Hatlehol church by Lars Krog Jensen

HATLEHOL CHURCH MSc01 ARK Fall 2013 Group 12

HATLEHOL CHURCH Subject Tectonic Design: Structure & Construction Institute Aalborg University, AAU Msc01 ARK Fall Semester 2013 Supervisors Marie Frier Hvejsel Poul Henning Kirkegaard Project period 21.10.13 - 18.12.13 Edition 10 Pages 138 Project team Group 12

Anna Van

Bjørn Bull Hansen

Catarina Moisão Pires

Lars Krog Jensen

Mia Marker Bøhnke

Rita Neto Silva

SYNOPSIS The present report is a record of the project developed during the 2013 fall semester for the main project course: Tectonic Design – Structure and Construction. The task is based upon an open competition regarding the need to build a congregational space in the area of Hatlehol, municipality of Ålesund, on the scenic west coast of Norway [Competition Program, 2008]. The need for the church is much rooted within the identity of Hatlehol – due to an increase in population it has become essential to establish a congregational space that belongs to these people. We have taken this aspect as a point of departure for our project [Competition Program, 2008]. The church complex is due to include a main church and the additional required sacral functions, as well as further functions, included in a common building: class rooms, music rooms, congregational spaces, administration offices and meeting areas [Competition Program, 2008]. The eclectic program required by the community translates the character of a gathering place, that shares sacred functions with every day life functions, creating an enticing dialogue between different dimensions, arising the different aspects of life and the relations between them in a common building. The project aims to integrate the complexity of the church’s functional program with the significance of its meaning and with the cultural and natural context. Tectonic architectural theory is used as means to achieve such integrity between form, function and construction, in the search for a significant space in the Nordic context.

FOREWORD This report is constituing the design records of the project Hatlehol Church and is developed by six students at the 7th semester, Architecture & Design, at Aalborg University. The project is developed from the 21st of October to the 18th of December 2013. The theme of the project is Tectonic Design, with the task to design a church in the city of Hatlehol, Norway. The project strives to investigate the notion of Tectonics as a method, in developing an informed architectural design, hereby discussing the role of Architecture theory in relation to this process.

READING GUIDE The present report is organized in six main chapters. There is an additional introductory section that serves as introduction to the project and clarifies aims and methods, also presenting the project statement and vision. The first chapter accounts for the Presentation of the final proposal, displaying renderings, Architecture drawings and constructive details. The second and third chapters present, respectively, the conducted Site and Theme Analysis. The Theme Analysis also includes a brief presentation of two case studies especially informative for the project. A conclusive section on these two chapters is referred to as Reading the Analysis. In this section we sum up the inputs from the analysis, positioning our project in relation to the investigations carried out. The forth chapter refers to the Design Process, presenting the storyline of the project, the narrative which will guide the reader through the working process that leads to the final proposal. The design process describes the conception of the initial idea, followed by the understanding and optimizing of details in relation to the architectural whole. The fifth chapter referes to the Final Considerations, herein positioning our project within the Nordic and Tectonic context. Finally, the Appendix includes additional information that will allow the reader to go further into detail regarding specific aspects of the project. References for the texts and illustrations can be found at the end of the report.

TABLE OF CONTENTS Aims 8 Introduction 9 Vision 11 Methodology 12 Tectonics as a method 13 1 PRESENTATION

Visualizations 16 Plans 24 Sections and elevations 26 Constructive details 36 2 SITE ANALYSIS

Introducing the site analysis 40 The area 40 The site 42 Terrain and vegetation 43 Infrastructures 44 Functions 45 Climate 47 Summing up - inputs for our project 47 Following up on the site analysis 47 3 THEME ANALYSIS

Nordic Architecture 50 Light 53 Tectonic Approach 54 Understanding Tectonics in the Detail 55 The Potential of Timber Construction 56 Learning from Stave Churches 56 On the importance of religion 56 What kind of Church? 57 Summing up - inputs for our project 57

3.1 CASE STUDIES

St. Henry’s Ecumenical Art Chapel Piscina das Marés Fireplace, Skjermvejen Kindergarten Go’o Shrine

60 62 64 65

3.2 READING THE ANALYSIS

Reading the site analysis What does it mean to design a church The analysis as a point of departure

68 69 69

4 DESIGN PROCESS

Making aware 72 Contrasting spatial experiences 73 Initial sketching 74 Experimenting with the tree analogy 76 Section studies 77 Conceptual development of the structural principle 78 Developing the plan 80 Conceptual development of the plan 81 Developing a unifying architectural intention 82 Reading the plan 84 Embedding Architecture in the landscape 85 Flow diagrams 86 The intention in the materials 88 The intention in light 89 Working in model 90 4.1 DETAILING

Grasping the intention in the detailing Exploring the intention within the principle Investigating the principle as furnishing space Structural considerations Acoustics and materials

94 95 96 98 100

Seating plan Urban planning: reading the whole territory Investigating a Tectonic detail - chapel

102 103 104

5 FINAL CONSIDERATIONS

109

Positioning our project within Nordic and Tectonic 110 IDP in the Tectonic context 111 Conclusion 114 Reflection 115 References 116 Illustration list 118 Table list 119 6 APPENDIX

121

Appendix 1: Function diagram Appendix 2: Room program Appendix 3: Structural analysis Appendix 4: Stability and sturdiness Appendix 5: Scots pine timber Appendix 6: Acoustic analysis - ecotec

