Academic literature on the topic 'Modern sacred architecture'

It is known that traditional architectures are a product of human conception full of culture and philosophy, while modern architectural concepts prioritize functionality and simplicity that tends to be simple or quick. Now the architectural concept slowly changes according to the conditions of time, then so is the existence of works of architecture that also changes. This condition can be found in almost major cities in Indonesia, where many houses or buildings built still in traditional architecture theme but combined and matched with modern architecture concept. One of many diverse cultures of Indonesia archipelago architecture that has evolved is West Java. There are a lot of people trying to apply the concept of Sundanese traditional house in their residence. Shifting sacred values in traditional concept seems indeed to be lost along with the differences in modern human civilization.

The article highlights the stages of formation of the architecture of temple complexes in the Ternopil region, which today form the sacred image of the region. The set of sources used in the study has different origins, gives researchers information for analysis of sacred architecture in the modern Ternopil region, which can be used in further research. The source base of the study are churches of different denominations - Orthodox, Catholic, Greek Catholic, Jewish, Armenian, as well as the remains of pre-Christian complexes. Such ethnic and confessional heterogeneity, complex socio-political processes on the territory of the region have given rise to a typological diversity of temples, which differ in style, dimensional solution, decoration. The analysis of sacred complexes was carried out by the method of field surveys, historical and comparative analysis and was based on reliable archival sources, data from research institutions, reserves and publications of leading scientists. European periodisation system was used in the analysis of the formation stages of sacred architecture: the Middle Ages, Renaissance, Reformation, Enlightenment, the period of XIX-XX centuries and the modern period. Each stage is marked by the appearance of majestic temples, which are bright dominants in the architectural space of settlements and creating a unique sacred image of the Ternopil region. It is shown that there are almost no sacred objects of the early medieval period left in the study area, except for mounds and cave temples. The High Middle Ages are represented by single temples. The Renaissance period declares the adoption of Western European construction technology. Temples have a pronounced defence function. The Ternopil region is most vividly represented by the Baroque temples of the Enlightenment. The period of the XIX-XX centuries. marked by the search for a national style in sacred architecture. Modern temple complexes are built according to the traditional planning system, but some have modern forms.

How do we define what is sacred architecture? People of all ages are turning away from organized religion, and looking for a more genuine, personal experience of the spiritual. In considering sacred architecture, a distinction is whether architecture itself is sacred or that architecture is an instrument that calls forth the sacred. Distinctions should be drawn between situational versus substantive sacred space. A divine presence is believed to reside in substantive sacred space. In situational, anyplace can be sacred depending on the presence, location, and actions of human beings, often acting in community.Edward Anders Sovik was one of the most influential architects in the design of modern churches in the US. Active from the mid-20th-century through the 1970s, Sovik designed mostly Protestant churches and wrote extensively about church design and its liturgical underpinnings. Sovik believed that early Christians perceived themselves as a community of faith unattached to any place. His skepticism about the sacredness of buildings and objects sits squarely within Protestant theology. His religious architecture offers a good model for today, as the definition of sacred architecture is changing. Sovik’s emphasis on the secular and the sacred is prescient regarding the current state of religion and spirituality, and became the basis of a recent graduate design studio at Catholic University of America.

Keeping in the background the search for geometric-mathematical exactness, that in different cultures oversees the construction of sacred building and starting from the need to isolate it in order to make its "true form" recognizable, this paper analyzes features and conditions of the spaces of the city where different isolated and formally defined religious buildings coexist, as happens, for example, in Italian squares characterized by opposition between Cathedral and Baptistery. The Campo dei Miracoli in Pisa is assumed as a paradigm of in-between consecrated space in which several isolated buildings determine a tensional space and define a unique and unrepeatable configuration individuated among the multiple possible combinations of positions and architectural figures that is, according to Leibniz, expression of the idea of infinity. This kind of space looks for exactness not through closed forms but through relationships, positions and alignments of standing buildings and its rarefaction is directly connected with the idea of open city dispersed in nature proposed by modern architecture.

