The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery

Austensean Stanislaus Lumunon

doi:10.37190/arc260304

Abstract

Liturgical reforms following the Second Vatican Council (1962–1965) led to widespread spatial transformations in Catholic places of worship, ranging from minimal alterations to the removal of historically valuable furnishings. Compliance with official Church documents, particularly the General Instruction of the Roman Missal (GIRM), which explicitly required the preservation of artistically valuable furnishings, varied greatly according to regional context. Catholic churches dating from the Dutch East Indies period in Indonesia remain almost entirely absent from international scholarship on post-conciliar liturgical adaptations, despite their extreme vulnerability to excessive intervention in the absence of codified conservation practices.

The article concerns the Church of the Sacred Heart of Jesus in Tomohon, North Sulawesi, a neo-Gothic heritage building from the Dutch East Indies period, erected by Jesuit missionaries in 1903. Its presbytery underwent radical post-conciliar adaptation that led to the dismantling of all three pre-conciliar wooden altars, directly violating Articles 289 and 303 of the GIRM. The case study drew on field survey data, photographic archive analysis and a normative assessment against GIRM provisions. A conservation design based on minimum intervention was developed, introducing a new versus populum altar, facing the people, in formal harmony with the existing interior while reconstructing the three lost altars from surviving physical fragments and archival documentation. The work maintained a methodological distinction between source-based reconstruction, in which lost elements are established directly through material and archival evidence, and interpretative reconstruction, which requires analogies with contemporary typological precedents.

The study demonstrated that post-conciliar liturgical guidelines and the preservation of Dutch East Indies heritage furnishings can be reconciled within a coherent minimum-intervention approach. It also proposed a methodology with wider applicability for assessing liturgical adaptations of Catholic churches from the Dutch East Indies period in the Indonesian archipelago and the broader Southeast Asian region.

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Austensean Stanislaus Lumunon*

The Church of the Sacred Heart of Jesus in Tomohon:

A design proposal for new liturgical adaptations to the presbytery

DOI: 10.37190/arc260304

Published in open access. CC BY-NC license.

Abstract

Post-conciliar liturgical reforms following the Second Vatican Council (1962–1965) prompted widespread spatial transformations in Catholic places

of worship, ranging from minimal reconguration to the demolition of historically signicant furnishings. Conformity with ocial Church documents,

particularly the General Instruction of the Roman Missal (GIRM), which explicitly mandates the preservation of artistically valuable furnishings, var-

ied considerably across regional. Dutch East Indies-era Catholic churches in Indonesia remain almost entirely absent from the international scholarly

literature on post-conciliar liturgical adaptation, despite their acute vulnerability to excessive intervention in the absence of established conservation

frameworks.

This article examines the Sacred Heart of Jesus Church in Tomohon, North Sulawesi, a neo-Gothic Dutch East Indies heritage building constructed

by Jesuit missionaries in 1903, whose presbytery underwent radical post-conciliar adaptation resulting in the demolition of all three pre-conciliar wooden

altars in direct contravention of the GIRM Articles 289 and 303. Employing a case study design, the study integrates eld survey, historical photographic

archive analysis, and normative assessment against the GIRM provisions. A minimum-intervention design proposal is developed, introducing a new

versus populum altar in formal harmony with the existing interior while reconstructing the three lost altars from surviving physical fragments and archi-

val documentation. A methodological distinction is maintained between source-based reconstruction, in which lost elements are directly derivable from

physical and archival evidence, and interpretative reconstruction, in which analogy with contemporary typological precedents is necessary.

The study demonstrates that post-conciliar liturgical imperatives and the conservation of Indies heritage furnishings are reconcilable within a coher-

ent minimum-intervention framework, and contributes a replicable methodology for the assessment of liturgical adaptations of Dutch East Indies-era

Catholic churches across the Indonesian archipelago and the broader Southeast Asian region.

Key words: liturgical adaptation, presbytery, Dutch Indies architecture, Church of the Sacred Heart of Jesus, Tomohon

Introduction

The Church of the Sacred Heart of Jesus in Tomohon,

North Sulawesi, Indonesia is a Dutch Indies heritage ec -

cle siastical building completed in 1903 and still in active

liturgical use. Like many Catholic places of worship built

before the Second Vatican Council (1962–1965), this

church underwent signicant interior transformations in the

decades following the Council, particularly within its pres -

bytery. The removal of its three neo-Gothic wooden altars,

comprising the main altar and two side altars dedicated to

the Virgin Mary and St. Joseph, represents a case of liturgi-

cal adaptation that exceeded the limits recommended by of-

cial Church documents. Neither Sacrosanctum Concilium

nor the General Instruction of the Roman Missal (GIRM)

provides support such an intervention, resulting in an ir-

reversible loss of heritage of considerable historical and

artistic value.

The call for liturgical reform issued by the Second Vat-

ican Council was grounded in the broader liturgical move-

ment that had been developing since the late 19

century in

France. Pioneering works such as Romano Guardini’s The

Spirit of the Liturgy (1998) and Dom Lambert Beauduin’s

reform writings had already begun reshaping theological

and architectural thinking about sacred space decades be-

fore the Council convened (Keere, Plevoet and Goyvaerts

2020). The Council’s Constitution on the Sacred Liturgy,

Sacrosanctum Concilium (Second Vatican Council 1963),

* ORCID: 0009-0006-0888-5925. Faculty of Architecture, Wro-

cław University of Science and Technology, Poland, e-mail: austensean.

lumunon@pwr.edu.pl

38 Austensean Stanislaus Lumunon

and the subsequent document Inter Oecumenici set out

principles to guide, rather than mandate, the recongura-

tion of liturgical spaces, emphasising the active and con-

scious participation of the faithful (Consilium of the Sa-

cred… 1964). Nevertheless, as scholars including Michael

A. Skaggs (2015, 1–23) and Denis R. McNamara (2009)

have documented, the implementation of these reforms in

existing churches was frequently characterised by misinter-

pretation, resulting in interventions that far exceeded what

the conciliar documents prescribed.

Post-conciliar adaptations encompassed a wide spectrum

of interventions. As Jitka Jonová (2017, 193–206) and Ur-

sula De Jong and Flavia Marcello (2019, 156–171) have

demonstrated, the nature and extent of these changes var-

ied signicantly across dierent regions, parishes, and his-

torical contexts, ranging from minimal recongurations to

radical demolitions. The existing literature, including com-

parative European and American studies, identies at least

three models: minimal, moderate, and radical adaptation

(Kieckhefer 2004). The case of the Sacred Heart of Jesus

Church in Tomohon represents an example of the latter, in

which the presbytery was fundamentally redesigned and

all three pre-conciliar altars, including their decorative ele-

ments, were dismantled.