122 123 124 132 133 134

AIMS We strive to achieve integration between form, function and construction through architectural continuity, using this particular understanding of Tectonics as a means. We aim to combine aesthetic and technical aspects of design, reaching a common ground between space conception, form, structure, detailing, choice of materials, light and acoustic aspects, investigating how these components are entailed by the Tectonics and how they relate to each other. We aim to design a church that will enhance the experience of the surroundings while providing a gathering and contemplation sense. Our vision is that Architecture is able to create a balanced interaction between the functions. It is our understanding that the church should be able to enhance the areaâ&#x20AC;&#x2122;s identity, while providing a gathering place for the community in the different moods and ceremonies required - a place for happiness and music; grief and sorrow; and quite reflection. It is a place for contemplation and connection both on a individual and social level. We aim to investigate how the components in Architecture can be united towards a unique intention, and how this intention can be seen as a Tectonic vision and a Tectonic methodology of designing Architecture. Ultimately, we aim to design a church that emphasizes the dialogue between the components in Architecture, while remaining true to the unifying spatial idea, a common vision that, we believe, can be percieved as architectural intention, materialized in the detailing.

INTRODUCTION Nordic Architecture and Tectonic Architecture are regarded as the main themes for the semester. Throughout the design process we are working towards an investigation regarding the meaning of these themes and how they inform the church design. We are striving to formulate a position, investigating a problem, through a continuous design process. Having this in mind, we are designing a church in the context of Nordic Architecture, using Tectonics as a means â&#x20AC;&#x201C; bringing together qualities of Architecture, in the meeting of functional, technical, structural and aesthetical components. Motivated by a critical and conscious awareness of the task of designing a church, we are bearing in mind a concern with the place and the surroundings, with regard to culture and heritage, intention in use of materials, considering the northern light and identity in the creation of signifying experiences. Designing a church is, for us, a task of enhancing the sense of place â&#x20AC;&#x201C; creating a space for individual contemplation in the context of community gathering. There is also a transcendent dimension bonded with the concept of a church provided by the physical surroundings and the sense of presence, contemplation and connection that can be perceived through Architecture. In this context, our approach strives to accomplish a continuity and integrity between form, structure and construction, with an emphasis on materiality and detail, and the poetic understanding of how Architecture is actually experienced as real space. The overall task we are trying to solve concerns the meaning of designing a church in the Nordic context and heritage in the framework of Tectonic Architecture.

“MY MIND IS MY OWN CHURCH.” [Paine, 1794]

VISION We aim to create a sense of presence in a gathering space that makes you aware of yourself by suggesting contrasting spatial experiences between narrow and open spaces - designing in the context of Nordic Architecture, using Tectonics as a means.

METHODOLOGY This section describes the method we used throughout the report.

architectural works. Bek considers space as the most important subject in architectural analysis - the method she developed is based on the question of â&#x20AC;&#x153;which and how many perspectives one must necessarily adopt on a particular work of architecture in order to obtain a sufficiently thorough analysis of the work when consi-dering space the primary subjectâ&#x20AC;&#x153; [Bek & Oxvig, 1997: 24]. Having this method in mind, we are looking specifically at the first four aspects defined by Bek, adding, however, an additional concern for the structural aspects, in order to conduct a critical and Tectonic analysis of the works. The structural aspect is regarded in terms of the architectural principle described by M. F. Hvejsel in Interiority: a Critical Theory of Domestic Architecture (2010), understanding the principle as an articulator of the whole and the architectural intentions.

References are specified using the Harvard Method, referred in the text by last name and year, constituting a literature list at the end of the report. Quotes are referred with last name and year, and additionally with page number(s), when available. Illustrations are specified with numbers, likewise referring to an illustration list at the end of the report. In this project we are investigating how to design a church using the Integrated Design Process (IDP) as a tool. This methodo-logy is developed by Mary-Ann Knudstrup as part of the book Pandoras Boks [Knudstrup, 2005]. This process is divided into five phases, concerning: The Problem Phase, where the problem is initialized, articulated in a statement, a vision or an idea. The Analyzing Phase, where relevant premises are analyzed, concerning:

The Sketching phase, where processing sketching is used to develop an idea or concept, using hand sketches, 3D modeling, models, diagrams, etc. Architectural and engineering knowledge are combined and inspiring each other into a solution, optimized through creativity and technical solutions. The Synthesis Phase combines the parameters, intentions and solutions explored in the previous phases. In this phase everything falls into place, creating a symbiotic whole, by the understanding and optimizing of details in relation to the whole. The Presentation phase constitutes the last phase, where materials are produced for dissemination of the project.

Site analysis, where relevant aspects of the site and surroundings are explored. The analysis is trying to clarify the qualities, potentials and challenges of the site through a quantitative approach. Theme analysis is concerned about the historical context and development and tries to reach an understanding of the Tectonic approach and the qualities of materials. Case studies of existing architectural works are analyzed according to Lise Bekâ&#x20AC;&#x2122;s phenomenological method, based on the analysis of five architectural aspects: the formal aspect; the practical/functional aspect; the scenographical/social aspect; the iconographical/signifying aspect; and the visual/ experimental aspect. We are translating this method into our project by considering the aspects which are relevant for us and adding those which we feel are not sufficiently stressed in the referred method, mainly concerning the structural principle of the

The IDP is an iterative process, meaning that it is not chronological but consisting of loops between the different phases, so as to optimize the process. In this manner, the phases influence each other to achieve a design that relates to aesthetical as well as technical aspects, to achieve an integration between detailing and the whole [Knudstrup, 2005].

TECTONICS AS A METHOD Being the main semester and course theme, Tectonic Architecture is an underlying guiding concept of the design process. In relation to the IDP, we aim to investigate how Tectonics can be percieved as a method in an architectural design, concerning the integration of the various components in the field.

