American Journal of Applied Science and Technology
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VOLUME
Vol.05 Issue 03 2025
PAGE NO.
31-37
10.37547/ajast/Volume05Issue03-06
On the Interpretation of Historical Styles in The
Contemporary Architecture of Christian Churches
Lobar Ulmasovna Rasul-Zade
PhD in Architecture, Associate Professor Tashkent Institute of Architecture and Civil Engineering, Uzbekistan
Darya Shapoval
Master’s Student, Tashkent Institute of Architecture and Civil Engineering, Uzbekistan
Received:
13 January 2025;
Accepted:
15 February 2025;
Published:
13 March 2025
Abstract:
This article examines the necessity of continuity in modern church construction in relation to historical
architecture. Based on an analysis of the architectural solutions of Christian churches, typological groups have been
identified according to the elements that comprise their spatial and planning structure. A range of the most
frequently used volumetric and spatial elements of churches has been determined. The article discusses the
feasibility of composing traditional volumetric and spatial elements and designing parish churches based on this
approach.
Keywords:
Church architecture, cultural heritage site, continuity, standard volumetric and spatial element,
architectural form-making.
Introduction:
The design of modern Christian churches
using standard volumetric and spatial elements is a
significant and relevant task in architecture and urban
planning. With the growing interest in preserving
cultural heritage and reviving spiritual traditions, the
use of standardized stylistic architectural solutions not
only accelerates the construction process but also
ensures the harmonious integration of new churches
into the existing urban environment. At the same time,
the implementation of standardized elements requires
careful analysis of their compliance with canonical
requirements and aesthetic norms, making this
research crucial for the further development of church
architecture.
In this regard, the objects of this study are church
buildings with a completed architectural composition.
The study and analysis of the architectural solutions of
Christian churches, the formation of their typological
groups according to the elements that comprise their
spatial and planning structure, and their stylistic
features will allow us to identify emerging trends and
directions for the development of style in
contemporary ecclesiastical architecture [1].
It can be observed that while direct replication and
citation of architectural examples from the past
dominate the general approach, there is an active
process of reinterpretation and the search for a new
architectural style for Orthodox churches.
LITERATURE REVIEW
Many scholars are engaged in studying the stylistic
evolution of contemporary church architecture, a
highly relevant issue today. They approach the subject
from the perspectives of architectural design, scientific
research challenges in this field, style development
trajectories, typology, and other related topics.
One of the researchers who explored the use of
standardized church elements in contemporary church
construction is Nikolay Alexandrovich Korotaev. In his
article "Architectural and Artistic and Typological
Characteristics of Some New Orthodox Churches from
the 'Program 200,'" he analyzes the architecture of new
Orthodox churches and compares them with their
historical predecessors. The author examines the
stylistic, artistic, tectonic, compositional, and
typological characteristics of church architecture. He
also makes assumptions about possible future
directions for the evolution of contemporary Orthodox
church architecture [2].
Elena Yuryevna Verkhovykh, in her article "Main Trends
in the Stylistic Development of Contemporary Church
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
Architecture Based on the Example of Sverdlovsk
Oblast," discusses the primary stylistic directions and
the eclectic combination of historical style elements
[3].
Dmitry Olegovich Shvidkovsky, a Soviet and Russian
architectural historian, reflects on the development of
contemporary ecclesiastical architecture. He highlights
the particular interest in its relationship with its ancient
origins and the integration of unprecedented
technologies into the creative process [4]. The
demands of modern technology, in turn, dictate the
stylistic features of church design.
Natalya Vladimirovna Laitar uses the following
definition for classifying architectural styles: "The
affiliation of a new church with a particular stylistic
direction (or style) is determined based on general
patterns in volumetric, spatial, and artistic solutions, in
which borrowings from a specific architectural source
of past eras predominate." [5]
Natalya Yuryevna Zavarkina, in her study of stylistic
preferences in contemporary church architecture,
assigns names to church architectural styles "based on
the presence of features of a particular architectural
movement
that…
dominates
in
architectural
solutions…" [6].
