hatleholparish _PROCESS_ MSc01 ARC group 6 december 2014
HATLEHOL PARISH
project period: 20.10.2014 - 17.12.2014 institute: Aalborg University department: Architecture, Design and Media Technology course: 1st Semester MSc Architecture & Design module: Tectonic Design: Structure and Construction
David Drazil
Calina Manisor
supervisor: Claus Kristensen technical supervisor: Dario Parigi group: 6
Pavlina Sedlakova
Nadia Skraeddergaard Frydkjaer
Helle Toft
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ABSTRACT
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With departure in Nordic traditions, this research is concerned with the design of a new Church complex in the nearby proximity of Alesund, Norway. The present booklet encases a variety of studies concerned with not only the physical environment of the proposed site, but also metaphysical experiences triggered by different factors. By dwelling upon a tectonic approach, the synopsis of the conducted research outlines a dynamic preliminary proposal for the Hatlehol Parish, proposal that harmoniously merges the construing with the constructed.
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CONTENTS
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ABSTRACT
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CONTENTS
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METHOD
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INTRODUCTION
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ANALYSIS the site nordic approach tectonic architecture the protestant church case study 1 - place to sit case study 2 - light
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ANALYSIS OUTCOMES the vision the concept the principle
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DESIGN DEVELOPMENT complex placement functional division
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phenomenology geometry fragementation morphology development path courtyard preliminary acoustics structure study structural principle preliminary statics facade development church seating bell tower
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CONCLUSION
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REFLECTIONS
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REFERENCES bibliography illustrations list
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APPENDIX surveys facade development sketches precipitation diagrams
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METHOD
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PROBLEM BASED LEARNING This method of learning is based upon a hypothetical problem, which is controlling the project and the appropriation of professional skills of the student. It is a lecture of active learning. With this method a solution oriented project procedure with the students own capability of sourcing lecture regarding task solving is in focus, which gives a constant altering between practical training and theory. Within the right settings the project task is started with a formulation of the problem which afterwards is treated by means of different academically methods. INTEGRATED DESIGN PROCESS With integrated design a lot of aspects are taken into account, which are incorporated in the final solution. The method is a synthesis between problem-based learning and professional knowledge from both design and engineering fields. The design is constantly optimized through iterations, which is leads to a repetitive process. The method is undergoing 5 phases during the project process: problem phase, analysis
phase, draft phase, synthesis phase and presentation phase. A knowledge through analysis is achieved, which is afterwards used for preparation of a programme. This programme encases the vision, parameters, suggested solutions, all dwelled upon since early phases of the problem analysis. Nonetheless, the proposed solution takes this programme into account, which is acts as a catalyst for the design process. Architectonic and functional demands are merged during the synthesis phase. The final report is finalized during the presentation phase with presentation of the final design through pictures, diagrams, textures and calculations. STRUCTURE ANALYSIS This is an objective analysis which in 2D will map the structure of the context. Aspects such as infrastructure, building structure and green and blue areas are stressed. The method is used in order to get an understanding of the composition of the site through individual elements. Through this division the method gives a deeper understanding of the site.
MAPPING Mapping is used to highlight specific elements or features on a map. In the following project this is the method used to identify the placement of circulation routes and the instances found in the nearby vicinity, such as the cemetery, the fjord and the mountains PHENOMENOLOGY ” The doctrine of which proves one‘s consciousness” is the definition of phenomenology. It dwells upon the subjects’ experiences. With this method it is only possible to experience objects through empathy and interpretation. It is thereby not possible to experience from the distance. All immediate measurable, sensuous and detectable values that can be made on an object are not included in the phenomenological analysis. It is the subject’s experiences which are in focus. The method is seeing the body as the experiencing tool, though a subjective understanding and identity.
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INTRODUCTION
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PREFACE This project has been created by Group 6 of the 1st semester Master of Architecture & Design Programme at Aalborg University in the autumn of 2014. The project module follows the semester theme of Tectonic Design and Nordic Architecture, while introducing the assignment of designing a new Church and Community Centre in the area of Hatlehol near Ålesund, Norway. BRIEF The objective of this project is to develop an architectural solution to the given brief
while encasing a tectonic approach on the design. Nonetheless, the proposal shall be comprised of an innovative structural and an accurate architectural design, while ensuring continuity and integrity between form, material, structure and construction. The ambition is to dwell upon Nordic traditions in relation to new innovative design of structure, use of materials and means of construction in contemporary architecture. The design of the Church should take into consideration the qualities of the site and heighten the experience of the surrounding landscape, also providing a local landmark for the community and place for coming together in times of sorrow, doubt and joy.
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ANALYSIS
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THE SITE
alesund, norway
Hatlehol, region situated on the Western coast of Norway shall provide the site for the current project. At a morphological level, the given site is framed by the mountains on the North and opens up towards the fjord on the South. However, at a metaphysical level, though the function of the complex placed within, the site shall frame a sacral processional route for the human existence, from the tradition of the baptism to that of the burial ceremony.
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PLACEMENT
conceptual diagram of the site showing _main vista _surroundings _sunpath 15
AREA CONSIDERATIONS
north-south section of terrain and the site 20m
15m
10m
5m
pine trees
decidous
tree heights 16
CLIMATE
In order to design engaging outdoor areas it is necessary to be aware of the climate aspects speciďŹ c to the site. Therefore a number of sun and wind investigations have been conducted. WIND
wind directions
Because of the site location, close to the coast, it is essential to observe parameters such as wind velocity and wind direction. The conducted analysis revealed that the wind direction is usually from the SouthWest. However there is need to consider the North-West direction of the wind as well. The site is enriched with numerous types of vegetation, which can partially absorb the strong winds. It is therefore relevant to keep some of the existing trees on the site, or in other cases create shelter for comfortable outdoor spaces.
SUN The hours of natural daylight are various through the seasons. Long, white summer nights are transformed in wintertime to only a few hours of sunlight. The low angle of sun rays provides long shadows on the grounds of the site. These changes of sunlight will have impact on the experience inside the Church and its surroundings. Summer evenings emanate a diffuse light and it could be relevant to use white, indirect light from the North in order to emphasize on a feeling of ascendance. PRECIPITATION This location is also characteristic for high level of precipitation, both rain and snow. [see APPENDIX for more diagrams]
sun light 17
CIRCULATION
residential
nature
cemetery
acoustic distress from main street
bus stop bus stop
site directions
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site access
on-site circulation
The proposed site has an area of approximately 18770 square meters. To the East, the site opens up towards the cemetery, the North vista frames a view of the surrounding mountains, while in the South-West one comes across a small residential area. A main road frames the Northern boundary of the site providing several possibilities for access. Moreover, the western boundary of the site is given by a narrow water stream. The site height culminates with a peak point, the peak point, currently used for outdoor ceremonies and events. As a result of the analysis of the given location, as well as taking into consideration the requirements given in the brief, the existing parking lots are not sufďŹ cient for the new complex, and better access from the bus stops shall be provided. peak point
water on site
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NORDIC APPROACH
Nordic values and traditions in architecture are connected with materials, craftsmanship, detailing, simplicity and, particular in Norway, the relationship with nature. Here architecture has to adapt to the tempestuous Norwegian conditions.