Problem

Analysis

Sketching

The integration between aesthetic and technical aspects is an aim in the IDP and it is also a guiding principle in the Tectonics. Using the Tectonics as a method, we aim to design Architecture that searches for a unique intention, expressed in the meeting between form, function and construction.

Synthesis

Therefore, we will investigate Tectonics also as an iterative process, that combines different design inputs in favor of a unique architectural intention. We aim to investigate how these two methods come together and what is the connection between them, understanding to what extent Tectonics can actually be used as a methodology.

Presentation

Ill. 03: The Integrated Design Process

Thus, we are percieving Tectonics as an integrated theory of Architecture, investigating the significance of intentions in Architecture by using a Tectonic approach. We are working in the IDP method, using Tectonics as a means, in order to investigate how we can progress with the Tectonic discussion.

PRESENTATION The new Hatlehol Church is a place that enriches togetherness and individual well-being, enhancing the experience of the surrounding landscape and providing a place to embrace times of joy, reflection, doubt and sorrow, in community gathering and individual contemplation. A suggestive timber structure guides you throughout the church, revealing the different spaces, inviting human interaction and creating spaces for the individual reading of the community. There is an intention guiding the inhabitant in an empathetic relation with the spaces, softening the rational concrete spaces and turning them into sensuous spatial experiences, awakening the senses. Architecture takes part in shaping encounters, designing spaces that reach out and can be so simply acknowledged as a place to be.

Ill. 04: Approaching the Church

During daytime, sunlight filtered through the timber frames illuminated the building; at night, the building lights up the surrounding nature and the church appears as a lit space in between the Nordic forest trees.

Ill. 05: Walking along the axis

Arriving at the building you will meet concrete walls guiding you inside, inviting you to explore it. The timber structure invites an interaction and suggests how the spaces can be experienced in enjoying alone or community time. Interior and exterior spaces speak to each other through the courtyards and openings that tell the story of the interior spaces.

Ill. 06: Courtyard with view to workshop area

Ill. 07: Main Church Room

When you enter the church your senses are awakened by the warm and sensuous feeling of the timber structure. The structure leads you throughout the church, arising the possibility for gathering and individual contemplation.

Ill. 08: Chapel

Ill. 09: Office Space 23

Ill. 10: Context Plan 1:1000

Ill. 11: Plan

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SECTIONS AND ELEVATIONS

Ill. 12: West Elevation

Ill. 13: Section AA’

AA’

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Ill. 14: Section BB’

Ill. 15: Section CC’

BB’ CC’

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Ill. 16: Section DD’

Ill. 17: East Elevation

DD’

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Ill. 18: South Elevation

Ill. 19: Section EE’

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Ill. 20: North Elevation

Ill. 21: Section FF’

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CONSTRUCTIVE DETAILS

Ill. 22: Sketches illustrating the fixed joint between a timber frame and the concrete wall in the church, detailed further in the constructive drawing below.

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Section Scale 1:20

Ill. 23: Constructive detail 1: meeting between a timber frame and the concrete wall in the church room. We intended to create a continuous surface in the joint between the two materials, providing an aesthetic experience where the space can be read as a whole. Legend: 01. Scotch pine timber cladding 02. Air chamber 03. Timber batten 04. Distant List 05. Waterproof membrane 06. Thermal insulation 07. Drip for rain water 08. Steel plate

09. Concrete 10. Steel bolt 11. Steel horse shoe 12. Glue laminated scots pine timber frame 13. Steel clamp bracket 14. Compact thermal insulation 15. Regularization Layer for setting the concrete 16. Radon exposure protection layer

17. Capilar layer 18. Compact soil 19. Soil 20. Vapor barrier 21. Double glassing 22. Steel profile 23. Fixation between the glassing and steel profile 24. Exterior glue laminated scots pine timber frame

02 21 06 23

Plan Scale 1:10 Ill. 24: Constructive detail 2: meeting between a timber frame and a window. There is an additional timber frame in the exterior that prevents thermal bridges, guarantees a continuous cohesion between exterior and interior staces, enhancing the Tectonic expression of the structure.

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18 19 Section Scale 1:20 Ill. 25: Constructive detail 3: meeting between a timber frame and the concrete flooring in the main church; a small distance between the concrete floor and the timber frames creates a small shadow, emphasizing the frames and creating space for wood to work.

SITE ANALYSIS In the following chapter the site analysis, regarding location, infrastructures, functions, vegetation, terrain and weather conditions, will be presented. We will initiate by making a general informative description of the area, followed by a study of the site features such as relation to traffic, topography and vegetation. Infrastructure and function maps show the existing facilities and programs in the surrounding area. A climatic analysis accounts for temperature, sun, wind and precipitation variables. This section concludes with a sum up of the main inputs we are using in the design process.

INTRODUCING THE SITE ANALYSIS The site analysis consideres the existing local environment, with regard to terrain, topography, vegetation, infrastructure, function and climatic condition. This information allows for an informed integration of the building into the landscape, in relation to the nearby buildings, facilities and traffic infrastructures.

THE AREA Ålesund City Ålesund is located in west Norway. Its location and integration with nature; the characterizing islands; the surrounding fjord and mountains make it one of Norway’s most beautiful cities [Innovation Norway, 2008-13a]. Hatlehol The site for the church has 16.885 m2 and it is located in Hatlehol (east Ålesund). Around 8.000 people currently live in this area. The site is surrounded by green areas, forests and mountains. It has a parking lot serving Hatlehol cemetery and it is close to educational, sports and residential facilities. A main road between Ålesund and Hatlehol defines the northern side of the site and secondary roads encircle it [Competition Breif, 2008].

