Ceramic tiles were used in the outdoor area in front of the church. Specialists took five kilograms of sand, and made a unique building material by hand in the rooms of the former church, which they later burned. This was done because the craftsmen wanted to unite the 50-year history of Shonan Temple with the religious gatherings in it.
The following photo shows a schematic of the first section of the structure.
In the photo below, you can see a detailed sketch of the structure’s design.
Creation of the embossed tiles required a lot of knowledge and experience from the craftsmen. The roof structure with several elements represents a six-day existence. The unbaked tiles were engraved with original photographs and then subjected to a single firing. The tiles were covered with transparent blue ornaments depicting a morning haze. The photographs of the Six Days of Genesis have delicate design differences between South and North, while giving visitors the opportunity to find the right image not only in the temple, but also in various rooms, including the entrance hall, seating area, nursery and parsonage quarters.
The structural composition in the decoration of the facade of the house was based on the use of a box body with reinforced concrete supports and a sufficient number of walls (300 mm) in the longitudinal direction and thin steel panels. The curved curved slabs are 250 mm thick and create a fantastic ceiling, resting on metal beams.
The interior design of Shonan Christ Church by Takeshi Hosaka Engineering is a great example of how a public space for spiritual purification and prayer can be designed and decorated in an unusual and attractive style that evokes tranquility and serenity.
Interior photography was done and courtesy of master Koji Fujii / Nacasa&Partners Inc.
This sounds fascinating! I’m curious to know what makes the roof of this Catholic chapel unusual. Could you provide more details on the conceptual design and how it deviates from traditional chapel roofs?