The Bruder Klaus Field Chapel, designed by Peter Zumthor and constructed in 2008 in Mechernich, Germany, stands as a powerful testament to the potential of architecture to evoke deep, sensory experiences.

Zumthor’s approach, which emphasizes the connection between life and design beyond mere form and function, is evident in the chapel’s striking juxtaposition of a simple, monolithic exterior and a profoundly evocative interior.

Initially conceived as a simple sketch, the chapel was brought to life by local farmers seeking to honor Bruder Klaus, a 15th-century Swiss patron saint. The construction process itself is as intriguing as the final structure, beginning with a wigwam of 112 tree trunks, which was then encased in layers of concrete. Once the concrete had set, the wooden frame was burned away, leaving behind a hauntingly beautiful charred interior. This method of construction not only speaks to Zumthor’s ingenuity but also to a deep engagement with materiality and the passage of time.

Inside, the chapel is a study in contrasts and spiritual symbolism. The floor, made of frozen molten lead, anchors the space with a sense of gravitas, while the charred walls guide the eye upward to a singular point of focus—the open oculus in the roof. This opening connects the enclosed space with the ever-changing sky, allowing sunlight, rain, and stars to enter the chapel, creating an atmosphere that shifts with the time of day and season. This interplay between the raw elements of nature and the sacred space transforms the chapel into a living, breathing entity that engages all the senses.

The Bruder Klaus Field Chapel is more than just a religious monument; it is a profound exploration of silence, presence, and materiality. Its minimalist design and elemental materials evoke a deep, meditative response, making it one of the most remarkable pieces of contemporary religious architecture. By stripping the space of modern conveniences like plumbing and electricity, Zumthor ensures that visitors engage with the chapel on a purely sensory and emotional level, making each visit a unique and deeply personal experience.

Christian Kerez's Oberrealta Chapel in Switzerland blends minimalism with monumentality, using pure concrete to craft a sacred, sculptural form that amplifies the drama of the alpine landscape through simplicity and light.

Perched on the edge of a high plateau above the Upper Rhine Valley in the Alps, this concrete structure stands as both a continuation and a reimagining of history. Built upon the foundations of a previous chapel, the new chapel seems to emerge from the ruins as a protective shell, its form embracing the sacred ground while evoking a deep sense of timelessness.

At first glance, the building's form is startling in its simplicity. It recalls the archetypal shape of a house, but through the singular use of concrete, Kerez transforms this modest figure into an abstract sculpture. Its lack of conventional architectural elements—no gable, no gutters, no ornamentation—draws attention to its almost austere relationship with the surrounding landscape. This reductionist approach amplifies the natural drama of the alpine setting, with the building itself becoming an extension of the terrain. In its monolithic presence, the chapel becomes a monument not just to faith, but to the dialogue between human intervention and the natural world.

Inside, the experience is equally distilled, with the space illuminated by a narrow crack of light. This slit, which avoids offering a view of the valley beyond, functions less as a window and more as a symbol of light itself. Its minimalism intensifies the viewer’s focus on the ethereal quality of the light, while the unyielding concrete walls absorb and reflect it. Through this controlled interplay of material and immaterial, Kerez achieves a sacred atmosphere without resorting to overt symbolism, allowing the space to transcend the confines of traditional religious architecture.

Spanish architecture studio Menis Arquitectos has designed a church and a community centre with four massive volumes resembling large restless rocks on Canary Islands of Spain.

This is a project built in the city of La Laguna on the Island of Tenerife. It is a place that encourages reflection, a meditation space, an intrinsic space where a person of any condition can go to find himself in the temple or join with others in the cultural center.

The building exists as a large piece of concrete split and cut into four large volumes, at these separations movement occurs. This space creates light, allowing to enter and penetrating into the space, they exist as if to signify a higher meaning inspiring a spiritual presence and sense of tranquility.

The building stands stark, stripped of superfluous elements that involve distractions far from its spiritual essence. The void has been sculpted to the same extent. The balance of proportions of void and building was vital to developing the identity of the project.

Architects chose to exploit the properties of concrete, based on its isotropic nature energy efficiency is optimized by the thermal inertia of the walls. The building also gets a better acoustics result; thanks to a combination of concrete and local volcanic stones called picón, which is chopped afterwards and acts as a rough finish that has a degree of sound absorption that is superior to conventional concrete. Exterior, interior, structure, form, material and texture are joined inextricably by a complex study of the concrete.