The stylistic development of contemporary church
architecture has been studied by several scholars,
including: Natalya Vladislavovna Grechneva, author of
the article "Neo-Eclecticism in Contemporary Church
Architecture" [7]; Irina Yuryevna Pozdnyakova, author
of the article "Architectural and Construction Features
of Modern Orthodox Churches in Gorno-Altaysk"; Yuri
Alexandrovich Kreidun, author of the article "The
Problem of Style in Contemporary Church Architecture
in Russia"; and many others.
MAIN SECTION
METHODOLOGY
The methodology of this study is primarily based on an
analysis of the process of contemporary architectural
style formation and the identification of key trends in
the stylistic development of church construction over
the past few decades.
However, it would be more appropriate to begin with a
brief historical overview of the use of standardized
elements in the architecture of Christian churches.
Ancient Roman and Byzantine Periods: Since the 4th
century, early Christian churches were often built
following standardized plans derived from ancient
Roman basilicas. The main architectural elements of
these churches included elongated naves, apses, and
transepts. A notable example is St. Peter’s Basilica in
Rome.
Middle Ages: During the medieval period, architectural
styles such as Romanesque and Gothic also
incorporated standardized elements. Romanesque
architecture featured massive walls and barrel vaults,
while Gothic architecture introduced pointed arches
and stained-glass windows. Many cathedrals, such as
Notre-Dame de Paris, adhered to these stylistic
principles.
Renaissance and Baroque: The Renaissance and
Baroque periods saw a return to classical forms and
symmetry. Typical elements included domes,
colonnades, and centralized floor plans. A prominent
example is St. Paul’s Cathedral in London, des
igned by
Christopher Wren.
Modern Era: In the 19th and 20th centuries, church
architecture was influenced by various movements,
including Neo-Gothic and Modernism. Standardized
elements during this period included simpler, more
functional forms. In the 20th century, modular
architectural elements were often used to reduce costs
and accelerate construction.
Contemporary Period: Today, many modern churches
incorporate
standardized
elements
to
create
harmonious and functional spaces that reflect both
historical traditions and contemporary architectural
trends. This approach allows for the preservation of
cultural heritage while adapting to the needs of
modern society.
Many researchers studying this topic have conducted
graphical analyses of church façades and overall
volumetric and spatial compositions to identify the
primary stylistic trends in contemporary church
architecture.
According to the author of one study in this field, "The
analysis methodology involves identifying the
characteristics of historical styles in the architectural
composition of building façades, while the classification
of a structure within a particular stylistic direction is
based on the predominance of a specific historical or
contemporary stylistic solution in the volumetric and
spatial architectural composition of the object, its
components, and details." [8].The author's article
provides a detailed examination of the following
stylistic directions: "Old Russian," "Byzantine,"
"Moscow," and "Minimalism without stylistic
attribution."
We will begin our review with the Old Russian
architectural style, which is widely used in modern
church construction. This style represents a fascinating
combination of traditional elements and contemporary
architectural solutions.
Key Features of the Old Russian Style: traditional dome
and tented roof forms, often covered in gold or colorful
tiles; richly decorated façades featuring carvings,
mosaics, and frescoes; the use of arches and
semicircular windows characteristic of Old Russian
architecture; abundant crosses and icons, both inside
and outside the church Churches in this style are
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typically composed of a cubic main volume with a large
helmet-shaped or onion-shaped dome on a circular
drum, sometimes surrounded by several smaller
domes. The use of arches and galleries adds dynamism
and variety to the composition. A tall bell tower, often
positioned adjacent to the main structure, emphasizes
the verticality of the design
—
such as in the Church of
St. George the Victorious on Poklonnaya Hill in
Moscow, built in 1995 (Fig. 1).
