The purpose of this research is to expand knowledge regarding the presence and quality of expression of certain place-making patterns that contribute to place being experienced as sacred. The results are intended to validate and make available an assessment method based on pattern presence and pattern quality for determining whether a specific built environment is more likely to be experienced as sacred or secular. In addition, the results are intended to provide architects with research-informed design guidelines for sacred place-making. This research explores the difference in the presence and quality of expression of certain placemaking patterns at two selected sacred and secular buildings, i.e., Rothko Chapel and Contemporary Arts Museum, both in Houston, Texas. Two key literature references were used as a basis for identifying place-making patterns used in this research: 1) Sacred Place: The Presence of Archetypal Patterns in Place Creation, authored by Phillip Tabb in 1996; and 2) Using the Place-Creation Myth to Develop Design Guidelines for Sacred Space, authored by Michael Brill in 1985. Three types of data were collected and analyzed: graphical data, questionnaire data, and focus group discussion data. Graphical data included photographs and sketches with field notes. A total of forty-eight (48) questionnaires (24 at each setting) were administered to twenty-four (24) Houston architects at the selected buildings. The focus group discussion panel consisted of 6 participants – three architects and three spiritual mentors from Houston, Texas. Relative frequencies were calculated for multiplechoice answers in the questionnaire, while open ended questionnaire items were subjected to inductive content analysis. Focus group discussion data was examined and coded by means of open coding, axial coding, and selective coding. The analyzed data were synthesized to test whether the presence and quality of expression of certain place-making patterns contributed to place being experienced as sacred. This study concludes that built environments which possess a higher presence and higher quality of expression of certain place-making patterns are more likely to be experienced as sacred than built environments with a lower presence and lower quality of expression of the place-making patterns. A set of design guidelines for sacred place-making were produced and a place-making pattern matrix was developed as part of this study.

Modern religious architecture is studied and understood inadequately, partly because modernity has been considered antithetical to religious practice and belief, and partly because studies of modern religious architecture have typically sidelined its distinctively religious aspects. Furthermore, would-be interpreters have lacked an adequate interpretive framework for the modern and religious identities that together characterize modern religious architecture. Thus, the problem is rooted both in history and theory: the solution requires 1) an interdisciplinary approach to the historical context of modernity that can properly situate such buildings in architectural and religious terms, and 2) a hermeneutic that is sufficiently rich to address the religious content, yet fluid and modest enough to be fruitful even from outside such theology-laden contexts. As identity is largely a matter of mainstream practice, the historical setting for this research is a significant but non-experimental context: post-WWII Rome. This period is marked by both a multifaceted identity crisis with distinctive political, architectural and theological aspects, and the Second Vatican Council (1962-65) that marked a shift in Catholicism’s attitude towards modernity. The chief interpretive concept offering sufficient richness and fluidity to address modern religious architecture is mediation, relevant to both religious identity (especially on beauty and sacrament) and the identity of modern architecture (especially on ornament). The main interlocutors here are Hans Urs von Balthasar (1905-88), Karsten Harries (1937-), Oleg Grabar (1929-), and Jacques Maritain (1882-1973). The hermeneutic framework is forged and tested through formal and phenomenological analyses of four post-WWII Catholic churches in Rome that are exemplary of four modes of mediation: 1) San Giovanni Bosco (1952-59), by Gaetano Rapisardi: critique; 2) San Gregorio VII (1959-61), by Paniconi and Pediconi: updating; 3) San Policarpo (1960-67), by Giuseppe Nicolosi: retrieval; 4) Sancta Maria Mater Ecclesiae (1965-70), Luigi Moretti’s unbuilt “Chiesa del Concilio”: invention. These analyses also reveal four distinct forms of ornament — material, tectonic, geometric, and spatial — that are discernible largely through a reconsideration of ornament as defined primarily through its mediating function. The conclusion evaluates the fecundity of the hermeneutic and suggests possibilities for further research. / text

