ECCLESIASTICAL ARCHITECTURE IN NIGERIA: EXPLORING UNIFYING ELEMENTS IN THE DESIGN OF WORSHIP CENTERS

The primary factor in ecumenism has been the church's unity. The World Council's Central Committee produced an agreed-upon definition of ecumenical in 1951. The word derives from the Greek word for inhabited earth, and it refers to the church and its efforts to spread the Gospel over the world. As a result, ecumenism is linked to the Christian faith's unique unity and mission in the context of the entire globe. In Nigeria, some State Governments have attempted to unify the key denominations of the Christian faith in an attempt to pursue this common mission by literarily bringing them under one roof. In other to achieve that, markers, and features of scared spaces for each of these denominations have to be identified and combined where possible. This paper explores how elements have been unified in the design of these Government initiated archetype.


ORIGIN OF THE TERM
The word ecumenical comes from the Greek word oikoumene. Oikos is the root of this word, which refers to a structure in which a family lives together. It also refers to the entire human population of the planet. This is analogous to the trip traveled by means of another expression derived from the root of Oikos, economics, this started out as an administration of a household As a result of early councils, such as the Council of Nicea in 325, the term ecumenical started to carry ecclesiastical connotations. Henri Dunant who founded the Red Cross in 1863, was a pioneer of the YMCA was involved in Evangelical Alliance. He carried on some correspondence with YMCAs throughout the world, constantly stressing the need for an ecumenical spirit from his YMCA office in Geneva.
He defined ecumenical as: Christians of many denominations can and must unite in love, associate with one another, and work together in charity for the glory of God while keeping their individual liberty and even the right to defend their personal points of view and religious convictions, if necessary, but with tolerance and compassion. Henri Dunant (1949).
The development of the concept of ecumenism began to take hold but did not really become dominant until the period between the two world wars. Presiding from a seat (cathedra), reading the scriptures from a pulpit (ambo), worshiping the Lord at an altar (kyrios), and accommodating the community (ekklesia) are the five functional connections that define sacred space in Catholic churches (Domus). McNally (1985).
He goes beyond functionalism to argue that archetypal and atmospheric components are crucial to the worship aesthetic in order to unravel the mystery of the sacred environment. He defines aesthetics as "ordered vision," naming archetypal elements including stone, tree (cosmic pillar or axis Mundi), river, sky, earth, and mountain-city-temple, or "cosmic center."Silence, darkness, emptiness, 90 profusion, and monumentality are among the atmospheric aspects of sacred space, according to him. McNally (2010).
The entrance, center aisle, and altar are the three elements that constitute the sanctuary experience as a healing space. The central aisle, which runs through the heart of the chapel, symbolizes the journey to enlightenment and healing." Taylor (2010) argues that the altar, which is a generic phrase for the holy locus, signifies the location of new beginnings and new life, and is thus a focal point of the sanctuary.
In terms of shape, purpose, and style, the buildings' great size is characterized as an architectural style of cathedrals and churches, and it is associated with one of several branching architectural traditions deriving Ultimately from the architectural traditions of the early Christian church.

SIGNIFICANCE OF STUDY
An ecumenical movement is a form of reconciliation that aims to bring the different denominations of Christianity together, recognising sacramental legitimacy and full communion among Christian denominations. It is a plan to bring together all branches of the Christian faith, not so much that they become one church, but so that Catholicism and diverse Protestant strains recognize one other as fellow Christian rather than rivals... Therefore, this study on church architecture helps to explore, identify, and borrow features of different church architecture styles to achieve an optimal worshipping atmosphere for all denominations of Christianity.

HISTORICAL DEVELOPMENT OF CHRISTIAN ECUMENISM
"The true oneness and goal are to find a balance between the Church's mission to the world (apostolate) and its commitment and Church's obligation to be one" is the goal of ecumenism within Christianity. Ecumenism is thus the promotion of Christian unity or collaboration among various religious organizations or faiths. Ecumenism is not synonymous with interfaith pluralism, and the term should not be used interchangeably. The interfaith movement encourages greater respect, tolerance, and collaboration among the world's religions. Interfaith dialogue between leaders of many faiths may not always attempt to bring their followers into full, organic oneness, but rather to enhance relations between them.

