The shape of each building was inspired by the white lily flower, a symbol of purity associated with the Virgin Mary. In both cases, six petal-shaped planes are seamlessly blended to create the continuous surface that serves as the walls and roof. In contrast to conventional, masonry churches that are firmly planted on the ground, Nakamura’s chapel respects the shape of the hill without overwhelming the landscape. Instead, it perches gracefully at just six points where the inverted petals touch the earth. “We wanted the tips of the lily to be as delicate as possible,” explains project architect Kohei Omori. Outside, this was achieved with aluminum panels supported by steel trusses. The size and thickness of the metal panels required careful study due to the building’s undulating overall form. Where the petals dip and the curves tighten, the panels had to be smaller and thinner. In the case of the chapel, the six petals are interspersed with slit-like, stained-glass windows created by the British designer Helen Whittaker. Represented with a rainbow of colored glass, their motifs are abstract lily blossoms.

Inside the chapel, the petals become a billowy ceiling crafted from narrow aluminum strips. “Upon entry, you can touch the ceiling since it touches the ground,” observes Omori. Lining the space, teak pews designed by Nakamura echo the building’s gentle shape with their curved ends. The seating is oriented towards the altar where a metal sculpture created by the Filipino artist, Daniel Dela Cruz, depicts the resurrection of Jesus Christ. While the colored glass is reflected on the metal surface, soft daylight filters down through the 7-foot-diameter, fixed skylight topping the spire. Ringing the base of the skylight, small openings create a chimney effect by drawing cool air from the river up through the sanctuary—on weekdays, passive cooling is sufficient. But on Sundays, when the pews are full, a mechanical air conditioning system chills the space. The daylight from above is augmented by rays of light streaming in from the sides through the stained-glass windows as well as spotlights attached alongside their sash.

In addition to the tropical climate, the architects also had to accommodate the local construction culture which varies considerably from that of Japan. “There were a lot of challenges that we had never faced before,” recalls Omori. Chief among them was construction management. Unlike in Japan, the subcontractors worked independently, requiring the architects to take on a supervisory role to ensure the quality standards down to the exacting details. But the power of Nakamura’s architecture overcomes international divisions. The play of light, shadow, and surface yields a place of worship with universal appeal. “We wanted to provide a space for prayer where all people can pause and reflect,” says Nakamura.

Chapel section. Click to enlarge

Upper level plan. Click to enlarge

Lower level plan. Click to enlarge

Site plan. Click to enlarge

Images courtesy Hiroshi Nakamura & NAP