Hatlehol Church by Casper Langberg Thaier

Hatlehol Church

COLOPHON Title:

Hatlehol Church

Project module: Tectonic Design: Structure & Construction Period: 22. October - 16. December Group: 17 Semester: MSc01 ARC Supervisors: Claus Bonderup Dario Parigi Number of pages: 120 Number of prints: 9 Attachments: USB Drawing folder

_____________________________________________________ Casper Langberg Thaier

_____________________________________________________ Mathis Lauridsen Gerlich

_____________________________________________________ Melina Gode

_____________________________________________________ Nikoline Werngreen

_____________________________________________________ Piotr Zbierajewski

ABSTRACT

The purpose of this project is to design proposal for a new church located in Hatlehol parish, in the eastern part of Ålesund, Norway. The project area has been studied through different analysis and have together with studies in Nordic architecture and tectonic been considered as the basis of the project. Site analysis indicated the importance of nature and terrain as fundamental aspects of the context. The tectonic approach has been made in relation to form, structure, materials and details and the Nordic approach was created with considerations about the nature on the site, the honesty in materials and simplicity. The design process started with the acoustic and structural system in the church room. From that point the focus was to create a plan, which was functional in all aspects of the clients needs. The aim in the project has been to create a new church, which could give identity to the town and function as a visual landmark, but more important a sacred environment assisted of the use of light, material and the architectural form.

CONTENT Methodology 01 Analysis Site Introduction Surroundings Infrastructure Local nature Section Noise Climate Sun Precipitation The client Studies Nordic architecture Church of Norway Norwegian architecture Tectonic Acoustic Summary of analysis Vision Design criteria

10 10 11 11 12 13 14 16 16 17 18 20 20 23 24 26 28 30 31 31

02 presentation Design concept Master plan Plan Sections Elevations Materials Outdoor Visualizations Structural Church room The rest of the building Details Cross section Detail A Detail B Detail C Detail D Detail G

34 35 36 37 42 44 45 46 54 54 56 58 59 60 61 62 63 64

Acoustic

03 Design process Introduction Acoustics Structural Overall plan Detailing the sacred places Outdoor Conclusion

70 72 76 82 88 90 92

04 epilogue Conclusion Reflection References

96 97 98

05 Appendix Appendix 1 Appendix 2 Appendix 3 Appendix 4 Appendix 5 Appendix 6

104 106 108 109 112 117

INTRODUCTION

This project has been developed in relation to the curriculum of MSc01 Architecture, Department of Architecture, Design and Media Technology at Aalborg University. The program of the project is based on a competition held in 2008. The project contains a proposal for a new church located in Hatlehol parish, in the eastern part of Ålesund, in Norway. The site is an undulating landscape containing wild nature with dense vegetation. The overall aim for the project has been to develop a design proposal with a tectonic approach and to achieve an innovative structural and architectural expression by ensuring a continuity and integrity of form, material, structure and construction. Furthermore, the aim has been to develop the Nordic craft tradition in relation to the new innovative design of the structure, use of materials and means for construction of modern architecture.

COMPETITION PROGRAM The competition program contains a description of the specific request and sizes for each function, which must be attached to the church as well as the functions around it. In addition there are also requests for the architectural expression of the church, both from the inside and from the outside. (Ålesund church fellesråd 2008) The church should: - Give identity to the town - Be a place for gathering in sorrow and in joy, despair and hope - Be a visual landmark in the landscape - Be a symbol of the meeting between people and spirituality

METHODOLOGY The methodology behind the problem based learning method takes its starting point in a problem. This problem is then the fulcrum throughout the project. PBL results in a process composed of both theoretical and practical input which together creates a solution oriented process. The theoretical and practical approach is united through integrated design, which seeks to unite both architectural and engineering aspects. The problem solution is then found through a process of working with functional, aesthetics and technical characteristics (Knudstrup 2005). As mentioned the process in this project is based on the integrated design process. The design process unfolds itself in a very iterative process, which blurs the transitions between the different phases in the project. Traditionally the integrated design process is divided into five overall phases; problem, analysis, sketching, synthesis and presentation (Knudstrup 2005). It is of course very difficult to accurately divide the different phases in such a iterative process, where the road to solution I heavily influenced by Kolb’s learning cycle (Stice 1987). The process in designing a building is difficult to place in a specific box. It has certain elements as seen in the positivistic approach, as we know

it from traditional science (Bryman 2012). At the same time there are also strong relations to the hermeneutics, which is commonly used in social science (Bryman 2012). In the beginning of the project design process there has been a focus on understanding the site. This was done through a series of studies and mappings. These are all observing methods, and the use of them are mainly inductive. This means that there has been registered an amount of empirical data and from that created a theory (Bryman 2012). At the same time there have also been used a deductive approach, where existing theory have been processed and from that hypothesis’ have been made on empiricism. These two approaches are rarely completely distinguished from each other and is often combined the abductive method, which has also been used in the process (Bryman 2012). The process of acquiring new knowledge has to a high degree been through deductive literature studies. The literature used is made of both qualitative, thus often phenomenological, and quantitative registrations. The knowledge from these studies are based on registrations done by professional individuals and reinterpret, thus resulting in the use of double hermeneutics

(Bryman 2012). The idea-generating methods have mainly been visually oriented for example sketching, mockup models and 3D-modeling. The advantage in the visually oriented methods are their ability to communicate. Perhaps even more important, their ability to give rise to more ideas, by forcing the onlooker to relate to it and reflect upon it. This applies both for the analogue and digital tools in the process. The analogue approach has been dominating in the beginning, although they are very efficient later on when investigating a specific area. The process has been influenced by an early use of technical aspects which worked as knowledge in the further design development. This early exploration meant that the lessons learnt, could be used as a design parameter for the aesthetics rather than as a solution later on. Combined with an increased use of parametric tools allowing for a design method where changes to the design can be made later in the process, when for knowledge about the problem is greater. The parametric tools also allow for more and faster iterations than in a traditional approach.

ANALYSIS

SITE

Introduction The project site is located on the Norwegian west coast, in Ålesund. Ålesund is among the 20 largest cities in the country and the municipality is almost twice as large as Kristiansund and Molde. Ålesund is Norway’s fishing capital where around 100 companies are taking part in the maritime industry. In 1904, a fire destroyed a large part of the city and the traditional Norwegian wooden house village disappeared. Quickly after the fire they started to rebuild the city, and after three years the city was rebuilt in a new style Art Nouveau. Never has that many Norwegian architects been so dedicated in such a big mission. Today the city is known as one of the finest Art Nouveau cities in Europe. (Ålesund Kommune 2015) The area for the site is close to the fjord with dynamic shores and islands. The site has various types of views of the mountains to the south and east of the fjord. It breathes the identity of the evergreen forest and the raw untreated nature, which allows multiple possibilities for the new church. The area used to belong to Spejlkavik parish, but because of a strong development in the east of Ålesund and because the population quickly increased, it was decided to divide the parish in to. The new church will therefore belong to Hatlehol parish. Hatlehol is the easternmost part in Ålesund and consist of about 8000 people. (Ålesund Kirkelige fellesråd 2008)

ÅLESUND

Surroundings

Infrastructure

The site is 16.885 m2 and located centrally in the parish. A large cemetery is placed on the eastern side of the site. Not far from the site three suburban housing areas are located. Furthermore, the area consists of two factories, a sport complex, a public school and a car dealership. (ÅKF 2008)

The site is located within good prospects for infrastructural opportunities. It is possible to arrive to the church by car from highway RV60, which is the main road between Ålesund and Bergen. RV60 runs by the northern border of the site. Furthermore, a bus stop is located on this road

close to the site. A bicycle and pedestrian path runs parallel to the road RV60 and connects the western and eastern part of the parish to the site. Along the site runs a small road that encircles it and connects the church to the parking spaces assisting the cemetery on the east. (ÅKF 2008)

RV60 Busstop Housing area Site Housing area

Cemetery

Housing area

Local nature The site is characterized by a very dense vegetation made up from various trees and bushes. The trees are not arranged in any way but are naturally spread throughout the terrain. The far majority of the trees are pines and secondarily there are also spruces. In addition to the coniferous trees there are a few foliiferous, more specifically birch trees along the creek, and

occasionally an oak tree (ÅKF 2008). Underneath the trees, and their dense crowns the terrain is characterized by wildly growing weeds mainly made up from heather and moss. The amount of the low vegetation makes the nature even more dense down at ground level (ÅKF 2008).

Besides the vegetation on the site there are also multiple areas with exposed cliff, where the shallow earth and vegetation are penetrated by the bedrock beneath. This is especially happening around the places with the most concentrated shifts in elevation, and therefore often along the steep bank along the creek (ÅKF 2008.)

Section The landscape within the site is as the rest of the area characterized by its steep terrain. The elevation of the site is highest at the northern end and slopes down towards the south. The total difference from one end to the other is 11 metes but with varying inclination. As shown on section south-north, ill. 1.5.

In addition to the dominating slope from south to north the site is also very undulating as the untouched naturally flowing terrain it is. As seen on the west-east section

Section cut south north

Section cut east west

Ill. 1.4 Section indicator

Elevation West-East

Ill. 1.5

Elevation South-North

Ill. 1.6

Noise Generally the human ear perceives sound differently. Sound occurs in different octaves and the length of the sound waves changes in relation to the frequency. A noise study will therefore always be partly subjective, but with a use of sound receiving machines you can bring that to a minimum. (Aalborg University 2015) The primary noise source on the site comes from the traffic from the main road RV60. Furthermore, there are two football fields near by the site, which can course temporary noises. Besides the

roads and football fields, the site is in an area with primary single-family houses. Because of the sites close proximity to the main roads there was in extension to the competition made a noise survey, in order to investigate exactly how much noise, the site was exposed to. The registrations were made on the road west of the plot, as marked on ill. 1.7, this means that it was made with none of the otherwise dense vegetation to shield from the noise. The results from the noise registrations came out with a maximum registration of 52.7 dB. Due to insecurities in the

measurements a factor of three dB is added with brings the overall result above what maximum allowed of 55 dB. Because the margin above the allowed limit is only 0.7 the noise report and the dense vegetation between the site and the road the engineers makes the assumption that the vegetation will shield the building enough when kept at the same distance to the roads as the registration were made e.g. 30 meters (ÅKF 2008).

R V6 0 30 m

Sound receiver

R V6 0

Ill. 1.7 Diagram marking the noise effects on the site

CLIMATE Sun

In Ålesund, Norway the length of the day varies significantly over the course of a year. During the summer solstice there is 20 hours of daylight, whilst

Summer Soltice

Winter Soltice

Summer Soltice

Winter Soltice

Altitude o 51

than in Aalborg. The average amount of daily sun hours in a year is 9.48, disregarding clouds (World Weather and Climate Information 2015).

N Altitude o 4

Day Time 19:55

Meridian 13:38

E 16

Rise 03:40

E 16

the hours of daylight during the shortest day of the year is less than five (Time and Date 2015). That is respectably two hours longer and 1.8 shorter

Set 23:36

Ill. 1.8

Rise Meridian Set 10:05 12:34 15:02 Day Time 4:57

Ill. 1.9

Precipitation The cloud cover in the area is quite dense with 18% clear skies. The median cloud cover in the area is mostly cloudy being at 87%, and doesn’t vary significantly over the year, ranging from 83% to 90%. In Aalborg the median cloud cover is 77% (WeatherSpark 2015). The probability of precipitation over the year is 64%, being most likely in January with 72% and least likely during may at 55%.

The temperatures in the region is relatively over a year taking its latitudinal position into account. The majority mean temperatures over a year varies within one and 16 degrees, and rarely below minus three degrees or above 20 degrees. The relatively steady temperatures are mainly due to the close proximity of the gulf stream (Yr. no 2015). The high temperatures also affect the amount of snowfall in the area makes up 20% of the annual precipitation, while it is 19% in Aalborg.

The most common form of precipitation is moderate rain which accounts for 54% of all the precipitation over the course of a year (Yr. no 2015). 20% of all the precipitation over a year is snow, and 39% during the cold seasons. In Aalborg the snowfall makes up 19% of the annual precipitation. The overall precipitation is 512mm and occurring 64% of the days annually (Yr.no 2015). For comparison the values for Aalborg is 767 mm and 63% (DMI 2015)

54%

19% 8%

3% Drizzle

12% 3%

1% Light rain

Moderate rain

Heavy rain

Light snow

Moderate snow

Thunderstorms

Ill. 1.10 Graph showing the annual precipitation

THE CLIENT In the competition program there is some specific requirements and desires of the church function and architectural appearance. Therefore there is made a gathering of them all here to sum it up. Expectations from the town They ask for the church to be a place for the town to gather. A place which will give space for religious, cultural and social activities. They want the church to be the visual centerpiece of the city where the population can meet in sadness, joy, despair and hope. The churchwarden’s expectations The churchwarden expects the church to be a product of this time but at the same time for it to be traditional. It should combine past and future in a special way.

The priest’s expectations The priest wants the church building to be the symbol on the meeting between humans and God. He thinks that the meeting between the individual human and God is personal and that the church should make this meeting possible. But at the same time he think that the church is for meeting God in community through the ceremonies, funerals, baptisms and more, so the church should also give the opportunity for this meeting. Overall desires In addition, there are requests for the church to: - Give identity to the town - Appear as a visual landmark in the landscape - Take the nature in consideration - Have fully functionality the rooms between

Functions in the church The competition program also contains a lot of requests for all the functions in the church. Such as where they should be, how big they should be and how they should be connected. On ill. 1.11 it is shown how the functions should be in the church and the connection the functions between. Outdoor functions In extension to the indoor functions there are also some requests for the outdoor functions such as an outdoor ceremonial place, a meditation path and a spot for outdoor photographing. The program can be found in appendix 1.

Room functions diagram Cloakroom

Music room

Refuse Office

Storage Activity room

Staff entrance

Mezzanine

Technical room

Storage

Additional sacritsty Sacristy

Church room

Children’s chaplel Congrega -tion hall

Chapel

Cloister room

Entrance hall

Sacred rooms Administration Common rooms Other rooms

Metting/dining

Sacristy for baptism

Workshop

Laundry room

Class room

Kitchen Church hall Near

Metting room

Connected Public toilet Staff toilet Ill. 1.11 Function diagram

STUDIES Nordic architecture

“... The real Nordic architecture is to a degree shaped by the climate, the light (and its absence), the material resources and our sublime idea of the arctic latitude, that it constitutes its own regional construction” – Peter Mackeith (Hvattum 2012: 103) Nordic architecture can not be defined as one particular thing – it contains a lot of tendencies, but nevertheless a recurrent thing is the way to adapt to the place and take the context in consideration when designing. The naturalness, the honest use of materials, the tectonic clearness and the special ability to relate to the location, is some of the points highlighted when talking about Nordic architecture. (Hvattum 2012) But also nature metaphors, materiality

and toning down the visuals to emphasize to the tactility in the architecture (Andersen & schelde 2012). Occorence - Briefly Nordic architecture, as we know it today, was first presented to the world at the Stockholm Exhibition in 1930 where the Swedish architect Gunnar Asplund showed his way of creating functionalistic architecture, which was influenced by the CIAM-movement and was a result of the time, and the elegance of the twenties classism. (Lund 2008) He also managed to combine the visually elegance with a strong social involvement, which became a distinctive element in Nordic architecture correlated with the Nordic tradition of welfare (Ibler 2014).

Ill. 1.12 Lofoten Tourist Road by JVA, invites to exploration and active participation and not the common consideration of a framed landscape – the postcard view.

The Scandinavian functionalism became light and sophisticated compared to usual European functionalism, and the softness of the architecture was only increased by the rationalistic usage of material and values that replaced the international style that reigned at the time (Lund 2008). Architects like Gunar Asplund, Jørn Utzon and Alvar Aalto were front figures of the foundation of the Nordic architecture – and wefts therefrom is still seen in the Nordic architecture today. Also Christian Norberg Shulz, Norwegian architect and theorist, has had a strong influence on the Nordic architectural thinking. He wrote a manifestation on behalf of the concept “Genius Loci”, a roman word for adaptation of architecture which captures the spirit of the place (Ibler 2014). The Genic Loci philosophy can be seen as a

Ill. 1.13 Lofoten Tourist Road by JVA

backlash to the international architecture style in the eighteens century (Andersen & Schelde 2012). According to Shulz’s, the architecture should be related to the spirit of the place and thereby the identity of the human. New nordic architecture tendencies The Nordic architecture is often applauded to be natural and authentic with a special feeling for the place where it is situated, but the tendency in new Nordic architecture moves towards a reinterpretation of the relation to the situated place in a wider consideration (Hvattum 2012). Where as the Nordic architecture is often said to grow out of the native soil, a new generation in Nordic architecture dissociates from the local nature and seeks into the horizon by creating

manmade contrasts to the nature rather than continuing it. Here meant that the architecture also can reflect the local history and cultural relic. Creating architecture in this matter, is a phenomenon that is a result of the resources and limitation of the site that creates new unexpected innovative solutions. An example of this phenomenon is Lofoten Tourist Road. The projects is a reinterpretation of how to create a tourist road project in Norway. Many other of these kind of projects use framing of the nature to give the tourists the postcardpicture of the nature as the main experience, but JVA chose another approach. They chose to buckle out bright yellow railing of scaffolding pipes along the rough terrain. The approach is at first glance not at all contextual, but actually the yellow colour

Ill. 1.14 In Oslo Opera by Snøhetta you are invited both into and on to the building, as the roof rises from the ground.

is a rendering of the most common bird on the area, the greater black-backed gull. The project invites to exploration and active participation and not the common consideration of a framed landscape – the postcard view. Instead of only locking at the landscape it is also an expiring of it – like walking the landscape. (Hvattum 2012). Another tendency in new Nordic architecture is the growing focus on the public solidarity and culture, which strongly can be seen in the capitals of the Scandinavian countries. The architecture is build to the population and is relating to the city and taking social sustainability into account. The strong involvement of the public life is not just a theoretical saying, but can be seen for instance in the opera of Oslo by Snøhetta or in Skuespilshuset in Copenhagen by Lundgaard

Ill. 1.15 Skuespilshuset in Copenhagen by Lungaard & Tranberg, where the public is invited in to the building by a natural route through the hall.