The objective of this study is threefold. First, it analy-

ses the liturgical adaptation interventions undertaken in the

presbytery of the Sacred Heart of Jesus Church, examin-

ing their extent and conformity with ocial Church docu-

ments, particularly the GIRM, which represents the current,

denitive, and governing legislation for the Ordinary Form

of the Roman Rite (Congregation for Divine Worship…

2003). Second, it documents and reconstructs the remain-

ing fragments of the three pre-conciliar altars through ar-

chival research and eld survey. Third, it proposes a design

concept for a minimal-intervention liturgical adaptation

that integrates post-conciliar liturgical requirements with

the preservation and reconstruction of the church’s histor

ic interior, in support of the parish’s objective of obtaining

formal cultural heritage status from the municipality. This

study makes an original contribution in two respects: it pro-

vides the rst scholarly examination of the liturgical history

and interior transformation of this specic historic church,

and it presents a design methodology applicable to compa-

rable Dutch East Indies-era Catholic churches in Indonesia

that face similar challenges arising from liturgical reform

and heritage conservation.

Church history

The Sacred Heart of Jesus Church, also known as Gereja

Besi (which means “Iron Church” in English) is located in

Tomohon, a highland city on the island of Sulawesi, Indo-

nesia, approximately 25 km south of Manado, the provin-

cial capital of North Sulawesi. The church was inaugurated

on 28 September 1903 (Noor 2017) and constitutes one of

the most signicant examples of Dutch Indies ecclesiastical

architecture in eastern Indonesia. Its construction in iron

materials imported directly from the Netherlands reects

the technological and aesthetic ambitions of the Dutch Jes-

uit mission during the late Dutch East Indies period.

The Catholic presence in the Minahasa region has a his-

tory extending over four centuries. The rst Catholic mis-

sionaries, from Portugal and Spain, arrived in the area in

1563; however, they were subsequently expelled by the

Dutch Protestants in the 1650s. The return of Catholic mis-

sionaries to the Dutch East Indies in the early 19

century,

primarily members of the Society of Jesus, marked the re-

sumption of evangelisation in the region following Catho-

Fig. 1. The first Catholic church in Tomohon: a) a Jesuit missionary standing in front of the church (source: Berichten uit Nederlandsch… 1900;

image quality enhanced using AI-based sharpening), b) the high altar (image reproduced from Berichten uit Nederlandsch… 1900;

image quality enhanced using AI-based sharpening)

Il. 1. Pierwszy kościół katolicki w Tomohon: a) misjonarz jezuicki przed elewacją frontową kościoła (źródło: Berichten uit Nederlandsch… 1900;

jakość obrazu została podniesiona za pomocą modelu AI), b) ołtarz główny (źródło: Berichten uit Nederlandsch… 1900;

jakość obrazu została podniesiona za pomocą modelu AI)

a b

The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery 39

lic Emancipation in the Netherlands and its colonies. As

documented by Karel Steenbrink, Catholic missionary ac-

tivity in this period represented the beginning of a renewed

phase of expansion, with early centres of Catholic presence

located in regions such as Minahasa and the eastern islands

(Steenbrink 2003). The Jesuit missionaries arrived in Mi-

nahasa in 1868, baptising the indigenous population, who

were either Pagan or Protestant (Palar, Tim 2003).

The rst permanent Catholic presence in Tomohon was

established in 1875–1876, when Father Joan van Meurs,

S.J., arrived with the purpose of spreading Catholicism and

acquired a plot of land on which the rst Catholic church

in the city would later be built. This initial structure was

a modest wooden building with a thatched roof, completed

on 27 May 1891 (Fig. 1) (Palar, Tim 2003; Wullur 2020). In

1883, an additional plot of land was acquired to the right of

the rst church, where a second Catholic church was sub-

sequently erected in 1902.

The decision to construct a permanent new church build-

ing was made by Father Petrus Antonius Wintjes, S.J., in

response to the rapid growth of the Catholic population

in Tomohon since the rst baptism on 26 December 1875

(Keu s kupan Manado n.d.), which had reached nearly 2,000

parishioners. The new church was built on the land acquired

in 1883 (Wullur 2020), with the assistance of Brother An-

tonius van Leeuwenberg, S.J. The edice was completed

in 1903, and during the Dutch East Indies period, it was

known in Dutch as De rooms-katholieke kerk te Tomohon

or De Heilig Hartkerk te Tomohon. It is now a landmark of

the Tomohon’s urban landscape and a representative exam-

ple of the architectural legacy of Jesuit mission in North

Sulawesi (Fig. 2).

The history of the church’s interior is central to this study.

The presbytery originally featured a main altar transferred

from the rst church in 1903, supplemented several years

later by two side altars dedicated to the Virgin Mary and

St. Joseph, positioned on the left and right sides of the pres-

bytery, respectively. The building sustained severe struc-

tural damage in an earthquake on 14 May 1932 (Muskens

1974) necessitating major repairs and renovations. The

most consequential transformation of the interior, how -

ever, occurred during and after the Second Vatican Council

(1962–1965), when all three altars were removed, and the

liturgical furnishings, decorations and the presbytery were

redesigned. These changes are the subject of this study.

Liturgical adaptation

The concept of liturgical adaptation in the Roman

Catholic Church refers to the set of structural and spatial

modications undertaken within existing places of worship

in response to the liturgical reforms mandated by the Sec-

ond Vatican Council. However, it is important to recognise

that the impetus for liturgical reform signicantly predates

the Council itself. The liturgical movement, emerging in

the late 19

century under gures such as Dom Prosper

Guéranger and subsequently advanced by Guardini (1998)

(Reid 2014), had already begun to reshape the theological

and architectural understanding of sacred space, emphasis-

ing the communal and participatory character of worship.

Guardini argued that the liturgy is not merely an individu

al devotional act but a corporate expression of the Church,

writing that […] the liturgy is the Church’s public worship…

in which the faithful are not spectators but participants

(Guardini 1998, 66). This early theological articulation of

active participation laid an intellectual and spiritual foun-

dation for the later reforms of the 20

century and for the

spatial reconguration of churches that accompanied them.

The Council’s Constitution on the Sacred Liturgy, Sac-

rosanctum Concilium (1963), articulated the foundational

principles of reform, including the active participation of

the faithful, the use of vernacular languages, and the simpli-

cation of the rites (Second Vatican Council 1963). These

principles were operationalised through the subsequent in-

struction Inter Oecumenici (1964), which provided specic

guidance on the spatial arrangement of the liturgy, includ-

ing the positioning of the altar so that the celebrating priest

could face the people (versus populum) (Consilium of the

Sacred… 1964). The General Instruction of the Roman

Missal (GIRM) subsequently consolidated these guidelines,

addressing in detail the placement and form of the altar,

ambo, celebrant’s chair, and other liturgical furnishings

(Congregation for Divine Worship… 2003). Cardinal Jo-

seph Ratzinger, later Pope Benedict XVI, further empha-

sised that the spatial orientation of the liturgy possesses

profound theological signicance, arguing that the common

direction of the priest and the faithful expresses the escha-

tological dimension of worship, since […] turning toward

the East means going to meet the coming Christ (Ratzinger

2000, 69, 70). This perspective reinforces the interpretation

that liturgical reconguration should preserve theological

symbolism rather than be driven solely by functional or aes-

thetic considerations.

