As a part of my PhD project, we are planning an international workshop on 3-4 July 2017 in Leuven to address my research questions in a transnational (European) and comparative perspective.
CALL FOR PAPERS – INTERNATIONAL WORKSHOP
The research group Architectural Cultures of the Recent Past (ARP) of KU Leuven and KADOC, the Documentation and Research Centre on Religion, Culture and Society of KU Leuven, are organizing an international workshop on religion, urban planning and demographic change in post-war Europe as a prelude to an edited volume on this topic, to be published by an international academic press.
The commission for a church was much sought after by architects. This was certainly the case in the St. Joseph parish in the suburban residential neighborhood Bel Air in Wezembeek-Oppem, where architect Robert Schuiten (1912-1997) was commissioned for the design of the church. When in the 1950s, it seemed that its realization did not make any progress, Schuiten decided to take control by purchasing the plot for the church himself. This resulted in a very personal project, in which Schuiten not only designed the church building, but also his own house, several other houses, shops, a school and a tennis court. His archives attest to the remarkable attention Schuiten must have had for the design of his own parish church. I share here just a few of the many expressive drawings that I encountered during my archival work on Schuiten.
The redundancy of Catholic parish churches is in many Western countries an increasing issue. This process seems to affect especially the most recent buildings, often located in peripheral neighbourhoods. We discussed this issue during the 50 Years after the Second Vatican Council. Taking the Modern Church into the 21st Century session at the 14th International DOCOMOMO Conference in Lisbon, where I prented the case of the Blijde Boodschap church in the large-scale social housing project the Parkwijk in Turnhout, Belgium. Despite a serious decline in religious use, this church (designed by René Van Steenbergen, 1972) remains functional for other community activities. In my paper, I thus examined such shared use as a way to tackle the vacancy of modern churches.
Last week during the 14th International DOCOMOMO Conference in Lisbon (06-09.09.2016), I had the great pleasure to visit a few interesting Portuguese modern religious sites. Our little tour included the following churches: the church of the Dominican convent (2005) by architects José Fernando Gonçalves and João Paulo Providência, the national monument the Sacred Heart of Jesus church (1970) by architects Nuno Portas and Nuno Teotónio Pereira which received the prestigious architectural price Prémio Valmor in 1975, and the parish church of Paço de Arcos (1969) in the suburbs of Lisbon. While the minimalist interior of the contemporary São Domingos attracts many worshippers every Sunday, the two brutalist churches from the 1960s have little users left. In my next post I will tell you more about how we discussed this issue of redundancy of modern churches during our session at the DOCOMOMO conference: 50 Years after the Second Vatican Council. Taking the Modern Church into the 21st Century.
Since 2010, the municipality of Vosselaar (Belgium) is looking for a new use for this modern church building by architect Marc Dessauvage (1967). Recently, the architectural office Studio Roma, in collaboration with Sven Sterken (Faculty of Architecture, KU Leuven) and Achilles Design, has won the design competition for the reconversion of this former church. In the future, this site will become a lively meeting place offering services for leisure, such as a library.
Building churches is a huge operation, in which the local population was often a helping hand. During a site visit of the Sint-Jozef church in Testelt, I noticed these pictures of the construction of the church. As these pictures show, the new inhabitants of the ‘Ter Hoeve’ neighbourhood in Testelt were devoted to building the brick walls of their new church. Much to my surprise, I discovered that one of them depicts my grandfather!