Church of salvation (catholic church complex) thesis report by hebron patrick

THE SUPERIOR UNIVERSITY, LAHORE
DEPARTMENT OF ARCHITECTURE
SESSION 2016 - 2021
THESIS REPORT
ON
“CHURCH OF SALVATION”
CATHOLIC CHURCH COMPLEX
THESIS ADVISORS
AR. WASEEM RAFI KHAN
AR. M. MOHSIN IQBAL
SUBMITTED BY:
HEBRON PATRICK
(BARM-F16-031)

Catholic Church Complex
I
My thesis is a tribute to my late Grandparents Mr & Mrs. Patrick Paul who just
passed away due to COVID-19 in February 2021.
They devoted their lives to make my future better so that I could achieve new heights
of success. The person I am today, is just because of their whole-hearted prayers,
spiritual and social teachings. I thank you both for your unconditional love, care
concern and even the anger, devotion and all the hardwork you both have done for
raising me. I had always dreamt of cherishing this big moment of mine with you both
standing right beside me and your eyes lighting up with the thrill of joy. I know you
both would be so proud of me from up there.
Therefore, I decdicate my whole thesis project to My Grandparents “Mr & Mrs.
Patrick Paul”.
I miss you both more than anything.
May your souls rest in eternal peace forever. Amen.

II
DEDICATION
This thesis has been possible because of The God Almighty who blessed me abundantly
throughout these years so I could work hard.
I extend my warmest gratitude to all Priests and Nuns who have been a great help
throughout this journey. Special thanks to Archbishop Sebastian Francis Shaw,
Father.Clerance Hayat, Father.Tahir, who has always happily provided me with all the
information that was needed for my thesis.
This thesis took a great deal of time and energy, often at the expense of not being there with
my loved ones. I also acknowledged with a great sense of reverence, my gratitude towards
My Grandparents, My Parents, Brothers and Sisters, and all other Family Members, and
my Friends for loving me unconditionally, for understanding and supporting me in pursuit of
my career aspirations. You have been with me throughout the way, through good times and
bad times.
I thank you all for all the guidance and virtual support that you have given me, helping me to
succeed and instilling in me the confidence that I am capable of doing anything I put my
mind to.
I am grateful for the times my grandparents, my mother and my sisters have invested in
assisting me to deliver my work on time, and my father Serosh Patrick and my uncle Simon
Patrick whose financial support, passionate encouragement made it possible for me to
complete this project and their unflinching courage, faith, and conviction in all facets of life
will always inspire me.
I hope that through this work I can ~ in some small way ~ repay them for all they have
sacrificed so that I become the person that I am today.
It is to them; I dedicate this work.

III
ACKNOWLEDGMENT
And again first and foremost, praises and thanks to The God Almighty for showing the right
path to me and always helping me throughout my research work to complete my thesis
project successfully.
At the very outset of this report, I would like to extend my sincere and heartfelt obligation
towards all the personages who have helped me in this endeavor. Without their active
guidance, help cooperation, excellent conciliation and encouragement, I would not have
made headway in this project.
I am ineffably indebted to my HOD for conscientious guidance and encouragement to
accomplish this assignment.
I am extremely thankful and pay my heartiest gratitude to my respected teachers Mr.
Waseem Khan and Mr. Moshin Iqbal, the instructors of the “Thesis Design” for their
sincere & valuable guidance and support for the completion of this project.
From the cores of my heart Mr. Azhar I thank you for being a role model, major motivation
and inspiration during the early stages of my student life.
I would like to acknowledge the entire Faculty of Architecture Department for their
dedication and support, which has in many ways influenced and shaped my thesis project.
I would also like to thank Superior University for providing me such a wonderful platform for
exploring my skills and to cherish my future.
I humbly extend my thanks to all concerned persons who co-operated with me in this regard.
~ HEBRON PATRICK ~

IV
ABSTRACT
We live in a world where spiritual values call for material embodiment. Worship spaces
are designed to inspire a spirit of reverence and worship. From ancient times to the current
religious structures of worship, man has always been seeking to honor a higher deity of
some sort. A religious complex or a religious institution is historically known for shaping
values.
Architecture is a product of culture through a long-time process about the context of the
locality. Gothic architecture as part of the world architecture vocabularies; known as the
symbol of sacred architecture, has become an important reference in Roman Catholic
Church. Most of the early Catholic churches all over the world were designed by following
the Gothic or neo-Gothic style. However, in its development and evolution many new
architectural styles have been created.
Christian churches changed substantially over the centuries. Initially, the use of pagan
Roman architecture was utilized, but soon the Basilica style became practical, as its large
size and structure for accommodating large numbers of people, while it also allowed the
early Christians to distinguish themselves from earlier paganism. This development then led
to Romanesque architecture, which also utilized Roman elements in the early Medieval
period; structures had thick walls and allowed major buildings to be sturdy and
accommodating for increasing populations in Europe. The Gothic style became then
synonymous with the cathedral building boom that occurred in Europe throughout the late
Middle Ages; this design allowed to build elegant and large churches that dominated towns
and expressed both civic pride and the authority of the Church. At the end of the Middle
Ages and spanning the Renaissance, a new style emerged that was inspired by concepts of
perfection perceived in earlier Roman and Greek architecture, which was symmetrical and
well portioned. In fact, the Renaissance Classical-inspired styles and their offshoots
continued into modern periods and 19th century.
The subject of this thesis is contemporary catholic religious architecture.The choice of
subject was first due to the fascination with the architecture power to create places with
identity and environments/atmospheres able to awake the senses and emotions, triggering
experiences. Secondly, due to the conviction that the spiritual and metaphysical experience
can be enhanced by the liturgical space experience.
If the liturgical space aims to provide a religious experience, it is the architecture's
responsibility to answer that demand, establishing itself as a medium –rising space - to
reach the divine. Religious architecture can express the 'unspeakable' and the transcendent.
Therefore, it is a great challenge for the architect to design spaces that can provide the
desired religious experience.

V
ILLUSTRATIONS
— INTRODUCTION
FIGURE: THE JERASH NYMPHAEUM (191 AD.)
FIGURE 1: SANTA MARIA DEL NARANCO
FIGURE 2: CATHEDRAL OF MILAN
FIGURE 3: SAEMOONAN CHURCH
— TYPES OF CHURCH
FIGURE 4: ST. PETER’S BASILICA
FIGURE 5: LICHFIELD CATHEDRAL
— CHARACTERISTICS OF AN EARLY CHRISTIAN CHURCH BUILDING
FIGURE 6: HOUSE-CHURCH AT DURA EUROPOS.
FIGURE 7: BASILICA DI SAN CLEMENTE, ROME
FIGURE 8: BASILICA OF SANT’ APOLLINARE IN CLASSE
FIGURE 9 BASILICA OF SAINT PAUL, ROME
FIGURE 10: MAUSOLEUM OF SANTA COSTANZA, ROME
— EVOLUTION OF CHURCH ARCHITECTURE FROM 3RD CENTURY BC. TO
21ST CENTURY AD.
FIGURE 11 THE PARTHENON, GREECE
FIGURE 12: THE COLOSSEUM IN ROME, ITALY
FIGURE 13: MONASTERY OF HOSIOS LOUKAS IN PHOCIDE, GREECE
FIGURE 14: HAGIA SOPHIA IN ISTANBUL (CONSTANTINOPLE)
FIGURE 15: ABBEY OF JUMIEGES, NORMANDY, FRANCE.
FIGURE 16: CATHEDRAL OF AMIENS
FIGURE 17: FLORENCE CATHEDRAL
FIGURE 18: ST. PAUL’S CATHEDRAL
FIGURE 19: BASILICA AT OTTOBEUREN
FIGURE 20: SAGRADA FAMILIA CATHEDRAL
FIGURE 21: ARCTIC CATHEDRAL
FIGURE 22: CATHEDRAL OF NORTHERN LIGHTS

VI
— ARCHITECTURAL FEATURES OF A CHURCH BUILDING
FIGURE 23: CHURCH DIRECTION PLAN
FIGURE 24: GREEK AND LATIN CROSS PLAN
FIGURE 25: BASILICA AND CENTRAL CHURCH PLAN
FIGURE 26: GREEK CROSS PLAN OF ST. MARK’S CATHEDRAL
FIGURE 27: LATIN CROSS BASILICA CHURCH PLAN
FIGURE 28: LABEL DIAGRAM OF CHURCH PARTS
FIGURE 29: TYPES OF CHURCH PLANS
— CASE STUDIES
➢ CATHEDRAL OF NORTHERN LIGHTS
FIGURE 30: FRONT VIEW OF CATHEDRAL
FIGURE 31: NIGHT VIEW OF CATHEDRAL
FIGURE 32: NIGHT VIEW OF CATHEDRAL OF NORTHERN LIGHTS
FIGURE 33: NORTHEN LIGHT VIEW CATHEDRAL
FIGURE 34: BACK VIEW OF CATHEDRAL
FIGURE 35: INTERIOR VIEW OF THE CATHEDRAL
FIGURE 36: SITE PLAN
FIGURE 37: BASEMENT LEVEL PLAN
FIGURE 38: GROUND FLOOR PLAN
FIGURE 39: FRONT ELEVATION
FIGURE 40: BACK ELEVATION
FIGURE 41: LONG SECTION
FIGURE 42: CROSS-SECTION
➢ ST. MARY’S SEASHORE CHURCH, GERMANY.
FIGURE 43: PROSPECTIVE VIEW OF CHURCH
FIGURE 44: BIRD’S-EYE VIEWS OF THE CHURCH
FIGURE 45: FRONT VIEW OF CHURCH
FIGURE 46: SIDE VIEW OF CHURCH
FIGURE 47: EXTERIOR WALL VIEW OF THE CHURCH
FIGURE 48: FRONT BRICK FAÇADE VIEW OF THE CHURCH
FIGURE 49: ROOF GLASS VIEW OF THE CHURCH
FIGURE 50: CEILING VIEW OF THE CHURCH

VII
FIGURE 51: FOLLOWING ARE THE DIFFERENT VIEWS OF THE INTERNAL HALL OF
THE CHURCH
FIGURE 53: SECTIONAL DETAILS OF THE CHURCH
FIGURE 53a: COMPUTATIONAL MODELING DETAILS OF THE CHURCH
➢ SAEMOONAN CHURCH COMPLEX, SOUTH KOREA
FIGURE 54: PROSPECTIVE VIEW OF THE CHURCH
FIGURE 55: HUMAN EYE VIEW OF THE CHURCH FROM THE GORUND
FIGURE 56: FRONT BEND ARCH VIEWS OF THE CHURCH
FIGURE 57: GLASS FAÇADE VIEWS OF THE CHURCH
FIGURE 58: FOLLOWING ARE THE INTERIOR VIEW OF THE CHURCH COMPLEX
FIGURE 59: INTERNAL HALL OF VIEW OF THE CHURCH
FIGURE 60: CONCEPTUAL DESIGN OF THE CHURCH COMPLEX
FIGURE 61: SITE PLAN OF THE CHURCH COMPLEX
FIGURE 62: ISOMETRIC DETAILS OF THE CHURCH COMPLEX
FIGURE 63: 1ST
FLOOR PLAN OF THE CHURCH COMPLEX
FIGURE 64: 2ND
FIGURE 65: 4TH
FIGURE 66: 6TH
FIGURE 67: 8TH
FIGURE 68: 10TH
FIGURE 69: 12TH
FIGURE 70: 13TH
FIGURE 73: RIGHT SIDE ELEVATION
FIGURE 74: LEFT SIDE ELEVATION
FIGURE 75: SECTIONAL ELEVATION
➢ JA CURVE CHURCH COMPLEX, SOUTH KOREA
FIGURE 76: SIDE VIEW OF THE CHURCH COMPLEX
FIGURE 77: PROSPECTIVE VIEW OF THE CHURCH COMPLEX
FIGURE 78: ENTRANCE VIEW OF THE CHURCH COMPLEX

