Sint Bonifaciuskerk
The exterior shows two building volumes: the ground-floor space built of sand-coloured gables with two wooden semicircular niches on either side and a wooden daylight structure on the roof. A classical scheme was followed: a nave and two aisles, closed by an apse. At the rear is a reception room. The interior is quiet, based on the architectural influences of Dom Hans van der Laan, of the Bossche School.
The daylight street provides light and covers the length of the nave. In terms of size and colour, the architect had to take into account a requirement: the installation of a 72-metre-long work of art by French-Russian painter Théodore Strawinsky. This work formed the starting point for the design and has become the pièce de résistance of the church.
In 25 peel...
The exterior shows two building volumes: the ground-floor space built of sand-coloured gables with two wooden semicircular niches on either side and a wooden daylight structure on the roof. A classical scheme was followed: a nave and two aisles, closed by an apse. At the rear is a reception room. The interior is quiet, based on the architectural influences of Dom Hans van der Laan, of the Bossche School.
The daylight street provides light and covers the length of the nave. In terms of size and colour, the architect had to take into account a requirement: the installation of a 72-metre-long work of art by French-Russian painter Théodore Strawinsky. This work formed the starting point for the design and has become the pièce de résistance of the church.
In 25 paintings, the life of Christ is depicted in soft pastel tones, which are also reflected in the interior. The artwork was rescued from the Willibrordkerk in Almelo, which was demolished in 2005. To this end, the 'Strappo method' was employed: the painted plasterwork was transferred to cheesecloth using Italian bone glue. The canvases were then transferred to a latex carrier and stretched on stretcher frames.