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to change, and has in recent years witnessed a small revolution. Architecture is no longer an intimate matter, but an international sensation.
In the last 40 years the Norwegian economy has experienced an upturn. Nordic values and identity are now threatened by wealth, consumption and luxury. The Norwegian cabin is close to the size of a new apartment, while the maintenance of the individual simple country life disappears [Melsom, 2012].
Moreover, Nordic architecture is about creating functional, human scaled buildings, while using good materials such as timber, so that the beauty of the building changes though time. Simplicity permits architecture to be expressed in a clear and powerful way. This can be achieved by building in a honest way, taking into account the human comfort, the choice of materials and especially the craftsmanship [Sheridan, 2011].
The way in which the Norwegians experience the relationship with nature and with the traditional country-life can be revealed in the architectural culture. The real luxury in the Norwegian spectrum admits to a simple life, that focuses upon a close contact with the spectacular Nordic nature, placed in the open countryside far from the city [Melsom, 2012]. Nowadays, Nordic identity is subject
Architecture which is designed by taking into account the human scale has a positive impact on the individual in the daily life. Architectural quality is evaluated in the detail, where experiences, atmosphere and the composition of materials are integrated into the space in both the interior and exterior of a building. The created space should therefore be able to both frame, yet also
be framed by the living context [Sheridan, 2011]. The small scale, the human scale, is important in the Nordic approach, where the texture and the richness of the historic surroundings are retained in close contact with nature. Honesty in the choice of material and form is directly connected to simplicity and good craftsmanship. Moreover, light is also an essential factor in Nordic architecture. Through the seasons, signiďŹ cant changes in shadows, light and darkness exist. It is therefore important to consider how light is implemented throughout the proposed architecture. Keeping these considerations in mind, the proposed Church complex shall exhibit simplicity, encase the human scale, create a background for the human existence and relate to the local beauty of the nature.
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1. bagsvaer church 2. goteborgs townhall 3. split view mountain lodge 4. juvet landskapshotell 5. oslo opera house 6. reindeer pavilion 7. viipurin library
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TECTONIC ARCHITECTURE
By dwelling upon a tectonic approach, the simultaneous existence of both the arts and the crafts [Frampton, 1995] is raised to the highest level of design ambitions. Therefore, the architect, referencing the image of the master builder, is now in command of not only the art of building the gesture, but also the way in which the architectural intention is to be constructed - the principle. Moreover, as Frescari [1984] stresses in his ‘Tell the Tale Detail’ it is the detail that confirms architectural greatness.
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The art of detailing is in reality the joining of materials, elements, components and building parts, in a functional and aesthetic manner. It is this particular aspect that has driven the architectural decisions made within this proposal for the Church complex in the Parish of Hatlehol, Alesund. Therefore, in the expression of our proposal, the concept is expressed through an honest approach on the structural system of the Church complex by appealing to single frames, connected through a clearly defined system of folded plates, consequently delineating the movement of ascendance.
Nevertheless, the choice in material sustains the aspiration of creating an inviting environment through its texture and strain, while the particular grain of the chosen material accurately meets the structural requirements recommended by the loads activated by the local climatic conditions as well as the geometry of the proposal. In essence, it has been our design ambition to propose a design that not only answers to matters of conceptual thinking, but is also structurally clear.
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8. sendai mediatheque 9. haesley nine bridges golf glubhouse 10. canova museum 11.st. genevieve chapel 12. st. benedict chapel 13. gare de saint-exupery 14. archery hall and boxing club 23
THE PROTESTANT CHURCH
Looking back throughout history, Christianity as a new faith has been accepted by Roman emperor Constantine in the year 313. They started to call themselves Catholics,originally Greek Katholikos symbolizing the universal belief. This name compressed the entire Christian Church. This union of Christians lasted until the year of 1054 when the ďŹ rst separation in Christianity has occurred and both the Roman Catholic and the Orthodox Churches have been established. During the centuries, the Roman Catholic Church has added many doctrines and proclamations with no background in the Holy Bible, therefore the power of the Church has grown. In the 16th century, during the Church reformation, Protestantism was established as a new, independent movement within Christianity. Nowadays, protestantism is the most common faith in the Anglo-Saxon world.
The are a number of differences between Protestants and Catholics. Both believe in the same God, however having different priorities and hierarchies. For Protestants, the Bible is the highest authority, this contrasting the Catholics who honour both the Church institution and the Bible.
Since Protestants do not dwell on a close connection between Church, faith, and the actual building, they are more open to contemporary architecture. Hence, the existence of numerous examples of new Protestant Church complexes combined with community centres.
Therefore, it can be assumed that Protestants express their faith more through spiritual than physical means. The Church is understood as a place for spiritual ceremonies and as a meeting place for the community. This is contrasting to the Catholic beliefs. Even though the relationship between the worshipper, the Church (building), the Church (institution) and God is different for Catholics and Protestants, Sunday services share a great number of similarities. Usually, Catholic services have more formal and traditional parts than the modern and somehow informal Protestant liturgy.
Devaluation of sacred functions in contemporary architecture can be seen mostly in the US environment, however it is likely that this trend can affect European traditions as well. The consumer society has been spread all over the world bringing cheap materials and characterless form. This is why we need to try bring more transcendence and spirituality to Church design and include inspiration from traditional techniques of achieving this. We shape our buildings, and afterwards our buildings shape us. Winston Churchill
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CATHOLIC CHURCH
PROTESTANT CHURCH
_still old-fashioned _seeking after “church looking like a church“ _C-church - both spiritual and physical means _connection to the building - church = permanent, branch of Church _verticality, transcendence, big scale _stronger conception of hiearchy, priesthood _standardized, stylized, formulaic liturgy _integrated with architecture _sacralization of tradition
_connected to modern era, rational, informal _open to contemporary architecture _c-church - more spiritual than physical means _connection to the community - church = meeting place, can be changed or moved _connection to the transcendent is unvalued or is of a purely spiritual nature _clearly a core function of sacred architecture is lost _treating everything as common _contemporary, informal liturgies
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CASE STUDY 1 PLACE TO SIT
A series of brief investigations have been made into the design of outdoor sitting areas. These investigations have revealed a number of interesting examples of how controlled landscape can respond to the gesture of sitting, while at the same time encase a feeling of safety and connection to the natural landscape. The following text encases a short study of the city garden in Jomfru Ane Park, Aalborg, and its effect on the sensorial experiences of its users.