Ålesund

Hatlehol

Ill. 27: Location of Ålesund

Ill. 29: Location of Hatlehol in relation to Ålesund

Ill. 28: Ålesund City seen from above

Ill. 30: Ålesund City

THE SITE The Surrounding Area Most of the visitors will arrive by car or busses running along road RV60, passing by the site. Northeast of the site, the main road is connecting Hatlehol with Ă&#x2026;lesund and Vigra Airport and southeast a ferry continues Route RV60 across the fjords. A mix of villages, hills and forests characterize the surrounding area. Noise There is some degree of noise issues on the site - noise pollution occurs due to road RV60, adjacent to the site. It is expected that there will be a doubling of the traffic on the road in the coming years, so an increase of noise of a further 3 dB is expected. The limit values for the noise are stated in the Norwegiam regulation T-1442 and have an average limit value of 55 dB [Gronmyr, 2008].

Ill. 31: Photograph of the site

The measurements show that the noise outside of the building will be at 52,7 dB, plus the expected increase of 3 dB, it will give a contamination of 55,7 dB. From the measurements, it is recommended to avoid building in a distance of less than 30 meters from the main road RV60 and 10 meters from the surrounding smaller roads [Gronmyr, 2008]. Terrain The site is quite undulating in terms of topography, meaning that it is a challenging terrain to work with. However, this factor can also represent a potential for the design of the church building, taking into consideration a concern with the landscape and the respect for the terrain. There are two main rock formations characterizing the terrain. Ill. 32: Photograph of the site

Vegetation There is a high density of vegetation and the existing trees are mainly pine trees [Competition Breif, 2008].

TERRAIN AND VEGETATION 01 02 03

R.I.P.

20 meters

Ill. 35: Plan for sections

Ill. 33: Vegetation Map showing the density of existing vegetation

Ill. 34: Sections 1, 2 and 3

INFRASTRUCTURES Citycenter 21 min Airport 35 min

Village Kindergarden 12 min walk

BUS

Re60

20 meters

Village 10 min walk Water

Traffic by car

Building area on site

Walk and bike trail

Village School Kindergarden 10 min walk

Ill. 36: Infrastructure diagram of the surrounding area

The diagram above illustrates the adjacent area of the site designated for the church. The competition brief considers the construction of a round-about in the intersection between road RV60 and the road that runs in the north-south direction. This secondary road is also planned for further extension towards the south, linking the site to an existing residential area. The grey area is the area free from the road noise, meaning, the area suitable for building.

The site mediates the relation between these two roads and the resulting parking areas have to be considered in relation to traffic flows and connections created between the church site and the cemetery. Redesigning the parking areas is part of the church design.

FUNCTIONS

20 meters

Ill. 37: Function diagram of the surrounding area

The site has a clear connection to the existing cemetery, one that should be considered while designing the church. The residential areas to the north, west and south should also be considered in the church design as to create a sense of cummunity between the users and the way that they approach the site. The sporting facilities to the west should also be considered as a part of this relation, in order to achieve a connection of the surroundings, as well as bringing joy and activity to the church function.

Considering the relationship between the different functions related to the site allows for an informed integration of the building in relation to the nearby buildings, facilities and traffic infrastructures. We see potential in using the church as a connecting element, creating interactions between the functions related to the site, in order to create the gathering and contemplation gestures we are searching for.

Normal 1961 - 1990 for Brusdalsvatn

Ålesund, Norway

Hours

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Ill. 38: Sun hours per month in Ålesund, Norway

Ill. 40: Annual precipitation in Brusdalsvatn

Frequency distribution of wind speed in percent %

60930 BINGSA

51,5° Summer solstice Wind speed (m/s)

345°

> 20.2

15°

40 %

15.3-20.2

35 % 30 %

315°

10.3-15.2 5.3-10.2

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28° Spring and Autumn equinox

> 20.2 15.3-20.2 10.3-15.2 5.3-10.2 0.3-5.2

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Frequency distribution of wind speed in percent %

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60930 BINGSA

15 % 10 %

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195° Year: 2012 Jan, Feb, Mar, Apr, May, Jun, Jul, Aug, Sep, Oct, Nov, Dec Hour: 1, 7, 13, 19 (NMT)

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135°

225°

Ill. 39: Sun angle (according to latitude and longitude)

45°

25 %

285°

Ålesund, Norway latitude: 62°

15°

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105°

255°

N 40 %

255°

Ill. 41: Frequency distribution of wind speed in percent for the year 2012 135°

225° 195° Year: 2012 Jan, Feb, Mar, Apr, May, Jun, Jul, Aug, Sep, Oct, Nov, Dec Hour: 1, 7, 13, 19 (NMT)

165°

CLIMATE

SUMMING UP - INPUTS FOR OUR PROJECT

To design a building in the Northern latitude it is important to consider the shapes and materials of the building, capable of dealing with tough climate conditions.

We see potential in using the church as a connecting element, creating interactions between the functions related to the site.

From the analysis and diagrams of the weather conditions in Ă&#x2026;lesund, we can conclude that there is a big difference in the amount of light throughout the year. In the summer there is more sunlight and it is higher in the sky, whereas in the winter time there is less sunlight and the sun is much lower. Having that in mind, we should consider the sunlight through the seasons in our design and if we can use it to our advantage.

We intend to respect the topography and express the sloping of the terrain into the spaces. The rock formations on the site can constitute a theme for the creation of outdoor spaces and the organization of indoor spaces. We intend to integrate architecture in its surroundings by framing views of the forest and landscape.

