by the central longitudinal axis achieving also the symmetry of space. The entrance wall is the starting point of the symmetrical axis and the choir the destination of it.

axes axes

axes

[24]symmetry

[25]the focus point/ communal event

axes

volume

footprint

[28] [26]upward orientation

[27] interaction_ people _ sacred symbol _ God

[images 21-28] (diagramms)

inside

brickwork

ceramic tiles

greenery

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window shutters plaster

plaster

group 3, msc 2 spring 2013

window grid

wooden roof

woodencurvedbeams wooden roof girders wooden furniture liturgy objects

wooden cladding

ceramic tiles

C13

MARANATHAKERK

MARANATHAKERK architectural design

functions

the choir

The roof in section The pointed arched roof adds the second upwards vertical axis of direction, attracting the aye to the top of the interior space. The window openings forming the side upper parts of the wall leave the light to penetrate into the interior contributing to the light essence of the “flying” roof.

The original plan of the Maranathakerk was much smaller. In the end of the sixties they added two meeting rooms, and enlarged the entrance zone. Nowadays, the church has a good occupation during the week. Besides the regular church service on Sundays, they organise several activities during the week. They also generate some income with rentable spaces inside. By its scale and appearance the church is very attractive for several purposes. A dwelling for the verger is also incorporated to the church complex.

the side corridor

[29]

tha nave

Connection with nature Although no real interaction of the interior with the surroundings is evident, the use of natural daylight penetrating the nave achieves an indirect connection with nature. [30]

[31] [image 38] (diagramm)

Light and climate

[image 39] (diagram)

The elevated windows at the top of the side walls constitute the main source of natural daylight coming through the interior space of the building. The penetrating sunrays give the impression a lifted up roof, intensifying the verticality of the composition. The eye, oriented upwards experiences the transcendent essence of the sacred atmosphere, contributing even more to the religious function. Small side windows at the lower part of the side walls also achieve a direct interaction between the interior and the exterior space. Significant meaning in the articulation of the openings gathers the only one small window, placed on the sanctuary wall, looking upwards and intensifying the importance of the choir.

[image 40] House of the verger Den Haag, Maranathakerk, 1949, Bartning and Eschauzier (Photo) [image 41] (table)

ground

[40]

[36] C14

Protestant Church

repeated activities

1 2 3 4 5 6

Church Entrance / Wardrbe Foyer Meeting room 1 Meeting room 2 Stairs to basement meeting rooms

7 Toilet 8 Toilet 9 Backyard 10 Dwelling 11 Entrance Dwelling secondairy functions

other activities church

circulation

house of the verger verger

[39] utilization of building spaces by different users

[38] function organization

Tue

Wed

Thu

Fri

Sat

Sun 10.30- 13.00

10.00- 12.00 14.30- 16.30 18.00- 22.00 18.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 9.00- 22.00 permanently permanently permanently permanently permanently permanently permanently

[41] operating timetable of different users

regular

incidental

MARANATHAKERK

conclusions and value assessment Urban Context Values:

• volume and height integrated in urban context • receding front facade, open courtyard

[35]

Architectural Design Values:

barrier barrier

the intermediate the intermediate space space

not vacant

[33]

the religious the religious space space

vacant

House of the verger [32]

• interesting contrast between internal and external materiality • mild, colourful interior atmosphere • predominant roof construction • symmetry of space • gradual approach of the focus point

less vacant

Other activities

Religious functions and others

not vacant

Protestant Church Repeated activities

light

the heart of sacredness

[34]

Vacancy

Mon

in between

[images 29-35] (sketches) [images 36,37] (diagramms)

communal space thethecommunal space

entrance entrance

Functions Values: • communal identity • social profile • landmark

Negative elements:

less vacant vacant

• vacant main religious space

[37]

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As part of the urban context, Maranathakerk seems to integrate both in scale and architectural expression to the surroundings. Its volume and height remain constrained in the norms of the built environment of the neighborhood. Its tower and pointy roof show a variation of form in the skyline of the area, without however standing out. Regarding the street front, the church breaks the existing line and recedes backwards in order to create a transitional space. The sequence of the street front is expressed with a light element, the green fench. The overall identity of the Maranathekerk witnesses a traditional building of the type. The essence of materiality differentiated between the exterior and interior part contributes to the gradual approach of the sacred space. Accessing the interior space, the rough, heavy and austere essence of the outer part is replaced by an interesting composition of different materials, combined in a coherent mild atmosphere. The order of the construction is reflected on the role of the prefabricated roof, supported on the load bearing brick walls. The overall articulation of space is mainly defined by the central longitudinal axis achieving also the symmetry of space. From the public road to the main nave the access is articulated in the main concept of an unfolded path up to the choir, the most intimate part of the composition. Main architectural elements of the composition as the size, atmosphere and the prominent location of the building make it attractive for different purposes. One of the main functional aspects of the building, the communal character of regularly organised activities, contributes to the social profile of the church, as a landmark and meeting point of the neighborhood. The decreasing number of the congregation has apparently affected on the vacancy of the main religious space, being used only a few hours a week, but the communal functions, still keep other parts of the composition alive. C15

ONTMOETINGSKERK

introduction

Church name: Neighbourhood: Address: Construction year: Architects: Capacity: Monument status:

urban context

ontmoetingskerk

Ontmoetingskerk Loosduinen, Waldeck Zuid Louis Davidsstraat 2 2552 EA Den Haag 1966 - 1969 Geert Drexhage 650 seats Request for post-war Monument

General introduction The Ontmoetingskerk is located in the district of Loosduinen. Its neighbourhood WaldeckSouth has 2.046 inhabitants. [Source: Den Haag in cijfers, ABF research Delft (denhaag. buurtmonitor.nl)] About 100 of them are member of the church. The Ontmoetingskerk designed by Geert Drexhage (1914-1984) is characterized by its modern appearance. At first sight, you would not expect a church inside. The building consists of a square church section and an additional block beneath it. The main structure of the building consists of horizontal prefabricated slats set at an angle to keep out sunlight, with strips of single glazing in two layers. Drexhage designed four churches in his career. His churches could be characterized as non-sacred. The facades are abstract, and his interiors are serene. To achieve this spatial quality he used diffused daylight. It is controversial if his churches indicate their religious function in the surrounding neighbourhood. Today the Ontmoetingskerk has to deal with a decreasing number of memberships. The church confronts financial problems, resulting in the decision that the church has to become vacant on July 1st, 2013. The financial problems also causes maintenance backlog. In 2007 an architectural company proposed a redevelopment of the church. The municipality and the Cultural Heritage Department were not enthusiastic about their plans. They listed the building as a characteristic image for the neighbourhood, and prefer to put the church on the list of post-war monuments. They advised to search for other church communities for sharing the existing building space, but the church did not find another party.

1954

buildings

building blocks

[8] typology _ of the built environment

There is a big diversity in the typology of the built envrironement of the neighborhood. This fact is mainly related with its gradual development through time. Especially the building block where Ontmoetingskerk is situated has many different types of buildings, which nevertheless are positiioned in a certain order. The church, along with the other to public buildings located at the same street front differ from the dwellings in size and typology.

[1] private space (built/open)

public space (open)

[9] public/private _ boarders and transitional zones

semi-public transitional spaces (built/open)

1962 [2] [image 1] Exterior Ontmoetingskerk Den Haag, Ontmoetinskerk, 1969, G. Drexhage (photo) [image 2] Interior Ontmoetingskerk Den Haag, Ontmoetingskerk, 1969, G. Drexhage (photo)

Main charesteristic of the area is the presence of many transitional spaces between public and private. Only in very few parts of the neighborhood there is an inmmediate trensition from public to private. These semi-public zones create a network that runs through the builiding blocks .

1966

ONTMOETINGSKERK

1969

[4]

urban context

pre-war urban fabric 1939

1971

post-war urban fabric 1997

[5]

highway

106

ontmoetingskerk city center

train station

100

public green

[10] green areas _ in the neighborhood

The presence of open green spaces is dominant in the area. Besides the public green cluster on the north a large area of each building block is occupied by communal green spaces. These spaces function as gradual transitions between public and private instead of other strict boundaries.

main street 88

[3] relation with the rest church stock

semi-public green

Even though the area is far away from the city center the public transportation ensures direct connection with it. Also, there is provision for adequate parking spaces

railway line connection to the city center overall church stock for research

private green

2015 The Hague

2020 Loosduinen

2027

1992

Waldeck -Zuid

Ontmoetingskerk is located at the South-West boarders of the urban fabric of the Hague and at a great distance from the city center. At this area the neighborhood unit 13 16 23 25 17 32 concept was implemented after the WWII in order to fulfill the extensive trend of the 64 58 52 city. The most proximate church of those under research to it is the Abdijkerk in the [6] south. % age of 0 - 19 % age of 20 - 64 % older than 64 Demographic data: The average age of the population in Waldeck-South is 49 years. In the last decade there has been a decrease to 16% of the amount of young people, [image 4] (diagram), illustration of the authors , data while the amount of elderly people has reached 32%, which is double of the overall derived from http://www.kerkenindenhaag.nl/ precentage of elderly people in the Hague. The fact that the average age of the [image 5] Population forecast Den Haag, Waldeck-Zuid, (diagram). churchgoers is 75 years indicates that aging population of the neighbourhood. Regar- DHIC/DSO/PSO, BuurtMonitor 2013. ding the origin of the inhabitants the percentages of autochthonous and allocthonous [image 6] Average age are 70,3% and 27,2% respectively. This is an indication of the possible lack in other religi- Den Haag, Waldeck-Zuid, (diagram). DHIC/DPZ, BuurtMonitor 2013. ous minorities. [Source: Buurt Monitor Den Haag 2012, Demografie] C16 ®mit, religious heritage the hague