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16. swarthmore college amphitheater 17. jomfru ane park 18. storaa stream 19. yokohama ferry terminal 20. wide stepts 21. rio park
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The city garden in Jomfru Ane Park, Aalborg has been chosen from the previous examples as an accurate demonstration of successful dynamics between sitting places and natural landscape. The chosen project fulfils the intention of safety and invitation, gestures included in the formulation of the Hatlehol Parish proposal, as seen later in the booklet.
placed in beds framed with corteen steel. The park is framed by circulation routes on both longitudinal sides. To the North and the fjord are the pedestrian and cyclist routes, while the main road is situated on the South of the site. Along the harbour, one can come across seating areas with a careful design and choice of material considered for the coating.
The garden is located in the central part of Aalborg Harbour, and has been designed by C.F. Møller Landscape architecture practice in collaboration with Vibeke Rønnow Landskab [Cfmoller.com, 2014].
The garden is lower then the ground levels, access being provided through stairs made of wooden planks, which invite the visitor to sit due to the use of a warm material. Although the park is lowered by only two steps, the difference in height creates a new atmosphere and a sense of safety occurs. Through the use of just a few steps, the frame for a new spatial quality is created. The texture of the
The garden is arranged for sitting as well as activities, and is provided with a controlled landscape where grass, flowers and trees are
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used materials, the detailing in the joint and the craftsmanship emphasize the gesture for the sitting areas. Dwelling on the above mentioned aspects, the landscape around the Church proposal shall also aim to invite the visitor to take a sit on the benches formed by the lowering level of the inner courtyard. The inner courtyard is moreover intended to carry the function of an amphitheatre, inviting the visitor to enjoy the surrounding nature and reflect upon his or her inner thoughts.
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24 22-24 jomfru ane park
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CASE STUDY 2 LIGHT
Light has been chosen as the second case study. The reason for choosing this gesture is its intimate integration in both Nordic and Sacred architecture. The analysis shows that light is not only used to brighten inner spaces, but is also a strong architectural tool, which can greatly emphasize the genious loci of a place, along with its spatial gesture and impression.
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25. c.e.i.p. multiuse room 26. hyvinkaa church 27. kuokkala church 28. kamppi chapel 29. aarhus townhall 30. s.m.a.o.
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The images on the right represent the Chapel in Valleacerón project, designed by Sancho-Madridejos Architecture Office (S.M.A.O.) in Ciudad Real, Spain. The Chapel is part of a series of objects placed within the landscape, designed by using the principle of folded boxes. Each of these objects carries an original impression such as symbolism, silence or privacy. The concept then uses the fold as a hidden generator of different spaces. In this particular case, the Chapel lacks artificial lighting, however the natural light still plays a significant role in perceiving the geometrical form. It is treated as another material contrasting to the golden concrete
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used for the whole structure. It is important to notice this elegant and reciprocal relationship between material and light. Although contrasting, they work best together, by complementing each other. The Church room in the Hatlehol Parish proposal aims in manipulating the light in a very similar way. The light is intended to be introduced in the inner spaces indirectly, while supporting the typical dynamic shape of the building. The structure shall be created in a manner which emphasizes the movement of ascendence to the highest peak, and light should be let in in such a way that it highlights the altar wall.
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33 31-33 s.m.a.o. chapel
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ANALYSIS OUTCOME
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With departure in the previously mentioned site analysis and phenomenological observations, a poetic narration has been outlined. This proposal comprises a tectonic approach related to the holistic view on architecture, where the constructed and the construing are merged together to form a cohesive solution that identiďŹ es itself with the existing surroundings. Therefore, the proposed concept relates to the human scale in referance to the organic morphology of the site, while the principle seeks to assess the human perception in relation to the beliefs speciďŹ c to the sacred environment. This chapter delineates the intended vision, concept, and principle that inspired the proposal for the Hatlehol Church complex.
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THE VISION
A new iconic landmark shall adorn the site at Hatlehol, and be accommodating for the citizens of the region.
A Nordic approach shall be obtained through the choice of materials and the clear composition of the structure.
The building complex shall clean the site, while preserving the existing natural context. Axial paths leading to the mountain placed on the North, residential area towards the South, and the cemetery in the East shall be outlined as to emphasize the relationship between the surrounding existential instances and the proposed site.
Moreover, a warm atmosphere shall be achieved both withing the complex and around its surroundings through the chosen materials and volumetric shape.
The building complex shall resemble a traditional guildhall for the local community, having both indoor and outdoor activity spaces.
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Nevertheless, the Church room is one of the most important rooms of the proposed complex and shall be designed to radiate ceremoniousness and a feeling of ascendance.
_iconic, honest and inviting church complex _landmark emphasizing axis to the nature, residential area and cemetery
_clean the site and keep the morphology as it is
_create warm and peacefull atmosphere with the feeling of ascending and cermoniousness
_take the landscape into consideration and protect from the wind
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THE CONCEPT
Having the aim of creating a harmonious movement around the given site, movement which encourages the visitor to engage with the natural surroundings in an unfractured manner, the organic expression of the spiral has been considered, as a result of the previously driven analysis. A shape so easily recognizable in the existing natural fabric of the site, and derived from the radial decrease in importance of the nucleus point of the site represented by the highest morphological point - the peak. Keeping in mind the results of the analysis mentioned previously within this booklet,
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a spatial reorganization of the site through organic spiraling has been proposed. Therefore, the proposed morphology will emphasize the main access points from the South and East borders of the site. Moreover, the deďŹ ned ‘peak’ has been used as the focal point of the complex layout. Hence, our concept places the organic spiraling expression at the beginning of the design process, thus opening rich possibilities for architectural design and construction.
conceptual diagram showing movement around the focal point
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THE GESTURE
Dwelling upon the main concept, which is deďŹ ned as the wish to achieve clear morphological conďŹ gurations using organic movement around a focal point, the layout principle has been divided into three categories, experienced as a processional route along the site. Therefore, from the exterior of the complex, the undertaken design decisions work towards inviting the visitor to the inner courtyard of the venues. Here, the visitor is
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encased in a safe environment, protected from distress factors present on the site at a tangible level. [wind and noise] Moving along this processional route, the viewer reaches the inner chamber of the Church, where the feeling of ascendance is expressed through the construction of the room.
invitation
safety
ascendence
exterior of the complex
interior of the complex
interior of church
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DESIGN DEVELOPMENT
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The outcome from the analyses is taken into consideration when dwelling upon the design and geometry of the proposal. A tectonic approach is intended through requirements such as the shape, the aesthetic, the structure and acoustics of the encountered complex. When designing in an integrated way, various examples are tested and optimized though a trial and error method, as all elements must work as a whole.
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COMPLEX PLACEMENT
Initial site analyses played an important role when considering the complex placement on the proposed site. Therefore a number of considerations have been stressed when it came to deciding the on site position of the proposal. Placing the complex on the Northern bound of the plot has been found unwise because of acoustic distress directed from the main street. However, placing it too much towards the south, where the terrain is at its lowest level, would have resulted in lack of visual connections with the rest of the site and with the points of interest, as well as provide no possibility for ascendence towards the Church. Therefore, the middle part of the site is ideal, because it offers great connection to the cemetery, providing interesting views and includes the peak point, focal point for the proposal.
