New Valer Church Proposal

In the competition for the church of Våler, Krill Architecture focused on a concept of an open ring in the woods. Tapping on a source of collective creativity in modern architecture, their design offers the chance to bring the development of church architecture to a new level. A building combining monumentality to accessibility, openness to spirituality, is awesome, while being friendly. In short: a church fitting in this time. More images and architects’ description after the break.

Courtesy of Krill Architecture

The church building is designed for two important, but seemingly incompatable demands: the open character of the gathering space (Domus Ecclesiae), involving the church in the community, and the closed character of the spiritual, secluded space (Domus Dei), promising peace of mind. It is for that reason that the church will be placed as an open ring in a newly designed park. The ring, enclosing a patio, will be lifted on one side, giving people the opportunity to come in, without crossing a threshold. One is just there.

Courtesy of Krill Architecture

Within the surroundings of the ring several spaces are collected under a partly open roof. Outside, reachable through the ring shaped passageway wordly functions are positioned, such as the toilets, storage and technical spaces, but also the rooms for pastor and eldermen. That way their offices are also reachable from outside. The ruins of the old church will be cladded with granite and solar collectors. The old church warms the new that way.

Architecture: Krill Architecture
Location: Valer, Norway
Team: Harmen van de Wal, with Raimonda Cibaite, Jiri Selek, Christine Sundberg
Client: Valer church parish, competition
Program: Church
Date: November 2011

Source: archdaily

Bảo tàng Vatican – Niềm tự hào của thành Rome

Toạ lạc tại Viale Vaticano – Rome, bảo tàng Vatican là một trong những bảo tàng lớn nhất trên thế giới. Công trình kiến trúc vĩ đại này là tài sản quý giá của thủ đô Roma và tòa thánh Vatican. Nơi đây trưng bày nhiều tác phẩm nghệ thuật quý giá từ các bộ sưu tập lớn được Giáo hội Công giáo La Mã tạo dựng trong suốt nhiều thế kỷ.

Khuôn viên bảo tàng Vatican

Quả cầu khổng lồ trong khuôn viên bảo tàng

Toàn bộ khu Bảo tàng có 12 nhà trưng bày và 5 dãy hành lang lưu giữ và trưng bày các kiệt tác của 2 danh họa Raphael, Michelangelo và bộ sưu tập các nền văn minh La Mã, Hy Lạp, Ai Cập.

Mái vòm nhìn từ xa

Bên ngoài bảo tàng

Trong khu vực bảo tàng, nổi tiếng nhất là công trình nguyện đường Sixtina được xây dười thời Đức Giáo Hòang Sixtus IV Della Rovere, cuối thế kỷ 15. Ðây cũng là nơi các Hồng Y họp bầu Giáo Hoàng mới và là địa điểm diễn ra những cuộc họp thượng đỉnh giữa Ðức Giáo Hoàng với các vị nguyên thủ quốc gia. Nhưng trên hết là nơi lưu giữ hai bức hoạ “Sáng thế kỷ” và “Sự phán xét cuối cùng” của Michelangelo được vẽ trên trần và trên tường. Từ khi ra đời đến nay trải qua bốn trăm năm hai bức họa vẫn khiến cho cả thế giới phải kinh ngạc và ngưỡng mộ. Michelangelo đã để ra đúng 4 năm (1508 – 1512) để họa những cảnh trong sách “Sáng thế kỷ” trên trần nguyện đường Sixtina và phải nằm trên giàn gỗ ngước mặt lên trần để vẽ.

Bên trong bảo tàng



Khu trưng bày các tác phẩm điêu khắc

Một tác phẩm nghệ thuật được vẽ trên tường

Kiệt tác “Ngày phán xét cuối cùng của Chúa” được sáng tạo bởi bàn tay tài hoa của Michelangelo.

Ngoài những kiệt tác nghệ thuật hội họa, điêu khắc quý giá cách đây hàng trăm năm, bảo tàng Vatincan còn thu hút du khách bởi cầu thang hình xoắn ốc và những mái vòm cong kéo dài bất tận được trang trí bởi hàng trăm bức họa cầu kỳ.

Trần nhà cũng được tô điểm bởi hàng trăm bức họa.

Cầu thang hình xoắn ốc

Hàng năm, bảo tàng Vatican thu hút hàng triệu lượt du khách đến thăm, chiêm ngưỡng những kiệt tác kiến trúc, điêu khắc, hội họa đã tồn tại nguyên vẹn suốt hàng thế kỷ qua.

