Issues & Positions

When one thinks of sacred space, their mind typically wanders to the Gothic cathedrals of old. And rightfully so, ecclesiastical

architecture has been erected to inspire and influence culture as a whole, in addition to the hearts of individual visitors. “… the Christian church, with its wealth and influence as the main

engine of Western cultural development, was for centuries one of the prime sources of architectural commissions and opportunities to experiment.” 1 It is often wondered what makes these magnificent icons so special, or so sacred. There are certain qualities within these buildings that cause visitors to

experience something transcendent of the built environment. So, what exactly are these qualities and design techniques that affect people in this way? Additionally, what is sacred space and how can it be achieved?

As one begins to look at examples of ecclesiastical architecture, there are a few design methods or qualities of sacred architecture that are interwoven into nearly every design. These qualities are; light, scale, materiality and procession. Light is crucial to every architecture design, so crucial that it might be said it is not unique to sacred design.

1 Feireiss, Lukas, and Robert Klanten. Closer to God: Religious Architecture and Sacred Spaces. Berlin: Gestalten, 2010.

However, it is the belief and symbolic meaning behind the

integration of light that makes it such a special aspect of sacred design. The connection to light has often been viewed as enlightenment or illumination. A more coherent understanding of this relationship may have come from St. Augustine, “For St. Augustine, light was a metaphor for divine illumination and intellectual perception.” 2 As architects and designers were given more freedom within the field, they implemented light into cathedrals that produced a symbolic connection. An experiential connection with God. For the Christian, this divine illumination and relationship to light is perhaps best described

in the Gospel of John concerning Jesus, “In him was life, and that life was the light of all mankind. The light shines in the darkness, and the darkness has not overcome it.” 3

This may perhaps be the most crucial standard to which we discern whether sacred architecture is successful or not. Does the architectural language and concept point towards divine illumination? Do the spaces within the building provide an opportunity to reflect on one’s spiritual journey and ultimately connect with God? These are some of the questions that must be asked when sacred space is being designed. Divine illumination, or God opening our eyes to His Gospel message, is the spiritual need that our sacred spaces should communicate, and with the help of quality design techniques—this symbolic connection is made possible.

It should be noted that generally, great works of sacred

architecture are of immense scale. Examples such as the Cathédrale Notre-Dame de Paris and the Duomo di Milano display such magnitude of verticality. This of course is an

intentional design move as there seems to be a correlation between scale and wonderment. “The scale of the building

elements in relation to the human body differentiates the building from the everyday.” 4 The differentiation between the everyday and the spiritual experiences can be stated as

the sacred vs the profane. This is an important distinction when looking to apply these design methods and qualities to a contemporary sacred space. With that being said, the illusion or feeling of scale can be executed without the necessity for a three-hundred-foot-tall building. The importance lies in the experience of a space and if it is distinguished from the profane.

While material technology has continued to evolve ever since the creation of man, the implementation of such materials remains ever so important. Take for instance the mud huts traditionally built in African settlements and compare that to the Romans’ implementation of the brick. Both cases use similar organic matter, however with the modernization of the clay brick, this gave structures a different textural feeling and more construction freedom due to its modularity. Ultimately, regardless of characteristic differences, the materials chosen

2 Roberts, Nicholas W., and Stephen A. Kliment. Building Type Basics for Places of Worship. New York: John Wiley & Sons, 2004. 3 NIV Bible, John 1:4-5 4 Roberts, Nicholas W., and Stephen A. Kliment. Building Type Basics for Places of Worship. New York: John Wiley & Sons, 2004.

for a design should convey the overall concept and story of the design. The modernization of materials makes this more possible with contemporary design.

Procession has a perplexing history directly related to liturgical function, and is often exclusively associated to be Roman

Catholic. However, procession can be thought of as the space that, “...provides for movement from one liturgical space to another.” 5 So while it connects a user from one space or program to another and brings them from the profane and into the sacred, processional space synonymously is the space

in which, “...the congregation disperses to perform its work in the world.” 6

Therefore, above all else it is the experiential qualities of the processional space that make it a special part of the design. Procession could easily be disregarded, however with intentional connection to the architectural language, it allows for a contemplative rhythm. This is the foundation for an atmosphere and experiential quality that prepares a person as they journey from the profane to the sacred.

5 White, James F. Protestant Worship and Church Architecture: Theological and Historical Considerations. Eugene, OR: Wipf and Stock Pub., 1964. 6 White, James F. Protestant Worship and Church Architecture: Theological and Historical Considerations. Eugene, OR: Wipf and Stock Pub., 1964.

In recognizing the success and grandeur of the architecture of the Romanesque, Gothic, and Renaissance eras, the rather unsuccessful movement of sacred architecture in the last century becomes even more evident. It is apparent that most architects are either confused or uninspired as to how to approach sacred spaces now and transition into the age of contemporary ecclesiastical architecture. Lack of inspiration is not what current spaces of worship where people connect to God need, but instead an understanding of the historically rich past and innovation for the future. As stated eloquently by Lukas Feireiss,

Sacred architecture can be said to have freed itself

from the shackles of historicism to step confidently into the twenty-first century with new spatial ideas.

Of course traditional concepts and patterns are still very much alive, but they exist side by side and sometimes hand in glove with modern principles. And that, ultimately, is the strength of contemporary sacred architecture: the ability to allow the cracks and

ruptures, contrasts and contradictions between the past and present to co-exist. Offering us a level and a depth of contemplation that we cannot live without,

and that we need to experience religion, the sacred building is still the image, the manifestation of a higher level of order and meaning. 7

However, this is not to say that there haven’t been any excellent examples of sacred design in recent years. Architects like Steven Holl, Tadao Ando, and Peter Zumthor have used their architectural expertise and creative abilities to design incredibly inspiring churches and places of faith. Some of their works will be remembered for centuries to come, including St. Ignatius Chapel, the Church of Light, and the Bruder Klaus Field Chapel. These projects wonderfully integrate the methods of light, procession, materiality and verticality in a way that provides space for users to gather and connect with God in a delightful way.

These design qualities along with creative solutions can lead

to the achievement of designing sacred spaces. However, is it any one of these qualities individually that make a space sacred? No, for a building is not sacred in it of itself but a

house for sacred activities. In Christian faith, the church is built of its people and the physical building is an expression of their sacred faith. 8 With these realities in mind, one may conclude that designing sacred spaces is in vain. However, designing in the manner of including such design techniques, like light,

procession, verticality, and materiality can encourage these experiences and connection with God even for those that aren’t associated with the Church. The design exploration and solution to follow aims to incorporate these timeless qualities and provide spaces for religious people and ‘outsiders’ alike to experience true illumination and congregate together.

7 Feireiss, Lukas, and Robert Klanten. Closer to God: Religious Architecture and Sacred Spaces. Berlin: Gestalten, 2010. 8 Falconer, Robert. “Blessed Are the Consumerists: TheIdeology of Contemporary Mega Church Architecture.” Conspectus (The Journal of the South African Theological Seminary) 24 (September 2017): 65–103.