The volumetric impact of the building and its use of essential materials, treating concrete as if it were liquid stone capturing waterfalls of light, create the temple while also optimizing economic resources. The space reflects timeless emotion.

Salgenreute Chapel by Bernardo Bader Architects blends historical reverence with modern innovation, resulting in a serene, community-driven project that bridges sacred architecture and natural beauty.

Located in the scenic landscape of Krumbach, Austria, this small chapel replaces a 200-year-old structure that had fallen into disrepair. Rather than attempting to restore or simply replicate the old, the Krumbach community opted for an entirely new creation. This decision was underpinned by a collaborative effort, where more than a hundred volunteers came together to bring the vision to life, making the project not just a piece of architecture but a testament to collective craftsmanship.

Constructed from local wood and stone, the chapel’s design pays homage to the region’s vernacular architecture while introducing modern sensibilities. Its wooden façade will gradually weather and darken, evoking the aging process of the Bregenzerwald farmhouses, turning silver-grey in the north and black in the south. The chapel’s form, though based on the original footprint, departs in its vertical ambition—a dramatic wooden structure that soars skyward. Inside, the minimalist space is defined by untreated timber and illuminated by soft, natural light from a frontal window, which frames the landscape beyond.

The interior layout challenges traditional chapel designs. The statue of the Virgin Mary, carried over from the original building, is no longer placed centrally but is positioned to the side, allowing for an uninterrupted view through the apse into nature. This decision shifts the focus from sacred iconography to an immersive spiritual experience. The space encourages reflection, with its soaring wooden beams and subdued materiality creating a sanctuary of quiet contemplation, where architecture and nature converge.

An austere material palette of concrete and grey marble helped Kaan Architecten create a series of calming and contemplative spaces inside this crematorium in Belgium.

With the completion of Crematorium Siesegem, a project led by Vincent Panhuysen, KAAN Architecten can count another thoughtful structure as part of their portfolio. Crematoria have complex logistics that often determine their design. This newly completed crematorium, on a 5476sq m plot on the outskirts of Aalst in Belgium, feels holistic and soothing thanks to its controlled flow of activity. The trees, shrubs and small hills surrounding the building, conceived by Brussels landscape designer Eric Dhont, move visitors to slow down before entering. A service road for hearses to the east is hidden from view entirely.

Upon entering the crematorium, a sequence of spaces shapes the visitor’s physical experience, preventing spatial confusion. At 6.4 meters tall, the remarkable floor-to-ceiling height of the interior enhances the sense of vastness, paired by the warm abundance of daylight. A large concrete canopy stretches into a generously proportioned hall from which the reception desk is immediately visible. The reception hall is infused with light by two large windows overlooking a landscaped garden and houses a discreet passageway to the cafeteria, which features a large-scale painting by Belgian artist Rinus Van de Velde.

Hiroshi Nakamura & NAP’s Sayama Forest Chapel, nestled in a forest in Tokyo, is a powerful architectural project that melds nature, prayer, and grief into a tranquil, meditative space for all faiths.

The Sayama Forest Chapel, completed in 2013, serves as a non-denominational space of worship, inviting a spiritual communion with the surrounding woodlands. The project is deeply inspired by the water conservation forest, envisioning life as a cyclical journey, beginning and ending with nature. Here, Nakamura treats the forest itself as a subject of prayer, a concept capable of resonating with multiple faiths and transcending traditional religious boundaries.

The structure is modestly set on a triangular plot of land, with walls sloping inward to avoid disturbing the tree branches—a gesture that emphasizes the chapel’s sensitivity to its environment. The building’s form echoes the traditional Japanese Gassho style, where beams lean against each other, mimicking hands joined in prayer. Each cast-aluminum tile on the roof, handcrafted by artisans, forms subtle, ripple-like textures that evoke the serene waters conserved by the forest, further deepening the sense of nature's omnipresence. The materials and craftsmanship are themselves a meditation, bringing together the human touch and the forces of the natural world.

The chapel’s design is profoundly symbolic, guiding visitors physically and spiritually toward introspection. The slight incline of the floor draws worshippers’ gaze and mind towards the forest, while the slate patterns stretch out towards a vanishing point within the dense greenery, creating a seamless visual connection with nature. This space invites people to experience a gentle, enveloping sense of solace. In the act of prayer, the architecture itself seems to bow, fostering an intimate relationship between grief and the environment. It is as though the building itself is praying with those inside, offering a quiet but potent form of support to those in mourning.

