Architectural Drawing
ca.1990
Artist/Maker | |
Place of origin |
Located in a residential area of Harringay, North London, St Paul’s was designed by Peter Jenkins between 1988 and 1993 to replace a Victorian Gothic Revival church (built 1890-1) which was destroyed by fire on Ash Wednesday 1984.
Jenkins’ church combines traditional liturgical forms with contemporary design. The plan of the church is traditional, being narrow and rectangular with the entrance at the west end and the altar at the east. This was in part dictated by the confines of the site, but also by the church’s Anglo-Catholic liturgical tradition which preferred an axial, processional plan. This traditional plan is in contrast to the majority of contemporary churches, which locate congregations around a central altar in order to emphasise the participatory aspect of the Communion.
In scale, Jenkins’ design echoes that of its Victorian predecessor, which was built to a vast scale, able to seat 900, and visually dominated the area’s skyline. Despite being a much smaller church in capacity, seating just 140, Jenkins has maintained the church’s visual dominance, making it an architectural and spiritual focal point in the surrounding area. This aspect of the design generated serious opposition from the local council, which argued – unsuccessfully – that the new church should blend in with the surrounding architecture.
Jenkins’ church combines traditional liturgical forms with contemporary design. The plan of the church is traditional, being narrow and rectangular with the entrance at the west end and the altar at the east. This was in part dictated by the confines of the site, but also by the church’s Anglo-Catholic liturgical tradition which preferred an axial, processional plan. This traditional plan is in contrast to the majority of contemporary churches, which locate congregations around a central altar in order to emphasise the participatory aspect of the Communion.
In scale, Jenkins’ design echoes that of its Victorian predecessor, which was built to a vast scale, able to seat 900, and visually dominated the area’s skyline. Despite being a much smaller church in capacity, seating just 140, Jenkins has maintained the church’s visual dominance, making it an architectural and spiritual focal point in the surrounding area. This aspect of the design generated serious opposition from the local council, which argued – unsuccessfully – that the new church should blend in with the surrounding architecture.
Object details
Categories | |
Object type | |
Materials and techniques | Pencil on tracing paper. |
Brief description | Preliminary floor plan and elevation sketches for St. Paul's Church, Harringay, pencil on tracing paper, Peter Jenkins, London, ca.1990. |
Physical description | Rough sketch showing preliminary floor plan and elevation sketches. |
Dimensions |
|
Credit line | Given by Peter Jenkins |
Place depicted | |
Summary | Located in a residential area of Harringay, North London, St Paul’s was designed by Peter Jenkins between 1988 and 1993 to replace a Victorian Gothic Revival church (built 1890-1) which was destroyed by fire on Ash Wednesday 1984. Jenkins’ church combines traditional liturgical forms with contemporary design. The plan of the church is traditional, being narrow and rectangular with the entrance at the west end and the altar at the east. This was in part dictated by the confines of the site, but also by the church’s Anglo-Catholic liturgical tradition which preferred an axial, processional plan. This traditional plan is in contrast to the majority of contemporary churches, which locate congregations around a central altar in order to emphasise the participatory aspect of the Communion. In scale, Jenkins’ design echoes that of its Victorian predecessor, which was built to a vast scale, able to seat 900, and visually dominated the area’s skyline. Despite being a much smaller church in capacity, seating just 140, Jenkins has maintained the church’s visual dominance, making it an architectural and spiritual focal point in the surrounding area. This aspect of the design generated serious opposition from the local council, which argued – unsuccessfully – that the new church should blend in with the surrounding architecture. |
Bibliographic reference | Taken from notes by Peter Jenkins (Clare Lodge, Practice Archivist, 25/02/2016)
Sectional studies, all freehand by PJ exploring options for main day lighting through large windows integrated in the structural form of the roof. A continuous open ridge roof light runs the length of the nave, intersecting the large windows at the east and west ends of the equilateral roof form. This possibility is also applied to a two centred vault. The equilateral option has a transverse stiffening structure just before, or at, the sanctuary (but quickly abandoned). The importance of day lighting a sculptural reredos (although Stephen Cox had not been appointed at this stage) is illustrated with a form derived from the Kai-Rho christogram. The ridge mounted cross emerged at this time. |
Other number | SPH(A)32 - Previous number |
Collection | |
Accession number | E.120-2022 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
Record created | June 10, 2019 |
Record URL |
Download as: JSONIIIF Manifest