An Assessment On The Church Architecture In Relation To Spirituality Among Christian Churches

S T O . N IÑ O C A T H O L IC S C H O O L , IN C . 1
An Assessment on the Church Architecture in relation to
Spirituality among Christian Churches
A Research
Presented to Sto.Nino Catholic School
In Partial Fulfilment for the Requirements of the
Course -12 Action Research
Research by:
Kharla Mae R. Ranchez
Ravene Mangaring
October 2018

Background of the Study
Brief History
The Catholic Church possesses a rich tradition of artistic beauty. From east to west
flow many artistic traditions, styles, and points of emphasis based on diverse cultural
values, traditions and backgrounds within the global Catholic Church. According to the
Catechism of the Catholic Church, sacred art achieves this Beauty “when its form
corresponds to its particular vocation: evoking and glorifying the transcendent mystery
of God,” while drawing “man to adoration, to prayer, and to the love of God” (Olsen,
2010). From this standpoint, all architects, artists, and musicians serving the Church are
called to manifest this transcendent Beauty in their creative work.
The earliest churches were based on the plan of the pagan Roman basilica , or hall
of justice. During a later period, a transept was added to the basilican plan in the form
of a wing aligned perpendicular to the nave on a north-south axis and projecting from
the boundaries of the nave to form the cruciform, or Latin cross, plan (e.g., Durham or
Peterborough cathedrals). Auxiliary altars, dedicated to particular saints, were often
erected at each end of the transept. (See the Figure.) Some medieval English cathedrals
(e.g., Canterbury, Lincoln, and
Salisbury) have a second, smaller
transept to the east of the main
transept. (David C. Kuhlman, march
3, 2016)
In Constantinople, Anatolia, and

Eastern Europe, where the Orthodox Church flourished, a plan known as the Greek cross
dominated ecclesiastical building. A notable example is Hagia Sophia (6th century AD)
in Constantinople (modern Istanbul).
In France the eastern end of the church was elaborated into a structure known as a
chevet, which is fully developed in many 12th-century Romanesque
churches; e.g., Notre-Dame-du-Port in Clermont-Ferrand, Fr. The term applies equally
to an eastern termination consisting of multiple apses or to a single apse surrounded by
an ambulatory and radiating chapels; it was designed to place as many subsidiary altars
as possible close to the high altar. The radiating chapels were usually uneven in number,
with the central one dedicated to the Virgin Mary and known as the Lady Chapel, a
feature of both French and English cathedrals.
Statement of the Problem
This study will exhibit the assessment of Christian churches of the respondents.
Specifically it will seek answers to the following questions:
Main problem
What is the main rationality of the church faith, history, architecture and
spirituality to the people?
Sub-problem
1. How the structures affect the spirituality of the people?
1.1 How does it affect the belief of the people?
1.2 How does it affect the community?

1.3 How does the environment affect the Christian churches?
2. How does the Design of the church different to one another?
2.1 How does the interior design of the churches have different to one
another?
2.2 How does the architecture of the churches effect on the spirituality of
the people?
2.3 What effects the history of Christian churches on the architecture of
the churches structure?
3. How does the Christian community know the essential of the arts within the
churches?
Theoretical/Conceptual
John Alfred Thomas has stated to his thesis that;
Religious architectural theory, I have defined as structured theological thinking about
three-dimensional reality; its product is religious architectural theories, specific ideas or
systems of ideas which understand space and place in a particular way; the three basic
theories, or bodies of theories, are the Sacra list (the idea of religious buildings and
places as holy places), the Secularist (thinking which sees all places as equal,
undistinguished realms), and the Cosmological (in which a building, or significant place,
is seen as symbolic or representative of the created order, in whole or in part). These

three groupings may not account for other theories, which may be held by traditions
outside Christianity and western religion. While such theory must be created as a
conscious act, by a rational process, it is very often assimilated unconsciously by
religious believers, who generally hold a religious architectural theory whether they
know of it or not, hence, no doubt, the pervasive influence of theory on individuals'
feeling and ideas.
These theories, and any others, have their origin in theology in the literal sense of the
word - in the concept of the nature and being of god that a particular religion holds, and
dogmas concerning god(s)'s relationship and interaction with people. The being of god,
god's actions in creating the world, creating the race of humans, and perhaps intervening
in history and society, of necessity affect the way religious people think about the world
and places in the world.