2012 [7] urban development_of the neighborhood group 3, msc 2 spring 2013

tram line

parking space

[11] infustructure

Waldeck-South shows an interesting and unconventional pattern of development. While in most neighborhoods the construction of the church building preceded the development of the rest of the area, the built environment of Waldeck-South had already been formed to a large scale when Ontmoetingskerk was erected. [images 7-11] (maps). illustrations of the authors, data derived from ‘Topografishe Kaart van Netherland’ (‘54,’62,’66,’71,’92), TU Bouwkunde Kaartenarchief

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ONTMOETINGSKERK

urban context

urban context B

A’

B’ [12] sequence/ disruption of the street front

[13] secondary boundaries

[18] functions of the area church

day-care center for children

dance school police station

residential

communal

commercial

playgrounds

[19] spatial sequence of the church’s mass in surroundings

[14] shaping a public open space

Waldeck-South is mainly a residential area. The very few public functions are located on one axis. There are almost no commercial functions. This results to monotonous and introvert street fronts lacking public life. Other communal spaces such as playgrounds are located in the interior of the building blocks. The positioning of Ontmoetingskerk is intrinsically related to its communal function. Instead of following the line of the street front, it recedes backwards at the side of the main street axis in order to create an open public space on the corner of the building block. A transitional green zone similar to that of the adjacent buildings surrounds the church on its main sides. At the edge of this open space the enormous cross is located in order to be visible when someone approaches the building from any direction.

public library

[15] located on crossroad

[16] accessibility

[17] vistas towards the cross

It terms of accessibility one would expect to enter the building on its prominent corner. However both entrances of the building (main and secondary) force you to walk around the building. The skyline of the area shows that as a volume Ontmoetingskerk is consistent with its surroundings and does not stand out. In fact its height is lower than that of all the adjacent buildings. In contrast to the church itself, the cross dominates in the skyline of the area, and also in the views from the surroundings.

[17a.]

[17b.]

[17c.]

[17d.]

[images 12-17] (diagramms) [images 17a-17d] (sketches) [image 18] (map), illustrations of the authors, data derived from Buurt Monitor Den Haag 2012, Bedrijfsleven and Google maps. [images 19,20] (sections), illustrations of the authors

park

A-A’

B-B’

A-A’

B-B’

[20] presence of the church in the skyline of the area C18

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architectural design

Identity

The Ontmoetingskerk embodies the concept of a building comperatively unusual for the expectations of the traditional examples. Free-standing in the crossroads of a peaceful neighborhood, the overall composition of the sober cube does not bear any witness of intending to reveal the religious function behind. Geert Drexhage, intentionally regecting the traditional approach, establishes a completely new belief on the relation of the religious building with the oblate idea of the sacred, representative form. Rather than representing the sacredcontent, he detouches the meaning of sacredness from a realistic depiction of religious signs. The unifying symbol of Christianity, the cross, placed in the most exposed corner of the plot acquires all the purpose of attracting and gathering people in the primarily sober and self concentrated building behind. The abstract, non-depicting form of the predominant louvered facade can be related with different functions having overall the identity of an assembling, communal space. The essence of equality and accessibility, reflected on the composition, corresponds to a new multi-functional approach released from the commitment of the one sole religious content.

the cross

[21] [image 21] The church of cross The Hague, Ontmoetingskerk, 1969, G. Drexhage, (sketch)

Materiality In terms of materiality the building expresses a fresh new, completely modern approach between the handling of the exterior and interior space. The general architectural composition of the self-centralized box is treated as a coherent fabric with the same interior and exterior surfaces on all the four sides of it. Materiality is primarily embedded in the meaning of the facade as the main architectural and constructive element. The horizontal, also load bearing louvered curtain walls made of white plastered concrete, materialize the atmosphere of both the exterior and the interior space. While approaching the building from the two main directions, as positioned in the corner of the plot, the white sober and austere perforated surfaces define the boundaries of a carefully circumscribed content, equally outstanding on all directions. The rough texture, although light colored is mainly achieved by the expression of the form, as the monochromy of the white plaster intentionally subordinates the role of the material. The role of the white cover on the concrete construction, can be related with the ideas of Loos and Le Corbusier around the meaning of the “whitewash” in the architecture of the 1950’s [1]. above on the right [images 22,23) Exterior and interior materiality The Hague, Ontmoetingskerk, 1969, G. Drexhage, (photos)

side [images] Materiality_ patchwork The Hague, Ontmoetingskerk, 1969, G. Drexhage, (photo)

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In that sense, the horizontality of the louvered facade as the coherent expression of the box is emerged as the supreme element of the composition. The smoothly treated appearing almost artificial greenery, closely surrounding the building, contributes even more to the sober essence of the exterior, serving mainly as the transition element between the man made construction and the natural ground. Walking into the interior part the building, the solid surfaces of the louvers are now subordinated by the void transparent horizontal slots, which allow the diffused daylight to penetrate and create a lighter, translucent ambience of space. The white louvers are now “colored” darker grayish, also combined with the dark red textile of the seating benches. A few details of dark brown wood on the furniture and the grey-green marble floor tiles complete the integral essence of a more self-oriented and intimate atmosphere. A difference in texture between the two sides of the facade louvers, intesified by the penetrating daylight contributes peacefully to the diversity of the overall sober interior space.

[22]

[23] [1] Adolf Loos, “The Law of Dressing”, 1897-1900, Le Corbusier, “The Law of Ripolin”, 1959 The coat of Whitewash according to Le Corbusier “replaces the degenerated layer of decoration...The whitewash is a form of architectural hygiene to be carried out in the name of visible truth.” In these terms, the white color is getting the essence of a dressing, serving as the protective layer of the construction, but completely aiming at intensifying the presence of the structure behind. It is not transparent but conversely, really present and strong enough to orient the eye towards the deeper meaning of the composition . (Mark Wigley, “Architecture and Philosophy. Le Corbusier and the Emperorr’s New Clothes”, published in the “Journal of Philosophy and the Visual Arts”, London, Academy Group, 1990, pp. 84-95)

Construction The main principle of the construction is embedded in the predominant role of the facade. The concrete louvered walls forming the four sides of the box carry both the meaning of form and construction structuring the whole composition. The curtain wall facade reflects the fascination of Drexhage on the contributing role of glass and natural daylight in the essence of the interior space [2]. Horizontal prefabricated slats are set at a certain angle able to define a specific relation with the sunlight, through the use of strips of two single glazing layers. The order and priciple of the construction is the nonseperation between the load bearing rectangular pilasters and the in between non load bearing louvers, forming the horizontal openings of the facade. Both elements constructed by the same material -reinforced concretecannot be distinguished by the hasty human eye, achieving to highlight the whole facade as the ascendent element of the composition.

Five concrete pilasters on each one of the four sides support the wall construction, achieving independency between the four load bearing facades of the building. Each one of the walls is divided in four equal parts composed by the sloping -towards the exterior ground level- horizontal concrete louvers. The open plan of the interior space is a large empty area with an amazing freedom in adjustable partitions, as no supporting elements are interposed in it. The box is an empty cube, the shell where everything can be sheltered. The interior content is only defined by the four clearly positioned permanent walls, which form the boundaries of an archetypically circumscribed space.

[24]

the curtain wall facade: • horizontal prefab elements - louvers • grid division in four parts • five concrete pilasters on each facade • nonseperation between form and construction • independency of each facade from the other axes

[2] Source: Thesis Willemineke Hammer, The architect G. Drexhage, 1995

2 3 4

side Construction principle The Hague, Ontmoetingskerk, 1969, G. Drexhage(diagram).

construction diagramm

underneath construction details (sketches) [image 24] The building(photo)

Details: The handling of the corner Interesting element of the construction and usually a crucial part of every building composition is the solution of the corner. The point where two walls are connected expresses an unusual approach of the issue, in line with the overall concept of the building construction. The two neighbor pilasters of each wall are met at one top clearly forming a recessed corner space at the outer part of the building, while the interior has the concept of one consistent surface. The division of the four walls in this crucial part of the building, could serve the extrovert essence of the exterior structural elements, diversified by the more intimate atmosphere of the interior space. The four constructive facades demonstrate the distinctive sides of the cube, which are apparently the four main elements of the whole concept. The section of the seating benches The folded articulation of the louvered facades can also be related with the shape of the also folded seating benches.

the corner_the crucial point

the two textures of the facade

orientation to the exterior ground

the section of the benches

facade_section

outside

inside

steel cross

greenery

concrete

trees and concrete

brickwork

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concrete_2 textures

concrete

wood and brick wooden cladding

dark red textile steel railings

wood

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ONTMOETINGSKERK

architectural design

The folded suspended ceiling The division of the interior space between the hall and the main nave is underlined by the folded ceiling construction, suspended by the concrete roof. Steel slates positioned in a vertical direction intensify the linear shape of the ceiling, matching also the louvered wall construction. The black paint covering the concrete ceiling, the installations and the supporting grid of beams for the slates above, serves also as a background for the blue highlighted slates in the front.

