Posoborowa architektura sakralna: między teorią a praktyką – studium przypadku

2026

3(87)

Radosław Kimsza*, Giuseppe Midili**

Post-conciliar sacred architecture: between theory and practice

– a case study

DOI: 10.37190/arc260303

Published in open access. CC BY-NC license.

Abstract

The post-conciliar sacred architecture in Poland remains a eld of research requiring further investigation from the perspectives of both the history

and theory of architecture and the theological and liturgical reection. The aim of this article was to identify the fundamental urban planning and ar-

chitectural principles derived from the documents of the Catholic Church relating directly or indirectly to the sacred architecture and to examine their

application through the case study of the Church of Our Lady of Fatima in Białystok, designed by the architect Andrzej Nowakowski. The research was

conducted within two paths: rst – using the critical analysis of the Church documents and the second – the architectural analysis of the chosen building.

The study examined, among other aspects, the church’s location, orientation, the form, bell towers, the portal and the entrance zone, materials, lighting,

acoustics, and accessibility. The analysis demonstrates that the building fulls a lot of the recommendations associated with the post-conciliar sacred

architecture, particularly with regard to liturgical functionality, accessibility, and the hierarchical organization of the space, retaining numerous refer-

ences to traditional forms of church architecture. The church thus represents an example of the search for a balance between the contemporary liturgical

requirements and the historical heritage of ecclesiastical architecture.

Key words: sacred architecture, sacred space, architectural theory, post-conciliar architecture

Introduction

The post-conciliar sacred architecture of the Catholic

Church in Poland constitutes an important yet still insu-

ciently explored eld of research, both from the perspective

of the history and theory of architecture and from that of

theological and liturgical reection. From a normative per-

spective, the space of a church or chapel should, through

its architectural and structural solutions, express theologi-

cal content and semiotic meanings while at the same time

remaining functionally subordinated to the requirements of

the liturgy.

The liturgical reform of the Second Vatican Council i n-

tro duced fundamental changes in the understanding of the

space of celebration, confronting architects with new chal-

lenges related both to the design of new buildings and to the

adaptation of existing structures to reformed norms (Schloe-

der 1998). One of the key issues was the absence of a sin

gle, systematically developed body of technical and archi-

tectural guidelines analogous to the post-Tridentine treatise

Instruc

tiones fabricae et supellectilis ecclesiasticae, prepared

at the initiative of Cardinal Carlo Borromeo (Krasny, Kurzej

2013, 2021; Nadrowski 2000, 60). Attempts by local Churches

to develop such norms did not result in the establishment of

universally binding principles.

The aim of this article is to identify the fundamental ur-

ban planning, architectural, and theological-liturgical prin-

ciples shaping post-conciliar sacred architecture and to

con front them with design practice through a case study of

the Church of Our Lady of Fatima in Białystok. The study

therefore addresses the relationship between the normative

theory of sacred architecture, as derived from Church doc-

uments, and its concrete architectural realization.

* ORCID: 0000-0002–8504–5616. Faculty of Architecture, Bia -

łystok University of Technology, Poland, e-mail: r.kimsza@pb.edu.pl

** ORCID: 0009-0009-4418-5952. Pontical Liturgical Institute,

Rome, Italy.

28 Radosław Kimsza, Giuseppe Midili

State of research

Contemporary Church documents primarily formulate

theo logical and liturgical principles, leaving considerable

scope for interpretation regarding formal and stylistic solu-

tions (Giles 1999, 18).

Consequently, no uniform stylistic canon of sacred ar-

chitecture emerged after the Second Vatican Council. This

phenomenon is reected in the considerable diversity of ar-

chitectural realizations, ranging from modernist and mini -

malist approaches to designs that consciously reinterpret

hi storical models of sacred space.

In the Polish context, a noteworthy contribution to the stu -

dy of sacred architecture is Architektura VII Dnia [Seventh-

Day Architecture] (Cichońska, Popera and Snopek 2016),

which analyzes Catholic sacred buildings erected during

the period of the Polish People’s Republic (PRL). Another

important contribution to the research on the contempo-

rary sacred architecture is Cezary Wąs’s monograph Anty-

nomie współczesnej architektury sakralnej [Antinomies of

Contemporary Sacred Architecture] (Wąs 2016), which

addresses tensions between tradition and modernity while

highlights the complexity of contemporary formal and con-

ceptual explorations in church architecture.

However, a signicant research gap appears to concern

the later period of the development of Polish sacred archi-

tecture, particularly from an architectural-theological per-

spective. The present study addresses this gap through an

analysis of the Church of Our Lady of Fatima in Białystok

(1999–2011), designed by Andrzej Nowakowski. To date,

this church has not been the subject of a comprehensive

theological and architectural study.