Conceptual Paradigm
Main
rationality
of the
churches
Structure of
the
churches
Design of
the churches
Art work
Interior
design
Christian
community
History
of
Christian
churches
Belief
Of the
people
Archite
cture

Figure 1 shows that the main rationality of the churches has a connection with the
structure of the church, spirituality, history, and artwork within the churches.
Significant of the study
In this research we look into the general contribution of the Christian churches
especially Roman Catholic and Orthodox Church. The people that will benefit on this
study will have knowledge to value or have a different perspective on the beauty of the
churches and also the future researcher that will choose or related to this study.
Scope and limitations
Information about the “An Assessment on the Church Architecture in relation of
Spirituality among Christian Churches” shall be based on the source and the person who
made this research.
This research is focusing on the arts within the church, and architecture firm
specializes in exclusively serving churches especially the Roman Catholic and Orthodox
Christian. The respondent of this study is limited to acquire a more reliable and relevant
data.
Methodology of the study
This paper is to assess the knowledge of the respondents regarding their awareness on
the church architecture on their community. It combines traditional theory with modern

thinking and uses a range of numerical analysis and experimental results to provide a
broad analysis of the subject area.
Definition of terms
The following terms are defined according to the context in which they will be used in
the study for clearer understanding of what they mean:
Architecture- the practice of building design and its resulting products; customary
usage refers only to those designs and structure that are culturally significant.
Apse- in architecture, a semicircular or polygonal termination to the choir, chancel
or aisle of a secular or ecclesiastical building. First used in pre-Christian Roman
architecture, the apse of ten functioned as an enlarged niche to hold the statue of a
deity in a temple.
Building materials- the availability of suitable materials fostered the crafts to
exploit them and influenced the shapes of building.
Chevet- eastern end of a church, especially of a Gothic church designed in the
French manner. In its most specific sense, the word, which derives from an Old
French term for “head,” refers to this type of ambulatory-apse structure, although it

can also be applied more generally to the area containing the principal apse of a
church.
Dome- in architecture, hemispherical structure evolved from the arc, usually
forming a ceiling or roof.
Hagia Sophia-is a great architectural beauty and an important monument both for
Byzantine and for Ottoman Empires. Once a church, later a mosque, and now a
museum at the Turkish Republic.
Opus caementicium- also known as roman concrete, it is a roman wall constructed
of rough undressed stones place in a concrete mix of lime, pozzolan, sand and water.
Pozzolana- finely divided siliceous or siliceous and aluminous material that reacts
chemically with slaked lime at ordinary temperature and in the presence of moisture
to form a strong slow-hardening cement.

Chapter 2
Review of related literature
A. Article
(Pearse, Looking West, but Walking East: The Dilemma of Orthodoxy in a
Moderning World, 2017)
The historic strength and the historic weakness of Eastern Orthodoxy are one and
the same. The perception that the Church is, and should be, timeless and unchanging;
that all its doctrines and practices—including that of icon-painting—are traceable back
to Christ and the apostles; that doctrinal development is fully and definitively
encompassed by the first seven ecumenical councils: these convictions have protected
it in the fast-changing world of the modern era from the liberalization that has ravaged
Protestantism since the late nineteenth century and from the aggiornamento that has
pushed Catholicism—at different speeds in different countries, to be sure—in the same
direction of accommodation. But the very intractability of Orthodoxy has sharply
limited its ability to make converts outside its historic homelands, and sometimes even
to hang on to its historic constituency.
Orthodoxy is distinguished, too, from the churches of the West by prolonged
periods of suppression under rulers of alien cultures and faiths: the Mongols in Russia
and Ukraine and the Turks in Greece and the Balkans. This has left a legacy of moral
superiority over the West— the superiority of those who have suffered for their faith.

However, it is a superiority which, like humility, has been perceived even by some
from within its own patrimony as rapidly eroding with awareness of itself.
The Orthodox world as defined by this book is to be distinguished from those
venerable churches of the East that have, since the fifth century, no longer been in
communion with both Constantinople (and thus also its daughter churches in eastern
and Southeastern Europe) and Rome. The issue at stake then was ostensibly
Christology, though big-city power politics was the prime culprit for the acrimony
(relations between Alexandria and Antioch—and between both of them and
Constantinople—were notoriously heated). And what rivalry and theology created,
divergent culture has sustained. The Coptic, Armenian, and Assyrian churches all bear
the sobriquet “Orthodox”, but they do not see themselves as integral parts of the
Eastern Orthodox world. Nor are they viewed as such by the churches considered in
this volume. With the partial exception of the Ethiopians and, for at least some of their
history, the Armenians, none has sustained exclusive, or even preponderant, leverage
over the population of a state; most have endured the life of oppressed minorities
claiming the adherence of the merest fragments of the societies in which they live. Yet
it remains the theological issues that keep them in a category apart. The big-city
rivalries that first provoked those lost most of their import back in the seventh century,
when two of the three culprits were conquered for Islam, an embrace they have not
shaken off since.
(David C. Kuhlman, march 3, 2016)