The diagram of the precipitation is from Brusdalsvatn, an area close to the site of the church. It shows that the amount of precipitation is considerable for the design.

We intend to reorganize the existing infrastructures in a way that we believe is coherent with the church design.

These challenging climatic conditions mean that the design has to take into consideration specific construction details, providing an adequate indoor environment.

Having in mind the extreme climatic conditions (few sun hours during the winter), we want to use light as a design parameter that informs the spaces during the different seasons.

FOLLOWING UP ON THE SITE ANALYSIS The site analysis provided important knowledge for the project. The specific potential we see in the site is made clear in the previous section. We have some rooting ideas from the site analysis but we also found aspects that we need to study further - we still need to figure out what it means to design a church in the Nordic context, using Tectonics as a means. In the next section we will therefore make further investigations that support the site analysis, concerning a thematic approach to the concept development.

THEME ANALYSIS The theme analysis is considered as a means to develop a general discussion on the concepts of Nordic and Tectonic Architecture, positioning our project within these themes. We consider the theme analysis as an investigation that will inform the process of designing a modern church in the context of Nordic Architecture. This section is organized from a more general to a more specific approach. It is our understanding that Nordic Architecture is the formal, cultural and physical context in which we are designing and that Tectonic Architecture is the means we are using. Therefore, we start the analysis with a discussion on Nordic Architecture, followed by a specific section dedicated to light, a component which we are especially regarding as a design parameter for the church. Following the discussion on our Tectonic approach towards Architecture, we engage on an investigation concerning the potential of timber construction as a Tectonic and Nordic material. A final section concerning religion and the meaning of designing a church summarizes the theoretical considerations discussed along the section, where it becomes clear what kind of church we are designing.

NORDIC ARCHITECTURE Placing the church in a Nordic context, in Hatlehol, Norway, we were eager to find out what really characterizes Nordic Architecture. In the 1920-30’s architects like Alvar Aalto, Gunnar Asplund and Jorn Utzon enter the field and become front figures in what we today call Nordic Architecture. In this period, the connection between Architecture and the surroundings becomes visual, creating a dialogue between technology and landscape. This Architecture is characterized by its authentic use of local, strong materials, often bricks or timber. Traditional handicraft and building methods are strongly represented in these works, as well as the sense of detailing, in a minimalistic and modest scale [Forster, 2012]. Looking at the work of Aalto, his awareness of the landscape and surroundings is clearly seen. Säynatsälo Town Hall, as an example, consists of both the large scale, relating to the surrounding forest, as well as the smaller scale, relating to its inhabitants. Creating a courtyard in between the building brings nature into it by creating a public space. Säynatsälo is also a great representation of Aalto’s knowledge and attention given to materials, representing a strong Nordic awareness. There is great thought into Architecture and into how the spaces will be inhabited by the human body and mind - the humanistic approach is clear in Aalto’s intentions of designing specifically for the space users, attending to how each element will be presented into this interaction: the texture of a material, the suggestive whisper of the light coming into a space, the encounter with nature, the significance of the structural principle in conveying empathy between Architecture and its inhabitants.

Ill. 43: Säynätsalo, 1949-51, Finland, Alvar Aalto

Aalto’s works are a great example of the Nordic architectural heritage and identity, and we believe that they are immensely suggestive in understanding how every component in Architecture is held together by intention and a concern for the sense of place created. We believe that this place-specific awareness still characterizes Nordic Architecture nowadays and has almost become an analogy of this term. This also

Ill. 44: Opera and Ballet House, 2000-08, Norway, Snøhetta

becomes evident considering the daylight conditions of Nordic countries - the remarkable changes throughout the year have great impact in Architecture. Fjeld states in this book Nordic Light that “..to search for a place in the sun is part of Nordic behaviour” [Haug & Sorensen, 2011: 15]. These early architects are also known for working with the potential of light in the awareness of the Nordic light conditions [Forster, 2012].

New working methods expand the possibilities of building and designing, an aspect which is represented in various Architecture works all over the world. We think that the Opera and Ballet House is a great representative of how new methods are applied into the Nordic consciousness, examplified in the great glass facade [Archdaily, 2008]. This conception is also a clue in why many theoreticans believe that the Nordic tendencies are lost, or rather widely spread into other tendencies.

More recently there has been a wave concerning Nordic relations, emphasized in the exhibition New Nordic at Louisiana (Museum of Modern Art, Denmark). The term Nordic Architecture is brought up to discusssion, arising the question if this term is even relevant anymore considering the dilemma of globalization. According to the Architecture historian Christian Norberg-Schulz, there is an awareness of the surroundings, a genius logi in the Nordic consciousness concerning culture, landscape, language, and habits [Andersen & Shelde, 2012]. With this in mind, we believe that the term Nordic Architecture is still valid, but the relevant question is rather if this Architecture is moving towards a new consciousness, influenced by the growing welfare of the Nordic countries and the globalization tendencies [Keiding, et al., 2012].

It is clear that many things have changed since the 20’s, but it is our belief that Architecture of the northern countries still cherishes Nordic values. The Opera and Ballet House in Oslo is, among many others newly works, a representation of the New Nordic, where remarkable ideas and processes are embedded in the landscape, respecting and reflecting it. Even though we still think it is noticeable that in some cases of the New Nordic the human scale is lost. In the church design, we consider the human scale to be of great importance, as well as the connection with the surroundings, bringing the calmness of the forest and the social aspect of contemplation into the church, respecting nature and the people who will inhabit it. Equally important for the church design is the humanistic approach of Nordic Architecture and the integration of social aspects, an aspect that is specially informing the gathering of the community in the church. There is a connection to be made between form and structure, ideology and society, heritage and modernity. We strongly believe that the values present in Nordic Architecture are able to reflect the sense of awareness and contemplation that we seek for the church.