Typology The typology of the building reflects the overall concept of the enclosed and clearly defined tube. The box embraces all the meaning of a self oriented space. The perfect square shape of the plan is carefully positioned on the west part of the plot, alsection lowing the open courtyard to be revealed in the east. The building keeps a distance from the east road, the open empty space is getting a significant meaning and the cross finds its position right on the crossroads. The sacred symbol embodies all the representative meaning of the church and the building is left sober, behind, peacefully positioned there as a neutral enclave.

plan

plan the folded ceiling construction

[25]

outline

exterior outline

plan

section

section plan

section

plan

section

plan

section

plan

outline section

outline

plan outline exterior

section outline

interior outline

Accessibility

interior outline

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outline axes

axes interior exterioroutline outline

axes

interior outline

axes construction

the altar

The gradation of privacy mainly reflected on the difference in height between the three formed levels (road-hall-main nave) also expresses a gradation of importance, regarding the religious function, from the less important exterior to the most significant sacred place in the most intimate part of the composition.

axes

exterior outline

the altar interior outline

construction axes

construction

interior outline

construction

volume

interior outline

construction

the pulpit

construction construction volume

the cross

the entrance_the threshold the nave

the focus point

construction interior outline

the transition space

the congregation

volume

north orientation

construction

construction volume

construction

the orchestra volume

footprint

construction

volume

construction

axes

the congregation

The first segment of the square constitutes the main transition space, a longitudinal room separated with a movable curtain-partition from the main elevated nave. This meeting area is where the visitor is even more prepared for the more intimate part of the box. The sequence of public and private space, as well as the important intermediate place in between, creates a gradation of privacy and exposure underlining also the difference in function among the several parts of the composition. In line with the axe of the entrance, the staircase leads gradually to the upper level of the box.

outline axes

exterior outline

entrance

The main entrance is inscribed by a highlighted projected construction, attracting access towards the interior and forming the in-between threshold between the outside world and the more intimate part of the building.

outline exterior outline

Substantial element of the composition is the grid generated by the five pilasters of each side. The inscribed division of each wall in four parts, also reflected on the articulation of the plan subordinates any other element. The entrance covering one module of the grid is in line with the stairs leading to the main nave. The stairs downwards the basement also have been designed in the same term. The strong presence of the grid having an aesthetical, structural and organizational meaning also expresses the intentional coherence and continuity between form, construction and space, the content of the representative box, embracing all the symbolic essence of the unity, the one integral whole.

the pulpit

The main concept of the access articulation from the public road to the interior space of the church, also reflects the meaning of the circumscribed box. The position of the cube in a distance from the east road, defining a clearly inviting transition space between the public road and the private building contradicts to the placement of the entrance on the northern side. By handling of all the four facades as equally treated sides of the box, the architect probably aims at accentuating even more the meaning of the inscribed circle. The position of the representative cross right in the corner of the main accessible roads, also reflects the same intention.

exterior outline

The open plan of the interior is an equal open space able to be handled in different ways. Nevertheless, the division between the front hall, as a crucial transition space and the main nave, expressed in a difference in height (1.70 m from the ground level) between the levels and in a light axes movable curtain serving as a partition in between, fragments the space in two parts. The two different functions are now separate and distinct, enhancing even more the significant identity of the main religious space. The contradiction between the coherent composition of the box inside as an equally treated space, oriented to the centre of the square and the division of it two unequal parts serves exactly this purpose. The construction folded ceiling, hanging from the top stresses even more the purpose of division, descending along the axis of the partition wall.

the orchestra

outline

a sequence of levels_the ceiling follows

The grid

cross section

exterior outline

The shape of the plan

volume footprint

footprint volume

floor plan

construction axes footprint

axes

entrance

axes

private

ascending

footprint axes footprint

axes

footprint

axes

transition space footprint

+1.70

axes volume

volume

public

volume volume

footprint volume

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both pages The Hague, Ontmoetingskerk, 1969, G. Drexhage(sketches and diagrams).

cross section

0.00

[image 25] The entrance The Hague, Ontmoetingskerk, 1969, G. Drexhage, (photo) Source: Archive NAI DSVB R888, DSVB

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architectural design

The focus point The contradiction between the central orientation of the box and the division made in the plan, between the hall and the main nave is even more supported by the unexpected articulation of the seating benches of the interior. The semi-circular arrangement of the congregation around the altar and mainly the pulpit, positioned in the middle of the south wall responds to the need of defining a focus point, where everyone can look at and utilizes optimally the size of the offered space. Four radial corridors disrupt the seating area in order to allow the circulation. The four main radial axes of the corridors can also be traced on the shape of the basis for the pulpit the central focus point. Despite the also strong articulation of the nave, regarding the relation between the congregation and the altar/pulpit, several alternative solutions can be achieved. The flexible open plan establishes a completely new approach on the independence between the building and the accommodated function.

circular articulation of space

The section

the centre the centre

the centre

spirituality

the circle

spirituality

The inclining path from the outside pavement towards the intimate sacred nave can also be traced on the shape of the suspended ceiling. The folded roof not only intensifies the division between the different functions of the interior, but also strengthens even more the inclining intention of space, reflected on the lifted up nave at a second level. The dynamic shape of the ceiling at the interior also contradicts with the flat roof visible outside.

functions

In the end of teh 60’s Drexhage designed a church for an active community, which was in need for a building with extra space for various activities. For that reason he designed a main church space on street level and a basement with several rooms underneath it. Initially this space was occupied by several activities during the week, and also the Pastor had his own dwelling inside. But today the community is shrinking, which resulted in less use of the spaces in the church. Originally the church is designed for 650 people. Today there are only about 100 members left with a high average age. The problem is that the building has become to big for the community’s needs, which resulted in a huge vacancy of rooms during the week. For example, the main church space is only in use for regular services on Sundays.Incidentally, this space is used for a concert or funeral too. Instead of that the basement is rarely used. It has twice a week a regular activity, and incidentally another activity organised by the church. These rooms are also rentable for other parties, however the profit is not satisfying. Thereby the atmosphere in the basement is not really attractive in sense of light and furniture. A lot of rooms are in use for storage right now.

1 Meeting room 1 2 Meeting room 2 3 Meeting room 3 4 Meeting room 4 (book storage) 5 Meeting room 5 6 Kitchen 7 Toilet 8 Shower 9 Storage 10 Livingroom (meeting room 6) 11 Sleeping room (storage) 12 Sleeping room (storage) 13 Sleeping room (storage) 14 Technical room 15 Bar 16 Storage 17 Storage 18 Toilet (disabled people) 19 Toilet (ladies) 20 Toilet (men) 21 Storage 22 Storage 23 Storage 24 Storage 25 Storage 26 Church 27 Meeting room 28 Entrance

10 11 9

24 25

21 22 23

20 19

18 17

basement

26 meeting rooms secondairy functions 27 groundfloor

former house of the pastor main church space

circulation

[28] function organization

Connection with nature

outside sky

in-between

No interaction between the interior of the church and the surrounding space is achieved. The glazing surface between the horizontal louvers of the walls, totally oriented to the ground does not allow any real contact with the exterior space. As the sunrays cannot directly come through, but only in terms of a diffused light, highlighting mainly the horizontality of the facade, the essence of a transcending, confusing space is achieved. Light and climate

ground

the ascending path

Diffused daylight, penetrating the horizontal louvers of facade, reflects the fascination of Drexhage on composing that serene, transcendent and spiritual atmosphere of the interior space. The structural daylight is now, more than ever before, getting the meaning of the principal architectural instrument, embedding at the same time all the substance of the religious function. The overall design of the curtain wall facades also incorporates provision for inner climate control. Rotated in a certain angle, the concrete blades, filter the penetrating light, serving as the natural sun shading protection of the interior space.

Mon Protestant Church Repeated activities Other activities

Tue

Wed

Thu

Fri

Sat

Sun 10.00 -13.00

20.00- 22.15

14.00 -17.00

9.00 - 22.00 9.00 - 22.00 9.00 - 22.00 9.00 - 22.00 9.00 - 22.00 9.00 - 22.00 9.00 - 22.00

Storage/technical [26]

[29] operating timetable of different users

regular

incidental

[27] [image 26] Corridor basement,Den Haag, Ontmoetingskerk, 1969, G. Drexhage (Photo) Archive NAI DSVB R888, DSVB.

