Unorthodox: An ancient tradition - A contemporary context

<p>For decades, New Zealand historians and architects have sought answers to the question: What is New Zealand architecture? New Zealand longs for a place in the architectural world, seeking the significance of our buildings in the wider realm of world architecture. In 2016, in a presentation based on his book Worship: a history of New Zealand church design, Bill McKay suggested that perhaps, “our most interesting architecture lies in the intersections of our cultures”. An opportunity is offered by the current shifts of New Zealand society where the impact of immigration on society is one of the most pressing issues that currently needs addressing. This thesis endeavours to explore the specific relationship between the heritage and culture of the existing Assyrian community and its context of Wellington, with reference to McKay’s suggestion that our most interesting architecture is birthed from the intersection of different cultures. Socially speaking, sense of identity and place attachment play a vital role in the integration of migrant communities into their new home country. Recalling and employing elements of not only tangible Assyrian heritage, but also the intangible qualities found in traditional Assyrian architecture, has the potential to create the connection and enhance the sense of identity which allows for the feeling of belonging in migrants in their host society. This thesis focuses on the space of worship. This project of an Assyrian Orthodox church building in New Zealand might reflect the life of the migrants who occupy it. Is it a replica of the traditional building in its original context, unchanged and uninfluenced by the shift to a new place? Or is it influenced and integrated; a building which can identify with the soil it stands on? Furthermore, if one considers that architecture reflects society, it is hoped that this design led research will participate in the discussion about New Zealand architecture’s unique identity and emerging new societal makeup. This design led research discovers that creating a sense of belonging relies on both keeping aspects of the traditional and gaining influence from its new context. As focus shifts from the design of the building at a large scale to details and objects at a small scale, it becomes more important to reflect and retain the traditional qualities of the architecture. At a large scale, the building may be influenced by its context so as to be integrated into its new place, as if it belongs within its new urban fabric. As we move into the smaller scale in design, we draw closer to the body. It is these elements of the design which an occupant experiences more intimately, and through sensory experience and triggering memories of home, can help to create a feeling of belonging. The main findings of this research express the close relationship between architectural scales of intervention and the effects of individual and collective memory.</p>

Unorthodox: An ancient tradition - A contemporary context

<p>For decades, New Zealand historians and architects have sought answers to the question: What is New Zealand architecture? New Zealand longs for a place in the architectural world, seeking the significance of our buildings in the wider realm of world architecture. In 2016, in a presentation based on his book Worship: a history of New Zealand church design, Bill McKay suggested that perhaps, “our most interesting architecture lies in the intersections of our cultures”. An opportunity is offered by the current shifts of New Zealand society where the impact of immigration on society is one of the most pressing issues that currently needs addressing. This thesis endeavours to explore the specific relationship between the heritage and culture of the existing Assyrian community and its context of Wellington, with reference to McKay’s suggestion that our most interesting architecture is birthed from the intersection of different cultures. Socially speaking, sense of identity and place attachment play a vital role in the integration of migrant communities into their new home country. Recalling and employing elements of not only tangible Assyrian heritage, but also the intangible qualities found in traditional Assyrian architecture, has the potential to create the connection and enhance the sense of identity which allows for the feeling of belonging in migrants in their host society. This thesis focuses on the space of worship. This project of an Assyrian Orthodox church building in New Zealand might reflect the life of the migrants who occupy it. Is it a replica of the traditional building in its original context, unchanged and uninfluenced by the shift to a new place? Or is it influenced and integrated; a building which can identify with the soil it stands on? Furthermore, if one considers that architecture reflects society, it is hoped that this design led research will participate in the discussion about New Zealand architecture’s unique identity and emerging new societal makeup. This design led research discovers that creating a sense of belonging relies on both keeping aspects of the traditional and gaining influence from its new context. As focus shifts from the design of the building at a large scale to details and objects at a small scale, it becomes more important to reflect and retain the traditional qualities of the architecture. At a large scale, the building may be influenced by its context so as to be integrated into its new place, as if it belongs within its new urban fabric. As we move into the smaller scale in design, we draw closer to the body. It is these elements of the design which an occupant experiences more intimately, and through sensory experience and triggering memories of home, can help to create a feeling of belonging. The main findings of this research express the close relationship between architectural scales of intervention and the effects of individual and collective memory.</p>

Sacral architecture of Split parish churches built since 1990

Objective: The article aims to provide a typology of contemporary sacral architecture in Croatia by analyzing the churches built in the Split area after the post-World War II ban on building churches was abolished. Methods: Parish archives and the Archive of Split-Makarska Archdiocese provided documentation that allowed for an in-depth analysis of newly built churches. A short historical overview is provided to corroborate the need of respective parishes for a new church; this is followed by an analysis of the ground plan and other architectural features. The church architecture is considered in the light of post-Council instructions that affect the appearance of contemporary churches. Finally, we provide an analysis of the relationship between sacral buildings and their urban environment. Results: Twelve new parish churches were built in the city of Split City area since 1990. A data analysis revealed that the major problem during church construction projects was the visual integration of the churches into the Split neighborhoods. The shape and size of the buildings was partly dictated by the urban environment. Most churches are located in the immediate vicinity of the center of the neighborhood. The churches mainly differed by the shape of their bell towers, which were used by the architects to convey their devotion to or departure from tradition. The move toward central-plan buildings, which would be expected in the light of post-Council guidelines, did not emerge in Split. Conclusion: A comparison of contemporary sacral architecture in Split did not reveal a defined church design typology. The contemporary sacral architecture in Split has not completely turned to new trends and is still partly trying to keep the tradition, as reflected in the ground plan and bell tower design. Architects have abandoned the strong longitudinal axis and have been dimensioning the churches based on the real needs.