Crucially, neither Sacrosanctum Concilium (1963) nor

subsequent documents mandated the wholesale destruction

of existing altars or furnishings. Article 303 of the GIRM

explicitly provides that where an existing altar cannot be

moved without compromising its artistic value, a new xed

altar should be erected for liturgical celebrations, while

Fig. 2. The interior of the second church in Tomohon from the Dutch

East Indies period, prior to the Second Vatican Council

(photo by an unknown author; source: Leiden University Libraries,

KITLV 11280, 1927)

Il. 2. Wnętrze drugiego kościoła w Tomohon z okresu Holenderskich

Indii Wschodnich, przed Soborem Watykańskim II

(autor fotografii nieznany; źródło: Leiden University Libraries,

KITLV 11280, 1927)

40 Austensean Stanislaus Lumunon

the original altar is preserved (Congregation for Divine

Worship… 2003). Despite this, the implementation of the

post-conciliar reforms in many existing churches, particu-

larly during the 1960s and 1970s, was frequently charac-

terised by interventions that exceeded these prescriptions.

As Jonová (2017) has documented, heritage artworks and

furnishings were removed, sold, or destroyed across multi-

ple European contexts in the decades following the Coun-

cil. Similarly, De Jong and Marcello (2019) have observed

comparable patterns of excessive adaptation in Australian

Catholic churches, where original liturgical furnishings

were discarded rather than integrated into the reformed li-

turgical space.

The spatial focus of these adaptations in pre-conciliar

churches was primarily the presbytery, particularly the area

surrounding the main altar. The side or minor altars also

became targets if their location was close to the new altar

versus populum (Keere, Plevoet and Goyvaerts 2020). Key

interventions typically included: the introduction of a new

altar versus populum; the installation of a xed ambo; the

reconguration of the celebrant’s chair; and the removal

of architectural elements demarcating the sanctuary from

the nave, such as the altar rail and rood screen. The alter-

ation or demolition of the existing altars, including side or

minor altars (votive altars) dedicated to specic saints or

devotional practices, was also widespread, though not uni-

versally so. Scholars including Skaggs (2015) and McNa-

mara (2009) have identied three broadly distinguishable

models of post-conciliar adaptation: minimal intervention

(preserving existing furnishings while adding new liturgi-

cal elements); moderate adaptation (selective recongura-

tion); and radical transformation (demolition and complete

redesign of the presbytery). The case of the Sacred Heart of

Jesus Church in Tomohon, as analysed in this study, corre-

sponds to the third category.

Beyond the European context, the implementation of

post-conciliar liturgical reforms in colonial and post-co-

lonial religious buildings in Southeast Asia presents par-

ticular challenges, as these structures combine the architec-

tural heritage of the colonising culture with the devotional

and cultural specicities of the local Catholic community

(Phan 2005). The Sacred Heart of Jesus Church in Tomo-

hon represents such a case: a Dutch Indies church, built in

neo-Gothic style, which underwent radical post-conciliar

adaptation in a regional context without established conser-

vation frameworks or specialist oversight. Research specif-

ically addressing this category of buildings remains limit-

ed, reinforcing the scholarly relevance of the present study.

State of research

Academic research specically addressing the Sacred

Heart of Jesus Church in Tomohon is extremely limited.

The earliest scholarly work identied is Alberta Mantiri’s

thesis (Mantiri, Warouw and Waani 2021), which examines

the building within the context of Dutch Indies architectur-

al heritage in the Tomohon area and assesses its potential

for cultural heritage designation. The study focuses pri-

marily on the exterior architectural style and urban context

and does not address the interior liturgical history or the

post-conciliar transformations of the presbytery. The au

thor’s two studies on the same case study have examined

dierent but complementary aspects of the church’s archi-

tectural character. The rst focused on the adaptation of the

historic building to the tropical highland climate (Lumu-

non, Pasla and Prijadi 2025), while the second, published

in 2026, examined its Neo-Gothic architectural elements

through a variable-based comparative analysis against es-

tablished Dutch and European references (Lumunon, Gosal

and Hasanah 2026). No previous study has examined the

history of the church’s altars, their removal, or the process

and consequences of liturgical adaptation within this spe-

cic building. Therefore, the present study responds to an

identiable research gap by examining the spatial and li-

turgical transformation of a Dutch Indies church within its

historical and cultural context.

In parallel, a substantial body of scholarship has emerged,

primarily in European contexts, addressing the challenge of

reconciling post-conciliar liturgical requirements with the

conservation of historically signicant church interiors.

Among the most notable contributions are the design and

research studies by Giovanni Carbonara for the Basilica di

Santa Maria in Domnica, Rome (Englen 2003), and Calo-

gero Bellanca’s research and design proposal for the Chie-

sa di San Nicola dei Lorenesi, Rome (Bellanca, Muratore

2009). Both studies exemplify an approach of minimal li-

turgical intervention by introducing required elements such

as the altar versus populum and the ambo without altering

or removing the existing historical furnishings. Daniela

Concas (2005) has additionally examined guidelines for

liturgical adaptation in spaces for Eucharistic celebration

in Italian churches, providing a methodological framework

for balancing conservation with liturgical functionality.

These European case studies demonstrate the viability

of a minimum-intervention approach and provide method-

ological precedents for the present study. However, they

operate within well-established European conservation

frameworks, notably the Italian legislative framework for

the protection of cultural heritage in churches, and address

buildings of a dierent historical periods and architectural

characters, ranging from Early Christian Roman basilicas

to Baroque churches. These buildings dier signicantly

from the Dutch East Indies neo-Gothic church examined

here. No comparable study has been conducted for Dutch

Indies-era Catholic churches in Indonesia, where the in-

tersection of Dutch Jesuit mission heritage, post-conciliar

reform, and emerging local heritage conservation frame-

works creates a distinct set of challenges.

Literature specically addressing the conservation and

re construction of liturgical furnishings in scenarios where

the original furnishings have been removed and only frag-

mentary physical evidence remains is particularly scarce.

Bellanca’s methodological works (Bellanca, Muratore

2009;

Bellanca 2011) provide relevant frameworks for ap-

proaching the restoration of historic ecclesiastical interiors.

However, the scholarly literature does not yet adequately

address scenarios such as the one in Tomohon where the

original furnishings have been removed and only fragmen-

tary physical evidence remains, necessitating a combined

archival and physical reconstruction approach.

The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery 41

The review of the existing literature reveals a clear re-

search gap: no study has addressed the post-conciliar li-

turgical adaptation of the Sacred Heart of Jesus Church in

Tomohon, nor has any study proposed a design solution for

the restoration and reconstruction of its presbytery. More

broadly, scholarly attention to post-conciliar liturgical ad-

aptation in the Dutch East Indies-era Catholic churches in

Indonesia and Southeast Asia is virtually absent from the

both national and international literature. The present study

aims to address this gap by combining historical documen-

tation, eld survey, archival research, and design method-

ology to produce both a scholarly analysis of the adaptation

process and a concrete design proposal for minimum-in-

tervention liturgical adaptation and heritage conservation.

Methods

This study adopts a qualitative, case study research de-

sign, combining historical documentation, eld survey,

archival analysis, and design methodology (Groat, Wang

2002; Yin 2009). The Sacred Heart of Jesus Church in To-

mohon is selected as the subject of this case study on the

basis of three criteria that render it a relevant and distinctive

example within the broader phenomenon of post-concili-

ar liturgical adaptation in Dutch Indies heritage buildings.