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_acoustic distress from the main street
_lack of visual continuity _no possibility to ascend
_complex preliminary placement _the focal point included _connection to cemetery
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FUNCTIONAL DIVISION
The bubble diagram of functions presented on the right is a powerful conceptual tool, essential to use in the beginning of the design process, when thinking of functional division. It is very helpful especially when creating reasonable relations between functions. In the case of our proposal, all required spaces are divided into three categories according to functional relations. This division into three established the thought of having three separate volumes in the morphology of the Church complex, each building encasing one of the three functional categories. For instance, all sacred functions are merged into one volume, undoubtedly accompanied by rooms of more technical purpose.
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sacred functions sacred functions
church’s common functions
church’s common functions administration and other functions administration and other functions Refuse
Kitchen Technical room
Chapel Congregational hall
Mezzanine Cloister room
Sacristy
Additional sacristy
Laundry room
Technical room
Workshop
Church room
Toilets
Meeting room
Sacristy for Baptism
Storage
Offices
Meeting room
Children’s chapel
Cloakroom Storage Entrance hall Toilets
Music room
Church hall Class rooms
Activity room
table 1. functional division 47
PHENOMENOLOGY HEIGHT AND DISTANCE
The church is desired to work as a landmark, while at the same time relate to the human scale.
Observations on how a person feels when standing outside buildings with different heights are also made.
Therefore, a study of the phenomenological interpretation of various buildings and their heights is provided. Moreover, an analysis of distances between building volumes is considered, the latter being used in the understanding of what is acceptable with respect to the human scale.
Therefore, by taking the previously mentioned surveys into consideration, the choice of using a height between 20-25 meters has been made. By choosing this height, the proposal will not only serve as landmark and icon in the Hatlehol Parish, but also create a sense of ceremoniousness for the inner space of the main Church room.
With consideration to the interior of the Church room, the height is designed as to inspire a feeling ascendence towards divinity. Therefore, the ceiling heights of the atrium space in Nordkraft, Aalborg are measured as these are rooms with different heights and can give an impression of the spacial quality of chambers with different heights.
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The non-sacred volumes of the building complex need not be the same height as the Church room, as the meaning of ceremoniousness does not need to be attached to these other functions. Consequently, the latter must be kept in the human scale, having the aim of achieving a height of no more then max. 10 m.
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34. nordkraft 35. atrium in city campus aau 36. pedestrian street aalborg 37. larsen waterfront 38.viborg cathedral 39. city campus and larsen waterfront
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GEOMETRY FRAGMENTATION
The comparison table on the right shows a preliminary approach concerning the design of a preliminary geometry of the complex. It reveals a veriety of compositional options on how to gradually achieve better configurations with consideration to different requirements. A planar circular shape is chosen as athe strating point of the design, as it embraces the principle of safety, stated as a requirement in the earlier stages of the project development. Nonetheless, the conducted model studies have shown that, by using curved surfaces, a sense of peacefulness is achieved.The initial shape shall further be adjusted acording to a number of requirements gained from site analyses.
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It is important for the phenomenology of this proposal to create a safe place, which would invite the visitor inside, while at the same time open to vista directions, as well as frame the nature beyond the vistas. Together with adjusting the position in plan regarding the topography of the site and the peak point, the final geometry of the fragmentation has been resulted. Indubitably, the resulted form has acted as just an abstract idea, but it did help concretize the complex´s interior-exterior relations, which were then verified by making physical models.
table 2. morphology considerations
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rp
ho
log
y
sh no elte ise rin an g fr d w om ind
rel a foc tions al hip po int to
co vis mpli ta anc dir e ec wit tio h ns sp ati a wi l di thi vis n s io ite ns
mp lan lem ds en ca tin pe g
co
mo
MORPHOLOGY DEVELOPMENT
Continuing the design process, in an effort to make progress with both acoustic and structural issues, the need to verify the spatial ideas by making physical models in scale and place them in the site has been stressed. The right side sheet presents a series of images of ďŹ rst trial models, used in achieving the desired spatial gestures by using one, three or four volumes. The form has either been edgy, curved or combined. The main considerations have been derived from all requirements obtained in the analysis so far. [see APPENDIX for detailed surveys]
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CONSIDERATIONS: wind protection relation to the peak connection between buildings potential to be a landmark/icon invitation / safety / ascendance table 3. volumetric development
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This phase of geometry development and form finding has been comprised to two architectural solutions, seen on the next page. The proposals share a lot of common values, such as a similar language of form, the division into three volumes or the use of a continuous roof surface, as well as inviting entrances to the inner courtyard from the directions of the parking lot in the South and the cemetery in the East. The main difference is in the shape of the inner courtyard, which is strictly circular in the first option and elliptical in the second. However, the circular configuration does not
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emphasize on the importance of the peak point very well. Nonetheless, the fitting of the needed spaces within this geometry, taking into consideration the dimensions stated in the phenomenology study do not recommend this shape for further usage. On the other hand, the elliptical geometry is more dynamic, having the longitudinal axes of the ellipse stretching from the peak point to the cemetery. Moreover, the shape of building is more suitable for fitting the required functions. Conclusively, the elliptical alternative has more advantages and bigger potential for further development.
_plan
_birds perspective
_eye level
table 4. volumetric proposals
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PATH
Since the whole complex is divided into three separate volumes, an open courtyard between the proposed volumes has been considered. A strong visual connection overseeing the buildings is already ensured by the building shape, as well as the continuous roof surface. The idea of interconnecting the complex by using a sheltered path for pedestrians, bringing more comfort in the usage of the inner courtyard, has been considered. Several trials and iterations have been made in order to analyse the right form of these paths, as can be seen on the right. However, each option comes with many disadvantages for the proposed complex
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concept, such as letting less light in the interior courtyard (due to the structure of the shelter), blocking the otherwise inviting entrances to the complex, as well as duplicating the interior corridors. Moreover, some of the considered options break the main path from the South and worsen the visual connectivity throughout the complex. Therefore, it has been decided to move away from the idea of a sheltered path, and only suggest the existing of this route through materials used at ground oor level.
formal development
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COURTYARD
The space created between the three proposed buildings of the complex plays an important role for the initial conceptual considerations of ‘invitation’, ‘safety’ and ‘ascendance’. This interior courtyard culminates with the ‘peak point’ of the site, which acts as an attractor by arranging the radiant space under the form of an amphitheatre. The courtyard is divided in two circular areas, influencing the movement around the site by conducting the circulation flow in a more dynamic arrangement through the use different heights. The axis dividing the interior courtyard is intended as a connection from the parking lot to the most sacred venue of the complex: the Church room. Dwelling upon the differences in height of the two instances of the courtyard a double movement can be perceived.
