*4.1. A Place for Celebration*

The St. Odulphus church has a relatively small and modest interior consisting of a simple nave and choir. We seized on its almost domestic quality for the transformation in a columbarium. Rather than filling up the space and replacing the chairs by urn cases (e.g., Grabeskirche Liebfrauen in Dortmund, Germany), the proposal concentrates the urn cases on the edges of the space against the inside of the façade walls, over two floors with a walkway on the first floor, reachable through a spiral staircase in the front part of the nave. The design makes the deliberate choice to maintain the nave as an open space, to allow for a small gathering or celebration and to keep a degree of multi-functionality. Using oak panels for the construction of the urn cases enhances the intimate and solemn atmosphere, making the new interior reminiscent of old libraries and their contemplative character.

The space can be used in different ways. Figure 5a shows a traditional set-up, allowing for a range of activities that could deviate from the funeral service but are equally appropriate: memorial gatherings, small concerts or presentations, art projects connected to life and death, etcetera. The set-up in Figure 5b is defined by the central presence of a table, a strong Christian symbol confirming the intimate setting and the contemporary practice of a smaller ritual with family and friends. It is inspired by some architectural experiments by the Liturgical Movement preceding Vatican II (for example Figure 6, compare also (Debuyst 1997) and (Vande Keere et al. 2020), resembling a domestic ritual, as part of Christian tradition and referring to the origins of its liturgy: ancient celebrations, with meals, prayer and gathering at the grave of beloved martyrs.9

**Figure 5.** Columbarium church of St. Odulphus, axonometric view of the interior of the nave and apse and the its use: (**a**) Traditional set-up, allowing for different activities: memorial gatherings, small concerts, etc.; (**b**) Set-up defined by the central presence of a table, confirming the intimate setting and symbolizing (Christian) gathering.

<sup>9</sup> Compare also to the development of the concept of the "house church", typical in Flanders and the region (Bekaert 1967).

**Figure 6.** Student chapel, Abbey of Melk (AT) 1966, design by Ottokar Uhl: intimate gathering for the Eucharist around a large table as part of a spatial choreography for the liturgy (photograph by Gert Schlegel, the authors of the article have made any possible attempt to locate and contact the owner of the copyright of this figure).

As in early Christian gathering spaces, the focal point of the celebration is situated in the midst of the community, central in the nave rather than in the choir or apse. This centrality is emphasised and confirmed by the layer of wooden urn cases surrounding the table and defining the edges of the new interior. As such, it also reinforces the meaning of the gathering beyond the singular event of a funeral and symbolizes the presence of a larger assembly or community beyond death. The concept of enveloping continues in a soft way outside of the church, surpassing its interior in the rural landscape around.