Tranberg. These buildings live by the involvement of the public life, and this becomes their quality. What characterizes the new generation of Nordic architecture is, that it sticks deeper than a fundamentality concern in human needs and has ambitions, as a result of the consumption society, to the utopian vision of the society and to create architecture made by solidarity and with an authentic approach to the way we live as individuals and society, influenced by the growing welfare and the globalization tendencies. (MacKeith 2012). Partial conclusion The new Nordic architecture can in no way be generalized, and is under influence of many factors, and is taken many different directions. Many critics and theorists are involved in discussions on what characterizes Nordic architectures, and especially where it is going in the future. One of the fulcrums in the discussion on new Nordic architecture, is how it should reinterpret the traditional Nordic architecture. In this project the understanding and interpretation of Nordic architecture is going to be the work of making architecture in relation with the nature and sensing the spirit of the place.

History Materials

Geographic

Climate

Light (or its absence) Regional

Traditions

Welfare

Nordic Architecture

Social

Society

Culture

Tactility Tectonic clearness and honesty

Ill. 1.16 Diagram showing the aspects of Nordic architecture

Church of Norway Before Christianity there had been no organized religion in Norway and The Church of Norway has for a thousand years represented the main expressions of religious belief in Norway. It has since the 16th century belonged to the Evangelical Lutheran branch of the Christian church and has since then been the state church until 2012. Today there is religious freedom in Norway, but the Evangelical Lutheran religious belief is still the country’s major religion. More than 75% of Norway’s population is currently a member of the Norwegian Church, but the

number is decreasing, and only three percent of the population is using the church regularly. (Church of Norway 2015). During the past several years, and particularly in the Middle Ages, there has been a widespread tradition of orientation of the churches. The churches should be facing east. Whether it has been obedience to a half thousand years old laws or uncritical respect for tradition is not known. Especially today there is a majority of modern churches, which are not facing east. One of the

main reasons is, that in order to accommodate the functions in the churches, they had to compromise and give more consideration to street layouts or functionality than corners of the world. The function of the church is therefor more important, however, it may be an advantage to make the churches facing east in the high and often dark North, as it will certainly give a great symbolic value by allowing the church receive sunlight through an east window behind the altar. (Moderne Dansk Kirkearkitektur 2015)

Norwegian architecture Norway have always had a strong tradition for using wood in the construction of buildings. Historically it has by far been the dominating material, while stone was a lengthier and more expensive process to use. (Norway Connects 2012). Therefore, stone as a material was used mainly to construct castles later churches. The traditional usage of wood in Norway was characterized by two approaches to the traditional types of building methods. The first one being

cog-jointed log houses, originating from the vast forests in the forest belt in the eastern part of Norway. The second is the stave construction method with its origins in the rugged and forded western part of Norway. In the western parts of the country the wood is sparser, and called for a more economical way of building (Titelius 2013). The solution was the stave system that relies on a structural system of fewer large loadbearing elements in the form of posts or staves. This structural system was then cladded with smaller

wooden elements with not structural purpose, panels for the walls and shingles for the roof to create the envelope (Hipple 2015). Of cause fusions between both typologies have occurred mainly in the central parts of the country. As mentioned earlier the stone was not the most widely used material, however when the AngloSaxons missionaries brought with them the masonry technique. This boosted the use of stone in Norwegian architecture. In the period from

1350 to 1450 the development in construction ceased, mainly because of the black death. In the 16th century, when the Danes invaded Norway the progress started again (Malmquist 2013). The nest big step in Norwegian architecture came in the 19th century, the Swiss style emerged and introduced new way of working with technologies and especially the details. The context in the Alps fitted well within the Norwegian context, and the Norwegians embraced it and created their

own style. This is what is generally recognized as the Norwegian style (Seip 2015). When the modernism was dominating during the 20th century a group of Norwegian architects started in the 80’s to abandon the excessive use of concrete, and return to the traditional material wood. The way wood was brought into the 21st century was through the use of modern technologies in the production and treatment.

wooden architecture begun. In 2010 the Norwegian authorities introduced the Norwegian architecture policy, called architecture.now. This document provides guidelines to how new buildings should take into consideration (Almaas 2010). Generally focus is on the how the architecture relates to the site, how it uses the local materials and how the building relates to the community (Kultur- og kirkedepartementet 2009).

At this point the era of Norwegian contemporary

Tectonic The word tectonic is descended from the Greek word ‘tekton’, which means carpenter or builder. Also remnants of the term can be found in literature and poetry of the ancient times. For instance, Homer, where the usage of the term refers to the general art of construction. The role of the tekton undergoes evolution through the ancient time, and eventually it evolved to the emergence of the master builder called the architekton. (Frampton 1995) “Tectonic becomes the art of joinings.’’ “Art” here is to be understood as encompassing tekne, and therefore indicates tectonic as assemblage not only of the building parts but also of objects, indeed of artwork in a narrower sense. Gottfried Semper published Four Elements of Architecture in 1851, where he divides the primordial dwelling into four basic elements; rampart, hearth, the roof and walls - some creating enclosure and a shelter, and tectonics of creating spatial constructions and atmosphere. From here he categorized the building crafts into two fundamental procedures – the tectonics of the frame, and the stereotomics of the rampart – which can be seen in the way that the light framework rises from the mass of the foundation. Frampton declared that construction

and structure in space is not only about the constructive technology, but about its expressive potential. For him the tectonics should be a poetic combination of construction, that in the whole picture creates surfaces and volumes and therefore spaces (Frampton 1995). The structural engineer Dan Engström argues that amongst architects the word tectonic has become a fashion to use and has become indistinct. Today many use it to describe architecture that uncritically shows the load bearing construction. To him tectonic architecture uses e.g. bearing and structural elements, to create experiences (Engström 2004) Space has become a part of the architectural thinking. Martin Heidegager broach following in this essay of 1954 entitled “Building, Dwelling, Thinking’’: “(…) Raum (red. room) means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary, Greek peras. A boundary is not that at which something stops, but, as the Greeks recognized, the boundary is that from which something begins its presenting.” This seeks to understand the way, that space

should be thought about in a tectonic matter. Also Steen Eiler Rasmussen thinks of the tectonic of space, and in his book “Experiencing Architecture of 1959, he describes the theory of ‘hearing architecture’, where he emphasizes the importance of the acoustical character of the architecture which will effect the spatial reflection or absorption of sound which have impact on the psychological response to the understanding of the room. Today almost every project it digitized and projects are designed using computational tools starting in increasingly earlier stages in the design phase. These tools open new doors structurally and therefore architecturally. In extension to this, these new tools also promotes closer and earlier collaborations between architects and engineers. This has also resulted in a renewed and growing interest for design using structural principles. (Nilsson 2007) The new digital tools combined changes in the industrial production, which has now become digitally directed, the production is no longer depending on a series of repetitive identical products. We are in an age mass production there will soon be obsolete and moving on to mass customization. Newly produced elements are unique and can therefore be optimized

individually to its constructive purposes. (Kieran & Timberlake 2004) The Nordic tectonics can be seen rather simple, with an authenticity and honest approach of materials. Often no decorative elements and plasters are used, but the architecture appears light, simple and pure. Often the detail in the craft methods used for Nordic architecture can relate to the regional. All of this can though be argued in many large contemporary buildings, where the honesty of material is cut and the craft methods are more industrializes and globalized than regional. Tectonics seems to be a very broad expression, and has perhaps been used to much and indistinctly. Trough new digital tools it has become easier for the “masses” to use it earlier and earlier in the design phase. But this could according to Engström also mean that the architect should be even more delicate and critical in what way to show the structural elements in a building. It is without a doubt one of not the most central parts in construction, and its importance in creating spaces can hardly be underestimated. With the ability to do greatly complicated structures the architect would also have a responsibility not to carried away.

Acoustic In his book experiencing architecture Steen Eiler Rasmussen discusses if architecture can be heard. He implies that because architecture reflects sound the same way as light, it can be heard just as it can be seen (Rasmussen 1964). This really emphasise the importance of the acoustical properties in a room. How a room behaves acoustically can completely change the users perception of the room (Rasmussen 1964) When designing a church one of the most important parameters for the design process is the acoustical properties of the church room. A

church room is acoustically rather complex, as it should accommodate both a long reverberation time for the music in the room while it also needs to support intelligible speech (Egan 2007). The acoustical characteristics of a room is highly depended on the shape of the room, whether the materials are reflective or absorbent. So all in all the volume shape finishing will affect the articulation of speech and the quality of music (Egan 2007) One of the key parameters to evaluate when designing a place for worship, is the reverberation time. The reverberation time is an indicator for

how long time the sound energy lasts. Normally churches should have a reverberation time above 1.4 seconds, in order to create the right sense of intimacy (Egan 2007). If it’s also used for organ music the reverberation time is recommended to be between 2 and 2.4 seconds (Egan 2007). Another aspect to keep in mind is the clarity in the room, it is and expression for the relation between early to late sound energy ratio. If the clarity is below 0 dB it means that the late energy is dominating. The higher the value is the more the initial sound dominates, making the

sound seem more clear. According to the British standard in measurement of room acoustics, it is recommended to have a clarity between -2 and 2 dB (British Standard Group 2009). The definition of a room is an expression of the early to total sound energy ratio. The closer the value is to one the higher is the definition of speech. Acceptable values for the definition in a church is between 0.3 and 0.7 (Cunha & Smiderle & Bertoli 2013). It is really a balance between creating a room with a long reverberation time favourable for the music and having a room

with a clear definition favoured for speech. When designing a church room one can use different guidelines to achieve good acoustical conditions. The volume of the room is important. It is advised to have 5.5 to 8.5 cubic metres per person. The number of churchgoers as they are the most effective absorbents in the church, therefore they should also be taken into account. Reflectors such as a canopies as seen above the pulpit in old catholic churches can be used to direct sound. Avoidance of domes, barrel vaults and other concave shapes (Cavanaugh 1959).

500 x

0.7 m2

350 m2 Ill. 1.17 Person to area ratio

500 x

5.7 -> 11.3 m3

2850 -> 5650 m3

Ill. 1.18 Person to volume ratio

SUMMARY OF ANALYSIS The new church will be located in the parish of Hatlehol in the eastern part of Ålesund, Norway. The site is surrounded by various functions, of which, the most important is the cemetery. The site is easy assessable by different forms of transport from the main road RV60 north of the site. Furthermore some smaller roads runs along the site and encircles it but are not crucial. The site is an undulating landscape, sloping from the north to the south containing wild nature with dense vegetation. In this part of Norway the length of the day varies significantly over the course of the year and with less than five hours

of daylight on the shortest day, the site will have a general lack of daylight during the winter. The keyword in Nordic architecture is the naturalness, the honest use of material, the tectonic clearness and the special ability to relate to the location. Nordic can be considered as an awareness and respect of the context through use of local material and an understanding of the local conditions and landscape. This is also the reason why the traditional building material in Norway is timber, chosen for its local availability and practicality.

Tectonics seems to be a very broad expression but can be considered as use of structure, construction, materials and detailing to improve desired atmospheres and appeal to human senses through view, light, acoustics and tactility. The Nordic tectonics can be seen rather simple, with an authenticity and honest approach of materials. Often no decorative elements and plasters are used, but the architecture appears light, simple and pure. Often the detail in the craft methods used for Nordic architecture can relate to the regional.

VISION

The vision of the project is to design a church that will give identity to the town in form of a visual landmark, to create a sacred environment, inside and outside, through light, materials and architectural form. And in all this, to create a flow in the building, there accommodate the client’s need.

DESIGN CRITERIA

-Create a new landmark for the local community around Hatlehol -Respect the nature and use the natural terrain on the site -Create the frame for a spiritually strong experience for the users -Use the exterior space to create an experience for the visitor, and use it to frame the architecture and the nature -The architecture should represent the values in Nordic architecture -Unify the spiritual functions with the regular usage of the churches other facilities -Respect the requests and needs to the functions and connections in the program from the client

PRESENTATION

DESIGN CONCEPT The church is placed on the northern part of the site, where the elevation is on its highest, and by that the sloping form can complete the elevation like the top of a mountain. Based on the Nordic traditions of complimenting the landscape and the nature, most of the church is placed under

the ground. Only the most important part of the church, the church room, is seen above the ground. The form of the church room is extremely clean and elegant and is sloping towards the sky. On this location the church will also have the mountains in the background. The

rest of the building, there is under the ground, is lit up by five big courtyards there is cut down trough the earth to the building. The courtyards give a lot of light to the building, but even more important it brings the nature into the building.

The church is placed on top of the building

The church continue the terrain towards the sky

Additional functions is layed out besides the church

Complex dug down

Openings created for light and access

Bringing nature into the building

Ill. 2.1 Design concept

MASTER PLAN

N 25[m]

Ill. 2.2 For 1:500 plan see drawing no. 10

PLAN

1 Church room – 763 m2 2 Sacristy for baptism – 42 m2 3 Toilet – 37 m2 4 Meeting room – 39 m2 5 Staff toilet – 10 m2 6 Office – 137 m2

7 Additional sacristy – 23 m2 8 Sacristy – 14 m2 9 Storage – 31 m2 10 Entrance Hall – 580 m2 11 Storage – 38 m2 12 Congregation hall – 153 m2

13 Kitchen – 59 m2 14 Disp. – 16 m2 15 Cloister – 16 m2 16 Chapel – 100 m2 17 Technical room – 37 m2 18 Church hall – 92 m2

19 Children’s chapel – 53 m2 20 Class room – 23 m2 21 Class room – 24 m2 22 Toilet – 23 m2 23 Activity room – 43 m2 24 Workshop – 29 m2 25 Music room – 29 m2 26 Refuse – 13 m2

16 11

14 15

17 1 12

2 3

22 10

4 21 25 6 5

Ill. 2.3 For 1:200 plan see drawing no. 9. For evacuation plan see appendix 2.

SECTIONS

Ill. 2.4 For 1:200 section see drawing no. 3

Ill. 2.5 For 1:100 section see drawing no. 4

Ill. 2.6 For 1:200 section see drawing no. 2

Ill. 2.7 For 1:200 section see drawing no. 1

ELEVATION

Elevation north Ill. 2.8 For 1:200 elevation see drawing no. 5

Elevation south Ill. 2.9 For 1:200 elevation see drawing no. 6

Elevation east Ill. 2.10 For 1:200 elevation see drawing no. 7

Elevation west Ill. 2.11 For 1:200 elevation see drawing no. 8

Concrete walls Wooden walls Concrete/Wood walls Glass walls

MATERIALS Honesty is an important part of this project, which is reflected in the materials chosen. All the outer walls are constructed in grey concrete, showing their structural purpose for the load from the earth. Furthermore the concrete reflects the light, which is appreciated in these dark areas. All the floors

Ill. 2.13 Grey concrete

Ill. 2.12 Plan showing the materials used in different elements in the building

in the church are also made of grey concrete. From the outside the only visible material on the church is pinewood. The pinewood is treated with iron sulfate, which protects the wood against the weather and gives the wood a silver-gray color

Ill. 2.14 Iron sulfate treated pine

through time (Norsk Treteknisk Institutt 2012). For further information on iron sulfate see appendix 3. On the inner walls the material is untreated pinewood. Entrances and all courtyards are made in glass in order to get as much light in as possible.

Ill. 2.15 Normal untreated pine.

OUTDOOR To respond the clients requests of outdoor areas, there has been created several paths around the site with different purposes. The paths are divided into three different categories; a creek path, an architectural path and a forest path. These three paths have got three different focus points. The creek path travels along the water on the western part of the site. The architectural path moves on top of the building and leads the visitor to see both the church tower and the courtyards, which creates a visibility inside the building. The last path, the forest path, is placed on the eastern side of the site and is thought to have very dense and wild nature surrounding it. Furthermore, there is a main path, which connects the entrances with the parking lot. This path is also connected to a service road. Enabling access for special vehicles such as ambulances, hearses, disabled transportation and for fire engines to come with the required distance of the building. The two main paths culminate in front of the entrances, which creates a church square. The tree meditative paths are connected to the main paths and besides that they meet up and are connected north of the church tower. Here the path system is also connected to the main road allowing for access for the visitor using public transport. The ceremonial place is positioned as a part of the steep terrain on the eastern part of the site, and is connected to both the church

square and the forest path. The ceremonial place and the area north of the church are

both located in order to provide a photographic scenery, framing both architecture and nature.

Ill. 2.16 Diagram showing outdoor area

VISUALIZATIONS

Creek path

Different paths are situated in the surrounding landscape of the church. In this case, the meeting between the church tower when walking on the creek path is shown. At this angle the church tower shows its both strict and sloping surface, that almost stands out as a mountain in the landscape. Because of the horizontal window ribbon, the tower will also light up as a landmark during the night time.

Ill. 2.17

Entrance

When arriving to the front of the church, you are met by entrances cut into the terrain, which leads into the building. These two entrances are the only part, aside from the church tower, that is visible on the site. From this angle, the shape of the church tower is really shown to it’s full advantage - the sharp tip pointing towards the sky. Also this angle reveals the meeting between the building and the landscape, and shows how the building is cut into the terrain. Ill. 2.18

Church room

The main church room is dominated by light interior together with the brightness of the diffuse northern light. The concrete is used in the lower part of the walls and on the floor, which is under the ground, in relation to the honesty in material usage. The dominance of the roof slope gives a majestic feeling and creates a sacred feeling.

