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Genoese architecture studio Caarpa has restored the Church of Nostra Signora della Costa in Levanto, Italy, installing a mezzanine to complement the original ornamentation. More
Romanian studio Modul 28 has updated and extended the rectory of a church in Transylvania, transforming it into a guesthouse that “balances preservation with innovation”.
Located in the village of Curciu, the building was renovated as part of an initiative led by the Fortified Churches Foundation, which exists to preserve the region’s large number of fortified churches dating from the 13th to 16th centuries.
The converted chapel and rectory contains a guesthouseRather than turn these sites into museums, the programme looks to introduce “contemporary functions” that will reintegrate them with the surrounding communities, Modul 28 said.
At this site in Curciu, the studio has converted the adjacent rectory and chapel into a guesthouse, while the large church at the centre of the site remains open to the public.
The main living area is housed within the old chapel’s apse”The initiative is based on the belief that turning heritage buildings into museums does not serve their long-term wellbeing, especially in the case of secondary importance constructions such as annexes,” said architect Andra Nicoleanu.
“The design process for this project could be characterised by a meticulous approach that balances preservation with innovation, drawing inspiration from the historical and architectural context of the site,” she told Dezeen.
Doorways and window shutters have been updated with pale woodA series of minimal and reversible alterations were made to the existing rectory, creating space for a double bedroom alongside a kitchen and dining area.
Projecting out of the site’s boundary wall, the polygonal apse of the former chapel now houses the main living area. Three gothic windows surrounding this space, which had been partially destroyed, have been restored with thin-profile metal frames.
Medprostor tops 12th-century church in Slovenia with folding roof
The old rectory has been replastered and its doorways and window shutters have been updated with pale wood, contrasting the rough masonry exterior of the chapel and the gatehouse.
“Our proposal, especially for exterior interventions, emphasises reversibility and the temporary nature by utilising lightweight materials, namely wood and metal inserts,” explains Nicoleanu.
“Essentially, this approach serves as an exercise in contemporary materiality, contributing to the contrast between what already exists and what is currently being constructed,” she added.
A temporary timber structure sits beside the guesthouseA temporary, pavilion-like timber structure tucked between the guesthouse and the site’s external wall provides bathrooms, with a shower lined with yellow corrugated metal.
“The most significant gesture in the design was perhaps the decision to add a temporary construction to the exterior, that arises from the desire not to alter the volume of the interior spaces,” said Nicoleanu. “Although it fits contextually, in terms of plan resolution and resulting image, it stands out through contrast.”
A shower is lined with yellow corrugated metalAnother recent project involving renovations of historic church buildings include the repair of a 12th-century structure in Slovenia by local practice Medprostor, designed as a space “between a ruin and a reconstruction”.
In London, Tigg + Coll Architects converted an abandoned mission church into its own workspace and, on the Isle of Sheppey, Hugh Broughton Architects transformed a 19th-century church into a community hub.
The photography is by Vlad Pătru.
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Timber cladding features in this church in Edinburgh, which has been converted into a community centre by Scottish architecture firm Konishi Gaffney.
The Greyfriars Charteris Centre now contains a flexible workspace, community hub, events spaces and a non-denominational sanctuary.
The new link building unifies the complex of early 20th century buildingsThe church was used a place of worship from its opening in 1912 until 2013, reopening in 2016 as the Greyfriars Charteris Centre. With its change of use came the need for an overhaul of its circulation and accessibility, as well as a clear point of entry.
Konishi Gaffney was challenged with transforming the perception of the church from a closed-off, imposing historic building to an inclusive space to be used by all members of the surrounding area’s diverse community.
The new entryway provides a definite point of access for usersThe studio’s design aims to physically and aesthetically unify the collection of buildings that had been gradually acquired over time while being sensitive to the historic fabric of the buildings.
The structure was opened up at street level by extending the length of the existing lancet windows, allowing passers-by to see the activities going on inside and encourage participation.
The use of terrazzo and timber fins provides contrast to existing stone buildingsA rational entryway was created by slotting a timber link building between the church and the neighbouring office building.
This is distinguished from the original stone buildings by its facade, which features terrazzo slabs on the ground floor level as a contemporary reference to the rusticated bases of the city’s Georgian buildings.
The geometric motif is visible throughout the interiorRelief patterns provide further texture to the white terrazzo and were designed in collaboration with artist Steven Blench of local plastering company Chalk Plaster.
Higher up the frontage, overlaid grids of timber fins add a linear dimension to the terrazzo and, on the second floor, contain a floor-to-ceiling window.
