©2025 Illustration par Francine Abada
Located on Mvolyé Hill in Yaoundé, the Marie-Reine-des-Apôtres Basilica embodies a major architectural and spiritual project, at the crossroads of Christian inculturation and Cameroonian heritage. Built between 1990 and 2009 under the guidance of Archbishop Jean Zoa, it replaces an old colonial cathedral and adopts a circular, symbolic, and open architecture, incorporating local materials and craftsmanship. This study highlights the historical, cultural, artistic, and theological dimensions of the building, while advocating for its recognition as a monument of national collective memory. By combining architectural analysis, religious symbolism, and heritage preservation issues, the article shows how this basilica can become a reference center for cultural tourism, knowledge transmission, and the promotion of interethnic and interreligious dialogue.
Keywords: Minor Basilica of Yaounde, religious heritage, inculturation, sacred architecture, Jean Zoa, collective memory of Cameroon.
Introduction
Religious architecture, beyond its liturgical function, serves as a powerful vehicle of identity, memory, and social cohesion. It inscribes in physical space the beliefs, founding stories, imaginaries, spirituality, and aspirations of a community. In Cameroon, the Marie-Reine-des-Apôtres Basilica of Yaounde stands out as an emblematic work that combines spirituality, heritage, and multiculturalism. This monument, erected on the Mvolyé hill, serves both as a tribute to the history of evangelization, an architectural manifesto of inculturation, and a collective work inscribed in the national memory. This text offers an in-depth analysis of this basilica as an artistic and spiritual heritage, exploring its origins, architectural design, symbolic dimensions, and its historical and identity significance.
1. Objectifs méthodologiques et intérêts scientifiques
The Marie-Reine-des-Apôtres Basilica is a remarkable work of architectural inculturation. It blends forms inspired by Christian liturgy with elements drawn from local Cameroonian cultures, aiming to root faith deeply within these traditions.
a) A symbolic and dynamic structure
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
b) A cultural synthesis of know-how and materials
2. Délégitimer pour refonder : critique des cadres eurocentrés
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
1.Fabien Eboussi Boulaga, La crise du Muntu, Authenticité africaine et philosophie, édition Présence africaine, Paris, 1977 et 1997, 239 pages.
3. Épistémologie et architecture méthodologique de la contextuologie de l’art
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
Like other major African religious structures, the Mvolyé basilica must be protected, documented, and promoted as a living heritage. It can become a place of study for architects, art historians, anthropologists, and theologians.
b) Cultural and spiritual tourism
With its aesthetic and symbolic qualities, the basilica can play a leading role in the development of cultural and religious tourism in Cameroon. Heritage trails can be developed around it, in connection with other major sites in Yaounde, such as the Notre-Dame-des-Victoires Cathedral and the Protestant Church of Djoungolo.
c) Transmission of knowledge
It houses ceramic mosaics created in 1998 by the ceramic workshop of the Institut de Formation Artistique (IFA) in Mbalmayo. The techniques used (ceramics, sculpture, stained glass, ironwork) carry both traditions and innovations. Documentation and transmission of this knowledge are essential to ensure their preservation.
c) Transmission of knowledge
It houses ceramic mosaics created in 1998 by the ceramic workshop of the Institut de Formation Artistique (IFA) in Mbalmayo. The techniques used (ceramics, sculpture, stained glass, ironwork) carry both traditions and innovations. Documentation and transmission of this knowledge are essential to ensure their preservation.
a) Promotion of religious heritage
2. Martin Heidegger, Être et temps, Gallimard, Hall, 1927, 600 pages.
3. « Le Muntu est l’homme dans la condition africaine et qui doit s’affirmer en surmontant ce qui conteste son humanité et la met en péril » propos recueilli dans La raison libre et la liberté raisonnable. Conversation entre Fabien Eboussi Boulaga, Achille Mbembe et Célestin Monga, in A. Kom (dir.), Fabien Eboussi Boulaga, la philosophie du Muntu, Paris, Karthala, 2009, p. 291.
4. Bruno Latour, Nous n’avons jamais été moderne, édition La Découverte, Paris, 1991, 210 pages.
5. Alfred Gell, Art and agency : anthropological theory, Oxford University Press , Clarendon, 1998, 296 pages.
6. Souleymane Bachir Diagne et Henri Ossébi, The cultural question in Africa, éditions Codesria, Dakar, 1996.
7. Valentin Yves Mudimbe, The Invention of Africa, Indiana University Press, 1988, 256 pages.
Image source: fr.wikipedia.org
4. Heritage issues: towards national recognition
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
a) Promotion of religious heritage
Like other major African religious structures, the Mvolyé basilica must be protected, documented, and promoted as a living heritage. It can become a place of study for architects, art historians, anthropologists, and theologians.
Discipline
Apport à la contextuologie
Histoire de l’art
Mise en perspective diachronique des œuvres et des styles.