Ill. 2.19

Chapel

The chapel has a mysterious feeling, with a more intimate experience compared to the main church room. The appurtenant courtyard is emphasizing a calm and artless experience by the usage of water, bedrock stone and light and it’s absence. The dominant usage of concrete, together with the bedrock on the outside, gives the chapel a rough tactility. Ill. 2.20

View to the chapel

Already when entering the building, the glance is drawn towards the chapel. It stands out as a separate part, with a whole other purpose than any other functions. However, it still becomes a part of the entire experience of the building in the way, that the journey towards the chapel both includes the transparency to other rooms and the greenery in the court yard. Both light and warmth, and cold and rough materials meets in this part of the building, which makes it a unique place.

Ill. 2.21

Courtyard

To get enough light into the building, several courtyards are made. These provides light for the rooms that requires daylight. Furthermore, the court yards draw the green element into the building, and creates a strong relation to the nature. The courtyards should be usable for the visitors and to emphasize that, the relation from the inside and out is made in an attempting of blurring the boundary. Ill. 2.22

Outdoor area

This render shows the approach to the church from the north eastern part of the site. Here you are meet by the dominant pointy, but yet elegant roof of the church, which is the only part visible above ground. The view, that you are meet with in this particular sight, really clarify the vision of the building – a clear shape grown out of the terrain, standing out as a landmark and growing out of the landscape and melt into the nature. This shows the creating of a new landmark in Hatlehol. Ill. 2.23

STRUCTUAL Church room

The structural system in the main church room is based on a wooden structure. The bottom part of the structure are composed of two parts. The exterior walls towards the terrain are concrete walls, and the back wall in the room is based on eight wooden pillars, one for each beam above. The exterior wall above the terrain is made from a frame construction. The frame is applying shear wall effect to the structure enabling it to withstand the horizontal forces inflicted on it. Attached to the top point in the frame construction and on each pillar in the back wall is the curved beams. The curved beams are giving the roof its overall shape. The section of the members varies throughout the beams to optimize the use of material making the cross section as small as possible to accommodate both efficiency, the joining at the top and the bending forces within. The last elements are the top beams running between the curved beams, and supports the roof. The curved beams are divided into two sizes according to the loads applied to them, which varies especially due to the varying snow load. For further results see appendix 4.

Top Beams

Curved Beams

Front Wall Elements Back Wall Pillars

Concrete Walls

700x500 500x400

260x150

83% 84%

93%

350x200 500x300

660x420

94% 590x400

450x450

95%

97%

99% 98%

400x400

75% Ill. 2.24 The church room’s structual system

The rest of the building Besides the church room, there is also developed a structural system for the rest of the church complex. Due to the fact that the main part of the building is dug down under ground, the exterior walls are constructed in reinforced concrete. This means that the exterior walls are loadbearing elements transferring the vertical loads down to the ground. The rest of the structure is made in wood. The roof is supported by a series horizontal beam elements, in three different section dimensions. The horizontal beams transfer the loads to the pillars that transfers the loads down to the ground. The pillars are placed as a part of the interior walls. The restraints for the system is fixed connections for the bottom end of the pillars and hinged connections on top of the exterior walls supporting some of the beams. More details on the results and process can be found in Appendix 5.

Tetiary Beams

Secondary Beams

Primary Beams

Pillars

Concrete Walls

Congregation Hall Pillars

280x140

440x220

650x350

350x350

550x550

Ill. 2.25 Structual system of the rest of the building

DETAILS From a structural point of view there is a need for diving further down to the details of the building to get an understanding of how the structure works and how it should be build. The details are made in specific places in the building and are showing what materials is used and how the materials are connected. There is a total

of seven different details for this project, which show the most critical places for this structure, such as the top point in the church room and several details of courtyard issues. The next pages shows the most important details and rest of the details can be found in appendix 6.

Cross section CALE :50 20 3 1 12 2-5 65 1 50 -

Green estate Green roof substrate Filter layer Drainage layer Protection mat Waterproof membrane PIR insulation Vapour control layer Light conrete - 2% slope layer Wooden slab HPL layer Airspace for installations Suspended wooden panels

Detail A

+460 1 Story

300

110

+460 1 Story

±0 0 Ground Floor

5 12 20 5 30

Concrete Protection layer PIR insulation Rainforced concrete slab Waterproof membrane Flatting light conrete layer Lime sand

Detail B

Ill. 2.26 Cross section

Detail A - 1:20

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

1. Glass railing (2 layers) 2. Zinc L-shape profile with protection mat from railing side 3. 30x150mm wooden panels 4. L-shape steel profile mounted with screws 5. Steel add-ons for the rail’s bolts 6. 30x70mm timber vertical cladding element 7. 300x650mm timber beam 8. Railing steel bolts 9. 120mm of PIR thermal insulation 10. 30x70mm timber horizontal cladding element 11. 30x300mm suspended wooden panels 12. Vertical steel support elements for the curtain wall 13. 80x150mm curtain wall aluminum system 14. Electric cable trace 15. Suspended ceiling twig

12. 13.

15. 14.

Detail A 60

Ill. 2.27 Detail A 1:20

Detail B - 1:20

7. 6.

Detail B

2. 3. 4. 5.

1. Curtain wall (3 layers of glazing) 2. External additional silicon gum 3. 80x150mm curtain wall aluminium system 4. 5mm protection layer 5. 120mm of PIR thermal insulation 6. Protection layer 7. Internal additional silicon gum 8. Floor heating in concrete layer

Ill. 2.28 Detail B 1:20

Detail C - 1:20 C

3. 2.

4. 5. 6. 7.

Detail C 62

W1 30 Wooden panels 30 Horizontal support element of the cladding 150 Wool insulation 50 Acoustic styrofoam 150 Wool insulation 30 Horizontal support element of the cladding 30 Wooden panels 1. 80x150mm curtain wall aluminium system 2. 80mm of PIR thermal insulation 3. 50mm of PIR thermal insulation 4. L-shape wooden panels 5. 30mm of PIR thermal insulation 6. 350x350mm timber pillar 7. 100x350mm timber vertical support for the internal cladding 8. 30x50mm timber horizontal support element of the cladding

Ill. 2.29 Detail C 1:20

Detail D - 1:20

1. 2.

CRW1

CRW1 30 Wooden panels 30 Horizontal support elements of the cladding 30 Vertical support elements - Windproof membrane 50 PIR thermal insulation 150 Wool insulation 100 Acoustic insulation 150 Wool insulation - Vapor proof membrane 30 Horizontal support elements of the cladding 30 Wooden panels 1. 100x400mm timber vertical support for the internal cladding 2. 400x400mm timber pillar

Detail D

Ill. 5.10 Detail D 1:20

Detail G - 1:50 CRR1 30 Wooden panels 100 Support element for the panels (direction with the slope of the surface) 300 Curved wooden beam - Vapor proof membrane 200 PIR thermal insulation - Waterproof membrane 50 Support element for the panels (direction with the slope of the surface) 50 Exterior wooden panels CRR2 200 Wooden support element for the insulation layer 200 PIR thermal insulation - Waterproof membrane 5 Support element for the panels (direction with the slope of the surface) 5 Exterior wooden panels CW2 200 PIR thermal insulation - Windproof membrane 30 Vertical support elements 30 Horizontal support elements of the cladding 30 Wooden panels 1. Air space 2. Light steel truss 3. From this height above support elements for the elevation should be connected directly to the steel truss

4. Wooden beam with steel cross profile inside - support for the light truss finish of the “toping” 5. Steel cap (“toping”) with the triangular elements for the bolt connection with the beams 6. Steel bolts connecting the cap with wooden beam inside 7. Wooden beam (screwed to the steel profile) 8. Steel profile 9. Steel bolt 10. Beam’s steel element with two rounded profiles (for bolt connection to the toping) 11. Steel wires for suspended horizontal wooden supports 12. Steel bolts 13. Wooden beam - support for the insulation and support elements for the wooden elevation 14. [inside the beam] Steel profile connected to the beam with steel bolts 15. Wooden supports for the cladding 16. Wooden panels screwed to horizontal supporting element 17. Wooden panels screwed to the beam 18. Wooden supporting beam 19. Aluminum profile for church glazing 20. Horizontal wooden panels 21. Horizontal support elements for the horizontal panels

+ 35,00

SCALE 1:20

Structure scheme Structure scheme 2.

5. 6.

CRW2

CRR2

7. 8. 9. 10.

11. 12. 13.

21. 20.

14.

19. 18. 17.

CRR1

16. 15.

Detail G

Ill. 2.31 Detail G 1:50

ACOUSTIC The requirements in the competition material presented a need for a church room suitable for both music and speech. The church room is designed to have the organ and the choir in the front of the audience, to make it not only an auditory but also a visual experience. The organ is placed to the right front and the choir to the left of the audience. Furthermore,

Priest

the priest is positioned centrally all the way in the front of the room. The idea behind the positioning of the priest, organ and choir, was to differentiate the reverberation time. The purpose of this was be to have a high reverberation time for the music and shorter for the priest. However, it was not as successful as hoped for.

There are used no acoustic panels in the final design for the church room it relies only on the main materials of the room and its overall geometry. The concrete in the bottom of the room is the most effective reflector, and the convex shaped ceiling functions as one big diffuser scattering the reflection throughout the room.

Organ Back receiver

Choir Ill. 2.34 Record of original music

Ill. 2.32 Record of original speech

Front receiver

Ill. 2.35 Music from organ position recorded by the front receiver

Ill. 2.33 Speech from priest position recorded by the front receiver

Ill. 2.36

The final acoustical results for the church room, is as showed in the graphs below. The reverberation time should between 2.0 – 2.5 seconds to accommodate a good environment for music. The reverberation time is in the fully occupied church room just below for both the organ and the priest. When the room is half full the reverberation time is right in the middle of the optimal span.

The clarity in the room is in generally very good as well with almost all the cases falling between the preferred span of negative two to two. The same goes for the definition where the far majority of the results are above the minimum. It is really a balance between the many factors when designing an acoustically multifunctional

T30 Priest [s]

2,7

room. If the definition for example would be raised, the clarity increases and the reverberation decreases and moves out of their optimal zones. In extension to this the room should also function with different amounts of people, which makes the window of successful results even smaller.

T30 Organ [s]

2,7

2,5

Half-‐Priest to Front

2,3

Half-‐Organ to Front

2,3

Full-‐Priest to Front 2,1

Half-‐Priest to Back Full-‐Priest to Back

1,9

Full-‐Organ to Front 2,1

Half-‐Organ to Back Full-‐Organ to Back

1,9

min 1,7 1,5

max

62,5

125

250

500

1000

2000

4000

1,5

8000

C80 Priest [dB]

min 1,7

3 2

Half-‐Priest to Front

Full-‐Priest to Front Half-‐Priest to Back

-‐1

Full-‐Priest to Back

-‐2

min

-‐3

max

-‐4 62,5

125

250

500

1000

125

250

500

2000

4000

8000

1000

2000

4000

8000

C80 Organ [dB]

Half-‐Organ to Front

Full-‐Organ to Front Half-‐Organ to Back

-‐1

Full-‐Organ to Back

-‐2

min

-‐3

max

-‐4 -‐5

62,5

125

250

500

1000

2000

4000

8000

Ill. 2.37 Acoustical results

D50 [%]

62,5

-‐5

max

45 40 35

Half-‐Priest to Front

30 25

Full-‐Priest to Front

Half-‐Priest to Back

Full-‐Priest to Back

min

5 0

62,5

125

250

500

1000

2000

4000

8000

DESIGN PROCESS

INTRODUCTION The design process for the project is based on the analysis’ and theories’. There has been an extensive focus on using performance aided design as a part of the integrated design process. The process is in this section divided and presented in six separate phases describing the main elements in the final project. Each separately presented segment of the process, consists of everything from the early

sketches and models to the final optimisation and detailing. Of cause the different segments presented here is in reality very difficult to define individually and are overlapping in the process of making the project as a whole. The overall process has right from the beginning been heavily influenced by input from the acoustical, and not much later, the structural performance of the building. This has resulted in a

process were the overall designing of the building has had a lot of input from very quantitative and measurable studies besides the aesthetics. It is very important to stress the fact that the actual design process was not this divided nor linear. This has been done purely to break it down into separate parts in an attempt to present it in a more understandable manner.

Design process diagram Workshop 1 - Acoustics

Workshop 2 - Structure

Acoustics

Structure

Church room

Plan

Light

Courtyard

Chapel Ill. 3.1 Design process

ACOUSTICS Phase 1

The overall process started with a workshop in acoustics. The focus with the workshop was on exploring different geometries from an acoustical point of view, and explore what effect different geometries had on acoustical performance of a room. In the beginning the shapes were drastically different and represented various examples of overall shapes cubic, prismatic, curved etc. This

was mainly done to get an understanding on how geometry of a room affected its acoustical performance. In extension to the general acoustical analysis, two types of roofs dominated the further process - the jagged roof and the convex shape, which both have an excellent ability to scatter the sound in order not to create echo.

Ill. 3.2 The results were evaluated from a comparison of the different model in charts. The charts were made so the required area for both clarity and reverberation was highlighted, as it’s seen above.

Phase 2 The next phase was to take the concepts that worked the best and go into more detail with those, by for example introducing multiple sources and receivers for sound and experimenting with different materials. In order to make the comparisons as accurate as possible it was important to set up the parameters of each phase prior to the experimentation. For example, it was important to keep the volume

and materials of the rooms consistent as it has a big effect on the reverberation time. This could then give an unclear image of the results and make comparisons harder. After each phase it was found important to thoroughly sum up and evaluate the results, and least but not last conclude on what would be the next step to explore. At the end of the intense workshop it was found

very important to evaluate the results graphically in order to get an overview of the results. This was because of the immense amount of data to process, if there were to many uncertainties when trying to compare the actual number instead of having them as a graph. The result of this workshop can be seen on the following pages.

Ill. 3.3 The pictures above shows some of the models that evolved from the first acoustical phase. The models show how different shapes were used in order to clarify how the idioms affected the acoustic.

Ill.3.4 Again, the results were evaluated from a comparison of the different model in charts. The models were evaluated in multiple cases taking the different positions of the audience in consideration. This was mainly done to examine how the placing of the organ and priest made most sense in acoustical regard.

Subsequent work For the design the workshop had a huge effect on the later work, thanks to this it was possible to very quickly decide on what overall shape should be carried on the later work. This also allowed the normally lengthy initial sketching phase to be shorted significantly as the frame for the overall image was already set. The later work with the acoustics of the church room moved on to a way more detailed level. In the beginning it was a big factor in deciding

on the materials in the church room, as it could be used as a very clear quantitative factor. Parallel to the structural development there was made numerous iterations through parametric modelling. These iterations focused on very small changes in the overall geometry of the room, in everything from the height of the individual pillars altering the height in certain parts of the room, to small changes in the curvature of the roof. Also slight changes in the positioning of the priest,

choir and audience could quickly be evaluated and used as a deciding factor for the interior of the church room. The tools mainly used has been computational modelling tools for modelling everything from the simple start geometries to the parametric and more complex final geometries. The calculations and auralizations was done using computational tools as well. But also simple hand sketching was used in the very beginning of the process.

Ill.3.5 The model seen above was an iteration from phase 2 in the acoustical workshop. This was the form, that caught on the further acoustical process. The shape of dramatic up going roof was also found interesting in aesthetical and structural aspects. This model laid out the foundation for the further work on the church room. Therefore, this model was undergoing further iterations in the program Pachyderm, and several parameters were changed during the process in order to create the optimal acoustics for the church room.

Ill. 3.6 Above some examples of acoustical iterations of the church room. Parameters of the roof shape was changed in order to find to optimal acoustic, required for the church. The charts were used in order to compare the results.

STRUCTURAL Workshop introduction

concave shapes could be to the acoustic performance. Traditional compressive structures work very well structurally in a concave shape. With this as a starting point the workshop was used to explore different structural systems to find a solution to how the structural system could

Solution

Problem

In extension to the acoustics workshop held in the beginning of the project, a second workshop on the structure of the church room followed. One of the main lessons learned from the acoustic workshop was how effective convex shapes worked, not to mention how problematic

Ill. 3.7 Above the initial concerns brought from the acoustical part till the structural part is illustrated.

also accommodate the acoustic goals, while still having an aesthetically strong shape.

Phase 1 The first phase of the workshop was much like the acoustic workshop, focused on very different systems. The goal of this was to try many different systems and explore their potential. Of cause the convex shape was a broad hint to use a tensile structure. Again in this workshop it was

important to have the results as comparable as possible, so defining a frame for the experiments was extremely important e.g. having the same height and span. In order to keep it as simple as possible the very first phase was made as a one dimensional structure. These structures

where then tested with exploratory loads, and evaluated. For this part the structures modelled using parametric software, and tested with simple vertical loads. The results can be seen on the following illustrations.

