Church Architecture

1. INTRODUCTION TO SACRED
LITURGY ON
CHURCH ARCHITECTURE

2. WHAT IS THE SIGNIFICANCE OF CHURCH ARCHITECTURE IN RELATION TO
OUR CHRISTIAN FAITH IN THE ACCOUNT OF SACRED LITURGY?
• To understand the role of church architecture in the
growth of our Christian faith, there 5 essential aspects
that we need to understand and consider.
1) History
2) Spiritual
3) Theological
4) Pastoral
5) Canonical

3. In the Second Vatican Council, the constitution on
sacred liturgy, Sacrosanctum Concilium chapter 7,
fine arts are rightly classed among the noblest
activities of man’s genius, especially to religious arts
or what is called sacred art. In other words fine arts
are the expression in some way to the immeasurable
beauty of God in the works of human hands. Their
dedication to the increase of God’s praise and of his
glory is more complete, the more exclusively they are
devoted to turning men’s minds devoutly toward
God.
Austin Flannery, O.P., ed, Vatican Council II: The
Conciliar and Post Conciliar Documents [Sacrosanctum
Concilium chapter 7 no.122]. (New York: Costello Publishing
Company, 1980), p. 34.
That is why the holy Mother Church has always been
the patron of the fine arts and has ever sought their
noble ministry, especially to all things set apart for
use in divine worship that is worthy, becoming, and
beautiful, signs and symbols of things supernatural
and clearly seen that she trains artists, claiming the
right to judgment on the arts in accordance with
faith, piety, and the laws religiously handed on to be
considered appropriate for sacred use.

4. HISTORICAL ASPECT
• Tabernacle and Temple
• In the book of Exodus, it is very clear that God gives Moses instructions
for building the tabernacle. God gives him a glimpse of heaven when he
was on Mount Sinai, and the tabernacle was an earthly reflection of what
he’d seen. The tabernacle and the temple were built according to a
particular pattern, which gives the worshippers a glimpse of the heavenly
reality. Now the key word here is pattern, yes it is pattern for there is an
underlying pattern that both the tabernacle and temple followed, and it is
this pattern that provides the basic structure for Christian churches. The
tabernacle not only gives us the pattern for a Catholic Church, but
reminds us what a Catholic Church is for which somehow leading to
ponder the two words such as a temple or auditorium.
• Ex. 25:10-22; 37:1-9.
• Father Dwight Longenecker, Bible offers tips for designing houses of God.
In the Bible, the sacred space is a temple not an auditorium. An
auditorium is a large space for people to gather to hear a speech or see a
performance. A temple, on the other hand, is the dwelling place for God as
described in the Jewish Bible, where in a large outer court, they made
sacrifices, and they burned incense in an inner chamber, dubbed the “Holy
of Holies.” The Holy of Holies housed the Ark of the Covenant, which
contained the Ten Commandments and the manna (the substance
miraculously supplied as food to the Israelites in the wilderness), and was

5. DAVID’S TEMPLE OF GOD
• In the second book of prophet
Samuel, states that David’s
temple of God begins when God
gives him peace from all his
enemies around him and with his
realization from living in a palace
made of cedar wood while the
Ark of God is in a tent. Here we
could see the progression and
the development of God’s house,
from tabernacle to tent, tent to
temple. Here also we could see
that God really choses individuals
to build his house.
Thomas Nelson, David Wants to
Build a Temple. [Article online]
available from
https://www.biblegateway.com/pas

6. SOLOMON’S TEMPLE OF GOD
• Five hundred years later God instructed David’s son,
King Solomon, to build the great temple in
Jerusalem. Although Solomon’s temple was much
more splendid than the simple tabernacle of Moses,
it still followed the same divinely inspired pattern.
• The name Solomon signifies ‘peaceful,’ and at about
the age of twenty he was chosen by God to perform
the important work of building the Temple in
Jerusalem, guided and educated by the prophet
Nathan, and was well prepared for this great task. It
was made clear to all that it was God’s appointed
time to build the Temple. He gave to Solomon the
great opportunity to serve him, and for the exercise
of his intelligence and ambitions along proper and
helpful lines. God gives him the assurance, to be
strong in doing it
Dawn Bible Students Association, God Calls Solomon
to Build the Temple. [Article online] available from
http://www.dawnbible.com/2008/0803ib16.htm

7. • The importance of the Temple illustrates
the specific directions given by God
concerning its construction.
• . Many items of gold were used in the
construction and furnishing of the
Temple; golden candlesticks, tables,
hooks, and basins. The altars, the chariot
of the Cherubims, and the Ark of the
Covenant were all covered with pure gold.
Gold represents things Divine, and is used
to represent the covenant that God made
with Israel, and that the Temple was God’s
design.