The tendency of Nordic society seeks to break down the boarders between public and private, an aspect seen in new projects such as the Opera and Ballet House in Oslo by Snøhetta [Snøhetta, 2007]. The white building arises on the harbourfront of Oslo, almost becoming a landscape of its own, growing out of the water and letting visitors walk around, closely interacting with it. The white marble used [Archdaily, 2008] reflects the water and the winter landscape. Nevertheless, there is still a clear intention present in this New Nordic Architecture that can be very much related to the approach developed by the early Nordic architects. There is a common language in every component in Architecture; everything is held together by a common vision that considers the relation to the surroundings.

We also believe the sense of place can be enhanced by the use of the light as a Nordic component and therefore we will investigate it further in the next section.

Ill. 45: Chichu Art Museum, Tadao Ando, Japan

Ill. 46: Ekko, Thilo Franhk, Denmark

Ill. 47: Bagsvaerd church, Jorn Utzon, Denmark

Light As described in the previous section, daylight conditions can be challenging in working with Architecture in Nordic countries (due to the remarkable changes during the year). This can both challenge the design or be beneficial as to create a lively building exploring the potential of light. Many new projects explore a differentiation of light during the day; from daylight illuminating the interior spaces to artificial light from the inside illuminating the external spaces, as seen in the Opera and Ballet House in Oslo, mentioned in the previous section [Archdaily, 2008].

feelings and sacredness throughout history. As well as light has been an ananalogy for God himself in Christianity [Plummer, 2009]. Taking this into consideration, light can be employed as a means for reaching the sacral spirit of the church, without having the physical interpretation of God. In the use of light, especially the contrast between light and darkness, we find the sacral scene of the church. We beilieve light is a specially important component of Nordic Architecture due to this revealing character, being particularly informative of the sense of presence that we are searching for in the church.

Light, in its simplest meaning, lets us visualize the physical world, representing our comfort zone. Life â&#x20AC;&#x201C; being plants, humans or animals â&#x20AC;&#x201C; will always strive for light, as it is the source of energy, affecting our wellbeing, our activity and our health [Plummer, 2009]. This aspect of light expresses the approach of our project, where light can be used as a means for guiding the inhabitants through Architecture, emphasizing the sacral aspects of life, and framing views of the surrounding nature. This guiding aspect of light can also enhance a contrasting spatial experience.

Additionally, we percieve light also as a Tectonic component in the way that it can inform the structural principle and the spatial qualities that arise from it, becoming an essential element in the composition of the space and its intention.

While you cannot have light without darkness, there has to be both aspects in the church [Plummer, 2009]. This contrast between light and darkness is alluring, creating shadows, straight perimeters or, as earlier mentioned, guiding towards something. This has a significant influence in the experience of spaces. Inspired by the surroundings, we aim to capture the experience of walking through the forest, where glimpses of light roam through the branches. In this manner light is dependent of darkness, and characterizes the space through the awareness of the contrast between them. On the other hand there is a transcendent level in light, described by Henry Plummer in the book The Architecture of Natural Light. Taking religion into consideration, light has been employed in Architecture as a medium to arise

TECTONIC APPROACH Our approach towards Tectonic Architecture can be perceived as the fusion between spatial intention and construction. When the space is suggestive of how it can be experienced, it is acknowledged in the sense that it is clear how a human being fits into the space [Hvejsel, 2010]. In our understanding, Tectonics is about designing space that reaches out, speaks to its users and is able to address the inhabitant in experiencing the space both in an emotional and physical way. Therefore, generating a unified approach between the parts that come together to make the whole, by describing construction, function and form with a unique purpose.

dimensions combines aesthetic and technical design in the overall architectural composition. In Skeler’s words, we are searching for the “realization of a structural principle in terms of a most appropriate and efficient construction while, at the same time, a clearly related unequivocal tectonic expression is found“ [Sekler, 1964: 94] as a way to translate an intention through Architecture, the desire to bring an idea to life. The Tectonic approach we are pursuing is very much rooted within this integration that Sekler describes in the essay Structure, Construction, Tectonics - “when a structural concept has found its implementation through construction, the visual result will affect us through certain expressive qualities which clearly have something to do with the play of forces and corresponding arrangements of parts in the building, yet cannot be described in terms of construction and structure alone. For these qualities, which are expressive of a relation of form to force, the term tectonic should be reserved“ [Sekler, 1964: 89].

This approach is very much rooted within the idea of an architectural intention that, through the meeting of a structural principle and the desire to create an experience, designs empathy in the field of Architecture. Or as Eduard Sekler described it, “the tectonic statement: the noble gesture which makes visible a play of forces (...), calling forth our own empathetic participation in the experience“ [Sekler, 1964: 93].

We believe that there is an investigation to be made as to how Tectonics is an approach rather than an expression - a description of the way of working rather than the work itself. Driven by the intention of reaching a critical understanding of the link between theory and practice through the utilization of Tectonics as an architectural method; a notion of making.

Tectonic Architecture suggests a relation between the architectural construct itself and the spatial qualities that arise from it [Hvejsel, 2013] – when Architecture is able to make a statement in this way, when it brings an idea to life, then it is clear to the user and imprints the experience of a place - “through tectonics the architect may make visible, in a strong statement, that intensified kind of experience of reality which is the artist’s domain - in our case the experience of forces related to forms in a building. Thus structure, the intangible concept, is realized through construction and given visual expression through tectonics“ [Sekler, 1964: 92].