PHASE 1 PHASE - INVESTIGATING THE CONVEX SHAPE SHAPE 1 - INVESTIGATING THE CONVEX Width of the module: 20 m

Load applied: 1000 kN Load applied: 1000 kN Section dimensions of the elements: 12x24 cm Section dimensions of the elements: 12x24 cm

Concept T1

Statically indeterminated

Deformations, momentums,momentums, tensions, compressions Deformations, tensions, compressions T3

Concept T3 Statically determinated

Concept T2

Statically indeterminated

2250 1500

1500 750

750 0

Concept T3 Statically determinated

0 C1

Concept C2

Statically indeterminated

•

Concept C3

C1 • •

Statically indeterminated

Elevation

400 200

Elevation Perspective view

• Perspective view •

1,24 T2

C2 T1

C3 T2

C2 T1

C3 T2

0,35

7,2

125 0

1200 900

600 300

300 0

ty for collapse due to robustness ty for collapse due to robustness • Pillars Pillars

Max. compressions

900 600

250 125

1200

1200 900

900 600

600 300

300 0

T2 T3 T2 T3 0 0 T2 T3 C1 C3 T3 C1 C2 T3 C1 C3 T2 T1 T2 LowT1Displacement • LowT1Displacement • C2 T2No pillars • No pillars • C2 T1 No pillars • C3 Simple design • Simple • design Sloped roof • roof Simple construction • Sloped • Sloped roof • Sloped roof • Covered convex shape • convex Sloped roof • Covered shape • Few parts means larger • possibiliFew parts means larger possibili• • High displacement T1

375 250

1,24

1200

400 200

250 125

500 Momentums C1 C2

375 250

500 375

Max. compressions

600 400

200 0

125 0 T3

800 600

600 400

200 0

Concept C2

• • • •

Concept C3

800 C1

7,2

Max. tensions

Tension max. Tension [kN] max. [kN]

Statically indeterminated

0,35 T1

500 375

750 0 C1

800 600

Tension max. Tension [kN] max. [kN]

Statically indeterminated

500 Momentums

1500 750

800

Concept C1

C3 T2

2250 1500

Max. tensions

Concept C1

3000 2250

Displacement Displacement [mm] [mm]

Statically indeterminated

C3 T2

3000 Displacements C1 C2

3000 2250

Displacement Displacement [mm] [mm]

Concept T2

C2 T1

[kNm] MomentumMomentum [kNm]

Compresion Compresion max. [kN] max. [kN]

3000 Displacements

[kNm] MomentumMomentum [kNm]

Statically indeterminated

Compresion Compresion max. [kN] max. [kN]

Concept T1

Width of the module: 20 m Input data (Karamba): Height of the structure: 10 m Input data (Karamba): Height of the structure: 10 m

C1 C2 C3 No pillars Simple construction Sloped roof High displacement

C1 C2 C3 C2 C3 • Visible shapehave a sloped • Doesn’t a sloped roof roof • Have a sloped roof Visible convex shape • convex Doesn’t roof • haveHave a sloped • lower Larger of visibly part lower • Partly•visiblyVisibly structure • Visibly convex shape Larger amount of part • amount Partly structure convex shape • High maximum tension and possibility for collapse possibility for collapse • High maximum tension and • More material compression More material compression top • roof Doesn’t have a sloped roof Have a Doesn’t have a sloped • Have a top •

Ill. 3.8 The purpose of the second phase in the structural workshop was with the agenda to investigate the convex shape working in mainly tension or compression. Above the scheme of results form the phase is shown. The comparison was done with charts together with a qualitative evaluation.

Phase 2 For the second part of the workshop the focus moved on to exploring how the different structural concepts from the first phase could be implemented into a spatial system, and accommodate a room within. Here the majorities

of the systems were structures that were either truss’ or working mainly in tension. So of cause a lot of the focus were on how a tensional system could be pinned in a high node and still keeping a functional interior and the aesthetics in mind.

Here simple physical working models was the main media accompanied by computational calculations. Also researching on other cases that had similar challenges proved a great help.

Ill. 3.9 Here the physical models from phase two are shown together with some perspectives of the volume, that is created by the structure.

Phase 3 The next part of the workshop went from being exploratory with many structural concepts to be more about the iterations of the once who performed the best in the previous phases.

The loads for the calculations were now done with partial coefficients and load combination factors in accordance to Eurocode with both ultimate and service limit state. This resulted in

a temporary structural system relying on truss as the main element.

PHASE 2 - ITERATIONS Input data (Karamba): Plan width of the truss: 30 m Height of the structure: 35 m Load applied: Wind load and snowload included Section dimensions of the elements: 12x24 cm

V0 [3T]

Number of truss elements: 20 m Position of the two, truss suporting pillars: 10 Height of the base pillars: 3,1m Height of the trusses: from 1m to 2,9m

Deformations, momentums, tensions, compressions Displacements V0

V1 [5T] 100

Momentums V1

2879mm

V2 [7T]

V5 400

165

300

110

Max. compressions V3

220

Compresion max. [kN]

Tension max. [kN]

V4 [15T]

Max. tensions

V3 [10T]

Momentum [kNm]

Displacement [mm]

158,68

200

100

V5 [20T]

Perspective view

Top view

Elevation

Ill. 3.10 Above, the physical models from phase three are shown together with some perspectives of the volume, that is created by the structure.

Subsequent work

Subsequent to the workshop the structural system was then redone replacing the truss with simple beams. Furthermore, the front walls in the

church room was utilized to create spatial stability to horizontal loads.

Ill. 3.11 After having worked for a long time on the truss system it proved problematic when considering the thickness of the structure with at height of the truss of about 1.5 meters. After this a simpler beam system was attempted at proved itself very useful.

The next step in the process was to optimize the structure, and use as little material as possible, this meant subdividing certain members into smaller

groups. These groups could then be utilized even more, instead of doing the dimensioning for the lowest denominator. This also helped solving the

problem of finding a solution to put the structure together, which was the finishing touches to the structure.

Ill. 3.12 On the pictures above, some sketches and a model in the process towards the finishing touch to structure joinery is shown.

OVERALL PLAN

Initial phase

The overall plan for the project is another of the main elements in the design process. The process is again based on the design parameters, as well as the room program from the client. The program was very clear and was the governing factor in the layout of the plan. The initial phase of the composition of the plan went on how much the church could be divided into separate segments. The first proposals were characterized by falling

into two overall groups, the once scattering all the functions and the once collecting them into a compact building. Later on in the initial phase the overall plan started to take shape. The most effective way to progress with the plans was to clearly define a certain task or problem and timespan to do an investigative sketching phase focusing on that. At the end

of each phase it was extremely important to thoroughly sum up and evaluate the process and plan the next step, in order to keep the phase. The main tools for the preliminary design phase was of cause hand drawings. But in correlation with a very rough context model with all functions cut in simple foam blocks, to have an overview and a sense of scale.

Ill. 3.13 One of the methods in the planning of the overall plan was the usage of foam blocks applied on a working model. Above some of the overall function planning is shown using the block to create the right room connections according to the clients requests.

al nic m2 ch Te : 30,278

Eva

ntr

r nte 2

,969

e ap Ch :

dia Me :

atio

m oo r R m2 iste 0,000

Clo

om 2 inro m Dra : 26,508

Eva

e 2 m rag Sto : 60,134

. sty m2 om ac 2 cri Ro m2 Sa : 15,900 d. S 00 m et. A Ad : 16,0 Me : 28,450 A

atio

e m2 fus Re : 28,284

m oo 2 hR m

l m pe ha 2 roo m2 . C 20 m ss ild Cla : 24,943 Ch : 39,6 A

urc 740 Ch : 742, A

en m2 ch Kit : 42,692

. ap

f. B m2 c. Sa : 40,000

m roo m2 ss Cla : 24,943 A

ll Ha 2 rch m hu ,056

ine an m2

e 2 m rag Sto : 10,000 A

3,74

all n H m2

tio

sic 00 Mu : 25,0

re ng Co :

om Ro m2

2 t m ile To : 28,888

zz Me : 72,549

al nic m2 ch Te : 21,164 A

ice

Off : 60,000 A

al 2 2 nic m2 mt ing mch 00 e Din 25,0T00 oil ,000Te 35,0 A:

ity m2 tiv Ac : 35,000 A

p ho m2 rks Wo : 20,000 A

Ill. 3.14 Another method used in the overall planning was sketches. Here some of the concepts in the planning of the functions are shown. Both variations of collecting the function in one building and as a scattered plan is shown.

GSPublisherVersion 0.5.100.100

Courtyards and daylight

Further on in the process the building was dug down, in order to let the nature, roam the site, this did however create a few challenges. One is of cause the access to the building, to accommodate this focus was made on how open the facades of the building should be, and generally how the building meets the surrounding terrain. In extension to this there is in the nature

of things a challenge in how the building is lit up, when there are no facades. In order to accommodate the lack of daylight interior courtyards were introduced. The purpose of the courtyards was to light up the building, provide outdoor access for the users and create vertical connections both visually and for the nature. The proposals for dimensions and layout

of the courtyards were simulated in order to visualize the daylight factor in the room in need of daylight, this was done in an iterative process testing different arrangements. The daylight calculations were made within framework of requirement in certain rooms and prioritized list of what rooms are in need of daylight.

Ill. 3.15 On the pictures above, some of the iterations regarding the intake of light, among these the use of courtyards as a source of light. Also different degrees of burying the building is shown from partly to fully burial of the church.

Ill. 3.16 Perspective drawings were made in order to state the expression of the the different degrees of burying of the church in Ill. 3.17 Also daylight simulations were used as a design criterion. relation to church tower. The discussion was whether to make the building grow out from the terrain or to cut it into it.

Detailing

The last touches to the overall plan was to focus on certain challenging details unique to the project. The solutions for these were made through iterations and in accordance to the

design parameters to and trying to solve them. The process behind the overall plan was not surprisingly using a lot of tools, with everything from calculations, hand sketching, modelling,

3d modelling etc. In addition to this it was found very effective to use different mood boards to describe what materials and feelings underling the different ideas.

Ill.3.18 One of the working methods when working on the sense, material, lights and experience in the different parts of the building was using mood boards. This made it possible to be very clear about what the desired feelings should be. Another part of the detailing process was to make the finishing touches on the challenging details. In order to do so, it was necessary to work in a psychical model, so the details could be treated more a more manageable way.

Materials Materials has indirectly played a role in every single phase of this project. Wood was also already mentioned as a part of the analysis phase due to the history of local materials and the Nordic architecture approach. In the acoustic workshop also concrete was introduced. Concrete has a low absorption coefficient which makes it very reflective. In the church room the desirable reverberation time should be pretty high, and therefore it was decided to work a long

with these materials. Also, as described on the previous page, mood board were used as a tool, to describe the desired feeling and experiences. Along with this material were mentioned in relation to light and what effect the materials were wanted to create in this relations. On the basis all the experiences throughout the process a material workshop was held. The aim for this workshop was to combine the materials,

and determine which materials should be used, and where. The main objective of the material workshop was to stay honest in the usage of materials. That meant that all the materials should reflect the construction of the given element. The same was current for the choice of materials. In extension to the material studies, the material library has been used extensively in order to get a feel for the tactility in the materials.

Ill. 3.19 On the pictures above, some of the combinations in materials are shown. These were discussed and held up against the desires for being honest and the wanted sense.

Developing the detail Another part of the detailing was structural and tectonic detailing approach. As a part of developing the detail, the meeting between the materials were opposed. For instance, the

meeting between the dug down walls and the walls facing the outside in the church were approached. Also the meeting between the walls and the

courtyards were discussed. These details were investigated in both sketches, detail drawing and in smaller working models.

Ill. 3.20 The pictures above show some of the working detail models and sketches, that were made to investigate the gathering between surfaces and materials.

DETAILING THE SACRED PLACES

Church room

The church room and chapel has been undergoing a lot of different inputs from many parameters as a part of the integrated design process. The church rooms overall shape is mainly defined by quantitative parameters, but the feeling that is

wanted from the room is still not measureable. A lot of focus has been on how this feeling, defined earlier in the design phase, is kept alive in the room. The post processing of the room has been

focused on how the dominating high point of the roof could be emphasised in the indoor area. For this a light study was made in order to work with the experience inside the church, and how to emphasize the roof and volume.

Ill. 3.21 Mainly the process of the church room stems from the acoustical and structural workshop, but another very important aspect was the interior and the lightning. Above some of the interpretations from this phase is shown. Picture one shows what sense the main goal was to create. Picture two shows different interior plans, which were, among others, assed in proportion to the clients desires and the function diagram mad in the analysis phase. Picture three shows some iterations of a window and light study.

Chapel The chapel on the other hand needed a different approach. The alterations in the design was focused on the journey to the chapel, how open it should be towards the nature and especially how the people inside should experience the

room. As the purpose of the room is more calm and personal than the church room, focus has been on making it an open room, with space for privacy and contemplation, and the sense in the room should appeal to being calm. The process

here is very closely related to the rest of the overall plan, due to the meeting with hallways, the courtyard, and its relation to the surrounding functions, and the journey from the entrance to the chapel.

Ill. 3.22 The approach of designing the chapel was made in continuation of the previously described phase. The mood boards served as a springboard for the desirable sense and experience in the room. After this a sketch of the desired feeling was made, which can be seen above. The journey from the main part of the church to the chapel was, as said earlier, an important design criterion, and above different sketches from that design detailing phase is shown.

OUTDOOR Functions

The last focus point in the process is the outdoor area around and on top of the building, both because it was a central part of the design parameters and beacause it was one of the

requests in the competition material. The early part of the design process was focused on how separated building parts could be used to shape the access path to the building and frame it.

Besides the path aspects the outdoor program should also consist of a ceremonial space, a well-situated place to take photographs and a parking lot.

Ill. 3.23 Above, some of the sketches concerning the approach to the church is shown.

Paths

From the beginning it was very clear that the paths around the terrain should flow naturally with the terrain, and be naturally shaped by it.

The first phase of outdoor design focused on the path and was put into three subcategories: a main path from parking lot to church, service

path and a meditative path.

Ill. 3.24 Above some of the sketches of the path is shown. They ask for creating several paths, that will give the spectator a journey around the site, building and nature.

Detailing

As well as the paths should use the terrain as a design parameter, the ceremonial site should use the natural inclination in the terrain. The paths going around the site was shaped so that they did not only go around the site, but also act as connections to the main road north of the site

and to the graveyard to the east. Through numerous iterations and layouts of the outdoor area, the design was changed in accordance with rules for for example turning circles, parking dimensions, disabled access and access by fire engines.

Furthermore, materials where discussed with the focus on how they could be used to mark differences and purposes of the infrastructure. The tools used in the process relied a lot on site and sun studies, working in model and 3D to understand the site and of cause sketching.

Connection to northen road

Connection to graveyard

Ceremonial place

Ill. 3.25 The pictures show the way the requirements for connections and incorporation of a ceremonial place and a mood board of inspiration.

Ill. 3.26 Above a mood board of material iteration is shown along with detailing of incorporation of parking ad technical requirements for turning space for cars in front of the building.

CONCLUSION The process behind the final design, has been achieved trough an integrated design process. The beginning of the process was heavily influenced by a very performance based approach, which has also influenced the overall design process. The process in the different segments of the design process has generally been the same starting with explorative sketching and modelling which moved on to more elaborate and exact iterations which transformed into optimizations. A very crucial part of the process was the evaluations and conclusions. The most effective workshops and phases throughout the process was undouble the once that was the most

thoroughly evaluated once as well. In extension to this a lot of the qualitative discussions were also more effective, when going back to the design parameters and very precisely formulating “What do we want?” instead of having discussions based subjective preferences arguing “What do I like?” Oppositely in the quantitative evaluations used in the more technical aspects of the process, they were very concrete and easy to agree on. Generally, the performance aided design process has speed up the initial design process significantly. Where as many would argue that the introduction of more technical aspects in the

design process are creating obstacles for the final design. But really if they are introduced early in the process, they could just as well be sources to input and help evaluate the design process. In extension to the performance aided design, the use of parametric design tools has helped the process a lot. Thanks to the parametric tool the link from input parameters for the design to the actual model and therefore evaluation has been speed drastically up. This means more iteration and therefore better optimization. Furthermore, the shorter time from input to model, also means that the design could be changed at a later phase than usually.

Parameters

Model

Evaluation

HeightOfConerPillar HeightOfBackWalls LengthOfWalls AngleBetweenWalls

Structure

DebthOfCurves DebthOfCurves NumberOfBeams NumberOfCurvedBeams NumberOfPillars NumberWallElements Supports Restraints

Aestetics Overall

Model

Reflection

Acoustics Functionallity Context Rules Loads Site

Ill. 3.27 Diagram exemplifying the iterational workflow in the PAD process, in this case of the church room showing the design parameters

EPILOGUE

CONCLUSION There has in this project been designed a new church for the Hatlehol community. The church is located on a hillside high in the landscape. With its curved shaped roof rising out of the terrain it functions as a beacon and a landmark in the landscape. This is however done in a delicate manner so that it does not compromise the nature on the site. The design of buildings interior arranges the many functions requested by the client, in a way to support the important connections between the different functions. This makes enables the building to be used to its full potential, allowing for simultaneously events in the building, and to expand the main church room for occasions where that need is present. At the same time the overall functions of the church are divided so that the sacred functions are not disrupted by the propane functions. At the same time the propane functions of the church are also separated into the administrative part, and the children’s part also accommodating the functions for the scouts. The outdoor spaces of the project have been designed to have as small impact on the existing

terrain and possible. In extension to this the nature and natural terrain, have shaped the layout of the paths and the ceremonial site the terrain. This has been designed so that the paths flows with the terrain and becomes a natural part of it. The parking lot is placed on the southern edge of the site to preserve the nature, and make the journey towards the church as much of an experience as possible, staging the nature as well as slowly revealing the architecture. The entire complex is dimensioned in accordance to international Eurocode using Norwegian factors when it was possible, for example in calculating the snow load. Other dimensioning’s and calculations of the building has mainly been done in accordance to Danish legislations and standards. As an example is the building envelope calculated to accommodate the Danish requirements to in accordance to the energy class 2015. Also fire regulations and daylight requirements are satisfying in accordance to the Danish building code. The architectural style fits well within the principals of Nordic architecture, which is visible

in the usage of different materials not to mention the attention to the usage of light and the lack of it to. The Light is a central element in the project. The interior of the building I functionally lit up by carefully placed courtyards, supplying a sufficient amount of daylight to the functions in need of it. The light has also got an important effect in the sacred places. In the sacred functions the light is more as an effect to set a certain atmosphere. The church room is constructed through a performance aided design process combining goals set for acoustics and the structure, resulting in aesthetically strong and elegant architecture with satisfying acoustical properties supporting both speech and music. The room also uses traditional local materials and emphasises the fact the visitors are walking underground through the use of concrete. The smaller chapel are using the same materials as the church room. But in the chapel the different usage of light and overall proportions of the room creates a different atmosphere. In the chapel the design is created to provide a breeding ground for privacy and personal contemplation.