VIII
FIGURE 79: FRONT FAÇADE VIEW OF THE CHURCH COMPLEX
FIGURE 80: CHURCH VIEW FROM THE DISTANTCE
FIGURE 81: CHURCH VIEW FROM THE PARKING
FIGURE 82: ZONNIG OF THE BUILDING BLOCK OF THE CHURCH COMPLEX
FIGURE 84: ISOMETRIC PLAN VIEW OF THE CHURCH COMPLEX
FIGURE 85: 1ST
FLOOR PLAN
FIGURE 86: 2ND
FLOOR PLAN
FIGURE 87: ROOF PLAN
FIGURE 90: SOUTH ELEVATION
FIGURE 91: EAST ELEVATION
FIGURE 92: CROSS SECTION
FIGURE 93: LONGITUDINAL SECTION A & B
FIGURE 94: DIFFERENT VIEWS OF THE PHYSICAL MODEL OF THE CHURCH
COMPLEX
— SITE SELECTION
FIGURE 95: NEIGHBOURHOOD CONTEXT OF TE SITE SIDE
FIGURE 96: SITE LOCATION PLAN
FIGURE 97: ROAD MAP FROM LAHORE TO MARIAMABAD
FIGURE 98: ROAD MAP FROM SARAGODHA TO MARIAMABAD
FIGURE 99: ROAD MAP FROM LHR RAILWAY STATION TO MARIAMABAD
FIGURE 100: ROAD MAP FROM LHR AIRPORT TO MARIAMABAD
FIGURE 101: ROAD MAP FROM FAISALABAD TO MARIAMABAD
FIGURE 102: ROAD MAP FROM RAWALPINDI TO MARIAMABAD
FIGURE 103: PROPOSED SITE PLAN
FIGURE 104: PROPOSED SITE ANALYSIS PLAN
— DESIGN APPROACH
FIGURE 105: COMPARISON OF THE CASE STUDIES

IX
TIMELINES AND TABLE
TIMELINE 1: HISTORY OF THE ARCHITECTURE STYLES OF CHURCH
TIMELINE 2: AGES OF WESTERN VISUAL ARTS
TABLE 1: SUMMARY OF EASTERN MEDIEVAL ARCHITECTURE
TABLE 3: THE INTERIOR ARCHITECTURAL ELEMENTS OF A CHURCH BUILDING
TABLE 4: THE EXTERIOR ARCHITECTURAL ELEMENTS OF A CHURCH BUILDINGS
TABLE 5: CASE STUDY OF A CHURCH COMMUNITY IN MYSORE

X
GLOSSARY
Church — a place where Christians worship.
Cathedral — the principal church of a diocese, with which the bishop is officially associated.
Chapel — a church-like structure used for smaller congregations used in place of churches.
Also, the rooms or spaces within a church, used for different purposes or dedicated to
different Saints or other souls.
Catholic — A Latin term is taken from the Greek, katholikos, meaning "universal," referring
to Christian believers.
Abbey — (from Latin abbatia, abba, "father”) is a Christian monastery or convent, under
the authority of an Abbot or an Abbess, who serves as the spiritual father or mother of the
community.
Convent — a Christian community of nuns living together under monastic vows.
Clergy House — is the residence of one or more priests or ministers of religion.
Diocese — District under the care of Bishop.
Bishop — clergyman of high rank
Clergy — a group ordained to perform pastoral or sacerdotal functions in a
Christian church. Some of the terms used for individual clergy are clergyman,
clergywoman, and churchman
Nun — is a woman who's dedicated her life to religious observance. Most nuns spend their
time praying or meditating and doing service work in their communities. They are also known
as religious sisters.
Pastor — By modern tradition, a person who is a minister and spiritual overseer of a church
congregation — an elder or bishop.
Liturgy — is divine worship, the proclamation of the Gospel, and active charity.
Congregation— an assembly of persons, especially a body assembled for religious worship
or habitually attending a particular church.
Consecration — association with the sacred. It is the solemn dedication to a special
purpose or service.
Solemn— is marked by the invocation of a religious sanction.
Religious Sanction— The term divine sanction is used to convey the idea that man is
ultimately answerable to God for his actions here on earth. This belief is fundamental to
a religious view of the world.
Trinity — A theological term that describes the three persons of the Godhead, the Father,
Son, and Holy Spirit.
Sanctuary — Often used to describe the auditorium used for church gatherings.
Grotto — Holy Monuments.

XI
TABLE OF CONTENTS
CHAPTER 1
1. INTRODUCTION ……………………………………………………………….......1
1.1. WHAT IS A CHURCH?..........................................................................1
1.2. CHURCH ARCHITECTURE……………………………………………..…2
1.3. PROJECT DESCRIPTION……………………………………………..…..2
1.3.1. PROJECT TITLE…………………………………………………….…..2
1.3.2. PROJECT SITE………………………………………………….……...2
1.3.3. PROJECT CLIENT NAME…………………………………………......2
1.3.4. PROJECT BUILDING SPECFICATION………………………..….….2
1.3.5. PROJECT OBJECTIVES……………………………………………….3
1.3.6. REASON FOR SELECTING THIS PROJECT…………………...…..3
1.4. BACKGROUNDS……………………………………………………..……..3
1.4.1. AIMS AND OBJECTIVES………………………………………………3
1.4.2. SIGNIFICANCE OF THE STUDY…………………………………..…3
1.4.3. SCOPE AND LIMITATION…………………………………………..…3
CHAPTER 2
2. LITERATURE REVIEW ………………………………………………………….4
2.1. DEFINITION OF CHURCH BUILDING……………………………..…..4
2.2. TYPES OF CHURCH BUILDINGS………………………………………4
2.2.1. BASILICA……………………………………………………………….4
2.2.2. CATHEDRAL………………………………………………………..…4
2.2.3. CONVENTUAL CHURCH ……………………………………………5
2.2.4. PILGRIMAGE CHURCH………………………………………………5
2.2.5. COLLEGIATE CHURCH………………………………………………5
2.3. TIMELINE OF THE HISTORY OF CHURCH BUILDING AND ITS
ARCHITECTURAL STYLE…………………………………………….…...5
2.3.1. SUMMARY OF EASTERN AND WESTERN MEDIEVAL
ARCHITECTURE……………………………………………………..…6
2.3.2. AGES OF WESTERN VISUAL ARTS………………………………...7
2.4. HISTORY OF CHURCH BUILDING……………………………………….7
2.4.1. ORIGIN AND DEVELOPMENT OF THE CHURCH BUILDING……7
2.4.2. BEGINNING OF A CHURCH OF BUILDING…………………………8
2.4.3. FROM HOUSE CHURCH TO CHURCH……………………………...8
2.4.4. CHARACTERISTICS OF AN EARLY CHRISTAIN CHURCH
BUILDING………………………………………………………………..8
2.4.4.1. THE HOUSE OF CHURCH…………………………………….9
2.4.4.2. ATRIUM…………………………………………………….…….9
2.4.4.3. BASILICA…………………………………………………………9
2.4.4.4. BEMA……………………………………………………………10
2.4.4.5. MAUSOLEUM………………………………………………….10
2.5. EVOLUTION OF CHURCH ARCHITECTURE FROM 3rd
CENTURY AD. TO
21st
CENTURY AD……………………………………………….11
2.5.1. ANICENT GREEK AND ANICENT ROMAN ARCHITECTURE (3RD
CENTURY BC – 21ST
CENTURY AD.) ……………………………….11

XII
2.5.2. EARLY CHRISTAIN (BYZANTINE) ARCHITECTURE (3RD
- 14TH
CENTURY AD.) …………………………………………………….….11
2.5.3. MEDIEVAL (ROMANESQUE AND GOTHIC) ARCHITECTURE (6TH
- 15TH
CENTURY) ………………………………………………….….12
2.5.4. ROMANESQUE ARCHITECTURE (6TH
- 11TH
CENTURY)……………………………………………………………..12
2.5.5. GOTHIC ARCHITECTURE (12TH
- 16TH
CENTURY)………………12
2.5.6. RENAISSANCE ARCHITECTURE (14TH
- 16TH
CENTURY)…..…13
2.5.7. BAROQUE ARCHITECTURE (17TH
CENTURY)…………………..13
2.5.8. ROCOCO ARCHITECTURE (18TH
CENTURY)………………….…13
2.5.9. ECLECTICISM ARCHITECTURE (19TH
- 20TH
CENTURY)….…...14
2.5.10. MODERN ARCHITECTURE (19TH
- 20TH
CENTURY)…….…..14
2.5.11. CONTEMPORARY ARCHITECTURE (21ST
CENTURY)……..15
2.6. ARCHITECTURAL FEATURES OF CHURCH BUILDING……...…….15
2.6.1. SYMBOLIC MEANING OF ALL PARTS OF CHURCH……………15
2.6.2. EARLY CHRISTAIN CHURCH FLOOR PLANS……………………16
2.6.3. TYPES OF CHURCH FLOOR PLAN……………………………..…18
2.6.4. INTERIOR ARCHITECTURAL ELEMENTS OF A CHURCH
BUILDING………………………………………………………………19
2.6.5. EXTERIOR ARCHITECTURAL ELEMENTS OF A CHURCH
BUILDING………………………………………………………………25
CHAPTER 3
3. CASE STUDIES…………………………………………………………………..29
3.1. CATHEDRAL OF THE NORTHEN LIGHTS, NORWAY……………..29
3.1.1. DESCRIPTION………………………………………………………..29
3.1.2. ARCHITECTURAL DESCRIPTION…………………………….……30
3.1.3. ARCHITECTURAL DRAWINGS…………………………..……..31
3.2. ST. MARY’S SEASHORE CHURCH, GERMANY ……………………....35
3.2.1. DESCRIPTION…………………………………………………………35
3.2.2. ARCHITECTURAL DESCRIPTION..……………………………..…..35
3.2.3. ARCHITECTURAL DRAWINGS…..……………………………..…..39
3.3. SAEMOONAN CHURCH COMPLEX, SOUTH KOREA……………………41
3.3.1. DESCRIPTION………………………………………………………...……41
3.3.2. ARCHITECTURAL DESCRIPTION ………………………………...……41
3.3.3. ARCHITECTURAL DRAWINGS……………………………………...……45
3.4. JA CURVE CHURCH COMPLEX……………………………………………..54
3.4.1. DESCRIPTION………………………………………………………...……54
3.4.2. ARCHITECTURAL DESCRIPTION ………………………………...……54
3.4.3. ARCHITECTURAL DRAWINGS……………………………………...……57

