Religious architecture has been a field of artistic and spiritual expression throughout history, and the modern period has been no exception. In this article, we will explore twenty notable examples of modern religious architecture that have left a significant mark on the architectural landscape and the spiritual experience of its worshippers. From churches and mosques to synagogues and temples, these structures challenge the traditional boundaries of sacred architecture and offer a contemporary approach to the manifestation of the divine.
We will embark on a fascinating journey to different corners of the world to discover these unique architectural creations. Each of these displays stands out for its innovation in design, use of materials, relationship to its surroundings, and ability to inspire a profound spiritual experience.
From the iconic U.S. Air Force Academy Cadet Chapel in Colorado to the elegant Scarborough Chinese Baptist Church in Canada to the stunning Boa Nova Chapel in Portugal, we will examine how these structures have reinterpreted traditional concepts and broken new ground in the field of religious architecture.
Join us on this tour as we explore these twenty examples of modern religious architecture that have captured the imagination and spirit of believers and non-believers alike. Prepare to be inspired by the power of design and spirituality fused in these contemporary masterpieces of sacred architecture.
20.- Abrahamic Family House / Adjaye Associates
The Abrahamic Family House is an architectural project that includes a mosque, a church and a synagogue, together with a secular space consisting of a forum and a raised garden. It aims to foster interfaith dialogue and exchange, promoting peaceful coexistence and acceptance among different faiths, nationalities and cultures. Each house of worship offers religious services, sacred text readings and ritual experiences for visitors.
The design of the house reflects the common characteristics of the three religions, highlighting similarities rather than differences. It consists of three cubes on a platform, with clear geometry and powerful forms. Each religion is represented through elements such as water and light, which are integrated into the structure. The interior spaces are designed with courtyards and triangular water features to provide a sense of freshness. Natural lighting bathes visitors while warm air is drawn into the ornate ceilings, creating a temperate environment. The use of off-white concrete deflects the sun’s heat and references the geography of the Emirates.
The Imam Al-Tayeb Mosque, facing Mecca, features GRP lattice mashrabiya screens that filter light and maintain privacy. Four monolithic columns represent Islamic stability and order, creating a vaulted space that directs visitors toward the mihrab. An undulating wall gives way to the stone mihrab, bathed in patterned light from the screens. Also included are spaces for male and female ablution, with an inverted dome and pyramidal ceiling.
St. Francis Church faces the rising sun in the east, with columns that allow light to enter from the exterior. The design includes a wood portal leading to the congregation space, which features oak pews and a canopy of linear wood elements cascading from the ceiling. The sanctuary houses a marble altar, ambo, tabernacle and oak credit table, along with a crucifix with no racial or creedal features. In addition, there is a baptistery with a conical shape and small windows that emit light.
The Moses Ben Maimon Synagogue, facing Jerusalem, features V-shaped columns that create a screen between the interior and exterior, reminiscent of the palm leaves in the sukkah. A bronze mesh tent drops from the ceiling and covers the congregation, symbolizing the original tabernacle. A stone wall surrounds the base, from which the ark rises, and oak seats with V-shaped motifs facing the bimah are included. In addition, there is a mikveh with limestone walls and a skylight.
The fourth space, not tied to a specific religion, serves as a forum for the community. It includes courtyards, a central entrance, a library, exhibition space, and educational and event-based activities. With access from the courtyards of each house of worship, it promotes convergence rather than divergence. The raised garden, surrounded by date palms and featuring regional vegetation and water features, provides a climate-moderated respite space. Overall, the Abrahamic Family House seeks to foster the celebration of history and collective identity at all scales.
Area: 6500 m²
Year: 2023
Photographs: Dror Baldinger, Arwa Alhati
City: Abu Dhabi
Country: United Arab Emiratess
19.- Chapel of the Jinting Bay / O-office Architects
The Jinting Bay Chapel, designed by O-office Architects, is located in the city of Magong, on the southeast coast of China. The project seeks to highlight the connection between land and sea, as well as the history and culture of the coastal area.
The Hanwei region, where the project is located, used to be a central coastal location and has experienced significant growth due to the construction of infrastructure and the arrival of investment from nearby cities. This transformation has generated a new typology of urban landscape that integrates with the existing natural and human environment.
The town of Magong, which has grown from a fishing village into a larger city, serves as the setting for the chapel. At the center of the town is the Cultural Plaza, where a classical-style chapel is located and acts as a ceremonial and celebration center. Behind the chapel is a backyard with a colossal statue of Matsu, a deity associated with fishing and maritime protection.
The chapel was designed with a facade that presents a horizontal space and a height-to-width ratio of approximately 1:10. Inside, abstract forms of screens, courtyards and traditional rooms are found stretching horizontally along the central axis of the new city. This arrangement provides people with a spiritual place in the midst of the urban hustle and bustle.
The sea-facing facade narrows dramatically and extends into the ocean, creating a lighthouse at the water’s edge. This facade is covered by a transparent vertical window with a height-to-width ratio of nearly 5:1, allowing for a unique visual connection to the sea and sky. This “Statue of the Sea” becomes a spiritual and figurative landmark for the emerging city, re-establishing the connection between the city, the people, the land and the sea.
In short, the Jinting Bay Chapel seeks to create a ceremonial worship space that reflects the history and culture of the coastal region, while establishing a visual and spiritual connection to the sea and the surrounding natural environment.
Area: 384 m²
Year: 2020
Photographs: Siming Wu
City: Shanwei
Country: China
18.- The Chamber Church / Büro Ziyu Zhuan
The design of the Chamber Church, also known as Büro Ziyu Zhuang, seeks to create a space that honors the past but also looks to the future. The goal is to provide a religious and secular experience at the same time. The auditorium is divided into two parts: the semi-sunken space and the connected courtyard, which integrate with the surrounding landscape. The building is embedded in the mountain and connected to a plaza, creating a hidden base for the upper part of the auditorium that stands out between the mountain and the water, reflecting the power of heaven and earth and spreading the religious message.