Methods

An in-depth analysis of documents of the Catholic Church

(relating directly and indirectly to the sacred architecture)

was conducted, using the method of critical source analy-

sis and a hermeneutical approach, taking into account their

theological and liturgical context. The analysis emphasizes

the possibility to identify and systematize the fundamental

principles of an urban, architectural, and theological nature.

Subsequently, using comparative and interpretative analy-

sis, an attempt was made to identify the application of these

principles within a specic architectural design solution.

Results

The analysis covers the identication of ways in which

the fundamental urban planning, architectural, and theolog-

ical-liturgical principles are reected in a specic design

solution. The results are presented with reference to the

successive elements shaping the architecture of the church

under study, taking into account both their functional and

compositional dimensions, as well as their symbolic sig-

nicance and relationship to the tradition of the sacred ar-

chitecture.

Location

The primary criterion for selecting the location of a Ca-

tholic church is its accessibility to the community of the

faithful, understood as the principle of “communal central-

ity” (Codex, canons 1214–1215). This principle implies lo-

cating a place of worship within the compact structure of

a residential area and ensuring the pedestrian accessibility

while avoiding its spatial isolation (Bergamo, Elberti and

Los 1994).

The Bojary district of Białystok, where the church under

study is located, is characterized by a diverse urban struc-

ture comprising both historic and contemporary deve lop-

ment. The church is situated in its central part, which cor-

responds to the principle of accessibility. At the same time,

however, its relationship with the surrounding environment

reveals signicant limitations in terms of the urban the

composition (Fig. 1).

The building is not connected to clearly dened visual

axes or directional systems within the public space. There

is also no clearly dened forecourt or square that would

organize the perception of the church and integrate it into

the urban structure of the district as an element of public

and symbolic signicance. Consequently, the church does

not function as a spatial landmark; its visual impact is lim-

ited to its immediate surroundings, and its visibility within

more distant visual relationships remains restricted.

From the perspective of the criteria derived from the

Church documents and the tradition of locating churches

within their urban context, this situation may be interpreted

in dierent ways. On the one hand, the principle of accessi-

bility and integration within the structure of the local com-

munity has been fullled. On the other hand, the lack of

clear spatial and symbolic distinction weakens the church’s

function as a sign of the presence of the sacred within the

Fig. 1. The church of Our Lady of Fatima in Białystok:

urban context

(elaborated by K. Fuszara-Matyszewska, 2026)

Il. 1. Kościół pw. Matki Bożej Fatimskiej w Białymstoku,

kontekst urbanistyczny

(oprac. K. Fuszara-Matyszewska, 2026)

Post-conciliar sacred architecture: between theory and practice – a case study 29

urban environment. This may indicate both limitations re-

sulting from planning conditions and the existing urban

fabric, as well as a deliberate departure from the model of

the church as a dominant urban landmark in favor of a more

“inclusive” approach, integrated into its spatial context.

In this sense, the church under study may be situated at

the intersection of two paradigms: the traditional one, in

which the church constitutes a clearly identiable landmark

within the structure of the city, and the post-conciliar one,

which emphasizes its integration with the everyday living

space of the community.

Orientation of the church

The orientation of a church is one of the classical issues

in the sacred architecture, rooted both in the theological

tradition and building practice. Historically, the prevailing

principle was ad orientem, according to which a sanctuary

was located on the eastern side, facing the rising sun-a sym-

bol of Christ, the Resurrection, and the Parousia. Although

the documents of the Second Vatican Council do not estab-

lish explicit norms regarding the geographical orientation

of a church, neither do they abolish this tradition, leaving

it within the sphere of recommendations of symbolic and

cultural signicance (Hani 1994, 45).

In the post-conciliar approach, the emphasis shifted from

cosmic orientation to congregational orientation,

under-

stood as the organization of space around the liturgical

assembly and the altar as its focal point (Ogólne wprowa

dzenie 2004, no. 299). Consequently, the signicance of

geogra phical orientation became secondary to the clarity

of the functional and liturgical arrangement and the active

participation of the faithful (Ratzinger 2012, 69).

The church under study does not unambiguously follow

the principle of ad orientem. As a consequence of the sur-

rounding street layout, the church is oriented along an axis

running approximately from northwest to southeast. This

means that the sanctuary faces roughly southeast rather

than due east. It may therefore be said that the church is not

oriented in the strict, classical sense, although its sanctu-

ary is partially directed towards the east. This arrangement

reects a broader tendency in the contemporary sacred ar-

chitecture to subordinate the spatial organization to urban

and functional conditions. The compositional axis of the

building results primarily from the geometry of the site and

its relationship with the surrounding development rather

than from a symbolic orientation towards cardinal points.