XIII
CHAPTER 4
4. SITE SELECTION……………………………………………………………….…64
4.1. SITE DESCRIPTION………………………………………………………64
4.1.1. SITE HISTORY…………………………………………………………64
4.2. SITE LOCATION……………………………………………………..…….64
4.2.1. NEIGHBOURHOOD CONTEXT…………………………………...…64
4.2.2. SITE LOCATION PLAN…………………………………………….…65
4.2.3. ROAD MAP FROM VARIOUS DISTINATIONS TO
MARAIMABAD…………………………………………………………66
4.2.4. SITE PLAN………………………………………………………..……69
4.2.5. SITE ANALYSIS PLAN………………………………………………..70
CHAPTER 5
5. DESIGN FRAMEWORK…………………………………………………………71
5.1. DESIGN APPROACH……………………………………………………..71
5.1.1. WHY A MODERN OR CONTEMPORARY
APPROACH?..................................................................................71
5.1.2. ADVANTAGES OF CONSIDERING COMMUNITY
INTEGRATION…………………………………………………………71
5.1.3. MEANING OF SACRED SPACE FOR PEOPLE…………………...71
5.1.4. SPIRTUAL MEDITATION……………………………………………..73
5.1.5. DESIGNING WORSHIP SPACES WITH MILLENNIALS IN
MIND……………………………………………………………………74
5.2. RESEARCH ASPECT…………………………………………………….75
5.2.1. CONTEMPORARY RELIGIOUS BUILDING………………………..75
CHAPTER 6
6. ARCHITECTURAL PROGRAM…………………………………………………76
6.1. CASE STUDY OF A CHURCH COMMUNITY IN MYSORE………….76
6.2. PROPOSED ARCHITECTURAL PROGRAM………………………….75
CHAPTER 7
7. PROPOSED THESIS PROJECT………………………………………………………..81
CHAPTER 8
8. CONCLUSION……………………………………………………………………………..85
CHAPTER 9
9. REFERNCES……………………………………………………………………………..86

CHAPTER 1
INTRODUCTION

1
CHAPTER NO. 1
1. INTRODUCTION
“Architecture is frozen music”- Wolfgang von Goethe.
“The very point of an architect’s work is that people who inhabit the space should feel some
pure emotion. That is the very aim of an architect: to gift a pure emotion. This is the reason
why a church has that magic: because it talks beyond functions. Architecture is the shape of
the spirit”- Mario Botta.
Music is desirable and strong enough to provoke emotions in a spiritual place like a Church.
On the other hand, Architecture is that subliminal form of music that can gift that pure
emotion that is essential in a Church.
1.1. WHAT IS A CHURCH?
The word “CHURCH” comes from the Latin ecclesia, from Greek ekklesia, where
the word is a compound of two segments: "ek", a preposition meaning "out of", and a
verb, "kaleo", signifying "to call" - together, literally, "to call out".
The church is the English translation of the Greek word “ekklesia”.
A Church is a place of public worship, for prayer, and the reception of the sacraments
usually referring specifically to those for Christian worship.
“CHURCH is not a place, it’s a body — a family with blood ties through JESUS
CHRIST.”
A Church is a place for worship, for contemplation, for retrospection. It’s a
meeting place where people come together for a purpose on an occasional
basis. It’s a mysterious place whose architecture had been transforming
over time and space. It’s a place where the will of an epoch had been
translated into his facades and roofs. It’s a place in which the heights of
artistic movements are reflected in its form.
“A place that offers hope and hospitality in a dark, broken world, where,
when everything fails, we need a place where we can be forgiven – perhaps
even made new”.
Although the religious beliefs of individuals may differ from one another, the
elements that make church architecture unique are shared universally.
FIGURE 1: SANTA MARIA DEL NARANCO
FIGURE 2: CATHEDRAL OF MILAN
FIGURE 3: SAEMOONAN CHURCH

2
1.2. CHURCH ARCHITECTURE
It is referred to as the architecture of buildings of Christian churches. It has evolved over the
two thousand years of the Christian religion, partly by innovation and partly by imitating other
architectural styles as well as responding to changing beliefs, practices, and local traditions.
From the birth of Christianity to the present, the most significant objects of transformation for
Christian architecture and design were the great churches of Byzantium, the Romanesque
abbey churches, Gothic cathedrals, and Renaissance basilicas with their emphasis on
harmony. These large, often ornate, and architecturally prestigious buildings were dominant
features of the towns and countryside in which they stood. However, far more numerous
were the parish churches in Christendom, the focus of Christian devotion in every town and
village. While a few are counted as sublime works of architecture to equal the great
cathedrals and churches, the majority developed along simpler lines, showing great regional
diversity and often demonstrating local vernacular technology and decoration.Buildings were
at first from those originally intended for other purposes but, with the rise of distinctively
ecclesiastical architecture, church buildings came to influence secular ones which have often
imitated religious architecture.
In the 20th century, the use of new materials, such as steel and concrete, has affected the
design of churches. The history of church architecture divides itself into periods, and
countries or regions, and by religious affiliation. The matter is complicated by the fact that
buildings put up for one purpose may have been re-used for another, that new building
techniques may permit changes in style and size, that changes in liturgical practice may
result in the alteration of existing buildings and that a building built by one religious group
may be used by a successor group with different purposes.
1.3. PROJECT DESCRIPTION
1.3.1. PROJECT TITLE:
Church of Salvation.
1.3.2. PROJECT SITE:
Mariamabad, Sheikhupura district.
1.3.3. PROJECT CLIENT NAME:
Diocese of Roman Catholic, Lahore
1.3.4. PROJECT BUILDING SPECIFICATIONS:
• Church Building
• Bishop Office and guest house.
• A Seminary
• A Clergy houses.
• A Convent
• A Library
• Pre-school and Day-care
• Residence for Church worker
• Parish hall
• Display Hall for Holy Ancient belongings (Museum)
• Hostel for students.

3
1.3.5. PROJECT OBJECTIVES:
To acknowledge Mariamabad as a prominent place for both national and international
Christian Community as well as for Tourism purpose also. To, provide a religious and
recreational place to the Christian community from all over the world with all the required
facilities which a church complex should have. There is no such complex all over Pakistan
where buildings such as a library and catholic community hall are introduced. Therefore,
these buildings are introduced in this complex so that the people get a better chance to learn
more about the religion. I have also introduced a Spiritual meditation area for the people to
relax their soul and mind as it never being introduced in a church complex in Pakistan. A
seminary is proposed in this church complex so that the people get the knowledge of
priesthood.
1.3.6. REASON FOR SELECTING THIS PROJECT
It is Pakistan’s oldest Catholic settlement which has existed for over a century and the
national Mariam Shrine is located in Mariamabad and the site of an annual pilgrimage for the
September 8, feast of the birth of Holy Mother Mary. As per the last news, the Punjab
Governor Chaudhry Muhammad Sarwar has announced the opening and development of
the sacred Christian site-Mariamabad for international tourism.
1.4. BACKGROUNDS.
1.4.1. AIMS AND OBJECTIVES
This study aims to design a Catholic Church Complex with a modern/contemporary
approach for millennial’s minds and seeking to understand the making of a spiritual place
and to give a design solution by following scriptural principles.
Following are the objectives of this study:
To impart silence, light, and order to the architecture. To bring in the true essence of the
Church by studying its beginning and origin. To study ideas such as monumentality and its
relevance in the Church. To design a space acoustically good. To give spatial solutions for
varying accommodation
1.4.2. SIGNIFICANCE OF THE STUDY
To study ideas such as monumentality and its relevance in the church. To study the various
other aspects that go into the making of a spiritual place like a temple, mosque, synagogues,
etc.
1.4.3. SCOPE AND LIMITATION
Emphasis on giving design solutions for space. Structural details, interiors, and services are
addressed in brief.

CHAPTER 2
LITERATURE REVIEW

4
CHAPTER NO. 2
2. LITERATURE REVIEW
2.1. DEFINITION OF CHURCH BUILDING
The church is a religious building designed for worship for groups of Christians. It may be
small and simple, just large enough to hold a neighborhood congregation, or it may be huge
and complicated, containing different spaces for various religious activities and observances,
as in a grand cathedral. All churches are built for sacred purposes, but because many
branches of Christianity exist, no single type of church building predominates. Some
Christians work ship with little ceremony, some with elaborate critical, some make use of
statues and paintings, some do not. Thus, churches vary in appearance having belling
planned to suit one or another kind of religious practice.
2.2. TYPES OF CHURCH BUILDINGS
Following are the types in which church buildings are classified:
Basilica, Cathedral, Conventual church, Pilgrimage church and Collegiate church
2.2.1. BASILICA
The Latin word basilica (derived from Greek, Basiliké Stoà,
Royal Stoa) was originally used to describe a Roman public
building (as in Greece, mainly a tribunal), usually located in
the forum of a Roman town. After the Roman Empire became
officially Christian, the term came by extension to refer to a
large and important church that has been given special
ceremonial rights by the Pope. Thus, the word retains two
senses today, one architectural and the other ecclesiastical.
FIGURE 4: ST. PETER’S BASILICA
2.2.2. CATHEDRAL
Cathedral is the principal church along with many other related
buildings in a district that comes under the bishop’s core. A
cathedral is a church, usually Catholic, Anglican, Oriental
Orthodox, or Eastern Orthodox, housing the seat of a bishop.
The word cathedral takes its name from cathedra, or Bishop's
Throne (In Latin: ecclesia cathedralis). The term is
sometimes(improperly)used to refer to any church of great size.
A church that has the function of a cathedral is not necessarily a
large building. However, frequently, the cathedral along with
some of the abbey churches was the largest building in any
region.
FIGURE 5: LICHFIELD CATHEDRAL

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2.2.3. CONVENTUAL CHURCH
A conventual church (or monastery church, minister, katholikon) is the main church building
in a Christian monastery or abbey.
2.2.4. PILGRIMAGE CHURCH
A pilgrimage church is a church to which pilgrimages are regularly made, or a church along a
pilgrimage route, often located at the tomb of saints, or holding icons or relics to which
miraculous properties are ascribed, the site of Marian apparitions, etc.
2.2.5. COLLEGIATE CHURCH
A collegiate church is a church where the daily office of worship is maintained by a college of
canons, which may be presided over by a dean or provost. Collegiate churches were often
supported by extensive lands held by the church, or by tithe income from appropriated
benefices. They commonly provide distinct spaces for congregational worship and the choir
offices of their clerical community.
2.3. TIMELINE OF THE HISTORY OF CHURCH BUILDING AND ITS
ARCHITECTUAL STYLE
TIMELINE 1: TIMELINE OF THE HISTORY OF CHURCH BUILDING AND ITS
ARCHITECTUAL STYLE

6
2.3.1. SUMMARY OF EASTERN AND WESTERN MEDIEVAL ARCHITECTURE.
SUMMARY OF EASTERN MEDIEVAL ARCHITECTURE
Byzantine Empire
ca. 500-1453
central-plan churches (notably the Hagia Sophia)
SUMMARY OF WESTERN MEDIEVAL ARCHITECTURE
Early Dark Ages
ca. 500-750
Late Dark Ages
ca. 750-1000
Romanesque
ca. 1000-
1200
Gothic
ca. 1200-1500
Germanic adoption of
Roman architecture
Carolingian
(Palatine Chapel) >
Ottonian (St
Michael's at
Hildesheim)
Vezelay
High Gothic (Chartres, Notre
Dame) > Late Gothic (Rouen)
stave churches

7
2.3.2. AGES OF WESTERN VISUAL ARTS.
TIMELINE 2: AGES OF WESTERN VISUAL ARTS
2.4. HISTORY OF CHURCH BUILDING
From its beginning, a critical part of Christianity has been the gathering of people
worshipping together. Under this activity, the “place” where they worship has become
endowed with a symbolic form. Historically, when believers build their places of worship,
they have searched for a physical form capable of expressing this symbolic form. This form
simultaneously reflects the specific character, mission, and needs of the congregation, while
also referring to the universal nature of the Church. The search for this form has been
guided by a series of questions the congregation must ask of itself. The very same questions
must be asked today:
• How do our faith and worship shape our building?
• How do we determine our needs?
• How do we find the right people to design and build this building?
• What kind of resources will we require to get it built?
The congregation’s careful examination of these issues and the way they have implemented
their vision have generated a rich history of church architecture.
2.4.1. ORIGIN AND DEVELOPMENT OF THE CHURCH BUILDING
The simplest church building comprises a single meeting space, built of locally available
material and using the same skills of construction as the local domestic buildings. Such
churches are generally rectangular, but in African countries where circular dwellings are the
norm, vernacular churches may be circular as well. A simple church may be built of mud
brick, wattle, and daub, split logs, or rubble. It may be roofed with thatch, shingles,
corrugated iron, or banana leaves. However, church congregations, from the 4th century
onwards, have sought to construct church buildings that were both permanent and
aesthetically pleasing.