The design of the church is inspired by the archetypes of architectural associations from history and interprets them in a modern and timeless way. The goal is to create a sense of the future while evoking memories associated with tradition. This duality is integrated into the floor plan and section of the building.
To create a modern icon that evokes the archetype of a church, different images of vernacular facades of traditional churches are integrated. The derived base volume is expressed through a series of cuts that meet the expectations of the client and visitors in terms of the first visual impression of the space. The sequential cuts are presented in a pure and modern manner, and the openings in the facade create various visual effects depending on the angle of observation.
The design also references the classical components associated with a church, such as the bell tower, the interior arches and the design of the Basilica. However, most of the decorative elements are abstract, with the purpose of revealing both the interplay of the archetype and the experiment and the central theme associated with it: divinity and ritual.
The building seeks to emulate its predecessors in terms of the axial extension, the symmetrical layout, the stepped elevation, the progressive rhythm of the sections and the reference to the basilica. The main direction of the building is strictly oriented from east to west, emphasizing its traditional roots. The landscape design includes an artificial lake that provides privacy, as well as an open plaza that emphasizes the relationship with the public. Large water steps bridge the height difference between the building and the plaza, creating a visual base that reinforces the sense of ritual and sanctity of the main hall.
The rear view of the building seeks to break the rigid impression of the edge and establish a fluid connection to the lake. A strategically placed island creates a counterpoint to the central axis of the room and diffuses symmetrical tension. The design also takes advantage of the slopes of the landscape to block the view behind the tranquil lake and create a passive space to contemplate from within the room. In front of the church entrance, a “stage” is created to emphasize its central position.
The design is inspired by the concept of caves as spaces of refuge and protection used by humans.
Area: 771 m²
Year: 2021
Photographs: Shengliang Su
City: Qingdao
Country: China
17.- Saemoonan Church / Seoinn Design Group + Lee Eunseok
Saemoonan Church, designed by Seoinn Design Group and Lee Eunseok, is based on four main themes as guidelines for church construction. These themes are (1) historicity as the mother church of Korean Protestant churches, (2) the symbolism of open doors to heaven, (3) spatiality expressing Christ as light, and (4) presenting a water space as a meaning of baptism and harmony. These themes were adapted in the design with the concept of Loving God and Loving neighbor.
Love of God is mainly represented through the use and symbolism of space, while Love of neighbor is expressed through the external appearance and design effect of the building, which are revealed in the center of the city. Instead of a conventional spire, a gently curved effect that is open to the sky was used, and excessive ornaments were replaced by simple and abstract expressions. Rather than focusing on showing the authority of the church, it sought to metaphorically express God’s love and mercy through the gentle curve of the front of the building.
In addition, instead of creating a solemn spatial atmosphere with the traditional form of a long aisle, a new periodic worship space was proposed with a fan-shaped chapel plan that encourages the dynamic participation of believers.
The aspect of Loving one’s neighbor is clearly reflected throughout the architecture of Saemoonan Church. The Saemunan-ro courtyard, created by the hollow front and bent arched gate, is a public space intended to become a resting place for citizens by opening the church to neighbors rather than seeking an enclosed worship space. The continuous communication traced through the vestibule to the Sejong Center for the Performing Arts illustrates the openness of the church. The small chapel is also used as an active open cultural space by reducing the scale of the existing brick church.
The transparent glass facade, designed to appear to fade into the sky beyond the curved wall, not only contrasts morphologically with the smooth curved wall, but also serves as an architectural strategy to shield future generations from the hustle and bustle of the street. In addition, the top floor of the Education Hall building and the high-rise space of the Cross Tower can become a memorial space open to all citizens, offering a panoramic view of downtown Seoul.
Area: 4219 m²
Year: 2019
Photographs: Juneyoung Lim
City: Seul
Country: South Korea
16.- Bosjes Chapel / Steyn Studio
Bosjes Chapel, designed by Steyn Studio, is located on a vineyard in South Africa. South African-born, London-based architect Coetzee Steyn created a serene sculptural form that mimics the silhouette of the surrounding mountain ranges in an homage to the historic Cape Dutch gables found in the rural landscapes of the Western Cape. The chapel’s roof, constructed of a thin cast concrete shell, supports itself as it falls dramatically to the ground in undulations. Each peak of the roof structure is adorned with glazing extensions that converge on a crucifix at the center of the facade.
Poetically inspired by Psalm 36:7, the chapel has a crisp white form conceived as a light, dynamic structure that appears to float in the valley. A reflecting pool highlights the apparent weightlessness of the structure. Elevated on a plinth, the chapel stands out from the flat land on which it sits, becoming a hierarchical focal point in its surroundings. New plantings, including a vineyard and pomegranate orchard, create a lush green oasis on the exposed site.
Inside, there is a large, open meeting space in a simple rectangular plan. Highly polished terrazzo floors reflect light internally. The undulating, whitewashed ceiling casts shadows that move within the volume as the light changes throughout the day. This modest material palette creates a neutral backdrop for the stunning framed views of the vineyard and mountains.
To maintain the purity of the structural form of the roof and assembly space, other functional elements of the building are concealed within the plinth or discreetly placed at the outer corners of the surrounding garden.
Inspired by the simplicity of the Moravian mission stations established on Cape Dutch farms in the 19th century, Bosjes Chapel dispenses with a spire, relinquishing a sense of importance in relation to its stunning natural setting.
The chapel presents itself as an open embrace that invites entry, and also extends out into the valley and mountains, raising awareness of God’s creation in the immediate environment.
Area: 430 m²
Year: 2016
Photographs: Adam Letch
Country: South Africa
15.- Durban Christian Centre / Elphick Proome Architects
The Durban Christian Centre, designed by Elphick Proome Architects, rises from the ashes of a devastating fire and presents a powerful image in its context. It was designed to house a congregation of 3500 people, and its auditorium, chapel and teaching spaces merge into a single church complex.
The loss of the well-known church that served over 5500 parishioners and local informal settlements was a devastating blow to the community. The clients had a strong emotional attachment to the original “Jesus Dome” built in the 1990s and wanted to preserve and strengthen the original quality of this iconic church. However, simply replacing the original dome was not an architecturally sound idea spatially and acoustically. Therefore, the challenge was to combine the idea of the dome with an auditorium with excellent acoustics and a series of related spaces.