Protestant Church

repeated activities

other activities

storage/technical

[image 27] Meeting room 5,Den Haag, Ontmoetingskerk, 1969, G. Drexhage (Photo) Archive NAI DSVB R888, DSVB.

diffusion of penetrating light

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[30] utilization of building spaces by different users C25

ONTMOETINGSKERK

functions

conclusions and value assessment

Vacancy

not vacant vacant not less vacant vacant not vacant vacant

Regarding also its remarkable size, as well as the principle concept of a space independent from the main religious function, allowing multifunctional purposes, the questions about this “imposed” disuse are arising even further. The only gesture that seems to reverse this condition is the constantly increasing use of the building by the members of the neighborhood as a meeting point for discussion or social events. The communal essence of the “church” is now meeting again the initial purthe complementary space pose of the religious building, to gather and communicate.

thereligious religious space space the

complementary space

the complementary space

Religious function and others

complementary space

the religious religious spacespace barrier

entrance entrance communal space communal space

Urban Context

The location of Ontmoetingskerk and the way it is positioned in the urban context are intrinsically connected with its design as a church building. It clearly states a different • modest identity and new and for its time approach on spirituality and religious buildings. This church • integration in the typology of the area is not designed to be ‘the House of God’ but a ‘house for the community’. Instead of • the cross_the representative symbol creating a building which stands out -as it would be expected for a church building-, • the inviting recess Drexhage designed Ontmoetingskerk as a ‘modest’, in terms of volume and outline Negative elements: building, which is completely in the typology and skyline of the area. It the religiousintegrated space was not his intention to create a building that intimidates with its presence within • not declared religious character barrier barrier its surroundings or that declares profoundly its religious character. Ontmoetingskerk should always be considered in relation with the cross in front of it. The building steps back in order to allow the cross – in which all the religious character and symbolism of the building is encapsulated- to stand out. Moreover, the fact that it recedes from entrance the street front and grants space to the public, declares its communal characterentrance and invites the neighbourhood. Therefore, this inherent communal character the communal space communal of space building enables the building to be successfully reused for other communal functions. Architectural Design Identity Values: The architectural identity of Ontmoetingskerk concentrates all the essence of an • assembly and gathering identity outstanding building, representing a completely innovative approach of form and • sober appearence composition for a common religious space. The sober appearence of the exterior • highlighted entrance facades, obviously irrelevant to the usual form of the type, prepares the visitor for the • linear sequence of places • strong directionality to the focus point serene and imposing simpicilty of the interior atmosphere. The typology of the cube • interrelation of construction and form reflects the deeply rootedthe meaning of assembly and gathering around an intimate the religious space religious space • open plan flexibile typology of the plan spiritual place. Without revealing the religious function behind, the apparently neu• essence of in spatial atmosphere barrier • symbolic interaction withbarrier the ground treal form can be related with any kind of use, without the restrictions of a certain • diffused daylight, essence of spirituality religious content. Accessibility Accessing the interior of the building, a linear sequence of places define the circulaNegative elements: entrance entrance tion towards the intimate focus point of the nave. • fragmentation of the box in two spaces Materiality communal space communal space • regecting perception of the whole The external materiality of the composition through the use of the “whitewash” re• no real interaction with the surroundings veals the heavyness of the composition and the substancial role of the structure be• ”trapping” atmosphere of space hind. Construction The principal idea of construction can be identified in the overall purpose of defining the qualities of a self-oriented space, subordinating the role of a representative form. The coherence between typology and construction, also reflects in every sense the overall importance of the spatial composition. Religious function and others Typology The typology of the clearly defined cube reveals the freedom of the open plan. The The religious function, elevated from equally treated four facades does not, though, correspond to the articulation of the the religious space the ground level, is limited in coninterior space defining the one side orientation point, probably as a demand of the tact with the mainly used spaces barrier religious function. Furthermore, the division of the interior space in two seperate parts, distributed as complementary funcfragmenting the integral atmosphere of the cube, opposes to the idea of spatial tions in the basement. The strong continuity. fragmentation of the box can be viConnection with nature and natural daylight sible in the articulation of movement entrance Despite the perforated facades, the interior space can be experienced as a combetween the different levels. Inner pletely enclosed shell. No interaction with the surroundings is possible, as the windows communal space connection of them is only achieved are directly oriented to the ground. Along with the use of the diffused daylight and by a “blind” staircase leading to the gradation of space in different levels, a spiritual interaction between earth and the lowest floor, scarcely used and sky embeds the basic concept of an overall ascending spiritual path. subordinated by the main entrance of the complementary part on the Functions back side of the complex. Besides the main religious function several other uses are involved in the articulation Values:

Values:

e religious space

• variety of functions • communal identity • partly remaining alive character

religious space the religious space

Negative elements:

border barrier

• disuse of the religious space_vacancy • isolation of the religious function • disconnection with the communal part entance entrance communal space communal space

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side Vacancy and relation of the religious function with the others The Hague, Ontmoetingskerk, 1969, G. Drexhage(diagrams).

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of the building, deriving from the communal and assembly identity of the building. Except for the level of the main nave, several complementary functions are distributed all over the level of the basement underneath. The communal character of the composition is therefore accentuated by regularly organised activities, charged with the task to keep the complex alive. The constantly decreasing community influenced by the religious function of the building has been reflected in its striking vacancy, resulting at the limitation of the regular use of the building outside the main religious space. Open to the congregation only a few hours, once a week, the core of the composition seems to refuse its substantial meaning as a shelter open and accessible anytime to everyone. The connection also between the basement and the religious space above is astonishing. Strongly seperated the two levels mark a lack of interaction between the two different functional identities of the composition.

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RESEARCH QUESTION

RESEARCH QUESTIONS

The religious meaning and the symbolic essence of space

The spiritual path

the religious meaning in space

The whole experience and meaning of the religious space in all forms and expressions of it during time, can be captured in the concept of a “religious path”. Having direct architectural implications the religious path is the symbolic journey from darkness to light, from enclosure to openness. The journey can be divided into four segments:

Symbols behind the structure The following research has been mainly based on the book of Thomas Barrie, Spiritual Path, Sacred Place, Myth, Ritual and Meaning in Architecture, and sets to identify the same architectural elements, independently existing behind every kind of religious space, evaluated -in a level of abstraction- for many different religious communities.

the finding of the path the preparation the journey the final destination

Ever since the first communities of people were created, symbols, as archetypal vehicles of meaning have played a crucial role in the communication of human beings. In a more subtractive meaning of the term, a symbol is always an element able to stimulate the human senses, evoking certain responses and behaviors. In this sense, architecture has always been a composition of symbols, a sequence of sentimental events carried by the elements of the structure. In religious architecture this stimulation of senses and communication of meanings happens in the ultimate grade, so that sacred building cannot be fully perceived if not regarded above all as a symbolic entity. (Thomas Barrie, 1996, page 12) Every element in architecture of buildings is primarily used as an instrument, able to evoke the sentimental, unconscious connection of the human, the tangible matter with the transcendent, the intangible sacred meaning. Hearing, smell, touch and apparently sight are human senses participating actively in the sacramental experience, depending on the particular religious purpose. In Orthodox Christianity for instance, incense spread all over the religious space, unconsciously contributes to the sentimental participation of smell, one of the two strongest human senses along with taste, directly stimulated in brain and stressed with a unique burden on memory[1].

(Thomas Barrie, 1996, page 22) Both theoretical and spatial Interpretation of the path incorporate the sequence of certain spiritual events happening from outside inwards the religious space, through the instrumental use of archetypal symbols. In an intangible level, the spiritual path is an individual journey, from the outer self to the inner substance, the quest of selfawareness. In the tangible level of the sacred place and more specifically in Christianity, interpretation of the path can be seen in the sequence of certain places from the outside (while accessing the church building) to the interior space. The spiritual path like every architectural path is generally composed by two main elements: the path and the place. (Thomas Barrie, 1996, page 38) The dynamic sequence of those can be described as a fairytale unfolded in space and serving the religious meaning involved. [1] Marcel Proust, In search of lost time, 1922, France

“When from a long distant past nothing subsists, after the people are dead, after the things are broken and scattered, taste and smell alone, more fragile but enduring, more unsubstantial, more persistent, more faithful, remain poised a long time, like souls, remembering, waiting, hoping, amid the ruins of all the rest; and bear unflinchingly, in the tiny and almost impalpable drop of their essence, the vast structure of recollection.”

the finding of the path

the preparation

the journey

the final destination

The spiritual path

Marcel Proust (In search of lost time, 1922, France)

The symbolic journey divided in four segments

The religious use of symbols directly connected with evoking senses cannot be evaluated as superficial invocation of emotions, intending to impose the religious feeling, but is related with the deeper meaning of participation. The ancient Greek theatrical term of “μεθεξις” - communion means the sentimental and spiritual involvement of the audience into the action taking place on the stage. In a figurative sense, in religious architecture the use of symbols, serves a greater purpose. Communion aims to bridge the gap between the conscious and unconscious, rejecting the boundaries between the human inner and outer self, as imposed by the rational technocratic society. (Thomas Barrie, 1996, page 12)

tion

n inoa insatti ste eed d tothteh teddto te n n e ri ri oo

the God thetranscendent transcedent God

In an even more holistic approach of the symbolic meaning behind the tangible structure, the tenor of order can be identified. For Louis Kahn, order is the underlying archetypal structures hidden behind every architectural form. Through different shapes and styles the same spatial memories are transported, erected by the determinant use of symbols. (Ching Francis D. K., 1943). In this sense, religious architecture is based on the same orders - memories carried behind the tangible structure, able to compose the true essence of space, conceived independently from a certain concept of form.

the the earth earth

The spiritual path A sequence of path and place preperation ﬁnding the finding thepath path preperation

Side The spiritual path (diagrams)

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the journey journey the

destination thethedestination

the spiritual path_a sequence ofof path the spiritual path_a sequence pathand andplace place

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RESEARCH QUESTION

The order of the path

Experiencing the path

the religious meaning in space

The order behind every religious path reflected in space has the clear sense of two main principles: directionality and continuity (Thomas Barrie, 1996, page 38)