8. CHURCH HOUSES
• For the first three-hundred years of its existence, the Church of
Jesus Christ met almost exclusively in private homes, as in the letter
of Paul to Romans and Corinthians clearly states that the church are
in house. That is why the first meetings for Christian worship were
held in the homes of converts; in rooms which many cases may
have been set aside and furnished for this particular purpose.
Because of persecution due to its wide spreading (Christianity)
gatherings and services therefore took place in private houses and
catacombs where existing subterranean cells could be enlarged and
used with little fear of discovery.
• Acts 20:20; Romans 16:5; 1 Corinthians 16:19; Colossians 4:15;
• Now the term building is used as coupled to church, the
significance of church building is for meeting and gathering for
sacred activity as far as the church is concern. There is nothing
wrong about meeting in a building per se. However, if a group
chooses to do so it must be careful to not erect a structure or
procure internal furnishings which stifle mutual edification and
participation from the saints (e.g., pulpit, pews, a rigid "order of
worship," etc.). In other words, any property or building must be
held lightly and should be an expression of a clear biblical
understanding of the true nature of the church. Buildings, therefore,
should be functional and conducive to the body-life principles of
the New Testament as what the early Christians had during their

9. • Homes are conducive to the family concept and
mutual edification which should mark the
gatherings of Christians. It is amazing how
"religious" and tight-lipped people get when
they enter a church building. The setting and
furnishings all give the impression that one has
entered the holy of holies and that the only
thing expected of him or her is to be silent and
maintain an attitude of worship. What a contrast
this is with the atmosphere and setting of the
house-church where the saints interact, serve
and fellowship with one another. Mutual
edification is much easier in a home than in the
more traditional church setting. Many people
have difficulty sharing burdens or a word of
exhortation in a common church structure, but
such difficulties are greatly reduced when the
assembly meets in a home. Basically church
houses starts from the household.

10. EVOLUTION OF ARCHITECTURE (CHURCH)
CLASSICAL
• 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 an 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. 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.
John Alfred Thomas, Theory, Meaning and
Experience in Church Architecture. (USA: University

11. • Byzantine
• 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. 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.
The Editors of Encyclopaedia Britannica,
Byzantine architecture. [Article online]
from
https://www.britannica.com/art/Byzantine-

12. MEDIEVAL (ROMANESQUE AND GOTHIC)
Romanesque
• 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 12th
century 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.

13. • Gothic
• 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.
• Encyclopedia Britannica, (Philippines: William
Benton Publication, 1971), p. 745.

14. • Renaissance
• Renaissance architecture is the
European architecture of the period
between the early 14th and early 17th
centuries 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.

15. • Baroque
• Baroque architecture is the building style of the
Baroque era, begun in late 16th-century Italy,
took the Roman vocabulary of Renaissance
architecture and used it in a new rhetorical and
theatrical fashion, often to express the triumph of
the Catholic Church. It was characterized by new
explorations of form, light and shadow, and
dramatic intensity. Common features of Baroque
architecture included gigantism of proportions; a
large open central space where everyone could
see the altar; twisting columns, theatrical effects,
including light coming from a cupola above;
dramatic interior effects created with bronze and
gilding; clusters of sculpted angels and other
figures high overhead; and an extensive use of
trompe-l'oeil, also called "quadratura," with
painted architectural details and figures on the
walls and ceiling, to increase the dramatic and

16. • 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.
ECLECTISISM

17. • Modern Church Architecture
• 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.
The Catholic Encyclopedia for School and Homes,
(New York: Grolier Incorporated, 1965), p. 624.