After extensive architectural and engineering studies to achieve a large-scale, cost-effective ceiling over a 3500-seat auditorium, three connecting arches were developed that suspend an enclosure over the acoustically planned auditorium. These arches represent slivers of a sphere and achieve the two main design objectives: an iconic “virtual dome” and a church space with excellent acoustical properties. The auditorium is centrally located and is surrounded by the entrance, lobby, a small chapel, upper level teaching spaces, performance areas and technical services.
The visual strength of the virtual “dome” structure is an iconic feature in the urban environment. It stands out from the adjacent roadway, creates a sculptural form from the street access and clearly announces the entrance for pedestrian parishioners. This powerful architectural element contrasts with a series of simple enclosure forms that respond transparently or solidly to the exterior spaces. The veiled screens offer a fine scale externally and are set against the prominence of the arches.
The Durban Christian Center serves an underprivileged community compared to many charismatic churches thriving in wealthier societies. Financial and budgetary constraints constantly affected the project, even halting construction for a few months, requiring ingenuity and creativity. However, strong leadership, a vibrant community and meaning rooted in their personal faith were critical to the success of the project. Therefore, materials, finishes and amenities are treated honestly and authentically, stripped to their bare state. The interiors especially reflect this, incorporating elements salvaged from the church fire.
Technically, the building shows significant creativity. The auditorium, with a limited footprint, was acoustically designed in consultation with an engineer, incorporating complex diffusion and custom absorption panels. However, the real innovation lies in the auditorium’s roof structure, where a collaborative design process demystified complex engineering geometry and unconventional construction methodologies. Sleek steel arches, emerging from large concrete anchors, commemorate the memory of the Jesus Dome and become a new urban icon that eclipses the original landmark. This technical achievement has been recognized by the steel industry for ingenuity and innovation in the use of steel for this unique project.
Year: 2021
Photographs: Karl Beath
City: Durban
Country: South Africa
14.- Mohamed Abdulkhaliq Gargash Mosque / Dabbagh Architects
The Mohamed Abdulkhaliq Gargash Mosque, designed by Dabbagh Architects and led by its founder, Sumaya Dabbagh, is a contemporary place of worship located in Dubai, United Arab Emirates. This mosque is notable for its masterful use of form, materiality and controlled natural light to create a sense of calm and spiritual connection. It is one of the first mosques in the UAE designed by a female architect.
The Gargash family commissioned this mosque as a gift to the community and in honor of the late patriarch, Mohamed Abdulkhaliq Gargash. The goal was to create a contemporary and minimalist space, a quiet and spiritual place for prayer for the Al Quoz community in the industrial heart of Dubai.
The design of the mosque focuses on enhancing the act of worship and providing a transitional journey through the building so that worshippers are prepared for prayer and feel an intimacy with the sacred. A series of spaces were created that allow the worshipper to transition from the hectic outside world and prepare for an interior experience.
Natural light is used as a tool to enhance the feeling of spirituality and the connection between the earthly and the divine, as well as to mark the path of the worshipper through the building. Scale also plays an important role in creating a sense of sacredness. Dabbagh Architects avoided the use of multiple blocks and simplified the traditional typology of Islamic form, giving it a deconstructed contemporary approach. The use of pattern and materiality enhances the user experience as one moves from the exterior into the courtyard and enters the building. Throughout the building, a triangular pattern is used that references traditional Islamic geometry, but reinterpreted in a contemporary language.
The exterior cladding uses this triangular pattern in recessed and perforated elements, giving the building a dynamic appearance. Internally, these perforations disperse natural light into the worship areas with precision and care to illuminate key spaces and create a tranquil atmosphere and a sense of connection to the divine, as well as helping to cool the interior of the mosque. The double-skinned dome allows natural light to enter, filtering it through the internal decorative skin that also incorporates the same triangular pattern. This filtered light creates a softly lit prayer space in a natural way that suits the introspective mind during prayer.
Calligraphy also plays an important role in the overall design. A Sura (Quranic verse) surrounds the prayer room externally, creating a metaphorical protective band that highlights the spiritual nature of the space upon arrival and infuses sacred energy throughout the building.
Area: 1680 m²
Year: 2021
Photographs: Gerry O’Leary
City: Dubai
Country: United Arab Emirates
13.- Islamic Religious and Cultural Center in Ljubljana / Bevk Perović arhitekti
The Islamic Religious and Cultural Center in Ljubljana, designed by Bevk Perović arhitekti, is in a unique location that lacks a specific identity. It is close to the city center, but it is abandoned and forgotten, in a fragile and underdeveloped state, with an uncertain urban future. As in the case of Sarajevo’s historic mosques in the 19th century, where mosque complexes, built by wealthy donors, were the starting point and the “seeds” for the development of new parts of the city, this new complex becomes one of those seeds for this part of Ljubljana.
The center’s program includes a religious school building, a cultural and office program, an apartment building for community employees, a restaurant and the mosque, which is the first to be built in Slovenia. All of these elements are supported by a subway parking garage.
The new buildings in the center are positioned as separate entities, autonomous volumes surrounding the central square area, with the mosque located in the center of the square. These buildings are simple volumes that are always oriented towards the “outside” world with their respective programs, while at the same time surrounding the mosque building and allowing views towards it to form from all sides through the spaces between them.
The mosque, which sits at the heart of the new complex, is positioned open and fully oriented toward the plaza, allowing the prayer space to extend outward during large congregations. Rather than following obvious historical precedents or more recent iconic examples, the mosque is conceived as a steel structure. It is a 32/32/24-meter box built with a steel lattice 1 meter (45 cm) deep and only 2 cm (8 cm) thick, filled with white concrete at the bottom and transparent glass at the top, allowing sunlight to flood the interior space.
Instead of being located at the top of the space, the dome, which is the central element of the mosque, hangs suspended inside. Representing the sky, it is made of transparent blue textile, the most fragile and delicate material, which has a long and rich history in Islam, from the Kiswah of the Kaaba to the portable mosques of Iran.