The experience of the spiritual path can happen primarily by the use of two main elements (Thomas Barrie, 1996, page 12):

The path has always an origin (the starting point) and a final destination (the ending point)

the movement, able to follow the sequence of places along the path and the sight, the main human sense used in the experience of the atmosphere Architectural elements used to compose movement are: the grid of the structure the rhythmical repetition of vertical elements (columns/pilasters/arches) the clear definition of the movement from the outside towards the interior space the enhancement of the starting and the ending point of the path different levels used to enhance the differentiated meaning of each place

The path has an overall shape: the linear path (nterpretations: axial, split, radial, grid, circumambulating) the segmented path

finding the path

preperation

the journey

the segmented path

the destination

the cross of light

Architectural elements used to stimulate the sight sense: the structural daylight the contrast between light and shade transparencies of the walls allowing connection with the exterior space the scale and proportions of space, enhancing verticality

to light

from darkness

the linear path

continuity continuityof ofspace space light from above linear path_interpretations

The order of the place

From the early first half of the 20th century and onwards the evolution of church planning not accidentally coincided with the arising transformations in religious attitude and the increasing demand for churches of “greater usefulness and beauty”, compared to the examples of the 19th century (William Ward Watkin, 1951, page 1). The undoubted increase of interest in spirituality, following the horror of the Second World War, accompanies a reasonable reconsideration in religious expressions. The new approach established in religious attitude can be also identified by the era of Modernity, arising in Western societies by the end of the 19th century. Modernity, in its broadest definition encompasses the reconsideration of any acceptable relationship with the past, arising in arts and architecture, but expanding all over the structure of the society. In this sense, the new approach of religious space can be definitely placed within the broad context of the modern era.

The finding of the path composed by: the appearance of the church and certain attracting symbols (the cross, the tower) the articulation of the entrance the open courtyard as an assembling transition space axial path

The journey composed by: the main nave, the area of worship this place where all the meaning of the intimate assembly of people is concentrated the place of self-orientation and contemplation

transparency

Several interpretations of the arrival point can be recognized depending on the religious community -Catholics consider the altar as the main focus point, while the Protestants chose the pulpit, the word of God, as more important- and the essence of the service event. In protestant examples, the pulpit is usually positioned at the choir and the congregation is towards it oriented, in terms of a more individual expression of worship. On the contrary, when a communal event takes place (marriage/funeral/discussion) takes place, the pulpit is placed in the middle of the nave embraced by the congregation. Both path and places are interconnected and cannot be considered separate from each other, but only as a whole form the integral essence of the religious spiritual path. C30

circumambulating path transparency Side and above The spiritual path (diagrams) above (Image 1.) Linear path_interpretations (photos) Thomas Barrie, 1996

®mit, religious heritage the hague

The new religious space The “church” is the enclave of sacredness, the built expression of the human need to love and worship God. Although different constraints have been reflected in several changes in the architectural expression of the type, depending on the theoretical background of different religious communities, gradually an overall new modern approach of worship expression in space can be identified. The modern religious space comes to materialize the new meaning of sacredness. The ultimate value of the “sacred space” is getting more and more replaced by the meaning of assembly, the gathering enclave of the society. In the meanwhile, sacred icons and symbols are being interpreted in a different more abstract way in favor of individual worship, as a matter of personal spirituality.

grid path

The destination composed by: the focus point (the choir/the altar/the pulpit the place stressed with all the meaning of the sacred intimacy the symbol of achieved self-awareness, and spiritual completion

Cadence of light and shadow in Christian examples

The new approach of religion

The place is a clearly defined space gathering each of the four segments of the path.

The preparation composed by: a clearly defined interior space in between the outside and the main sacred area which usually incorporates the meaning of a more protected communal space

exterior light preparing darkness enlighting journey the transcendent light of the destination

side and above The structural daylight (diagrams)

group 3, msc 2 spring 2013

Within the Christian community, despite the different spatial expressions between Protestants and Catholics regarding, among others the focus point of the plan, the roles of both altar and pulpit as regarded by the congregation, a gradual rapprochement has been made from both sides. The use of the transcendent light penetrating the interior is a catholic influence on protestant examples, and the simplicity of form the opposite, so that no strict distinction can be possible (Stock Wolfgang Jean, 2004, page 11). C31

RESEARCH QUESTION

Architectural Form and the Symbols of sacredness

Case studies

the religious meaning in space

The following research has been mainly based on the book of Jin Baek, Nothingness: Tadao Ando’s Christian Sacred Space, and sets to explore the religious meaning reflected in space. The two following case studies, has been chosen as extreme but clearly indicative examples of the new tendency influencing in the planning of religious space. A comparison between them and the three churches analyzed previously in this chapter, is evaluated as a useful tool in comprehending the religious space in general, and further in each one of the churches being investigated in The Hague.

The Church of Light, Tadao Ando, Osaka (Ibaraki, 1989)

Basilica

The traditional church building underneath

The traditional form and typology of Christian church has its roots deeply in the history from the 4th Century AC and the recognition in Rome Empire of Christianity as a legal religious community. From the much earlier pre-Christian crypt and the later on Basilica and the Cruciform church up to the most recent examples of the type, the main religious symbols of cross was always predominant. The form of the building, used as a powerful symbol itself, represents the sacred God. Decoration is indicative element of sacredness and different types of art as painting and sculpture are used to demonstrate the presence of spirituality in space. Architectural elements are also mobilized within this purpose to achieve representation of the sacred meaning. Stained glass windows, for instance, used during the middle ages, represent stories and messages of God, readable also by illiterate people. In every sense, the purpose of traditional Christian form is to communicate the religious meaning, even interpreted in different ways during time.

The Church of Light, Tadao Ando, Osaka (Ibaraki, 1989) (sketches)

The “Church of Light” built by Tadao Ando in Osaka represents the importance of the essential, the simplicity of a space without representations, only built to form the sacred atmosphere. The religious symbol of Christianity, the cross, is now getting the meaning of the primary architectural element. Expressed in the means of two perpendicular slots, inscribed on the sanctuary wall, receives its materiality through the structural use of natural daylight, penetrating into the sacred space. The cross of light is the focus point of individual worship, the ultimate symbol of contemplation. Sacred space is here also strongly connected with nature but not in terms of a direct interaction with the surroundings. Architecturalized expressions of nature as the natural daylight are charged with the purpose of the symbolic interaction with the outside world.

Cruciform Basilica

the cross_the source of light

modern example_the circle

the the cross_the source cross of light of light

The Church of Light_ Tadao Ando, Osaka

light penetrating

light constructing

light reflected

Ronchamp Chapel of Notre Dame du Haut, Le Corbusier (France, 1955) In Ronchamp chapel of Notre Dame du Haut, designed by Le Corbusier (France, 1955), is an even earlier example of the new idea of emptiness, reflected both in nonfigurative form, but also in the overall essence of the sacred space and the meaning behind.

modern example_the cross [2] source: http://www.galinsky.com Basilica

Cruciform Basilica

The new idea of “Sacred Emptiness” In the new religious approach, the sacred object is rejected in favor of an integral sacred atmosphere, also embedding the presence of God. Symbols of God receive another meaning and the relationship with nature acquires the most substantial role. The idea of “sacred emptiness” is the new established spatial expression, the sacredness perceived as the essential empty space between the man and God, allowing a new kind of intimate relationship in between). The alteration of the relationship between God and the human being from the worship of icons, within a celebrating ceremony, to the more individual contemplation, is a fundamental interpretation of the concept of emptiness. (Jin Baek, 2009, page 21). Emptiness is above all the clearness in mind, the individual worship in front of God in terms of an in-depth orientation to the intimate human soul and self-awareness. Emptiness in form means the removal of representational attributes from the architectural elements and the demonstration of pure materiality. The new perception of sacredness does not necessarily need tangible symbols of God. All the religious spirituality is now encompassed in the meaning of the architectural quality of space. The light, the main instrument of composing the spiritual atmosphere acquires a structural role in space, attempting for the first time also a real interaction with the surroundings.

modern example_the square

underneath The Ronchamp, Chapel of Notre Dame du Haut, Le Corbusier (France, 1955) (sketches)

Austerity in form is also here the matter of an intentional focus on the spiritual relationship with God and the meaning of individual worship and orientation to the intimate human soul. The thick, curved walls and especially the buttress-shaped south wall contributes to the sculptural essence of space. The exciting daylight penetrating the irregular windows of the wall, as well as the indirect light coming from above (three light towers) are embodied with all the meaning of sacredness and intimate connection with mature. The water is another architecturalized natural element carrying the same sacred meaning. The parabolic hovering roof rejects the principal purpose of a covering surface, to drive out the rainwater. Serving as a cistern, the roof collects the water “as a gift received from God”, leading it followingly to the solid ground, in terms of a spiritual, sacramental path.

modern example_the rectangular

side and above The church building_Historical Development of the type (diagrams) Source: Loes Veldpaus, Wijkkerk op Drift, Technische University of Eidhoven

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“Here we will build a monument dedicated to nature and we will make it our lives’ purpose.” [2] Le Corbusier, Ronchamp, 1955

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the roof

the wall_the source of light

the roof_the symbol of sacredness

the wall_the focus point

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RESEARCH QUESTION

The Church of Light, Tadao Ando, Osaka (Ibaraki, 1989)

Architectural elements composing the path

case studies

the preperation the journey

the destination

origin

destination

the spiritual path the finding of the path

the journey the journey

thethe destination destination

the ofof thethe path thefinding finding path

the preperation the preparation

from the exterior light ascending the journey light starts gradually ascendingto thepreparing preparingdarkness darknessand of the from towards the from the the exterior exteriorlight light gradually gradually ascending totothe the preparing darkness and thejourney journey towards towards the cross cross of of light light starts starts

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The order of the path The labyrinthine passageway leading from the small street to the empty chapel of the Church of Light is a linear path, unfolded up to the symbolically distant destination point. The order of the place The finding of the spiritual path starts along the extended route that slopes up towards the north, to finally turn around at the north east corner of the composition. The triangular zone formed in between the converging walls of the entrance, constitutes the threshold, involving the visitor into the first enclosed spiritual place of preperation. This zone is the highest level in the whole configuration of the church, defining also the starting point of the descending journey. The ramp of the seating benches is directly oriented to the final destination point, the sacred cross of light.

