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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.

Object details

Categories
Object type
Materials and techniques
Pencil on tracing paper.
Brief description
Elevation with sketches and annotations for St. Paul's Church, Harringay, pencil on tracing paper, by Peter Jenkins and John Carter, London, ca.1990.
Physical description
Techinical drawing of an elevation alongside smaller technical sketches.
Dimensions
  • Length: 420mm
  • Width: 300mm
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) Orthogonal pencil drawing on A3 tracing paper of the south elevation by John Carter at a scale of 1:200. JC also drew the freehand perspective view from the south west showing double layered pitch providing continuous roof ventilation over the nave section but developing the idea of the contribution of the reinforced concrete ring beam which capped the diaphragm walls of the nave with web stiffening piers at the positions of support for the regularly spaced transverse steel equilateral frames making up the wind girder roof structure (refer to STP (A) 5).
Other number
SPH(A)35 - Previous number
Collection
Accession number
E.123-2022

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Record createdJune 10, 2019
Record URL
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