First, the church represents one of the earliest and most ar-

chitecturally signicant examples of Dutch Indies ecclesi-

astical construction in eastern Indonesia, with its iron struc-

ture imported directly from the Netherlands constituting an

exceptional material heritage. Second, the post-conciliar

adaptation interventions in its presbytery were particularly

radical in scope. They resulted in the complete removal of

all three pre-conciliar altars and thus constitute an extreme

instance of the type of excessive intervention document-

ed in the scholarly literature (Skaggs 2015; Jonová 2017).

Third, the survival of two physical fragments from the

original altars, together with archival photographic records,

creates a specic condition in which partial reconstruction

is methodologically feasible, distinguishing this case from

those in which all physical evidence has been lost.

The research was conducted between early July and late

September 2025 and proceeded in four sequential phases.

The rst phase consisted of a comprehensive review of

the existing literature, incorporating historical narratives,

ecclesiastical records, and published scholarly studies ad-

dressing post-conciliar liturgical adaptation, Dutch East In-

dies architecture in Indonesia, particularly church architec-

ture, and conservation methodologies for historic religious

interiors. This review provided the theoretical and compar-

ative framework for the subsequent phases of our research.

The second phase comprised a systematic eld survey

of the church building, conducted mostly in August 2025.

The survey involved a detailed inspection and photographic

documentation of the current state of the presbytery and its

furnishings. Particular attention was devoted to the two sur-

viving altar fragments: a neo-Gothic pinnacle from the main

altar and a tabernacle from one of the side altars (Figs. 3, 4).

These fragments were measured, drawn and recorded us-

ing computer-aided design (CAD) techniques to produce

scaled, dimensionally accurate documentation of the re-

maining physical evidence and to facilitate the reconstruc-

tion of the lost altar components.

The third phase involved the systematic analysis of his-

torical photographic archives. Images from the Konink-

lijk Instituut voor Taal-, Land- en Volkenkunde (KITLV),

Collectie Nederland, and the parish archive, spanning the

Fig. 3. Remaining fragments and historical documentation of the main and side altars:

a) a pinnacle from the former High Altar (photo by A. Lumunon), b) an overall view showing the loss of the High Altar

(source: photograph from the parish archive, image enhanced for clarity using AI-based sharpening), c) a tabernacle component from one of

the side altars, either the Altar of the Virgin Mary or the Altar of St. Joseph (photo by A. Lumunon), d) the Altar of St. Joseph

following the 1933 earthquake (source: photograph from the parish archive, image enhanced for clarity using AI-based sharpening)

Il. 3. Zachowany fragment i fotograficzna dokumentacja historyczna ołtarza głównego i ołtarzy bocznych:

a) pinakiel z dawnego ołtarza głównego (fot. A. Lumunon), b) widok ogólny pokazujący utracony ołtarz główny

(źródło: fotografia z archiwum parafii, jakość obrazu została podniesiona za pomocą modelu AI), c) tabernakulum z jednego z bocznych ołtarzy

albo ołtarza Najświętszej Marii Panny lub ołtarza św. Józefa (fot. A. Lumunon), d) ołtarz św. Józefa po trzęsieniu ziemi w 1933 r.

(źródło: fotografia z archiwum parafii, jakość obrazu została podniesiona za pomocą modelu AI)

a b c d

42 Austensean Stanislaus Lumunon

period from 1903 to 1935, were examined to reconstruct

the original conguration of the presbytery interior, includ-

ing the position, form, and decorative programme of the

three pre-conciliar altars. A comparison of historical and

current conditions enabled a detailed analysis of the nature

and extent of the post-conciliar adaptations.

The fourth phase consisted of the development of a de-

sign proposal for a minimum-intervention liturgical adap-

tation of the presbytery, drawing on the physical evidence,

archival documentation, and the normative framework

established by the GIRM (Congregation for Divine Wor-

ship… 2003) as the ocial and primary source and other

relevant church documents.

A methodological distinction of particular importance in

this study is that between source-based reconstruction and

interpretative reconstruction. Where the physical form of

a lost element can be directly derived from surviving frag-

ments and unambiguous archival photographs, the recon-

struction is classied as source-based. Where the available

evidence is insucient for direct derivation, as is the case

for the ornamental and decorative details of the three altars,

for which no high-resolution archival photographs have

been identied, the reconstruction is classied as interpre-

tative, drawing on analogous neo-Gothic altar designs from

the same period of Dutch neo-Gothic tradition. All recon-

structed elements are explicitly identied as either source-

based or interpretative throughout the design proposal. This

distinction is considered essential to the intellectual hones-

ty of the study and constitutes a deliberate methodological

safeguard against conating established historical evidence

with hypothetical interpretation. Remaing fragments were

manually measured using basic instruments and utilized as

reference units for the reconstruction of missing compo-

nents (Jokilehto 1999).

The study acknowledges several limitations. The ab-

sence of photographic documentation of the presbytery

interior immediately before and after the post-conciliar in-

terventions (1962–1965) means that the precise sequence

and chronology of the alterations cannot be fully estab-

lished. Furthermore, the limited number of surviving phys-

ical fragments constrains the extent to which source-based

reconstruction is achievable and renders several aspects

of the altar reconstruction inherently hypothetical. These

limitations are addressed in the design proposal through an

explicit dierentiation of source-based and interpretative

reconstruction, as well as through recommendations for

further archival research.

Architectural form and building interior details

This analysis provides a description of the architectural

features and interior arrangement of the Sacred Heart of Je-

sus Church in Tomohon, thereby establishing the physical

context for the subsequent examination of liturgical adapta-

tions. The analysis addresses both the exterior architectur-

al form of the building and the organisation of its interior

spaces, with particular attention to the presbytery as the

primary locus of liturgical adaptation. The Church of the

Sacred Heart of Jesus is an exemplar of neo-Gothic ecclesi-

astical architecture as interpreted through the lens of Dutch

Indies construction practices. Its most distinctive feature is

its structural system of prefabricated iron components, im-

ported from the Netherlands, which accounts for its popu-

lar designation as the Gereja Besi (Iron Church). The main

façade is dominated by a bell tower surmounted by a spire,

giving the building the vertical emphasis characteristic of

the neo-Gothic tradition (Fig. 5). The lower portion of the

façade features a primary entrance portal anked by Gothic

lancet windows and a narrow rosette window above. The

church measures 45 × 14 m in plan (Keuskupan Manado

n.d.). The scale of this church is considered to be quite large

in comparison to typical Dutch Indies mission churches of

the same period.

The lateral elevations of the nave are articulated by four

pairs of Gothic windows with simple stained glass featur-

ing Christian symbols above. These windows are designed

a b

Fig. 4. Reconstruction process

for one of the altars:

a) documentation of the surviving

fragment and measurements

taken by the author,

b) the reconstructed main altar

with dimensional specifications

(elaborated by A. Lumunon)

Il. 4. Proces rekonstrukcji

jednego z ołtarzy:

a) dokumentacja zachowanego

fragmentu i pomiary

przeprowadzone przez autora,

b) rekonstrukcja głównego ołtarza

z wymiarowaniem

(oprac. A. Lumunon)

The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery 43

to be opened using a rope mechanism to facilitate natural

ventilation and ensure eective air circulation in the humid

tropical environments of the Tomohon plateau (Lumunon,

Betteng 2013). Two windows of the same Gothic typology,

slightly larger in proportion, are also present on the front

elevation (Fig. 5).