Pope John Paul II invites “all who are passionately dedicated to the search for new
‘epiphanies’ of beauty” to rediscover the depth of the spiritual and religious dimension
which has been typical of art in its noblest forms in every age”; to create “works of art to
shed light upon (humanity’s) path and its destiny.” Since each Catholic church building
is “a sign of the pilgrim Church on earth [reflecting] the Church dwelling in heaven,”
suitable for “sacred celebrations, dignified, and evincing a noble beauty,… [and] a
symbol of heavenly realities,” to achieve this Beauty, designs for Catholic churches
“must manifest a sense of the Heavenly Banquet, for the Sacred Liturgy is a foretaste of
the Heavenly Liturgy which is celebrated in the Heavenly Jerusalem,” a “window to
eternity and a glimpse of what God calls us to be.” But just as the Beauty of God is
inexhaustible, there is an “infinite Ocean of Beauty,” and each culture within the Church
has found its own waters to explore within this Ocean, some more, some less. This
cultural diversity is also found within the Catholic population in the United States,
which is evident in the wide range of designs for Catholic churches in this country.
(Francis Christopher Oakley, 2018)
The number of Roman Catholics in the world (nearly 1.1 billion) is greater than that
of nearly all other religious traditions. There are more Roman Catholics than all other
Christians combined and more Roman Catholics than all Buddhists or Hindus.

These incontestable statistical and historical facts suggest that some understanding
of Roman Catholicism—its history, its institutional structure, its beliefs and practices,
and its place in the world—is an indispensable component of cultural literacy,
regardless of how one may individually answer the ultimate questions of life and death
and faith.
At one level, of course, the interpretation of Roman Catholicism is closely related to
the interpretation of Christianity. Conversely, such questions are essential to the
definition of Roman Catholicism itself, even to a definition that adheres strictly to the
official Roman Catholic view, according to which the Roman Catholic Church has
maintained an unbroken continuity since the days of the Apostles, while all other
denominations, from the ancient Copts to the latest storefront church, are deviations
from it.
(bovey, 30 apr 2015)
Dr. Alixe Bovey said that the church was a powerful force in medieval England. She
examines how the church was organized, why people went on pilgrimages, and what
happed to dissenters. She also stated that The Church was the single most dominant
institution in medieval life, its influence pervading almost every aspect of people's
lives.

The success of the Church as a dominant force can be attributed in no small
measure to its highly developed organization, which over the course of the middle
Ages developed a sophisticated system of governance, law and economy.
The institutional Church can be divided into two unequal parts: the larger of the two
was the secular church, and the other was the regular church, so called because its
members followed a monastic rule (regula, in Latin). The secular church, attended by the
general population, was carved into regions governed by archbishops. For most
medieval Christians, religious experience was focused on a parish church which they
attended, at least in theory, on Sundays and religious festivals.
The regular church, by contrast, consisted of men and women who had sworn vows
of obedience, celibacy and poverty. Most of these people lived in communities governed
by a 'rule', a book of instructions. The most influential and widespread rule was the Rule
of St Benedict (c. 620 - 30), which set out a detailed routine consisting of manual labour,
prayer and study.
B. Books
(McNamara, 2009)
Based on a refreshingly Thomistic pattern, clear in its distinctions and completely
accessible to the average reader. One is guided through a discourse regarding
ontological categories and laying out the basis and final goal of any artistic endeavor,

that is, truth, goodness, and beauty. The discussion on beauty should be a prerequisite
for anyone even remotely interested in the arts. Understanding the theological
implications of beauty is crucial in any discussion regarding the appropriateness of
liturgical architecture, as beauty is the manifestation of the “splendor of truth”: one has
to know what a thing is in its deepest sense to know how it should be made. Beautiful
things are formative as they move the will toward the good, and this can also be
described as an act of love. Simply said, things should look like what they are. This is a
straightforward concept, but one that unfortunately escapes many practicing architects
and liturgical consultants today.
(Saward, nd)
The Catholic Church possesses a rich tradition of artistic beauty. From east to west
flow many artistic traditions, styles, and points of emphasis based on diverse cultural
values, traditions and backgrounds within the global Catholic Church. But the goal of
achieving Beauty, of radiating “the transcendent beauty of the Triune God”
(Nacncy Ross)
Christianity emphasized belief and a personal relationship with God. The doctrines, or main
teachings, of Christianity were determined in a series of councils in the early Christian period,