18. SPIRITUAL ASPECT
• The Church building plays an integral sacramental
role in the context of sacred liturgy. Its structure
and design are the covering shell to protect the
worshiping community from the elements. In other
words it gives security for the church as a mother
ready to feed and shelter her children with the
sacraments entrusted to her. Particularly on the
celebration of the Holy Eucharist which is to be
celebrated in sacred place, unless in a particular
case necessity demand otherwise. It is in this
context that the church finds its spirituality. For its
building has a sacred function which is to be suited
for sacred celebration.

19. • That is why, the Catechism of the Catholic
Church firmly stands that the church
celebrates public worship for the faithful and
for the glory of the Holy Trinity. For the
significance of church architecture in its
spiritual aspect is a place to gather the faithful
to hear the word of God and sing his praises,
lifting up her prayer and offer the sacrifice of
Christ sacramentally in the adorable altar of
our salvation, which real present in the midst
of the assembly. Hence, Church architecture
from the definition as a place for worship it
could also be a place for recollection in which
we recollect and meditate the goodness of
God with his holy presence in the Blessed
Sacrament where we can talk and present our
personal prayer to him.
Joseph Cardinal Ratzinger, The Spirit of the
Liturgy, trans. by John Saward (San Francisco:

20. THEOLOGICAL ASPECT
• a sacramental thing, reveals the mind of God
to us.
• has theological matter especially in scripture
• has two foundations found in scripture: the
incarnation of Christ and the transfiguration
of Christ
• Basically in the theological perspective of
church architecture refers to the glory of
Heaven, which God seating on his throne
surrounded by angels and saints singing
heavenly songs, praising and worshiping God.
• For the theology of church architecture
reveals God to man and allows us to
participate in the revelation and thus the high
calling of church architecture is to be like
Christ body in sacramental terms a material
thing which bears the meaning that God
wants us to mean and the glory itself that
Christ body have in the transfiguration as
foretaste and then the revelation as
permanent pledge of our potential to be
divinized to become like God just like Christ
was, and the way the Church describe this is a
foretaste of heavenly liturgy, foretaste mean
to participate in a very small way to becoming

21. PA S TO R A L A S P E C T
Throughout the history of the Church, the
church building has been understood as a
sacramental image of heaven which gives a
preview of the heavenly liturgy.
It manifest the signs and symbols of the
heavenly realities, in and through the medium
of the arts such as architecture, painting,
statues and stained glass which affords the
faithful the opportunity to catch a sacramental
glimpse of heaven where the heavenly liturgy is
taking place.
For the fact that the church building with its
pastoral perspective supports the mission of
the Church, the sanctification of man and the
glorification of God and this is done through
the earthly liturgy, which is a sacramental
presentation of the heavenly liturgy.

22. CANONICAL ASPECT
• Significantly, throughout the Christian centuries, we have called
our churches Domus Dei (the house of God) and Porta Caeli
(the gate of Heaven) — a dwelling place where we go to find
God, a sacred place in which we seek the treasures of the
heavenly kingdom.
• From the beginning of time, God has chosen to meet His
people in sacred places. The "holy ground" of Mount Sinai
became translated into the tent in the wilderness and the
Temple in Jerusalem. With the advent of Christianity, believers
constructed buildings specifically for the Divine Liturgy which
would reflect the heavenly temple.
• In Canon Law "the term church signifies a sacred building
destined for divine worship to which the faithful have a right of
access for divine worship, especially its public exercise." As "a
place set apart" for reception of the sacraments, the church
itself becomes sacramental having as its focus the sanctuary,
which means a holy place. Just as the ceremonies, elements
such as the altar and ambo, and the art are all referred to as
"sacred" so are the buildings designed for them. Therefore to
seek to remove the distinction of the church as a sacred place

23. • Canon 1205 defines a term that is directly relevant
to this question: sacred place. Sacred places are
those places which are intended for (1) divine
worship, or (2) the burial of the faithful, and are
specifically designated for this by the blessing or
dedication that is prescribed in the liturgical
books.
• Canon 1210 tells us that in sacred place, only
those things are to be allowed which serve to
exercise or promote worship, piety, and religion.
The canon further explains that anything out of
harmony with the holiness of the place is
forbidden- but the bishop can, in individual cases,
permit other uses, so long as they are not
contrary to the sacred character of the place.

24. THANK YOU AND
GOD BLESS US
ALL