[1]

the the journey_descending journey_descending towards towards the the cross cross of of light light

the towards cross of light the journey_descending journey_descending towards thethe cross of light

preperation preperation

ascending ascending to to follow follow the the path path

ascending tofollow followthe the path ascending to path

linear linear path_a path_a sequence sequence of of levels levels

linear path_a sequence linear path_a sequence of of levels levels

Experiencing the path By sight The powerfull sense of sight stimulated by the use of natural daylight, functions here the strongest instrument for creating all the spiritual sentimentality of the religious space. The structural role of the penetrating light is reflected mainly on the cross, composed by the perpendicular slots on the concrete wall of the sanctuary and the partly transparent western facade. The clearly defined orientation to the focus point of the cross can be reflected in the cadence of light and shadow, from the darkness of the preperation point up to the transcendent lightness of the cross. By movement From the public road to the intimate spiritual point, the path incorporates a sequence of levels, of different qualities of light comprehended mainly through the feeling and experience of the human body. From the highest level of the preperation point, the gradually descending ramp enhances dramatically the meaning of the cross at the end. Reflections of the cross on the smooth concrete walls, multiply its involevement in the symbolic essence of space.

[2]2 Mortuary Temple of Queen Hatshepsut, Deir elBahri, Egypt (ca. 1500 BCE),(photos) Sources: Thomas Barrie, 1996, p. 86 [1] http://www.charlesmiller.co.uk [2]

rythmically descending path rythmically descendingpath path rythmically descending rythmically descending path

horizontality

[2]

horizontality

the thecross crossof light the cross ofoflight light

thethe entrance the entrance entrance the entrance

the cross of light

interruption interruption interruption

the predominant focus point_horizontally the focus point_horizontallity interrupted the predominant predominant focus point_horizontallityinterrupted interrupted the predominant focus point_horizontallity interrupted

group 3, msc 2 spring 2013

The axial path (linear path), accentuated by the cadence of light and shadow is aligned with the walk along the Nile river. A symbolic route from the Nile to the sanctum, from light to darkness is articulated on the central axis of the composition. (Thomas Barrie, 1996, p. 86)

[1]

horizontality horizontality

Based on the book of Thomas Barrie, Spiritual Path, Sacred Place, Myth, Ritual and Meaning in Architecture, Routledge Publications, New York, 2009

速mit, religious heritage the hague

More case studies

Temple of Hathor, Dendara, Egypt, (Ptolemaic era) (photo) Sources: Thomas Barrie, 1996, p. 88 [1] http://www.fotopedia.com [2] An axial path (linear path) forms the route from the inner sanctum to the open courtyard and the way to the Nile river. The retinue involved in the annual Festival of the Reunion indicates the usually religious focus element, the sanctuary, as the starting point of the route. From darkness to light From the sanctuary to the open space (Thomas Barrie, 1996, p. 88)

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RESEARCH QUESTION

case studies

Ronchamp Chapel of Notre Dame du Haut, Le Corbusier (France, 1955)

the journey

the destination

the spiritual path

the finding of the path

the origin

the thejourney journey

thethe finding of of thethe path finding path

the destination destination the

More case studies The order of the path The ascending path, gradually accessing the chapel of Ronchamp, positioned on the top of a hill. The route can be described as a segmented path, along which the monk’s building and the final destination of the chapel are articulated. The overall meaning of the experiencing route incorporates the process of a pilgrimage developed in a constant relationship with the surrounding nature. The order of the place The entry to the path, defined only by paving starts from the lowest part of the hill, where the chapel is only visible. Opposed to the intentional unclear circulation on the hill, the entrance of the chapel is perfectly distinct. Once the visitor experiences the interior space, a strong directionality to the several recesses of the southern wall arises, as the main focus point of the journey. The role of the wall reflects also the underlying constant interaction with the outside world, rejecting the presence of one destination in favor of the predominant sense of place, inscribed by the walls.

[1]

the ascending path

the roof_receiving and carrying [2]

the roof_receiving and carrying the roof receiving and carrying the roof_receiving and carrying

The segmented path on the Acropolis hill is a multidirectional connected series of paths leading gradually from the foothill, through the Propylaina upward to the Parthenon. Each segment of the path offers specific views and orientations towards the city and the surrounding landscape. A sequence of light and shadow forms the route untill the finding of the ultimate sacred destination. (Thomas Barrie, 1996, p. 126)

Experiencing the path By sight The articulation of the path is based on the use of structural daylight, as a sequence of light and shadow, in between the interior and the exterior space. The light is the main connection point with nature, as penetrating the holes of the concrete wall, accentuating even more the sense of an arrival place, at the end of the unfolded journey.

the tower _verticality the tower _verticality the tower_verticality tower _verticality the

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to tothe thepreparing preparingdarkeness darkness

from fromthe theexterior exteriorlight light

and the journey of light

to the preparing darkness

from the exterior light

the path

finding

the path

Daisen-in Temple, Daitoku-ji Zen Buddist Monastery, Kyoto (founded 1509) (photos) Source: Thomas Barrie, 1996, p. 128, 130

the focus point point the the entrance

focus point the entrance the focus the point the entrance

the wall_the destination point

the predominant concrete wall_the destination point the predominant concrete wall_the destination point

Based on the book of Thomas Barrie, Spiritual Path, Sacred Place, Myth, Ritual and Meaning in Architecture, Routledge Publications, New York, 2009

®mit, religious heritage the hague

finding

finding thepath path finding the

By movement The ascending path embodies the participation of the human body in the experience of the spiritual route. The sequence of gradually accessible levels intensifies the power of the destination point, the chapel itself. The symbolic purpose of the building is reflected on the sculptural essence of the composition and especially the role of the parabolic roof, carrying the water from above. Another natural element -along with light- accentuates even more the interaction with the surroundings. and andthe thejourney journeyofoflight light

Acropolis, Athens, Greece (photos) Sources: http://www.artlex.com [1] www.hydriaproject.net [2]

the predominant concrete wall_the destination point group 3, msc 2 spring 2013

The segmented path in the Daisen-n Temple includes a sequence of paths and places. From the finding of the path under the distinct threshold of the entrance, up to the final destination point, the sacred “bojo”, a sequence of gateways and thresholds defining special sacred places, articulates the path. Controles visual contact with the temple along the journey, underlines the experience of the oriented path, anticipating the arrival at the focus point. (Thomas Barrie, 1996, p. 132)

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RESEARCH QUESTION

case studies

More case studies

Ontmoetingskerk, G. Drexhage, The Hague, 1969 destination

the spiritual path

the destination the journey the preperation

the finding of the path origin the spiritual spiritual path the path

The order of the path The spiritual path, gradually accessing the upper level of the main nave is a linear route, starting from the one to the other side of the box. The typology of the selft-centred square of the plan, sets the composition as an overall of equal importance space, inscribed within the four louvered facades. Nevertheless, the division of space in height and the articulation of the seating benches, reflects a gradation of inportance from the ground to the lifted up destination.

the tube_the along the path the linear path _theplace essence of continuity

the linear path_the essence ofofcontinuity the linear path _the essence continuity

[1]

The order of the place The four segments of the path are clearly distinct in space, without needing the use of strong borders. From the threshold of the entrance and the communal transition space of preperation, up to the elevated destination point, the experience is given through a coherent, mild ascending journey.

the tube_the place along the path

the thepreparation preperation

the journey

the destination

By sight The articulation of the path is based on the linear use of structural daylight. The horizontal louvers, representing the materiality of the exterior facade, are on the opposite subordinated by the linear slots of diffused light penetrating the interior space. Passing from the outside to the intimate atmosphere, the linearity of light, incorporates an essence of continuity, placing actually the destination point, beyond the inscribed interior space of the box.

the ascending path_continuity the ascending path_continuity

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followingthe thelinear lineardiffused deffused light the interior totothe theendless endlesslight light of of continuity continuity following light ofof the interior

from the exterior light

following the linear diffused light of the interior

[1]

increasing intensity of space_ascending path path increasing intensity of space_ascending

By movement The ascending path embodies the participation of the human body in the experience of the spiritual route. The sequence of gradually accessible levels intensifies the power of the destination point, representing also the meaning of an unlimited sacredness. In a broader sense, the box seems to represent the one place along an imaginary endless spiritual path, the ascending journey of the human soul. fromthe theexterior exteriorlight light from

