The daylight from above is augmented by rays of light streaming in from the sides through the stained-glass windows as well as spotlights attached alongside their sash. But on Sundays, when the pews are full, a mechanical air conditioning system chills the space. Ringing the base of the skylight, small openings create a chimney effect by drawing cool air from the river up through the sanctuary-on weekdays, passive cooling is sufficient. While the colored glass is reflected on the metal surface, soft daylight filters down through the 7-foot-diameter, fixed skylight topping the spire. The seating is oriented towards the altar where a metal sculpture created by the Filipino artist, Daniel Dela Cruz, depicts the resurrection of Jesus Christ. Lining the space, teak pews designed by Nakamura echo the building’s gentle shape with their curved ends. “Upon entry, you can touch the ceiling since it touches the ground,” observes Omori. Inside the chapel, the petals become a billowy ceiling crafted from narrow aluminum strips. Represented with a rainbow of colored glass, their motifs are abstract lily blossoms. In the case of the chapel, the six petals are interspersed with slit-like, stained-glass windows created by the British designer Helen Whittaker. Where the petals dip and the curves tighten, the panels had to be smaller and thinner. The size and thickness of the metal panels required careful study due to the building’s undulating overall form. Outside, this was achieved with aluminum panels supported by steel trusses. “We wanted the tips of the lily to be as delicate as possible,” explains project architect Kohei Omori. Instead, it perches gracefully at just six points where the inverted petals touch the earth. In contrast to conventional, masonry churches that are firmly planted on the ground, Nakamura’s chapel respects the shape of the hill without overwhelming the landscape. In both cases, six petal-shaped planes are seamlessly blended to create the continuous surface that serves as the walls and roof.
The shape of each building was inspired by the white lily flower, a symbol of purity associated with the Virgin Mary. But most visitors approach on foot, following a meandering path where they can reflect and prepare for prayer while moving from the secular to the sacred.
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To accommodate vehicular access plus a small parking area, Nakamura modified the hill’s gradation slightly. Though the site’s proximity to a shopping mall might seem like an unlikely spot for a place of worship, the topography and the nearby Alabang River separate Nakamura’s project from its commercial surroundings. The basement level holds the sacristy, staff area, and cry room, where families can attend services with small children without disturbing the congregation, along with other support spaces. Located on the north side, the chapel’s main entrance leads directly into the 300-seat sanctuary occupying the ground floor. This project consists of two independent, six-sided buildings: the 750-square-foot prayer room containing an ossuary and the 10,765-square-foot chapel. Video © Filinvest City, videography by Earl Lasangue
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