The interior is organised on a longitudinal plan compris-

ing four principal zones (Fig. 6): the nave (1), two con-

fessionals on the left and right of the nave (2), the presby-

tery (3), and the sacristy (4). The confessionals were added

later, either following the earthquake of 1932 or after the

Second World War (Fig. 7). A tribune with dual staircas-

es, originally constructed as a temporary wooden structure,

was rebuilt in permanent form in 1993 and occupies the

rear of the nave above the church’s main entrance.

As recorded in the August 2025 survey (Fig. 6, no. 3),

currently contains a single altar versus populum (facing

the congregation), one xed ambo for scripture readings,

and one movable lectern for announcements (Fig. 8). The

server chairs or seats for the ministers is distributed on the

left and right sides of the presbytery. A statue of the Virgin

Mary is positioned on the left and a statue of the Sacred

Heart of Jesus on the right, behind which access doors lead

to the sacristy. Two chairs for the celebrant and co-cele-

brant are positioned centrally at the rear of the presbytery,

with the tabernacle situated to the right of the axial centre-

line, deviating from the building’s central axis. The sacris-

ty is equipped with two access doors and a single Gothic

window centred on the rear wall (Fig. 6, no. 4). The upper

section of the rear wall of the presbytery features a cross

and a narrow rosette window that is an identical twin of the

one on the front façade.

The presbytery is shown in its pre-conciliar congura-

tion. The original interior arrangement of the presbytery,

as documented in archival photographs from 1903–1935

(Figs. 3, 7), was substantially dierent from its current

state. The main altar originally installed in the rst church

(1891) (Fig. 1) was transferred to the present building upon

its completion in 1903. The ad orientem altar was posi-

tioned at the western end of the presbytery, xed against

the rear wall in the manner characteristic of pre-conciliar

Tridentine practice. This altar was constructed in a neo-

a b

Fig. 5. The Church of the Sacred Heart of Jesus in Tomohon: a) a photograph of the church in 1926 (source: Collectie Nederland,

TM-ALB-2090-174, 1926), b) the façade of the church in 2025 (photo by A. Lumunon)

Il. 5. Kościół pw. Najświętszego Serca Jezusa w Tomohon: a) fotografia kościoła z 1926 r. (źródło: Collectie Nederland, TM-ALB-2090-174, 1926),

b) fasada kościoła w 2025 r. (fot. A. Lumunon)

Fig. 6. Floor plan of the Church

of the Sacred Heart of Jesus:

1 – nave, 2 – confessional,

3 – presbytery (grey), 4 – sacristy

(drawing by A. Lumunon)

Il. 6. Rzut parteru kościoła

pw. Najświętszego Serca Jezusa

1 – nawa, 2 – konfesjonał,

3 – prezbiterium (kolor szary),

4 – zakrystia

(rys. A. Lumunon)

44 Austensean Stanislaus Lumunon

Gothic wooden style, featuring a pinnacle or spire ornament

(a fragment of which survives, Figs. 3, 4). Some years af-

ter the inauguration, two side altars (altare laterale) in the

similar neo-Gothic style were added to the left and right of

the presbytery, dedicated to the Virgin Mary and St. Joseph,

respectively. A tabernacle from one of these side altars also

survives as a physical fragment (Fig. 3). The presbytery was

separated from the nave by an altar rail and a level of oor.

A pulpit was positioned on the right, while a statue of the

Sacred Heart of Jesus was positioned on the left. This spatial

arrangement was standard in pre-conciliar Catholic church

interiors prior to the liturgical reforms of the Second Vati-

can Council’s. The subsequent radical transformation of this

interior conguration during and after the Second Vatican

Council, including the removal of all three altars, the altar

rail, and the pulpit, constitutes the central subject of this

study’s analytical and design components.

Concept of liturgical adaptation design

The design concept for the proposed liturgical adapta-

tion of the Sacred Heart of Jesus Church in Tomohon is

grounded in three normative sources: the GIRM (Congre-

gation for Divine Worship… 2003), the conservation prin-

ciple of minimum intervention, and the methodological

distinction between source-based and interpretative recon-

struction introduced in the preceding chapter. This section

rst presents the normative framework derived from o-

cial Church documents, then applies this framework analyt-

ically to assess the existing condition of the presbytery and

to justify the design decisions proposed.

The General Instruction of the Roman Missal establish-

es specic requirements regarding the placement, material,

and form of the principal liturgical furnishings within the

presbytery. These requirements are summarised in Table 1,

which provides the basis for evaluating both the existing

post-conciliar arrangement at Tomohon and the proposed

design intervention.

Of particular importance for the present study are two

articles of the GIRM that address the treatment of histor-

ically signicant existing furnishings. Article 289 arms

the Church’s commitment to preserving works of art and

artistic treasures from past centuries, insofar as their con-

servation is compatible with the requirements of liturgical

reform (Congregation for Divine Worship… 2003). Article

303, quoted in Table 2, directly addresses the situation of

an existing altar whose repositioning would cause artistic

damage, providing a normative basis for retaining the orig-

inal main altar while introducing a new versus populum al-

tar (Congregation for Divine Worship… 2003).

The application of this normative framework to the ex-

isting post-conciliar condition of the presbytery at the Sa-

cred Heart of Jesus Church reveals a signicant departure

from the provisions of the GIRM articles 289 and 303. The

three original neo-Gothic wooden altars, comprising the

main altar and the two side altars dedicated to the Virgin

Mary and St. Joseph. They possessed considerable artis-

tic and historical value as examples of Dutch Indies Jesuit

Fig. 7. Interior of the Church of the Sacred Heart of Jesus in Tomohon,

view of the presbytery and High Altar

(source: historical photograph from the parish archive)

Il. 7. Wnętrze kościoła pw. Najświętszego Serca Jezusa w Tomohon,

widok na prezbiterium i ołtarz główny

(źródło: fotografia historyczna ze zbiorów parafii)

Liturgical element Material Position/Location Form

Altar

natural stone or other worthy, solid,

well-crafted material

fixed; visible to the congregation

permanent

(integrated with floor; immovable)

Ambo

suitable and adapted

to the environment of the church

fixed; not movable permanent rather than portable

Chair of main celebrant/priest dignified and simple

facing the people;

within the presbytery

dignified but not resembling

a throne or cathedra

Co-celebrant chairs

simpler than the main

celebrant’s chair

in or near the presbytery simple

Deacon/minister/altar server simpler than the co-celebrant’s

near the presbytery; if a deacon is

present, next to the main celebrant

simple

Table 1. Liturgical furnishings according to the General Instruction of the Roman Missal

(Congregation for Divine Worship… 2003)

Tabela 1. Wyposażenie wnętrz zgodne z Ogólnym wprowadzeniem do Mszału Rzymskiego

(Congregation for Divine Worship… 2003)

The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery 45

craftsmanship and as original furnishings of a building now

approaching 125 years of age. Their wholesale removal,

rather than their retention alongside a new versus populum

altar as the GIRM 303 prescribes, constitutes an interven-

tion that exceeds the scope of legitimate liturgical adapta-

tion and has resulted in an irreversible loss of heritage.