Toàn cảnh khu Thánh địa Vatican nhìn từ trên cao

Gia Huy (TP Hải Phòng)

Nguồn: dothi.net

Nhà thờ Ruzica – Một nhà thờ nhỏ được trang trí bằng vũ khí

Nằm trên pháo đài Kalemegdan, Belgrade, Serbia. Ruzica là một nhà thờ nhỏ được trang trí bằng vũ khí. Tại đây đèn được làm bằng bỏ đạn. Nhà thờ được treo kiếm, giáo mác và các bộ phận của thần công.

Nhà thờ Ruzica nhìn từ xa

Chỗ này đã từng được dùng làm kho chứa thuốc súng trước khi người ta xây dựng lại nó vào năm 1920. Những cây đèn làm bằng vỏ đạn chính là tác phẩm của những người lính khi đóng quân tại đây.

Thông tin địa danh:
Địa chỉ: Belgrade, Serbia

Nguồn: nto.com.vn

The Cathedral of St. Mary of the Assumption

With the fascinating fusion of traditional Catholic faith and modern technology, the Cathedral of St. Mary of the Assumption has become a distinct landmark in the cityscape of San Francisco. Designed by architects Pietro Belluschi and Pier Luigi Nervi using what was considered the most top of the line engineering, the form of the chapel attracts visitors from all parts of the world and religious spectrum.
More history on the Cathedral of St. Mary of the Assumption after the break.
 
Taking inspiration from the cross, the architecture of the St. Mary’s Cathedral emphasizes both the vertical and the horizontal. As the eyes are drawn upward with the sweeping of the cupola, hearts are meant to uplift towards the heavens and God.

The artistic nature of the St. Mary’s Cathedral in San Francisco evokes a union between heaven and earth through the balanced simplicity that becomes possible through modern engineering. The hyperbolic paraboloid creates a graceful flow upwards until it reaches 190 feet where the four corners meet in a cross. The cathedral measures 255 square feet and is crowned with a 55 foot tall golden cross at its apex.

Pylons support the 19-story cupola at each corner of the floor plan, each constructed to withstand ten million pounds of pressure. With a circumference of 24 feet at their narrowest points, the pylons are embedded 90 feet down into the bedrock. A surprising 1680 pre-cast triangular coffers comprose the inner area of the cupola, featuring 128 different triangular sizes. These transfer all the weight of the structure down to the ground, while allowing large windows to frame views of the city of Saint Francis of Assisi. To call on memories of historic mission architecture, red brick is used on the floor in sweeping patterns.

Drawing on more traditional roots of Catholic cathedrals, an important portion of the design and experience of St. Mary’s is the stained glass that travels up all four sides of the building. At the top plane of the structure, the four lines of glass change direction, running horizontal and creating a cross with the mosaic glass patterns.

The colorful light that floods through the windows highlights views of the surrounding San Francisco city, which is meant to remind church attendees of their commitment to the work of the Kingdom of God on earth. More artwork in the cathedral hangs above the altar; a kinetic sculpture by Richard Lippold is suspended fifteen stories off the ground by gold wires.

Groundbreaking occurred in August of 1965, and two years later Apostolic Delegate Luigi Raimondi blessed the cornerstone. Construction was completed in 1970.
Architects: Pietro Belluschi and Pier Luigi Nervi
Location: San Francisco, California, United States
Project Year: 1971
References: St Mary’s Cathedral SF

Photographs: Liao Yusheng

Source: archdaily.com

Vancouver Chinese Evangelical Church

Kiến trúc: Acton Ostry Architects Inc
Vị trí: Vancouver, British Columbia, Canada
Diện tích: 32.000 feet vuông
Hoàn thành: 2008
Hình ảnh: Architects Acton Ostry


Architects Acton Ostry

Giáo Hội Tin LànhVancouver Trung Quốc lập ra một cộng đoàn các tín hữu từ khắp nơi trên khu vực Greater Vancouver. Nhà thờ lớn hơn so với một nơi thờ phượng cho người dân, và cũng là một ngôi nhà cho cộng đồng.

Architects Acton Ostry

Tọa lạc trên một góc trong một khu phố đô thị đông đúc, Nhà thờ  phục vụ như là một nơi mời chào trong một khu vực không phân biệt, một gia đình. Quá trình chuyển đổi từ một bối cảnh bên ngoài của nội bộ của hiệp thông và chiêm niệm là một nguyên lý hướng dẫn cho việc thiết kế. Bốn, nề củng cố các yếu tố xác định các vị trí và gắn kết không gian của tòa nhà xung quanh tại một sân trung tâm yên tĩnh. Nơi đây là một khu suy tư và hoạt động xã hội.

