New Zealand studio Bull O’Sullivan Architecture has conceived The Chapel of St Thérèse of Lisieux as a compact, secluded sanctuary perched on a hillside near Christchurch. Overlooking the dramatic vistas of the Lyttelton Harbour, this tiny 17-square-meter structure is a striking testament to minimalist spiritual architecture. Clad entirely in shimmering aluminium and shaped as a truncated triangle—a subtle nod to the Holy Trinity—the chapel was created as a “gift to the people of Christchurch” to provide a space for quiet grandeur and personal reflection. Its design purposefully steps outside the traditional church context, offering instead a serene place for contemplation, worship, or simply showing gratitude amidst the stunning natural environment.
Architectural Symbolism and Exterior Form
The design of The Chapel of St Thérèse of Lisieux is rooted in deliberate symbolism and a dialogue with its dramatic setting. The entire structure is housed within a 17-square-meter triangular volume, which the architects confirm is a subtle, geometric reference to the Christian concept of the Trinity—the Father, the Son, and the Holy Spirit. This truncated triangular form gives the chapel a unique, sculptural profile against the sloped New Zealand landscape.
The exterior is defined by its material choice: continuous aluminium sheets that cloak the facade. This metallic cladding gives the structure a sleek, modern, and slightly opaque quality, allowing it to reflect the surrounding light and sky. The chapel is raised on wooden stilts, which are cleverly concealed by the aluminium at the base, creating the visual effect of the structure floating slightly above the hillside. Access is granted through a deep-set, triangular aluminium door, complete with a cross-shaped metal handle, continuing the cohesive, geometric motif.
A Private Space for Public Reflection
The chapel serves a unique, modern spiritual purpose, designed not as a conventional public church but as an intimate space for individual or small-group use. Project architect Michael O’Sullivan notes that in contemporary society, many people appreciate a small spiritual place they can venture to by themselves, rather than attending formal church services. The Chapel of St Thérèse of Lisieux fulfills this need, serving as a haven for contemplation, worship, or a quiet moment of gratitude.
Named after the revered French Carmelite nun, the project is framed as an architectural gift to the community of Christchurch, emphasizing its role as a place for “worship, reflection and architectural engagement.” This generosity of spirit is embedded in the accessibility and openness of the space, which encourages visitors to connect with both the spiritual interior and the panoramic natural beauty visible through its strategic openings.
Warmth and Light in the Minimalist Interior
In sharp contrast to the cool, stark exterior cladding, the interior of the chapel embraces a significantly warmer material palette. Locally sourced timber has been used extensively to line both the walls and the floor, creating a sense of cozy enclosure and natural comfort for those inside. This deliberate shift in materials enhances the feeling of sanctuary, enveloping the visitor in a serene, elemental warmth.
The chapel’s focal point is a striking carved sculpture of Jesus on a cross, crafted from reclaimed wood by local artist Johnny Hauraki. Positioned behind this centrepiece is a large, strategically placed window that frames the spectacular view of the Lyttelton Harbour, drawing natural light into the small space. Further augmenting the atmosphere are translucent roof panels, which filter the daylight to cast a subtle, red-toned glow across the timber-lined interior, enhancing the spiritual and contemplative mood.
Bespoke Details and Functional Simplicity
While minimalist in its overall design, the interior features thoughtful, custom details that enhance its function and reflective quality. Small, essential elements, such as a built-in shelf, demonstrate the architectural team’s focus on practicality within the limited footprint. Complementing the space is a carefully designed wooden kneeler chair, custom-made by woodworker Glenn Whatmough.
The entryway, accessed via steps across the sloping site, is sheltered by a portico that includes a grilled floor and a small wooden bench. This transitional space allows visitors to pause and shed the external world before entering the main sanctum. By prioritizing simplicity, locally sourced materials, and meaningful details, Bull O’Sullivan Architecture has successfully created a compelling piece of architecture that honors the religious tradition while providing a deeply personal and contemporary spiritual experience.