Area: 14080 m²
Year: 2020
Photographs: David Schreyer
Country: Slovenia
12.- White Church / LAD
The White Church, designed by LAD, is located in a public park in the center of the city. Through research on the local population and culture, it was discovered that people wanted to have a quiet and luminous space, regardless of their religious beliefs. Taking into account the budget and culture of the area, the goal of the project was to create a symbolic and spiritual building.
The original architecture of the church inspired the asymmetrical design of the White Church. The original space was reconstructed by adding columns and steel structures to achieve internal symmetry. The main intervention consisted of rationally defining the functions and applying a new architectural aesthetic, adapting the church to the modern design language without losing its original essence.
The design focused on creating an environment free of visual distractions in most areas of the project, away from the visual hustle and bustle. The main building is an independent church that includes a multi-purpose activity room and a reception area, separating two spaces with distinct needs to ensure their independent functioning.
The designer achieved a gradual transition from the waiting room to the main space, evoking the orderly beauty present in traditional churches. Through spatial symmetry and natural lighting, it seeks to create a sense of tranquility and solemnity. The use of white in the exterior corridors enhances the sense of spatial structure and order. Turret-shaped skylights allow light to filter in softly and naturally, without generating an overwhelming sensation or abrupt changes. As a whole, the building is perceived as energetic and transparent, offering an open and constant space.
As for the surroundings, the aim was to integrate nature and architecture. An open-air glass structure was used to expand the space and create a play of light and shadow, similar to an organ. The white main church is reflected in the pool, establishing a connection between the real image and the virtual image, and insinuating a new relationship between the land and the building.
Area: 5200 m²
Year: 2015
Photographs: Sunbenz AD
Country: China
11.- Huaxiang Christian Center / INUCE • Dirk U. Moench
Huaxiang Church, built in 1938, has witnessed radical transformations over the years: from decades of decay to unprecedented urban growth, and from the total suppression of religion to a significant increase in the number of Christians. Today, the church sits in the middle of a maze of high-rises and, because of the need for additional space, its congregation decided to build an adjacent community center.
The project faced extraordinary conditions. First, the spatial requirements clashed with height restrictions imposed by the authorities and local regulations. Second, the site’s isolated setting, surrounded by a mix of tall and low, modern and traditional buildings, both Eastern and Western, required an innovative approach to establish a harmonious relationship with the surroundings.
The design succeeded in convincing both the client and the authorities by acting as an urban mediator. By curving its contours and modulating its vertical development in a continuous upward and downward movement, the volume of the community center is visually reduced in fragments. This allows this structure, seven times larger, to relate in proportion and silhouette to the small church next to it. The fragments decrease in height as they approach the historic building, revealing its steeple and creating an impression of an organically cultivated skyline.
The facade of the community center contrasts with the brightness of the surrounding curtain walls. It is clad in a red granite similar to that of the old church. The granite is fragmented to smooth the pebbles and applied to the walls using a traditional pebbling technique that used to be common in local architecture but is now almost forgotten.
From a religious perspective, this profusion of pebbles materializes the dual nature of the word “church,” which refers not only to the building itself, but also to the sum of all individual Christians. From a human point of view, this gives the community center a tactile quality, warm and comforting to the touch, always eliciting a smile from those who touch it, whether adults or children. Aesthetically, it highlights the beauty that can be found in seemingly obsolete materials, traditional techniques and craftsmanship, demonstrating that in an environment of extremes, sometimes modesty stands out more clearly.
In terms of functionality, the organization of the building meets the needs of the congregation by providing a variety of multifunctional spaces. The rooftop areas, in particular, are conceived as publicly accessible outdoor amphitheaters, allowing the community to hold outdoor activities. From the surrounding buildings, these areas are perceived as an urban stage where the community expresses its faith and shares its joy with the city.
In short, the community center represents a change in the congregation’s self-perception and mission as Chinese Christians. They went from being a protective minority hiding in isolation to a community that now desires to be visible, to open its heart to the world and to extend invitations. Only a few months after its completion, the community center has already become popular with young people and serves as a viewing platform from which locals and tourists alike enjoy an uninterrupted view of the city’s historic district.
Area: 7500 m²
Year: 2015
Photographs: Shikai / INUCE
City: Fuzhou
Country: China
10.- Synagogue and Community Center C.I.S. / JBA + Gabriel Bendersky + Richard von Moltke
The Jewish Community of Santiago, which had been operating for fifty years in the Great Synagogue on Serrano Street in the southern center of the city, made the decision to move its headquarters to the eastern part of the city. The goal was to house larger community, social and cultural activities, beyond the purely religious. This project not only involved combining a broad and diverse program in terms of type, size and use, but also required bestowing a high level of symbolism on the waterfront and the overall spatial experience.
The site, 65,000 square feet in area and some 600 feet deep, bordered a damaging building on the west and featured a valuable green mass of old walnut and chestnut trees along its eastern boundary. It also offered a powerful view of the Andes Mountains to the south.
EThe approach adopted consisted of grouping different programmatic pieces in separate buildings, thus classifying the various uses and establishing thematic hierarchies within a unified spatial ensemble. This arrangement, based on emerging and concealing volumes, defines an essential void: a critical space capable of articulating and mediating approaches and perspectives. In this space strategically positioned as a “visual hinge,” is a reinforced concrete sculpture designed as an abstraction of the Menorah, the seven-branched candelabrum that has been a symbol of Judaism since antiquity.
The first building, the worship building, rests over a large 164-foot by 164-foot reflecting pool. Inside, it houses a main synagogue with seating for 800 and a smaller synagogue for daily prayer. These pieces, presented as volumes clad in different types of wood and rotated 4 degrees to face strictly toward Jerusalem, are formally linked by a third spatial entity that keeps them connected: an exposed concrete skeleton with large windows that capture framed views of the mountains and delineates the main atrium. Below the water level, with discreet access, is a Mikveh, a sacred room intended for ritual purification baths.