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Therefore, while the western court is defined by a movement of descendance completed by the peak point which acts as a stage, the Eastern court is characterised by an ascending movement. Both movements are achieved through the used of accentuated steps which invite the user to experience the site. The intention of having accentuated steps is justified by the double use of these elements. Therefore, the steps are not only as a means of circulation, but also as sitting areas. Moreover, flexibility in the use of the two courts represented the main objective in the design process. Therefore, the spaces can host a multitude of different activities such as outdoor religious ceremonies, weddings or Sunday markets.
courtyard development
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PRELIMINARY ACOUSTICS
Acoustic investigations played an important role in the design process. While using acoustic analysis as a design tool at the very beginning of the geometry development, essential errors related to acoustics can be avoided. Preliminary research has been mainly focused on evaluating different wall conďŹ gurations - parallel, non-parallel, and curved walls. All of the above mentioned were enclosed by a double-curved roof to explore acoustic behaviour in combination of convex and concave shaped surfaces. A oor area of 750 m2 met project requirements. The maximum height of the exploratory volumes is 17 m. The software used for acoustic investigations has been Pachyderm Acoustic 1.7.
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GENERAL CONSIDERATIONS
DOME-LIKE SHAPE
CONVEX SHAPE
CONCAVE SHAPE
DOUBLE-CURVED SHAPE
Sound is reflected back to the source, which is positioned in the middle of the space. Reflected sound is focused to one area and therefore this configuration is not suitable for larger audiences.
In this case, sound is reflected to the audience. However, distribution of reflections is focused and again not suitable for larger audiences.
This shape has very good acoustic behaviour - sound is distributed to different parts of the space and provides larger audience with the same perception of sound.
Hyperbolic paraboloid was used for this experiment. With a coherent design, concave direction distribute sound whereas convex shape helps to focus sound to the audience. This surface was has been rated in the process as the one with greatest potential to fulfill architectural concept.
FLAT SURFACE
FRACTURED SURFACE
OPENED CONFIGURATION
CLOSED CONFIGURATION
Flat surface which is not paralell to the floor can distribute sound quite well. In case of bigger spaces there is a risk of Hass effect which occures if the difference between direct and first strong reflected sound is larger than 17 meters.
Fractures can help the distribution of the sound with back reflections. With a good configuration sound can be directed back to the audience and the risk of Hass effect is lower.
Opened configuration of non-paralell walls is usually used in open air spaces, such as amphitheatres where the sound can not be reflected from the ceiling. It is not recommended for interiors.
Converging arrangement of the space can direct reflected rays to the audience and the time difference between direct sound and first strong reflection can be shorter. This configuration is recommended for interiors.
61
FLOOR GEOMETRY RESULTS
logarithmic energy time curve
time (seconds)
C80 G T30
0.71 to 4.66 4.18 to 7.08 dB 1.25 to 1.82 s
logarithmic energy time curve
time (seconds)
C80 G T30
0.07 to 3.53 5.25 to 8.49 dB 1.51 to 2.17 s
RECOMMENDED VALUES | C80 -3 to +2 | G 4 to 0/4 to 7.5 up to 10 dB | T30 1.4 to 2.2 s MATERIALS | FLOOR - STONE | WALLS - WOOD | CEILING - WOOD
62
NON-PARALELL WALLS
sounds pressure level (dB)
logarithmic energy time curve
CURVED WALLS
sounds pressure level (dB)
sounds pressure level (dB)
PARALELL WALLS
time (seconds)
C80 G T30
1.13 to 5.1 2.88 to 5.79 dB 1.34 to 1.9 s
Sound can be perceived in various ways depending on a number of aspects, such as the strength and type of the sound, the position and age of the receiver or the intended experience of the space.
it is important to know these acoustical parameters, be aware of their possible impact on the designed environment and use this knowledge in order to achieve desired ambiance.
Subjective parameters, as for instance loudness, intimacy, clarity, or reverence [persistence of sound in space] can only be evaluated in real standing buildings. This meaning that there is a lack of objective or measurable parameters which one can use for calculations and evaluations while the design is still in progress.
For the presented acoustic evaluation, three “objective” parameters and their magnitudes have been chosen. Reverberation time (RT or T-30) symbolizes the persistence of sound in space. The recommended values are in a range from 1.4 s to 2.2 s. Designed values at the end of the process are ideal to be around 2 seconds - a lower value being more suitable for conference rooms or small theatres, while higher values are characteristic for spaces such as Cathedrals.
For this reason, acoustic perceptions have been investigated and new “objective” parameters were established, having recommended values for different types of spaces. This division according the function of a space is meant to help the designer in choosing the right magnitudes for the evaluated parameters. Unfortunately, this is still not enough - reaching the recommenced values does not lead to the undoubtful success in a subjective evaluation. Acoustic conditions has always been a matter of subjective perception of the space which combines all senses. However,
The architectural intention is to achieve a sacral feeling, yet relate to the human scale. Taking into consideration materiality, reflective flooring such as stone or concrete can help with creating the desired reverberation. “When a musician speaks of “definition” or “clarity”, he means the degree to which the
individual sounds in a musical performance stand apart from one another.”[Beranek 2004]. The recommended values for clarity (C-80) vary, meaning that this parameter will still remain subjective. Designed values should be in a range from -3 to 0 [Beranek 2004]. “Values for sound strength (G) should be from 4 and 7.5 dB for large symphonic spaces and higher for chamber music.” [Beranek 2004]. According to this statement, designed values should vary from 4 to 10 dB. This preliminary analysis indicated all three evaluated volumes have a potential for good results. The energy curves are almost linear and they are close to requirements for reverberation time (decrease in sound intensity of 60 dB in 1.4 to 2.2 seconds). However, the spikes on the curve for the rectangular plan signalise echoes. These flutter echoes could be caused by the sound reflection between parallel walls. Curved and non parallel walls were assessed as the best options or further development.
63
PACHYDERM ANALYSES RESULTS
According to preliminary results, curved and non-parallel walls were chosen for further development of the shape. Models are evaluated in 6 frequencies representing various sound sources from priest (speech) to music instruments. For basic evaluation and comparison, materials are assigned only to the general shape - audience and furniture are not taken into consideration. This is reected for instance in the lenght of reverbation time - when audience is introduced, the reverbation time is shorter because of a higher absorbance level. For this reason, results for RT are considered as satisfying when magnitudes are slightly above 2 seconds.