8
This had led to a tradition in which congregations and local leaders have invested time,
money, and personal prestige into the building and decoration of churches.
Within any parish, the local church is often the oldest building and is larger than any pre-
19th-century structure except perhaps a barn. The church is often built of the most durable
material available, often dressed stone or brick. The requirements of liturgy have generally
demanded that the church should extend beyond a single meeting room to two main spaces,
one for the congregation and one in which the priest performs the rituals of the Mass. To the
two-room structure is often added aisles, a tower, chapels, and vestries, and sometimes
transepts and mortuary chapels. The additional chambers may be part of the original plan,
but in the case of a great many old churches, the building has been extended piecemeal, its
various parts testifying to its long architectural history.
2.4.2. BEGINNING OF A CHURCH OF BUILDING
In the first three centuries of the Early Livia Christian Church, the practice of Christianity was
illegal and few churches were constructed. In the beginning, Christians worshipped along
with Jews in synagogues and private houses. After the separation of Jews and Christians,
the latter continued to worship in people's houses, known as house churches. These were
often the homes of the wealthier members of the faith. Saint Paul, in his first letter to the
Corinthians, writes: "The churches of Asia send greetings. Aquila and Prisca, together
with the church in their house, greet you warmly in the Lord."
Some domestic buildings were adapted to function as churches. One of the earliest of
adapted residences is at Dura Europos church, built shortly after 200 A.D, where two rooms
were made into one, by removing a wall, and a dais was set up. To the right of the entrance,
a small room was made into a baptistry.
2.4.3. FROM HOUSE CHURCH TO CHURCH
From the first to the early fourth centuries most Christian communities worshipped in private
homes, often secretly. Some Roman churches, such as the Basilica of San Clemente in
Rome, are built directly over the houses where early Christians worshipped. Other early
Roman churches are built on the sites of Christian martyrdom or at the entrance
to catacombs where Christians were buried. With the victory of the Roman
emperor Constantine at the Battle of Milvian Bridge in 312 A.D, Christianity became a lawful
and then the privileged religion of the Roman Empire. The faith, already spread around the
Mediterranean, now expressed itself in buildings. Christian architecture was made to
correspond to civic and imperial forms, and so the Basilica, a large rectangular meeting hall
became general in east and west, as the model for churches, with a nave and aisles and
sometimes galleries and clerestories. While civic basilicas had apses at either end, the
Christian Basilica usually had a single apse where the bishop and presbyters sat in a dais
behind the altar. While pagan basilicas had as their focus a statue of the emperor, Christian
basilicas focused on the Eucharist as the symbol of the eternal, loving, and forgiving God.
The first very large Christian churches, notably Santa Maria Maggiore, San Giovanni in
Laterano, and Santa Costanza, were built in Rome in the early 4th century.
2.4.4. CHARACTERISTICS OF AN EARLY CHRISTAIN CHURCH
BUILDING.
The church building as we know it grew out of several some many features of the Ancient
Roman period:
The House Church, The Atrium, The Basilica, The Bema, The Mausoleum: centrally-planned
building.

9
2.4.4.1. THE HOUSE OF CHURCH
To the early Christians, the word “church” referred to the act of assembling rather than to the
building itself. As long as Christianity was unrecognized by the Romans, Christians met
where they could, mainly in their own homes. The character of these assemblies reflected
the nature of their faith during that period, with an emphasis on introspection. The trappings
of the material world were left behind; the real meaning of life was found in the spiritual
dimension. Some of these houses of worship were entirely converted into places of worship.
By removing a wall from the original living room, space was created that was large enough
for gathering the whole congregation in one room. At the
centre of the house is an open-air court. The court was
not used for worship, however, the meeting hall,
baptistery, and sacristy all look into the court for light and
air. There are no windows on the perimeter wall sand
only a single door to the street for entry. The inward focus
of the House-Church reflects both the introspection of the
congregation as well as the necessary protection from
authorities that were intent upon destroying the growing
influence of the early believers.
FIGURE 6: HOUSE-CHURCH ATDURA EUROPOS
2.4.4.2. ATRIUM
When Early Christian communities began to build churches, they
drew on one particular feature of the houses that preceded them,
the atrium, or courtyard with a colonnade surrounding it. Most of
these atriums have disappeared. A fine example remains at
the Basilica of San Clemente in Rome and another was built in
the Romanesque period at Sant'Ambrogio, Milan. The
descendants of these atria may be seen in the large
square cloisters that can be found beside many cathedrals, and in
the huge colonnaded squares or piazza at the Basilicas of St
Peter's in Rome and St Mark's in Venice and the Camposanto
(Holy Field) at the Cathedral of Pisa. The idea of Atrium was used
in Basilica planned Churches as a place of gathering.
FIGURE 7: BASILICA DI SAN CLEMENTE, ROME
2.4.4.3. BASILICA
Early church architecture did not draw its form from Roman
temples, as the latter did not have large internal spaces where
worshipping congregations could meet. It was the
Roman basilica, used for meetings, markets and courts of law
that provided a model for the large Christian church and that
gave its name to the Christian Basilica. Both Roman basilicas
and Roman bath houses had at their core a large vaulted
building with a high roof, braced on either side by a series of
lower chambers or a wide arcaded passage. An important
feature of the Roman basilica was that at either end it had a
projecting exedra, or apse, a semicircular space roofed with a
half-dome.
FIGURE 8: BASILICA OF SANT’ APOLLINARE IN CLASSE

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2.4.4.4. BEMA
As numbers of clergy increased, the small apse which contained
the altar, or table upon which the sacramental bread and wine
were offered in the rite of Holy Communion, was not sufficient to
accommodate them. A raised dais called a bema formed part of
many large basilican churches. In the case of St. Peter's
Basilica and San Paolo Fuori le Mura (St Paul's Outside the
Walls) in Rome, this bema extended laterally beyond the main
meeting hall, forming two arms so that the building took on the
shape of a T with a projecting apse. From this beginning, the
plan of the church developed into the so-called Latin
Cross which is the shape of most Western Cathedrals and large
churches.
FIGURE 9: BASILICA OF SAINT PAUL, ROME
2.4.4.5. MAUSOLEUM
One of the influences on church architecture was the mausoleum. The mausoleum of a
noble Roman was a square or circular domed structure that housed
a sarcophagus. Emperor Constantine built for his daughter Costanza a mausoleum which
has a circular central space surrounded by a lower ambulatory or passageway separated by
a colonnade. Santa Costanza's burial place became a place of worship as well as a tomb. It
is one of the earliest church buildings that was central, rather than longitudinally planned.
Constantine was also responsible for the building of the circular, mausoleum-like Church of
the Holy Sepulcher in Jerusalem, which in turn influenced
the plan of several some many buildings, including that
constructed in Rome to house the remains of the proto-
martyr Stephen, San Stefano Rotondo, and the Basilica of
San Vitale in Ravenna. Ancient circular or polygonal
churches are comparatively rare. A small number, such as
the Temple Church, London was built during
the Crusades in imitation of the Church of the Holy
Sepulcher as isolated examples in England, France, and
Spain. The circular or polygonal form lent itself to those
buildings within church complexes that perform a function
in which people should stand, or sit around, with a
centralized focus, rather than an axial one. In Italy, the
circular or polygonal form was used throughout the
medieval period for baptisteries
FIGURE 10: MAUSOLEUM OF SANTA COSTANZA, ROME

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2.5. EVOLUTION OF CHURCH ARCHITECTURE FROM 3rd
CENTURY BC. TO 21st
CENTURY AD.
2.5.1. ANICENT GREEK AND ANICENTROMAN ARCHITECTURE (3RDCENTURY
BC - 4TH CENTURY AD.)
Classical architecture began with the ancient Greeks,
and was developed and elaborated by the Romans. In its
purest and most familiar form, it is expressed by the
temple, an oblong enclosure fronted or surrounded
by columns. The formalized system of columns
supporting entablature that was developed for these
temples proved extraordinarily adaptable. For centuries,
it was regarded as the key to beauty in building, and the
best guide to true proportion. Just as the Greeks and
Romans were thought to have reached perfection in
sculpture and art, so did their architecture haunt the
imagination of the Western world.
FIGURE 11: THE PARTHENON, GREECE
It was revived in the 16th and 17th centuries, and its
use continued through the 19th century, alongside
other revived styles such as the Gothic. Even in the
20th century, when Modernist architecture spread all
over the world, the stream of new classical buildings
never dried up entirely.
FIGURE 12: THE COLOSSEUM IN ROME, ITALY
2.5.2. EARLY CHRISTAIN (BYZANTINE) ARCHITECTURE (3RD - 14TH CENTURY
AD.)
Byzantine architecture is the architecture of the Byzantine
Empire, also known as the Roman or Eastern Roman
Empire. Byzantine architecture was mostly influenced by
and Greek architecture. It began with Constantine the
Great when he rebuilt the city of Byzantium and named it
Constantinople and continued with his building of
churches and the forum of Constantine.
FIGURE 13: MONASTERY OF HOSIOS LOUKAS IN
PHOCIDE, GREECE

12
2.5.3. MEDIEVAL (ROMANESQUE ANDGOTHIC) ARCHITECTURE (6TH - 15TH
CENTURY)
This terminology is used by modern historians to
term the medieval Roman Empire as it evolved as a
distinct artistic and cultural entity centered on the
new capital of Constantinople rather than city of
Rome and localities. A continuation of Greek
architecture, it is used mainly in the Eastern
churches. Characterized by round arches, the
use of brick instead of stone, central plan,
domes, and mosaics.
FIGURE 14: HAGIA SOPHIA IN ISTANBUL (CONSTANTINOPLE)
2.5.4. ROMANESQUE ARCHITECTURE (6TH - 11TH CENTURY)
Romanesque architecture is an architectural style of medieval
Europe characterized by semi-circular arches. But there is no
consensus for the beginning date of the Romanesque style, with
proposals ranging from the 6th to the 11th century. In the
12thcentury it developed into the Gothic style, marked by pointed
arches. Examples of Romanesque architecture can be found
across the continent, making it the first pan-European
architectural style since Imperial Roman architecture. The
Romanesque style in England is traditionally referred to as
Norman architecture.
FIGURE 15: ABBEY OF JUMIEGES, NORMANDY, FRANCE.
2.5.5. GOTHIC ARCHITECTURE (12TH - 16TH CENTURY)
Gothic comes from Italian: gotico with connotations of
“rough and barbarous” coined during the Renaissance.
Gothic architecture is a style that flourished in Europe
during the High and Late Middle Ages. evolved from
Romanesque architecture and succeeded by
Renaissance architecture. Originating in 12th-century
France, it was widely used, especially for cathedrals and
churches, until the 16th century. Its most prominent
features included the use of the rib vault and flying
buttress, which allowed the weight of the roof to be
counterbalanced by buttresses outside the building, giving
greater height and more space for windows. Another
important feature was the extensive use of stained glass,
and the rose window, to bring light and color to the
interior. Another feature was the use of realistic statuary
on the exterior, particularly the portals, to illustrate biblical
stories for the largely illiterate parishioners.
FIGURE 16: CATHEDRAL OF AMIENS