such as the Council of Nicea in 325. Nevertheless, there is great diversity in Christian belief and
practice.
The two dominant early branches of Christianity were the Catholic and Orthodox Churches,
rooted in Western and Eastern Europe respectively. Christianity spread throughout the world.
In the 16th century, the Jesuits (a Catholic order), sent missionaries to Asia, North and
South America, and Africa often in concert with Europe’s colonial expansion.
Christian practice centers on the sacrament of the Eucharist, which is sometimes
referred to as Communion. Christians eat bread and drink wine to remember Christ’s
sacrifice for the sins of humankind. Christ himself initiated this practice at the Last
Supper. Catholics and Eastern Orthodox believe that the bread and wine literally
transform into the body and blood of Christ, whereas Protestants and other Christians
see the Eucharist as symbolic reminder and re-enactment of Christ’s sacrifice.
(Ambler)
Long before concrete made its appearance on the building scene in Rome, the
Romans utilized a volcanic stone native to Italy called tufa to construct their buildings.
The major contribution the Romans made to the mortar recipe was the introduction of
volcanic Italian sand (also known as “pozzolana”). The Roman builders who used
pozzolana rather than ordinary sand noticed that their mortar was incredibly strong and
durable. It also had the ability to set underwater. Brick and tile were commonly
plastered over the concrete since it was not considered very pretty on its own, but
concrete’s structural possibilities were far more important. The invention of opus
caementicium initiated the Roman architectural revolution, allowing for builders to be

much more creative with their designs. Since concrete takes the shape of the mold or
frame it is poured into, buildings began to take on ever more fluid and creative shapes.
(Koehrsen, 2016)
Great differences may arise between lower and middle class churches. The
empirical comparison between these two churches highlighted potential boundaries
between lower and middle class Pentecostalism. The comparison remains limited,
however, insofar as it considers only two churches.
(Funk Wagnalls New Encyclopedia, 1993)
Roman architecture continued the development now referred to as classical, but
with quite different results. Unlike the tenuously allied Greek city-states Rome became
a powerful and organized empire that planted its constructions throughout
Mediterranean world. Romans built great engineering works such as roads, canals,
bridges, and aqueducts. Their masonry was more varied; they used bricks and concrete
freely, as well as stone, marble and mosaic.
Use of the arch and vault introduced curved forms and curved walls that produces
semicircular spaces, or apse, for terminating an axis, Cylindrical and spherical spaces
became elements of design that is well suited for rooms appropriate to the Roman
Imperial scale. The dome, barrel or tunnel vaults are inherently limited in span, and
they exert lateral thrust. Two Roman inventions of enormous importance overcame

this. First was the dome, inherently more stable than the barrel vault because it is
doubly curved, but also limited because it thrusts outward circumferentially. It was
possible for Hadrian to rebuild (AD 118-28) the Pantheon in Rome with a dome 43 m
(142ft) above floor, but only by encircling it with a massive hollow ring wall 6 m
(20ft) thick that enclose eight segments of curved units. Thus, a dome provides for a
one-room building but cannot easily be combined with other domes to make a larger
space.
At the beginning of the 12th
century, Romanesque was transformed into gothic.
Although the change was a response to a growing rationalism in Christian theology, it
was also the result of technical development in vaulting. To build a vault requires first
a temporary carpentry structure, called centering, which supports the masonry until the
shell has been completed and the mortar has set. Centering for the ordinary groin vault
must be for an entire structure unit, or bay, with a resultant heavy structure resting on
the floor. About 1100, the builders of Durham Cathedral in England invented a new
method. They build two intersection diagonal arches across the bay, on lighter
centering perhaps supported high on the nave walls, and then found ways to fill out the
shell resting on secondary centering. This gave a new geometric articulation – the
ribbed vault. Ribs did not modify the structural characteristics of the groin vault, but
they offered constructional advantage and emphatically changed the vault’s
appearance.

CHAPTER 3
Methodology and Procedure
The purpose of this study is to know the knowledge regarding the awareness of
the people in relation to the structure, spirituality, history, and artwork of the church in
their community and also to know if the structure has an effect to the spirituality of the
people.
Methods of Research Used
The descriptive method of research will be employed in this study. The
researchers have chosen to use survey questionnaire to gather data and they believe
that this design is appropriate for the subject because it is easier for data gathering
from the respondents. In conducting this study, the researchers will do the following:
Data Gathering Procedure Research.
Researchers. Gathered information from reliable books, articles and studies related to
this study and analyze.
Preparation of Survey Questionnaires. After collecting data related to this study,
researchers prepared the questions to conduct a survey to the respondents. This will
help the researchers gather data’s regarding this study.