MODERN ECCLESIASTICAL ARCHITECTURE
Modern ecclesiastical architecture evolved following the advent of modern architecture as a result of a number of strands of ideas and disposing strands, such as advancement in development, loss of faith in past traditions, Industrial Revolution, emergence of new concepts, new materials, and new construction methods. Curtis (1987), Mallgrave (2005), Benevolo (1977).
Because each age was required to express its own time, it all stemmed from the idea of advancement as a symbol of development. As new ideas emerged, there was also a loss of faith in the theories that supported prior traditions. New materials and construction methods were made available as a result of the industrial revolution, as well as new patronage.
Each ecclesiastical architecture style relied on the preceding style for development prior to the rise of modernism, as each age of church development necessarily impacted the art it inherited, and as one style evolved from the preceding style through a succession of subtle adjustments. Fletcher (1996).
In contrast to the early period, which was characterised by Gothic designs imported from Europe, the first modification of church architecture was noted around 1930. Adeboye (2014).
Nigeria transcended three phases of development of ecclesiastical architecture from a study of trends Adeboye (2009).
In the beginning, when the majority of the Churches were foreign founded (1845 to 1930).
The beginning of the establishment of traditional African Churches as a result of the indigenization of Church leadership. (1930 to 1980).
The traditional churches experienced a period of evolution of indigenous Pentecostal staking the lead (1980 to 2005). This could then be classified as the modern ecclesiastical architecture in Nigeria. Adeboye (2009) Some construction methods depended mainly on foreign supplies, with little or no participation from the local community. Building materials were imported, and church structures were more like to foreign monuments than the contemporary industrial or improvised structures.
Nigeria began to transition from dependency to independence in the late 1940s, and the Church administration began to indigenize as a result. Most religious buildings had already begun to move to more advanced building construction by this time, although the technology was mostly foreign and influenced by construction in other nations.
The famed Gothic style of religious building gave way to an era of 'Masters' celebrations. Even in the twenty-first century, a few buildings, such as the new Anglican Cathedral in Lokoja and the Ecumenical Centre in Abuja, continue to lavishly celebrate the Gothic style. As theology and liturgy evolved, so did architecture in order to keep up with the new developments. As the use of modern industrial materials and the adoption of a theatre from the floor plan were adopted, this modern church architecture moved away from decoration and antique art.

SYMBOLISM IN CHURCH DESIGN
Symbolism in architecture is regarded as that conceptual idea that brings together various strands of unified totality of feelings, sentiments, wishes, hopes, and recollections. It is described as a comparison of the visible forms for the showing forth of the invisible Nwankwegu (2013).
The classical view of mental architecture is referred to as symbolic architecture. The mind is considered as a symbol-manipulation process in this theory. These symbols are transported between memory storage, such as long-and short-term memory, and are acted on in a certain order by an explicit set of rules.
The symbolic architecture is the way memory stores are linked together, as well as the set of rules that govern the system. Andrews (1995). Symbols have been used in various ways in church design to depict divine realities. They provide a kind of sign language representing that which cannot be portrayed in visible form. They provide a shortcut in making statements, especially of historical events. The dove, for example, is a symbol of the Holy Spirit, which cannot be depicted in a visible form. The cross is utilized as a symbol of mankind's redemption and salvation, which would have been difficult to depict otherwise. These symbols serve as a means of quickening our imaginations and should not be used merely as decorations.
Although there was some opposition to the term "ecumenical" being used as a title in English, the Oxford Conference used it to describe a wide range of topics. The sacred space markers were divided into three groups. Architectural, Archetypal, and Atmospheric Ambiguities are the three types. Hoffman (2010).