Table 3 compares the existing liturgical elements in the

presbytery of the Church of the Sacred Heart of Jesus in To-

mohon with the relevant provisions of the General Instruc-

tion of the Roman Missal, identifying their current level

of compliance. It also presents the corresponding design

responses (Figs. 9, 10), including the retention, relocation,

Table 2. The General Instruction of the Roman Missal provisions for existing altars of artistic value

(Congregation for Divine Worship… 2003)

Tabela 2. Zasady z Ogólnego wprowadzenia do Mszału Rzymskiego odnoszące się do istniejących ołtarzy o wartości artystycznej

(Congregation for Divine Worship… 2003)

GIRM 289

In fact, just as she (The church) is intent on preserving works of art and artistic treasures handed down from past centuries,

insofar as necessary

GIRM 303

In already existing churches, when the old altar is so positioned that it makes the people’s participation difficult but cannot be

moved without damage to artistic value, another fixed altar, skilfully made and properly dedicated, should be erected,

and the sacred rites celebrated on it alone

Element GIRM provision

Existing condition

at Tomohon

Assessment Design response

Main altar

preserve if of artistic

value (GIRM 289,

303); introduce new

versus populum altar

if necessary

original neo-Gothic

main altar removed;

replaced with a plain

modern altar

non-compliant with

GIRM 289 & 303

The original main altar is to be reconstructed on

the basis of surviving fragments and archival

evidence; the restored altar will function as an altar

for Eucharistic adoration and will make possible

the celebration of the old rite (vetus ordo)

(see Figs. 9, 10). A new, harmoniously integrated

versus populum altar (Altar D; see Figs. 9, 10)

is to be introduced.

Side altars

(Mary & Joseph)

preserve works of

artistic value

(GIRM 289)

both side altars

removed; replaced

with a special place for

the statues (Mary and

Sacred Heart of Jesus)

non-compliant

with GIRM 289

The reconstruction of both side altars (Altars B and C;

see Figs. 9, 10), based on surviving fragments and

archival documentation, is proposed so that the

restored structures may serve as shrines for devotional

prayer and for the celebration of votive Masses.

Ambo

fixed, visible,

adapted to interior

a fixed ambo is present

for the liturgical

proclamation of the

Word of God

compliant

with GIRM 309

The element will be retained and aesthetically

harmonised with the reconstructed interior, and the

traditional pulpit on the right side will be restored for

use solely for preaching or the homily (see Figs. 9, 10).

Celebrant’s chair

dignified but

not resembling

a cathedra;

facing the people

two chairs positioned

centrally at the rear;

adequate in form

compliant

with GIRM 310;

however,

the position is next to

the tabernacle

The chair will be repositioned closer to the boundary

between the presbytery and the nave, to the right side

of the versus populum altar, and new chairs

harmoniously designed in accordance with the neo-

Gothic interior are proposed (see Figs. 9, 10).

Chair

(co-celebrant,

deacon

and altar server)

simpler than

the main celebrant’s

located on the left

and right sides

compliant

with GIRM 310–311

The existing position is to be retained, and a new

choir-style seating arrangement is proposed to

subdivide the presbytery into two distinct areas: one

designated exclusively for the celebration of the Mass

and the other for devotional activities (see Figs. 9, 10).

Altar rail

not prescribed by

GIRM; its removal

is permitted but

not required

removed

non-compliant

with GIRM 295

A similar style of altar rail is to be reintroduced as

an element of spatial demarcation between the nave

and the presbytery, in keeping with the historical

character of the interior (see Figs. 9, 10).

Statue of Sacred

Heart of Jesus

emphasizes that

images should be

displayed to lead

the faithful toward

the mysteries of faith

being celebrated

relocate in the

ex-places of the side

altar of St. Joseph

compliant with

GIRM 318, but

resulting

in the loss

of devotion to

the original altar

of St. Joseph

The Sacred Heart of Jesus statue is to be returned to

its original position on the left side of the sanctuary,

in a location directly opposite the restored pulpit

(see Figs. 9, 10).

Table 3. Assessment of existing presbytery adaptation and proposed design responses according to GIRM (elaborated by A. Lumunon)

Tabela 3. Ocena istniejącej adaptacji prezbiterium do rozwiązań posoborowych i propozycje zmian (oprac. A. Lumunon)

46 Austensean Stanislaus Lumunon

removal, or reconstruction of liturgical elements to improve

GIRM compliance while maintaining the historical and

neo-Gothic character of the interior.

Design principles and reconstruction methodology

The design proposal is governed by four principles that

re spond to the specic conditions of this case. The rst prin -

ciple is minimum intervention: certain furnishings, such

as the current ambo from the existing post-conciliar ar-

rangement, are retained. A new versus populum altar is in-

cor porated into the presbytery as the principal liturgical el-

ement, replacing the existing versus populum altar, whose

dimensions and stylistic character directly conict with the

proposed design. The second principle is material and sty-

listic coherence: all new and reconstructed elements are de-

signed in harmony with a neo-Gothic style consistent with

the existing architectural character of the building, ensuring

visual and historical continuity within the presbytery interior.

The third principle is the distinction between source-

based and interpretative reconstruction: elements for which

direct physical evidence or unambiguous archival docu-

mentation exists, such as the general form and scale of the

altars, derived from surviving fragments and old archival

photographs, are reconstructed on a source-based basis.

Elements for which the available evidence is insucient,

particularly the ornamental and decorative details of the al-

tars, are reconstructed on an interpretative basis, drawing on

analogous neo-Gothic altar designs from the same period

and the same Dutch Jesuit missionary tradition. All interpre-

tatively reconstructed elements are clearly identied as such

in the design documentation.

The fourth principle is liturgical functionality: the pro-

posed design accommodates the full range of liturgical

celebrations prescribed by the post-conciliar rite, including

the celebration of the Mass ad orientem or according to the

old rite (vetus ordo) at the reconstructed main altar, votive

Masses at the side altars, Eucharistic adoration at the re-

constructed main altar, and the participation of ministers,

choir, and congregation as dened by the General Instruc-

tion of the Roman Missal. These four principles together

constitute the methodological basis for the design proposal

presented in the following section.

The design proposal for liturgical adaptation

The design proposal for the liturgical adaptation of the

presbytery of the Sacred Heart of Jesus Church in Tomo-

hon is developed in accordance with the normative frame-

work established by the GIRM (Congregation for Divine

Worship… 2003) and the four design principles: mini-

mum intervention, stylistic coherence, distinction between

source-based and interpretative reconstruction, and liturgi-

cal functionality as outlined or articulated in the preceding

section. The proposal addresses ve categories of interven-

tion: the reconstruction and repositioning of altars; the re-

introduction of spatial demarcation elements; the arrange-

ment of ministerial furnishings; the integration of surviving

and stored liturgical objects; and the visual modelling for

accommodation of the full liturgical calendar, including or-

dinary celebrations, solemnities, and Eucharistic adoration.