From the theoretical perspective, this situation may be

interpreted as a manifestation of a transition from a sym-

bolic-cosmic model to a communal-liturgical one. Whereas

in the traditional approach orientation served as a vehicle

for theological meanings rooted in Christian cosmology, in

the post-conciliar architecture its role is partly assumed by

a spatial arrangement centered on the altar and by relation-

ships between the celebrant and the assembly.

This does not, however, imply a complete loss of signif-

icance for orientation. In the case under study, the absence

of a clearly dened orientation may be interpreted as weak-

ening of the symbolic dimension of space, particularly in

the context of the tradition of the sacred architecture. At the

same time, local site conditions must be considered, as they

often determine, in architectural practice, a departure from

canonical orientation.

Consequently, orientation should be regarded as a com-

plementary category rather than an absolute design prin-

ciple: as a potential bearer of meaning whose presence or

absence inuences the perception and interpretation of sa-

cred space.

Form

The analysis of the church’s form can be further devel-

oped by referring to the classical typologies of the sacred

architecture, among which the longitudinal (axial) and

central plans are of fundamental importance. The former

is based on an axial and directional organization of space,

leading from the entrance towards the sanctuary and there-

by emphasizing the processional dimension of the liturgy.

The latter, by contrast, organizes space around a single cen-

tral point-most commonly the altar-thus emphasizing the

communal and assembly-oriented character of the celebra-

tion (Kieckhefer 2004, 84).

This principle is further reinforced by Inter Oecumenici,

which states that, in the construction of new churches and

the adaptation of existing ones, the consideration should

be given to their suitability for the celebration of liturgical

rites and to enabling the active participation of the faithful

(Święta Kongregracja Obrzędów 1964, no. 90).

The Church of Our Lady of Fatima in Białystok does not

represent a pure realization of either of these models. Built

on a Latin-cross plan, the church has a three-aisled pseudo-

basilican layout with side chapels (Fig. 2). On the one hand,

a clearly dened directional axis organizes the movement

of the faithful and the relationship between the entrance

and the sanctuary, thereby placing the building within the

basilican tradition. On the other hand, the expansion of the

space at the intersection of the nave and transept, togeth-

er with the emphasis on the assembly gathered around the

Fig. 2. Aerial view of the church of Our Lady of Fatima in Białystok

(photo by Padre, source: https://mbfatimskiej.archibial.pl/galeria/5-

budynek-kosciola -z-nbsp-gory; accessed: September 5, 2026)

Il. 2. Kościół pw. Matki Bożej Fatimskiej – widok z lotu ptaka

(fot. Padre, źródło: https://mbfatimskiej.archibial.pl/galeria/5-budynek-

kosciola -z-nbsp-gory; data dostępu: 5 września 2026)

30 Radosław Kimsza, Giuseppe Midili

may be described as transitional, reecting broader tenden-

cies in the sacred architecture at the end of the 20

and the

beginning of the 21

century, which sought to strike a bal-

ance between the heritage of tradition and requirements of

contemporary liturgy.

Bell towers

The bell tower is one of the most recognizable elements

of the sacred architecture, serving both functional and sym-

bolic purposes. In the ecclesiastical tradition, the tower

has carried vertical symbolic meanings, pointing towards

transcendence while also functioning as a landmark within

the urban structure. At the same time, the function of bells,

associated with the rhythm of liturgical and social life, en-

dowed the tower with a communicative dimension (Hani

1994, 73).

In the Church of Our Lady of Fatima in Białystok, the

function of bell towers is performed by two symmetrical

towers anking the façade (Fig. 3). This solution refers to

the traditional scheme of a twin-towered façade found in

Western European architecture, although it has been rein-

terpreted through a simplied formal language.

In their lower sections, the church towers are rectangular

in plan, while their upper sections transition are into octag-

onal prisms. Their walls are pierced by rectangular open-

ings with semicircular arches. The towers are crowned with

decorative domes and lanterns, whose stylistic form clear-

ly-albeit in a simplied manner-refers to late Renaissance or

Baroque solutions. The proportions of the towers emphasize

verticality, thereby reinforcing the symbolic dimension of

“ascending”. At the same time, the use of brick as the prima-

ry material integrates them into the coherent architectural

language of the entire building, reducing formal contrast.

From the urban perspective, the role of the bell towers as

spatial landmarks remains limited. Despite their height and

prominent compositional position alongside the façade,

their visual impact is constrained by the surrounding devel-

opment and the absence of connections with major visual

axes. Consequently, their function as orienting elements

within the urban space is weakened.