Water plays a fundamental role in Jewish symbolism, representing “life”, and has been used as an architectural element that separates religious activities from mundane ones, thus enhancing and dignifying the worship building.
A second volume, called the Culture building, houses all the community uses, such as a library, a cafeteria, classrooms and administrative offices. This building is conceived as an elongated body 364 feet long, located on the western side of the site, strategically blocking the neighboring building and establishing a new volumetric boundary. At the front of this volume, facing all access flows, is a covered plaza evoking the twelve tribes of Israel through twelve slender steel columns arranged according to the historical distribution of the territories and mapped on the paving of the plaza itself.
A ballroom suitably equipped for multiple uses is located underground, without a visible volumetric presence but with a strong symbolism. The roof of this space becomes a large ceremonial plaza, which is actually the spatial core of the entire complex.
The parking building, with capacity for 224 cars, practically disappears under a huge garden slab. A grassy esplanade allows for various recreational activities and children’s play areas. At the same time, it configures a silent void that enhances the significant pieces of the project.
Area: 10218 m²
Photographs: Aryeh Kornfeld
City: Santiago
Country: Chile
9.- Ribbon Chapel / Hiroshi Nakamura and NAP
This wedding chapel is located in the garden of the “Bella Vista Sakaigahama” hotel in Onomichi, Hiroshima. The site is located halfway up a hill offering a panoramic view of the Inland Sea of Japan. To architecturally represent the act of marriage in a pure manner, we intertwined two spiral staircases to create a free-standing building with an unprecedented composition.
A single spiral staircase would be unstable in the horizontal direction and prone to vibration in the vertical direction, which would make it very unstable. By joining two spiral staircases so that one supports the other, we created an independent structure. Like two lives that go through twists and turns before coming together as one, the two spirals connect seamlessly at their 15.4 m summit to form a single ribbon. At the center of this movement is a chapel where the people who supported the bride and groom wait. The aisle of the chapel offers views towards an existing symbolic tree. The altar is located in front of the tree, and 80 seats are arranged to overlook the ocean through the trees.
Instead of the conventional elements of a building, such as roof, wall and floor, the interlocking stairs in this chapel serve the functions of roofs, eaves, walls and floors to create the spaces of the building. The stairs widen in response to location and function, for example, at the peak where the couple meet, in directions with panoramic views, and in places where the eaves must be deep to protect the interior from the sun.
The exterior of the building is finished with vertical wood panels painted white, which enhances its beauty as time passes. In addition, a titanium-zinc alloy was used, a material resistant to damage from sea breezes and flexible enough to be applied to curved shapes. The use of this alloy in the cladding of the walls, roof and window sashes allowed for a simple design unified through a single material.
Wedding chapels usually follow a route configuration in which the bride walks down the aisle with her father, and then, after the ceremony, the same aisle becomes an exit route for the newlyweds. In this chapel, the ceremony takes on additional meaning as the bride and groom walk up separate staircases to meet at the top, ask permission from heaven to join as one and declare their marriage. Then the two, who have lived separate lives, walk up the stairs together.
Although it is a small building, its design is composed solely of pathways along which landscapes of ocean, mountains, sky and distant islands appear and disappear. An effort was made to accommodate the emotions of the bride and groom and the thoughts of the celebrants by extending the aisle to a total length of 160 m and broadening the range of experiences. The structural design is based on the concept that the two spirals support each other. Coupling elements are used to connect the points where the two staircases approach closely in four different directions, creating a three-dimensional hoop effect that restrains outward forces and provides three-dimensional reinforcement to resist horizontal forces. Intermediate 100-mm-diameter solid steel posts support the inner spiral, and the outer spiral is coupled to the cantilevered inner spiral. To reduce the volume of the steel frame at the top, a pendulum-type base isolation device for lightweight buildings is used. In addition, cantilever-type tuned mass dampers (TMD) were installed at three locations on the exterior staircase to control the footfall-induced vibration.
Consideration was given to the rotational sedimentation that could occur when the shoring was removed from the building. To counteract this effect, a structural model was developed that applied an inverse torque equivalent to the predetermined natural rotational force caused by sedimentation. As a result, the posts, which were deliberately tilted during construction, became vertical once construction was complete, staying within a 2/1,000 margin of error between floors. This delicate but bold structural design was created by Ikuhide Shibata of Arup.
Area: 80 m²
Year: 2013
Photographs: Koji Fujii / Nacasa & Partners Inc
City: Hiroshima
Country: Japan
8.- Créteil Cathedral / Architecture-Studio
In 2009, an ambitious project to enlarge the cathedral of Notre-Dame de Creteil was initiated by Bishop Santier and supported by the Chantiers du Cardinal. The diocesan association of Creteil took on the task of carrying out this major renovation, with the aim of doubling the cathedral’s capacity and improving its visibility to the city. The project was conceived by the architect Charles-Gustave Stoskopf, recognized with the Prix de Rome, and its design reflects the typical architecture of the 1970s, when the “theology of blending” prevailed.
The new cathedral of Notre-Dame de Creteil has become part of the city’s contemporary heritage. Its architectural design seeks to establish a dialogue between two different but coherent styles. The dome, pointing skyward, is based on the footprint of the original cathedral, while the entrance, on a human scale, joins the monumental proportions of the new project. The nave of the cathedral extends from two spherical hulls clad in wood, creating the image of two hands joined in prayer over the altar.
One of the main objectives of the project was to allow large meetings to be held in this new space. To achieve this, the existing sanctuary was remodeled and the pews were arranged in a wide semicircle. During the day, the stained glass windows at the junction of the two hulls cast a colored light on the sanctuary, creating a striking visual effect. At night, illuminated from the inside, these stained glass windows become the symbol of a living Christian community.
The bell tower, separated from the building at the corner of the esplanade, marks the entrance to the cathedral with its slender silhouette. It is punctuated by three bells from the old bell tower and restores the urban scale of the building. Next to the large residential buildings of the neighborhood, the bell tower becomes a distinctive sign of the city. The view over the cathedral esplanade is freed by the opening of the tree curtain, and the new square built on the opposite side becomes a space for local residents and an extension of parish life.