REFLECTION This project has truly introduced a new way of approaching a design process, as seen in the performance aided design process. It goes well in interaction with process behind the problem based learning, and is brilliant example of how what integrated design could be. Often the technical requirements to an architectural project is seen as a problem or an obstacle that has to overcome without it “ruining the project”. But if they are just introduced early enough in the process they can be used actively as a design parameter. When having the performance aspects of a building in mind early in the project they can provide quantitative results. Quantitative results can make selections and evaluations more effective and the overall process more goal orientated, and in the end help to create even better architecture. A way to have made the use of performance aided design even more effective could have been through better preparation. At the beginning of

the project there were three days to prepare for the workshop on acoustics. This workshop could have been even more effective, if the site and overall assignment had been thoroughly analysed. The performance aided design approach works very efficiently through the use of parametric design tools. With contribution from parametric design even models and calculations of it could be made at a much higher phase than through an analogue approach. Thus allowing for more iterations and a more effective process which again results opportunity to optimize the final building even more. This was possible through the entire process, right from the early experimentations to the last minimal optimizations. The many different tools make it even more important be very vigorous with organizing the process, and evaluating the results thoroughly. With the amount of data and input there is in the process, it is crucial to use it the right way. It was

proved throughout the process that the situations that was the most inefficient was also the once that was least organized. The process of optimizing the building in different aspects is of cause a never ending task, so there are of cause parts of the building that could have had some more attention if there had been more time. One of those is defiantly the structure of the church room were the focus has been on optimizing the curved beams in the six groups they were divided into. Whereas the top beams are only divided into two, here there is defiantly room for improvement. Furthermore, some aspects of the project are based on estimates e.g. the insulation in the building envelope is determined by simple u-value calculations. This is done without calculating the thermal indoor climate. Also the atmospheric and acoustic indoor climate is based on estimates.

REFERENCES Literature

Aalborg Universitet, 2015, Fakta om lyd, accessed 10 December 2015, http://acoustics.aau.dk/research/lf/soundfacts. html Almaas I. H., 2010, Architecture Norway, Arkitektur N, accessed 24 November 2015 <http://www.architecturenorway.no/about/> Andersen, M. & Schelde, J., “Arkitektur giver form til vores tilværelse” quoted in Kjeldsen, K., Schelde, J., Andersen, M. & Holm, M. (ed.), 2012, New Nordic - Arkitektur & Identitet, Humlebæk, Louisiana Museum of Modern Art, p. 32-55 Bamford, G., 2002, From analysis/synthesis to conjecture/analysis: a review of Karl Popper’s influence on design methodology in architecture, Department of Architecture, Zelman Cowen Building The University of Queensland, Brisbane, Australia.

Church of Norway, 2015, Church of Norway, Oslo, accessed 9 November 2015, <https://kirken.no/nb-NO/church-of-norway/ about/brief-history/> Danmarks Metrologiske Institut, 2015, Danish Ministry of Energy, Utilities and Climate, Copenhagen, accessed 13 December 2015, <http:// www.dmi.dk/uploads/tx_dmidatastore/webservice/1/_/1/3/2/20141231_1.pdf> Egan, M. D., 2007 Architectural Acoustics, J. Ross Publishing, Plantation, Florida.

Frampton, K., 1995, Studies in Tectonic Culture, The MIT Press, Cambridge, Massachusetts. Hipple, A. S., 2015, Real Scandinavia, Washington, accessed 11 November 2015 <http://realscandinavia.com/the-stave-churches-of-norway/> Hvattum, M., 2012, “At skabe steder” quoted in Kjeldsen, K., Schelde, J., Andersen, M. & Holm, M. (ed.), 2012, New Nordic - Arkitektur & Identitet, Humlebæk, Louisiana Museum of Modern Art, p. 100-115 Ibler, M., 2014, A New Golden Age – Nordic Architecture & Design, Archipress M, Aarhus Kieran, S. & Timberlake, J., 2004, Fabricating Architecture. How manufacturing methodologies are poised to transform building construction, McGraw-Hill, New York.

British Standard Group, 2009, Measurement of room acoustic parameters. Performance spaces, BS EN ISO 3382-1:2009, British Standard, London.

Knudstrup, M. 2005, Arkitektur som integreret design, Red: Botin, L. and Pihl, O. eds, 2005, Pandoras boks: metode

Bygningsreglementet 2014, Energistyrelsen, Copenhagen, accessed 10 december 2015, <http:// bygningsreglementet.dk/br10_04_id76/0/42>

Eindhoven University of Technology, Eindhoven, 10-12th December 2007.

Kultur- og kirkedepartementet, 2009, Arkietektur. nå, Kultur- og kirkedepartementet, Oslo.

Cavanaugh, W. J., 1959, Acoustics in church Design, Liturgical Arts, May, Hudson.

Engström, D., 2004, Arkitektur & bärverk, Formas, Stockholm.

Lund, N., 2008, Nordisk Arkitektur, 3rd edn., Copenhagen, Arkitektens Forlag.

Bryman, A.,2012, Social research methods, Oxford University Press Inc., Oxford.

Cunha, I. B. & Smiderle, R. & Bertoli, S. R. 2013, Influence of sound reinforcement system on acoustic performance in a Catholic Church, paper presented at International Symposium on Room Acoustics ISRA. Conference Proceedings., Toronto, 9-11th June 2013.

MacKeith, P., 2012, “Bygningskunsten den sociale kunst tanker om en nordisk offentlig arkitektur” quoted in Kjeldsen, K., Schelde, J., Andersen, M. & Holm, M. (ed.), 2012, New Nordic - Arkitektur & Identitet, Humlebæk, Louisiana Museum of Modern Art, p. 134-155 Malmquist, E.B., 2013, A black-and-white debate about historical preservation in Norway, Uncube Magazine, Berlin, accessed 11 November 2015 < h t t p : / / w w w. u n c u b e m a g a z i n e . c o m / blog/10680491>

Norsk Treteknisk Institutt, 2012, Jernvitriol: Gråning av tre, assessed 12th december 2015 h t t p : / / w w w. t re t e k n i s k . n o / f u l l s t o r y. a s p x ?m=193&amid=12626 Norway Connects, 2012, Norway Connects, accessed 9 November 2015 <http://www.norwayconnects.org/sofn/culture/89>

Rasmussen, S. E., 1964, Experiencing Architecture 2nd Edition, The MIT Press, Cambridge, Massachusetts.

Moderne Dansk Kirkearkitektur 2015, Folkekirkens Pædagogiske Institut, Løgumkloster, accessed 9 November 2015, <http:// kirkearkitektur.dk/bygningens-morfologi/andre-kendetegn/orientering.html>

Seip, E., manager of the Norwegian Architecture Museum, Architecture in Norway, Reisenett, Oslo, accessed 9 November 2015 <http://www. reisenett.no/norway/facts/culture_science/architecture_in_norway.html>

Nilsson, F., 2007, New Technology, New Tectonics? - On Architectural and Structural Expressions with Digital Tools, paper presented at Tectonics Making Meaning. Conference Proceedings.,

Stice, J. E., 1987, Using Kolb’s Learning Cycle to Improve Student Learning, ERIC Engineering Education, February-March, Institute of Education Sciences.

Nilsson, F., 2007, New Technology, New Tectonics? - On Architectural and Structural Expressions with Digital Tools, paper presented at Tectonics - Making Meaning. Conference Proceedings., Eindhoven University of Technology, Eindhoven, 10-12th December 2007.

Time and Date 2015, Time and Date A/S, Stavanger, accessed 8 November 2015, <http://www. timeanddate.com/sun/norway/alesund> Titelius, J., 2013, ArtOdysseys: Norway’s Historic Stave Churches EuroTravelogue, accessed 9

November 2015 <http://www.eurotravelogue.com/2013/08/Norways-Stave-Churches.html> WeatherSpark 2015, Cedar Lake Ventures Inc., San Francisco, accessed 8 November 2015, <https://weatherspark.com/averages/28840/ Alesund-M-re-og-Romsdal-Norway> World Weather and Climate Information 2015, World Wide Travel Organisation, Netherlands, Accessed 8 November 2015, <https://weather-and-climate.com/average-monthly-Rainfall-Temperature-Sunshine,alesund,Norway> Yr.no 2015, Norwegian Meteorological Institute and Norsk rikskringkasting AS (NRK), Oslo, accessed 8 November 2015, <http://www. yr.no/sted/Norge/M%C3%B8re_og_Romsdal/%C3%85lesund/%C3%85lesund/statistikk. html> Ålesund Kirkelige fellesråd, 2008, En åpen planog designkonkurranse for Hatlehol Kykje, Ålesund Ålesund Kommune, 2015, Ålesund Kommune, Ålesund, accessed 9th November 2015, < h t t p : / / w w w. a l e s u n d . k o m m u n e . n o / f a k ta-om-alesund/om-byen/byhistorie/tidsreise>

Illustations All illustrations are own illustrations exept the following: 1.12 credits: JVA Architects <http://www.jva.no/ projects/small/nappskaret.aspx#> 1.13 credits: JVA Architects <http://www.jva.no/ projects/small/nappskaret.aspx#> 1.14 credits: Snohetta <http://snohetta.com/ project/42-norwegian-national-opera-andballet> 1.15 credits: Lundgaard & Tranberg <http://www.ltarkitekter.dk/skuespilhuset/ t8rljd6nvqz5h9s8rmrf7qzahwfymg> 2.13 credits: Arrowway Textures, 2015, concrete-19_d100, <https://www.arrowaytextures.ch/> 2.14 credits: texturelib.com <http://texturelib. com/#!/category/?path=/Textures/wood/ planks%20new> edt. Own illustration 2.15 credits: texturelib.com <http://texturelib. com/#!/category/?path=/Textures/wood/ planks%20new> 5.2 credits: architettura-italiana.com <http:// architettura-italiana.com/projects/299811primus-architects-stamers-kontor-forest-house>

100

101

APPENDIX

APPENDIX 1

Room program

Type of rooms Sacred rooms Church room

Number of rooms Size 1

Mezzanine

Sum m2 500 seats

750 m2

15-30 people

75 m2

Children’s chapel

20-30 people

40 m2

Chapel

20-30 people

80 m2

Cloister room

Sacristy for baptism

5-10 people

40 m2

Metting room

2 -5 people

25 m2

Sacrity

2 people

12 m2

Common room Additional sacristy

16 m2

Entrance hall

100 m2

Storage

For chairs and books

60 m2

Church hall

20-40 people

80 m2

Congregation hall

50-100 people

150 m2

Kitchen 104

Administation

45 m2

Church hall

20-40 people

80 m2

Congregation hall

50-100 people

150 m2

Room program Kitchen

Type of rooms Sacred rooms Administation

45 m2

Number of rooms Size

Sum m2

Church room

1 6-8

500 seats

750 60 m2

Mezzanine Metting/dining

15-30 8 people

75 25 m2

Children’s chapel

1 2

20-30 people

40 10 m2

Chapel Wardrobe/entrence

20-30 people

80 10 m2

Cloister Technicalroom room

Sacristy for baptism

5-10 people

40 m2

Metting room Other rooms

2 -5 people

25 m2

Sacrity Class room

1 2

2 people 10-15

12 50 m2

Music room

10-15 people

25 m2

Common room Activity room

12 35 m2

35 m2

Additional Storage sacristy

16 10 m2

Entrance Refuse hall

100 12 m2

Storage Workshop

3 1

For chairs and books

60 20 m2

Church Laundryhall room

20-40 people

80 10 m2

Congregation Public toilet hall

1 5

50-100 people

150 28 m2

Kitchen Drainroom

45 30 m2

Administation I alt

1845 m2 6-8

60 m2

105

APPENDIX 2 Fire regulations

According to the Danish fire regulations, the building should refer to a specific usage category, which in this case is usage category 3: Usage category 3 compromises buildings in which the mainly stay is during the daytime for many people. Also it must be assumed, that the people in building do not necessary has knowledge of the buildings emergency exits, but they are still capable of bringing themselves to safety. (Bygningsreglementet, Energistyrelsen 2014) Evacuation should be possible effortless and with a directly path to either a secure fire section/cell or to the outside of the building. They maximal distance to an escape route should not surpass 25m from any given point in the room. Besides there should always be at least one additional evacuation path to the main

106

escape route, e.g. a window, in case of blocking of the primary fire escape route. The two possible fire escape routes should be independent, which they are when they are minimum 5 m separated. Furthermore, the amount of paths to escape routes should be dimensioned from the anticipated amount of people using the given room. A fire escape could be one of the following: • A door to the terrain • A door to a fire escape hall in another fire cell/ section, wherefrom there is access to the outside or a fire escape staircase • A door to a fire escape staircase that leads to the outdoor terrain A door to a main escape path should always at least have a width of 77 cm, but in places with many persons located the same place, the width

is recommended not to be under 10 mm per person of which the room is dimensioned to. The total of this width should be distributed to all of the primary fire exits. Moreover, the doors in room with a lot of people which is over 150 m2 is endorsed to be double doors and the door must in the direction of the escape. According to the fire regulations the min. floor area in usage category 3 in room with chair arrangements, which in this case would be e.g. the church room, is suggested to 1,0 mm2 per person. Escape way paths should at least be 1,3 m in width, but not less than 10 mm per person using the room. (Bygningsreglementet, Energistyrelsen 2014)

Escape routes Emergency exits Fire sections Escape routes Ill. 5.1 Evacuation plan

107

APPENDIX 3 Iron sulfate

This material can be used as priming paint on wooden materials, mostly it’s applied on spruce and pine. Iron sulfate helps the wood to be more tough against hard weather, as rain and sun. the treatment gives the wood color nuances of silver and grey and reminds of a untreated wooden façade after a few years. This kind of treatment has a long tradition in the Norwegian building history and it’s only become more popular over the years. (Norsk Treteknisk Institutt 2012)

108

Ill. 5.2 Pine treated with iron sulfate

APPENDIX 4 Loads

Load combinations

The structural system of the church has been build as a finite-element-model (FEM) and therefrom been calculated. The impact from the loads working on the system can be determined from the load combinations calculated according to ultimate limit state (ULS), given by:

Loads

On the diagram ill. 5.3 the loads working on the system can be seen. Because of the dramatic sloping of the roof, it has been necessary to calculate a special snow load. It has therefore been divided into two part: one that has been calculated with an angle above 60 degrees, which therefore means no snow affecting the loads, and one that has been calculated as a flat roof. The snow from the +60o part of the roof will slide to the lower part of the roof, which means that the snow load impact in this section will be bigger, and therefore it’s calculated as a flat roof as an extra percussion . The division of the roof can be seen on ill. 5.3.

Snow load

and serviceability limit state (SLS), given by: Dead load

The combination factors are given by the dominating load in a combination, and in this case the system has been calculation in two cases – dominating wind load and dominating snow load, in both ULS and SLS. Following combination factors has been used according to Eurocode0:

Following partial factors has been used: Ill. 5.3 Structure with loads

109

Structual behavior

Ill. 5.4 On the drawing stated above, the deformation of the structural system is shown.

110

Ill. 5.5 This illustration shows how the stresses are spread in the structural system, given by a Karamba analysis. The tension is given by blue colour, and compression is marked by the red colour.

Member verification in Robot On this page, the member verification from Robot is shown. On the diagram, the ratio usage of the beams is shown. This shows that a huge part of the beams has a usage percentage under 50 %, but it also shows that a big part of the beams in the roof has a high usage percentage. On the scheme stated below, a list of the members, which has a ratio usage above 90% is mentioned. This substantiate that the highest stress must be in the beams in the roof part, which may be caused by the way, that the loads affects the structural behaviour, as mentioned earlier.

Member Curved beam top 1st curved beam Curved beam bottom Front wall element Curved beam bottom 1st curved beam Curved beam bottom 2nd curved beam 2nd curved beam 3rd curved beam Curved beam bottom 1st curved beam 1st curved beam 4th curved beam 3rd curved beam 1st curved beam 1st curved beam 1st curved beam

Material GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h GL32h

Lay 69,98 16,45 18,92 7,09 18,4 16,45 19,13 22,32 22,32 32,25 18,4 16,45 17,1 43,42 32,25 17,1 16,91 16,45

Laz 69,98 25,85 27,9 7,09 27,14 25,85 28,22 37,2 27,2 56,44 27,14 25,85 26,88 26,57 28,22 56,44 56,44 75,26

ratio 0,99 0,99 0,98 0,97 0,97 0,96 0,95 0,95 0,95 0,94 0,94 0,93 0,93 0,93 0,91 0,91 0,9 0,9

Ratio <0,5 Ill. 5.6 Diagram showing the utilization ratios of structure members in the church room

>0,5

111

APPENDIX 5 Rest of the building

As mentioned in the Analysis part this project included not only the structural design of the church room but also the structural conept for the rest of the building. The need of using reinforced conrete for the retaining wall made the whole situation less complicated. It is beacuse of this that the external restrains were closed in two types of supports: base of the collumn and the external beams’ supports on the top of the wall. Sizes of the beam and distances between them helped in the design process by keeping visible grids of the rooms in the plan. The only one change in the almost repetetive language of the structural system was made in congregation hall were the middle pillar had to be moved to the wall to make the whole space clean from vertical structural elements.