From the typological perspective, the use of a twin-tow-

er arrangement may be interpreted as a deliberate reference

to tradition, intended to reinforce the building’s recogniz-

ability as a church. At the same time, the reduction of a dec-

orative detail and the simplication of form correspond to

the post-conciliar tendency towards a more synthetic use of

architectural expression.

The evaluation of this solution remains ambiguous. On

the one hand, the bell towers eectively establish a vertical

accent and introduce a symbolic element into the composi-

tion of the building. On the other hand, their limited urban

visibility and the lack of a stronger relationship with public

space mean that their potential as landmarks and signs of

the sacred is not fully realized.

Consequently, the bell towers of the church under study

may be regarded as elements that are formally and symbol-

ically justied, yet whose impact is partially neutralized by

the spatial context and the manner in which they are inte-

grated into the surrounding urban structure.

altar, indicates an attempt to achieve a partial centralization

of the spatial arrangement.

The external form, however, does not clearly express

this typological duality. The absence of a readily legible

cor respondence between the internal layout and the ex

ternal form means that an observer receives no clear in-

dication of the organization of the liturgical space. Unlike

traditional basilicas, in which the external form distinctly

articulates the division between the central nave and the

side aisles, or centrally planned churches, characterized by

a compact and symmetrical form, the building under study

employs a more complex and heterogeneous composition

of volumes.

From the critical perspective, this hybrid arrangement

may be interpreted as an attempt to reconcile two para-

digms: the traditional model, based on axiality and spatial

hierarchy, and the post-conciliar model, emphasizing the

communal character of the liturgy and the congregation’s

focus around the altar. This solution potentially provides

greater functional exibility and a richer spatial experience;

however, it also carries the risk of losing compositional

clarity and weakening symbolic legibility.

In the case under study, hybridity does not result in

a complete typological synthesis but rather in the coexis-

tence of two spatial orders that do not always remain in

a harmonious relationship. Consequently, the church’s form

Fig. 3. Twin-towered façade of the Church of Our Lady of Fatima

in Białystok (photo by M. Nowakowski, 2026)

Il. 3. Dwuwieżowa fasada kościoła pw. Matki Bożej Fatimskiej

w Białymstoku (fot. M. Nowakowski, 2026)

Post-conciliar sacred architecture: between theory and practice – a case study 31

Portal

The church portal constitutes an important element of

the architectural composition, serving both functional and

symbolic purposes. In the tradition of the sacred archi-

tec ture, the entrance to a church has been interpreted as

a threshold (limen) between the realms of the profane and

the sacred, an understanding reected in its distinctive for-

mal and iconographic articulation (Hani 1994, 87; Waw-

rzyniak 1996, 70).

Although the Church documents do not formulate de-

tailed regulations concerning the design of portals, they

emphasize the signicance of the entrance area as a place

of preparation for participation in the liturgy. The portal,

to gether with a possible vestibule or narthex, functions as

a transitional zone, enabling a shift in the perception of

space and introducing the faithful into the sacred realm

(McNamara 2009, 39–50).

In the church under study, the portal is clearly distin-

guished as a dominant compositional element of the build-

ing, although not as emphatically as in the historical styles

of the sacred architecture. The entrance to the church is

distinctly emphasized within the structure of the façade,

ensuring its legibility at both the architectural and urban

scales. The emphasis on the entrance axis, together with the

forecourt and the entrance zone, gives the act of crossing

the threshold a certain symbolic potential, although this po-

tential does not appear to have been fully developed, possi-

bly for economic reasons.

From the compositional perspective, the portal does

not play a decisive role in organizing the perception of the

building, nor does it constitute a clear culmination of the

approach axis. Unlike historical solutions, in which the en-

trance was often strongly articulated through form, scale,

and detail, its expression in the church under study remains

restrained and subordinate to the overall composition of

the building.

The evaluation of this solution may therefore be ambi-

guous. On the one hand, the reduced expressiveness of the

portal corresponds to the post-conciliar tendency towards

the reduction of formal hierarchies and the greater inte-

gration of sacred space with its surroundings. On the oth-

er hand, weakening the visual prominence of the entrance

may contribute to the loss of a clearly articulated boundary

between the secular and the sacred space, a distinction that

traditionally possessed considerable symbolic and func-

tional signicance in church architecture.

Consequently, the portal of the Church of Our Lady of

Fatima may be interpreted as an element characterized by

a minimalist semantic expression, serving a predominant-

ly functional rather than symbolic role associated with the

idea of transition and entry into the realm of the sacred.