The atrium creates circulation between all areasThe triple-height, top-lit atrium contains reception and lobby areas and houses a lift for easy access to all areas of the complex.
An open-plan co-working area, punctuated by structural columns, and two screened-off meeting rooms occupy the lower floor.
Max Lamb crafts minimalist altar for St John Chrysostom Church
A wide staggered staircase with integrated seating allows users to sit and collaborate and connects the lower floor co-working areas with the lobby, as well as providing access to the main church hall above.
The former nave acts as a function room, facilitated by its open floor and unobstructed high ceiling. Original features including ceiling details, crucifix and masonry work remain.
A wide staircase facilitates easy movement between floorsA six-metre-tall screen inserted into an existing pointed arch sections off the main hall from the ‘all faiths and none’ contemplation area above the stairway, which is lit by a large pointed arch window at the end of the space.
The Greyfriars Charteris Centre’s interior is unified by the use of American maple and birch plywood joinery combined with white plaster.
The original church hall is lit by natural and energy saving lightingThis neutral palette ties in with features of the existing structure, such as the main hall’s vaulted ceiling, which was stripped back to its original pine colour from a dark mahogany stain using a soda blasting technique.
The materials were chosen to keep the interior light and easy to navigate while tying in the new subdivided areas with the original building. Double glazing and new interior lighting was added throughout.
Bespoke joinery is harmonious with historic featuresImprovements were also made to the building’s environmental performance, with insulation fitted throughout as well as the installation of a more efficient heating system, double glazing, low-energy LED lights and solar panels.
Other church conversions featured on Dezeen include a church in Los Angeles that was transformed into an events and co-working space by by Francesca de la Fuente and Working Holiday Studio, and a restaurant in London that sits inside a former church by Michaelis Boyd.
The photography is by Nanne Springer.
Project credits:
Client: Greyfriars Charteris CentreArchitect: Konishi Gaffney Architects: Kieran Gaffney, Adam Williams, Ivan Fraile-Gisbert, Dana Cherepkova and Dee FarrellStructural engineer: Entuitive / Forshaw GauldM&E: Irons Foulner Consulting EngineersQS: Thomson GrayOther design consultants: Francis Milloy (lighting design), Chalk Plaster (sculptural collaboration) and Old School Fabrications (joinery)Main contractor: SJS Property ServicesSpecialist subcontractors: Gray & Dick (glazing), Cambridge Architectural Precast (cladding) and Hall & Tawse (windows and doors)
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British designer Max Lamb has turned his hand to ecclesiastical objects, creating an altar, candles and floor for a church in London. More
The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn “passive observers” into active participants of worship.Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.
The Church of Pope John Paul II features an elliptical layout
Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.
The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.
The church interior features whitewashed reinforced concrete ceilings and walls
As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to “invite people closer to the holy act” at the altar.
“If you like, we invite people into the apse, surrounding the altar, forming a community,” the architect explained. “It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae.”
The design aims to place more emphasis on the Eucharist and the altar
“The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ,” Gutowski added.
“The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture,” he continued.
“Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act.”
The church building itself has a crescent-like shape
Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest’s living quarters, and access to the bell tower on the first floor.
Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise “perpetuity” and to create a holistic space.
“The concept is that when we say ‘church’, this does not refer only to the part of the chapel, but rather to the whole community building in one singular form,” explained Gutowski.
Angled walls and off-centre details represent the broken body of Christ
The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically “inaccurate” layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
“We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny ‘mistake’, which actually became a symbol of the broken body of Christ,” added Gutowski.
This symbol of Christ’s broken body has been extended to the church interior, which features walls set at slanted, uneven angles.
Spotlights and skylights illuminate significant spaces in the church
The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.
The altar is carved from a single block of deep green stone
While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.
A curved staircase leads up to the first floor
The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
The church has been shortlisted in the civic and cultural interior project category of this year’s Dezeen Awards.
Crematorium Siesegem by Kaan Architecten rejects “pompous monumentalism”
Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
Project credits:
Architect: Robert GutowskiDesign team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos SzokolayArtworks: Csaba Ozsvári, István Böjte HorváthLandscape design: Attila PállEngineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János MészárosPhotography: Tamás Bujnovszky
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PRTZN Architecture has used upholstered foam blocks to transform a tiny room in a Hungarian church into a children’s playroom. Commissioned by Sacred Heart Jesuit Church in Budapest, the room is used as a space for children to play during holy mass services. Measuring just 12 square metres, the narrow space is filled wall-to-wall with […] More
