However, due to cost considerations, they opted for granite stone blocks to ensure both durability and aesthetic appeal. The lighter-toned stones around the windows and doors were imported from Hong Kong, while the darker ones came from the quarry near Kampung Buli Sim Sim, carved by prison labourers.

Despite being dynamited by the Japanese forces before their 1945 surrender as World War II ended, the church emerged as one of the few pre-war structures to survive the conflict.

In a poignant gesture of remembrance and gratitude, the church received coloured stained glass windows from the Australian community in commemoration of the 60th anniversary of the war’s end. Named Window of Remembrance and Friendships Windows, they were also a way of showing appreciation to the local people who helped the POWs during the war.

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For Ayala Land, a prominent property developer in The Philippines, Buensalido+Architects embarked on a remarkable project: crafting a distinctive garden chapel within the upscale enclave of Liloan, Cebu. This chapel serves as a seamless link between three fundamental elements: nature, man and God.

Within a slender 814 sqm plot bordered by neighbouring properties, the Amara Chapel drew inspiration from the spires and towers of Gothic churches, distilling these grand architectural elements into essential triangular forms–an apt representation of the Holy Trinity.

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The architectural vision of Buensalido+Architects manifests in upright triangular sections punctuated by open spaces between the walls. This design creates a translucent indoor-outdoor space, allowing ample ventilation and natural light to filter through the structure from its slightly elevated location.

To streamline construction and minimise costs, reinforced concrete shear wall panels were pre-casted offsite before assembling on location, each carefully tilted upward and connected with concrete beams.

Inside, a Mactan stone boulder serves as the altar, while a wooden accent wall adds warmth to the interior, framing picturesque views of the lush surroundings and the sea beyond, fostering an atmosphere conducive to quiet reflection and communal worship.

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Once the inaugural sanatorium in Hong Kong, offering solace to sick priests and missionaries from across Asia battling tropical illnesses, the French Gothic-style Béthanie now serves as the revered site of worship for the Pok Fu Lam Emmanuel Church congregation in the George C Tso Memorial Chapel within since December 2006.

Originally procured in 1873, the Missions Étrangères de Paris, under the guidance of Pierre-Marie Osouf completed the construction of Béthanie. It stands as a beacon of French colonial architecture, a testament to an era when there was significant penetration of Western influences into Hong Kong, leading to the emergence of a new “east meets west” culture blend that is an influential factor in Hong Kong’s architecture going forward.

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Preserved from imminent demolition in the 1970s, meticulous restoration efforts led by architect Philip Liao and Philip Soden from the Hong Kong Academy of Performing Arts, breathed new life into the Béthanie. While at the same time, retaining its historic allure, such as the domed roof, flying buttresses and Gothic-style archways.

Inside the neo-Gothic chapel, ribbed ogives adorned the lofty ceilings, while arched traceries frame the stained glass windows, casting ethereal hues upon the main altar. Of its 19 stained glass windows, nine were original, while others were either in disrepair, missing or handmade reproductions from the Philippines.

Above the altar, four of the 12 terracotta statues of the apostles stand sentinel. Replicated using a silicone moulding technique, these statues pay homage to the originals that are unavailable for exhibition.

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In Umphang, Thailand’s most remote district, amidst the backdrop of a longstanding conflict between the Karen National Union and Myanmar, Spanish-born architect Paco García Moro designed The Oratory of St Xavier–a Catholic temple–for the Xaverian missionaries to serve the Christian community in an area that is home to several refugee camps under the administration of the Thai military.

Situated near the Umphang River, just kilometres from the conflict zone, the sacred space pays homage to the miraculous tale of St Francis Xavier. Legend has it that as the saint faced a shipwreck in the Indonesian Moluccas or Malaku Islands, a crab emerged from the depths, bearing a crucifix that the saint had previously lost at sea.

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Collaborating with master carpenter Reen Sulee, who learned geometry and traditional carpentry during his youth in prison, the temple’s design echoed the image of the crucifix-welding crab. It took shape using ta-khian wood, generally avoided by Buddhists for its spiritual significance. Some were reclaimed from the demolitions of vernacular houses, while the rest were obtained from local communities managed by the Department of Forestry.