Request Permission. Before conducting the survey and giving interviewers with
selected respondents, researchers first sought permission from our research adviser and
other experts involved to carry out the actual research.
Recording. Researchers obtain books and dissertations on information gathering
within and outside the university in relation to current studies, particularly on
implementing church architecture.
The first part would be the assessment of the respondents’ knowledge regarding their
awareness on the structure of their church. They will present their answers based on
the following scale:
Table 1
Scale Range Verbal Interpretation
1 1.00-1.79 Unaware
2 1.80-2.59 Partially aware
3 2.60-3.39 Aware
4 3.40-4.00 Fully aware
The second part would be the assessment of the respondents’ knowledge regarding
their awareness to the artwork within the church on their community. They will
present their answers based on the following scale:

Table 2
Scale Range Verbal Interpretation
1 1.00-1.79 Unaware
2 1.80-2.59 Partially aware
3 2.60-3.39 Aware
4 3.40-4.00 Fully aware
Respondents of the Study
The population of the study will involve the Roman Catholic and Orthodox
Christianity. They will be the respondents of this study. Survey questionnaires will be
administered to random respondents from 50 Roman Catholic and 50 Orthodox
Christian, There are total of 100 respondents.

CHAPTER 4
Statistic of the study
Sampling Technique
This study will be involving the method of random sampling and will be employing
Slovin’s formula will be used for the computation of the sample size.
Formula: 𝑛 ≥
𝑁
1+𝑁𝑒2
Where: n = sample size
N = total number of population
e = margin of error
Solving:
𝑛 ≥
𝑁
1+𝑁𝑒2
𝑛 ≥
100
1+(100)(0.05)2 𝑛 ≥
100
1.25
𝑛 ≥
100
1+(100)(0.05)(0.05)
𝑛 ≥ 80

The data gathered from the survey was tallied were used to compute for the sample
Size. Slovin’s formula was also used to get the total number of sample size. These data
are shown on the following table:
Table 4
Sample Size of the Respondents
Churches Total number of
respondents
Sample size
Roman catholic 50 50
Orthodox Christian 50 50
Total 100 100
Validation of the Questionnaire
The researchers of this study improved the questionnaire by the suggestions and
Comments from their expertise and also from the thesis adviser who helped them and
those who have knowledge regarding this study.
Statistical Treatment
In order to have empirical results, all of the data that is generated from the research
instrument will be collected, recorded, analyzed, and interpreted carefully using the
following statistical tools:

1. Frequency (F) and Percentage (P) will be utilized in describing the profile of the
respondents.
Formula: 𝑃 =
𝐹
𝑁
× 100% Where: P = Percentage
F = Frequency
N = Total number of respondents
(Population)
2. Weighted Mean (WM) is used in describing the composite of rating of the
respondents per item.
Formula: 𝑊𝑀 =
∑ 𝐹𝑊
𝑁
Where: WM = Weighted mean
∑FW = sum of the product of the
Frequency & the weight
(Population)

3. Standard Deviation (ō) is used to measure the dispersion of the individual responses
and to determine how close the individual responses and to determine how close the
individual data values are from the mean of different parts of the questionnaire
(Monterrosa, 2017).
Formula:
Where: ō = Standard Deviation
x
̄ = the arithmetic mean of data
(Population)

The result of this study was to know if the people in their community have a
knowledge about their church and it’s stated in the statistic treatment that result of the
researcher survey in Roman Catholic and Orthodox Christians.
The personal profile of the respondent in Roman Catholic based on the following
scale:
Table 1. Distribution of respondents according to Age
Table 1.2. Distribution of respondents according to Gender
Age
13-19 20-27 28-34 35and above
Age Frequency Percentage
13-19 25 50%
20-27 10 20%
28-34 5 10%
35 and above 10 20%
TOTAL 50 100%

Table 1.3. Distribution of respondents according to Educational Background
Male
Female
Gender
Male Female
Gender Frequency Percentage
Male 25 50%
Female 25 50%
TOTAL 50 100%
Educational background Frequency Percentage
High School 12 24%
College Undergraduate 1 2%
Post Graduate 3 6%

Table 1.4. Distribution of respondents according to Religious Affiliation
Educational Background
High School College Undergraduate Post Graduate
Senior High School College Graduate Vocational
Doctorate
Senior High School 23 46%
College Graduate 9 18%
Vocational 1 2%
Doctorate 1 2%
TOTAL 50 100%
Religious Affiliation Frequency Percentage
Roman Catholic 50 100%
TOTAL 50 100%

Table 1. Distribution of respondents according to their knowledge regarding their
awareness on the structure of their church.
Roman Catholic
100%
Religious Affiliation
Roman Catholic

