Cathedrals of Burlington, Vermont + The unique condition of two cathedrals built in the same city at the same time provides a rare opportunity to compare two built responses to similar criteria.

An unfortunate rash of fires devastated Burlington, Vermont for 18 months in 1971-1972. During this time both the Episcopal and Roman Catholic Cathedrals burned, but within 5 years two new buildings stood in their place. Both replaced lost 19th century Gothic Revival churches with timely architectural works, one designed by one of the leading architects of the decade.

A deal with the city, part of wider urban renewal efforts, enabled the Episcopal Cathedral to relocate to a more prominent downtown site with views of Lake Champlain. The new site was only two blocks from the Roman Catholic Cathedral, rebuilt on the same site.

The unique condition of two cathedrals built in the same city at the same time provides a rare opportunity to compare two built responses to similar criteria. (Liverpool has a similar pair, though the long history of the two projects makes the comparison far more complicated.) Their geographic proximity and erection in the same historical moment effectively negate those variables in order to more clearly elucidate others.

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Cathedrals of Burlington, Vermont

Exquisite rendered reconstruction of the Alvar Aalto designed church in Riola di Vergato, Italy. The video highlights the interplay of the space, light, and material by removing everything else.

Read a very nice description of the building here, or check input on the Locus Iste Building Database.

Saint Scholastica was built in the mid-1960s and is a representative example of that time period’s ecclesiastical architecture. Despite its prominence, I’ve been unable to identify the church’s architect.

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Consecration Crosses + Description and examples of an oft-overlooked feature of church architecture with profound liturgical, formal and symbolic meaning and great design potential.

I recently discovered a Flickr group for Consecration Crosses.

Found on the perimeter interior walls or columns of many ancient churches, particularly in extant examples in Northern Europe, these crosses mark the points where the building was anointed at its dedication. By common convention, their number and placement also symbolize the support of and solidarity with the twelve apostles.

Like many elements in church design, the term “consecration cross” has different meanings if defined based on its form or its use. In most of the reference sources from art and architecture, it is the formal definition that takes precedence even when the function is later described. Read, for example, this page with more information of the glyph.

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Consecration Crosses

Today is the Feast of St Matthias in the Roman Catholic Calendar (post 1969), the Church of England’s Common Worship, and some Lutheran churches.

The traditional feast day is 24 February, but in many modern calendars it has been moved to associate it with the Ascension. And because readings from the Acts of the Apostles occur during Easter in many traditions, the story of Matthias’ inclusion in the apostles makes sense in this season.

Here is the relevant passage from Acts 1.15-26 (NASB this time):

At this time Peter stood up in the midst of the brethren (a gathering of about one hundred and twenty persons was there together), and said, “Brethren, the Scripture had to be fulfilled, which the Holy Spirit foretold by the mouth of David concerning Judas, who became a guide to those who arrested Jesus. For he was counted among us and received his share in this ministry. … Therefore it is necessary that of the men who have accompanied us all the time that the Lord Jesus went in and out among us—beginning with the baptism of John until the day that He was taken up from us—one of these must become a witness with us of His resurrection.” So they put forward two men, Joseph called Barsabbas (who was also called Justus), and Matthias. And they prayed and said, “You, Lord, who know the hearts of all men, show which one of these two You have chosen to occupy this ministry and apostleship from which Judas turned aside to go to his own place.” And they drew lots for them, and the lot fell to Matthias; and he was added to the eleven apostles.

Here are photos of St Matthias Abbey, Trier: a minor basilica with the tomb of the Apostle (relocated 12th c).


Saint Matthias church in Trier, Germany via Wikimedia Commons
Saint Matthias church in Trier, Germany via Wikimedia Commons

st. matthias abbey, trier by Art History Images on Flickr
st. matthias abbey, trier by Art History Images on Flickr

Your curated bi-weekly collection of links to news, articles, blog posts, images, and events related to liturgical architecture and church-building from around the internet.

St Columba’s Church in Hopehill Road, begun in 1937, is a splendid example of the early work of Jack Coia. The church was still under under construction at the start of World War II in 1939. In 1941, permission was granted to complete the building work. It is the only church to have been erected in Glasgow during the war, in which 31 young men of the parish were listed as losing their lives.

This is a view of the nave of the church, looking towards the west doors. The church and parish is currently in the care of the Dominican friars of the Province of England.

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Your curated bi-weekly collection of links to news, articles, blog posts, images, and events related to liturgical architecture and church-building from around the internet.

The beautiful Christian’s Church of Klaksvik in the Faroe Islands. I’ve never been inside a modern church before (they’re all ancient in the UK) but this one is truly beautiful! I hope all modern churches look like this in the USA, but I guess not?