Architects Acton Ostry

Khu bảo tồn là trung tâm tinh thần của các nhà tôn giáo và cộng đồng. Nhà rưa tội lân cậnlà một đôi chiều cao tăng vọt không gian đó nói rõ mục đích và chức năng tâm linh độc đáo của nó. Không gian phụ trợ, linh hoạt và phòng đa năng cho hoạt động giáo dục và phi tôn giáo được tổ chức xung quanh sự chuyển động của ánh nắng mặt trời. Lớp học trường Chúa nhật được định hướng để nhận được các tia sáng nhẹ nhàng, trong khi mặt tiền phía Tây cao bảo vệ sân từ ánh sáng buổi chiều khắc nghiệt để đảm bảo không gian ngoài trời vẫn còn là một phòng riêng ở tất mọi thời gian. Không gian hoạt động của giới trẻ, chẳng hạn như phòng “Awana” đa mục đích được nằm liền kề với nơi tôn nghiêm. Bố trí thêm kinh nghiệm cần thiết, cũng như cung cấp một cảm giác tách rời thế tục.

Nguyễn Thế Anh

Lược dịch từ: archdaily.com

St. Elizabeth Ann Seton Catholic Church

Architect: Constantine George Pappas AIA Architecture/Planning
Location: Troy, Michigan, United States
General Contractor: The Dailey Co.
Project Year: 2008
Photography: Constantine George Pappas AIA Architecture/Planning

© Constantine George Pappas AIA Architecture/Planning

Religious life in the Catholic Church has changed. Creating a new sense of “community” is now the primary goal of new Catholic facilities. To meet the growing community needs of this parish, the congregation decided to expand and renovate its existing Church, as well as creating five new components to the complex; a Community Gathering Space, a Daily Mass Chapel, a Parish Activities Center, an Education Religious Center and new Administrative Office Center.

© Constantine George Pappas AIA Architecture/Planning

The design team created a concept of a “ religious campus” where five individual buildings are designed to house different functions, all are connected by a central “community Gathering Space ”, surrounded by landscape courtyards. To give a sense of being part of the outdoors, materials are brought from the outside in. They include a glue lamination wood trellis roof, brick masonry and structural steel.

© Constantine George Pappas AIA Architecture/Planning

The focal point of the complex is the Daily Mass Chapel. The Chapel contains a symbolic stained glass artwork taken from the original Church. The expanded sanctuary is designed in a semi-circular plan, using the architecture to allow the community to gather around the Table. The new interior of the sanctuary is detailed with wood panels designed to add warmth to the space while reflecting and refracting sound in an acoustically challenging space.

Puckapunyal Military Area Memorial Chapel

© John Gollings

Architects: BVN Architecture Location: Puckapunyal, Australia Project Year: 2011 Photographs: John Gollings

This chapel reinterprets the place of worship, reflecting the traditional sacred spaces while meeting a challenging brief – to accommodate multiple religious faiths in a sympathetic, contemporary environment. The composition of each space is carefully considered, including its use, materiality, tactility, light and experiential quality. Three internal courtyards are integral to the interior architecture of the building, providing contemplative or active spaces for worshippers and the community. The chosen materials – zinc, stone and timber – are appropriate to a public building and have life cycle benefits. The project’s ESD principles include a 20 percent improvement on the energy targets outlined in the building code of Australia 2007 for non-office buildings, equivalent to a 4.5 star ABGR rating; a 30 percent reduction in water use; and 70 percent of the project’s construction and demolition waste diverted from landfill. Mechanical, electrical and hydraulic use are electronically metered and linked to a building management system, while rainwater is collected for toilet flushing. The use of high-performance glazing and lighting control systems reduces energy use.

Sustainability Advancement

This project demonstrates a coherent and exemplary approach to achieving multiple sustainability outcomes. In particular, the integrated approach clearly addressed all five award criteria. From considered and informed materials through to low-impact products and efficient services, the project highlights how sustainability can be expressed without an explicit “eco” aesthetic. The project’s essential purpose and function also contribute to a deeper notion of social sustainability that is mindful of diverse cultures and beliefs.Sustainability Advancement

Public Design

Achieving an interior of this type in a military area sets a new precedent for public design. The chapel sits humbly within its site. The courtyards are exquisitely integrated, providing tranquil spaces from which to view the surrounding landscape. Although the spaces are interconnected, the three- dimensional form provides intimate scale and places for private contemplation. It displays a sensitivity to nature – both human and environmental – that is appropriate for a multi-denominational chapel. References to ANZAC history are portrayed through subtle manipulation of material and form.