64
The altar wall is introduced not only as an architectural element - acoustic analyses demonstrate that with the same position of source and receiver, different result are achieved. By placing a convex wall behind priest, the sound is directly reflected towards the audience. It is clear that small changes in the degree of curvature have a significant impact on the acoustic results. For complete results, it would be necessary to introduce a higher number of acoustic receivers in the simulation, in order to substitute the whole auditorium. table 5. altar wall configuration
By using the parametric definition of the shape made in Grasshopper, various geometry iterations can be analysed in Pachyderm Acoustic. A number iterations containing different surface fragmentations were investigated. The best acoustic results have been achieved when using a slightly fragmented geometry. Nonetheless, this configuration of fragments has the best impact on the light and facade design as well. table 6. outer wall iterations
The final geometry has been evaluated in three different instances. The first row represents values for sound source in front of the curved wall [priest]. Almost all values are in the desired range. The second row represents the organ and choir placement, which are situated on the mezzanine floor. Values for sound strength are slightly higher than recommended magnitudes for “large symphonic spaces” [4 to 7.5 dB] but they are still in the acceptable range - around 10 dB. The structure and audience are introduced in the last evaluation. table 7. final geometry
65
GRAPHIC ACOUSTICS
Preliminary graphic acoustic analysis for the basic shape shows that the difference between trajectory of direct sound ray and trajectory of ďŹ rst strong reection is always less then 17 meters. This distance corresponds to the time delay of 50 ms which can be recognized by the human ear.
the haas effect graphic analysis
66
CONCLUSION
The acoustic analysis has turned out to be inseparable part of the design process. It is considered to be relevant especially when designing a space with high priority on intended ambiance such as churches and congregational halls. Results from preliminary acoustic analysis been used for further development of the church room design to achieve plausible tectonic solution.
67
STRUCTURE STUDY
A ruled surface is a three dimensional construction achieved as a result of sweeping a straight line. Ruled surfaces are often the inspiration for curved hyperboloid structures that can be built from a latticework of straight elements. The proposal for the Hutlehol Church complex stresses upon the use of such a geometry in the composition of the roof structure. Often named the ‘moving line’, the geometry of the ruled surface enhances the
68
conceptual gesture of the inner space of the Church room, by emphasizing the idea of continuous ascendance towards God. Moreover, the use of such a geometry reflects both the rough edges of the existing architecture of the surrounding settlements, as well as proposes a new architectural form inspired from organic shapes found in the poetics of the framed nature surrounding the given site.
_hyperbolic paraboloid
_konoid
69
STRUCTURAL PRINCIPLE
Process of designing the appropriate load bearing structure harmonious with the concept involved number of experiments with different principles. By investigating positive and negative attributes of various structural systems, subsequent synthesis of them was possible. Final structure takes beneďŹ ts from previously analysed options, while tectonically cooperating with the other components of the design. By investigating possible solutions of spanning over large distances, two basic principles were established. One contains supports in the middle of the span, second keeps the space free. This option corresponds better with desired ambience of the chamber, because there is no functional need for additional division. Various tools were used for investigations in this process, such as sketches, sketch models, Grasshopper, and Karamba FEM plugin.
70
structure iterations 71
DESIGN PROCESS - STRUCTURE
72
73
STRUCTURE EVOLUTION
frame iterations
74
intersection frame iterations
folded plate iterations
simple frame iterations
75
PRELIMINARY STATICS
This section stresses upon a preliminary static analysis in the FEM plug-in KARAMBA of potential structural systems present in the complex Church room. The proportion of the frame elements analysed within this section are in strict correlation with an accurate dimensioning of the interior of the Church room, dimensioning that supports the initial concept of ascendance and sacrality. The applied loads are combined according to ULS formula containing the self weight of the structure, as well as the wind-load and the snow-load speciďŹ c to the geographical placement of the site.
76
At a preliminary stage, by looking at the maximum and allowable displacement results for the 3 structural solutions outlined in the diagrams placed on the right hand side, it can be stated that the high magnitude of the bending moment present in the upper chord can be solved in more then one way. A plausible solution is not only though the use of extra bars supporting the latter, but also by increasing the size of the basic frame components as well as making the joints between these elements rigid. However, as a tectonic approach on the design of the Church has constituted the main objective of this proposal, the decision to chose the simple frame for further development has been made.
simple frame
added support
added connection chords
_withstanding the bending moment _rigid joints _enlarged sections of structural elements _clear outline of design
_withstanding the bending moment _even distribution of loads _fragmentation of interior continuity
_withstanding the bending moment _even distribution of loads _obstruction of intended ascendance vista
77
FACADE DEVELOPMENT
Facade has been developed harmoniously with the tectonic approach of the whole project. The idea presents a solution of problematic parts of basic shape by introducing more detail to the vast surface of roof and outer facades. Therefore, surfaces of roof and walls make up one entirety using the same principle of detailing. Looking from exterior, facade and roof of the church room has been fractured into segments which has been lifted up. This discontinuity has brought light into interior and improved acoustic performance of the space at the same time
78
Implementation of this principle emphasizes desired movement around the focal point stated in the concept at the initial stage. Departing from the profane end of the complex conďŹ guration, facade keeps the rythm of vertical segmentation. Lenght of segments grows gradually towards the sacral volume stressing the importance of dedicated inner functions in single objects. Timber cladding naturally reect structural system to the exterior. There are several ways of facade installation, however, emphasizing of verticality forms the most plausible solution.
initial shape
shingle pattern
rise of segments
adaption to the shape
horizontal planking
more owing geometry
correct orientation, emphasizing the movement
vertical planking
79
WINDOW PLACEMENT VARIATIONS
“boring, too serious”
“playful, not emphasizing the form”
“not far from the final”
[see APPENDIX for further details] 80
PRINCIPLE OF PANEL JOINTS
There are two essential principles of assembling the structural insulated panels (SIPs). Joint of two planar element is made either of wood lath or by inserting additional OSB plank. The second option eliminates cold brigdes to minimum while keeping the same structural effectiveness. Corner joint of two panels has to be done according the principle displayed on the top right illustration. In order to achieve unity of the facade appearance while preserving structural integrity and thermal insulation, customized wraped elements are introduced.
81
CHURCH SEATINGS
The images presented on the right, represent several examples of seating configurations within the Church room.
spatial clarity of the room, ideally visualised with a central guideline facing towards the altar wall.
Due to the dynamic and curved shape of the room, the requirements taken into consideration were mainly considered as to reflect the shape, as well as to adapt to the proposed movement, in order to establish a visual connection between visitors and the altar wall.
Neither straight lines of seatings nor radial configurations have worked well for the shape of the room.
Nonetheless, it has been intended that the seating system would emphasize on the
82
Hence, the best option has been to create a series of curved rows of seatings, which actually mirror the altar wall and therefore create a clear spatial division.
seating iterations
83
BELL TOWER
The bell tower is placed towards the Southern entrance of the building complex, as to be part of the pedestrial route leading to the interior courtyard of the complex. All the iterations are made for bell towers that are individualized from the main volumes. This decision is a reflection of the intention to conserve the continuous, honest movement of the proposed geometry. The bell towers proposed within the design process are following the same principle as used for the main Church complex, therefore referencing the initial architectural intention.
