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Click to view large map Coordinates: | This church is one of six Dutch Reformed Church buildings in the Cape Province designed by Conradie. Conradie received the commission to design a church building and rectory for the Parow Oostersee Dutch Reformed congregation on the 28th of August 1968. Inaugurated in November 1973, the design of this church marks a visible change in Conradie's architecture. In the first instance, he replaced the sharp, geometric design of his church towers in Op-die-Berg and Malmesbury with the smooth, curved contours of the Parow Oostersee tower which culminates in a blunt pinnacle. The exterior of this striking structure consists of white terrazzo slabs which frames the fenestration that surrounds the building. Deviating from the designs of his previous churches, Conradie incorporated projecting hoods which echo the slope of the windows. The fenestration surrounding the structure not only allows for natural light to penetrate the interior, but afford members of the congregation a view beyond the confines of the building. Moreover Conradie's use of wood in the interior contributes to the warmth and tranquillity of this space wherein one becomes aware of Conradie's assiduous attention to detail. The sophistication of decorative details features in the design of the main luminaires, the wooden patterns on the stair balustrade that leads to the choir gallery and shapes of the window panes. In terms of the interior design, the series of stained glass panels which surround the interior became a matter of conflict between Conradie and the minister. Conradie was vehemently opposed to the appearance of any foreign decorative elements within his buildings, as he meticulously designed his interiors to include that which he deemed as appropriate forms of decoration. During the process of designing this church, Conradie was informed that the stained glass panels of the artist, Jan Visser, which depict various symbols and Biblical scenes, will feature in the interior. The artist and minister of the Parow Oostersee congregation were well acquainted which secured Visser's commission. The inclusion of Visser's work sparked a great controversy, as it infringed on Conradie's punctilious approach to design. In spite of the tension which developed between Conradie and the minister, the completed church includes 32 of Visser's stained glass panels. Although the aforementioned issue generated some tensions and hostilities, Conradie produced a bold and intricately designed structure which triumphantly emerges among the residential buildings in Parow. Text extracted from research paper: Cementing Belief: Tracing the History of Modernist Afrikaans Church Architecture, 1955-1975. by Marijke Andrea Tymbios |