Entrance zone

In the tradition of sacred architecture, the relationship

between a church and its surrounding space has played an

important role, including its relationship with the cemetery

as a place of remembrance and of continuity within the com-

munity of the faithful. Historically, such space constituted an

integral element of the sacred complex, forming a transitio -

nal zone between the profane and the sacred (Rabiej 2018).

In the case under study, the absence of a direct relation-

ship between a church and a cemetery reects contempo-

rary practice, largely determined by sanitary regulations,

which se parates liturgical and funerary functions. The role

of the tran sitional zone is assumed by the space in front of

the church entrance, formed at the ground level.

The location of the church entrance at the ground level

promotes accessibility and the ease of movement, respond-

ing to contemporary functional requirements and the prin-

ciple of inclusivity. At the same time, however, it limits the

symbolic potential associated with the sequence of entry,

reducing the experience of a gradual transition from secular

to sacred space.

Consequently, the entrance zone is primarily functional

in character, while its symbolic signicance remains re-

duced in comparison with traditional solutions, in which

the process of approaching the church constituted an im-

por tant element of the spatial composition and the liturgical

experience.

In addition to liturgical and symbolic requirements, con-

temporary sacred architecture should also take into account

functional aspects related to accessibility and circulation.

Although the Church documents do not formulate detailed

design standards in this respect, the principle of universal

accessibility to places of worship follows from the pastoral

character of the church as a space intended for the entire

community of the faithful.

An important element of site development is the provi-

sion of an adequate number of parking spaces to ensure the

ecient accommodation of participants in liturgical cele-

brations and parish events. The location of parking facili-

ties should reconcile functional requirements with the need

to preserve the dignity and legibility of the sacred space, so

that transport infrastructure does not dominate the architec-

tural and symbolic character of the complex.

The location of the parking area in the immediate vicin-

ity of the church ensures ecient access to the building;

how ever, the limited size of the site has resulted in a re-

duced number of parking spaces. This solution is sucient

for the everyday functioning of the parish, as a signicant

proportion of the faithful reach the church on foot from the

surrounding residential area. The limitations of the park-

ing sy stem become apparent during events attracting larger

num bers of participants, particularly funerals, when de-

mand for parking spaces exceeds the capacity of the site.

Con se quent ly, the functional organization of access and

parking may be assessed as adequate at the local scale but

insucient during periods of increased demand.

Accessibility for persons with disabilities also consti-

tutes an important criterion of evaluation. The contem-

porary design standards require the elimination of archi-

tectural barriers through the appropriate design of access

routes, ramps, and entrances. In the building under study,

the entrance to the church is located at the ground level, fa-

cilitating the access for persons with reduced mobility and

corresponding to the principles of universal design.

From the functional perspective, these solutions should

be assessed positively. They full the principle of univer-

32 Radosław Kimsza, Giuseppe Midili

sal accessibility to sacred space without compromising its

fundamental compositional and symbolic values. Conse-

quently, both the organization of parking facilities and the

provision of accessibility for persons with specic needs

constitute important elements of the contemporary under-

standing of the sacred architecture as a space open to the

entire community of the faithful.

Materials

The selection of materials in the sacred architecture of

the Catholic Church constitutes an important component

of architectural expression, closely related to the liturgi cal

function and symbolic signicance of space. In the post-

conciliar approach, materials do not serve merely structural

and aesthetic purposes but also participate in communicat-

ing theological content and shaping the perce p tion of the

sacred.

The documents of the Second Vatican Council empha-

size the need to preserve “noble beauty” (nobilis pulchri-

tudo) rather than mere sumptuousness or decorative excess

(Sacrosanctum Concilium 2002, no. 124). This implies a pre

ference for authentic, durable materials whose inherent qua -

lities and structural properties remain legible. Such an ap-

proach involves leaving imitation in favor of revealing

the properties of matter-its texture, weight, and the way it

changes over time. This principle has been applied in the

Church of Our Lady of Fatima both in its external form and

in its interior.

In the tradition of the sacred architecture, particular sig-

nicance has been attributed to materials such as stone,

wood, and brick, which, owing to their durability and natural

origin, symbolize stability, rootedness, and the relationship

between creation and the Creator. Stone, present in biblical

symbolism (Pismo Święte, 1 Pet. 2:5), may be interpreted

as a sign of the permanence of the Church. Wood, through

its associations with the Old Testament Tree of Life (Pismo

Święte, Gen. 3:22), the Ark of the Covenant (Pismo Święte,

Exod. 25:10–22), and above all the Cross, carries Paschal

connotations fullled in the Resurrection of Jesus Christ.

In the building under study, traditional materials consti-

tute a fundamental component of the architectural composi-

tion. The external form of the church is constructed primar-

ily of brick, while the interior is nished in neutral plaster.