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2.5.6. RENAISSANCE ARCHITECTURE (14TH - 16TH CENTURY)
Renaissance architecture is the European architecture of the
period between the early 14th and early 17thcenturies in
different regions, demonstrating a conscious revival and
development of certain elements of ancient Greek and Roman
thought and material culture. Stylistically, Renaissance
architecture followed Gothic architecture and was succeeded by
Baroque architecture. Developed in Florence, with Filippo
Brunelleschi as one of its innovators, the Renaissance style
quickly spread to other Italian cities. The style was carried to
France, Germany, England, Russia and other parts of Europe at
differ.
FIGURE 17: FLORENCE CATHEDRAL
2.5.7. BAROQUE ARCHITECTURE (17TH CENTURY)
Baroque architecture is the building style of theBaroque era,
begun in late 16th-century Italy,
took the Roman vocabulary of Renaissancearchitecture and
used it in a new rhetorical andtheatrical fashion, often to
express the triumph ofthe Catholic Church. It was
characterized by newexplorations of form, light and shadow,
anddramatic intensity. Common features of
Baroquearchitecture included gigantism of proportions;
alarge open central space where everyone couldsee the
altar; twisting columns, theatrical effects,including light
coming from a cupola above;dramatic interior effects created
with bronze andgilding; clusters of sculpted angel and
otherfigures high overhead; and an extensive use oftrompe-
l'oeil, also called "quadrature," withpainted architectural
details and figures on thewalls and ceiling, to increase the
dramatic andtheatrical effect.
FIGURE 18: ST. PAUL’S CATHEDRAL
2.5.8. ROCOCO ARCHITECTURE (18TH CENTURY)
FIGURE 19: BASILICA AT OTTOBEUREN
The Baroque movement—enforced by the Catholic Church—reached
its peak by the end of the 17th century. Yet there were a few people
in France who thought that the system for Baroque architecture was
too rigid. They wanted more freedom. They wanted to incorporate
elaborate and more flamboyant designs. Even church architecture
had to change. Hence, the Rococo movement—also known as the
late Baroque movement—was born. The name Rococo comes from
two words: The French word "rocaille" which means "stone" and the
Italian word "barocco," a misshapen pearl. Interestingly, it was
actually only coined during the 19th century and was not used during
its conception. And the Rococo movement fostered changes in
Europe’s architecture. Minimized was the use of entablatures and
the designs have become more abstract. Plastic covers replaced the
angles in the corners connecting to the ceiling. The dado or the lower

14
part of the wall was dwarfed. During the period, it was also used to a lesser extent.
Elaborating on the abstract designs, incorporated were ornaments in shape of shells and
plants. Scrollwork and bizarre designs were also used. Rococo architecture used a lot of
pastels. This was unlike the emphasis on light and dark lighting of the Baroque era upon
neutral colors. Architects also used ivory white and gold. Artists and architects deviated from
the Baroque style through a complex approach. This made structures look more grandiose.
2.5.9. ECLECTICISM ARCHITECTURE (19TH - 20TH CENTURY)
Eclecticism is an architectural style that flourished in the 19th and 20th-
centuries. It refers to any design that incorporates elements of
traditional motifs and styles, decorative aesthetics and ornaments,
structural features, and so on, that originated from other cultures or
architectural periods. The styles were typically revivalist, and each
building might be mostly or entirely consistent within the style selected,
or itself an eclectic mixture. Gothic Revival architecture, especially in
churches, was most likely to strive for a relatively "pure" revival style
from a particular medieval period and region, while other revived styles
such as Neoclassical, Baroque, Palazzo style, Jacobethan,
Romanesque and many others were likely to be treated more freely.
FIGURE 20: SAGRADA FAMILIA CATHEDRAL
2.5.10. MODERN ARCHITECTURE (19TH - 20TH CENTURY)
It signifies a new and fresh style in church design. The term modern, often equated with It
may be defined in our time. Many would prefer to use the term contemporary because
modern sometimes denotes a stylistic expression in architecture based on the International
School of 1920’s. The basic trend of modern church architecture is toward simplicity
because the architect endeavors bring out the essentials that is the altar and the baptistery
as the focal points of the design. The result in contrast with some old styles which tended to
ornateness is one of quiet and calm which stimulates the desire for prayer and
contemplation.
FIGURE 21: ARCTIC CATHEDRAL.

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2.5.11. CONTEMPORARY ARCHITECTURE (21ST CENTURY)
Contemporary architecture is the architecture of the 21st century. No
single style is dominant; contemporary architects are working in several
different styles, from postmodernism and high-tech architecture to highly
conceptual and expressive forms and designs, resembling sculpture on
an enormous scale. The different styles and approaches have in
common the use of very advanced technology and modern building
materials, such as tube structures which allow construction of buildings
that are taller, lighter and stronger than those in the 20th century, and
the use of new techniques of computer-aided design, which allow
buildings to be designed and modelled on computers in three
dimensions, and constructed with more precision and speed.
Contemporary buildings and styles vary greatly. Some
feature concrete structures wrapped in glass or aluminum screens, very
asymmetric facades, and cantilevered sections which hang over the
street. Skyscraper’s twist, or break into crystal-like facets. Facades are
designed to shimmer or change color at different times of day.
FIGURE 22: CATHEDRAL OF NORTHERN LIGHTS
2.6. ARCHITECTURUAL FEATURS OF CHURCH BUILDING
2.6.1. SYMBOLIC MEANING OF ALL PARTS OF CHURCH.
FIGURE 23: CHURCH DIRECTION PLAN

16
Symbolic meaning is attached to all parts of the Church which are as follows:
Cathedrals were always built to face the same direction. Christians believe in the
resurrection of the Christ in the East that’s why; the Altar and the Congregation faces East
side. The Height of the Cathedrals was kept high because Christians believe that the height
symbolized that “Kingdom of GOD is near.” Rose Window symbolized “Virgin MARY”
Nave is the center body of the Church is the symbol of the “Noah’s Ark” East side of the
Church represent “The God” which is the Apse and Altar of the church. West side of the
church represent “Man” which is the Narthex of the church. Narthex is the main entrance
door of the church which symbolized the “The Gates of Heaven.” South side of the church
represents “Saints and Angels” which is the Transept of the church. The south Transept of
the church symbolized the “The Gateway to Saints and Angels in Heaven” North side of
the church represents “Devil” which is also the Transept of the church. The north Transept
of the church symbolized the “The Gateway to Devil in Hell” The Floor of the Church
symbolizes “Foundation of faith and the humility of the poor.” The Column of the Church
symbolizes “Apostles, Bishops, and Doctors.” The Beam of the Church symbolizes
“Champions of Ecclesiastical right who defeat it with the sword.” The Vault of the
Church symbolizes “Preachers who bear up the dead weight of man’s infirmity
heavenwards.” The Roof of the Church symbolizes “Apostles, Bishops, and Doctors.”
“If you think of the church as a human form the narthex is the feet, the nave is the body, the
transepts are the arms and the apse is the head – the most important part!”
2.6.2. EARLY CHRISTAIN CHURCH FLOOR PLANS
The Church floor plans are divided in two shapes of cross form of plans
which are:
• Greek cross plan (Basilica Plan Church)
• Latin Cross plan (Central Plan Church)
FIGURE 25: GREEK
AND LATIN CROSS
PLAN
FIGURE 24: BASILICA AND CENTRAL DIRECTION PLAN

17
• A Greek-cross plan is a type of central plan, in which a church floorplan takes the
form ofa Greek cross, with a square central mass and four arms of equal length. It is
also called central plan church with a dome (heaven on earth).
FIGURE 26: GREEK CROSS PLAN OF ST. MARK’S CATHEDRAL
• A Latin cross church has the arm of the entrance longer than the other arms. Latin-
cross floorplan, in which the transept and apse appear as three short arms, and the
nave and aisles appear as one longer arm. Latin-cross plans tended to emphasize
religious procession, rather than the Mass, as opposed to the Greek-cross church
plan. It is also called basilica plan church.
FIGURE 27: LATION CROSS BASILICA CHURCH PLAN

18
FIGURE 28: LABELED DIAGRAM OF CHURCH PARTS
2.6.3. TYPES OF CHURCH FLOOR PLAN
FIGURE 29: TYPES OF CHURCH PLANS

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2.6.4. INTERIOR ARCHITECTURAL ELEMENTS OF A CHURCH BUILDING
TABLE (3) OF THE INTERIOR ARCHITECTURAL ELEMANTS OF A CHURCH BUILDING
PICTURE OF AN
ELEMENT
TITLE OF AN
ELEMENT
DESCRIPTION OF AN ELEMENT
Aisle A space for walking with rows of seats on
either side or with rows of seats on one side
and a wall on the other
Altar A structure upon which offerings such as
sacrifices and votive offerings are made for
religious purposes
Ambulatory The covered passage around a cloister or a
walkway around the apse
Archivolt An ornamental molding or band following the
curve of the underside of an arch
Baldachin A canopy of state over an altar or throne
Baptismal Front An article of church furniture or a fixture used
for the baptism of children and adults.

20
Bay A unit defined as the zone between the outside
edges of an engaged column, pilaster, post, or
vertical wall area
Boss A a knob or protrusion of stone or wood.
Bosses can often be found in the ceilings of
buildings, particularly at the intersection of a
vault.
Capital The crowning part at the top of a column or a
pilaster
Chancel The space around the altar, including the choir
and the sanctuary, at the liturgical east end of
a church
Chantry An institutional chapel on private land or within
a greater church, where a priest would chant
masses
Choir The area usually in the western part of the
chancel between the nave and the sanctuary
(which houses the altar)

21
Chiborium A canopy or covering supported by columns,
freestanding in the sanctuary, that covers the
altar
Clerestory An upper level of a Roman basilica or of the
nave of a Romanesque or Gothic church, the
walls of which rise above the rooflines of the
lower aisles and are pierced with windows.
Column An architectural support that may form part of a
colonnade
Consecration
crosses
Crosses on the walls of a catholic church or
cathedral showing where the catholic bishop
has anointed the church with chrism oil in order
to consecrate it "for the Glory of God".
Crossing The junction of the four arms of a cruciform
(cross-shaped) church
Crypt A stone chamber or vault beneath the floor of a
church usually used as a chapel or burial vault
possibly containing sarcophagi, coffins or relics

22
Effigy A representation of a person, especially in the
form of sculpture
Fan Vault A form of vault used in the Perpendicular
Gothic style, in which the ribs are all of the
same curve and spaced equidistantly, in a
manner resembling a fan.
Keystone A piece at the crown of a vault or arch which
marks its apex, locking the other pieces into
position.
Labyrinth A single Eulerian path to the center sometimes
laid on the floor of a large church
Matroneum Originally a gallery on the interior of a building,
later in medieval churches they became an
architectonic element, placed over the side
aisles.
Nave The central approach to the high altar
Narthex The entrance or lobby area, located at the end
of the nave that is either an indoor area
separated from the nave by a screen or rail, or
an external structure such as a porch to allow
space for those not eligible for admittance into
the general congregation.