COMPARING KARAMBA AND ROBOT OVERALL RESULTS

PHASE 1 PHASE 2 PHASE 3

KARAMBA RESULTS MAX. DISPLACEMENT MAX. MOMENTUM MAX. TENSION [mm] [kN] [kNm] 32,0 1,07 38,46 20,9 2,54 59,06 21,47 3,12 61,54

PHASE 1 PHASE 2 PHASE 3

ROBOT RESULTS MAX. DISPLACEMENT MAX. MOMENTUM MAX. TENSION MAX. COMPRESION WEIGHT [mm] [kN] [kNm] [t] [kN] 204,24 160 45,94 62,7 381,75 186,96 66 59,87 66,4 373,87 179,09 72 55,52 56,7 388,31 MAX. COMPRESION WEIGHT [t] [kN] 376,56 62,7 383,71 66,4 363,66 56,7

In the first phase, C30 class of wood was taken into the consideration. Because of the big snowload, roof and usability vertical forces structure was very dense of the beams at the beginning with the goal to make the elements small as possible. However results has shown that it is not only not enough (24 elements had ratio above 1) but also in many cases not very effective - 7,9% of elements had ratio below 0,1 and 20,19% of elements had ratio between 0,1 and 0,2. In the second phase it was all about delivering more solid structure which in first place will try to remove elements with ratio above 1. It meant to rise the sizes of the elements but also add special pillars in the congregation hall where the span was just too big to handle with not only the previous sized primary beams but also standard pillars. In adition wood class has been changed to GL32H This resulted with only one element with ratio above 1 (which was not in the congregation hall) however even more elements started to be not effective. Even though 7,08% (less) of elements had ratio below 0,1, much more elements had ratio between 0,1 and 0,2 - 27,84%. So that’s why last phase focused on optimalisation of the structure. It required a bit more elements but resulted with smaller sizes of the structural elements. What is more at the end there were no elements with ratio above 1 and also efficiencies of the elements were drasticly higher - 2,88% of elements had ratio below 0,1 and 12,63% had ration between 0,1 and 0,2.

112

Ill. 5.7 Scheme of the structural idea in the rest of the building

PHASE 1

RANGE OF RATIOS: NUMBER OF ELEMENTS: 0 - 0,09 58 0,1 - 0,19 148 0,2 - 0,29 177 0,3 - 0,39 119 0,4 - 0,49 78 0,5 - 0,59 58 0,6 - 0,69 41 0,7 - 0,79 9 0,8 - 0,89 10 0,9 - 0,99 11 >1,00 24 TOTAL: 733

PHASE 2

RANGE OF RATIOS: NUMBER OF ELEMENTS: 0 - 0,09 36 0,1 - 0,19 142 0,2 - 0,29 85 0,3 - 0,39 77 0,4 - 0,49 55 0,5 - 0,59 41 0,6 - 0,69 28 0,7 - 0,79 11 0,8 - 0,89 31 0,9 - 0,99 3 >1,00 1 TOTAL: 510

PHASE 3

Ill. 5.8 Diagram showing the utilization ratios of structure members in the rest of the complex.

RANGE OF RATIOS: NUMBER OF ELEMENTS: 0 - 0,09 16 0,1 - 0,19 70 0,2 - 0,29 122 0,3 - 0,39 103 0,4 - 0,49 92 0,5 - 0,59 45 0,6 - 0,69 51 0,7 - 0,79 30 0,8 - 0,89 19 0,9 - 0,99 6 >1,00 0 TOTAL: 554

113

PHASE 1 - ORIGINAL STRUCTURE HIGHEST RATIOS MEMBER SECTION MATERIAL LAY LAZ RATIO CASE 23 PILLARS C30 43.30 43.30 1.71 4 SNOWLOAD COMB PILLARS 26 C30 43.30 43.30 1.56 4 SNOWLOAD COMB 182 SECONDARY_BEAMS C30 8.95 17.90 1.49 4 SNOWLOAD COMB 181 SECONDARY_BEAMS C30 8.95 17.90 1.49 4 SNOWLOAD COMB 25 PILLARS C30 43.30 43.30 1.47 4 SNOWLOAD COMB 289 SECONDARY_BEAMS C30 7.04 14.07 1.46 4 SNOWLOAD COMB 180 SECONDARY_BEAMS C30 8.95 17.90 1.44 4 SNOWLOAD COMB 183 SECONDARY_BEAMS C30 8.95 17.90 1.43 4 SNOWLOAD COMB 407 SECONDARY_BEAMS C30 7.69 15.38 1.33 4 SNOWLOAD COMB 162 PRIMARY_BEAMS C30 7.16 14.32 1.28 4 SNOWLOAD COMB 161 PRIMARY_BEAMS C30 7.16 14.32 1.28 4 SNOWLOAD COMB 24 PILLARS C30 43.30 43.30 1.27 4 SNOWLOAD COMB 179 SECONDARY_BEAMS C30 8.95 17.90 1.27 4 SNOWLOAD COMB 184 SECONDARY_BEAMS C30 8.95 17.90 1.24 4 SNOWLOAD COMB 160 PRIMARY_BEAMS C30 7.16 14.32 1.22 4 SNOWLOAD COMB 171 PRIMARY_BEAMS C30 7.16 14.32 1.19 4 SNOWLOAD COMB 172 PRIMARY_BEAMS C30 7.16 14.32 1.19 4 SNOWLOAD COMB 173 PRIMARY_BEAMS C30 7.16 14.32 1.16 4 SNOWLOAD COMB 163 PRIMARY_BEAMS C30 7.16 14.32 1.16 4 SNOWLOAD COMB 166 PRIMARY_BEAMS C30 7.16 14.32 1.13 4 SNOWLOAD COMB 167 PRIMARY_BEAMS C30 7.16 14.32 1.09 4 SNOWLOAD COMB 266 SECONDARY_BEAMS C30 7.04 14.07 1.04 4 SNOWLOAD COMB 256 SECONDARY_BEAMS C30 7.04 14.07 1.04 4 SNOWLOAD COMB 170 PRIMARY_BEAMS C30 7.16 14.32 1.03 4 SNOWLOAD COMB 159 PRIMARY_BEAMS C30 7.16 14.32 0.98 4 SNOWLOAD COMB 246 SECONDARY_BEAMS C30 7.04 14.07 0.97 4 SNOWLOAD COMB 178 SECONDARY_BEAMS C30 8.95 17.90 0.96 4 SNOWLOAD COMB 189 SECONDARY_BEAMS C30 8.30 16.60 0.96 4 SNOWLOAD COMB 174 PRIMARY_BEAMS C30 7.16 14.32 0.94 4 SNOWLOAD COMB 260 SECONDARY_BEAMS C30 7.85 15.70 0.94 4 SNOWLOAD COMB 269 SECONDARY_BEAMS C30 7.85 15.70 0.94 4 SNOWLOAD COMB 455 TETIARY_BEAMS C30 26.85 53.69 0.94 4 SNOWLOAD COMB 185 SECONDARY_BEAMS C30 8.95 17.90 0.93 4 SNOWLOAD COMB 403 SECONDARY_BEAMS C30 7.04 14.07 0.90 4 SNOWLOAD COMB 276 SECONDARY_BEAMS C30 7.85 15.70 0.90 4 SNOWLOAD COMB 499 TETIARY_BEAMS C30 29.23 58.46 0.89 4 SNOWLOAD COMB PILLARS 1 C30 43.30 43.30 0.87 4 SNOWLOAD COMB 250 SECONDARY_BEAMS C30 7.85 15.70 0.87 4 SNOWLOAD COMB 188 SECONDARY_BEAMS C30 7.04 14.07 0.86 4 SNOWLOAD COMB 164 PRIMARY_BEAMS C30 7.16 14.32 0.85 4 SNOWLOAD COMB 237 SECONDARY_BEAMS C30 8.23 16.45 0.85 4 SNOWLOAD COMB 275 SECONDARY_BEAMS C30 7.04 14.07 0.84 4 SNOWLOAD COMB 406 SECONDARY_BEAMS C30 7.69 15.38 0.82 4 SNOWLOAD COMB 157 PRIMARY_BEAMS C30 7.16 14.32 0.80 4 SNOWLOAD COMB 328 SECONDARY_BEAMS C30 8.18 16.36 0.80 4 SNOWLOAD COMB 176 PRIMARY_BEAMS C30 7.16 14.32 0.79 4 SNOWLOAD COMB 508 TETIARY_BEAMS C30 29.23 58.46 0.79 4 SNOWLOAD COMB 304 SECONDARY_BEAMS C30 8.18 16.36 0.76 4 SNOWLOAD COMB 521 TETIARY_BEAMS C30 46.55 93.10 0.75 4 SNOWLOAD COMB 147 PRIMARY_BEAMS C30 29.16 58.31 0.74 4 SNOWLOAD COMB 146 PRIMARY_BEAMS C30 29.16 58.31 0.74 4 SNOWLOAD COMB 283 SECONDARY_BEAMS C30 7.85 15.70 0.74 4 SNOWLOAD COMB 442 TETIARY_BEAMS C30 46.55 93.10 0.71 4 SNOWLOAD COMB 169 PRIMARY_BEAMS C30 7.16 14.32 0.70 4 SNOWLOAD COMB 622 TETIARY_BEAMS C30 46.55 93.10 0.69 4 SNOWLOAD COMB 268 SECONDARY_BEAMS C30 7.07 14.15 0.68 4 SNOWLOAD COMB 490 TETIARY_BEAMS C30 29.23 58.46 0.67 4 SNOWLOAD COMB 235 SECONDARY_BEAMS C30 7.85 15.70 0.67 4 SNOWLOAD COMB 512 TETIARY_BEAMS C30 46.55 93.10 0.66 4 SNOWLOAD COMB 517 TETIARY_BEAMS C30 29.23 58.46 0.66 4 SNOWLOAD COMB 618 TETIARY_BEAMS C30 46.55 93.10 0.65 4 SNOWLOAD COMB 195 SECONDARY_BEAMS C30 8.30 16.60 0.65 4 SNOWLOAD COMB 231 SECONDARY_BEAMS C30 7.04 14.07 0.64 4 SNOWLOAD COMB 230 SECONDARY_BEAMS C30 7.07 14.15 0.64 4 SNOWLOAD COMB 571 TETIARY_BEAMS C30 54.67 109.34 0.64 4 SNOWLOAD COMB 570 TETIARY_BEAMS C30 54.67 109.34 0.64 4 SNOWLOAD COMB 494 TETIARY_BEAMS C30 46.55 93.10 0.64 4 SNOWLOAD COMB 493 TETIARY_BEAMS C30 46.55 93.10 0.64 4 SNOWLOAD COMB 484 TETIARY_BEAMS C30 46.55 93.10 0.63 4 SNOWLOAD COMB 485 TETIARY_BEAMS C30 46.55 93.10 0.63 4 SNOWLOAD COMB 140 PRIMARY_BEAMS C30 3.24 6.48 0.63 4 SNOWLOAD COMB 141 PRIMARY_BEAMS C30 3.24 6.48 0.63 4 SNOWLOAD COMB

114

PHASE 1 - ORIGINAL STRUCTURE LOWEST RATIOS MEMBER SECTION MATERIAL LAY LAZ RATIO CASE 118 PRIMARY_BEAMS C30 5.66 11.32 0.01 4 SNOWLOAD COMB 135 PRIMARY_BEAMS C30 3.85 7.70 0.01 4 SNOWLOAD COMB 298 SECONDARY_BEAMS C30 9.53 19.05 0.01 4 SNOWLOAD COMB 299 SECONDARY_BEAMS C30 9.53 19.05 0.01 4 SNOWLOAD COMB 280 SECONDARY_BEAMS C30 9.53 19.05 0.01 4 SNOWLOAD COMB 297 SECONDARY_BEAMS C30 9.53 19.05 0.02 4 SNOWLOAD COMB 120 PRIMARY_BEAMS C30 4.84 9.67 0.02 4 SNOWLOAD COMB 300 SECONDARY_BEAMS C30 9.53 19.05 0.02 4 SNOWLOAD COMB 281 SECONDARY_BEAMS C30 9.53 19.05 0.02 4 SNOWLOAD COMB 279 SECONDARY_BEAMS C30 9.53 19.05 0.02 4 SNOWLOAD COMB 100 PRIMARY_BEAMS C30 15.59 31.18 0.02 4 SNOWLOAD COMB 37 PRIMARY_BEAMS C30 14.72 29.44 0.02 4 SNOWLOAD COMB 134 PRIMARY_BEAMS C30 2.63 5.26 0.02 4 SNOWLOAD COMB 122 PRIMARY_BEAMS C30 4.02 8.03 0.02 4 SNOWLOAD COMB 296 SECONDARY_BEAMS C30 9.53 19.05 0.02 4 SNOWLOAD COMB 127 PRIMARY_BEAMS C30 4.11 8.21 0.03 4 SNOWLOAD COMB 133 PRIMARY_BEAMS C30 3.91 7.83 0.03 4 SNOWLOAD COMB 131 PRIMARY_BEAMS C30 3.98 7.95 0.03 4 SNOWLOAD COMB 278 SECONDARY_BEAMS C30 9.53 19.05 0.03 4 SNOWLOAD COMB 129 PRIMARY_BEAMS C30 4.04 8.08 0.03 4 SNOWLOAD COMB 125 PRIMARY_BEAMS C30 3.28 6.57 0.03 4 SNOWLOAD COMB 327 SECONDARY_BEAMS C30 7.69 15.38 0.03 4 SNOWLOAD COMB 124 PRIMARY_BEAMS C30 3.19 6.39 0.03 4 SNOWLOAD COMB 119 PRIMARY_BEAMS C30 0.82 1.64 0.03 4 SNOWLOAD COMB 123 PRIMARY_BEAMS C30 2.46 4.93 0.03 4 SNOWLOAD COMB 132 PRIMARY_BEAMS C30 2.57 5.13 0.03 4 SNOWLOAD COMB 341 SECONDARY_BEAMS C30 8.18 16.36 0.04 4 SNOWLOAD COMB 121 PRIMARY_BEAMS C30 1.64 3.28 0.04 4 SNOWLOAD COMB 130 PRIMARY_BEAMS C30 2.50 5.00 0.04 4 SNOWLOAD COMB 128 PRIMARY_BEAMS C30 2.44 4.88 0.04 4 SNOWLOAD COMB 126 PRIMARY_BEAMS C30 2.37 4.75 0.04 4 SNOWLOAD COMB 438 SECONDARY_BEAMS C30 7.69 15.38 0.05 4 SNOWLOAD COMB 151 PRIMARY_BEAMS C30 15.30 30.60 0.06 4 SNOWLOAD COMB 245 SECONDARY_BEAMS C30 8.23 16.45 0.06 4 SNOWLOAD COMB 243 SECONDARY_BEAMS C30 8.23 16.45 0.06 4 SNOWLOAD COMB 317 SECONDARY_BEAMS C30 7.69 15.38 0.06 4 SNOWLOAD COMB 679 TETIARY_BEAMS C30 27.60 55.21 0.07 4 SNOWLOAD COMB 437 SECONDARY_BEAMS C30 7.69 15.38 0.07 4 SNOWLOAD COMB 418 SECONDARY_BEAMS C30 7.58 15.16 0.07 4 SNOWLOAD COMB 419 SECONDARY_BEAMS C30 7.58 15.16 0.07 4 SNOWLOAD COMB 302 SECONDARY_BEAMS C30 8.30 16.60 0.08 4 SNOWLOAD COMB 61 PRIMARY_BEAMS C30 15.59 31.18 0.08 4 SNOWLOAD COMB 277 SECONDARY_BEAMS C30 9.53 19.05 0.08 4 SNOWLOAD COMB 339 SECONDARY_BEAMS C30 8.18 16.36 0.08 4 SNOWLOAD COMB 378 SECONDARY_BEAMS C30 8.30 16.60 0.09 4 SNOWLOAD COMB 730 TETIARY_BEAMS C30 29.23 58.46 0.09 4 SNOWLOAD COMB 311 SECONDARY_BEAMS C30 8.30 16.60 0.09 4 SNOWLOAD COMB 74 PRIMARY_BEAMS C30 15.59 31.18 0.09 4 SNOWLOAD COMB 722 TETIARY_BEAMS C30 29.23 58.46 0.09 4 SNOWLOAD COMB 675 TETIARY_BEAMS C30 27.60 55.21 0.09 4 SNOWLOAD COMB 731 TETIARY_BEAMS C30 29.23 58.46 0.09 4 SNOWLOAD COMB 732 TETIARY_BEAMS C30 29.23 58.46 0.09 4 SNOWLOAD COMB 733 TETIARY_BEAMS C30 29.23 58.46 0.09 4 SNOWLOAD COMB 16 PILLARS C30 43.30 43.30 0.09 4 SNOWLOAD COMB 351 SECONDARY_BEAMS C30 7.58 15.16 0.09 4 SNOWLOAD COMB 382 SECONDARY_BEAMS C30 8.30 16.60 0.09 4 SNOWLOAD COMB 352 SECONDARY_BEAMS C30 7.58 15.16 0.09 4 SNOWLOAD COMB 600 TETIARY_BEAMS C30 28.69 57.37 0.09 4 SNOWLOAD COMB 725 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 723 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 729 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 724 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 726 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 671 TETIARY_BEAMS C30 27.60 55.21 0.10 4 SNOWLOAD COMB 727 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 728 TETIARY_BEAMS C30 29.23 58.46 0.10 4 SNOWLOAD COMB 80 PRIMARY_BEAMS C30 24.83 49.65 0.10 4 SNOWLOAD COMB 667 TETIARY_BEAMS C30 27.60 55.21 0.10 4 SNOWLOAD COMB 655 TETIARY_BEAMS C30 27.60 55.21 0.11 4 SNOWLOAD COMB 6 PILLARS C30 43.30 43.30 0.11 4 SNOWLOAD COMB 415 SECONDARY_BEAMS C30 8.18 16.36 0.11 4 SNOWLOAD COMB 417 SECONDARY_BEAMS C30 7.58 15.16 0.11 4 SNOWLOAD COMB