84
Each pictures of bell towers is accompanied by a text describing the main principle for the design. The final proposal for the bell tower is constructed from the same timber cladding as in the building complex. Nonetheless, the composition plates are following the same movement as the one used for the main geometry. The dimensions 2m x 2m x 10m.
of
the
tower
are
plates on two sides, frames the view
plates at one side
plates on two sides making a corner
frames on all sides with movement as in the complex
plates in same hight on all sides
simple frame
simple frame with same hight as in the church
half frame
arch
combined frames
lower
combined plates with frames
folded plates
massive tower
lower with tilted roof
ďŹ nal bell tower
85
CONCLUSION
86
The proposal aims in placing a tectonic approach at the beginning of the design process, by harmoniously merging the constructing with the construing from the early stages of the design. Moreover, the readability of the stressed construction solution implies honesty, a key aspect with departure in Nordic architectural traditions. The narrative of the proposal is framed around the symbolic ‘peak’ of the site, presently formed as a gathering point for the locals of Hatlehol. By adapting to the current metaphysical pattern of the site, we aim in activating the genious loci of the place, thus reflecting upon the collective memory of the Alesund community. At a physical level, the integration of the peak is visible within the grid system, where the intention of creating a clear pattern on the site is stressed. The pattern integrates the peak as an individual element within the volumetric composition of the proposal.
Nonetheless, the structural system reflects a hierarchy of the functional division, by placing the most important rooms of the complex directly under the highest verticals of the geometry of the complex. This is visible on the exterior façades of the building, where the gesture of creating a ceremonious complex is achieved. However, the interior courtyard contrasts the exterior of the proposal, by directly relating to the human scale through a decrease in the height of the interior facades. Therefore, the feeling of safety is achieved. Concludingly, by integrating functional, structural and aesthetical consideration the aim of proposing a tectonic design with departure in Nordic architecture is achieved. Nonetheless, the church represents an integrated design which takes into consideration not only aesthetic and structural aspects, but also acoustic quality, lighting condition as well as materiality.
87
REFLECTIONS
88
In order to create a successful design that integrates both architectural and engineering knowledge, a well defined trial and error process has been stresses throughout the 8 week span of the project. Our group ethic enabled each individual to have an active role in all design stages and areas, therefore favouring a deeper understanding of both architectural and engineering considerations integrated within our design. Nonetheless, the international environment of the group allowed for collaboration between different design approaches and cultural differences. This can be seen in specific reflections concerning particular design discussion such as the analysis of the differences between the Catholic, Orthodox and Protestant Churches. Moreover, we have entered this assignment seeking a deeper understanding of tectonic
and Nordic architecture, which we have successfully managed to integrate in our final proposal. We feel that this proposal has the potential to encourage and influence the local architectural scene by introducing a new architectural language defined by a more organic approach. Although the design contrast the edginess of the existing architecture, it harmoniously integrates Nordic features. Moreover, the above mentioned edginess stands at the core of our design, as the curvature is defined by linear elements working together in determining a ruled surface. However, we feel that more consideration could have been given to the path connecting the three volumes of the complex. The final decision lacks a covered path that protects the visitor traveling from one side of the complex to the other. Yet, the decision of
not having a covered path has been made after taking into consideration a number of aspects that we have commonly agreed were more important in sustaining our concept, aspects that the use of a sheltered path would have obstructed, such as letting less light in the interior courtyard (due to the structure of the shelter), blocking the otherwise inviting entrances to the complex, as well as duplicating the interior corridors. Therefore, it has been decided to move away from the idea of a sheltered path, and only suggest the existing of this route through materials used at ground floor level. Concludingly, we feel that our proposal reflects a tectonic approach by having a clear and honest structural expression that emphasizes the architectural intentions of ‘invitation’, ‘safety’ and ascendance.
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REFERENCES BIBLIOGRAPHY
HOMEPAGES: Austria, p. (2014). Chapel of Saint-Loup. [online] wooddays. Available at: http://www. wooddays.eu/en/wood-architecture/bestpractice-architecture/detail/kapelle-saintloup/ [Accessed 8 Dec. 2014]. Byensrum.dk, (2014). AALBORG KOMMUNE - Forskning+kommunikation - Juul | Frost Arkitekter. [online] Available at: http://www.byensrum.dk/netvaerk/ AalborgKommuneSlide1.php [Accessed 25 Nov. 2014]. City-journal.org, (2014). Sacred Revival by Colette Arredondo, City Journal 10 January 2014. [online] Available at: http://www.cityjournal.org/2014/bc0110ca.html [Accessed 8 Dec. 2014]. Gaisma.com, (2014). Ã…lesund, Norway Sunrise, sunset, dawn and dusk times for the whole year - Gaisma. [online] Available at: http://www.gaisma.com/en/location/ alesund.html [Accessed 8 Dec. 2014]. http://www.stroik.com/, (2014). duncan stroik. [online] Available at: http://www. stroik.com/pdf/press/Architects_and_ 90
the_Production_of_Religious_Space.pdf [Accessed 8 Dec. 2014]. Met.no, (2014). Climate in Norway - met.no. [online] Available at: http://met.no/english/ climate_in_norway/ [Accessed 8 Dec. 2014]. Pleatfarm.com, (2014). Folded-Plate Hut in Osaka. [online] Available at: http://www. pleatfarm.com/2009/12/21/folded-plate-hutin-osaka/ [Accessed 8 Dec. 2014]. Scandinavianmountains.com, (2014). Scandinavian Mountains - Introduction Climate, Geography, Geology, History. [online] Available at: http:// www.scandinavianmountains.com/intro/ geography.htm [Accessed 8 Dec. 2014]. Verdsarvjord.no (2014). Verdensarv Geology and landforms. [Online] Available at http://versarvjord.no [Accessed 8 Dec. 2014] Victorious.org, (2014). What is the difference between a Protestant church and a Catholic church?. [online] Available at: http://www. victorious.org/chur40.htm [Accessed 8 Dec. 2014].
Vinnitskaya, I. (2013). The Traditional versus the Modern in Church Design. [online] ArchDaily. Available at: http:// www.archdaily.com/385013/the-traditionalversus-the-modern-in-church-design/ [Accessed 8 Dec. 2014]. Weather-and-climate.com, (2014). Weather and Climate: Ã…lesund, Norway, average monthly , Rainfall (millimeter), Sunshine, Temperatures (celsius), Sunshine, Humidity, Water Temperature, Wind Speed. [online] Available at: http://www.weather-andclimate.com/average-monthly-RainfallTemperature-Sunshine,alesund,Norway [Accessed 8 Dec. 2014]. Windmap.se, (2014). Windmap - The first step in wind resource assessment. Developed by Greenbyte AB. [online] Available at: http:// www.windmap.se/ [Accessed 8 Dec. 2014]. Cfmoller.com, (2014). Aalborg Havnefront - Projekter - C.F. Møller. [online] Available at: http://www.cfmoller.com/p/AalborgHavnefront-i2005.html [Accessed 24 Nov. 2014].