23
Parapet A wall-like barrier at the edge of a roof or
structure
Pinnacle An architectural ornament originally forming
the cap or crown of a buttress or small turret,
but afterwards used on parapets at the corners
of towers and in many other situations
Rood Screen An ornate screen, constructed of wood, stone
or wrought iron used for dividing the chancel
from the nave
Rose Window A circular window especially used in Gothic
churches and divided into segments by stone
mullions and tracery
Sedilia The seats (often) on the south side of the
chancel near the altar for the use of the
officiating priests
Solomonic Column A helical column, characterized by a
spiraling twisting shaft like a corkscrew.

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Stained Window A window decorated with colored glass
Tabernacle A portable dwelling place for the divine
presence
Transept The area set crosswise to the nave in a
cruciform ("cross-shaped") building
Triforium A shallow gallery of arches within the thickness
of inner wall, which stands above the nave
Vault An arched form used to provide a space with a
ceiling or roof
Window An opening in a wall that allows the passage of
light

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2.6.5. EXTERIOR ARCHITECTURAL ELEMENTS OF A CHURCH BUILDING
TABLE (4) OF THE EXTERIOR ARCHITECTURAL ELEMANTS OF A CHURCH BUILDING.
PICTURE OF AN ELEMENT TITLE OF
AN
ELEMENT
DESCRIPTION OF AN ELEMENT
Apse
An apse is a semicircular recess, often
covered with a hemispherical vault. The
apse is separated from the main part of
the church by the transept.
Arcade
A passage or walkway covered over by
a succession of arches or vaults
supported by columns.
Architrave A molded or ornamental band framing a
rectangular opening. It is the lintel or
beam that rests on the capitals of the
columns.
Archivolt ornamental molding or band following the
curve on the underside of an arch.
Baptistery A separate centrally-planned structure
surrounding the baptismal font.
Refectory A dining room, especially in
monasteries.

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Bell Tower A tower which contains one or more
bells, or which is designed to hold bells
Buttress An architectural structure built against (a
counterfort) or projecting from a wall
which serves to support or reinforce the
wall.
Chapel A place of worship sometimes attached
to a large church and sometimes a
stand-alone structure
Chapter
House
A building or room attached to a
cathedral or monastery in which
meetings are held.
Chevet Apses that are built as radiating chapels
outside the choir aisle.
Church
Tower
A tall tower, sometimes topped by a
spire.

27
Cloister an enclosed space, commonly in the
form of a green square with surrounding
arcades, that forms the central part of a
monastery.
Corbel A piece of stone jutting out of a wall to
carry any superincumbent weight
Crossing
Tower
The tower built above the junction of the
four arms of a cruciform (cross-shaped)
church.
Dome A structural element of architecture that
resembles the hollow upper half of a
sphere.
Facade The significant front of the church
usually on the west front but can be on
the side as well.
Fleche A spire or a Lead-covered
timber spire that are placed on the
ridges of church or cathedral roofs and
are usually relatively small.
Flying
Buttress
A type of buttress that are used to
transmit the horizontal thrust
of a vault across an intervening space.

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Gargoyle A carved stone grotesque with a spout
designed to convey water from a roof
and away from the side of a building.
Onion
Dome
A bulbous shaped dome resembling an
onion.
Portal A main entrance, on the church facade,
usually highly ornamented.
Tympanum A semi-circular or triangular decorative
wall surface over an entrance bounded
by a linte land arch.

CHAPTER 3
CASE STUDIES

29
CHAPTER NO. 3
3. CASE STUDIES.
3.1. CATHEDRAL OF THE NORTHEN LIGHTS, NORWAY
3.1.1. DESCRIPTION
Architect team: Schmidt Hammer Lassen architects, Link
Arkitektur A/S
Client: The Municipality of Alta
Area: 1,917 sqm
Construction sum: €16.2 million
Competition: 2001, 1st prize in a restricted architecture
competition
Status: Construction period 2009 – 2013
Engineer: Rambøll AS, Alta
Main contractor: Ulf Kivijervi AS
Artwork: Peter Brandes
FIGURE 30: FRONT VIEW OF CATHEDRAL
The cathedral was conceived as a public attraction for
tourists visiting the natural light display, officially known as
the Aurora Borealis, which occurs when particles from the
sun collide with the earth's magnetic field. It can be
observed frequently between late autumn and early spring.
The Crown Princess of Norway, Mette-Marit, has just
inaugurated the Cathedral of the Northern Lights situated in
the Norwegian town of Alta approximately 500 km north of
the Arctic Circle. Even before the inauguration, the 47-
meter-high cathedral, designed by Schmidt Hammer
Lassen architects in cooperation with Link Arkitektur, was
perceived as a symbol and an architectural landmark for the
entire area. In 2001, when the architecture competition for
the Cathedral of the Northern Lights was arranged, the city
council in Alta did not just want a new church: they wanted
an architectural landmark that would underline Alta’s role as
a public venue from which the natural phenomenon of the
northern lights could be observed.
FIGURE 31: NIGHT VIEW OF CATHEDRAL

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3.1.2. ARCHITECTURAL DESCRIPTION
With a spiraling body, the cathedral winds up to form
a pointed belfry 47 meters above the ground.
Shimmering titanium clads the exterior and was
added to reflect the vivid green colors of the lights as
they flicker across the sky. The significance of the
northern lights is reflected in the architecture of the
cathedral. The contours of the church rise as a
spiraling shape to the tip of the belfry 47 meters above
the ground.
FIGURE 32: NIGHT VIEW OF CATHEDRAL OF
NORTHERN LIGHTS.
FIGURE 33: NORTHEN LIGHT VIEW FROM THE CATHEDRAL FIGURE 34: BACK
VIEW OF CATHEDRAL
The façade, clad in titanium, reflects the northern lights during the long periods of Arctic winter
darkness and emphasizes the experience of the phenomenon. The cathedral, which can
accommodate 350 people in the church room, also has administration offices, classrooms,
exhibition areas, and a parochial area. The spiraling form continues inside the building, where
offices, classrooms, and exhibition areas wrap around a 350-person hall, which will be used
for church congregations.
FIGURE 35: INTERIOR VIEW OF THE CATHEDRAL

31
Inside the main area of the cathedral, the church room creates a peaceful contrast to the
dynamic exterior of the building. The materials used, raw concrete for the walls and wood for
the floors, panels, and ceilings, underline the Nordic context. Daylight enters the church room
through tall, slim, irregularly placed windows. A skylight lights up the whole wall behind the
altar creating a distinctive atmosphere in the room
3.1.3. ARCHITECTURAL DRAWINGS
FIGURE 36: SITE PLAN
FIGURE 37: BASEMENT LEVEL PLAN

32

33

34
FIGURE 41: LONG SECTION
FIGURE 42: CROSS-SECTION

35
3.2. ST. MARY’S SEASHORE CHURCH
3.2.1. DESCRIPTION
Location: Schillig, Germany
Architect: Konigs Architekten
Architectural Style: Contemporary
Client: Catholic Churchfords St. Marien, Wanglerland-Schillig
St. Mary’s Seashore Church is situated directly on Germany’s
North Sea coast, separated only by a dyke from the UNESCO
World Natural Heritage Site of the Wattenmeer mudflats.
FIGURE 43: PROSPECTIVE VIEW OF CHURCH
3.2.2. ARCHITECTURAL DESRCRIPTION
A bird’s eye view reveals the simplicity of the spatial
topology: a classical cruciform plan inscribed on a
rectangle. The rectangular frame forms – and is
confined to – the base of the building; above it the
cruciform shape of the main church space is clearly
visible. The external impact of the building, in other
words, already contains the key to deciphering the
simplicity of its complexity.
FIGURE 44: BIRD’S-EYE VIEWS OF THE CHURCH
However, the straightforward extrusion of a rounded cross from a rectangular base
would hardly justify the formal concept. The development of formal complexity from the simple
plan depends decisively on the excision of a broad curvilinear wedge cut, as it were, in a single
downward and upward sweep out of the cruciform body of the church. The result is a surprising
multiplicity of forms. The term ‘cut’ must be understood as referring to a quasi-Boolean process
of architectonic conception. The three determinant elements of the building – (a) rectangular
base, (b) cruciform space, and (c) curved cut – create an emergent complex of space and
mass that refers both to the received typology of the church and to the local environment of
the village scenery and the sea with the dyke. The facade is made of special bricks lying in a

36
wild bond. Interestingly, the readability of the simple forms generates a sense of natural
relationship, but those same forms achieve a multifaceted and by no means univocal level of
abstraction that opens them out to the observer’s personal images and associations.
FIGURE 45: FRONT VIEW OF CHURCH FIGURE 46: SIDE VIEW OF CHURCH
The walls of the Seashore Church are not made of
monolithically rendered masonry but consist of a load-
bearing concrete shell separated by a layer of
insulation from an outer skin of brick. This method was
chosen not only to ensure optimal insulation but also,
in this case, to set the exterior of the building apart
from the interior in the materials used. For the external
walls so-called Oldenburg bricks (220 x 105 x 52 mm)
with a density of 20 kN/mc – a very hard material
suited to the extreme weather conditions of the North
Sea coast – were laid in Danish bond, a pattern that
approximated local usage while not imitating it and
that supported the specific geometry of the building.
Brick has been used for centuries, and there may
seem some contradiction in making complex demands
of so simple and traditional a material.
FIGURE 47: EXTERIOR WALL VIEW OF THE CHURCH

37
The bricks were fired a second time, although from a purely technical point of view they were
ready for use after the first firing. A single firing, however, would not have given them the
extreme strength and special finish necessary
for adequate support of the building’s geometry.
The second firing used an elaborate traditional
procedure, nowadays almost forgotten, in which
extrinsic oxygen is excluded from the oven and,
as a result, the firing extracts the oxygen
inherent in the material. Instead of getting the
typical red-brown colour the brick turns black
and takes on a blue-green, or sometimes even
silver sheen like a piece of gleaming iron, and
salt deposits may crystallize on the surface. The
emergent process is hard to control and not
predictable in every detail, but it generates the
additional qualitative values that enable the
material to play a central architectonic role in the
building.
FIGURE 48: FRONT BRICK FAÇADE VIEW OF THE CHURCH
A further level of emergence is apparent in the roof
construction and incidence of light. The surface created
by the Boolean operation described above is both
monoaxially curved and inclined, as if a hot knife had
sliced through butter – a simple cutting action that
immediately generates a complex geometry of edge, line
and surface, with all the ensuing constructional problems.
The surfaces thus generated were fully glazed, but – as
with the second firing of the bricks – a further action was
necessary to achieve the complexity of light desired for
the interior. This action consisted in allowing the struts
spanning the roof space to taper toward the middle and
then broaden again, instead of remaining linear. And the
strategy itself was not applied in a linear fashion either: it
culminated at the central point of the cruciform and
gradually diminished toward the extremities of the nave.
FIGURE 49: ROOF GLASS VIEW OF THE CHURCH

