Architectural Drawing
1985-1993 (made)
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 paper |
Brief description | Sheet of sketches of the exterior, candle holders and cross for St Paul's Church, Harringay, London, by Peter Jenkins of Peter Inskip + Peter Jenkins Architects, pencil on paper, London, 1985-1993 |
Physical description | A sheet of sketches in pencil on A5 sketchbook leaf paper depicting the exterior of St Paul's Church, Harringay, roughly overdrawn with a construction detail of a circular roof light opening for another project. Beneath this, on the same sheet, are sketches for altar candle holders and a processional cross. |
Dimensions |
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Credit line | Given by Peter Jenkins |
Subjects 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)
"Pencil sketches by PJ on A5 sketch book leaf paper, top, bird’s eye view from the south east of the church and forecourt with cross to terminate the north end, eventually omitted from the project for cost reasons This sketch was roughly overdrawn with a constructional detail of a circular roof light opening related in another project. Also studies for altar candle holders and the processional cross on a black lacquer staff, designed by PJ and virtually as later made and placed in the sanctuary." |
Other number | SPH(A)51 - Previous number |
Collection | |
Accession number | E.136-2022 |
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Record created | June 10, 2019 |
Record URL |
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