At the symbolic level, an important role is played by white

Carrara marble, used in the sculptural elements of the sanc-

tuary, the chapels terminating the transept, and the Stations

of the Cross, thereby reinforcing the semantic hierarchy of

the space.

From the liturgical perspective, the dierentiation of

ma terials between particular zones of the interior is espe-

cial ly signicant. The sanctuary is distinguished both by

an elevated oor level and by the use of materials charac-

terized by dierent colors and a higher degree of rene-

ment-namely, marble ooring contrasting with that of the

nave and gold mosaic, deeply rooted in Christian symbol-

ism (Fig. 4). This treatment corresponds to the principle

of a clearly articulated hierarchy within liturgical space

(Ogólne wprowadzenie 2004, no. 295).

In the Church of Our Lady of Fatima, however, a certain

tension can be observed between the aspiration towards

material authenticity and formal expression. On the one

hand, the materials employed remain legible and consis-

tent with the principle of the “truthfulness of materials”.

On the other hand, their juxtaposition and manner of appli-

cation occasionally produce eects of considerable formal

intensity that do not always fully correspond to the ideal of

“noble beauty”.

Consequently, the selection of materials should be in-

terpreted not merely in technological or aesthetic terms,

but as an integral element of the theological and liturgical

composition, co-shaping the experience of the sacred space

and the manner in which it is perceived by the community

of the faithful.

Windows and natural and artificial light

Light is one of the fundamental means of shaping the sa-

cred space, serving both functional and symbolic purposes.

In the Christian tradition, it has been interpreted as a sign of

the presence of God, truth, and transcendent reality (Barrie

2016; Wierzbicka 2026, 13). Although the Church docu-

ments do not establish detailed norms regarding the form

and placement of windows, they emphasize the need to cre-

Fig. 4. The interior of the Church of Our Lady of Fatima in Białystok,

view towards the sanctuary (photo by M. Nowakowski, 2026)

Il. 4. Wnętrze kościoła pw. Matki Bożej Fatimskiej w Białymstoku

– widok w kierunku prezbiterium (fot. M. Nowakowski, 2026)

Post-conciliar sacred architecture: between theory and practice – a case study 33

From the compositional perspective, the solutions em-

ployed correspond to the post-conciliar understanding of the

sacred architecture, in which light is treated as an integral

element in the formation of the liturgical space. At the same

time, the relatively restrained use of glazing distinguishes

the church under study from many contemporary examples

in which light becomes the dominant means of architectural

expression.

Consequently, the system of natural and articial light-

ing contributes to a clearly articulated structure of the sa-

cred space, reinforcing its liturgical and symbolic functions

without allowing formal eects to become excessively

dominant.

Acoustics

Acoustics constitutes one of the fundamental, though

often

underestimated, elements of the sacred architecture.

Its importance arises directly from the requirements of the

liturgy, in which spoken word, singing, and music play an

essential role in communicating religious content and fos-

tering the communal character of celebration (Telatycka

2025, 639). The contemporary Church documents empha-

size the need to provide conditions that enable the full and

conscious participation of the faithful in the liturgy, which

ate a space conducive to prayer and liturgical celebration

(Sacrosanctum Concilium 2002, no. 124).

In the church under study, the system of window open-

ings is subordinated to the overall composition of the build-

ing. The windows are relatively modest in size and arranged

rhythmically in the upper sections of the walls, allowing for

an even distribution of daylight without excessively open-

ing the interior to its surroundings. This solution promotes

concentration on the liturgy and reinforces the sense of the

sacred space as distinct from the external world.

The particular importance is attached to the natural light

reaching the sanctuary. The appropriate direction and inten-

sication of illumination in this part of the interior reinforce

its liturgical signicance and contribute to the spatial hier-

archy. In this case, light functions not only as a practical

necessity but also as an element that generates symbolic

meaning (Figs. 5, 6).

Articial lighting performs a complementary role in re-

lation to natural illumination. Its purpose is to provide ap-

propriate conditions for the celebration of the liturgy and

to emphasize the most important elements of the liturgical

furnishings, such as the altar, ambo, and tabernacle. In the

building under study, articial lighting does not dominate

the space but contributes to its atmosphere by accentuating

selected functional zones.