A striking example of a modern church constructed in
the Old Russian style is the Church of the
Feodorovskaya Icon of the Mother of God at Ganina
Yama (2010), which almost exactly reproduces the
composition of traditional Old Russian churches (Fig. 2).
Fig. 1. Church of St. George the Victorious Fig. 2. Church of the Feodorovskaya Icon
on Poklonnaya Hill in Moscow of the Mother of God at Ganina Yama
Byzantine architecture
is an outstanding and
significant movement in the history of Christian church
construction. Emerging in the 4th century from classical
traditions, the Byzantine style flourished in the Eastern
Roman Empire (or Byzantium) and continues to exert
its influence to this day.
Key Features of the Byzantine Style: one of the most
recognizable characteristics of Byzantine architecture
is the use of domes, often placed on drums and
supported by pendentives. These structural elements
create a grand spatial effect and provide excellent
acoustics within the church..
Byzantine churches are richly decorated with
magnificent mosaics, depicting biblical scenes, saints,
and episodes from the life of Christ. Gold was
frequently used in mosaics, producing luminous and
radiant images. The layout of Byzantine churches is
often based on a cross-in-square design, where the
central space is surrounded by four arches supporting
the dome.
Great emphasis is placed on iconography in Byzantine
churches. Icons often serve as focal points in the
interior, reinforcing the sacred atmosphere.
A striking example of Byzantine church architecture is
the Hagia Sophia in Constantinople (modern-day
Istanbul, Turkey). Built in the 6th century under
Emperor Justinian, this majestic church remains one of
the most iconic examples of Byzantine architecture.
With its enormous dome and luxurious mosaics, it
continues to impress with its scale and beauty (Fig. 3).
Fig. 3. Hagia Sophia Cathedral, Turkey. Fig. 4. Church of Saint Sophia in Ohrid.
Byzantine architecture has had a profound influence on
the architectural traditions of many regions and
continues to captivate with its beauty and grandeur.
These stylistic techniques remain widely used in
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modern church buildings, interpreted in a broad range
of ways.
The Church of Saint Sophia in Ohrid is an outstanding
example of Byzantine architecture dating back to the
11th century. Its architectural style exhibits the key
characteristics of Byzantine architecture while
incorporating elements unique to the region. The
Church of Saint Sophia in Ohrid is not only a religious
landmark but also a cultural monument, drawing
attention for its historical and architectural
significance. Its distinctive combination of architectural
elements makes it an important subject for the study
of Byzantine architecture and art (Fig. 4).
Another example that features numerous Byzantine-
style elements is the Church of the Protection of the
Most Holy Theotokos (built between 2009 and 2016) in
Zarechny (Fig. 5). It exhibits a distinctive design with
drums supporting the main and smaller domes,
characterized by arched window openings. The façade
is especially noteworthy, featuring a triple-arched
zakomara, where the central section includes three
windows, and the side sections have one window each
on the upper tier. This architectural approach closely
resembles that of ancient Byzantine churches.
Fig. 5. Church of the Protection of the Most Holy Theotokos (1992, 2009
–
2016) in Zarechny
Fig. 6. Church on the Blood in Yekaterinburg.
The Church on the Blood in Yekaterinburg features a
voluminous composition and a well-defined layout (Fig.
6). Its main dome is placed on an octagonal drum with
arched window openings. All of its domes are helmet-
shaped, a characteristic element of Byzantine-style
churches. The architects envisioned this design as a
symbol of continuity through time and the revival of
Orthodox tradition.
The Moscow style
of Christian church architecture,
which developed between the 16th and 18th centuries,
is considered one of the most striking and unique
trends in Russian ecclesiastical architecture. This style
blends elements of the Byzantine tradition with local
influences and Western European architectural
features. Below are some key characteristics of the
Moscow style:
Multi-tiered onion domes, often covered with brightly
colored tiles or gilded.