PHASE 2 - MAKING STRONGER STRUCTURE HIGHEST RATIOS MEMBER SECTION MATERIAL LAY LAZ RATIO CASE 231 SECONDARY_BEAMS GL32H 6.89 13.79 1.03 4 SNOWLOAD COMB 141 PRIMARY_BEAMS GL32H 7.34 13.64 0.92 4 SNOWLOAD COMB 117 PRIMARY_BEAMS GL32H 2.99 5.55 0.91 4 SNOWLOAD COMB 118 PRIMARY_BEAMS GL32H 2.99 5.55 0.91 4 SNOWLOAD COMB 389 TETIARY_BEAMS GL32H 93.10 186.20 0.88 4 SNOWLOAD COMB 405 TETIARY_BEAMS GL32H 93.10 186.20 0.88 4 SNOWLOAD COMB 155 PRIMARY_BEAMS GL32H 7.34 13.64 0.88 4 SNOWLOAD COMB 154 PRIMARY_BEAMS GL32H 7.34 13.64 0.87 4 SNOWLOAD COMB 156 PRIMARY_BEAMS GL32H 7.34 13.64 0.87 4 SNOWLOAD COMB 397 TETIARY_BEAMS GL32H 93.10 186.20 0.87 4 SNOWLOAD COMB 412 TETIARY_BEAMS GL32H 93.10 186.20 0.86 4 SNOWLOAD COMB 381 TETIARY_BEAMS GL32H 93.10 186.20 0.86 4 SNOWLOAD COMB 507 CH_PILLARS GL32H 31.49 31.49 0.86 4 SNOWLOAD COMB 453 TETIARY_BEAMS GL32H 93.10 186.20 0.85 4 SNOWLOAD COMB 319 TETIARY_BEAMS GL32H 93.10 186.20 0.85 4 SNOWLOAD COMB 422 TETIARY_BEAMS GL32H 93.10 186.20 0.85 4 SNOWLOAD COMB 116 PRIMARY_BEAMS GL32H 5.98 11.11 0.85 4 SNOWLOAD COMB 119 PRIMARY_BEAMS GL32H 5.98 11.11 0.85 4 SNOWLOAD COMB 465 TETIARY_BEAMS GL32H 93.10 186.20 0.85 4 SNOWLOAD COMB 417 TETIARY_BEAMS GL32H 93.10 186.20 0.84 4 SNOWLOAD COMB 456 TETIARY_BEAMS GL32H 93.10 186.20 0.84 4 SNOWLOAD COMB 510 CH_PILLARS GL32H 31.49 31.49 0.83 4 SNOWLOAD COMB 450 TETIARY_BEAMS GL32H 93.10 186.20 0.83 4 SNOWLOAD COMB 459 TETIARY_BEAMS GL32H 93.10 186.20 0.83 4 SNOWLOAD COMB 162 SECONDARY_BEAMS GL32H 7.11 14.23 0.82 4 SNOWLOAD COMB 373 TETIARY_BEAMS GL32H 93.10 186.20 0.82 4 SNOWLOAD COMB 349 TETIARY_BEAMS GL32H 93.10 186.20 0.82 4 SNOWLOAD COMB 439 TETIARY_BEAMS GL32H 93.10 186.20 0.82 4 SNOWLOAD COMB 445 TETIARY_BEAMS GL32H 93.10 186.20 0.82 4 SNOWLOAD COMB 441 TETIARY_BEAMS GL32H 93.10 186.20 0.81 4 SNOWLOAD COMB 443 TETIARY_BEAMS GL32H 93.10 186.20 0.81 4 SNOWLOAD COMB 447 TETIARY_BEAMS GL32H 93.10 186.20 0.81 4 SNOWLOAD COMB 365 TETIARY_BEAMS GL32H 93.10 186.20 0.81 4 SNOWLOAD COMB 357 TETIARY_BEAMS GL32H 93.10 186.20 0.81 4 SNOWLOAD COMB 437 TETIARY_BEAMS GL32H 93.10 186.20 0.80 4 SNOWLOAD COMB 153 PRIMARY_BEAMS GL32H 7.34 13.64 0.79 4 SNOWLOAD COMB 207 SECONDARY_BEAMS GL32H 6.89 13.79 0.78 4 SNOWLOAD COMB 213 SECONDARY_BEAMS GL32H 6.89 13.79 0.78 4 SNOWLOAD COMB 157 PRIMARY_BEAMS GL32H 7.34 13.64 0.78 4 SNOWLOAD COMB 142 PRIMARY_BEAMS GL32H 7.34 13.64 0.78 4 SNOWLOAD COMB 508 CH_PILLARS GL32H 31.49 31.49 0.72 4 SNOWLOAD COMB 150 PRIMARY_BEAMS GL32H 7.34 13.64 0.72 4 SNOWLOAD COMB 106 PRIMARY_BEAMS GL32H 3.79 7.04 0.71 4 SNOWLOAD COMB 133 PRIMARY_BEAMS GL32H 7.34 13.64 0.71 4 SNOWLOAD COMB 105 PRIMARY_BEAMS GL32H 2.19 4.07 0.71 4 SNOWLOAD COMB 220 SECONDARY_BEAMS GL32H 6.89 13.79 0.70 4 SNOWLOAD COMB 509 CH_PILLARS GL32H 31.49 31.49 0.69 4 SNOWLOAD COMB 171 SECONDARY_BEAMS GL32H 8.81 17.63 0.69 4 SNOWLOAD COMB 286 SECONDARY_BEAMS GL32H 6.89 13.79 0.69 4 SNOWLOAD COMB 104 PRIMARY_BEAMS GL32H 4.34 8.06 0.69 4 SNOWLOAD COMB 115 PRIMARY_BEAMS GL32H 5.98 11.11 0.69 4 SNOWLOAD COMB 107 PRIMARY_BEAMS GL32H 3.46 6.42 0.68 4 SNOWLOAD COMB 1 PILLARS GL32H 43.30 43.30 0.68 4 SNOWLOAD COMB 120 PRIMARY_BEAMS GL32H 5.98 11.11 0.68 4 SNOWLOAD COMB 137 PRIMARY_BEAMS GL32H 7.34 13.64 0.68 4 SNOWLOAD COMB 136 PRIMARY_BEAMS GL32H 7.34 13.64 0.68 4 SNOWLOAD COMB 221 SECONDARY_BEAMS GL32H 7.69 15.38 0.67 4 SNOWLOAD COMB 215 SECONDARY_BEAMS GL32H 7.69 15.38 0.67 4 SNOWLOAD COMB 293 SECONDARY_BEAMS GL32H 8.24 16.48 0.67 4 SNOWLOAD COMB 146 PRIMARY_BEAMS GL32H 7.34 13.64 0.66 4 SNOWLOAD COMB 147 PRIMARY_BEAMS GL32H 7.34 13.64 0.66 4 SNOWLOAD COMB 138 PRIMARY_BEAMS GL32H 7.34 13.64 0.66 4 SNOWLOAD COMB 108 PRIMARY_BEAMS GL32H 2.52 4.68 0.65 4 SNOWLOAD COMB 209 SECONDARY_BEAMS GL32H 7.69 15.38 0.64 4 SNOWLOAD COMB 145 PRIMARY_BEAMS GL32H 7.34 13.64 0.64 4 SNOWLOAD COMB 103 PRIMARY_BEAMS GL32H 1.64 3.05 0.64 4 SNOWLOAD COMB 124 PRIMARY_BEAMS GL32H 26.91 49.98 0.63 4 SNOWLOAD COMB 123 PRIMARY_BEAMS GL32H 26.91 49.98 0.63 4 SNOWLOAD COMB 196 SECONDARY_BEAMS GL32H 6.89 13.79 0.63 4 SNOWLOAD COMB 48 PRIMARY_BEAMS GL32H 22.38 41.57 0.62 4 SNOWLOAD COMB 109 PRIMARY_BEAMS GL32H 4.73 8.78 0.62 4 SNOWLOAD COMB 152 PRIMARY_BEAMS GL32H 7.34 13.64 0.61 4 SNOWLOAD COMB

PHASE 2 - MAKING STRONGER STRUCTURE LOWEST RATIOS MEMBER SECTION MATERIAL LAY LAZ RATIO CASE 229 SECONDARY_BEAMS GL32H 13.61 27.22 0.02 4 SNOWLOAD COMB 228 SECONDARY_BEAMS GL32H 13.61 27.22 0.02 4 SNOWLOAD COMB 82 PRIMARY_BEAMS GL32H 15.99 29.69 0.02 4 SNOWLOAD COMB 230 SECONDARY_BEAMS GL32H 13.61 27.22 0.02 4 SNOWLOAD COMB 211 SECONDARY_BEAMS GL32H 13.61 27.22 0.02 4 SNOWLOAD COMB 212 SECONDARY_BEAMS GL32H 13.61 27.22 0.03 4 SNOWLOAD COMB 239 SECONDARY_BEAMS GL32H 8.24 16.48 0.03 4 SNOWLOAD COMB 177 SECONDARY_BEAMS GL32H 8.81 17.63 0.04 4 SNOWLOAD COMB 210 SECONDARY_BEAMS GL32H 13.61 27.22 0.04 4 SNOWLOAD COMB 290 SECONDARY_BEAMS GL32H 8.24 16.48 0.05 4 SNOWLOAD COMB 256 SECONDARY_BEAMS GL32H 10.52 21.03 0.05 4 SNOWLOAD COMB 76 PRIMARY_BEAMS GL32H 22.38 41.57 0.05 4 SNOWLOAD COMB 462 TETIARY_BEAMS GL32H 93.10 186.20 0.05 1 DEADLOAD 58 PRIMARY_BEAMS GL32H 15.99 29.69 0.06 4 SNOWLOAD COMB 46 PRIMARY_BEAMS GL32H 15.99 29.69 0.06 4 SNOWLOAD COMB 261 SECONDARY_BEAMS GL32H 10.52 21.03 0.06 4 SNOWLOAD COMB 29 PRIMARY_BEAMS GL32H 27.18 50.48 0.06 4 SNOWLOAD COMB 16 PILLARS GL32H 43.30 43.30 0.06 4 SNOWLOAD COMB 302 SECONDARY_BEAMS GL32H 8.66 17.32 0.06 4 SNOWLOAD COMB 241 SECONDARY_BEAMS GL32H 10.52 21.03 0.06 4 SNOWLOAD COMB 264 SECONDARY_BEAMS GL32H 8.66 17.32 0.07 4 SNOWLOAD COMB 299 SECONDARY_BEAMS GL32H 10.52 21.03 0.07 4 SNOWLOAD COMB 247 SECONDARY_BEAMS GL32H 8.24 16.48 0.07 4 SNOWLOAD COMB 267 SECONDARY_BEAMS GL32H 8.66 17.32 0.07 4 SNOWLOAD COMB 132 PRIMARY_BEAMS GL32H 15.99 29.69 0.07 4 SNOWLOAD COMB 300 SECONDARY_BEAMS GL32H 10.52 21.03 0.07 4 SNOWLOAD COMB 251 SECONDARY_BEAMS GL32H 8.66 17.32 0.07 4 SNOWLOAD COMB 34 PRIMARY_BEAMS GL32H 17.05 31.67 0.07 4 SNOWLOAD COMB 65 PRIMARY_BEAMS GL32H 15.99 29.69 0.08 4 SNOWLOAD COMB 39 PRIMARY_BEAMS GL32H 17.05 31.67 0.08 4 SNOWLOAD COMB 301 SECONDARY_BEAMS GL32H 8.66 17.32 0.08 4 SNOWLOAD COMB 362 TETIARY_BEAMS GL32H 29.23 58.46 0.08 4 SNOWLOAD COMB 33 PRIMARY_BEAMS GL32H 10.13 18.81 0.09 4 SNOWLOAD COMB 38 PRIMARY_BEAMS GL32H 10.13 18.81 0.09 4 SNOWLOAD COMB 6 PILLARS GL32H 43.30 43.30 0.09 4 SNOWLOAD COMB 281 SECONDARY_BEAMS GL32H 7.58 15.16 0.09 4 SNOWLOAD COMB 289 SECONDARY_BEAMS GL32H 8.24 16.48 0.10 4 SNOWLOAD COMB 265 SECONDARY_BEAMS GL32H 8.66 17.32 0.10 4 SNOWLOAD COMB 63 PRIMARY_BEAMS GL32H 23.45 43.55 0.10 4 SNOWLOAD COMB 258 SECONDARY_BEAMS GL32H 10.52 21.03 0.10 4 SNOWLOAD COMB 216 SECONDARY_BEAMS GL32H 8.81 17.63 0.10 4 SNOWLOAD COMB 262 SECONDARY_BEAMS GL32H 10.52 21.03 0.10 4 SNOWLOAD COMB 64 PRIMARY_BEAMS GL32H 11.19 20.78 0.10 4 SNOWLOAD COMB 312 SECONDARY_BEAMS GL32H 8.24 16.48 0.10 4 SNOWLOAD COMB 313 SECONDARY_BEAMS GL32H 8.24 16.48 0.10 4 SNOWLOAD COMB 78 PRIMARY_BEAMS GL32H 17.59 32.66 0.10 4 SNOWLOAD COMB 243 SECONDARY_BEAMS GL32H 10.52 21.03 0.10 4 SNOWLOAD COMB 277 SECONDARY_BEAMS GL32H 7.58 15.16 0.10 4 SNOWLOAD COMB 279 SECONDARY_BEAMS GL32H 7.58 15.16 0.10 4 SNOWLOAD COMB 77 PRIMARY_BEAMS GL32H 4.80 8.91 0.10 4 SNOWLOAD COMB 263 SECONDARY_BEAMS GL32H 8.66 17.32 0.10 4 SNOWLOAD COMB 88 PRIMARY_BEAMS GL32H 4.85 9.00 0.11 4 SNOWLOAD COMB 317 SECONDARY_BEAMS GL32H 8.24 16.48 0.11 4 SNOWLOAD COMB 316 SECONDARY_BEAMS GL32H 8.24 16.48 0.11 4 SNOWLOAD COMB 275 SECONDARY_BEAMS GL32H 8.24 16.48 0.11 4 SNOWLOAD COMB 25 PRIMARY_BEAMS GL32H 45.83 85.12 0.11 4 SNOWLOAD COMB 26 PRIMARY_BEAMS GL32H 45.83 85.12 0.11 4 SNOWLOAD COMB 70 PRIMARY_BEAMS GL32H 27.18 50.48 0.11 4 SNOWLOAD COMB 27 PRIMARY_BEAMS GL32H 45.83 85.12 0.11 4 SNOWLOAD COMB 219 SECONDARY_BEAMS GL32H 8.81 17.63 0.11 4 SNOWLOAD COMB 18 PILLARS GL32H 43.30 43.30 0.11 4 SNOWLOAD COMB 505 TETIARY_BEAMS GL32H 32.48 64.95 0.11 4 SNOWLOAD COMB 45 PRIMARY_BEAMS GL32H 11.19 20.78 0.11 4 SNOWLOAD COMB 307 SECONDARY_BEAMS GL32H 8.24 16.48 0.11 4 SNOWLOAD COMB 205 SECONDARY_BEAMS GL32H 8.81 17.63 0.11 4 SNOWLOAD COMB 266 SECONDARY_BEAMS GL32H 8.66 17.32 0.11 4 SNOWLOAD COMB 303 SECONDARY_BEAMS GL32H 8.66 17.32 0.11 4 SNOWLOAD COMB 499 TETIARY_BEAMS GL32H 32.48 64.95 0.12 4 SNOWLOAD COMB 501 TETIARY_BEAMS GL32H 32.48 64.95 0.12 4 SNOWLOAD COMB 506 TETIARY_BEAMS GL32H 32.48 64.95 0.12 4 SNOWLOAD COMB 44 PRIMARY_BEAMS GL32H 23.45 43.55 0.12 4 SNOWLOAD COMB 287 SECONDARY_BEAMS GL32H 8.24 16.48 0.12 4 SNOWLOAD COMB

