Modern Marvels: Exploring the Unconventional European Churches
Discover how post-World War II European churches embraced innovative architectural designs, breaking away from tradition and collaborating with visionary architects to create stunning, unconventional structures that redefine religious architecture.
Growing up in the UK, photographer Jamie McGregor Smith was used to seeing traditional churches with historic architecture. However, after relocating to Vienna, Austria in 2018, he discovered a different kind of church design across Europe - one that was more modern and brutalist in style.
Intrigued by this new discovery, McGregor Smith decided to embark on a series of train journeys across Europe to learn more about these contemporary places of worship. Over the course of four years, he traveled to eight countries and captured photographs of nearly 200 churches built in the 1960s and 1970s. Despite being 50 years old, McGregor Smith mentioned in an interview with CNN that these churches still possess a unique quality that transports visitors to a timeless space in the future.
The outcome of this journey through photography is a fresh book titled "Sacred Modernity: The Holy Embrace of Modernist Architecture." It showcases 139 photographs capturing the beauty of these remarkable buildings, which are not just structures but also works of art and engineering designed for spiritual significance.
The concrete triangular motifs of the Templo Mariano di Monte Grisa, Trieste, Italy, completed in 1965.
The concrete triangular motifs of the Templo Mariano di Monte Grisa, Trieste, Italy, completed in 1965.
Jamie McGregor Smith
From the concrete triangular motifs of Templo Mariano di Monte Grisa in Trieste, Italy, completed in 1965, to the cavernous, minimalist interiors of Christi Auferstehung Kirche in Cologne, Germany, completed in 1970, and the aerial views of the concertina-like structure of Mehrzweckhalle der Schulschwestern in Graz, Austria, completed in 1979.
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Bjarke Ingels Group
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"Churches aim to create a different world inside, where you can feel a sense of power beyond the ordinary," explained McGregor Smith, whose project photographs are currently on display at TU Wien (Vienna University of Technology). "It's like entering a surreal, almost psychedelic reality."
Although traditional churches may not seem like a natural fit for modernist architecture, the impact of World War II has played a significant role in shaping their evolution. During the Second Vatican Council held in Vatican City from 1962 to 1965, Catholic bishops from around the world gathered to discuss how the church could adapt to a changing society. One of the topics of discussion was the architectural design of churches.
St. Paulus in Neuss, Germany, features an unusual, almost folded roof. It was designed by Fritz Schaller and finished in 1970.
St. Paulus in Neuss, Germany, features an unusual, almost folded roof. It was designed by Fritz Schaller and finished in 1970.
McGregor Smith mentioned that both Catholic and evangelical churches were eager to move towards a brighter and more hopeful future. He also noted that after the war, there was a surge of young priests who were interested in collaborating with top modernist architects.
The results of these collaborations have some commonalities, as McGregor Smith points out in the text that accompanies his photos. Many of the churches captured in the photographs are either made of concrete or prominently feature it. Concrete is a cost-effective material that architects were using to explore and experiment with innovative new designs.
McGregor Smith explains, "Architects are taking advantage of the versatility of concrete, allowing them to create forms and shapes that were previously unimaginable. They can manipulate space within a frame, giving rise to a new reality that goes beyond traditional architectural and design norms."
The Roman Catholic church of Santuario della Beata Vergine della Consolazione in San Marino, designed by Giovanni Michelucci and finished in 1967.
The Roman Catholic church of Santuario della Beata Vergine della Consolazione in San Marino, designed by Giovanni Michelucci and finished in 1967.
Jamie McGregor Smith
Jamie McGregor Smith admires the complexity and surreal nature of many buildings. He believes that these structures are designed to challenge people to escape their mundane routines and to open their minds to a reality that goes beyond the ordinary.
December 16, 2023. A new rooster now sits atop the newly constructed spire at the Notre-Dame cathedral, replacing the original one that was lost during the fire on April 15, 2019. The new rooster, like its predecessor from 1859, houses a fragment of the crown of thorns believed to have been worn by Christ, as well as relics of Saint Denys and Sainte Genevieve. Additionally, this modern-day rooster contains a summary of the tragic event and a list of the approximately 2000 individuals who contributed to the remarkable reconstruction. 
Houpline Renard/SIPA/AP
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McGregor Smith talked about apophatic architecture, which suggests that words and ideas cannot fully express the greatness of God. Instead, architects must use visual language and design to convey the ineffable. This involves utilizing negative space, playing with light and dark, and creating a sense of all-knowingness in the design of churches.
McGregor Smith, the photographer, also encountered a similar challenge when trying to capture these spaces on camera. He shared, "Everyone is trying to express the indescribable, or attempting to capture a glimpse of something beautiful and powerful that words can't fully convey."
St. Matthew's Church in Birmingham, United Kingdom, designed by Robert Maguire and Keith Murray and completed in 1963.
St. Matthew's Church in Birmingham, United Kingdom, designed by Robert Maguire and Keith Murray and completed in 1963.
Jamie McGregor Smith
As McGregor Smith took photos for the “Sacred Modernity” project, he remembered how the churches were usually peaceful, without the large crowds they used to have. He enjoyed capturing the quiet beauty of these places, feeling saddened by how underappreciated and deserted these architectural gems are.
McGregor Smith shared, “I found it fascinating to photograph the stillness of these places. It's a pity that these magnificent structures are not fully appreciated and left empty.” He mentioned that he would often stay after mass, sometimes being the only one there.
“This design period was a way of bringing people back to the church and reforming its image. Now we are in a position where these churches are mostly empty.”
Giovanni Michelucci's Chiesa di Santa Maria Immacolata in Longarone, Italy was created out of untreated concrete.
Giovanni Michelucci's Chiesa di Santa Maria Immacolata in Longarone, Italy was created out of untreated concrete.
Jamie McGregor Smith
In an increasingly secularized Europe, the churches of “Sacred Modernity” reflect the institution’s past, present, and future all at once. For McGregor Smith, these spaces offer opportunities to engage societies in various ways - with religion, with design, and with each other.
But, similar to the emergence of post-war modernist churches, this adaptation is necessary. “Religion is inherently fashion-conscious. The church must always remain current, or parishioners will lose interest and leave.”
"Sacred Modernity: The Holy Embrace of Modernist Architecture" is now available from Hatje Cantz. You can also visit "Sacred Modernity — Enlightening Space and Matter" at TVFA-Hall, TU Wien in Vienna until April 4, 2024.
Editor's P/S:
The article showcases the intriguing journey of photographer Jamie McGregor Smith, who embarked on a mission to capture the beauty of modernist churches across Europe. These structures, built in the 1960s and 1970s, offer a stark contrast to traditional churches, with their unique designs and materials like concrete. Smith's photographs not only highlight the architectural brilliance of these buildings but also prompt us to reflect on the evolution of religious architecture in a changing society.
The influence of World War II and the Second Vatican Council played a significant role in shaping the design of these churches. As society sought hope and renewal, the church embraced modernism, aiming to create spaces that transcended the ordinary and invited contemplation. The use of concrete, with its versatility and strength, allowed architects to experiment with innovative forms and shapes, challenging traditional architectural norms. The resulting structures, as described by Smith, possess a surreal and almost psychedelic quality, urging visitors to question their surroundings and embrace a reality beyond the mundane.