Semi-circular or triangular decorative elements, known
as kokoshniks, placed above windows, portals, and
around domes, giving the churches an ornate and
diverse appearance.
Tented and pyramidal roofs, which enhance the visual
lightness of the structures and emphasize their upward
movement.
The use of colored ceramic tiles (izraztsy) and intricate
decorative carvings, particularly in interior detailing.
One of the most iconic representatives of the Moscow
style is Saint Basil’s Cathedral (the Cathedral of the
Intercession on the Moat), which stands as one of the
most recognizable and vivid examples of this
architectural direction. Its multi-colored domes and
rich decorative details make it a true masterpiece of
Russian ecclesiastical architecture (Fig. 7).
The combination of architectural forms harmoniously
integrating elements of Moscow and Western
European architecture is represented in the
Novodevichy Convent. (Fig. 8)
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Fig. 7. St. Basil's Cathedral (Intercession Cathedral). Fig. 8. Novodevichy Monastery.
The Moscow style of Christian church architecture is
distinguished by its beauty, rich decoration, and unique
architectural solutions. This heritage not only shapes
the distinctive appearance of Moscow but also serves
as an important element of Russia's cultural legacy.
Modern churches in the Moscow style continue the
traditions of Russian architecture, combining historical
elements with contemporary architectural solutions.
One example is the Church of St. Nicholas in
Khamovniki. Built in 2007, this church blends
traditional Russian architectural elements with modern
construction technologies.
Fig. 9. Church of St. Nicholas in Khamovniki.
Fig. 10. Church of Alexius, Metropolitan of Moscow, Joasaph of Belgorod,
and Athanasius of Athos (2010
–
2015), Yekaterinburg.
"Another manifestation of the 'Moscow' style is the
enrichment of the church’s volume through its
segmentation, the addition of numerous annexes, and
the creation of a 'multi-domed' composition with small
elongated drums featuring complex dome structures.
Examples of this include the Church of Alexius,
Metropolitan of Moscow, Joasaph of Belgorod, and
Athanasius of Athos (2010
–
2015) in Yekaterinburg" [8].
These churches demonstrate how modern architects
can integrate historical elements of the Moscow style
into contemporary projects, creating unique and
significant structures.
The issue of stylistic borrowing in architecture is one of
the most debated topics. On the one hand, borrowing
elements from historical monuments can serve as a
tribute to traditions and cultural heritage. This helps
maintain generational continuity and highlights the
succession of culture.
Minimalism in Christian church architecture has
become a popular trend in recent years. This style is
characterized by the use of clean, simple lines and
forms, the absence of decorative elements, and an
emphasis on functionality. Minimalism focuses on
creating calm and meditative spaces that encourage
contemplation and reflection.
Minimalist churches often utilize light and shadow to
create an atmosphere of sanctity and elevation, as well
as employ natural materials such as wood, stone, and
concrete. The core idea is to eliminate all unnecessary
elements, leaving only the essential, thus shaping a
spiritually enriched space.
Here are some examples of churches in a minimalist
style:
St. Immanuel Church in Cologne, Germany
–
This
church
features
an
ultra-minimalist
design,
emphasizing simplicity of form and the use of natural
materials. (Fig.11)
La Ascension del Señor Church in Mexico City
–
This
project serves as a place for both spiritual connection
and community gathering. It was built using simple
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
construction methods and affordable modern
materials. (Fig. 12)
Fig. 11. La Ascension del Senor Church in Mexico City.
Fig. 12. St. Immanuel Church in Cologne.
These examples illustrate how minimalism can be
applied in church architecture, creating serene and
peaceful spaces.
The minimalist style is indeed not traditional for church
architecture, especially when compared to more
ornate styles such as Gothic or Baroque. However, this
does not mean that minimalism has no place in
religious architecture. Contemporary minimalist
churches reflect changes in cultural and spiritual
preferences, where some people value the simplicity,
clarity, and tranquility that this style offers.