Designed in the 40s or 50s by the Peter Koch (an important Dane) to house the vast fresco painted by Joakim Skovgaard in 1901. I have no idea why they moved the painting all the way to the Faroes… But who am I to complain?

My first attempt at architectural photography; turned out OK, eh?

(There will be a related blog entry, but coming tomorrow, if I find the time)

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Your curated bi-weekly collection of links to news, articles, blog posts, images, and events related to liturgical architecture and church-building from around the internet.

To celebrate Easter, the website ArchDaily (“the world’s most visited architecture website”) published three regional round-ups of churches.

Ten of the fifteen featured buildings are chapels, a fact that reflects a prevalent bias in architecture for chapels over churches. As I have previously discussed, the reasons for this are many, starting with the fact that chapels tend to be much more expressive, moving, photogenic, and ripe for architectural inspiration. This in turn results from the oft-underestimated difference in programs. The church has far more constraints placed upon by its liturgical, ecclesial, and communal requirements, whereas a chapel is closer to the condition of “pure architecture” or architecture approaching art, driven exclusively by formal experiments in inspiring spiritual/emotional/sentimental reactions. Private chapels also have fewer constituents; they are generally funded by individuals or smaller groups As such they are much more a direct reflection of individualism from the patron(s) and the designer(s). (The exception to this is the campus chapel, which may have far more challenges than a typical parish church.)

Are parish churches disappointing failures if they do not, by formal/artistic architectural standards alone, measure up to the purity and expressivity of these chapels? There are, of course, parish churches apparently more driven by form; one such appears in one of these AD round-ups: Meier’s Dio Padre Misericordioso, Tor Tre Teste. And these are far more interesting problem. Does a church like Meier’s design achieve its artistic and spiritual aspects in addition to or in spite of the practical and religious? Does a church need to have merit within a design culture that so greatly values individual achievement and innovation for its own sake?

A chapel is much more about its psychological or phenomenological impact, whereas I propose that a parish church should be fundamentally ontological. (Though what exactly that means, what it looks like, and how it is achieved need to be established.) Consider the analogous distinction between private devotion and public service; both are necessary, each in their place. There is a place in a church for devotional images or shrines, but that place is not in the primary focus, just as the various flavors of spirituality supplement and inform the centrality of the liturgy.

Thus the celebrated qualities of the chapels profiled on the following pages should be considered desirable but insufficient to make a fully worthy church. And our greatest task is to have both.

AD Round Up Easter Special: Churches in Latin America
La Estancia Chapel by Bunker Arquitectura - image via ArchDaily
La Estancia Chapel by Bunker Arquitectura - image via ArchDaily
AD Round Up Easter Special: Churches in Europe
Chapel in Villeaceron by S.M.A.O. - image via ArchDaily
Chapel in Villeaceron by S.M.A.O. - image via ArchDaily
AD Round Up Easter Special: Churches in USA
The Cathedral of Christ the Light by SOM - image via ArchDaily
The Cathedral of Christ the Light by SOM - image via ArchDaily

Your curated bi-weekly collection of links to news, articles, blog posts, images, and events related to liturgical architecture and church-building from around the internet.

SS Giovanni Battista e Paulo, Milan, by Figini and Pollini, 1964-68. Reinforced concrete piers, tapered to the top, frame the sanctuary, and deep concrete rooflights (similar to the same architects’ earlier church of the Madonna dei Poveri in Milan) shed pools of light.

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St Catherine, Mile Cross, Norwich

1930s church by Caroe and Robinson. This is one of the few Anglican churches in the Norwich suburbs to be kept locked without a welcome and keyholder notice.

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Your curated bi-weekly collection of links to news, articles, blog posts, images, and events related to liturgical architecture and church-building from around the internet.

Kildrum Parish Church, Cumbernauld, by Alan Reiach and Stuart Renton, early 1960s. The building is full of quotations – a bit of Mies (IIT), a lot of Jacobsen (Oxford), some Stirling in the brick slab walls, the Otaniemi chapel inspires the cross beyond the window, a Swedish ceiling, of course some Corb in the random mullions. But somehow it all feels right. The Scandinavian associations are especially appropriate for this Presbyterian church.

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St Paul’s Church, Lorrimore Square . Built in 1959–60, by Woodroffe Buchanan & Coulter.

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By Wheeler & Sproson, 1960. With car blur and horrible 90s office buildings. This was the second Church of Scotland church in Glenrothes – the first being in a housing area, whereas this one is prominently located at a major roundabout in the town centre. My investigations suggest that churches were a bit of an afterthought for new town planners, but once they got involved with them, they were happy to use churches as significant landmarks. In fact they would usually insist on an architecturally distinctive and permanent building.

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1930-53 : Giles Gilbert Scott

via Flickr http://flic.kr/p/awijW9

@locus_iste + Site redesign/restructuring nearing completion. Hope to resume regular postings over the weekend.