Sanctuaries of the Soul is the name of a book published recently by Prof. Richard England outlining a list of his sacred works throughout his 50-year career. Keith Micallef spoke to the author.
Prior to delving into the thick of Prof. England’s works, Sanctuaries of the Soul includes contributions from leading architects like Daniel Libeskind who is the master planner for the Ground Zero redevelopment in New York, and Edwin Heathcote, a leading authority on contemporary church architecture. Finnish architect Juhani Pallasmaa and Chris Abel, a member of International Committee of Architectural Critics also offer their insights.
“I consider myself fortunate as throughout my career I have designed 25 such buildings which were actually built and a further 25 which I define as ‘architettura interrota’ – for the simple reason that they did not materialise.
“When doing a sacred space, you are trying to measure against the unmeasurable,” he adds.
By his own admission his works were influenced by his early career experience working at the studio of Italian architect Gio Ponti who designed the famous Pirelli tower in Milan. Other influences which left a mark were his close acquaintance with British artist Victor Pasmore, author Nicholas Monsarrat and British architect Basil Spence.
Prior to the sacred works themselves, the book touches on a number of projects categorised as ‘silent spaces’ which in Prof. England’s views are a pre-requisite for sacred spaces.
“At a time when Malta had a population of just 5,000 there were no less than 22 sites with 42 temples. It must surely have been a sacred island.”
At a time when Malta had a population of just 5,000 there were no less than 22 sites with 42 temples
“However, silent spaces in today’s world are extremely rare. Despite the technological progress we have lost the ability to converse face to face,” he remarked.
Surprisingly these works include the Aquasun Lido in St George’s Park right in the heart of Paceville, with its particular architectural forms dominating the serene pool-water reflections.
“This work was inspired by Mexican architect Luis Barragán and Greek-Italian architect Giorgio de Chirico. Architecture is not only a visual experience but one which involves all the senses.”
Moving on to the sacred works, Malta’s entertainment hub also features among his works – the Millennium Chapel which Prof. England refers to as an oasis of spirituality and meditation.
In his reflections the author holds people from the Neolithic era in very high regard for their “inherent wisdom” which he says has been lost.
“They lived in peace for 2,500 years. They understood the earth, they were at one with nature and there was no trace of weapons for 2,500 years. They set a particular pattern of life which we are unable to do despite all of our mechanisms. Architects in those days created these spaces which lifted the soul.” As for the sacred works themselves, the Manikata Parish Church, which was completed in 1974, is still considered as a landmark project which Prof. England believes was ahead of its time. Works had started in the early 1960s.
“Those were the days before Vatican II when people began questioning how to create a Church which responded to those times. I believe that architecture should be of its time and place.”
He notes that sacred buildings always reflect the contemporary manner in which humanity perceives divinity, be it the God of Fertility, the movement of heavenly bodies and calendar events happening in Neolithic temples, gothic architecture which aims to belittle man when compared to God’s might, to the elaborate baroque style epitomising the Divine glory.
Pope John Paul II made it difficult for architects saying God was love. So how do they interpret such concept in architecture?
Prof. England says that one of the first steps was not to treat the congregation as a mere spectator, and hence the removal of the pulpit and any form of design portraying a hierarchical church.
“In a way Manikata pre-empted these changes and I consider it as a timeless building.”
Though villagers were initially sceptical of the design as they were all for an imposing baroque church, the greatest resistance had come from Archbishop Michael Gonzi himself who had dubbed it as a German submarine complete with its military cross. However, it still received the green light from the ecclesiastical authorities.
“Personally it had an emotional value, as my late father was the one who had been commissioned to design it. Unfortunately he did not live to see it completed.”
Towards the end, the book dedicates an entire section to projects which for some reason or another have either been shelved or not yet seen the light of day.
“Architecture on paper has a more stable permanence than real buildings. It is the most transient of all arts. Nobody will add a blue patch to a building, a verse to a poem, or a piece to a sculpture, but nobody hesitates to add a floor to a building or even demolish it if the land happens to become more valuable than the building standing on it. Architettura interrota has a permanence which will remain unchanged.”
One such project was the Filfla chapel which was unfortunately ditched. Proposed at the turn of the millennium by Prof. England himself it consisted of a window in the ridge facing this island with a cross in the middle. The latter was meant to symbolise its Neolithic status as a sacred place worshipped by primitive people, and its recent role as a firing target by the British forces. Moreover, the cross was also meant to mark Malta’s 2,000 years of Christianity.
Other projects which remained on paper were the Interfaith Shrine in Gozo and the Triangle of Peace project in Malta. The latter proposes the construction of a Christian Chapel, a Mosque and a Synagogue within one complex.
“Religions are like different roads leading to the same destination. The irony is that the greatest conflicts are between believers themselves.”
Looking ahead Prof. England expresses his concern that nowadays making money seems to be the foremost priority.
“Before clients wanted to leave a legacy. Today clients are interested in making money. Unfortunately, architects are no longer valued for their design capabilities, but in terms of getting the best deal from the planning authority. Consequently, space is being sacrificed.”
The author was recently conferred with the degree of Doctor of Engineering (Honoris Causa) for his achievements in the field of architecture, by the University of Malta.
“Though I have received similar accolades from five other foreign universities, this is the one which I cherish most as it is coming from my homeland and my own Alma Mater.”
Looking ahead, the author cautioned against overreliance on technological aids in designing spaces.
“Young architects no longer know how to draw and have lost the sense of proportion. The bridge between mind and paper is best crossed by the hands. The sketch has no limits but too much reliance on technology might result in stereotyped designs. My advice to young architects is to ensure that they are replacing something with a better work.”