BOOKS: Frampton, K. (1995). Studies in Tectonic Culture, MIT Jensen, B. and Mohr, G. (2013). Teknisk ståbi. Kbh.: Nyt Teknisk Forlag. Jodidio, P. (2011). Wood - architecture now!. Cologne [u.a.]: Taschen. Kolb, J. (2008). Dřevostavby. Praha: Grada. ARTICLES: Frascari, M. (1984) The Tell-the-Tale Detail, Via no. 7, pp. 22-37; Melson, A. (2012), Norge Luksuriøst Nøjsomhed. Arkitekten 08, 114, p58 FILM: Sheridan, M (2011) Masterpieces. [Video]
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ILLUSTRATION LIST
http://www.pinterest.com/ pin/109704940896558859/
http://www.pinterest.com/ pin/5629568259980442/
http://www.arthitectural.com/okrastoraa-stream-experience/denmarkholstebro-storaa-stream-2/
https://www.flickr.com/ photos/14716771@N05/ sets/72157607059095993/ detail/?page=2
http://www.pinterest.com/ pin/5629568260209434/
http://www.jotdown.es/2013/11/ el-dia-que-un-arquitecto-espanolcambio-el-mundo/
http://www.panoramio.com/ user/488206?with_photo_ id=39134861
http://www.pinterest.com/ pin/5629568260161910/
http://www.hwicleanrooms.com/thebasic-task-of-landscape-architects/ landscape-architect/
http://www.aa13.fr/architecture/ arcadia-allergutendinge-42616
http://www.pinterest.com/ pin/5629568260209435/
http://www.planners.com.cn/vision_ show.asp?vision_id=30&pageno=2
http://www.huhmagazine. co.uk/5157/the-juvet-landscapehotel
http://www.pinterest.com/ pin/5629568260161852/
http://www.coolroom.dk/?p=595
http://www.dac.dk/da/dac-life/ udstillinger/2015/snoehetta---worldarchitecture/
http://www.pinterest.com/ pin/5629568260161894/
own image
http://wikiworldpedia.blogspot. dk/2012_12_01_archive.html
http://www.stuckincustoms. com/2007/02/14/the-wrath-of-thenorse-gods/
http://www.pinterest.com/ mreinaortiz/arquitectura/
http://www.pinterest.com/ pin/273875221064215111/
http://www.mfa.ďŹ /etusivu?apid=3838
own image
http://www.archdaily.com/72755/ kuokkala-church-lassila-hirvilamm/ webjy30/
http://www.pinterest.com/ pin/5629568260209430/ 92
http://arquitectura.estudioquagliata. com/tag/raul-del-valle
http://minimalissimo.com/2012/06/ kamppi-chapel-of-silence/
Own picture
http://denfrie.blogspot.dk/2014/06/ smuk-som-det-tilfldige-mde-pa-et. html
Own photo
Own picture
Own picture
http://www.archdaily.com/497857/ divinely-inspired-architecture/
Own picture
http://heating.danfoss.com/PCMPDF/ HRV_VIFYA202_Lores.pdf
http://noticias.arq.com.mx/ Detalles/11321.html#.VIXEqIuG-x0
Own picture
http://www.pinterest.com/ pin/109704940896558859/
* all other pictures, tables and diagrams are own 93
APPENDIX
SURVEYS
20-30
CHAPEL
1
95
20-30
CLOISTER ROOM
1
12
This table shows overall listing of room programme. All rooms are divided into three parts according to their functions and ideal connections to each other. It serves for quick comparisons for example between the areas of room or number of persons.
2-5
SACRISTY FOR BAPTISM
1
45
5-10
SACRISTY
1
12
2-5
MEETING ROOM
1
27
8
There are added some more requirements through which the placement of rooms is more clear in relation to facade or level of ceiling and it significantly helped during designing the plan.
CHURCH´S COMMON FUNCTIONS ADDITIONAL SACRISTY
1
13
-
CHURCH ENTRANCE HALL
1
50
-
STORAGE
1
15+35
-
ENTRANCE/CHURCH HALL
1
100
20-40
CONGREGATIONAL HALL
1
150
50-100
KITCHEN
1
40
-
8
ADMINISTRATION AND OTHER FUNCTION OFFICE
1
50
MEETING / DINING
1
20
8
STAFF TOILET
1
20
10
TECHNICAL ROOM
1
25
35
CLASS ROOM
2
25
10-15
MUSIC ROOM
1
25
10-15
ACTIVITY ROOM
1
30
-
STORAGE
1
12
-
REFUSE
1
12
-
WORKSHOP
1
40
-
LAUNDRY
1
15
-
PUBLIC TOILETS
1
20
5
CLOAKROOM
1
20
-
ARTIFICAL
75
LIGHT
NATURAL
1
HIGH
15-30
CHILDREN´S CHAPEL
LOW
300-500
95
REQUIRED HEIGHT
OTHER ACTIVITIES
670
1
CONCERT
1
MEZZANINE
SACRED FUNCTIONS
PUBLIC ACTIVITIES
BURIAL
CHURCH ROOM
ATMOSPHERE
SACRED
PERSONS
WEDDING
AREA
SECULAR
NUMBER
ROOM PURPOSE
MODEL EVALUATION
1
2
3
On these two pages is described a part of the process of ďŹ nding a form according to site analysis, concept and other requirements listed in the tables below. Images show conceptual models used for the evaluating. Eventually, evaluation itself did not play such an important role, but a huge progress was made during the discussions. 5
6
05-11-14 MODEL NUMBER
WIND PROTECTION
CASTING SHADOW
RELATION TO THE PEAK
CONNECTION BETWEEN BUILDINGS
COMPOSITION ON THE SITE
SUITABLE FOR FUNCTIONS
DIRECTIONS TO THE POINTS OF INTEREST
POTENTIAL TO BE A LANDMARK / ICON
INVITATION
1
8
3
9
9
3.5
7
5
8
4
2
9
5
5
3
4
9
7
7
6
3
6
7
7
5
5
9
4
6
7
4
-
-
-
-
-
-
-
-
-
5
6
3
9
9
5
8
4
6
4
6
6
7
4
2
3
9
4
5
4
1
2
3
4
5
6
06-11-14 MODEL NUMBER
WIND PROTECTION
CASTING SHADOW
RELATION TO THE PEAK
CONNECTION BETWEEN BUILDINGS
2D
3D
DIRECTIONS TO THE POINTS OF INTEREST
POTENTIAL TO BE A LANDMARK / ICON
INVITATION
SAFETY
ASCENDANCE
1
9
6
6
7
7
7
6
6
3
8
7.5
2
9
5
7
8
7
5
8
6
4
9
7
3
2
9
4
9
4
3
3
9
5
3
9
4
9
7
8
6
3
4
8
4
4
6
7
5
9
3
6
8
7
5
8
5
7
8
7
6
7
5
8
7
7
7
8
9
6
6
8
FACADE DEVELOPMENT
SKETCHES
preliminary layout iterations
gesture development
childrens’ chapel
structure development
PRECIPITATION DIAGRAMS
rainfall
cloud covering
104