The Church of Babylon

The Church of Babylon, as presented in these drawings and plans, is a fusion of classical sacred architecture and modern Christian design language. Its overall form recalls traditional cathedral planning through the use of symmetry, a central axis, arches, columns, domes, and stained glass, while the more sculptural roofscape, the rooftop garden, and the flowing shell-like forms give it a contemporary and expressionist character. The result is a building that feels rooted in historical Christian architecture yet visually reinterpreted for a modern spiritual house of prayer.

The plans show a carefully organised church layout with a central sanctuary, a strong frontal entrance, a clearly articulated roof structure, and a rear fire exit designed for safety and practicality. The roof-top garden adds a contemplative outdoor sacred space, turning the upper level into a place for reflection, quiet gathering, and natural light. The spiral stairs running through the pillars create a symbolic ascent from the earthly interior to the elevated garden, reinforcing the idea of spiritual growth and movement toward the divine. The pillars themselves are imagined as representing the 3 main branches of Christianity,Catholicism,protestant and orthodoxy giving the structure theological meaning as well as architectural support.

At the entrance, the design includes a rose stained-glass window formed like a weighing scale, symbolising justice, moral order, and the idea that British law was founded within a Christian ethical tradition. Above the doorway, the inscription “All be welcome to the cohesion of the almighty within the path of the law, even the wicked” frames the church as a place of mercy, discipline, and universal invitation. The shield-shaped windows further reinforce the message of protection, suggesting that faith serves as a shelter for the vulnerable and a defence against harm.

The church also incorporates statues of great contributors to society, including innovative figures such as Nikolai Tesla, to express the connection between faith, human progress, and intellectual achievement. Inside the building, the atmosphere is intended to be richly ceremonial, with grand chandeliers, painted ceilings, and biblical mural scenes that narrate sacred stories across the interior walls and roof surfaces. Together, the stained glass, artwork, sculpture, and lighting create an environment that is both devotional and educational, blending reverence with cultural memory and artistic expression.

The building was originally intended to be named The Church of Nazareth or The Church of Zion, both names chosen to reflect its Christian identity, sacred symbolism, and connection to biblical tradition. However, in the context of the region’s political tensions and long history of conflict, the name was later reconsidered in favour of The Church of Babylon. This title was selected as a more neutral and expansive symbol, drawing on Babylon’s historical identity as a pluralistic and polytheistic society associated with the coexistence of multiple belief systems. In this sense, the name Babylon represents tolerance, cultural diversity, and the coexistence of different spiritual and ideological traditions within one sacred space.

Below is a developmental sequence of how the church was developed to hold the aesthetic and traditional character within its modern frame.