Plan

Source: archdaily

Saint Bartholomew’s Chapel / Kevin deFreitas Architects

Source: archdaily.com

© Harrison Photographic

Architects: Kevin deFreitas Architects
Location: 2 Mazzetti Lane, Valley Center, California, USA
Project Team: Kevin deFreitas & Manish Desai
Structural Engineer: Envision Engineering
Landscape Architect: LandLAB Inc.
Mechanical Engineer: Stueven Engineering
Plumbing & Electrical Engineer: BTA Engineers
Contractor: Lusardi Construction Company
Building Area: 6,112 sf + courtyard
Construction Cost: $3.1 million
Completion Date: February 2010
Photography: Harrison Photographic

Context + History
Located in the picturesque back country of northern San Diego County, Saint Bartholomew’s Chapel sits at the base of Mt. Palomar alongside the San Luis Rey River. Originally constructed to serve the Rincon Band of Mission Indians, this satellite chapel is 22 miles East of the Mission San Luis Rey-one of the original 21 California missions founded in 1798 by Padre Junipero Serra.

© Harrison PhotographicThe very small and intimate historic chapel was destroyed by wild fires that ravaged the reservation in late 2007. Only the original adobe bell tower survived, which became the anchor element in the redesign planning. The needs of the current congregation and community had changed quite a bit in the past 100 years. Though the fire destroyed a building that hosted many, many important events and celebrations, it also presented a “blank slate” opportunity to update the facility, primarily by doubling the seating capacity. A stand alone multipurpose fellowship hall was also added which created a third space, an outdoor contemplation courtyard, in between the two structures.

© Harrison PhotographicDesign Objectives
The new design was conceived to reverently knit together “past” and comfortable traditions, while acknowledging and offering something relevant to current and future generations. Thus, emulating or recreating the past literally was not a project goal. Drawing from a limitless well of Native American and Catholic symbols and metaphors, design elements in plan, section, and elevation were conceived to reference and infuse meaning into the chapel, such as the; rammed earth walls, radial walls, butterfly roof, and extensive use of locally sourced materials.

© Harrison PhotographicSustainabilty + LEED
One of the first questions the design team asked the client was if they wanted to incorporate “green or sustainable” materials, technology, and strategies into the redesign. George Arviso, head of the Church Committee, got a wry smile on his face, amused by the naiveté of my inquiry, responded “we have been living on this land in a sustainable way for over a thousand years.” Therefore, the project was to specifically live a bit lighter on the land, designed to consume significantly less energy and water than comparably sized structures. This was achieved using a combination of high tech products as well as many low tech passive features; the flush mounted thin film PV systems invisibly incorporated into the metal standing seam roof generate a significant portion of the chapel’s needs. Sunday morning services are almost 100% day lit via lengthy clerestory windows and large skylights, protected by oversized roof overhangs. A computer controlled lighting control panel further manages energy savings. Strategically placed operable windows also assist with natural ventilation. The entire landscape incorporates highly drought tolerant species that complement the overall building theme. The chapel is currently pursuing LEED certification at the Gold level.

© Harrison PhotographicNatural Materials
Because the former edition of the chapel had succumbed to fire, employing materials highly resistant to fire was a significant objective. This lead to one of the most significant features of the Chapel the large rammed earth walls that flank the sanctuary, each nearly 60 feet long, 20 feet tall, and 2 feet thick. The 120 tons of dirt for these walls was harvested directly on site, symbolically important because sacred soil from the reservation was literally molded to form these beautifully textured and organic walls appearing as though the chapel is physically rising out of the site. The rammed earth walls are also reminiscent of the adobe construction found all over the reservation; assuming both modern and traditional sensibilities at the same time. The wood ceiling evokes the previous chapel, the Baptismal Font made from a 3 ton site-found boulder cut, polished, stood up right, and the Altar made from solid 5” thick slabs of wood hewn from a +100 year old Coastal Live Oak donated by a neighboring tribe are just some of the earthy materials that were employed to physically connect this congregation to the beauty of their natural surroundings, the significance of their ancestral home, and most importantly to the Spirit of their God in a very tangible and palpable way.

© Harrison PhotographicAbstract
The historical St. Bartholomew’s Chapel on the Rincon Indian Reservation was destroyed by a back country wildfire. While respecting traditional customs, emulating or recreating the past literally was not a project goal. Design elements in plan, section, and elevation were conceived to reference and infuse meaning into the chapel. Rammed earth walls, radial plan elements, butterfly roof, and extensive use of locally sourced materials all draw from a limitless well of Native American and Catholic symbols and metaphors. A thin film Solar PV system, high thermal mass construction, thoughtfully placed glazing, deep overhangs and ultra low water consuming plant palette all acknowledge the Native way of living lighter on the land.

plan

New Mount Olive Baptist Church

Source: http://www.architizer.com

A project by: MATEU Architecture Inc.

