#religious architecture

[die-rosastrasse]

Church of the Holy Spirit, Munich

September 2022 (credits belong to this blog)

[socialist-microwave-laser]

don't get me wrong i love the photos of the super gorgeous and intricate and ornate mosques and cathedrals but every time they appear on my dash my heart breaks a little because most of the synagogues that compare have since been destroyed

[mybeautifulpoland]

Kraków, Poland by zaparowana

[arc-hus]

Kuokkala Church, Jyväskylä, Finland - OOPEAA

[sidebee-hive]

Ukrainian soldiers sheltering from the rain near frescoes in St Michael's Cathedral in Kyiv. Photo by Sergei Supinsky.

[gods-country024]

Salem, MA // 6/22/23

in the corner of my brain

my mothers voice will always echo

“repent my child, you are worthy of saving!

don’t you want to meet your creator at the pearly gates of heaven?”

and sometimes i lay awake at night praying to a god

whos long abandoned his creation

hands clasped, knuckles white

praying for his holy salvation

from the fiery pits that i have been promised since birth

i seem to carry this blind belief like a tumor

but i never fear,

for all saints have a past

and all sinners have a future

by svr

[germanpostwarmodern]

For over four decades art historian Hans-Kurt Boehlke (1925-2010) was the most active advocate of a modern sepulchral culture in Germany, first as representative of the „Arbeitsgemeinschaft Friedhof und Denkmal“ and later as promoter of the „Stiftung Zentralinstitut und Museum für Sepulkralkultur“. In these capacities Boehlke also was responsible for numerous publications, e.g. the present volume „Friedhofsbauten: Kapellen, Aufbahrungsräume, Feierhallen, Krematorien“, published in 1974 by Callwey: in the book Boehlke gathers exceptional examples of modern cemetery buildings and also provides planning principles for chapels, mortuaries, chapels and crematories. The majority of examples are located in Germany but Boehlke also included buildings from the Netherlands, UK, Switzerland and Austria, an interesting addition that also demonstrates differences in sepulchral practices in Europe.

[drainpipecore]

The moon in Durham Cathedral, UK

[apple-blossom-jeans]

view from Basilica of Our Lady of Guadalupe, Mexico City

[archtechposts]

Tuscan Gothic Overtones

Church of S. Giovanni Battista, Mogno Switzerland by Mario Botta 1992-96

[viagginterstellari]

Tashichho Dzong - Thimphu, 2018

[emmaklee]

St. Hildegardis Chapel, Dusseldorf

Gottfried Bohm, architect

Stefano Perego, photographer

[noosphe-re]

Angkor Wat, Cambodia

[arc-hus]

The San Jorge Church and Parish Centre, Pamplona, Spain - Tabuenca Leache

[sidebee-hive]

Photos of St. Panteleimon's Cathedral which is found close to Feofaniia in Kyiv, Ukraine.

The cathedral was looted during the Bolshevik revolution and then it was damaged WWII. In the 90’s, it was returned to the Ukrainian Orthodox Church and is now the church of a convent.

[venetianwindow]

[240213] || In the Beginning: Níall McLaughlin’s Carmelite Monastery. 1/3.

[Read: Part 2 // Part 3]

It seems absurd to find a monastery between Kensington High Street and Notting Hill Gate, but nothing is inconceivable in London. Such a remarkable place also possesses one of the most exceptional interiors of the 1990s. Sited next to Giles Gilbert Scott’s Carmelite Church, the modest gates of the Carmelite monastery shield the monks’ spiritual world from the glitzy realm beyond. Thankfully, the boundary is not unnegotiable; armed with persistence and passion – bolstered by a helpful personal link – I made my pilgrimage to the beginning.

Upon entering, the seemingly endless corridor gives a taster of what is to come. The reception was coded in the architectural and material languages that are by now so familiar to me. Even here one could discern tropes and motifs that would evolve into future signatures. Reading them instantly was comforting, as was the warm timber. From afar it looked radiant.

The monks’ private chapel was intimate and human. It nurtured relationships between man and the holy as well as between men. My agnostic self felt a twinge of guilt intruding into this space of domesticated sacredness. The piety of its users was evident in the myriad of religious belongings, from bibles and brass candlesticks to the statue of the Virgin and the ornate handheld cross I dared not touch.

A quiet spirituality permeated the room; it practised that Modernist tendency of evocation by architectural devices over literal representation. This was a gentle place. Perhaps it took after its architect.

In this small space, all is lightness. Architectural purity flowed forth from stable platonic forms fashioned from a luxurious but not garish material palette: oak, brass, limestone, hand-blown glass, and so on. The consistent tones of gold and amber sustain a hallowed sense of serenity.

From the lush garden beyond drifted in the joyful ambience of nursery children; within there was only peace and calm. A candle gently flickered upon the reredos. The world is a wall apart.

[➡️ Continued in part 2.]

☞ studygram