Communicating the message of religious culture through its subtly play of light and shadow, the Church of Seed by chinese firm O Studio Architects, follows the outline of a curving seed in the landscape.

Church of Seed is located at Luofu Mountain Scenery District – one of the seven famous Taoist Mountains in China. Although there are various kinds of Taoist and Buddhist temples in this district, western religious element has not yet been found.

The design concept is triggered by the form of a seed - a famous metaphorical element in the Gospel stories. A curve line follows the outline of a seed and marks the enclosing wall element.

Church of Seed has a raw, natural and non-decorative material language. The main structure is constructed by in-situ concrete with bamboo formworks. In-situ concrete construction is economically sound and practical for local builders. The bamboo texture left on the concrete surface reduces the massiveness of concrete wall and harmonizes with the surrounding trees and green landscape.

Rørbæk and Møller Architects have designed Trekroner Church with a modern expression of organic forms and a balanced interaction between interior and exterior.

The decoration is based on the fact that integrated art in the architecture and in the functions of the church, often has been the case with church buildings throughout history. Typically, churches are highly ornate, so the sight of one built in a brutalist style can be surprising.

The floor is laid in handcrafted bricks, which creates a special pattern created by the use of a pentagon bricks specially made for the occasion. There is a specific pentagon that can form a surface discovered by mathematicians in 2016 at Washington University in Seattle. A whole new geometry, which is paired with a material and technique used for floors in Danish churches from the Middle Ages as well as in the most ancient churches in the Levant.

Nestled in the verdant landscape of Botticino, Italy, the Chapel of Silence designed by Associates Architecture emerges as a transcendent embodiment of serene worship and timeless design.

Conceived in 2017, this laic masterpiece bridges the gap between two distinct ecosystems: the untamed expanse of woodland and a gently sloping vineyard. By seamlessly integrating with its natural surroundings, the Chapel asserts itself as a threshold, inviting visitors to cross into a realm of introspection and spiritual contemplation.

Upon entering the Chapel, one is immediately struck by the monolithic presence of a rainwater collector, sculpted from the region's prized Botticino marble. This masterful utilization of local materials not only accentuates the Chapel's organic connection to the landscape but also pays homage to the region's rich architectural heritage. As visitors journey through the space, they are guided by a meticulously curated sequence of spatial experiences, beginning with a glimpse of the enveloping forest framed by an iron opening. This intimate encounter with nature sets the emotional stage for the prayerful experience that unfolds within the Chapel's main space. Here, the view expands to encompass both the outer forest and a commanding menhir, hewn from the same Botticino marble.

The Chapel of Silence eschews traditional seating arrangements in favor of large leather pillows, encouraging a fluid and customizable worship experience. A strategically placed curtain allows for varying degrees of intimacy with the outside world, granting visitors the freedom to shape their personal sanctuaries. Informed by a deep understanding of local archetypes, the Chapel's design evokes images that are at once familiar and profoundly innovative. In a world increasingly defined by disconnection and noise, the Chapel of Silence stands as a testament to the power of simplicity, the sanctity of nature, and the enduring beauty of timeless design.

John Pawson’s Wooden Chapel in Lutzingen, Germany, fuses minimalism and spirituality, offering cyclists a serene refuge while blending seamlessly into its natural setting.

Commissioned by the Siegfried and Elfriede Denzel Foundation as part of the Sieben Kapellen project, the chapel was designed to offer cyclists a serene space for contemplation and shelter. However, Pawson’s vision extends beyond mere functionality, transforming the humble timber structure into an immersive experience that blurs the line between architecture and found object.

Set at the edge of the forest, the chapel harmonizes with its surroundings, resembling a natural formation when viewed from different angles. From one perspective, it evokes a stack of drying logs, blending into the landscape; from another, it emerges as a precise, sculptural form perched atop a concrete plinth. The material choice—solid wood—was not just a practical decision but a poetic response to the environment. Pawson, in collaboration with the Danish company Dinesen, emphasized the raw beauty of timber by minimizing its treatment, allowing the natural grain and texture to be celebrated both inside and out.

Inside, the space is intentionally dim, with light filtering through high-set clerestory windows, directing focus toward two powerful elements: a cross of colored glass and an unglazed opening framing the landscape. These visual anchors, combined with the tactility of the wood, create a contemplative atmosphere where time feels suspended. The interplay between light, texture, and form invites quiet reflection, making Pawson’s chapel not just a stop for weary travelers, but a sanctuary that draws them into a deeper communion with the landscape.