Fig. 5. The church of Our Lady of Fatima in Białystok: side chapel

on the southern axis of the transept (photo by M. Nowakowski, 2026)

Il. 5. Kościół pw. Matki Bożej Fatimskiej w Białymstoku – kaplica

boczna w osi południowej transeptu (fot. M. Nowakowski, 2026)

Fig. 6. The church of Our Lady of Fatima in Białystok: side chapel

on the northern axis of the transept (photo by M. Nowakowski, 2026)

Il. 6. Kościół pw. Matki Bożej Fatimskiej w Białymstoku –

kaplica boczna w osi północnej transeptu (fot. M. Nowakowski, 2026)

34 Radosław Kimsza, Giuseppe Midili

The analysis of the building’s form revealed its hybrid

character. The church combines features of the tradition-

al longitudinal arrangement, derived from its Latin-cross

plan and the basilican character of the nave, with central-

izing tendencies associated with the concentration of space

around the altar and the liturgical assembly. This solution

may be interpreted as an attempt to reconcile the historical

continuity of form with the requirements of contemporary

liturgy. At the same time, the lack of complete correspon-

dence between the organization of the interior and the ex-

ternal composition of the building limits its typological and

symbolic clarity.

The important element of the façade composition con-

sists of the two bell towers, which constitute a clear ref-

erence to the traditional model of the church architecture.

Their vertical proportions and simplied forms, drawing

on historical solutions, reinforce the recognizability of the

building as a church. At the same time, the limited visibility

of the building within the urban structure means that the

potential of the bell towers as spatial landmarks and ori-

enting elements remains only partially realized. They may

the refore be regarded as an example of the deliberate use of

a traditional motif within the simplied formal language

of contemporary architecture.

The portal and entrance zone primarily full a com-

municative function, although they retain the potential to

symbolically mark the transition between secular and sa-

cred space. The portal has been clearly distinguished with-

in the structure of the façade, while the entrance forecourt

forms a basic sequence leading towards the interior of the

church. Its form, however, remains relatively restrained in

comparison with historical solutions in the church architec-

ture. Consequently, the symbolism of the threshold and the

transition into the sacred space is present but has not been

fully developed through architectural means.

With regard to accessibility and the organization of the en-

trance zone, the functional solutions should be assessed pos-

itively. The entrance, located at the ground level, minimizes

architectural barriers and corresponds to contemporary prin-

ciples of universal design. The location of the parking area

in the immediate vicinity of the church provides basic ve-

hicular access; however, the limited size of the site results in

an insucient number of parking spaces during celebrations

attended by larger numbers of worshippers. The function-

al capacity of the complex is therefore adequate for every -

day use but limited during periods of increased demand.

The analysis of materials conrmed the important role

of architectural materiality in shaping the identity of the

church. The use of brick in the external form, together with

marble and mosaic within the liturgical space, corresponds

to the principles of material authenticity and “noble beau-

ty”. The dierentiation of materials also contributes to the

spatial hierarchy, particularly within the sanctuary. At the

same time, the intensity of certain material juxtapositions

and their formal expressiveness reveal a tension between

the ideal of restraint and the desire for a more distinctive

articulation of the sacred space.

Natural and articial light are subordinated both to func-

tional requirements and to the hierarchical organization of

liturgical space. The relatively limited size of the window

also includes adequate intelligibility of spoken texts and

music (Sacrosanctum Concilium 2002, nos. 20 and 121).

In the sacred architecture, acoustic properties are shaped

by the geometry and volume of the interior, as well as by the

nishing materials employed. Traditional masonry churches,

characterized by large volumes and a signicant proportion

of sound-reecting surfaces, were conducive to choral and or-

gan music but often impaired speech intelligibility. The litur-

gical reform of the Second Vatican Council, emphasizing the

importance of the Liturgy of the Word, increased the require-

ments concerning the clarity of acoustic communication.

In the church under study in Białystok, material solutions

typical of contemporary the sacred architecture are utilized.

The extensive use of plastered surfaces, brick, and stone

promotes the reection of sound waves and contributes to

an appropriate degree of reverberation. At the same time,

the large volume of the interior requires a properly designed

sound reinforcement system to ensure the intelligibility of

liturgical texts throughout the entire church.

From the liturgical perspective, it is essential to maintain

a balance between reverberation conducive to sacred music

and the clarity of spoken communication. In the building

under study, the acoustic environment appears to be precise-

ly subordinated to this objective, responding to the contem-

porary requirements of the liturgical celebration.

Consequently, acoustic solutions should be regarded as

an integral element of the architectural composition, con-

tributing to the functionality of the sacred space and to the

quality of the faithful’s participation in the liturgy.

Conclusions

The analysis of the Church of Our Lady of Fatima in

Białystok demonstrates that the building constitutes an in-

teresting example of the contemporary sacred architecture

in which the principles arising from post-conciliar liturgical

reection have been reconciled with numerous references

to traditional forms of church architecture.