Role of natural landscape in perception of Ukrainian sacral architecture monuments

The article analyses the impact of natural environment on the creation of a Christian church design, as an example, reviews the Orthodox architecture of Ukraine – historical and contemporary one. From time immemorial, Orthodox churches were erected in the most picturesque places – on high hills, steep banks, near rivers and lakes – so that the temple was reflected in the water surface. A typical example is the historical silhouette of the steep right bank of Kyiv, formed by many churches, cathedrals and monasteries located along the edge of the hilly shore. If temples in the urban environment were constrained by the conditions of dense quarterly development (the principal cathedrals and monasteries were an exception), then the peculiarity of the remote suburban monasteries – the hermitages – was precisely the creation of nature and architecture picturesque combination. At the monasteries, parks, gardens and flower beds were created, artificial lakes were arranged. During the domination of the atheistic ideology, temple construction was in decline, most of the cathedrals, churches and monasteries were destroyed or redesigned under the socialist functions of clubs, museums of atheism, schools and storages. The contemporary course in the creation of new Orthodox churches is aimed at restoring the lost sequence in the church building. In this case, particular attention is paid to the natural environment: churches are built in park areas, in forest parks, on the banks of lakes, surrounded by flower beds. The relevance of the study is explained by the presence in Ukraine of a large number of Orthodox churches – both architectural monuments and newly built, which are traditionally surrounded by gardens, parks and flower gardens as symbols of their non-earthly purpose, the image of the Garden of Eden. Therefore, during the restoration and new construction of such objects, it is necessary to understand the features of the сhurch landscape design, which has been formed and improved over the centuries.

Building a Catholic church in 1950s Ireland: architecture, rhetoric and landscape in Dromore, Co. Cork, 1952–6

This article explores the intellectual culture of Catholic architectural production in 1950s Ireland through the study of a church-building project in rural West Cork. It analyses the phenomenon of the Irish ‘church-building priest’ in terms of their socio-economic background, fundraising abilities, and position within rural communities – in the context of significant rural emigration and economic stagnation. It also considers the role that the Irish countryside played in conditioning clerical understandings of architectural style and taste, and priests’ political readings of the rural landscape. Furthermore, it explores the phenomenon of Marianism in church design and ornamentation around the time of the international ‘Marian Year’ of 1954, and the political meanings of the rhetoric employed by clerics at church consecration ceremonies. The article concludes with reflections on social and economic aspects of Irish rural life and religious expression in a decade primarily understood as one of cultural insularity and conservative Catholicism.

A STUDY OF METHODS FOR EVALUATING DESIGN DECISIONS IN THE ARCHITECTURE OF MODERN ORTHODOX CHURCHES IN RUSSIA

The article presents a study of methods and criteria for comprehensive assessment of modern design decisions in the architecture of orthodox churches. The topicality of the research work is determined by the need to improve the efficacy of decisions made by architects when designing church buildings, as well as by the need to enhance the quality of modern orthodox church design. The research methods employed include, among other things, a review of the legal framework applicable to church architecture design. In addition, the work examines the scientific and methodological foundations of an integrated approach to the evaluation of civil architecture and explores issues in the development of formalized methods aimed at establishing the historical and cultural value of buildings. The author provides arguments in support of the need to develop a methodology for evaluating orthodox church design decisions, including orthodox church value characteristics and assessment criteria.

STYLISTIC TENDENCIES IN CONTEMPORARY CHURCH ARCHITECTURE IN UDMURTIA

The article reviews contemporary church building practices in Udmurtia. Stylistic tendencies in the church architecture are considered. Two approaches could be identified in church design and construction, representing two different creative methods of morphogenesis rendered in Russian by two stylizing-related terms: stilizatorstvo (faithful to the original) and stilizatsiya (less faithful to the original). These two concepts, used in the evaluation of the 1830s – early 20th century architecture, present two ways of interpreting historical architectural prototypes.

Tradition in the Architecture of Wooden Churches in the South Urals

The subject of this paper seems to be important due to the ever-increasing interest in architectural traditions of Russia’s regions. The purpose of the article is to identify the characteristic features of the architecture of modern wooden temples in the territory of the South Urals. The key approach I chose for this study was historical architectural analysis and integration of data from archives and field surveys. A novel systematic analysis of the evolution of church design in the region since ancient times till nowadays is offered. For the first time, a study is made of churches building based on ‘model church design projects for Orenburg the Orenburg defence lines’ and exemplary albums. Descriptions and analyses of the region’s lesser known little known specimen of religious architecture are introduced for the scientific use based on the author’s own in situ investigations. Many archival materials from Russia's central and regional repositories are considered and published at for the first time. Key properties of modern region Eastern Orthodox churches built in different architecture styles are formulated and classified.

Development of Regional Styles I

Certain features in Byzantine church design are universal, such as the centralized, domed plan and the three-part sanctuary. While plans may have been imported from major centers, construction was local: under normal circumstances, masons did not travel. Thus, regional workshops developed distinctive techniques and styles. The architecture of the so-called Helladic School of the south (primarily Athens and the Peloponnese) contrasts with northern developments in the area of Thessalonike and Macedonia. At the same time, traveling masons from Constantinople seem to have been at work at several sites, such as Ferai, Veljusa, and Nea Mone.