The passage from sacred to secular space confers on religious space a wider functionality that will allow the incorporation of an abstract and open spatial symbolism to different perceptions of the divine to see, feel or invoke God. According to Rudolf Otto, on the Protestant churches the architectonic expression of the numinous is made by three fundamental elements of representation: obscurity, silence and emptiness. As elements that conceptually oppose the concrete or definitive symbol, they acquire a universal meaning that modern architecture itself will incorporate as a process of artistic emancipation.For a contemporary architect to design a religious space thus imposes an inevitable incursion into this Protestant matrix that appeals to the simplicity of forms, to the fidelity of construction and to the aesthetic experience as access to the transcendent. The mortuary chapels I am presenting takes up this contact with the modern constructive knowledge and with the return to the essential sacred place made of space, light and matter.

The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.

The Sancrosanctum Concilium approaches the artistic aspects of architecture from the liturgy, while the Charter of Venice approaches the architectural space from the principles of heritage protection. Both emphasized simplicity, functionality and readability. The significance and the combined effect of the two documents in the practice of church construction in Eastern Europe can be considered significant, since the possibility of redesigning the liturgical space arose mainly in the context of the renovation of historic buildings in the atheist political environment. The proof of this statement is presented in the manuscript of the architect Ödön Dümmerling. The architect - a practitioner of monument restorations and an admirer of the spirit of modern architecture - was called upon to draw up design guide after the Second Vatican Council was closed, making recommendations for new equipment for liturgical spaces.

The article «Architectural-spatial principles of formation of the structure of modern cult buildings of Christian confessions in Ukraine» acquaints the readers with the percentage of different denominations in Ukraine. The paper reports on the coexistence of different religious denominations in Ukraine, a table with sacred architecture in different areas is given, as it is an important component of national minorities living in our country. The architectural and spatial organization of sacred buildings on the territory of Ukraine is analyzed. The purpose of the study is to identify and analyze the formation of evaluation criteria, sacred buildings of Christian denominations in Ukraine. The main research methods in the article are general scientific methods, which include: review of the literature, study of analogues; theoretical methods: analysis and synthesis, analogy and comparison; empirical methods: description, observation, perception, images. The objects are a selection of the twenty most successful buildings during the period of independence of Ukraine of each denominational unit of Christianity in the country. Discovery the relevance of the study and the basic principles of formation and development of the category of assessment of buildings of Christian denominations. Discovery the basic principles of formation of architectural and spatial structure and development of the category of assessment of buildings of Christian denominations. The analysis of modern Ukrainian church building and the search for ways of its further development in the theory of architecture is carried out mainly from internally Christian positions without taking into account the current theories of development of post-Soviet Orthodoxy. This leads to a biased and religiously involved consideration of a number of aspects of Christian architecture, in particular the Orthodox denomination of Ukraine in the late XX - early XXI century, patterns and principles of development of which cannot be determined, being within the model of post-Soviet Orthodoxy. The paper is supplied with diagrams, tables, figures.

The Catholic Church building always displays symbols and ornaments as an expression of religious (sacred) faith and atmosphere. Symbols in the form of two-dimensional and three-dimensional objects arranged and beautified the church as well as religious significance. Symbols and ornaments are placed inside the church (interior) and outside the church (exterior), function to support the atmosphere of the church visually and help appreciate aesthetic, psychological and religious faith. Regina Caeli Catholic Church in Pantai Indah Kapuk Jakarta is a Catholic church that is characterized by modern architecture and features symbols and ornaments on the interior and exterior of the church. This paper describes the existence of symbols and ornaments -symbols in the church associated with obedience to the principles of modern architecture that underlies the design of the church. The research problem is how the existence of symbolic symbols and ornaments in the Regina Caeli Catholic Church, which are modern-minimalist architecture? The study was carried out by analyzing secondary data (photos and texts) and literature studies, then compared with the basic guidelines of Catholic church architecture and the principles of modern architecture. As a result, Regina Caeli's Catholic Church architecture is a modern architecture with a modern-minimalist expression. The existence of a symbol of the cross marks the existence of a Catholic church visually, the interior ornaments strengthen the uniqueness as a sacred (religious) space. The Regina Caeli Catholic Church has a modern architecture and provides a place for symbolic symbols and ornaments; there is a mixture of modern architecture with church symbolism as a relogious building.

Archaeoacoustics is a multidisciplinary field of research focused on the history of the relatedness of the field of sound and architecture. The architectural history of Europe, from Antiquity to the modern period, is abundant in the findings of vessels, which are considered to have an acoustic purpose. This paper addresses these acoustic vessels embedded in the massive walls of sacred architecture in medieval Serbia (15 churches). We considered the wide context of current archaeoacoustic research, in order to argue that this practice can be regarded as an expression of a certain medieval musical tradition.