ARCHITECTURAL ELEMENTS
The relevance of three physical characteristics of holy space architecture: gate, pathway, and place, is a common thread in architectural and philosophical literature. The gate represents the pilgrim's goal, the path represents the pilgrim's journey, and the destination represents the Spiritual enlightenment attained by a traveller. This route to enlightenment is never a one-time event; rather, it is a cycle that the devotee repeats almost mantra-like in order to acquire ever-higher degrees of spiritual fulfilment. On the outside and inside, the architecture of buildings of worship can intensify this sensory cycle. The significance of the gate, path, and place as key contributions to the mood of sacred space is reinforced by careful design attention to entry, path, and destination. The explanations that follow explain these possibilities by first detailing the outer parts, then changing them into gateway aisles and placing them in the interior. Hoffman (2010).
• Exterior 1) Gate is a point of entry beyond a building's main entrance, ideally leading to a courtyard or ceremonial walk. Worship ceremonies, according to centuries of religious experience, necessitate preparation on the part of the participants. A devotee in the East, for example, must pass through multiple gates before being allowed to enter a temple. Davies (1965). 2) Path is a fairly detailed description of a walk path, requiring the usage of strong boundaries, uniformity, directionality, identifiable landmarks, and a distinct terminus from the point of entry. The core of path is ritualized movement that is framed by the architectural setting but not controlled by it. Complex, inlaid stone patterns in the floor at the main entrance were common in medieval cathedrals, symbolically evoking pilgrimage and actually directing a ritualized path of entry. Davies (1965). 3) Place is a simple shape that is limited in size, has a concentrated shape with pronounced borders, and serves as a focal point for gathering. As the path's endpoint, the worship space becomes a place of fulfilment, signifying transcendence. Davies (1965). • Interior 1) Portal is a major point of entry that is typically bolstered by a visually intimidating gate experience. The emphasis on portal, or crossing the threshold into the sanctuary, emphasizes the journey's holy nature and identifies this as the sacred's final threshold. Davies (1965). 2) Path is an entering sequence that runs from the threshold to the focal point and is guided by the aisle. It can be axial, radial, grid-like, or circumambulatory; it's a continuation of the pathway experience that frames ritual movement within the sanctuary. 3) Place is the worship space's central focal point is the place. The altar, pulpit, ark, reading table, or mihrabs are all possibilities. It is also the sacred locus, as well as the focal point Davies (1965).

ARCHETYPAL ELEMENTS
Archetypal components are cosmic order symbols and a subconscious relationship to the divine realm. Hoffman (2010).
1) Earth's portrayal can take numerous forms, such as actual earthy regions like gardens or earthen-made objects like adobe architecture or clay pottery, and it is symbolic of life-giving renewal. The earth, often known as Mother Earth, is a symbol of fertility and healing. 2) Air (or sky) as a metaphorical representation is frequently done through the use of domes, skylights, clerestory windows, or other mechanisms that make the sky visible from inside the building. In many civilizations, the sky represents the heavens and the afterlife. 3) Water is the most frequently depicted element in religious art, as the waters represent the virtual universe; they are the fansetori'go, the reservoir of all existence's potentialities. 4) Fire In most religious architecture, fire is present, whether it is in the form of flickering candles in a cathedral or the light of the eternal flame in a synagogue.

1) Tree:
The tree is associated with human origins in many religious mythologies and crosses many cultural boundaries, symbolizing growth, rejuvenation, and knowledge. The tree also serves as a center or refound for the world, as Eliade points out "The Cosmic Tree, located in the heart of the Universe and upholding the three planets as upon one axis, is the most often stated version of the symbolism of the Centre." 2) Stone: Stones have been used to indicate sacred sites since Jacob placed a stone to mark the site (Beth-el) where God's presence was revealed to him in a dream, as recorded in Genesis chapter 28. "Stone, maybe more than any other material, has long been assumed to be magical, with the ability to heal, guide, shelter divinity, and designate burial sites." 3) Mountain (sacred mountain): Mountains rise to the sky and are depicted as steppingstones to the afterlife in religious mythology. Mountains are frequently regarded as the home of the gods in polytheistic societies. Sacred ceremonies, temples, and monasteries can all be found on mountaintop aeries.

ATMOSPHERIC AMBIGUITIES
Multiple interpretations of space are believed to serve as a threshold to the ambiguously expressed divine experience, with the meaning found in the transition zone between. Hoffman (2010).
1) Silence and noise: This are an example of this point of departure, which is a threshold to the sacred, which is the silence of a sanctuary before the noise, music, and singing of worship. 2) Darkness and light: The numinous as one become the other, or the effective and dramatic interplay of shadows and sunshine, is signalled by this transition between light and shade.
3) Emptiness and profusion: Sparseness and scarcity are juxtaposed with abundant embellishment and rhythmic features in this style. The juxtaposition between the austerity interiors of south-western adobe churches and the vibrantly painted altar screens is a striking instance of this principle. 4) Humility and monumentality: Massive, long-lasting, or historically significant settings that encourage humility exemplify this dichotomy. These locations are physically commanding as God's dominion, but they are also modest enough for human worship.