Awareness of the people of their church in the community in relation
to:
me
an
ran
k
descrip
tion
1. Structure 1 2 3 4
1. My local church is made up of good material
and can endure the test of time.
2. The church is filled with religious motif like
crucifixes, bell towers, stained glass,
cloisters, etc.
3. The teachings and the core tenets of my faith
is unreservedly expressed through the details
in church
Roman Catholic
4. Roman catholic churches ranges from
traditional church to modern churches
5. One of the essential part of roman catholic
structure is the retablo or the background altar
piece.
6. Most of the catholic churches are filled with
paintings and statues of saints.
7. Catholic Churches have stations of the cross.
8. Catholic Churches have twelve(12) crosses,
six each side of the altar that represents the
twelve apostles
9. Catholic altars have relic of the saints and
been consecrated on its first use.
10. Catholic churches have tabernacles on their
altar
Orthodox Christianity
11. Orthodox Churches have remained traditional
on their church structure as much as possible.
12. The ideal structure of orthodox Church is a
domed church and arranged in a cruciform
13. Orthodox Church is divided into three parts:
the Narthex, Nave and the Holy of Holies.
14. Orthodox Church is highly distinguishable by
the overwhelming amount of icons inside and
even outside the church.

15. One of the character of Orthodox Church is the
Sanctuary and the Nave is separated by
Iconostasis or Icon stand and there is a large
liturgical chandelier suspended.
16. There are few chairs or no chairs at all in the
Orthodox Church.
2 Spirituality 1 2 3 4
17. The presence of the Lord is experienced through
the physical church.
18. The sacred arts within the church emulates the
theology of the church.
19. The way of worship and the beauty of the church
are aligned with one another.
20. The design of the church edifies and gives me an
understanding on the entire theology of faith.
21. The design of the church taught me that faith and
worship can be interpreted according to your
own liking and thus freedom of worship is
permitted.
22. The church architecture emulates solemnity and
profound sacredness and hence proper sacred
actions by the priest and people is expected upon
the divine service.
23. The church can be solemn or liberal in term of
worship.
24. The design of the church is for aesthetic quality
only.
25. The design of the church is idolatrous and should
be avoided at all costs.
26. Spiritual traditions and theology of the faith
should be seen in the church especially the truth
of the Theandric Revelation.
27. The church enables me to see that using guitar
and other band instruments is essential in
praising God
28. The church enables me to see that using band
instruments and organs and dancing is essential
in worship.

Legend: Scale for Interpreting the Computed Weighted Mean
3.40-4.00 Fully Aware
3.39-2.60 Aware
1.80-2.59 Partially Aware
1.00-1.79 Fully Aware
Table 1 shows the distribution of the respondents in terms of knowledge
regarding their awareness on the structure of their church. “My local church is made
up of good material and can endure the test of time.” Was ranked 1st
and interpreted as
“aware”. The indicator, “The church is filled with religious motif like crucifixes, bell
towers, stained glass, cloisters, etc.” was ranked 2rd
and interpreted as “AWARE”. The
indicator, “The teachings and the core tenets of my faith is unreservedly expressed
through the details in church” was ranked 3rd
and interpreted as “ AWARE”.
29. The church enables me to see that proper
decorum and by singing with voice alone is due
to God in accordance with the traditions and
scripture.
30. Through the physical structure of the church. It
helps me to understand the scripture and my
faith.
3. History 1 2 3 4
31. Awareness of the history and development of
the church is essential.
32. Evert part and design of the church has its
historical meaning and its value can link us to the
beauty of the heritage of faith.
33. History is not essential in building a church.
34. The historical development of the church gives
further meaning to the faith, tradition and way of
worship.

The indicator, “Roman catholic churches ranges from traditional church to
modern churches” was ranked 4th
and interpreted as “AWARE”. The indicator,” One
of the essential part of roman catholic structure is the retablo or the background altar
piece” was ranked 5th
and interpreted as “AWARE”. The indicator, “Most of the
catholic churches are filled with paintings and statues of saints” was ranked 6th
and
interpreted as “AWARE”. The indicator, “Catholic Churches have stations of the
cross” was ranked 7th
and interpreted as “AWARE”. The indicator, “Catholic
Churches have twelve(12) crosses, six each side of the altar that represents the twelve
apostles” was ranked 8th
and interpreted as “AWARE”. The indicator, “Catholic altars
have relic of the saints and been consecrated on its first use.” was ranked 8th
and
interpreted as “AWARE”. The indicator, “Catholic churches have tabernacles on their
altar.” was ranked 8th
and interpreted as “AWARE”. The indicator, “Catholic churches
have tabernacles on their altar.” was ranked 8th
and interpreted as “AWARE”.
The indicator, “Orthodox Churches have remained traditional on their church
structure as much as possible.” was ranked 8th
indicator, “The ideal structure of orthodox Church is a domed church and arranged in a
cruciform.” was ranked 8th
and interpreted as “AWARE”. The indicator, “Orthodox
Church is highly distinguishable by the overwhelming amount of icons inside and
even outside the church” was ranked 8th
and interpreted as “AWARE”. The indicator,
“One of the character of Orthodox Church is the Sanctuary and the Nave is separated
by Iconostasis or Icon stand and there is a large liturgical chandelier suspended.” was

