Sacred Spaces: Connected & Contemplative

Protestant churches might seem to have relatively few symbolic architectural elements. However, consider these unintentional symbols: the old carpeting, musty odors, and creaking pews; these elements might ironically suggest a church that is struggling, outdated, and perhaps even disconnected from its community.

Is a church truly defined solely by its carpeting or furnishings? Certainly not! At its most basic level, a church is a community of believers, and this can exist anywhere—from a grand cathedral like Notre-Dame to a simple gathering on a beach in Honolulu. Nevertheless, symbols, whether intentional or not, significantly impact the overall atmosphere and perception of the space.

Churches, since their earliest conceptions, have always had to adapt and find creative ways to gather. The first Christians met in homes, inspired by the hospitality culture of their time, and shared meals known as agape feasts. In wealthy Greco-Roman houses, the architectural design featured a large room called the triclinium, with three sofas lined against the walls. The sofa opposite the entrance was reserved for guest missionaries or noble visitors. In this room, men would recline on their left arms and eat with their right hands. Most scholars today believe early Christians gathered in these spaces.¹

Image of a Triclinium

As churches grew and more people joined, the need for larger spaces emerged. By the third century, some Christians began renovating their homes specifically for church gatherings. The earliest known example is the Dura-Europos church in modern-day Syria, a domus ecclesiae—a house dedicated exclusively to Christian use. It featured a large meeting area that could accommodate sixty-five to seventy-five people. As congregations expanded, hosting full meals became more challenging, so the Eucharist (commonly known as communion) evolved as a symbolic substitute for the agape feasts.

Isometric view of the domus ecclesiae in Dura Europos. After Kraeling 1967. *Notice the large room for assembling on the left.

This spirit of creativity and adaptation persisted through the centuries, leading into the Reformation. Following the Protestant Reformation, Protestant churches, for the most part, scaled back the design of their buildings. Stained glass windows were replaced with plain ones, and icons and images were removed, though some denominations, like Lutherans, retained more traditional features. The primary focus within these churches shifted to the reading of the Bible.

In the late 19th century, Protestant churches began to abandon traditional architectural designs, modeling themselves after theaters. This became known as the auditorium-style church. Features like sloped seating and stage lighting reflected this shift.² These adaptations prioritized large gatherings and clear views of the pulpit, mirroring the era’s revivalist emphasis on preaching. Today, most evangelical churches have continued in this tradition, while others, with advancements in live-streaming and broadcasting technology, have embraced sanctuaries inspired by television sets.

Now some might ask, “Why does it even matter? Aren’t there more important things to worry about?” Well, given the time and precise detail the biblical writers devoted to designing and describing the tabernacle, the first temple, and even the New Jerusalem in Revelation, we would be foolish to say these things are not important.

Moreover, we can’t escape the reality—and research—that shows environmental spaces impact us. How you feel at home, at work, in a hospital, or at your place of worship—all these spaces create feelings and experiences. As Maya Angelou once said, “People will forget what you said, but people will never forget how you made them feel.” When it comes to our sacred spaces, whether we are intentional or not, they are shaping how people feel.

The challenge with auditorium and broadcast-style worship is that it can create a distant relationship between the listener and the presenter. I believe that, while there is nothing inherently wrong with these styles, churches should still include areas in their buildings that help people feel connected to one another and to their relationship with God. Without this, the psychological impact of our sacred spaces may have the opposite effect on parishioners.

To address this, here are a few creative suggestions for churches looking to create spaces that cultivate connection and contemplation. For connection, having a space where people can converse and enjoy fellowship is essential. This can be as simple as a warmly lit area with seats and sofas for people to relax in. I’ve seen churches go further by creating coffee shops or cafes—while more extensive, these achieve the same effect of fostering community.

Another way to build connection is to encourage small groups or members to create tissue paper stained glass designs. These could align with the church calendar—for example, crafting tissue paper crosses during Easter. Displaying artwork made by members in a dedicated area of the church is a wonderful way to promote participation and strengthen bonds within the congregation.

Lastly, for contemplation, the focus shifts from connecting with others to connecting with God. Creating walls where people can write prayer requests, or even an entire room dedicated to prayer, offers a powerful space for reflection. If land is available, churches could also design prayer trails or outdoor areas that utilize nature, providing serene settings for contemplative prayer and seeking God.

In conclusion, I hope these simple ideas serve as a catalyst to inspire further creativity. By being intentional with the design of our churches, we can transform even the creaking pews and musty corners into sacred spaces that breathe life into our communities. These efforts not only help people connect with one another and deepen their walk with God but also shape environments where hearts and minds find peace and purpose.

Works Cited

Kilde, Jeanne Halgren. Sacred Power, Sacred Space: An Introduction to Christian Architecture and Worship. Oxford UP, 2008.

Kilde, Jeanne Halgren. When Church Became Theatre: The Transformation of Evangelical Architecture and Worship in Nineteenth-Century America. Oxford UP, 2002.