DESIGN CONSIDERATIONS
1) Ceiling height: Great height ceilings assist to create the impression that the room is important, which helps to inspire reverence in the space. 2) Symmetry: A symmetrical worship setting can be achieved by using proportional spacing and balance. The sanctuary, platform, altar area, pulpit, and other main points of the worship space should be centered to provide an unobstructed view to the majority of the crowd. 3) Colour selection: Choose a palette that is off-white, cream, or a very light hue when choosing wall colors. Reading text or listening to music in a dark setting might be difficult. 4) Fabrics: To add warmth and color to a room, use rich materials. Fabrics, polished wood, lighting fixtures, artwork, and windows may all be used to provide drama and a sense of reverence to a space. Fabrics, colorful artwork, and accent paint can all help to set the tone for the worship space.

5) Icons & artwork:
This is a set of figurative terms. Artwork should be appropriate for the location and have a strong visual effect. Statues, tapestries, sculptures, paintings, crosses, crucifixes, murals, mosaics, and ornate windows are examples of artwork. 6) Decorative windows, woodwork & furnishing: Stained glass refers to a type of decorative glass window in which the artist paints directly on the glass before burning it in a kiln to fuse the paint and glass together. Stained glass windows are simply one style of church window that can be attractive. Art glass, etched glass, and faceted glass windows are the other primary types of church windows.

BUILDING FORMS 1) Rectangular form
With the altar platform at one end and the seating arranged in rows facing the one focal point, this is the most frequent plan form. It's common to have a center aisle. It is basic, and there is no extra "performance" quality as long as the altar platform is inside the congregational volume.
The main issue arises when the seating capacity exceeds 500 people because the viewing distance becomes excessively lengthy, and worshipers in the back seats feel less involved.

2) Cruciform plan form
Depending on the seating plan inside the arms of the cruciform structure, the altar area is often at the head of the cross or at the crossing; there may be a loss of congregational cohesiveness. The cruciform layout is frequently chosen for the reduced scale imparted to the building façade rather than the inherent symbolism.

3) Central plan (circular) form
Here altar is centrally located and surrounded by congregation. The nave could take any geometric shape. This type of plan expresses a continuity of space in which the architectural space does not end at the altar but continues around it and the alter automatically becomes the centre of attraction since, it is situated at the geometric centre of the form.
Problems associated with this kind of plan form is loss of eye contact by the preacher, celebrants would also back a portion of the congregation, Not all the seats will have good viewing angles for motion pictures or slides. Nevertheless, the sense of intimacy and oneness is very great and may overcome all objections

4) Fan/ trapezoidal form
Here, rows of seats are set in concentric curves to provide each with a forwardfacing view of the stage. The walls here can add to sound reinforcement by not allowing the angle of splay of each wall exceed 25°. This is achieved by using serrated or faceted walls, or by introducing vertical panels inclined at a smaller angle to the longitudinal axis. In a wide hall these side sections of seating may also be separated and raised to a higher level than those in the centre, in order to create variety in seating as well as more even lateral distribution of sound.

5) Hexagonal form
This plan form and its extended or modified forms, has been used extensively as the basic plan shape for multipurpose halls because it provides compromise, giving good direct sound, controlling ceiling and lateral reflections and scope of variations in seating arrangements and levels within the auditorium.
To allow for a more flexible arrangement, the main floor is usually flat with retractable seating around the perimeter. This plan form is however faced with losing sight lines from the side sections as the framed width of the stage reduces.

BIBLICAL COLOURS AND THEIR SIGNIFICANCE
Biblical Colours are very significant in our worship of Adonai. These are basic colours which implied meanings. In some instances, the exact colour is mentioned in the Scriptures and with others it is implied and seen through spiritual eyes. Olesen (2013).

BRIEF HISTORY
The National Ecumenical Center is an inter-denominational church located in Abuja, Nigeria a country with a substantial Christian population.

ARCHITECTURAL COMPOSITION
The church is built in a neo-gothic style Gothic architecture, also known as pointed architecture. The altar, placed at the centre of the church completes a full rotation every ten minutes. A pipe organ is fitted to the right wing of the church, close to which sits the choir. Stained glass windows which employ a simple but attractive mix of yellow, green, and red colours can be seen all around the church. When not being used for Christian ceremonies, it is open to the public.

MATERIALS AND CONSTRUCTION
This edifice is built with concrete wall of pivoted gothic arches and flying buttresses. The pivoted arches form the roof trusses. It has concrete roof covered with reddish copper roofing slate. The interior floor is finished with polished granite tiles. The exterior aisles are finished with abrasion resistant granite stone. The interior walls and ceiling are treated acoustically with sophisticated acoustic panels for good acoustical environment.

