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'In the Sanctuary' By: Phawadee Pantrakul
'In the Sanctuary' By: Phawadee Pantrakul
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Other Projects by RISD Interior Architecture
'In the Sanctuary' By: Phawadee Pantrakul
Type
This intervention remark the initial hypothesis of the existing architecture; the church for all. The initial intention is the integration of Eastern methodology and Western practice upon
a sacred architecture. The program of a community indoor park and clubhouse is then proposed as an intervention to the United Congregational Church, with the aim to redeem the root of America’s initiative with churches, and to reincarnate the building from a slow mortality. ‘In The Sanctuary’ is a place for peace, a place for all, and a place for internal joy.
The rectangular boundaries of the indoor landscape are
potent symbols of a congregational precedent, and of faith.
The rectangular recall Christian worship and prayer as their boundaries define the elevated wooden platform of the original pews, and are highlighted by the surrounding exposed earth of the church’s foundations. The complex waves of the embedded hardscape curve around the structure with a geometry that references the windows of stained-glass master, John LaFarge.
As oppose to the pure geometry of the sacred ground, the deformed contour field symbolically imitates the earth and the natural; representing abstract Harmonious consistences between man and nature, and between man and the holy spirit.
a sacred architecture. The program of a community indoor park and clubhouse is then proposed as an intervention to the United Congregational Church, with the aim to redeem the root of America’s initiative with churches, and to reincarnate the building from a slow mortality. ‘In The Sanctuary’ is a place for peace, a place for all, and a place for internal joy.
The rectangular boundaries of the indoor landscape are
potent symbols of a congregational precedent, and of faith.
The rectangular recall Christian worship and prayer as their boundaries define the elevated wooden platform of the original pews, and are highlighted by the surrounding exposed earth of the church’s foundations. The complex waves of the embedded hardscape curve around the structure with a geometry that references the windows of stained-glass master, John LaFarge.
As oppose to the pure geometry of the sacred ground, the deformed contour field symbolically imitates the earth and the natural; representing abstract Harmonious consistences between man and nature, and between man and the holy spirit.
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