PHASE 3 - FINAL OPTIMALISATION HIGHEST RATIOS MEMBER SECTION MATERIAL LAY LAZ RATIO CASE 236 SECONDARY_BEAMS GL32H 12.28 24.56 0.97 4 SNOWLOAD COMB 161 PRIMARY_BEAMS GL32H 7.34 13.64 0.95 4 SNOWLOAD COMB 160 PRIMARY_BEAMS GL32H 7.34 13.64 0.95 4 SNOWLOAD COMB 162 PRIMARY_BEAMS GL32H 7.34 13.64 0.95 4 SNOWLOAD COMB 123 PRIMARY_BEAMS GL32H 5.98 11.11 0.90 4 SNOWLOAD COMB 122 PRIMARY_BEAMS GL32H 5.98 11.11 0.90 4 SNOWLOAD COMB 124 PRIMARY_BEAMS GL32H 5.98 11.11 0.89 4 SNOWLOAD COMB 551 CH_PILLARS GL32H 31.49 31.49 0.87 4 SNOWLOAD COMB 121 PRIMARY_BEAMS GL32H 5.98 11.11 0.86 4 SNOWLOAD COMB 159 PRIMARY_BEAMS GL32H 7.34 13.64 0.85 4 SNOWLOAD COMB 125 PRIMARY_BEAMS GL32H 5.98 11.11 0.85 4 SNOWLOAD COMB 163 PRIMARY_BEAMS GL32H 7.34 13.64 0.85 4 SNOWLOAD COMB 241 SECONDARY_BEAMS GL32H 10.71 21.41 0.84 4 SNOWLOAD COMB 257 SECONDARY_BEAMS GL32H 10.71 21.41 0.83 4 SNOWLOAD COMB 180 SECONDARY_BEAMS GL32H 11.22 22.44 0.83 4 SNOWLOAD COMB 300 SECONDARY_BEAMS GL32H 11.42 22.83 0.83 4 SNOWLOAD COMB 305 SECONDARY_BEAMS GL32H 11.42 22.83 0.83 4 SNOWLOAD COMB 222 SECONDARY_BEAMS GL32H 11.42 22.83 0.83 4 SNOWLOAD COMB 231 SECONDARY_BEAMS GL32H 11.42 22.83 0.83 4 SNOWLOAD COMB 554 CH_PILLARS GL32H 31.49 31.49 0.83 4 SNOWLOAD COMB 552 CH_PILLARS GL32H 31.49 31.49 0.82 4 SNOWLOAD COMB 147 PRIMARY_BEAMS GL32H 7.34 13.64 0.82 4 SNOWLOAD COMB 390 TETIARY_BEAMS GL32H 33.40 66.81 0.82 4 SNOWLOAD COMB 317 SECONDARY_BEAMS GL32H 12.28 24.56 0.82 4 SNOWLOAD COMB 417 TETIARY_BEAMS GL32H 33.40 66.81 0.80 4 SNOWLOAD COMB 307 SECONDARY_BEAMS GL32H 11.42 22.83 0.79 4 SNOWLOAD COMB 237 SECONDARY_BEAMS GL32H 11.42 22.83 0.79 4 SNOWLOAD COMB 169 SECONDARY_BEAMS GL32H 9.05 18.11 0.77 4 SNOWLOAD COMB 553 CH_PILLARS GL32H 31.49 31.49 0.77 4 SNOWLOAD COMB 458 TETIARY_BEAMS GL32H 41.65 83.30 0.76 4 SNOWLOAD COMB 320 SECONDARY_BEAMS GL32H 10.48 20.97 0.76 4 SNOWLOAD COMB 427 TETIARY_BEAMS GL32H 74.85 149.70 0.73 4 SNOWLOAD COMB 436 TETIARY_BEAMS GL32H 74.85 149.70 0.73 4 SNOWLOAD COMB 428 TETIARY_BEAMS GL32H 74.85 149.70 0.73 4 SNOWLOAD COMB 437 TETIARY_BEAMS GL32H 74.85 149.70 0.73 4 SNOWLOAD COMB 418 TETIARY_BEAMS GL32H 74.85 149.70 0.72 4 SNOWLOAD COMB 353 TETIARY_BEAMS GL32H 74.85 149.70 0.72 4 SNOWLOAD COMB 204 SECONDARY_BEAMS GL32H 9.64 19.29 0.72 4 SNOWLOAD COMB 419 TETIARY_BEAMS GL32H 74.85 149.70 0.72 4 SNOWLOAD COMB 382 TETIARY_BEAMS GL32H 74.85 149.70 0.72 4 SNOWLOAD COMB 112 PRIMARY_BEAMS GL32H 3.79 7.04 0.72 4 SNOWLOAD COMB 452 TETIARY_BEAMS GL32H 41.65 83.30 0.72 4 SNOWLOAD COMB 111 PRIMARY_BEAMS GL32H 2.19 4.07 0.71 4 SNOWLOAD COMB 265 SECONDARY_BEAMS GL32H 12.28 24.56 0.71 4 SNOWLOAD COMB 230 SECONDARY_BEAMS GL32H 9.64 19.29 0.71 4 SNOWLOAD COMB 409 TETIARY_BEAMS GL32H 74.85 149.70 0.71 4 SNOWLOAD COMB 391 TETIARY_BEAMS GL32H 74.85 149.70 0.71 4 SNOWLOAD COMB 173 SECONDARY_BEAMS GL32H 9.05 18.11 0.71 4 SNOWLOAD COMB 410 TETIARY_BEAMS GL32H 74.85 149.70 0.71 4 SNOWLOAD COMB 460 TETIARY_BEAMS GL32H 75.47 150.94 0.71 4 SNOWLOAD COMB 400 TETIARY_BEAMS GL32H 74.85 149.70 0.71 4 SNOWLOAD COMB 156 PRIMARY_BEAMS GL32H 7.34 13.64 0.70 4 SNOWLOAD COMB 175 SECONDARY_BEAMS GL32H 9.05 18.11 0.70 4 SNOWLOAD COMB 366 TETIARY_BEAMS GL32H 63.10 126.19 0.70 4 SNOWLOAD COMB 139 PRIMARY_BEAMS GL32H 7.34 13.64 0.70 4 SNOWLOAD COMB 148 PRIMARY_BEAMS GL32H 7.34 13.64 0.69 4 SNOWLOAD COMB 464 TETIARY_BEAMS GL32H 41.65 83.30 0.69 4 SNOWLOAD COMB 218 SECONDARY_BEAMS GL32H 12.28 24.56 0.69 4 SNOWLOAD COMB 205 SECONDARY_BEAMS GL32H 12.28 24.56 0.69 4 SNOWLOAD COMB 110 PRIMARY_BEAMS GL32H 4.34 8.06 0.69 4 SNOWLOAD COMB 401 TETIARY_BEAMS GL32H 74.85 149.70 0.69 4 SNOWLOAD COMB 113 PRIMARY_BEAMS GL32H 3.46 6.42 0.68 4 SNOWLOAD COMB 371 TETIARY_BEAMS GL32H 63.10 126.19 0.68 4 SNOWLOAD COMB 306 SECONDARY_BEAMS GL32H 12.28 24.56 0.68 4 SNOWLOAD COMB 373 TETIARY_BEAMS GL32H 63.10 126.19 0.68 4 SNOWLOAD COMB 372 TETIARY_BEAMS GL32H 63.10 126.19 0.68 4 SNOWLOAD COMB 466 TETIARY_BEAMS GL32H 75.47 150.94 0.67 4 SNOWLOAD COMB 355 TETIARY_BEAMS GL32H 63.10 126.19 0.67 4 SNOWLOAD COMB 374 TETIARY_BEAMS GL32H 63.10 126.19 0.67 4 SNOWLOAD COMB 246 SECONDARY_BEAMS GL32H 12.28 24.56 0.67 4 SNOWLOAD COMB 454 TETIARY_BEAMS GL32H 75.47 150.94 0.67 4 SNOWLOAD COMB 239 SECONDARY_BEAMS GL32H 12.28 24.56 0.67 4 SNOWLOAD COMB

PHASE 3 - FINAL OPTIMALISATION LOWEST RATIOS MEMBER SECTION MATERIAL LAY LAZ RATIO CASE 247 SECONDARY_BEAMS GL32H 10.48 20.97 0.04 4 SNOWLOAD COMB 84 PRIMARY_BEAMS GL32H 22.38 41.57 0.05 4 SNOWLOAD COMB 47 PRIMARY_BEAMS GL32H 17.05 31.67 0.05 4 SNOWLOAD COMB 54 PRIMARY_BEAMS GL32H 15.99 29.69 0.06 4 SNOWLOAD COMB 66 PRIMARY_BEAMS GL32H 15.99 29.69 0.06 4 SNOWLOAD COMB 40 PRIMARY_BEAMS GL32H 17.05 31.67 0.06 4 SNOWLOAD COMB 312 SECONDARY_BEAMS GL32H 10.48 20.97 0.06 4 SNOWLOAD COMB 318 SECONDARY_BEAMS GL32H 10.48 20.97 0.06 4 SNOWLOAD COMB 184 SECONDARY_BEAMS GL32H 11.22 22.44 0.07 4 SNOWLOAD COMB 73 PRIMARY_BEAMS GL32H 15.99 29.69 0.07 4 SNOWLOAD COMB 16 PILLARS GL32H 49.49 49.49 0.08 4 SNOWLOAD COMB 138 PRIMARY_BEAMS GL32H 15.99 29.69 0.08 4 SNOWLOAD COMB 71 PRIMARY_BEAMS GL32H 23.45 43.55 0.09 4 SNOWLOAD COMB 72 PRIMARY_BEAMS GL32H 11.19 20.78 0.09 4 SNOWLOAD COMB 39 PRIMARY_BEAMS GL32H 10.13 18.81 0.09 4 SNOWLOAD COMB 38 PRIMARY_BEAMS GL32H 22.92 42.56 0.09 4 SNOWLOAD COMB 85 PRIMARY_BEAMS GL32H 4.80 8.91 0.10 4 SNOWLOAD COMB 86 PRIMARY_BEAMS GL32H 17.59 32.66 0.11 4 SNOWLOAD COMB 274 SECONDARY_BEAMS GL32H 11.02 22.04 0.11 4 SNOWLOAD COMB 329 SECONDARY_BEAMS GL32H 11.02 22.04 0.11 4 SNOWLOAD COMB 271 SECONDARY_BEAMS GL32H 13.38 26.77 0.11 4 SNOWLOAD COMB 53 PRIMARY_BEAMS GL32H 11.19 20.78 0.11 4 SNOWLOAD COMB 52 PRIMARY_BEAMS GL32H 23.45 43.55 0.11 4 SNOWLOAD COMB 186 SECONDARY_BEAMS GL32H 11.22 22.44 0.11 4 SNOWLOAD COMB 266 SECONDARY_BEAMS GL32H 13.38 26.77 0.11 4 SNOWLOAD COMB 46 PRIMARY_BEAMS GL32H 10.13 18.81 0.11 4 SNOWLOAD COMB 45 PRIMARY_BEAMS GL32H 22.92 42.56 0.12 4 SNOWLOAD COMB 78 PRIMARY_BEAMS GL32H 27.18 50.48 0.12 4 SNOWLOAD COMB 94 PRIMARY_BEAMS GL32H 3.17 5.88 0.12 4 SNOWLOAD COMB 249 SECONDARY_BEAMS GL32H 13.38 26.77 0.12 4 SNOWLOAD COMB 326 SECONDARY_BEAMS GL32H 13.38 26.77 0.12 4 SNOWLOAD COMB 327 SECONDARY_BEAMS GL32H 13.38 26.77 0.12 4 SNOWLOAD COMB 277 SECONDARY_BEAMS GL32H 11.02 22.04 0.13 4 SNOWLOAD COMB 89 PRIMARY_BEAMS GL32H 27.18 50.48 0.13 4 SNOWLOAD COMB 103 PRIMARY_BEAMS GL32H 7.29 13.53 0.13 4 SNOWLOAD COMB 65 PRIMARY_BEAMS GL32H 11.19 20.78 0.13 4 SNOWLOAD COMB 64 PRIMARY_BEAMS GL32H 23.45 43.55 0.13 4 SNOWLOAD COMB 328 SECONDARY_BEAMS GL32H 11.02 22.04 0.13 4 SNOWLOAD COMB 99 PRIMARY_BEAMS GL32H 10.38 19.28 0.13 4 SNOWLOAD COMB 193 SECONDARY_BEAMS GL32H 9.05 18.11 0.14 4 SNOWLOAD COMB 87 PRIMARY_BEAMS GL32H 23.45 43.55 0.14 4 SNOWLOAD COMB 311 SECONDARY_BEAMS GL32H 10.48 20.97 0.14 4 SNOWLOAD COMB 88 PRIMARY_BEAMS GL32H 23.45 43.55 0.14 4 SNOWLOAD COMB 199 SECONDARY_BEAMS GL32H 9.05 18.11 0.14 4 SNOWLOAD COMB 18 PILLARS GL32H 49.49 49.49 0.14 4 SNOWLOAD COMB 260 SECONDARY_BEAMS GL32H 11.02 22.04 0.14 4 SNOWLOAD COMB 17 PILLARS GL32H 49.49 49.49 0.15 4 SNOWLOAD COMB 256 SECONDARY_BEAMS GL32H 10.48 20.97 0.15 4 SNOWLOAD COMB 83 PRIMARY_BEAMS GL32H 27.18 50.48 0.15 4 SNOWLOAD COMB 240 SECONDARY_BEAMS GL32H 10.48 20.97 0.16 4 SNOWLOAD COMB 6 PILLARS GL32H 49.49 49.49 0.16 4 SNOWLOAD COMB 297 SECONDARY_BEAMS GL32H 9.05 18.11 0.16 4 SNOWLOAD COMB 28 PRIMARY_BEAMS GL32H 22.92 42.56 0.16 4 SNOWLOAD COMB 302 SECONDARY_BEAMS GL32H 9.05 18.11 0.16 4 SNOWLOAD COMB 15 PILLARS GL32H 49.49 49.49 0.16 4 SNOWLOAD COMB 219 SECONDARY_BEAMS GL32H 9.05 18.11 0.16 4 SNOWLOAD COMB 223 SECONDARY_BEAMS GL32H 11.22 22.44 0.17 4 SNOWLOAD COMB 228 SECONDARY_BEAMS GL32H 9.05 18.11 0.17 4 SNOWLOAD COMB 543 TETIARY_BEAMS GL32H 37.12 74.23 0.17 4 SNOWLOAD COMB 310 SECONDARY_BEAMS GL32H 10.48 20.97 0.17 4 SNOWLOAD COMB 309 SECONDARY_BEAMS GL32H 10.48 20.97 0.17 4 SNOWLOAD COMB 77 PRIMARY_BEAMS GL32H 23.45 43.55 0.17 4 SNOWLOAD COMB 545 TETIARY_BEAMS GL32H 37.12 74.23 0.17 4 SNOWLOAD COMB 292 SECONDARY_BEAMS GL32H 9.05 18.11 0.17 4 SNOWLOAD COMB 59 PRIMARY_BEAMS GL32H 27.18 50.48 0.17 4 SNOWLOAD COMB 549 TETIARY_BEAMS GL32H 37.12 74.23 0.17 4 SNOWLOAD COMB 550 TETIARY_BEAMS GL32H 37.12 74.23 0.17 4 SNOWLOAD COMB 299 SECONDARY_BEAMS GL32H 9.64 19.29 0.17 4 SNOWLOAD COMB 548 TETIARY_BEAMS GL32H 37.12 74.23 0.18 4 SNOWLOAD COMB 546 TETIARY_BEAMS GL32H 37.12 74.23 0.18 4 SNOWLOAD COMB 187 SECONDARY_BEAMS GL32H 9.05 18.11 0.18 4 SNOWLOAD COMB 272 SECONDARY_BEAMS GL32H 13.38 26.77 0.18 4 SNOWLOAD COMB

115

pillars

beams

< 320 >

<400 >

< 480 >

< 600 > < 400 >

< 300 >

< 240 >

< 160 >

member 1.01

member 1.02

member 1.03

member 1.04

pillars

primary beams

secondary beams

tridary beams

width: 400 mm height: 400 mm

width: 300 mm height: 600 mm

width: 240 mm height: 480 mm

width: 160 mm height: 320 mm

PHASE 2

beams

PHASE 3

< 320 >

< 400 >

<550 >

< 650 >

pillars

< 560 >

PHASE 1

< 550 >

< 400 >

< 350 >

< 280 >

< 160 >

member 1.01.1

member 1.01.2

member 1.02

member 1.03

member 1.04

congregation hall pillars

pillars

primary beams

secondary beams

tridary beams

width: 550 mm height: 550 mm

width: 400 mm height: 400 mm

width: 350 mm height: 650 mm

width: 280 mm height: 560 mm

width: 160 mm height: 320 mm

beams

116

< 280 >

< 350 >

< 440 >

<550 >

< 650 >

pillars

< 550 >

< 350 >

< 220 >

< 140 >

member 1.01.1

member 1.01.2

member 1.02

member 1.03

member 1.04

congregation hall pillars

pillars

primary beams

secondary beams

tridary beams

width: 550 mm height: 550 mm

width: 350 mm height: 350 mm

width: 350 mm height: 650 mm

width: 220 mm height: 440 mm

width: 140 mm height: 280 mm

Ill. 5.9 Size of the structure’s members

APPENDIX 6

Detail E - 1:20

1. W2 15 2x waterproof membrane 100 PIR thermal insulation - Vapor proof membrane 350 Reinforced concrete with polished surface

3. 4. 5.

1. 30mm Reinforced concrete wall 2. Bedrock stones (layer will vary around 30cm of width) connected together with mortar as well as to the reinforced concrete wall 3. Waterproof membrane 4. 120mm of PIR thermal insulation 5. 80x150mm curtain wall aluminum system

Detail E

Ill. 5.11 Detail D 1:20

117

Detail F - 1:20

3. 4.

F1 50 Concrete - Protection layer 120 PIR thermal insulation 200 Reinforced concrete - Waterproof membrane 50 Flatting light concrete layer 30 Lime sand W2 15 2x waterproof membrane 100 PIR thermal insulation - Vapor proof membrane 350 Reinforced concrete with polished surface 1. 20x50mm dilatation 2. Reinforced concrete foundation 3. Light concrete - alignment layer 4. Floor heating in concrete layer

Detail F Ill. 2.30 Detail F 1:20

118