A Smattering of Giles Gilbert Scott

Giles Gilbert Scott was a British architect of the first half of the 20th Century who was well known throughout the country for many of his designs. His most famous architectural commission was the Liverpool Anglican Cathedral, but he is probably best known as the designer of the iconic red London telephone booths. Apart from these well-known and well-loved designs, he was a prolific designer of smaller churches throughout the United Kingdom. Here are a few photos that describe his Mid-Century Gothic mastery. He successfully blended modern and traditional in a pleasing way, making him a good model as we go forward in uncertain economic times.

Ampleforth Abbey, Yorkshire, England

Ampleforth Abbey, Yorkshire, England

Ampleforth Abbey, Yorkshire, England

St Columba's Cathedral, Oban, Scotland

Carmelite Church, Kensington, London

Carmelite Church, Kensington, London

Pugin in Tasmania

Augustus Welby Northmore Pugin was the premier Gothic Revivalist. Active throughout the latter half of the Nineteenth Century, primarily in Britain, Pugin breathed new life into ancient Gothic forms with great zeal. Though recognized first and foremost for his works throughout the British Isles, Pugin deserves some recognition for his small churches Down Under. St. Patrick's in Colebrook and St. John's in Richmond are two Tasmanian Catholic churches designed by A.W.N. Pugin, and they are quite refined in my estimation, despite their intimate scale.

St Patrick's, Colebrook, TAS

St. John's, Richmond, TAS

Gothic Doodles

Remember two posts ago when I was going on and on about how creative I've been feeling lately and how much my vision of architecture has solidified in that past few months? No? Well, shame on you for not hanging on my every word. Anyways, below is a little sketch project that I penned in those in-between times of day during school. It's a church of a certain Gothic persuasion with the capacity of about three-hundred persons (just a guess). My specific precedent was Cram and Ferguson's rather reserved South Dutch Reformed Church in New York City.

The nave is one unified space, without columns, bounded by corridor-like aisles. The nave flows directly into the apse, which houses a fairly elaborate English Gothic altar and reredos. Large stained glass windows illuminate the space, evoking the magnificent jewelry box feeling of the Sainte Chapelle in Paris. The exterior is fairly muscular and reserved. It has very little in the way of traditional Gothic detailing, though it has a Gothic body.

As always, click to view larger. Opinions are welcome and appreciated.

English Tudor Chapel

This is a hypothetical design for either a small parish church or a large chapel designed in a hybrid Tudor/Gothic style. A peculiarity of English Gothic architecture is the use of hammerbeam roofs with their interconnected arches and shaping of vertical space. The particular ceiling used for inspiration here comes from the great hall of the grand English manor house Wollaton Hall.

As for the liturgical elements of the chapel, I decided on a relatively restrained interpretation of the Gothic, which was common in the British Isles during the Medieval period. The sanctuary is traditionally arranged with a large freestanding altar at the center; the tabernacle, crucifix, and accompanying candlesticks immediately behind the altar; the ambo on the Gospel side of the sanctuary; a smaller lectern on the Epistle side of the sanctuary; and the sedilia (seating for the priest and altar servers) on the Epistle side, facing perpendicular to the nave.

I have discussed here numerous times as to why it is symbolically important to keep the altar, the crucifix, and the tabernacle grouped together (though it is not mandated specifically, and there are other noble options if the arrangement is not practical), however, the placement of other furnishings in the sanctuary is also symbolically derived. Many of the earliest Christian churches had their altars located in the east end of the structure, since east is the direction of the rising sun, and worship toward the east speaks to Christian belief about the resurrection and rising with Christ. Given the altar in the east, the presider would often sit along the south wall in the sanctuary, so that he was facing north. In the early Christian world, south represented the Christianized Roman Empire, while north was filled with heathen barbarians. Thus, the priest would preach from "the Church" to the non-Christians. Additionally, the Gospel was often read from an ambo (pulpit) on the north side of the sanctuary. The Gospel must be spread by those who already believe to those who do not believe.

Having the priest and the altar servers face perpendicular to the nave also serves another purpose - it keeps them from being the center of attention. Often in modern churches, the priest's chair is situated so that he is always facing toward the people when seated. This can detract from the true meaning of the celebration of the mass. If the priest is not directly facing the people he becomes less of an attraction unto himself.

I have thus explained myself. I must say that I am very happy with how this drawing turned out, and count it among my favorite hypothetical designs. As always, click the photo to view larger.