The spatial organization of the cathedral was established on the basis of a liturgical axis that runs through the sacred space. This axis became the standard for organizing all the structures of the project. The two cylindrical concrete walls supporting a horizontal terrace about 5 meters above the ground are transformed into two three-dimensional wooden hulls converging 20 meters above the altar. The creation of a chapel in front of the sanctuary, in place of the old garden, marked the birth of this liturgical axis, which would be the route for solemn processions in the cathedral.
The geometric complexity of the design, with unique arches mirrored on both sides of the liturgical axis, creates a dynamic and static space at the same time. Every movement in this space becomes a particular experience, especially through the “accelerations” of transparencies and opacities created by the progress of the arches in the spherical curve of the hulls. This architecture in motion is illustrated by the stable arch of the hanging platform in the center of the cathedral, creating a long visual and sensory journey for visitors.
The white architecture of Stoskopf serves as the setting for the new cathedral, which is clad both inside and out with wood. This unity of material harks back to ancient cathedrals, where the mass of the stone vessels was cut and chiseled by light. The use of wood allows a direct reading of the two layers of the building and represents unity and simplicity.
On the exterior, the hull and the bell tower are also clad in wood, following the same parallel geometry of the arches. The Douglas fir wood strips are pre-shaded to ensure aesthetically uniform aging. Wood, as a natural and living material, is both humble and noble. Its warmth not only fits perfectly with the curves of the building, but also symbolizes the fraternal community united in the celebration of the sacraments of the Church.
In addition to the extension of the cathedral, a cultural center was created as part of the project. This cultural center offers cultural and artistic events to the inhabitants of Val-de-Marne. A conference room and a small auditorium occupy the space originally intended for two multi-purpose rooms. These spaces are accessible through an exhibition gallery that connects the two entrance narthexes. In the center, a skylight provides a glimpse of the cross in the bell tower, and sunlight illuminates the entrance to each room. Near the large narthex, a bookcase creates a welcoming space at the cathedral entrance.
In short, the expansion and remodeling of the cathedral of Notre-Dame de Creteil has resulted in a dynamic and welcoming sacred space. The architectural design combines two different but coherent styles, creating a dialogue between the architecture of the 1970s and the original cathedral. Wood and stained glass play a prominent role in creating a sacramental and vibrant atmosphere. In addition, a cultural center has been incorporated to enrich the cultural life of the local community. Ultimately, this project seeks to breathe new life into the cathedral and make it a symbol of a living Christian community in Creteil.
Year: 2015
Photographs: Yves Mernier , Luc Boegly , Fargeot
City: Paris
Country: France
7.- St. Aloysius Church / Erdy McHenry Architecture
St. Aloysius Church tells its purpose through its architectural expression, based on two significant conceptual explorations. The first is the idea of “pitching the tent anew,” which is reflected in the delicate lines of the ceiling, evoking simple worship. The second is based on the Four Devotions of St. Aloysius: Blessed Sacrament, Passion of Our Lord, Love of Our Lady and Choir of Angels. These devotions are located in the adjacent church, along with large concrete buttresses that anchor the roof.
The project began with a master plan that addressed the present and future needs of the church. The plan considered site circulation, service entrances, expansion of the existing school, and construction of the new church for the parish.
The entrance sequence was designed with the social nature of worship in mind. The approach to the parking lot is through a series of progressively more intimate spaces, preparing parishioners for worship in communion with their peers. As they approach the altar, individuals join with one another and renew their baptismal commitment by anointing themselves with holy water from the same baptismal font used in the rites of Christian initiation.
The location of the church at the front of the site makes it a recognizable icon in the community. It also creates a relationship with the existing rectory and provides a meeting space between the church and the rectory.
The hyperbolic paraboloid-shaped roof was selected not only for its elegance, but also because it is an economical solution for large-span roof structures. Although it is typically used in stadiums and other sports facilities, the project team and owner were captivated by its shape and flowing, fabric tent-like lines. The roof of St. Aloysius Church is constructed of standing seam metal panels.
Special attention was given to the sacraments and their close locations. The orientation of the altar and daily chapel toward the baptismal font at the entrance of the sanctuary were also considered. The floating roof structure is symbolically rooted in the four devotions, which provide the foundation for both the building and the faithful congregation.
In short, St. Aloysius Church tells its story and purpose through its architectural design. The roof form and devotional locations within the building reflect concepts of simple worship and religious symbolism. The master plan addressed the current and future needs of the church, and the church’s strategic location on the site makes it a recognizable icon in the community. The use of a hyperbolic paraboloid roof adds elegance and fluidity to the design, and attention was given to the sacraments and their arrangement within the building.
Year: 2009
Photographs: Alan Schindler, Pixelcraft
City: Jackson
Country: United States Unidos
6.- St. Moritz Church / John Pawson
The church of St. Moritz has undergone numerous changes over almost a thousand years of history. Devastating fires, changes in the liturgy, aesthetic evolution and bombing during the war have left their mark on the structure of the building. The purpose of the most recent intervention has been to realign the existing architecture, considering aesthetic, functional and liturgical aspects, always keeping in mind the creation of a sacred atmosphere.
The work involved the meticulous removal of certain elements of the church’s complex fabric and the relocation of some artifacts to achieve greater visual clarity. Using forms and elements of the existing architectural vocabulary, a recognizable architectural language has been developed that subtly presents itself as something new, without extraneous or jarring elements.
St. Moritz is presented following the clear principles of a Wegekirche (road church), and this spatial character, with a pronounced focus on the apse, is preserved and reinforced in the current reorganization. The view is deliberately directed through the nave into the apse, which is designed as a light room, highlighted by the Baroque sculptural figure of Christus Salvator by Georg Petel.
A significant gesture of the intervention is the subtle transformation of the apse windows, which fulfill an architectural function as sources of light and a liturgical function as an expression of the threshold to transcendence. The existing glass has been replaced by thin sheets of onyx, generating optimal lighting conditions by filtering direct sunlight and bathing the space in a haze of diffuse luminescence.