Borobudur temple, Java, Indonesia, (photos) Sources: Thomas Barrie, 1996, p. 122 [1] www.maltschul.wordpress.com[2] The circumambulating path in Borobudur represents a pigrimage to the â&#x20AC;&#x153;sacredâ&#x20AC;? mountain. The concentric paths lead gradually from the ouside world to the sanctuary focus point. The circular path is an ascending route, passing through the increasingly smaller terraces of the succesive levels. The spiritual path from light to darkness is here more extended and dramatical than anywhere else. (Thomas Barrie, 1996, p. 122)

Experiencing the path

the founding thepath path the finding ofofthe

[2]

the the tube_the placepath_continuity along the path increasing intensity ofascending space_ascending path

[2] Dome of Rock, Jerusalem (691 CE) (photos) Source: http://forestlakeumc.org [1] http://www.studyblue.com [2]

endless spirituality beyond the limits of the box

to the endless light of continuity

The circumambulating path in the Dome of the Rock in Jerusalem surrounds the sacred centre. The path starts as an axial route from the open courtyard and ascends gradually up to the level of the mosque. Entering into the octagonal space, the path continuous as a circular journey around the focus religious point. The dome is the representative symbol of the sacred circle inscribing the spiritual path.

increasing intensity of space_ascending path

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increasing intensity of space_ascending path

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RESEARCH QUESTION

case studies

More case studies

Maranathakerk, Otto Bartning and Frits Eschauzier, The Hague, 1949

destination

the destination

origin

the preperation

the spiritual path

the finding of the path

the spiritual path the destination

The order of the path The linear spiritual path in Maranathakerk is a clearly defined route starting from the threshold of the main entrance, up to the final destination point of the choir. The second possible axial entrance of the composition, if chosen, offers respectively another powerful axial path along the main axis of symmetry of the building. rythmical repetition of rythmical repetition columnsand andopenings openings rythmical repetition ofofcolumns columns and openings

The order of the place The finding of the path starts from the front courtyard, an open protective space, in between the public and private sense. Followingly, both entries define a distinct inviting threshold and a sequence of transition spaces until the final destination point. The intermediate communal hall prepares the visitor for the upcoming journey. The longitudinal space of the main nave intensifies the orientation to the focus point, the seperate cavity of the choir.

rythmical rythmical repetition repetition of of columns columns and and openings openings

Chapel of Virgin Mary, Folegandros, Greece (photos) Source: www.kallisti.net.gr

finding finding the the path path

the the journey journey

destination destination

finding finding the the path path

the the journey journey

destination destination

finding of the path

preperation preperation preperation

the journey

destination

The linear path of the Chapel of Virgin Mary on the Greek island Folegandros is an extended route leading from the level of the settlement up to the highest point of the lanscape, the top of the hill, where the traditional small chapel is located. The dramatically ascending path reflects the meaning of a pilgrimage, from everyday life up to the final destination place of sacredness.

preperation preperation

sequence sequence of of levels_division levels_division of of segments segments sequence of levels_division of segments

sequence sequence of of levels_division levels_division of of segments segments

the findingof of the the path the finding path

thepreperation preparation the

the journey the journey

the destination the destination

Experiencing the path By sight The articulation of the path is mainly supported a strong cadence of light in space. From the exterior daylight of the courtyard and the darkness of the preperating hall, the illuminated journey of the main nave ends up to the darkest point of the choir, interrupted only by the transcendent light of the one side window.

the the linear linear path_highlighted path_highlighted destination destination point point the linear path_hightlighted destination point the the linear linear path_highlighted path_highlighted destination destination point point

By movement A rythmical repetition of vertical elements (columns) defines the main religious space of the nave intesifying the strong orientation to the focus point. A slight gradation of levels, from the outside to the interior space, and the horizontal source of daylight, giving the essence of a “flying” roof, also participate in the meaning of the one highlighted destination, contributing also to the spiritual atmosphere.

Pastoor van Ars Church, The Hague, The Netherlands, Aldo van Eyck (photos) Source: Thomas Barrie, 1996, p. 99

gradation of openess and enclosure

The axial path in Pastoor van Ars church is a strong directional way. The path, even labirinthine is a linear route passing from several semicircular chapels while ascending up to the main nave and the sanctuary. The several chapels cosnstitute more small destinations, equally important with the final one. The cadence of light intensifies the sequence of places along the path and forms mainly a passage from the dark foyer to the light “coming from above” through the skylights of the main nave. From darness to light (Thomas Barrie, 1996, p. 98)

entrance thethe entrance theexterior exteriorlight light the

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preparing darkness the the lightness the journey the the transcendent transcendent light light of of the the destination destination thethe preparing darkness lightness ofof the journey

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RESEARCH QUESTION

case studies

More case studies

Abdijskerk, The Hague, 1250

[1] destination

origin the destination

the journey

the spiritual path

the finding of the path

the preparation

The order of the path The linear path of the Abdijskerk starts from the small threshold articulated on the north side of the of the main nave. The orientation to the one destination point, the pulpit at the end of the longitudinal space is evident in the interior space.

the height_verticality

the graves

The order of the place The finding of the path starts from the front courtyard on the north side of the building. After passing the entrance, the visitor participates to the spiritual journey, without the involvement of a preperation place.

thetower

the structural light

the elevated destination

the entrance

rythmical repetition of the vertical elements

[2] The Treasury of Atreus, Mycenae, Greece (ca. 1400 BCE), (photos) Sources: www.hellinon.net [1] www.people.ucls.uchicago.edu [2]

the spiritual path

finding the path

graves

the tower_verticality

the structural light

the journey to the destination

the linear path_highlighted destination point

The axial path (linear path), is a straight linear route formed by cyclopean routes on eiter side of the narrow road. The clear, definite shape of the path intensifies the final destination of sacredness and enclosure, the tomb. The spiritual journey from light to darkness is archetypically the appropriate route leading from life to death.

RESEARCH QUESTION conclusions

the finding of the path the preparation the journey

the destination

Experiencing the path By sight The axial path of the interior religious space is highlighted by the rythmical repetition of windows placed on both longitudinal walls of the composition. The orientation of the seating benches towards the focus point and the penetrating light, create a serene and peaceful atmosphere.

By movement The sequence of scale in space, from the prominant tower to the shorter but relatively high interior part, compared to the limited width of the nave, intensifies the essence of height even more, contributing to the spiritual atmosphere.

from the exterior light

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the entrance

As the Danish architect Steen Eiler Rasmusen states in his book Experiencing Architecture (1964, page 33) "It is not enough to see architecture, you must experience it", the content of every architectural form and structure can only be conceived in total as a synthesis of intangible experiences. The architectural elements composing the tangible materiality are charged with the purpose of transporting the intangible meaning of space, stimulating the overall experience. In religious architecture, the strong connection between the structure and the sacred meaning behind the function is apparently evident in space. From the ancient religious expressions, up to more recent examples and the flourishing post-war period, all over throughout the history of human beings, the religious meaning can be encapsulated in the archetypal principle of the spiritual path. Indispensible from time and religious theories, though receiving several forms, the spiritual space is articulated on the basis of the same memories, able to transport the overall spirituality of the atmosphere. The path from darkness to light, from the ambiguous exterior openness to the intimate enclosure and orientation to the focus point, embeds the same unconscious process of contemplation and self-awareness, a spiritual journey resistant on time and indispensible. Composed as an instrumental sequence of path and places, the typology of the path can be therefore existent behind the structure, even in case that the religious function is not present anymore. Identifying the same underlying memories of space behind every example of sacred architecture and capturing the intangible values of it, an inextricably linked with the tangible identity of the composition, but also independent from the current function, content can be the basis of every transformation, in terms of a substancial architectural continuity. Enbedded in the connection among past, present and future, is never a stable process but always incorporates the meaning of change. Despite how difficult it is to achieve this connection, even if there are different ways to approach, continuity can only happen when the new is derived from the roots of the existing. Understanding the tangible or intangible values of the church building is the first step, but also considering them as its continuous history is important. Whether contrast or repetition is used to express the new life next to the existing values, the point of the effort is always nothing less than to find the new balance between them. The difficult transition from the imposing religious function to the future use of the building can therefore incorporate the essence of continuity, only if tracing the new life on the remnants of the religious space, one of the strongest, ever evident architectural expressions.

to the interior trancendent`llight

速mit, religious heritage the hague

group 3, msc 2 spring 2013

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RESEARCH QUESTION

QUESTIONNAIRE

the Cultural Heritage Department in The Netherlands

the community of the Ontmoetingskerk Ontmoetingskerk, G. Drexhage, The Hague, 1969

The Cultural Heritage Department of The Netherlands (De Rijksdienst voor het Cultureel Erfgoed) has originally the task to protect Dutch monuments. Investigating their clearly defined approach on the most significant values of the existing church buildings, interesting conclusions on the prevailing tendency of reuse and conservation of them can derive. General approach

Male

The overall approach of the Heritage in reuse of existing monuments struggles for the preservation of the original function as indispensible part of their monumentality. Especially in church buildings, where the religious function expresses and embodies the essential meaning of the composition, this task becomes even more urgent. According to their strategy, investigating new alternative functions is the last possible option in the redevelopment process of a church building. (Rijksdienst voor het Cultureel Erfgoed, 2012, page 7)

Female Male/Female diagram, Questionnaire, Ontmoetingskerk The Hague, 2013

The Cultural Heritage Department strives for the preservation of the historical and architectural values of the church buildings during the redevelopment process. Every redesign proposal should show respect to all the tangible and intangible religious values that are incorporated in the building. Due to the uniqueness of each church building it is impossible to develop a strict approach that would be applied in every case. However, some general starting points have been introduced as a common advice which can be adaptable to each specific church building. (Rijksdienst voor het Cultureel Erfgoed, 2012, page 36)

From the 70 members of the church community 14 people have been queried. Most of the interviewed people were older that 60, opposingly to the average age of the community. Among them, 13 are Protestants, and only one is not attached to the a certain religion theory (visiting the church as a member of the choir).