Made available in DSpace on 2016-07-27T13:46:36Z (GMT). No. of bitstreams: 1 LUIS CESAR FLEURY DE OLIVEIRA - PARTE 1.pdf: 29750591 bytes, checksum: fc142436d388415af452ab9041d9ff3b (MD5) Previous issue date: 2013-06-25 / The very mention to the architecture of the sacred induces one to imagine the artistic conception of a temple-building. This attitude stems from the fact that the analysis of such architecture is usually focused on its styles, techniques and applied materials, as well as on the acclaiming of its authors that is, on aesthetic and economic values. There is no literature devoted to examining the constructive and ornamental elements of such architecture as transmitters of religious meaning, their true and important reason for existence. On the other hand, the proposal of this study is to unveil the constructive or ornamental symbolic elements existing in external or internal, natural or constructed architectonic spaces, which are able to interfere in the way individuals undergo religious experience. It aims at analysing how form in sacred art and architecture potentiates the function of propitiating the meeting with the Sacred. The apprehension of the object of study has been carried out through field research, photograph records, in loco observation and field notes. Brazil has been defined as the universe of research, and the focus of analysis comprised Brazilian Colonial and Imperial periods, particularly from the XVIth to the XIXth Centuries, and the architectural and art styles which have then taken place, that is, Plain, Baroque and Rococo. This work is organised in five chapters. The first one examines social life, symbology and sacred architecture. In the section entitled Social and Mystic-Religious Life , a brief incursion into Brazilian prehistory and into Portugal and Brazil during Portuguese colonisation is made. Then, a general analysis of symbols takes place, and the recurring ones are particularised. A brief summary of sacred architecture in general, as well as Plain, Baroque and Rococo architectural styles and their respective peculiarities in the States of Minas Gerais and Pernambuco concludes the chapter. In the second chapter, the architecture and symbology of three pernambucano Plain-style churches are analysed. The third, fourth and fifth chapters are respectively dedicated to first and second-stage Baroque and Rococo. In each of them, the architecture and symbology of one mineiro and one pernambucano church are examined. In conclusion, this study intended to evidence that knowing the symbols present in churches enables us to understand what makes the architecture of the sacred bear the sacred in architecture. / A simples menção à arquitetura do sagrado induz a imaginar a concepção artística de um edifício-igreja. Essa postura decorre do fato de a análise dessa arquitetura ter, normalmente, como foco seus estilos, técnicas e materiais empregados e a consagração dos autores, portanto valores estéticos e econômicos. Na literatura, não há trabalhos destinados ao exame dos elementos construtivos e ornamentais dessa arquitetura como transmissores de significados religiosos, sua verdadeira e importante razão de existir. Neste estudo, seguindo outra direção, propôs-se a descobrir os elementos simbólicos, construtivos ou ornamentais, presentes no espaço arquitetônico como ambiente, externo ou interno, natural ou construído e capazes de gerar no indivíduo interferências em seu viver da experiência religiosa. Com ele, pretende-se proceder à análise da forma na arte e arquitetura sagradas como potencializadora da função de propiciar o encontro com o Sagrado. A apreensão do objeto de estudo efetivou-se com a pesquisa de campo, o registro por meio de fotografias, observações no local e anotações de campo. Como universo de investigação, foi delimitado o Brasil e o foco de análise, de forma particular, os períodos Colônia e Império, do século XVI ao século XIX, e os estilos de arquitetura e arte ocorridos nesses momentos, ou seja: o Chão, o Barroco e o Rococó. Este trabalho é composto de cinco capítulos. O primeiro versa sobre a vida social, a simbologia e a arquitetura sagrada. Na seção intitulada Vida Social e Místico-Religiosa , faz-se uma pequena incursão à pré-história brasileira, a Portugal e ao Brasil no período da colonização portuguesa. A seguir, realiza-se uma análise geral de símbolos e particularizam-se os mais recorrentes. O capítulo é finalizado com um pequeno apanhado da arquitetura sagrada geral, assim como das arquiteturas Chã, Barroca e Rococó, e suas particularidades em Minas Gerais e Pernambuco. No segundo capítulo analisam-se a arquitetura e simbologia de três igrejas chãs pernambucanas. No terceiro, quarto e quinto capítulos são examinadas a arquitetura e a simbologia em uma igreja mineira e em uma pernambucana, respectivamente nos estilos Barroco da primeira fase, Barroco da segunda fase e Rococó. Como encerramento, buscou-se mostrar que com o conhecimento dos símbolos presentes nas igrejas, é possível compreender aquilo que faz a arquitetura do sagrado guardar em si o sagrado da arquitetura.