The apse window treatment represents the culmination of a broader strategy for the use of light, which seeks to achieve a clear distribution of light, with the apse being the most illuminated area of the church. After the apse, the area of the nave where the liturgy takes place is brighter, while the side aisles are again more dimly lit. The baroque windows of the triforium, freed from their former function of illuminating the works of art and decoration, now act as indirect sources of light.
In compliance with the demands of the Second Vatican Council, the altar has been moved to a new island created in the nave, bringing the liturgy closer to the congregation and allowing the main liturgical elements, such as the altar, ambo and sedilia, to be on a single level.
Area: 1857 m²
Year: 2013
Photographs: Hufton + Crow
City: Augsburg
Country: Germany
5.- Church of San Josemaria Escriva / Javier Sordo Madaleno Bringas
The Santa Fe Church and Training Center, dedicated to Josemaria Escriva Escriva Balaguer, is located on the west side of Mexico City, in an urban environment where several projects have recently been completed. The completion of this project has resulted in the recovery of an urban space that has literally been formed from garbage, thus creating a landmark that represents social and cultural values in the city.
The architects began to develop the architectural concept using geometric strokes and following the repetition of the golden rectangle 7. They incorporated two curves that refer to the symbol of the Christian fish and elevated these curves with diagonal straight lines within the rectangle, thus forming the cross of light, oriented towards the north.
Based on this abstract symbolism, the ensemble is composed of three parts. The temple is the main building, standing out for its height and its shape that resembles the church itself, while the rest of the complex is traced as a duplicate of the original curve.
The space evolves along curves and straight lines that form the cross at the top. This effect is exploited to allow sunlight to enter during the day, creating interesting effects on the walls of the nave. It also defines the composition of the axis from the main entrance atrium in the north, where the light eventually reaches the altar.
This geometry creates two exterior walls that are covered with zinc modules, staggered to guide the movement of the walls and create a texture of light and shadow as the sun moves. Inside, maple wood cladding is used, a warm and flexible material, which adapts to the curved shapes of the walls and seeks to capture light that would never touch directly.
The challenge began with the site for the construction of the temple, which had previously been used as a landfill. After a soil mechanics analysis, it was determined that the area had a very limited bearing capacity. Therefore, a foundation solution consisting of circular piles was used to support the columns, and the basement slab was designed as a mezzanine slab. The floor offered no upward resistance.
The building program is divided into two floors, with the temple located on the upper level. The entrance to the temple is determined by the atrium and the frames formed by the walls at the base of the cross, through the narthex. From there, the ample space of the nave is revealed, with the congregation facing the presbytery and the altar.
This magnificent space is naturally illuminated by a cross-shaped skylight. On the side of the nave, towards the west, are the confessionals, the baptistery and the choir. At the opposite end, there are automatic doors that open onto the side atrium, ending in a mirror of water symbolizing baptism, together with the trees of the context that are in the background.
The structure of the temple was resolved using steel columns with two non-orthogonal directions, formed by four plates that create a box with similar behavior in all directions, which benefits the seismic resistance and wind loads (which are the most important). The basement structure was resolved with reinforced concrete retaining walls.
For the exterior design, zinc was used as the roofing material, due to its lightness, durability and flexibility. In addition, it contributes to the acoustic insulation in the interior design, where absorption is concentrated at the rear and a line is established at the highest part to avoid echoes and reflections. The sides of the altar were left reflective to project sound towards the audience. The loudspeakers were strategically placed close to the different sound sources, so that the visual experience connects with the auditory source.
On the first floor are the parish offices, services and the Training Center. Just below the sanctuary of the church is a chapel dedicated to the Virgin of Guadalupe, where illuminated stars can be seen on its curved wall.
Following this Marian concept, the crypts are divided into two motifs: the first is related to the praying of the rosary, with four areas and illuminated alabaster niches representing the parts of this prayer. The second is divided into apparitions of the Virgin.
Finally, on the same level and with discreet access, the priests’ rooms are located in a volume that occupies two interconnected levels of service spaces, always illuminated by gardens.
Area: 4671 m²
Year: 2008
Photographs: Fran Parente
City: CDMX
Country: Mexico
4.- St. Mary's Cathedral / Kenzo Tange
St. Mary’s Cathedral in Tokyo, designed by Kenzo Tange, is a building that stands out for its timelessness and architectural quality. Built in 1964 to replace the old wooden cathedral that was destroyed during the war, this new church presents a design that is simple in concept but complex in form.
The main structure of the cathedral is composed of eight walls that function as both roofs and walls at the same time. These walls are hyperbolically curved, creating a sense of upward tension toward the sky and turning the first floor into a rooftop cross. The different heights of the wings, with their asymmetrical design, give the structure a dynamic and distinctive appearance in contrast to the sky.
The external stainless steel cladding reflects sunlight and creates a visual effect similar to a shiny dress on the hard concrete surfaces. Although the cladding is monochromatic, the curves and U-shaped profiles highlight the dynamics of the structure. These features make the cathedral an iconic landmark in Tokyo’s dense urban context.
At the basement level, stone blocks are used to create a contrast with the metal wings, giving the impression that the walls are detached from the ground. The side entrance features a lower ceiling area leading to the main church space.
The lighting inside the cathedral is an outstanding element, as it changes constantly throughout the day, creating an enveloping atmosphere. Direct sunlight and diffuse reflections accompany the curved surfaces of the concrete walls, allowing visitors to appreciate and understand their curvature.
Light penetrates through the glazed openings, both vertically between the walls and as light from the ceiling, forming a cross at the top. Although the interior may appear dark, the contrast between the illuminated and darker areas highlights the religious symbolism of the space.
The bell tower follows the same line of design, with its four vertical lines merging into one, extending skyward. The organ, designed specifically to fit the entrance space, was manufactured in Italy by Mascioni and installed in 2004.
St. Mary’s Cathedral in Tokyo is considered one of Kenzo Tange’s most important works and one of the city’s most interesting architectures. This building combines elements of Western tradition with Eastern culture and sensibility, managing to solve the complexity of the project in a brilliant way.