Client: New Mount Olive Baptist Church

Location: Fort Lauderdale, Florida, United States

MATEU Architecture, Inc., has won an invited design competition for the design of a new Worship Center and Life Center for the New Mount Olive Baptist Church in Ft. Lauderdale, Florida.

The invited competition included MATEU Architecture Inc., and HCO Architects, Inc., a nationally recognized Architecture and Engineering firm specializing in Faith Based Buildings, based in Indianapolis, Indiana.

New Mount Olive Baptist Church, located just west of downtown Ft. Lauderdale, at 400 NW 9th Avenue, is one of the oldest African American churches in South Florida. With a storied past dating to its humble beginnings on November 25, 1918, the New Mount Olive Baptist Church campus today contains a structure which is included in the National Register of Historic Places, along with the current 4 story worship facility built in 1979, and boasting a membership of over 10,000 congregants.

Ripples created when a drop falls in water was the organizational frame of reference and inspiration for the design concept, symbolic of the church’s mission statement… “Go ye therefore and teach all nations, baptizing them in the name of the Father, the Son and the Holy Spirit, teaching them to observe all things whatsoever I have commanded you: and lo, I am with you always, even unto the end of the world.” Matthew 28:19-20.

The winning design concept includes a new Worship Sanctuary with over 1950 seats, a bookstore, café area, Sunday School classrooms, choir facilities, administrative and pastoral offices, a 200 seat chapel and parking facilities, proposed to be built as Phase I of a two phase building program and adding approximately 40,000 s.ft. to the existing facilities in a seamless architectural expression that unifies the entire campus. Phase II will be the re-purposing of the existing worship facility into a Family Life Center that will include, among other spaces, a gymnasium, workout facilities, fellowship/dining hall and meeting spaces, whose construction will commence after the completion of Phase I.

The proposed design includes a number of abstracted symbolic elements associated with “church architecture” without the “literal” expressions of a more traditional solution and a proposal for a 15 year master plan of development, with milestones every 5 years, that will include a school, additional parking facilities and a potential residential development for congregation members.

Renderings by Ruben Gil of Spacial Visionz

Church of Suan-Lien Center for the Elderly / J.J. Pan & Partners

Source: www.archdaily.com

By Megan Jett — Filed under: Religious Architecture ,Selected , J. J. Pan & Partners, Taipei,Taiwan © Wei-Shih Hsieh

Architects: J.J. Pan & Partners
Location: Taipei, Taiwan
Project Year: 2009
Photographs: David Chen, Yi-Wen Chen, Wei-Shih Hsieh, J.J. Pan & Partners

The church is located near a scenic highway, bordering the mountain area and the northern coast of Taiwan. Backed by the mountains and fronting the sea, the site is endowed with a pleasant view and natural surroundings.

The Christian symbol of a fish inspired the design of the church. Two curved lines shape the fish-like plane along the winding contour of the ditch and land boundary. The concept outlined in Isaiah 54:2-3, “Enlarge the place of thy tent, and let them stretch forth the curtains of thine habitations” was employed in designing a complete stress-resistant structural form. 3D parameters are employed to precisely control variations of the arched planes.

The church’s arched exterior enclosure is clad with aluminum sheets, with a cross carved out at the highest spot, acting as a display of Christ’s love in heaven and on earth, visible along the seaside. The curved surface rises along the shoreline, blocking the sea wind. The tent-shaped aluminum sheets, visually detached from the ground by raised edges, open up to admit the beautiful scenery of the park through the glass curtain wall.

The shell of the main structure is composed of curved steel tubes 40cm in diameter, with H beams forming a fish-shaped dome on top. The dome is tightly bound by a light-weight shuttle-shaped structure to create pointed arch windows on both sides. The steel columns are stationed by wedge-shaped buttresses, clearly revealing the details of the column caps, connecting plates and articulated details.

The exposed asterisk-shaped steel grids extend to the interior and form the structural frame. The triangular space in the frame is fitted with sound-absorbing panels that allow even sound resonance. The three-centimeter spaces between the triangular panels and the steel members not only eliminate excessive low-frequency sounds, but also highlight the structural components. The curved triangular reflection panels provide the acoustic conditions required for choir recital and speech amplification. The furniture takes into consideration the elderly congregation.

By the entrance, the minimalist-style bell tower stands with straight lines that turn upwards overlaping in a cross-shape. At night, the light cast on the curved church walls projects the image of a tent between heaven and earth, with the cross on top a spiritual symbol. Hopefully, the church will become a warm and soothing haven that, day and night, gently comforts the hearts of the elderly who visit.