ranked 8th
and interpreted as “AWARE”. The indicator, “There are few chairs or no
chairs at all in the Orthodox Church.” was ranked 8th
Table 1 presents the Effects of Disciplinary Measures in terms of Suspension. The
overall weighted mean of student in terms of structure is 2.917 interpreted as “AWARE”.
It could be summed up that the respondents were moderately affects the behavior of
the respondents in terms of Advised for Transfer.
Table 2 shows the distribution of the respondents in terms of knowledge regarding
their spirituality of their church.
The indicator, “The presence of the Lord is experienced through the physical church”
was ranked 1th
and interpreted as “AWARE”. The indicator, “The sacred arts within the
church emulates the theology of the church” was ranked 2th
and interpreted as
“AWARE”. The indicator, “The way of worship and the beauty of the church are aligned
with one another.” was ranked 2th
and interpreted as “AWARE”. The indicator, “The
design of the church edifies and gives me an understanding on the entire theology of
faith” was ranked 2th
and interpreted as “AWARE”. The indicator, “The church
architecture emulates solemnity and profound sacredness and hence proper sacred actions
by the priest and people is expected upon the divine service.” was ranked 2th
and
interpreted as “AWARE”. The indicator, “The church can be solemn or liberal in term of
worship.” was ranked 2th
and interpreted as “AWARE”. The indicator, “the design of the

church is for aesthetic quality” was ranked 2th
indicator, “The design of the church is idolatrous and should be avoided at all costs
“AWARE”. The indicator, “Spiritual traditions and theology of the faith should be seen
in the church especially the truth of the Theandric Revelation.” was ranked 2th
and
interpreted as “AWARE”. The indicator, “The church enables me to see that using guitar
and other band instruments is essential in praising God” was ranked 2th
and interpreted as
“AWARE. The indicator, “The church enables me to see that using band instruments and
organs and dancing is essential in worship” was ranked 2th
The indicator, “The church enables me to see that proper decorum and by singing with
voice alone is due to God in accordance with the traditions and scripture.” was ranked 2th
and interpreted as “AWARE”. The indicator, “Through the physical structure of the
church. It helps me to understand the scripture and my faith.” was ranked 2th
and
interpreted as “AWARE”.
Table 2 presents the awareness of the respondents in terms with their spirituality.
The overall weighted mean of student in terms of Suspension is 2.917 interpreted as
“AWARE”.
It could be summed up that the respondents aware in terms of Advised for Transfer.
Table 3 shows the distribution of the respondents in terms of knowledge
regarding their history of their church.

The indicator, “Awareness of the history and development of the church is
essential.” was ranked 2th
and interpreted as “AWARE”. The indicator, “Evert part
and design of the church has its historical meaning and its value can link us to the
beauty of the heritage of faith.” was ranked 2th
indicator, “History is not essential in building a church. ” was ranked 2th
and
interpreted as “AWARE”. The indicator, “The historical development of the church
gives further meaning to the faith, tradition and way of worship” was ranked 2th
and
interpreted as “AWARE”.
Table 3 presents the Effects of Disciplinary Measures in terms of Suspension. The
overall weighted mean of student in terms of Suspension is 2.917 interpreted as
“AWARE”.
It could be summed up that the respondents were moderately affects the behavior of
the respondents in terms of Advised for Transfer.
Table 2. Distribution of respondents according to their knowledge regarding on
the artwork within the church.
4. Artwork 1 2 3 4
m
ea
n
ran
k
desc
ripti
on
35. Artworks inside the church is essential
on understanding the faith of the
church.
36. Artworks are form of idolatry and
should be avoided

