Auch wenn haufig das Gegenteil behauptet wird - es werden noch immer sakrale Gebaude errichtet. Allerdings haben sich im Vergleich zum Kirchenbau-Boom der Nachkriegszeit die Aufgaben gewandelt. Statt machtiger Pfarrkirchen sind im letzten Jahrzehnt eher kleinere Gebaude entstanden, darunter auch Kapellen und 'Raume der Stille'. Ausserdem wurden historische Kirchen in moderner Formensprache erweitert. Das Buch dokumentiert zu diesen unterschiedlichen Aufgaben 14 beispielhafte Sakralbauten seit dem Jahr 2000 aus Bayern und OEsterreich. Gerade in diesem baukulturellen Raum haben renommierte Architekten die kunstvolle Beziehung von Raum und Licht gestaltet - eine neue Verbindung von Spiritualitat und Sinnlichkeit anstelle von zuvor schlichten Gemeindezentren.

Text in English & German. Three places mark the chequered history of the provost church of St Trinitatis Leipzig. Not far from the site of the present new building was the historic church built in 1847 that was largely destroyed in World War Two. It took almost three decades for this church finally to be replaced in 1982. At the insistence of the East-German authorities, however, this building had to be erected in a suburb. Because of its inconvenient location and also because the building had structural damage from the very beginning, the congregation decided in 2008 to take a chance on a new start in the city centre. The third church of St Trinitatis, consecrated in 2015, is the largest Catholic church to be built in East Germany since the political turnover of 1989/90. The new church is located not only in the centre of town, but at a place that could not be more prominent: facing the large complex of the Neues Rathaus. In 2009 a competition held for the new church building with the adjacent parish centre was won by the Leipzig architects Ansgar and Benedikt Schulz. Their clever use of the triangular site particularly impressed the selection committee; at the same time, with the compact body of the church on the east and the tower on the west, they created two striking urban landmarks. Between the tower and the church is the spacious courtyard, which is open on two sides towards the surrounding area, emphasising the congregations programmatic 'openness'. The complex owes its homogenous appearance to the fact that all parts of the buildings are clad with local porphyry, an igneous rock that shimmers in delicate shades of red. While outwardly the church looks quite hermetic, the interior, with an inside height of 14.5 m, surprises the visitor by its vibrant luminosity. The decisive factor here is the skylight on the east side at a height of 22 m. From a source that is invisible to the worshippers, zenith light falls on the entire back wall behind the altar. In its disposition the church interior follows the decisions of the Second Vatican Council: separation between the priests space and the congregations space is abolished, the high altar is replaced by a peoples altar, and the faithful gather of the believers in communio around the liturgical centre. In addition to his main activity as an architecture publicist Wolf-gang Jean Stock was head of the Deutsche Gesellschaft fur christ-liche Kunst and its gallery in Munich for nine years. Considering his rigorous artistic attitude, instinctively reminiscent of the work of Hilla and Bernd Becher, there is a certain consistency about the fact that the photographer Stefan Muller congenially creates images of the buildings of Owald Mathias Ungers, Max Dudler, Kleihues + Kleihues or Schulz und Schulz.