Altar arrangement (Altars A, B, C, and D)

The proposed arrangement introduces four distinct altar

positions within the presbytery (Fig. 9), each with a spe-

cic liturgical function, based on the reconstruction of the

pre-conciliar conguration as documented in archival pho-

Fig. 8. The presbytery of the Church of the Sacred Heart of Jesus in Tomohon: a) current floor plan: A – Tabernacle, B – celebrant’s chair,

C – deacon’s or concelebran’s chair, D – celebrant’s lectern, E – Statue of Sacred Heart of Jesus, F – main altar, G – Statue of Virgin Mary,

H – credence table, I – ministers’ seats, J – ambo, K – lectern for announcement, b) photographic documentation of the presbytery in 2025

(elaborated by A. Lumunon)

Il. 8. Prezbiterium kościoła Najświętszego Serca Pana Jezusa w Tomohon: a) aktualny rzut kondygnacji: A – tabernakulum,

B – krzesło celebransa, C – krzesło diakona lub koncelebransa, D – mównica celebransa, E – statua Najświętszego Serca Pana Jezusa,

F – ołtarz główny, G – statua Marii Panny, H – kredencja, I – krzesła ministrantów, J – ambona, K – pulpit do czytania ogłoszeń,

b) dokumentacja fotograficzna prezbiterium w 2025 r. (oprac. A. Lumunon)

The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery 47

tographs from 1903–1935 (Figs. 3, 7) and on the normative

provisions of the GIRM 289 and 303 (Congregation for Di-

vine Worship… 2003).

Altar A (reconstructed Main Altar) corresponds to the

original main altar of the church, positioned ad orientem

at the rear of the presbytery against the rear wall, as in the

pre-conciliar conguration. Its general form and approx-

imate scale are derived from two sources: the surviving

neo-Gothic pinnacle fragment (Figs. 3, 4) and archival

pho tographic records from the KITLV collection and the

parish archive (Fig. 7). On this basis, the reconstruction of

its overall silhouette, structural organisation, and principal

de corative vocabulary, including the surviving neo-Goth-

ic pointed arch, pinnacle, and tabernacle, is classied as

source-based reconstruction. The ornamental details of the

carved elements, for which no suciently high-resolution

archival photographs have been identied, are classied

as interpretative reconstruction, informed by the surviving

fragments of both main and minor altars. In accordance

with the GIRM 303 (Congregation for Divine Worship…

2003), the reconstructed Altar A is not designated as the

primary altar for the regular celebration of the Eucharist;

it is instead assigned to the celebration of Eucharistic ad-

oration and the reservation of the Blessed Sacrament, with

the tabernacle restored to its original position on the axis

of this altar. There is a possibility for pre-reform celebra-

tions to accommodate the preservation of the old rite (vetus

ordo) form. This arrangement resolves the current o-axis

positioning of the tabernacle, which deviates from both his-

torical precedent and liturgical propriety based on the spirit

of tradition.

Altars B and C correspond to the two pre-conciliar

side altars dedicated to the Virgin Mary (left, Altar B) and

St. Jo seph (right, Altar C), positioned in the lateral recesses

of the presbytery on either side of the main altar. The sur-

viving tabernacle fragment from one of these altars (Fig. 3)

provides direct physical evidence of the typological char-

acter of these furnishings from their scale, material, and

decorative programme and constitutes the primary source

for their source-based reconstruction. As with Altar A, the

decorative details not directly recoverable from surviving

evidence are treated as interpretative reconstruction. In

liturgical terms, Altars B and C are designated as votive

altars, available for the celebration of private Masses on

the feast days of the Virgin Mary and St. Joseph, and for

devotional use by the faithful. Their reconstruction restores

the traditional three-altar arrangement of the pre-conciliar

presbytery, which was a dening feature of the spatial char-

acter of the original interior.

Altar D is a newly designed altar versus populum, po-

sitioned at the forward edge of the presbytery to serve and

designated as the primary altar for ordinary form or reg-

ular Eucharistic celebrations, in full compliance with the

post-conciliar requirements of the GIRM (Congregation for

Divine Worship… 2003). As a new element introduced into

a historic interior, its design is governed by the principle

of stylistic coherence with the existing neo-Gothic envi-

ronment. It adopts the formal vocabulary of the Romanitas

tradition, incorporating simple geometric patterns with the

existing architectural elements found in some of the great

historical basilicas of Christendom, while remaining clear

ly distinguishable as a contemporary addition rather than

a reproduction of the pre-conciliar altars (Fig. 10). This

approach reects the methodological position, established

in scholarship on conservation of liturgical interiors (Bel-

lanca, Muratore 2009; Bellanca 2011), according to which

new interventions in historic buildings should be harmo-

nious with, yet clearly distinguishable from the existing

historic fabric. The author deliberately avoids the use of

modern and contemporary styles to prevent visual and con-

textual discord with the surrounding environment and to

align the intervention with the current movement advocat-

ing a return to tradition and identity.

Conclusions

This study set out to examine the post-conciliar litur-

gical adaptation of the presbytery of the Sacred Heart of

Jesus Church in Tomohon, Indonesia, to assess the extent

to which those interventions conformed to the provisions

of ocial Church documents, and to propose a design for

a minimum-intervention liturgical adaptation that address-

es the dual imperatives of liturgical functionality and herit-

age conservation. The analysis and design work presented

in this article lead to the following conclusions.

First, the post-conciliar liturgical adaptation undertaken

at the Sacred Heart of Jesus Church constitutes a case of

radical transformation that substantially exceeded the limits

established by the General Instruction of the Roman Missal.

Fig. 9. Details of the proposed liturgical adaptation of the Church of

the Sacred Heart of Jesus in Tomohon: A – reconstructed Main Altar,

B – Altar of the Virgin Mary, C – Altar of St. Joseph, D – proposed

new High Altar, E – altar rails, F – choir, G – ministers’ seats,

H – credence table, I – devotional candles, J – statue of the Sacred

Heart of Jesus, K – Paschal candle, L – ambo, M – celebrant’s lectern,

N – celebrant’s chair, O – pulpit (elaborated by A. Lumunon)

Il. 9. Proponowane zmiany związane z adaptacją kościoła

pw. Najświętszego Serca Jezusa w Tomohon: A – zrekonstruowany

ołtarz główny, B – ołtarz Najświętszej Marii Panny,

C – ołtarz św. Józefa, D – projektowany nowy ołtarz główny,

E – balustrady ołtarzy, F – chór, G – siedziska duchownych,

H – kredencja, I – miejsca na świece, kandelabry,

J – posąg Najświętszego Serca Jezusowego,

K – świece paschalne, L – ambona, M – lektorium celebransa,

N – krzesło celebransa, O – lektorium-pulpit (oprac. A. Lumunon)

48 Austensean Stanislaus Lumunon

The removal of three neo-Gothic wooden altars was under-

taken. These comprised the main altar and two side altars,

dedicated to the Virgin Mary and St. Joseph. The imple-

mentation of liturgical adaptions constitutes a direct con-

travention of the General Instruction for the Roman Missal,

articles 289 and 303. These articles explicitly mandate the

preservation of furnishings of artistic value and the reten-

tion of existing altars, where their removal would result in

irreversible damage. In regard to the artistic quality and

historical signicance of these furnishings as products of

the Dutch Jesuit missionary in the Dutch East Indies, their

demolition or removal constitutes an irreversible loss of

heritage of considerable religious and cultural importance.