Šiame darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į... [toliau žr. visą tekstą] / The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture. While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text]

The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture. While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text] / Darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į subtilius... [toliau žr. visą tekstą]

The History of Architecture has been all about religious buildings. With distribution of sources of power and wealth, new paradigms have emerged. Architecture today is about villas, skyscrapers, stadiums, etc. as well as churches. The financial support of the church is not in the same way as in middle ages; neither the way in which they are used. The question of this thesis project is this transformation of an architectural tradition and how it should be adjusted to our time’s conditions.

This dissertation comparatively analyzes the architectural and visual histories of two black churches as examples of the material contribution of African Americans to the nation’s built environment. As cultural repositories, Metropolitan African Methodist Episcopal Church (AME) (1881-1886), Washington, D.C., and the Shrine of the Black Madonna #1, Pan African Orthodox Christian Church (1925/1957), Detroit, MI, are two sites that represent distinct forms of Black Nationalism. The history of Metropolitan AME uncovers aspects of late nineteenth century Classical Black Nationalism cultural practice. The Shrine of the Black Madonna #1 reflects the revisionist agenda of the Black Cultural Nationalist Movement of the 1960s and 1970s. The objective of this study is to expand through a cultural lens the growing body of scholarship that seeks to excavate under-recognized African-American visual and architectural traditions. This study contrasts different modes of claiming space for cultural affirmation: construction and real estate acquisition. Chapter one offers a rationale for the artifactual interrogation of African American churches and outlines the interdisciplinary methodologies employed in the case studies. In chapter two, Metropolitan A.M.E. Church’s architectural history presents an instance of an African American community using popular architectural and artistic styles in an associative manner to articulate racial advancement. Chapter three documents the aesthetic legacy of Metropolitan A.M.E. Church by considering the sanctuary’s stained glass window program, mural commissions executed by two rarely-discussed African American artists, donated art objects and the circulation of images of the religious site. Chapter four explores the Shrine of the Black Madonna #1’s 1957 purchase of a 1925 Colonial Revival ecclesiastical structure. This assessment contextualizes the lived interventions of a radical congregation to understand how shifts in material and visual patterns expressed cultural identity. Chapter five critically explores the aesthetic history of the Shrine of the Black Madonna #1 that begins with the Black Madonna and Child (1967) chancel mural by Glanton V. Dowdell. As the conclusion indicates, African American churches contain visible but hidden histories that expand African American art by introducing new iconographic considerations and revealing new art communities.

A pesquisa debruça-se sobre a arquitetura religiosa moderna produzida no Brasil, sua trajetória e seu processo de renovação ao longo do século XX, tendo a luz natural como o protagonista deste espaço e o uso das técnicas de proporcionamento na composição plástica das igrejas como eficazes em mobilizar a percepção humana. O objeto de estudo da presente pesquisa configura-se através da arquitetura religiosa produzida por personagens do Movimento Moderno no Brasil: Oscar Niemeyer, Edgar Guimarães do Valle, Dominikus Böhm, Gottfried Böhm, Adolf Franz Heep, Edgar Oliveira Fonseca, Joaquim Guedes, Hans Broos, Antônio Carlos Farias Pedrosa, Jerônimo Bonilha Esteves, Israel Sancovski e Carlos Alberto Naves. Numa delimitação histórica, restringe-se ao período entre 1940 e 1970, fase de implementação, assimilação e consolidação dos princípios modernos no Brasil. Através do estudo e análise das capelas e igrejas escolhidas, a pesquisa desvenda as formas pelas quais o arquiteto entendeu o conceito luminoso, o problema de medidas e de proporções e como isso se refletiu nas expressões e linguagens que envolvem a arquitetura. Para isso, o trabalho analisa treze obras. Os programas representativos dessa arquitetura a serem estudados serão capelas e igrejas católicas. / The research focuses on modern religious architecture produced in Brazil, its history and its process of renewal throughout the twentieth century and the natural light as the protagonist of this space and the use of proportioning techniques in plastic composition of the churches as effective to mobilize human perception. The study object of this research is configured through religious architecture produced by Modern Movement in Brazil characters: Oscar Niemeyer, Edgar Guimarães Valle, Dominikus Böhm, Gottfried Böhm, Adolf Franz Heep, Edgar Oliveira Fonseca, Joaquim Guedes, Hans Broos, Antonio Carlos Farias Pedrosa, Jeronimo Bonilha Esteves, Israel Sancovski and Carlos Alberto Naves. In a historical definition, is limited to the period between 1940 and 1970, the implementation phase, assimilation and consolidation of modern principles in Brazil. Through the study and analysis of the chosen chapels and churches, the research reveals the ways in which the architect got the bright idea, the problem of measurements and proportions and how it was reflected in the expressions and languages that involve architecture. For this, the paper analyzes thirteen works. Representative programs of this architecture to be studied will be chapels and Catholic churches.