Area: 2541 m²
Year: 1964
City: Tokyo
Country: Japan
3.- Scarborough Chinese Baptist Church / Teeple Architects
The Scarborough Chinese Baptist Church, designed by Teeple Architects, directly reflects the liturgical vision of its congregation. The church is envisioned as a space that fosters both horizontal communion between people and vertical spirituality between people and God.
The physical form and experience of the church are designed to reflect this vision. The community wing is characterized by horizontal ceilings and views of the natural setting of the wood lot. The sanctuary, on the other hand, is highlighted by elevated vertical forms and a focus on natural light from above.
These two main areas are connected by the fellowship hall, a space used for gatherings before and after services. The church serves an important function as a place of worship, with a sanctuary capable of accommodating 1,600 people, and also becomes a focal point of activity for the Chinese community in Scarborough. In addition to the sanctuary, facilities for recreational activities are included, such as a large gymnasium, banquet areas and meeting rooms.
The church’s location in a clearing within a remnant wood lot along Kennedy Road in Scarborough is central to the experience of the site. The 200-seat chapel becomes a focal point and landmark as one moves through the church’s public circulation spaces.
In terms of sustainability, the project stands out as the first approved bio swale parking lot in the City of Toronto. A trench system planted with specific plant materials and special soils for stormwater processing is implemented. In addition, a high level of energy efficiency is achieved at a low cost through careful design of the building envelope and heat recovery systems.
In summary, the Scarborough Chinese Baptist Church is a project that reflects the liturgical vision of its congregation through its architectural design and functionality. In addition, sustainability and energy efficiency have been considered in its construction.
Area: 80000 ft²
Year: 2007
Photographs: Shai Gil Photography
City: Toronto
Country: Canada
2.- Boa Nova Church / Roseta Vaz Monteiro Arquitectos
The Boa Nova Church, designed by Roseta Vaz Monteiro Arquitectos, is located in a former slum known as the “End of the World”. The project was developed through a participatory process that involved the local community, seeking to ensure the social and economic sustainability of the site. In addition to the church, the project included a community center, an elementary school and an auditorium, providing employment and childcare for former slum residents.
One of the main objectives set by the community was to create a new identity to rescue the site from its negative stigma. The design of the church tower was conceived as an iconic landmark, providing a distinctive image to the surrounding landscape that lacked elements of interest. To the west, a courtyard was designed that connects to the city’s existing public spaces and opens onto a steep valley that offers views of the sea. Thanks to this project, the site is now known as Senhora da Boa Nova (Our Lady of the “Good News”).
The design approach to sacred space was based on the ability to assert the supremacy of the Void. Two empty spaces became key conceptual elements: the courtyard, as a communal gathering place, and the nave, as a sacred space representing that which cannot be represented. The intention was for the nave to be an introspective, infinite and unrepresentable space. To achieve this, creative paths inspired by the works of artists such as Bernini, Piranesi and Rachel Whiteread were followed.
Today, the church is set within an elliptical plane that provides a dynamic sense of scale. It is covered by an interior dome that eliminates the distinction between walls and ceiling, generating a unique spatial experience inside. Deep windows allow indirect natural light to enter, creating a special atmosphere in the ship and distancing it from the suburban environment. In addition, the exterior walls curve, presenting an anthropomorphic object that is within the boundless, infinite and unrepresentable Void.
In summary, the Boa Nova Church is a project that was developed through a participatory process with the local community. Its architectural design seeks to create a new identity for the site and the sacred space is conceived as an introspective and transcendent place. The result is a church with an iconic presence in the urban landscape and a unique spiritual experience inside.
Year: 2009
Photographs: Joao Morgado
City: Estoril
Country: Portugal
1.- USAFA Cadet Chapel / Walter Netsch of Skidmore, Owings, & Merrill
The U.S. Air Force Academy Cadet Chapel, located in El Paso Country, Colorado, was designed by Walter Netsch of Skidmore, Owings & Merrill in 1954. The chapel is part of the Academy campus, which is an Air Force officer training center and self-contained community.
Situated at an elevation of 6,500 feet in the Rocky Mountains, the Academy encompasses 3,000 acres and includes housing for 8,000 people, a supply center, a hospital, an airfield and an academic complex that sprawls across the hillside of the site. The Academy program is divided into three levels due to the slope, with the Administration Building, Social Center and Cadet Chapel on the upper level. The chapel, with its impressive peaks soaring skyward, attracts more than one million visitors a year.
The Cadet Chapel design was conceived as a symbolic religious structure housing the major American religions, requiring three distinct chapels. The building incorporates a monumental framing system with seventeen rows of spires rising 150 feet high, pointing skyward. These spires are composed of a tubular steel frame consisting of 100 identical tetrahedrons, each 75 feet long and weighing five tons. The tetrahedrons are enclosed with aluminum panels and spaced a foot apart, while the spaces between them are filled with colored glass that reflects light into the interior of the chapel.
The chapel entrance is on the south facade and features a granite staircase leading to a landing that provides access to the gold anodized aluminum doors. Although it is a single building, the chapel houses three main worship areas on two main levels, including a Protestant chapel, a Catholic chapel, and a Jewish chapel, as well as all-faith rooms and meeting rooms. The Protestant chapel, on the upper level, is the largest and seats 1,200 people. Its walls are formed by tetrahedrons with stained glass windows between them, creating a majestic and beautifully lit space.
The Catholic chapel, located below the main level, seats 500 people and features arches and stonework reminiscent of Romanesque cathedral architecture. The Jewish chapel is distinguished by a round wooden screen that conceals the entire structure, which is different from the Protestant chapel above it.
On the chapel’s 50th anniversary, Skidmore, Owings & Merrill were again hired to undertake a complete restoration that would address water infiltration problems, repair deteriorated components, and return the chapel to its original condition. Although the date of this restoration has not yet been decided, the USAFA Cadet Chapel is recognized as an icon of modernism and in 2004 was designated a U.S. National Historic Landmark.
Year: 1962
Photographs: Balthazar Korab, Stewarts Commercial Photography, Hedrich Blessing
City: El Paso
Country: United States
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