There is also a poetic scope in these relations that shares form, structure, materials and details as part of a unique intention. The concern with light, landscape, place, nature, honesty in use of materials and structural principles and the simplicity of design that stand within the Nordic context complement and describe the unifying quality of the Tectonic approach we are pursuing.

This Tectonic approach is therefore very true to the task of designing a church – Architecture itself being able to create an experience of presence through the relation between intention and structure. The interaction between constructive, structural, functional, and meaningful

Understanding Tectonics in the Detail “The joint, that is the fertile detail, is the place where both the construction and the construing of architecture take place” [Frascari, 1984: 34]. This understanding is also clear in what concerns the Tectonic intention - the detail can be percieved as the “minimal unit in the process of signification“ [Frascari, 1984: 34]. The detail brings meaning to the architectural whole; it has a role in the process of signification. The understanding that details themeselves can enhance significance in the architectural whole is, in our understanding, what makes them truly tectonic. As is suggested in the paper “The Tell-the-Tail Detail“, by Marco Frascari (1984), the detail is the story teller, the most elementary component in architecture capable of assigning meaning to the whole. Ill. 48: St. Benedicts Chapel, Peter Zumthor, 1988, Switzerland

Therefore, the detail is very important in the Tectonic approach we are pursuing. Detailing the joints, the meetings between components and different materials, comes as a direct result of the “multifold reality of functions in architecture. They are the mediate or immediate expressions of the structure and the use of buildings“ [Frascari, 1984: 34]. In this sense, the detail is also about furnishing the spaces, composing the spatial experience - the detail becomes responsible for the character and identity of the architectural whole in conveying meaning and enhancing the intention that we are pursuing. Frascari also compares Architecture to poetry - like words compose a sentence, so do details compose space. The choice of a single word can embrace the whole meaning of a poem, likewise, the completing of a certain detail can embrace the architectural space.

Ill. 49: Skogskrematoriet, Erik Gunnar Asplund, 1940, Stockholm

The Potential of Timber Construction

ON THE IMPORTANCE OF RELIGION

Designing in the context of Nordic Architecture, we want to use timber as a material with the potential to arrive at this sense of place we are describing, creating a link to the surroundings. Wood is one of the most ancient building materials and it is most embedded in the Nordic Architecture traditions and crafts. Moreover, it plays a central role in awareness of resources and ecological concerns, a regard that we are also considering [Kaufmann, 2012]. Materials have a significant role in the spatial experience, having a great saying in the Tectonic approach: wood affects the appearance to the eye, the touch, the smell, the acoustics, the warm feeling, and the way it transforms the light. It is a sensuous and tactile material able to create a close and empathetic relation with the inhabitants.

Usually the word religion is used in a bigger sense, as it is used in the religious books. Although for some sociologists religions is a system of beliefs, symbols and something that finds a solution for some questions of ultimate meaning, for most people religion can be defined as a highly personal statement, even though it requires some social standards, depending on the religion followed. It is a powerful agent in society and performs many important social functions, such as explaining individual suffering or enhancing selfimportance. It can also be seen as source of social cohesion [Borup, 2005]. However, religion represents an important aspect for the life of many people. Even if you do not follow any religion it is still important and somehow affects your life. But why do we need religion? One interpretation is that religion gives us something to believe in. It provides some kind of security – a social belonging or an individual distance account, a belief that life continues after we die or that we are being saved from whatever harm happens to us. Some people need to believe that there is a purpose for what they are doing and that there is a reason for life, and this is where the church appears, being the place to search for contemplation.

As well as being effective from a sustainable, economic and technological point of view, timber construction arises many architectonic possibilities, making it an enticing material to build with, also providing the use of a local Nordic material. Timber’s tactile properties and the way it reacts to the light are also interesting aspects to consider in the church design. Learning from Stave Churches We are looking at the traditional Stave Churches of Norway in relation to their well considered and deliberate use of timber. During the Middle Ages, a technique regarding construction with wood was developed in Norway. The inspiration for this kind of construction came from boats and home buildings built during the Vikings’ time. They developed a technique and tradition that combined art and woodwork, culminating into the Stave Churches [Innovation Norway, 2008-13b].

In this way, religion can be found as a central element in civilization’s life. It has been, along the ages, a propagator of basic values and ethical codes that provide cohesion in society. Having this interpretation in mind, we are positioning our project in the balance between the social and individual scope - religion seen as a personal and very intimate exercise, but also one that can lead you to find your way into the community. It is this relation that we wish to explore in the design of the church, bearing in mind the statement: “My mind is my own church.“

Stave Churches are a particularly valuable part of Norwegian architectural heritage, and are considered to be of national and global importance. They inform our project to the extent that they are exemplary in use of natural and local materials and in respecting cultural heritage and identity.

SUMMING UP - INPUTS FOR OUR PROJECT

What kind of Church? What does it mean to design a church? For us it has been important to think about what a church represents, what is its meaning an how it can be a determinant factor for how people live their faith and inhabit a space of contemplation.

From the studies conducted regarding religion and the meaning of churches, specifically in the Nordic context, we conclude that although there are many interpretations on this theme, Norwegian Architecture shows a suitable understanding of the nature surrounding it and the cultural context it represents. This aspect is evident in the traditional Stave Churches but also in the New Nordic tendencies.