20-40

41-60

Protestant

Older than 60

None

Age diagram Questionnaire, Ontmoetingskerk The Hague, 2013

Evaluation of church buildings A successful design proposal, according to the Heritage for re-using a church building should be based on a thorough analysis and comprehension of the existing monumental and characteristic values of it. It is significant that the history of the building is visible, as churches are not static objects that remained unaffected by the passage of time. All the modifications or additions of the past have to be taken into consideration as possible, equally valuable elements of the building. (Rijksdienst voor het Cultureel Erfgoed, 2012, page 37)

Religion diagram, Questionnaire Ontmoetingskerk The Hague, 2013

Last but no least, the questionnaire could not miss from our overall research analysis on the three churches in The Hague, as an irreplaceable tool for approaching and comprehending the needs of the religious society embracing a church, as well as their personal position on a possible scenario of vacancy or reuse. Although distributed within the religious community of the Ontmoetingskerk, the questionnaire could reciprocate our interest in every church, and therefore offer an insight for the overall research as a whole. Visiting the church during a regular service day, and a fruitful interaction with different members of the society, questions about sevaral possibilities of reuse and the feelings reflected on a possible vacancy of the building emerged. The prevailing tendency among the querried people shows the consideration of the building mainly as a religious place and therefore being visited only on Sundays. Functions related with the spiritual content of the church, as meditation events and communal meetings, are also involved in the character of the building. One of the most significant parts of the questionnaire, the preblematic of a new function and the identity of it, people expressed their clear preference for preserving the main religious character of the building, by keeping the sacred function or at least another relative one. The possible option of a completely contrasting new programme was mainly rejected, even in favor of a possible demolishing of the building. 15

3 1

1 Relationship to the church

Church buildings could be though as the category of buildings where the former function, due to its unique relation with religion and spirituality, should be taken in consideration more than in any other type of building redevelopment. It is important to take care of the unique function of the church as being religious building. Both interiors as exteriors are important and are typical in terms of space, furniture and symbols. The designer should understand these characteristic elements before choosing any possible transformation. (Rijksdienst voor het Cultureel Erfgoed, 2012, page 38)

Choir members, Ontmoetingskerk The Hague, Ontmoetingskerkkoor, 2011, (photo). Source:www.ontmoetingskerkkoor.nl, vereniging Ontmoetingskerkkoor.

Function of a church building

Aspect they would miss after closing

New function

The religious function

Member of the community Non-religious activities

Place for the regular church service

The non-religious function

Religious, other church

Place for meditation and reflection

The architectural value

Cultural function

Place for gathering for several purposes

A characteristic element for the neighbourhood

Demolishing

Data_Questionnaire, Ontmoetingskerk Den Haag, 2013

The policy of the Heritage is based on the principal consideration of the building as an integral whole. Not only the form but also the typology of the building is considered as substancial element of the composition. (Rijksdienst voor het Cultureel Erfgoed, 2012 page 38). Intangible qualities of space like the size, the scale, the natural daylight penetrating the interior space, are equally contributing to the evaluation process. (Rijksdienst voor het Cultureel Erfgoed, 2012, page 39) The department emphasizes the importance of the religious meaning of the building as a significant aspect that should be taken into consideration and be preserved in any redevelopment attempt. Even though it states clearly the organic connection between the religious function and the typology and architectural expression of church buildings, however it lacks in identifying the tangible and mainly the intangible elements that are embodied in them. According to their approach, they persist on preserving the religious function and consider the concept of reuse as the last possible option.

Interior perspective, The Hague, Ontmoetingskerk, 1969, G. Drexhage. (photo). Archive NAI, DSVB R888, 2013.

Derived from the aforementioned research the ‘religious meaning’ in religious space is a combination and sequence of tangible and intangible elements that dominates and defines it. The Department neglects the fact that these elements are simply architectural values which if not distorted by a new architectural design there can be always present, no matter what the new function can be. By preserving those qualities in space, the experience, perception and spiritual essence of it can be protected and maintained as the most significant part of the religious memory, the ultimate sacred value.

The clearly defined interest of people for the future redevelopment and maintenance of their church building could be apparently related with their concerns as members of the religious community, on the role of the Ontmoetingskerk as a conner stone of their religious expression. The role of the church, as an assembly, communal space, incorporating also stability and coherence within the people of the neighborhood is now more than ever reflected. It is the content of the structure, the intangible meaning of the composition, than the building itself, that embeds the values of the spiritual expression and demonstrates the powerful influence of the place. Behind the general response of people, regarding the flexibility of the buidling in accomodating a new function, although recognizing the financial issues of maintenance, demolishion arises as a preferable solution, instead of a non religious purpose. Their striking reluctancy on a new function contradicts to the intangible role of the church building, witnessing also a clear rejection of the tangible values of the composition. For the members of the Ontmoetingskerk’s community the church as a religious enclave is obviously more important than the building itself. The possible vacancy of the large composition is not considered as a negative option, regarding the religious purpose the only acceptable function, inextricably linked with the collective memories of space.

Interior perspective, The Hague, Ontmoetingskerk, 1969, G. Drexhage. (photo). Archive NAI, DSVB R888, 2013.

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®mit, religious heritage the hague

group 3, msc 2 spring 2013

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BIBLIOGRAPHY

consulted literature 1. De Beyer, Marc and Takke, Jacoline, 2008. Guidelines on Ways of Dealing with Religious Objects. Utrecht, The Netherlands: Museum Catharijneconvent 2. Watkin, William Ward, 1951. Planning and Building of Modern church. New York, New York: Dodge Publications 3. Baek, Jin, 2009. Nothingness: Tadao Andoâ&#x20AC;&#x2122;s Christian Sacred Space. New York: Routledge Publications 4. Barrie Thomas, 1996. Spiritual Path, Sacred Place, Myth, Ritual and Meaning in Architecture. Boston: Shanbhala Publications 5. Francis D. K., Ching, 1943. Space, Form and Order, New Jersey: John Willey and sons Publications 6. Maguire, Robert and Murray, Keith, 1965. Modern churches, New York: Studio Vista Limited 7. S. Lindstrom, Randal, 1988. Creativity and Contradiction, Italy: Amilcare Pizzi Arti Gra fiche 8. The Wexner Centre for the Arts, 2007. Architecture Interruptus, USA: D.A.P. Distributed Art Publishers, Inc. 9. Veldpaus, Loes. Sense and Sensitivity, Converted church Buildings: Heritage or Heresy 10. Kiley, John Christopher, 1994. The Adaptive Reuse of Churches, Massachusetts Uni versity of Technology, Master Thesis 11. Rijksdienst voor het Cultureel erfgoed, 2012. Een toekomst voor kerken: Handreiking voor het aanpassen van kerkgebouwen in religieus gebruik, Amersfoort; Lecturis Eindhoven 12. Hammer, Willemineke, 1995. De architect G. Drexhage, scriptie Bouwkunde TUDelft. Delft 13. Veldpaus, Loes, 2010. Wijkkerk op drift: een studie naar de ruimtelijke en sociale rol van het kerkgebouw in de naoorlogse wijk, Eindhoven, TU/e 14. Goossensen, Jan. Geschiedenis van de Maranathakerk in Den Haag (1949), Personal report. Websites 1. Kerken in Den Haag, Haagse kerken per categorie. Available at <www.kerkenindenhaag.nl>, [Accessed on February/March 2013] 2. Reliwiki. Available at <www.reliwiki.nl>, [Accessed on February/March 2013] 3. Protestantse gemeente Loosduinen-Centrum; De Abdijkerk en Ontmoetingskerk. Available at <www.loosduinen-centrum.nl>, [Accessed on February/March 2013] 4. Maranathakerk Den Haag. Available at <www.maranathakerkdenhaag.nl>, [Accessed on February/March 2013] 5. Den Haag in cijfers. Available at <www.buurtmonitor.denhaag.nl>, [Accessed on February/March 2013]

Excluding those of which the author/source is mentioned, all the illustrations and photos included, belong to the personal archive of the authors, as a result of thorough individual research.

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ÂŽmit, religious heritage the hague

group 3, msc 2 spring 2013

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R Colophon Religious Heritage The Hague Faculty of Architecture University of Technology Delft

速MIT

Research & Architectural design AR0681 Msc 2, spring semester 25th足 of March, 2013 Group members: Maria Kelepera Katerina Krommyda Abel Jan Reitsema Tutors: Alexander de Ridder Sara Stroux