A pesquisa debruça-se sobre a arquitetura religiosa moderna produzida no Brasil, sua trajetória e seu processo de renovação ao longo do século XX, tendo a luz natural como o protagonista deste espaço e o uso das técnicas de proporcionamento na composição plástica das igrejas como eficazes em mobilizar a percepção humana. O objeto de estudo da presente pesquisa configura-se através da arquitetura religiosa produzida por personagens do Movimento Moderno no Brasil: Oscar Niemeyer, Edgar Guimarães do Valle, Dominikus Böhm, Gottfried Böhm, Adolf Franz Heep, Edgar Oliveira Fonseca, Joaquim Guedes, Hans Broos, Antônio Carlos Farias Pedrosa, Jerônimo Bonilha Esteves, Israel Sancovski e Carlos Alberto Naves. Numa delimitação histórica, restringe-se ao período entre 1940 e 1970, fase de implementação, assimilação e consolidação dos princípios modernos no Brasil. Através do estudo e análise das capelas e igrejas escolhidas, a pesquisa desvenda as formas pelas quais o arquiteto entendeu o conceito luminoso, o problema de medidas e de proporções e como isso se refletiu nas expressões e linguagens que envolvem a arquitetura. Para isso, o trabalho analisa treze obras. Os programas representativos dessa arquitetura a serem estudados serão capelas e igrejas católicas. / The research focuses on modern religious architecture produced in Brazil, its history and its process of renewal throughout the twentieth century and the natural light as the protagonist of this space and the use of proportioning techniques in plastic composition of the churches as effective to mobilize human perception. The study object of this research is configured through religious architecture produced by Modern Movement in Brazil characters: Oscar Niemeyer, Edgar Guimarães Valle, Dominikus Böhm, Gottfried Böhm, Adolf Franz Heep, Edgar Oliveira Fonseca, Joaquim Guedes, Hans Broos, Antonio Carlos Farias Pedrosa, Jeronimo Bonilha Esteves, Israel Sancovski and Carlos Alberto Naves. In a historical definition, is limited to the period between 1940 and 1970, the implementation phase, assimilation and consolidation of modern principles in Brazil. Through the study and analysis of the chosen chapels and churches, the research reveals the ways in which the architect got the bright idea, the problem of measurements and proportions and how it was reflected in the expressions and languages that involve architecture. For this, the paper analyzes thirteen works. Representative programs of this architecture to be studied will be chapels and Catholic churches.

The main theme of the diploma is the design of a new Roman Catholic church and parish within the framework of the construction of a panel residential complex in Nový Líšeň in Brno. Due to the fact that Salesian children and youth workers came to the area in 1990, it became necessary to build a church and a Salesian youth center. This proposal is based on an analysis of the urban context. The church is surrounded by prefabricated houses next to a school, a health clinic, a shopping center, and a Salesian youth center in a gently sloping area facing south with the dominant Palava hills.