Second, the proposed design demonstrates that the im-

peratives of post-conciliar liturgical reform and the conser-

vation of historical furnishings are not mutually exclusive.

The introduction of a new versus populum altar (Altar D),

designed in the tradition of Romanitas, and incorporating

simple geometric patterns harmonious with the existing in-

terior, in combination with the reconstruction of the three

pre-conciliar altars (Altars A, B, C) and the reintroduction

of the altar rail, pulpit and choir seating for participants oth-

er than the celebrant, fulls the relevant requirements of the

GIRM, while simultaneously restoring the spatial and aes-

thetic coherence of the historic interior associated with the

Dutch Jesuit mission heritage. This conclusion aligns with

the ndings of comparable studies in the European context

and extends their methodological framework to the specic

conditions of a post-colonial church in Southeast Asia, par-

ticularly in Indonesia.

Third, the methodological distinction between source-

based reconstruction, in which the form of a lost element

can be directly derived from surviving physical fragments

and archival documentation, and interpretative reconstruc-

tion, in which the available evidence is insucient for direct

derivation and recourse to analogous typologies is there-

fore necessary, is proposed as a necessary and transferable

tool

for design research in comparable contexts. Its consist-

Fig. 10. Design proposal for

new liturgical adaptations to

the presbytery of the Church

of the Sacred Heart of Jesus

in Tomohon:

a) the three reconstructed altars,

b) front views of the presbytery,

c) the presbytery with its

proposed liturgical furnishings

(elaborated by A. Lumunon)

Il. 10. Projekt adaptacji

prezebiterium kościoła

pw. Najświętszego Serca

Jezusowego w Tomohon:

a) trzy zrekonstruowane ołtarze,

b) widok na prezbiterium,

c) prezbiterium z proponowanym

wyposażeniem liturgicznym

(oprac. A. Lumunon)

The Church of the Sacred Heart of Jesus in Tomohon: A design proposal for new liturgical adaptations to the presbytery 49

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ent application in this study is intended to ensure intellectu-

al transparency and to prevent the conation of established

historical evidence with hypothetical interpretation.

The study is subject to several limitations that must be

acknowledged. The absence or lack of photographic doc-

umentation of the presbytery interior immediately before

and after the post-conciliar interventions (1962–1965)

means that the precise sequence and chronology of the al-

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limitations do not invalidate the design proposal, but rather

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future research.

Summary

This article presents a research and design study on the

post-conciliar liturgical adaptation of the Sacred Heart of Je-

sus Church in Tomohon, North Sulawesi, Indonesia, a 1903

neo-Gothic iron ecclesiastical building erected by the Dutch

Jesuit mission, combining historical documentation, archi-

val analysis, eld survey, and design methodology.

The demolition of three neo-Gothic altars and the whole-

sale redesign of the presbytery were not mandated by the

conciliar documents and contradicted the explicit provisions

of the GIRM. This nding extends the well-documented

European pattern of excessive post-conciliar intervention

to Dutch East Indies-era churches in Indonesia, a context

that has hitherto received little or no scholarly attention and

demonstrates that post-conciliar liturgical requirements and

the conservation of historical furnishings can be reconciled

through the GIRM based normative assessment combined

with a minimum-intervention design approach.

The study could not determine whether the intervention at

Tomohon was an isolated case or representative of a broader

regional pattern, as no comparative data are available. The

precise original conguration of the three altars could not

be fully established due to the absence, across all archives

consulted, of photographic documentation from the period

1955–1975 (before and after the Second Vatican Council),

rendering the reconstruction necessarily dependent in part

on typological inference.

Three directions for future research are proposed: sys-

tematic archival investigation targeting photographic do-

cu mentation of the presbytery from ca. 1955–1975 with

the aim of strengthening the evidentiary basis for the al-

tar re construction; a comparative study of post-conciliar

litur gical adaptation across Dutch East Indies-era Catholic

churches in Indonesia as a prerequisite for any generalisa-

tion of the present ndings; and a dedicated study of Dutch

Catholic ecclesiastical furniture-making traditions of the

late 19

and early 20

centuries to advance the interpreta-

tive reconstruction of the altar details.

Acknowledgments

I would like to thank R.D. Rafael Hendrico Mario Tanod, parish priest

of the Sacred Heart of Jesus, priest of the Diocese of Manado, for grant-

ing permission to access the photograph archives and conduct the sur-

vey. I would also like to thank the Koninklijk Instituut voor Taal, Land-

en Volkenkunde (KITLV) and Collectie Nederland: Musea, Monumenten

en Archeologie for granting access to a collection of historical photo-

graphs of the Dutch East Indies, particularly those held in the open access

collections of the Catholic Church in Tomohon. I would also like to ac-

knowledge the nancial support provided by the Institute for Research and

Community Services, Universitas Sam Ratulangi, Manado.

50 Austensean Stanislaus Lumunon

Streszczenie

Kościół pod wezwaniem Najświętszego Serca Jezusa w Tomohon:

propozycja projektu adaptacji prezbiterium związanych z nowymi wymogami liturgii

Reformy liturgiczne po Soborze Watykańskim II (1962–1965) spowodowały powszechne przekształcenia przestrzenne w katolickich miejscach kul-

tu – od minimalnych zmian we wnętrzach po usunięcie historycznie cennych elementów wyposażenia. Zgodność tych działań z ocjalnymi dokumenta-

mi Kościoła, w szczególności z Ogólnym wprowadzeniem do Mszału Rzymskiego (OWMR), które wprost nakazywało zachowanie wartościowego pod

względem artystycznym wyposażenia, była bardzo zróżnicowana w zależności od kontekstu regionalnego. Katolickie kościoły z epoki Indii Holender-

skich w Indonezji pozostają niemal całkowicie nieobecne w międzynarodowej literaturze naukowej dotyczącej posoborowych adaptacji liturgicznych,

pomimo ich skrajnej podatności na nadmierne ingerencje w obliczu braku skodykowanych działań konserwatorskich.

Tematem artykułu jest kościół Najświętszego Serca Pana Jezusa w Tomohon (Celebes Północny) – neogotycki obiekt dziedzictwa kulturowego

z czasów Indii Holenderskich, wzniesiony przez misjonarzy jezuickich w 1903 r. Prezbiterium tej świątyni poddano radykalnej posoborowej adaptacji,

która doprowadziła do demontażu wszystkich trzech przedsoborowych drewnianych ołtarzy, co stanowiło bezpośrednie naruszenie artykułów OWMR

289 i 303. W badaniach związanych ze studium przypadku oparto się na danych z inwentaryzacji terenowej, analizie archiwów fotogracznych oraz

ocenie normatywnej pod kątem przepisów OWMR. Opracowano projekt konserwatorski oparty na zasadzie minimalnej interwencji, wprowadzający

nowy ołtarz versus populum (skierowany ku ludowi) w formalnej harmonii z istniejącym wnętrzem, przy jednoczesnej rekonstrukcji trzech utraconych

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Dowiedziono, że posoborowe wytyczne dotyczące liturgii oraz ochrona wyposażenia dziedzictwa Indii Holenderskich są możliwe do pogodzenia

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