Over the millennia, churches have actually shifted backward and forward from centers of community to individual introspection and reflection, pausing regularly along the scale as a new denomination disturbed the balances of tradition.
The modern-day church is a fragile organization; under siege from countering faiths, viewpoints and the super speed of daily life, it must simultaneously stand up to the constant tempest of modification while staying anchored to custom. The way the most enduring organizations have done this is by finding a balance: deep roots that touch the core of humankind and yet a versatile reedlike ability to sway and flex with the stress of modernity.
And yet despite their excellent stylistic differences, the glue in between these churches remains unnoticeable to the human eye yet vibrates within each of us: the emotional state developed whilst one is present. The sense of belonging. The conviction of something larger than us all.
Architecturally, Thibaud Poirier was motivated by the astounding variety of church design. There are just however a couple of physical indications that bind them together: a visual focal point, normally however not constantly a cross, rows of seating trained on the visual cue, and a space plainly developed to stimulate wonder, reflection, devotion.
These are spaces that were created to consistently draw one in, and create spiritual long-term relationships with visitors. Ranging from a cosy monk-like modest chapel to elaborate ethereal cathedrals with vaulted archways extending to the heavens, their range of praise spaces is as diverse as it is personal. In this series Thibaud Poirier wished to capture a few of the most extraordinary spiritual spaces, to demonstrate how they translate the organization stylistically and concretely shape drastically various interiors for individuals to praise.
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# 14 Herz Jesu Kirche, Munich, Germany (Sattler, Allmann et Wappner, 2000).
And yet in spite of their terrific stylistic distinctions, the glue between these churches stays unnoticeable to the human eye yet vibrates within each of us: the emotional state developed whilst one is present. The conviction of something bigger than us all.
# 13 Cathédrale de la Résurrection, Evry, France (Mario Botta, 1999).
# 9 Notre-Dame-de-la-Salette, Paris, France (Henri Colboc, 1965).
# 16 Grundtvigs Kirke, Copenhagen, Denmark (Peder Vilhelm Jensen-Klint, 1927).
# 11 Notre-Dame-de-lArche-dAlliance, Paris, France (Architecture-Studio, 1998).
# 3 Saint-Jacques-le-Majeur, Montrouge, France (Erik Bagge, 1940).
# 1 Notre-Dame-du-Travail, Paris, France (Jule-Godefroy Astruc, 1902).
# 15 Saint-François de Molitor, Paris, France (Corinne Callies et Jean-Marie Duthilleul, 2005).
# 10 Saint Pierre Et Saint Paul, Pau, France (André Remondet, 1970).
# 18 Kirche am Hohenzollernplatz, Berlin, Germany (Johann Freidrich Höger, 1933).
# 19 Saint Moritz, Augsburg, Germany (John Pawson, 2013).
# 5 Saint-Martin de Donges, France (Jean Dorian, 1957).
These are areas that were created to consistently draw one in, and create spiritual long enduring relationships with visitors. Ranging from a cosy monk-like modest chapel to elaborate ethereal cathedrals with vaulted archways extending to the heavens, their range of praise areas is as varied as it is individual. In this series Thibaud Poirier wanted to catch a few of the most exceptional sacred spaces, to show how they interpret the institution stylistically and concretely shape radically different interiors for individuals to praise.
# 6 Saint-Rémy de Baccarat, Baccarat, France (Nicolas Kazis, 1957).
# 17 Saint Marys Cathedral, Tokyo, Japan (Kenzo Tange, 1964).
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# 8 United States Air Force Academy Cadet Chapel, Colorado Springs (Walter Netsch, 1962).
# 20 Opstandingskerk, Amsterdam (Marius Duintjer, 1956).
# 7 St. Johann von Capistran, Munich, Germany (Sep Ruf, 1960).
# 4 Kruiskerk, Amsterdam (Marius Duintjer, 1956).
# 2 Notre-Dame du Raincy, France (Auguste et Gustave Perret, 1923).
# 12 Saint Ignatius, Tokyo, Japan (Sakakura Associates, 1999).