Philosophie de l’art
Questionnement des régimes de vérité, d’ontologie et d’esthétique
Anthropologie de l’art
Prise en compte des usages, des rituels, des fonctions sociales et symboliques
Sociologie de l’art
Étude des acteurs, des circuits, des institutions et des stratégies de légitimation
Philosophie africaine
Inscription dans une épistémè du lieu, du devenir, de la totalité
Économie et marketing culturel
Analyse de la valeur symbolique, de la circulation et de l’institutionnalisation
Communication interculturelle
Étude des régimes de réception, de traduction et de médiation des œuvres
Les variables du tableau ont été conçues pour croiser plusieurs disciplines simultanément :
Variable
Apport à la Discipline dominante mobilisée
Contexte
Sociologie, anthropologie politique
Idéologies endogènes/exogènes
Philosophie, épistémologie culturelle
Auteurs / Intentions
Esthétique, histoire de l’art, critique
Évolution technique
Esthétique, histoire de l’art, critique
Monstrations
Muséologie, géopolitique de l’art
Acteurs
Sociologie des réseaux de l’art
Perceptions
Communication interculturelle
Statut
Marketing symbolique, économie de l’art
Hybridation / Circulation
Études postcoloniales, mobilité culturelle
Déclencheurs
Histoire, événements politiques, ruptures sociales
Cette hybridation disciplinaire permet de produire une analyse dense, située et prospective de l’œuvre. La contextuologie s’inscrit ainsi dans une logique inter ontologique et transversale, opérant une reconfiguration du champ de la recherche en art, en l’ouvrant aux approches décoloniales, situées et pragmatiques.
4. Heritage issues: towards national recognition
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
4. Heritage issues: towards national recognition
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
4. Heritage issues: towards national recognition
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
4. Heritage issues: towards national recognition
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
8. Le care, en tant que concept féministe, englobe à la fois le souci (sollicitude, attention à autrui) et le soin (activités concrètes de prendre soin). Il insiste sur la nécessité de comprendre les situations individuelles et contextuelles pour répondre de manière appropriée aux besoins des autres.
4. La Nouvelle Liberté de Sumégné : une œuvre-contexture
a) A symbolic and dynamic structure
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
Elimbi 28, La nouvelle liberté réinterprétée, le 13/2/1997, bande dessinée. Source de l’image : https://www.cairn.info/revue-afrique-et-histoire-2006-1-page-111.htm
b) A cultural synthesis of know-how and materials
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
9. Dominique Malaquais, Une nouvelle liberté ? Art et politique urbaine à Douala (Cameroun), Article disponible en ligne (voir bas de page)
4. Heritage issues: towards national recognition
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
The inclusion of the Marie-Reine-des-Apôtres Basilica in Cameroon's national heritage is today a cultural and identity imperative. Beyond its liturgical function, it represents a common good carrying meaning, memory, and craftsmanship.
2. Architecture at the crossroads of faith and culture
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
a) A symbolic and dynamic structure
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
b) A cultural synthesis of know-how and materials
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
b) A cultural synthesis of know-how and materials
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
b) A cultural synthesis of know-how and materials
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
b) A cultural synthesis of know-how and materials
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
b) A cultural synthesis of know-how and materials
The building combines local and imported materials: stone, metal, precious woods (bubinga and moabi), granite, and glass. This diversity reflects the desire to construct an edifice in dialogue with the territory’s resources and the craftsmanship of Cameroonian artisans. It is distinguished by the following features:
-
The main altar, made of Akok Bekoé granite, takes the shape of the Abbia token, used in ritual games among the peoples of the Central region. Here, it symbolizes the alliance between the sacred and the profane, between liturgy and ancestral rites.
-
The 100 m² stained glass windows are the work of French master glassmaker Henri Guérin, but created in collaboration with local requirements. They depict religious figures and traditional motifs.
-
A 3.5-meter-tall Virgin, carved from sacred wood from Nkong Ondoa, dominates the space, reinforcing the Marian dimension of the building.
-
The tabernacle and crucifix, made of bronze, were crafted using Bamoun artisanal techniques; the Bamoun people are renowned for their metallurgical tradition.
-
The Stations of the Cross, located around the basilica, offer a profound spiritual immersion.
This basilica thus stands as a true manifesto of unity through diversity: the peoples of Cameroon, the materials, and the symbols converge towards a single spiritual center.
The semi-circular metal roof is designed in a stepped fashion, leading to a tall glazed central dome, sometimes interpreted as phallic but also capable of evoking ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure allows light to penetrate, a biblical image of the presence of God.
2. Architecture at the crossroads of faith and culture
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
2. Architecture at the crossroads of faith and culture
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
2. Architecture at the crossroads of faith and culture
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
2. Architecture at the crossroads of faith and culture
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
2. Architecture at the crossroads of faith and culture
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
The building, with its circular plan, rests on a slightly asymmetrical conical base whose axis is shifted to the right, giving the whole structure a visual and spiritual dynamic. Twelve massive columns support the edifice, symbolizing the Twelve Apostles, the foundation of the Church. This choice clearly expresses the desire to root itself in the apostolic tradition while giving a communal meaning to the construction: the Church is built by its faithful, just like the first Christian communities were.
The semi-circular metal roof is designed in a stepped fashion, leading up to a tall glazed central dome, sometimes interpreted as phallic, but which can also refer to ancestral symbols of fertility, transcendence, and openness to the divine. This openwork structure lets in light, a biblical image of the presence of God.
As Essimi Terry¹ points out, "The basilica features a parking lot and modern facilities to facilitate the reception of the faithful. It is surrounded by several religious institutions and spiritual centers, notably the Saint Paul Spiritual Center of Mvolyé. For those wishing to deepen their visit, the basilica also offers guided tours and documentation on the history of the Catholic Church in Cameroon."