Legend: Scale for Interpreting the Computed Weighted Mean
3.40-4.00 Disagree
3.39-2.60 Agree
1.80-2.59 Partially Agree
1.00-1.79 Surely Agree
Table 4 shows the distribution of the respondents in terms of knowledge regarding
their artworks within their church.
37. Artwork inside the church can be
expressed freely as a response to the
call of modernity
38. The church should not possess anything
but traditional sacred art as the
testament of unmoving and unchanging
theology that reflects the eternity of
God’s majesty.
39. The art on saints inside the church
should be able to express romantic
emotions to convey that they too have
emotions.
40. Icons should not possess any form of
emotion rather, a stoic expression as the
manifestation of the proper approach to
the Divine.
41. The universal church, a living spiritual
body of the divinity of the church will
see through the artwork
42. Kissing is the only approved act of
veneration towards saints and the
divine icons.
43. Touching and wiping the painting and
statues expresses fervent devotion
towards that saint.
44. Religious arts should be arranged in
proper so as to usher not to distract the
faithful’s attention of the religious ones

The indicator, “Artworks inside the church is essential on understanding the faith
of the church.” was ranked 1th
and interpreted as “AGREE”. The indicator, “Artworks
are form of idolatry and should be avoided” was ranked 2th
and interpreted as
“AGREE”. The indicator, “Artwork inside the church can be expressed freely as a
response to the call of modernity” was ranked 2th
and interpreted as “AGREE”. The
indicator, “The church should not possess anything but traditional sacred art as the
testament of unmoving and unchanging theology that reflects the eternity of God’s
majesty.” was ranked 2th
and interpreted as “AGREE”. The indicator, “The art on
saints inside the church should be able to express romantic emotions to convey that
they too have emotions.” was ranked 2th
and interpreted as “AGREE”. The indicator,
“Icons should not possess any form of emotion rather, a stoic expression as the
manifestation of the proper approach to the Divine.” was ranked 2th
and interpreted as
“AGREE”. The indicator, “The universal church, a living spiritual body of the divinity
of the church will see through the artwork” was ranked 2th
and interpreted as
“AGREEE”. The indicator, “Kissing is the only approved act of veneration towards
saints and the divine icons.” was ranked 2th
and interpreted as “AGREE”. The
indicator, “Touching and wiping the painting and statues expresses fervent devotion
towards that saint.” was ranked 2th
and interpreted as “AGREE”. The indicator,
“Religious arts should be arranged in proper so as to usher not to distract the faithful’s
attention of the religious ones.” was ranked 2th
and interpreted as “AGREE”.

Table 4 presents the knowledge regarding on the artwork within the church. The
overall weighted mean of respondents in terms of artworks is 2.917 interpreted as
“AWARE”.
It could be summed up that the respondents were moderately affects the behavior of the
respondents in terms of Advised for Transfer.

CHAPTER 5
Summary and Conclusion
Christianity is one of many religions that host sacred places for forms of worship. Just
as each religion in the world is unique, so too are their forms of basic architecture,
Christian churches have distinctive elements.
Church refers to the entire religious space where the congregation gathers; in other
words, the entire architecture space with the early Christian church based largely in
Rome, their architecture was mostly also based on Roman precedents.
When entering a catholic church we are entering a type of building which has been in
use for two thousand years. During all these centuries the building of churches has
undergone different forms of development and the characteristics of various style, some
old, some relatively modern, are to be seen in our churches today. As cultured Catholics,
it behaves us to have some little knowledge of the development of Christian architecture
and to be able to recognize the features of its more important styles.
Broadly speaking, there are six major types of church architecture, namely, Greco-
Roman, Byzantine, Romanesque, Gothic, Renaissance and modern. The Greeks had a
tremendous influence on civilization and no art shows this influence more than
architecture. The Greek temple is properly regarded as one of the most beautiful forms
of building ever constructed. The structures were small and admirably proportioned.
When the Romans absorbed Greek culture and forms they adopted a number of the
characteristic features of Greek architecture, but they found that the Greek buildings

were nit on a scale in keeping with Rome’s imperial ideas. The Roman introduced the
arch in order to enable large spaces to be spanned, and it is interesting to note that it was
by the Romans that concrete was first used in building construction. (Gaffney)
This chapter presents the summary of findings, the conclusions made and the
recommendations offered.
Summary of Findings
The finding of the study are summarized as follows:
Mostly of the respondents belong to the age of “13-15” years old. When it come
to the genders according to survey there are 50% female and 50% male.
This study shows that the religion of the respondents are 50% Roman Catholic
and 50% orthodox Christians.
The study reveals that out of the 4 factors given to the Roman Catholic and
Orthodox Christian; mostly of the Roman Catholic are not aware about the structure of
their church and when it comes to the orthodox Christians mostly of them are aware
about their structure. It has a weighted mean of 3.56. Followed by the spirituality with an
mean of 57893, history has weighted mean of u498327, artworks has a weighted mean of
45989
Conclusions
Based on our finding, we concluded that the Church Architecture have an effect to
the spirituality to the people within the community, especially to the Roman Catholic
and Orthodox Christians.

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