38
FIGURE 50: CEILING VIEW OF THE CHURCH.
The generative process of roof and ceiling structures aimed to
achieve a dynamic, changing pattern of light and shade throughout
the day and year. Light entering from the glass roof passes through
the gradually widening curved spaces between the struts and falls
on the smoothly curved interior walls – a geometrical
superscription of two curved surfaces standing at right angles to
each other. The resultant pattern of dynamically distorted wave-
bands of light determines the atmosphere within the church. The
decisive point, however, is that the observer cannot, without
precise analysis of the situation, trace the origin of the
phenomenon. In the ideal case he or she will not even try to but,
as in a Baroque counterpart, will simply enjoy the emergent
impressions of a ‘Seashore Church ‘s without asking from what,
and in what genetic process, they arise.
FIGURE 51: FOLLOWING ARE THE DIFFERENT VIEWS OF THE INTERNAL HALL OF
THE CHURCH

39
FIGURE 52: GROUND FLOOR PLAN OF THE CHURCH

40
FIGURE 53: SECTIONAL DETAILS OF THE CHURCH

41
FIGURE 53a: COMPUTATIONAL MODELING DETAILS OF THE CHURCH

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3.3. SAEMOONAN CHURCH COMPLEX
3.3.1. DESCRIPTION
Location: JONGNO-GU, SOUTH KOREA
Architect: Lee Eunseok, Seoinn Design Group
Area: 4219 m² (1 acre)
Year: 2019
Saemoonan Church proposed four distinct church
construction themes as basic guidelines; the historicity
as the mother church of Korean protestant churches,
the symbolism of doors opens to heaven the spatiality
of expressing Christ as light, and presenting a water
space as a meaning of baptism and harmony. Hence,
we adapted the themes with Loving God and Loving
Neighbours and included them in the design. Loving
God was mainly portrayed through the use and
symbolism of the space, and the aspects of Loving
Neighbours were expressed with the publicness
through the external appearance and layout effect of the
building that are revealed in the city centre.
FIGURE 54: PROSPECTIVE VIEW OF THE CHURCH
In the construction of Saemoonan Church, the conventional spire
was replaced by a soft curved effect that is open to the sky, and
the excessive ornaments were converted into simple and abstract
expressions. In addition, rather than focusing on showing the
authority of the church, the love and mercy of God were
metaphorically expressed with the curve of the soft front.
Furthermore, instead of creating a solemn spatial atmosphere with
the common long corridor form, a new periodic worship space was
proposed with a fan-shaped chapel plane that encourages the
dynamic participation between believers.
FIGURE 55: HUMAN EYE VIEW OF THE CHURCH FROM THE GORUND

43
The public construction intention of Loving Neighbours is
clearly visible throughout the architecture of Saemoonan
Church, and this seems to be an architectural
assignment that 21st century churches must deeply
consider. The yard of Saemunan-ro created by the
hollow front and bent arch gate, which are church
architecture typologies that cannot be found anywhere
else in the world, is intended to become a practical
resting place of citizens by opening the church to
neighbours rather than pursuing a reverent worship
space with a closed nature like a monastery. The fact that
a continuous communication was plotted through the
lobby towards the Sejong Center for the Performing Arts
also illustrates the openness of the church. Here, the
small chapel as well, which will bring back the history by
downscaling the existing brick church, will be used as an
actively open cultural space.
FIGURE 56: FRONT BEND ARCH VIEWS OF THE CHURCH

44
The transparent glass box, intended to seem as if it was disappearing into the sky beyond the
curved wall, not only angles for a morphological harmony that is in contrast to the soft curved
wall, but is also an architectural strategy that aims for it to protect the future generations from
the congested streets and become a bright Education Hall with a rooftop garden. Furthermore,
the top floor of the Education Hall building and the high-altitude space of the Cross Tower can
become a memorial space open to every citizen, just as the many churches of the world often
open their top floor dome to their neighbours, since Seoul’s beautiful downtown panorama can
be enjoyed to the utmost.
FIGURE 57: GLASS FAÇADE VIEWS OF THE CHURCH
FIGURE 58: FOLLOWING ARE THE INTERIOR VIEW OF THE CHURCH COMPLEX

45
FIGURE 59: INTERNAL HALL OF VIEW OF THE CHURCH

46
FIGURE 60: CONCEPTUAL DESIGN OF THE CHURCH COMPLEX

47
FIGURE 62: ISOMETRIC DETAILS OF THE CHURCH COMPLEX

48
FIGURE 63: 1ST
FIGURE 64: 2ND

49
FIGURE 65: 4TH
FIGURE 66: 6TH

50
FIGURE 67: 8TH
FIGURE 68: 10TH

51
FIGURE 69: 12TH
FIGURE 70: 13TH

52
FIGURE 71: FRONT ELEVATION FIGURE 72: BACK ELEVATION
FIGURE 73: RIGHT SIDE ELEVATION

53
FIGURE 74: LEFT SIDE ELEVATION
FIGURE 75: SECTIONAL ELEVATION

54
3.4. JA CURVE CHURCH COMPLEX
3.4.1. DESCRIPTION
Location: Jeju-do, South Korea
Architect: ZIP Parterns Architecture
Area: 1800 m² (8.3 kanal)
Year: 2014
FIGURE 76: SIDE VIEW OF THE CHURCH COMPLEX
JA Curve Church is located in Jeju Island, which is one of the most beautiful islands in South
Korea. The site is on the outskirts of Jeju Island and is surrounded by dense pine groves
along with citrus groves. Natural beauty scenery and the convenient transportation of the
location make the site a perfect place for the church. The concept is to introduce an
ingenious architecture that would settle in harmoniously with the surrounding nature.
FIGURE 77: PROSPECTIVE VIEW OF THE CHURCH COMPLEX

55
It is designed with a simple form that
would accommodate various religious
programs. 1st
floor consists of an office
space, kitchen facility, and a
conference room for group gatherings.
The outdoor stairs lead to a miniature
garden then into a lobby and the main
chapel, which are all located on the
2nd
floor. Furthermore, it is inherent for
religious sanctuaries to be applied with
an austere form.
FIGURE 78: ENTRANCE VIEW OF THE CHURCH COMPLEX
A change in scale can be experienced by transitioning from the outside (lowest) to the God’s
space (highest) as the ceiling height of the lobby gradually increases from 2.4m to 9.5m.
Also, the delicacy in the continuous ceiling material contributes to a comfortable prayer
space. As the curved ceiling reaches the highest peak, the natural light shines into the
worshiping space while the curvature hides into the sky.
FIGURE 79: FRONT FAÇADE VIEW OF THE CHURCH COMPLEX

56
Jeju Island is a volcanic island, which the land chiefly consists of basalt and lava. The
lifestyle and the perspective of the people have been shaped in relation to basalt. Therefore,
basalt has been used for the foundation and the flooring material of the sanctuary. The
application of white color on the exterior façade accentuates its curved form from the
surrounding nature. Simple curvature has been emphasized with its hue—white.
FIGURE 80: CHURCH VIEW FROM THE DISTANTCE
The curved façade reveals the metaphor of the nature of Jeju Island. The smooth curves on
the mountains in Jeju derived from the volcanic activities. The simple man-made curved form
resembles the small mountains—Oreum—which can be found throughout the island.
FIGURE 81: CHURCH VIEW FROM THE PARKING

57
FIGURE 82: ZONNIG OF THE BUILDING BLOCK OF THE CHURCH COMPLEX

58
FIGURE 84: ISOMETRIC PLAN VIEW OF THE CHURCH COMPLEX
FIGURE 85: 1ST
FLOOR PLAN

59
FIGURE 86: 2ND
FLOOR PLAN
FIGURE 87: ROOF PLAN

60

61
FIGURE 90: SOUTH ELEVATION
FIGURE 91: EAST ELEVATION

62
FIGURE 92: CROSS SECTION
FIGURE 93: LONGITUDINAL SECTION A & B

63
FIGURE 94: DIFFERENT VIEWS OF THE PHYSICAL MODEL OF THE CHURCH
COMPLEX

CHAPTER 4
SITE SELECTION

64
CHAPTER NO. 4
4. SITE SELECTION
4.1. SITE DESCRIPTION
4.1.1. SITE HISTORY
The National Marian Shrine in Mariamabad, Sheikhupura District, Pakistan is a
National Shrine and the site of an annual pilgrimage for the September 8 feast of the
birth of Mary. This event has been taking place since 1949. Mariamabad means the
city of Mary in the Urdu language. Mariamabad has existed for over a century making
it one of Pakistan's oldest Catholic settlements. Located about 80 km from Punjab's
capital of Lahore, it covers about an area of 835 hectares (2000 acres) and has
become the destination for over one million pilgrims a year. Mariamabad began in
1892. Observing the misery and oppression of the newly converted Christians in the
district of Sialkot, Capuchin Bishop Van Den Bosch purchased 150 acres (0.61 km2)
of government land for 650,000 rupees for Christians to live and work on. In 1893,
three priests and three Christian families moved to the land.
4.2. SITE LOCATION
SITE ADDRESS: MAIN ROAD, MARIAMABAD.
SITE AREA: 23 ACRE = 184 KANAL
4.2.1. NEIGHBOURHOOD
CONTEXT:
• Shaoowale
• Rehmanabad
• Mallah Shashu
• Bhattian
FIGURE 95: NEIGHBOURHOOD
CONTEXT OF TE SITE SIDE

65
4.2.2. SITE LOCATION PLAN:
FIGURE 96: SITE LOCATION PLAN

66
4.2.3. ROAD MAP FROM VARIOUS DISTINATIONS TO MARAIMABAD
FIGURE 97: ROAD MAP FROM LAHORE TO MARIAMABAD
FIGURE 98: ROAD MAP FROM SARAGODHA TO MARIAMABAD
FIGURE 99: ROAD MAP FROM LHR RAILWAY STATION TO MARIAMABAD

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FIGURE 100: ROAD MAP FROM LHR AIRPORT TO MARIAMABAD
FIGURE 101: ROAD MAP FROM FAISALABAD TO MARIAMABAD

68
FIGURE 102: ROAD MAP FROM RAWALPINDI TO MARIAMABAD

69
4.2.4. SITE PLAN:
FIGURE 103: PROPOSED SITE PLAN

70
4.2.5. SITE ANALYSIS PLAN:
Topography of the site is the green land and fields. Mostly, natural grass and trees.
Mariamabad is the city which is located far from the Lahore-Sargodha Road. There is a long
road that connects Mariamabad to Lahore-Sargodha Road. This place is very quiet. No such
noise pollution of vehicles is heard there. People of Mariamabad earn their life by farming and
trading of goods.
FIGURE 104: PROPOSED SITE ANALYSIS PLAN

CHAPTER 5
DESIGN FRAMEWORK

72
CHAPTER NO. 5
5. DESIGN FRAMEWORK
5.1. DESIGN APPROACH
Following is the design approach:
More of a community planning than an individual structure, Understanding and designing
with millennials in mind, Integrating services, Contemporary approach.
5.1.1. WHY IS THERE A MODERN OR CONTEMPORARY
APPROACH?
Some people will look at grand churches and feel closer to GOD because of it, but in the
modern context and what people want when they go to church, it's not wooden pews, it's not
thousand-year-old pictures of saints, and it's not hours of the liturgy that they cannot
understand.
“If you want to be relevant to the crowds whom you’re trying to bring in, you go
modern, you go simple.”
Many individuals have become uncomfortable or feel unwelcome in traditional church
structures, the innate formality of the spaces, historical hierarchies associated with them,
discomfort with language and interpretations or spirituality or religion, the perceptions of
expected behaviors, don't feel welcome in grand, cold, stone structures.
According to a survey and investigation; the following are the list of potential spaces a
contemporary religious or spiritual organization would need to operate:
A Sanctuary, baptismal, Informal gathering spaces, fellowship halls, bookstore, offices /
administration, classrooms / workshops, practice areas, storage areas, public restrooms
5.1.2. ADVANTAGES OF CONSIDERING COMMUNITY INTEGRATION
Following is the design approach:
Helps in creating opportunities, sharing resources and infrastructure, it increases and
broadens exposure, services will benefit the communities around.
5.1.3. MEANING OF SACRED SPACE FOR PEOPLE
Why a complex / community instead of just a church building? The notion of “Sacred space
or a spiritual connection with GOD” will take on a different meaning for every individual.
When questioned to people with, what comes to their mind when they think about a sacred
space? What do they imagine doing in that space?