Minimalism in modern church construction can help
create a more contemplative and meditative space,
free from distractions, allowing worshippers to focus
on their spiritual practices and inner world. While it
may be unconventional compared to traditional church
architecture,
minimalism
offers
a
modern
reinterpretation of religious spaces, adapted to the
needs and aesthetic preferences of today's society.
Every architectural solution has its unique value and
can reflect the spirit of the time and place in which it
was created. Perhaps minimalism in church
architecture is yet another step in the evolution of
styles and forms, enriching cultural and spiritual
heritage.
Minimalism in church architecture can significantly
influence spiritual perception. Here are some key
aspects:
Contemplation: The simplified and clean design of
minimalist churches fosters an atmosphere of peace
and solitude. With no distracting decorative elements,
worshippers can focus on inner spiritual work and
meditation.
Emphasis on Light and Space: Minimalist churches
often utilize natural lighting and open spaces. Light can
create a sense of divine presence, enhancing spiritual
perception and a feeling of sanctity.
Natural Materials: The use of materials such as wood,
stone, and concrete creates a connection with nature
and earthly elements, reinforcing a sense of unity with
the world and the universe.
Symbolism: In minimalism, every element holds
significance. Even small details, such as cross-shaped
forms or the use of certain colors, can carry deep
spiritual meaning.
Focus on Spiritual Content: Since minimalist churches
lack excessive decorative elements, attention is
directed toward worship services and rituals, allowing
for a deeper immersion in spiritual teachings.
Thus, according to the architects of modern minimalist
churches, this style can create a more profound and
focused spiritual experience, helping worshippers find
inner peace and a connection with the divine.
Nevertheless, traditional church architecture has deep
roots and plays a crucial role in the cultural and spiritual
life of many people. Ornamented details, stained glass
windows, iconostases, and sculptures often evoke a
sense of sanctity and grace, filling the space with
grandeur and solemnity.
These elements can enhance emotional and spiritual
experiences, helping worshippers feel connected to the
history and traditions of their faith. For many, the rich
decor of traditional churches symbolizes divine
presence and contributes to spiritual elevation.
It can be said that both minimalism and traditional
styles have unique ways of enhancing spiritual
perception, and each can be preferable depending on
personal preferences and cultural context.
CONCLUSION
Thus, the issue of stylistic borrowing in architecture
remains one of the most debated topics. On the one
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
hand,
incorporating
elements
from
historical
monuments can serve as a tribute to traditions and
cultural heritage. This approach helps maintain
generational continuity and emphasizes cultural
succession.
On the other hand, some scholars and architects argue
that each era should develop its own style, reflecting
the spirit of the time, modern materials, technologies,
and social conditions. They believe that excessive
reliance on historical elements may overshadow
contemporary identity and hinder innovation.
Ultimately, the question of borrowing architectural
elements remains open and largely depends on the
context and objectives of a particular project. It is
essential to strike a balance between tradition and
modernity to create a harmonious and sustainable
architectural solution.
Religious architecture carries profound significance,
and preserving continuity helps sustain a connection to
spiritual and cultural traditions that are meaningful to
believers. Borrowing elements from the past can enrich
modern architecture, adding depth and historical
value.
At the same time, architecture must evolve to reflect
current realities and societal needs. The key to
successful church design may lie in a harmonious blend
of tradition and innovation, creating spaces that are
both functional and symbolically significant.
It is crucial for designers to understand not only
architectural elements but also their symbolic meaning
and function. Excessive experimentation may lead to a
loss of connection with the fundamental purpose and
spiritual atmosphere of a church, making it appear
overly modern or misaligned with religious traditions.
Thus, designing modern Christian churches requires a
thorough study of both the theoretical and practical
aspects of traditional church architecture. This
approach can help architects develop a deeper
appreciation for cultural and historical contexts while
finding a balance between innovation and tradition.
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