With regard to its location, the church fulls the prin-

ciples of accessibility and “communal centrality”, derived

from the pastoral understanding of the church as a place of

assembly for the faithful. Its location within the urban struc-

ture of the Bojary district ensures accessibility for the local

community; however, its limited urban visibility, together

with the absence of a clearly dened forecourt and axial

relationships, weakens its role as the spatial landmark and

as the sign of the presence of the sacred within the structure

of the city.

With regard to orientation, the church under study does

not follow the classical principle of ad orientem. The di-

rection of its principal axis has been largely determined by

the conditions of the site, the street layout, and the existing

urban fabric. At the same time, the sanctuary is partially ori-

ented towards the east. This solution reects the character-

istic shift in post-conciliar architecture from geographical

orientation towards congregational orientation, centred on

the relationship between the community of the faithful and

the altar. This does not imply a complete loss of the symbol-

ic signicance of orientation, but rather its relativization in

relation to the functional and urban conditions.

Post-conciliar sacred architecture: between theory and practice – a case study 35

openings helps maintain visual concentration within the

interior, while the illumination of the sanctuary reinforces

its signicance within the spatial structure of the church.

Articial lighting complements natural light and makes it

possible to emphasize the most important elements of the

liturgical furnishings. These solutions conrm that light is

treated as an integral means of shaping liturgical space rath-

er than merely as a functional factor.

With regard to acoustics, the spatial and material solu-

tions are subordinated to the need to maintain a balance be-

tween an appropriate degree of reverberation, conducive to

sacred music, and the intelligibility of the liturgical word.

The considerable volume of the interior and the presence

of sound-reecting surfaces create conditions favorable to

an appropriate acoustic atmosphere, while at the same time

requiring a properly designed sound reinforcement system.

Acoustics therefore constitutes an integral element of the

functional and liturgical shaping of the space.

The overall analysis conrms that the Church of Our

Lady of Fatima in Białystok represents neither a direct con-

ti nuation of historical models of sacred architecture nor

a radical break with tradition. It does constitute the exam

ple of the synthesis of two approaches: the traditional one,

based on axiality, verticality, hierarchy, and the symbolism

of architectural forms, and the post-conciliar one, emphasiz-

ing the communal character of the liturgy, functionality, ac-

cessibility, and the concentration of space around the altar.

The case study therefore indicates that the relationship

between theory and practice in the post-conciliar sacred

architecture cannot be understood as a straightforward ap-

plication of norms to a specic architectural design. It rath-

er appears to be a process of interpretation in which theo-

logical and liturgical principles are confronted with urban,

functional, structural, and aesthetic conditions. The exam-

ple of this church demonstrates that contemporary sacred

architecture can maintain continuity with tradition while

simultaneously reinterpreting its forms in the light of the

liturgical requirements that emerged following the Second

Vatican Council.

Translated by

Beata Wyszyńska

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Streszczenie

Posoborowa architektura sakralna: między teorią a praktyką – studium przypadku

Posoborowa architektura sakralna w Polsce pozostaje obszarem badań wymagającym dalszego rozpoznania zarówno z perspektywy historii i teo-

rii architektury, jak i reeksji teologiczno-liturgicznej. Celem artykułu była identykacja podstawowych zasad urbanistycznych i architektonicznych

wynikających z dokumentów Kościoła katolickiego odnoszących się bezpośrednio lub pośrednio do budownictwa sakralnego oraz ich werykacja na

przykładzie kościoła pw. Matki Bożej Fatimskiej w Białymstoku, zaprojektowanego przez architekta Andrzeja Nowakowskiego. Badania przeprowa-

36 Radosław Kimsza, Giuseppe Midili

dzono metodą krytycznej analizy źródeł kościelnych oraz analizy architektonicznej wybranego obiektu. Ocenie poddano m.in. lokalizację, orientację,

bryłę, dzwonnice, portal i strefę wejściową, materiały, oświetlenie i akustykę, a także dostępność komunikacyjną świątyni. Dzięki przeprowadzonej

analizie wykazano, że obiekt spełnia wiele postulatów architektury posoborowej, zwłaszcza w zakresie funkcjonalności liturgicznej, dostępności

i hierarchizacji przestrzeni, zachowując jednocześnie liczne odniesienia do tradycyjnych form budownictwa sakralnego. Kościół stanowi przykład

poszukiwania równowagi pomiędzy współczesnymi wymaganiami liturgicznymi a historycznym dziedzictwem architektury kościelnej.

Słowa kluczowe: architektura sakralna, przestrzeń sakralna, teoria architektury, architektura posoborowa

Posoborowa architektura sakralna: między teorią a praktyką – studium przypadku

Radosław Kimsza, Giuseppe Midili

doi:10.37190/arc260303

Streszczenie