73
5.1.4. SPIRITUAL MEDITATION
Spiritual meditation is used in Eastern religions, such as Hinduism and Daoism, and in
Christian faith. It's similar to prayer in that you reflect on the silence around you and
seek a deeper connection with your God or Universe. Essential oils are commonly used
to heighten the spiritual experience.
5.1.4.1. WHAT DOES THE BIBLE SAY ABOUT MEDITATION?
When the Bible mentions meditation, it often mentions obedience in the next breath. An
example is the Book of Joshua: "This Book of the Law shall not depart from your mouth, but
you shall meditate on it day and night, so that you may be careful to do according to all that
is written in it.
5.1.4.2. IMPORTANTANCE OF SPIRITUAL MEDITATION
Spiritual meditation releases and settles our thoughts and emotions. It relaxes your
nervous system and helps your body unwind from stress. It helps you to let go of the past
and sink in peace. Spiritual meditation helps you realize who you really are
5.1.4.3. TRANSFORMING PAKISTAN THROUNG MEDITATION
The centuries-old stream of Sufism runs deep in Pakistani culture and its people. The
presence of various Sufi orders and their huge following in the country are reflective of this
fact. These orders have been promoting peace and interfaith harmony. However, the
endeavors of the Azeemi Sufi order are particularly laudable, which have been transforming
Pakistan through meditation. Today, meditation has become hugely popular in Pakistan. At
present, there are almost 60 meditation halls that have been set up by the Azeemi Sufi
order. Each Thursday and Friday, meditation is performed in these halls where men, women,
and children participate in large numbers. The number of participants grows manifold at an
event of special importance. For instance, the number of participants reaches thousands in
the annual Spiritual Workshop in Central Meditation Hall Karachi. On many other gatherings
such as Adam Day, which the order marks as a day of celebration of one common lineage of
entire mankind, the number of participants is also large. In this way, the meditation centers
have become the avenues of celebrating and furthering interfaith harmony. The Azeemi Sufi
order has an altogether different outlook on religion and spiritualism if compared with the
prevalent orthodox and radical ideologies of Islam. The patriarch of the order, Khwaja
Shamsuddin Azeemi, who is truly an ambassador of peace and harmony, established a
chain of meditation halls all across Pakistan. At first, he established a hall in Karachi in 1980,
and afterward laid down a network of meditation halls across the country and spread the
movement to international level. His meditation halls attracted highly educated and
intellectual people, men and women alike, from all sects and religions. These meditation
halls are modern-day Khanqahs where not only the followers of the order but people across
religions are invited. So, they are a place for spiritual retreat, character reformation and
revival of the spirit of interfaith harmony in Pakistan

74
5.2. DESIGNING WORSHIP SPACES WITH MILLENNIALS IN MIND.
This article explored the design aesthetics and characteristics which were considered to be
the most appealing to Millennials. For this project, the Barna group Researchers partnered
with Cornerstone Knowledge Network. The research process was a two-part approach. The
first, which they refer to as the field groups, consisted of groups of Millennials from different
backgrounds who were brought together to tour various architectural works. The tour groups
were then asked to provide their opinions about various aspects of each location. The
second part of the research method used by the producers of the article was conducted
online to achieve a national scale and consisted of two subparts. Part one, which they refer
to as visual polling, consisted of showing a group of four images with varied characteristics
to their survey participants and having them select which image presented the most
appealing characteristics. The other was the presentation of two contrasting terms that may
be applied in opposition to describe a space or experience, where the survey participant was
asked to choose one from each pair which they thought was more representative of the ideal
church.
The visual polling showed that the majority of Millennials preferred churches of moderate
size; large enough to blend in without being too large, such as a megachurch where one
may feel disconnected. This finding was also supported by the data from the field groups.
When asked to select the most appealing altar, the trends pointed towards those which were
more plainly Christian and traditional in appearance. These findings were less plainly
delineated than the overall appearances and were heavily dependent upon demographics.
The next series of images shown in the article refers to the presence of nature in the context
of the church. In this case, the garden and pathway were the clear winner with 62% overall
choosing this option over other such options as indoor plantings or artistic depictions of
nature. Interestingly, in the next group, the windows which were most traditional and
decorative, tied for first with those which were traditional in shape but plain. This was also
corroborated with the field groups’ results.
The word comparisons were less specific but equally useful. Interestingly, despite having
only two choices for each category, all of the percentages for the categories were much
more decisively split, with each one having a clear winner; the closest /being the 60/40 split
between modern and traditional (respectively). The other results were as follows: 78/22
community over privacy, 67/33 classic over trendy, 64/36 casual over dignified, 77/23
sanctuary over the auditorium, and 67/33 quiet over loud. The conclusion which the article
drew from this was that there was that "many of them aspire to a more traditional church
experience, in a beautiful building steeped in history and religious symbolism, but they are
more at ease in a modern space that feels more familiar than mysterious."This of course
sets the stage for a very interesting design inquiry as to how a designer might seek to
balance or address the intersection of these two ideals.
This article raises some very interesting questions. It is also perhaps the most directly
applicable to the design portion of this thesis investigation. However, it is also worth noting
that a church group does not consist solely of Millennials. As such, one must not focus solely
on Millennials when considering and generating design questions. Ultimately the goal here is
to create a space for a community rather than a single group or demographic.

75
5.3. RESEARCH ASPECT
5.3.1. CONTEMPORARY RELIGIOUS BUILDING
The changes in the program and liturgical space of churches, developedduring the 20th
century,framing them in the ideological, cultural, and artistic context that influenced their
foundation.The new guidelines developed with the Liturgical Movement and confirmed by the
II Vatican Concilio led to concrete and practical changes in places of worship, posing new
challenges toreligious architecture. The worship space should reflect the new spirit
ofwelcoming and service to the communities and the will to approach the liturgical
celebration.This is organized into five parts:
In the first part, introducing the subject, some basic concepts of religious architecture are
presented. The second part refers to the values and consequent changes in the design of
the liturgical space that came with the Liturgical Movement and the II Vatican Concilio. It
stands out, as a major change in the design of the liturgical space, the new position of the
altar, which moves from near the wall to the center of the presbytery and closer to the
community This chapter is divided into three stages. The third section presents the key
concepts that define the church-house model, as a way of implementing the spirit of the
post-conciliar Church: the centrality of the altar, hospitality, simplicity, and flexibility.The
fourth part, the influence of modern art and architecture in this changingprocess, taking into
account that the Liturgical Movement finds in the Modern Movement principles -
functionalism, clearance, authenticity, rationalism, clarity - a strong match.
Finally, we present five works of reference in modern and post-conciliar religious
architecture,which materialize ideas of the church-house model.
CASE STUDY ANALYSIS
First, we characterize and analyze each case study, using two forms: the general
characterization form and the morphological analysis form. After that, it is presented a
comparative analysis. And finally, it is made an overall assessment of the analysis, and from
similarities found among the various cases, architectural strategies that characterize the
contemporary religious space are identified. The contemporary religious space is
characterized, as the 'casing' of the religious experience, from two points of view:
• The shape of the ‘casing’ – considering its dimensions, the design of the plan,
morphological elements, the space-functional organization, the configurational properties,
visual relationships and spatial control (space syntax)
(Space Syntax is a theory and spatial analysis methodology applicable to urban level or to buildings,
whichseeks to relate the configuration and spatial morphology to social, economic, and environmental
phenomena. It consists of a set of techniques that allow us to represent and interpret the built
environment to understand and quantify the relationship between their physical and social
dimensions.)
• The treatment of the ‘casing’ – considering the entry and control of natural light,
permeability relations, ornamentation, materials, and colors

76
The following table presents a summary of the analysis and allows comparisons between the
casestudy.
FIGURE 99: COMPARISON OF THE CASE STUDIES
The four architectural strategies found in the study that define the contemporary catholic
religious space are:
• Brightness: a combination of homogeneous and abundant lighting through indirect
input devices with the white coating of surfaces
• Bareness/visual silence: sober and uniform treatment of surfaces that makes the
altar the most prominent element
• Permeability: openness to the outside for contemplation of nature
• Enwrapping: preference for simple plans and large/fluid spaces that allow its full
visual control, use of curved shapes, comfortable and sheltering space offer.

CHAPTER 6
ARCHITECTURAL PROGRAM

77
CHAPTER NO. 6
6. ARCHITECTURAL PROGRAM
6.1. CASE STUDY OF A CHURCH COMMUNITY IN MYSORE
TABLE 5: CASE STUDY OF A CHURCH COMMUNITY PROJECT IN MYSORE
BUILDING NAME AREA IN Sq.mts AREA IN Sq. ft
Church 2885 sq. mts 38,053 sq. ft
Admin Block 636 sq. mts 6846 sq. ft
Public washroom 95 sq.mts 1022 sq. ft
Pre-school 186 sq.mts 2002 sq. ft
Daycare 162 sq.mts 1743 sq. ft
Washroom 30 sq.mts 323 sq. ft
Convent 278 sq.mts 2992 sq. ft
Residence of Priest 149 sq.mts 1604 sq. ft
Parish Hall 1357 sq.mts 14.607 sq. ft
Belltower 3 sq.mts 32 sq. ft
Grotto 1 98 sq.mts 1055 sq. ft
Open gathering 943 sq.mts 10,150 sq. ft
Meditation space 92 sq.mts 990 sq. ft

78
6.2. PROPOSED ARCHITECTURAL PROGRAM
CHURCH
BLOCK
NO.
OF
UNITS
TOTAL NO.
OF PERSON
(sqft)
AREA/UNIT
(sqft)
TOTAL AREA
(SQFT)
Church Hall (ground floor 1
6,500
31158 sqft
54,088 sqft
Church Hall (1st floor
gallery)
1 11465 sqft
Church Hall (2nd floor
gallery)
1 11465 sqft
Chapel 5 - 1650 5x1650=8250
sqft
MEDITATION CAHPEL 7 343 905 sqft 7x905=6,335
sqft
Parish hall 1 374 7111 sqft 7111 sqft
Vestry 1 - 334 sqft 334 sqft
Children prayer room 1 - 334 sqft 334 sqft
CC.TV room 1 - 334 sqft 334 sqft
Confession room 3 - 155 sqft 3x465 sqft
Cry room 1 - 155 sqft 155 sqft
Mother’s room 1 - 155 sqft 155 sqft
Elder’s vesting room 1 - 155 sqft 155 sqft
Usher serving room 3 - 192 sqft 3x192 sqft=576
sqft
Sound control room 1 3 194 sqft 194 sqft=576
sqft
Altar boy’s room 1 - 202 sqft 202 sqft
Choir performance area 1 - 629 sqft 629 sqft
Grotto visiting area 1 - 660 sqft 660 sqft

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