The façade framework of composite see-through pillars also acts as passive ventilation conducts for the site, creating a lightness that blends with the lush forestry around.

Whereas, the layout, while adhering to the spatial configuration of the Catholic liturgy, mirrors the ethnic Karen textile motifs, highlighting the path to the Communion along the central axis.

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In their quest to create a distinctive architectural icon for the Christ Methodist Church, Singaporean firm K2LD Architects embarked on a visionary journey that seamlessly blends tradition with contemporary design principles, all while upholding environmental stewardship in the urban tropics.

Completed in 2013, the church stands out along East Coast Road, distinguished by its striking slatted façade reminiscent of the curtains of the Tabernacle. Inspired by the undulating patterns of the nearby sea, this “veil-like” exterior transforms into a mesmerising display of small crosses when illuminated at night, endearing it to locals as the “Church of the Little Crosses.”

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Beyond its aesthetic charm with strategically placed vertical greenery, the innovative façade also provides shade for interior spaces while promoting natural ventilation throughout the main open-air atrium. Characterised by a large staircase and artfully carved voids between floor plates, this central space fosters a sense of community and visual connectivity.

The main worship auditorium, spanning the second and third floors, offers seating for 1,000 attendees, drawing them closer to the minister onstage for a more intimate worship experience. 

Meanwhile, the fourth and fifth levels house educational spaces enhanced by roof terraces and outdoor play areas, fostering holistic growth and learning amidst the urban landscape.

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The roots of the Holy Family Church trace back to the 1950s, when Jesuits began their mission in a rented Japanese-style house, spreading the teachings of the Lord to a growing community. 

As the congregation swelled to over 4,000, plans took shape for a permanent home, and architect Lin Bainian was commissioned to erect a church in Taipei’s Da’an District, along Xinsheng South Road, aptly nicknamed the “Road to Heaven” for its other religious landmarks.

From above, the largest Catholic church in Taiwan unveils a cruciform design that symbolises the meaning of eternal life. Its tent-style exterior, reminiscent of the Tabernacle housing the Ark of the Covenant, evokes the divine “dwelling” of God and the sanctity of the wandering Jews en route to the Promised Land.

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Through the main entrance, flanked by three modified Roman-style doors with rounded archways, a high-ceilinged interior is fitted with prominent wooden beams. Natural light filters through concrete slats and perforated walls decorated with stained glass windows, leading worshippers towards the altar in the sanctuary’s western wall.

These 18 stained glass windows, crafted by a 19th-century French artist, once graced a church in Belgium that, due to renovations, donated them to the Holy Family Church. Despite sustaining damage during their journey to Taipei, the congregation embarked on a six-month journey of repair and restoration, reviving them to their original splendour with guidance from the National Palace Museum.

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Situated on Mengkait Island, nestled within the Province of Riau Islands, Studio Lawang’s inaugural collaboration with Jala Kasih, the non-profit crowdfunding platform of the Vinea Dei Foundation, was a 400 sqm place of worship for the island’s 500 parishioners.

Perched atop the island’s highest peak, the church was designed to harmonise with the island’s natural elements, particularly the prevailing ocean winds. Taking inspiration from the surroundings, the architectural firm devised a façade that gradually ascends from the ocean-facing side, resembling a gentle incline.

This triangular profile not only allows for the seamless passage of wind across the roof surface; symbolically, the church’s shape mirrors the undulating ocean waves or the habitual silhouette of a boat–a homage to the Oang Laot, the indigenous Mengkait fishermen whose lives are intertwined with the sea.

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Moreover, the island’s inhabitants face challenges with freshwater scarcity, often undertaking lengthy boat journeys to access natural freshwater wells on neighbouring islands. 

In response, Studio Lawang has integrated plans for a rainwater harvesting system atop the church. This innovative solution will enable the storage of rainwater for the daily needs of the local community, offering a sustainable and practical solution to their water woes.

Inside, natural light floods through the panelled transom windows, casting a soft glow that illuminates the crisp panelled walls and warm-coloured benches. Adding a touch of vibrancy to the tranquil setting is an orange-hued graffiti mural, capturing scenes of life on Mengkait Island.

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