I first saw Coventry Cathedral when I was 15 with my parents and my brother. We were moody and bored teenagers who were wondering why we were there, but the visit still stuck – I remember the art as being as important as the building itself.

过了很久我才又去。我们一直致力于汉默史密斯的圣奥古斯丁教堂，当我们与平面设计师John Morgan和陶艺师Julian Stair合作时，我开始在项目中看到对Coventry大教堂的参考，以及Spence如何用艺术将纹理编织到设计和建筑中。最后我们带着工作室，我们的客户Gianni Notarianni神父和Julian去参观。这是一个鼓舞人心的地方，体现了我对协作、叙事和讲故事的思考。

At Coventry, Spence brought together many artists in order to create and celebrate this very elegant, uplifting and beautiful space. It was a project that epitomised the optimism of post-war thinking. Spence had won a RIBA competition for the project in which his entry stood out because of the relationship he proposed between the new cathedral and the ruins of the old, which he retained as part of the processional entrance. This first move of how it sits at right angles to the ruins is very innovative – there’s a wonderful order to how the new building addresses both the city and the memory of the ruin.

“The way it sits at right angles to the ruins is very innovative – there’s a wonderful order to how the new building addresses both the city and the memory of the ruin”

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