COMPOSITION
The Ecumenical Centre now serves as the headquarters of the Christian Association of Nigeria, Bayelsa Branch, and is governed by a Dickson-appointed board. The Ecumenical Centre, which the government boasts are the biggest in Nigeria, has a modern Christian library, rosary store, a restaurant, bookshop, and a choir gallery.
Other features of the worship centre include, a rotating alter, an archive, prayer rooms, a VIP section in the main auditorium, among other facilities.

MATERIALS AND CONSTRUCTION
The design is a Collegiate Gothic style with elements that reduce impact from sun, wind, sound. Design accommodated series of pointed arches supported by minimal buttresses also serve as decorations and create a certain rhythm along the 102 side facades. The design exhibits Rhythm and balance on the facade and the walls are treated with acoustic materials and enhanced with sound reinforcement system. The Design accommodated flying buttresses, arched windows or doors and arched ways

UNIFYING ELEMENTS IN SELECTED CASE STUDIES OF ECUMENICAL CENTRES IN NIGERIA
The National Ecumenical Center, Abuja, and the Government Ecumenical Center, Igbogene were built in a neo-gothic style Gothic architecture which originated in England in the late 1740s and was popular throughout Europe from the late 12th century to the 16th century, with some examples surviving into the 17th and 18th centuries. It arose from Romanesque architecture and was eventually replaced by Renaissance architecture.The Gothic architecture's defining element is the ogival or pointed arch. The flying buttress is a design element that is both innovative and distinctive. The pointed arch paved the way for the construction and use of flying buttresses and pointed rib vaults, as well as ornate tracery and stainedglass windows.
The National Ecumenical Center, Abuja, and the Government Ecumenical Center, Igbogene has several pivoted arches with a wide nave leading to the altar, they function as structural features. A pipe organ is installed in the right wing of the church, near the altar. Stained glass windows in a basic yet appealing mix of yellow, green, and red may be found throughout the church. The gate, pathway, and place are physical aspects of the architecture of sacred spaces with the gate representing the desire, path representing the journey, and place representing the attainment of spiritual insight.
The National Ecumenical Center, Abuja, and the Government Ecumenical center, Igbogene express well defined entry point that suggests that worship gatherings necessitate participant planning. (The Portal). Also has a very precise definition of path directed by the aisle from threshold to the focal point, highlighting continuity and directionality (the path). Also, a condensed form with strong edges, which creates a focal point for gathering. (The place).

CONCLUSION AND RECOMMENDATIONS
The architectural components of symbol and ritual are inextricably linked. Each component of the gate, walkway, and location complements the others. The historical catastrophes of the 19th and 20th centuries, especially the two world wars, helped to bring the question of the essence of Christianity into a new perspective and to renewed significance. In the 20th century's ecumenical movement, different attempts to reflect upon the common essence of Christianity had been going on simultaneously. On the one side, there has been an endeavour to view the essence of Christianity according to its ethics; on this basis, for example, Christian churches joined together, first in Edinburgh (1910( ), later in Stockholm (1925 in life and work conferences which led to the foundation of the world council of churches in Amsterdam in 1948-which emphasised that the essence of Christianity. The Government Ecumenical Centre, Igbogene which is built in the Collegiate Gothic architectural style and The National Ecumenical Center, Abuja designed by Arc (Dr) Dele Adeyemi designed in a neo-gothic architectural style, with multiple pivoting arches and a broad nave leading to the altar. The altar, which is located in the center of the church, rotates fully every 10 minutes, and a pipe organ is installed in the right wing, close to where the choir sits. The designed accommodated Stainedglass windows which employ a simple but attractive mix of yellow, green, and red colours can be seen all around the church which has biblical significance. These architectural elements tend to bring have distinct features that gives denominations of Christianity a sense of belonging in the facility and allows them make use of the space without upsetting their doctrines.
Although elements are self-contained, they are prone to overlapping and occasionally contradictory signals. Ambiguities in the atmosphere arouse the senses by setting the tone and enhancing the flavour of the worship experience. The interaction of these three aspects (architectural, archetypal, and atmospheric) gives the worship space depth and character. Finally, architectural markers function as sacred symbols, directing attention in a clear manner, encouraging creativity, nourishing, and enhancing religious experience, and conveying meaning in order to extract truth. Simply put, when these elements are joined and carefully designed, ordinary space becomes hallowed.