The word church derives from the Greek word ekklesia, meaning a gathering of citizens [Fairchild, 2013]. In this interpretation the church may as well be an assembly of people, of believers, rather than a specific place. Everyone is welcomed in the community of the church, finding their own space in the gathering of people. The word Religion comes from the latin Religio or Religare and it means to bond - it refers to binding rituals and social relations but also to individual interpreations of faith [Borup, 2005].

The unique and scenic Norwegian landscape, composed by fjords, mountains, hills, and forests is in direct relation to the powerful significance of a church, regardless of which religion it represents. Having this in mind, we will work further about this unity between the transcendant sense and the place - between the sacred and the earthly nature - developing spatial experiences that provide the context for one to develop a personal and intimate relation to the symbolism represented by the church “My mind is my own church“.

The church has the purpose of bringing each member to a spiritual dimension. People can show their faith in a more direct or indirect way, by worshiping something or someone superior to themselves. Religion means something different for each person - it depends one one’s knowledge, engagement and amount of faith and affiliation [Borup, 2005]. It is this personal positioning towards religion that we want to create in the church we are designing.

We strive to design the church through Architecture that is able to gather the community, one’s self and the surroundings as one unique energy. Architecture can provide an additional dimension to religious experience. Architecture as a way to allow individual contemplation as a point of departure for the community, unifying each individual. Representing a place of individual as well as social contemplation, it is important for us that the church allows for everyone to be welcomed in the sacral experience, regardless of different backgrounds, knowledge and level of commitment. We see light and timber as emerging architectural components in realizing the intention we are persuing, designing a gathering and contemplation space in relation to the themes of Nordic and Tectonic Architecture.

Ill. 50: Inspiration image conveying the sense of contemplation we pursue

CASE STUDIES This section is dedicated to the analysis of two case studies of existing architectural works exemplary of both spatial qualities, structural and material detailing of inspiration to our project. The different case studies inform different aspects of the project and relate to specific Architecture components that we want to work with. The analysis conducted in this chapter results from the method developed by Lise Bek (1997), as a process of exploring the bond between form, structure, material and detail by approaching concepts that are interlinked in content towards comprehending contextual, constructive, functional and signifying qualities of space. This method has been adapted to best serve the intention of our project, including an additional aspect that is concerned with the structural aspect and the principle [Hvejsel, 2010] of the architetural works in analysis and allows for a Tectonic discussion of the case studies. After analyzing these two case studies, we also include two architectural works that have inspired our project in relation to gathering and contrasting experiences. By analyzing these case studies, we are trying to develop and articulate some of the architectural components that we found in the site and theme analysis, investigating how they can be translated into church Architecture.

ST. HENRY’S ECUMENICAL ART CHAPEL Case Study 1: Sanaksenaho Architects, Turku, Finland, 2005 1. The Formal Aspect In St. Henry’s Chapel, form and structure complement each other in the choice of natural materials; relation with surroundings; and an honesty of construction that makes the structure a key intervenient in the space. The load bearing structure is a set of glue-laminated timber arches that rise on each side, to the ridge of the roof. These arches are the wooden ribs of the framed construction typology, and provide a strong spatial rhythm that enhances the “verticality of the long and narrow space” [Broner, 2007].

The Structural Aspect The arches support the structure by carrying forces to the ground, pushing outward at the base (thrust). The pointed arch is shaped to align with its own thrust line, allowing for higher spans. The stability of an arch grows greatly when the arch verges on a pointed shape – the two sides of the arch lean against each other for support and the loads are carried to the ground. The support provided by the arch allows the building walls to be thin. Arches can basically be considered an in-verted cable, transmitting load primarily through axial compression.

2. The Practical/Fuctional Aspect The chapel is designed as a unique unifying and continuous space, an architectural conception that is rooted within the functional and signifying aspect of designing a chapel. The continuity of the space is read in relation to its function, enhancing the sense of gathering. The fact that every intervient stands on equal ground is also a practical aspect of the spatial conception that enhances the use of the space.

Principle uncovering Intention There is a clear relation between the architectural construct itself and the spatial qualities that arise from it: the principle unfolds the architectural intention of the space. This case study is, therefore, very informative for the Tectonic vision of the project, and to how the gathering and contemplation gestures can be unfolded by means of a structural principle.

3. The Scenographic/Social Aspect The interior of the chapel is fulfilled by the inviting warm expression of the laminated wood arches and the pine wood horizontal panel cladding, which materializes the overall surface of a shell. The unity in the space provides an inviting gathering space, suitable for social and individual relations. The framing of light also plays a role in the scenographic intention of the chapel. The choice of materials is in connection to the Nordic social setting: “we only used three materials: pine, copper and natural light” [Broner, 2007].

Summing up - Inputs for our Project The structure is clearly recognizable and it is designing the interior space: it has a very clear intention and principle. The structure is a key intervenient in spatial conception. The potential of the frame construction and the material properties of timber in fulfilling the structure and the spatial qualities of the space.

4. The Iconographic/Signifying Aspect There is a sublte sacrality translated by the space, in the way that it suggests a personal interpretation of spirituality. The spatial form has a clear ability to create images and associations in the scope of the spiritual and contemplative mood.

The sense of presence achieved in the space through the use of light and timber.

Ill. 52: Glue-laminated structural timber arches

Ill. 53: Suggesting a subtle sacral sense

Ill. 55: The structure furnishes space

Ill. 54: Section illustration human presence

Ill. 56: Unity in the conception of space

PISCINA DAS MARÉS Case Study 2: Álvaro Siza, Leça Palmeira, Portugal, 1960-66 1. The Formal Aspect Different plans, on different levels, are placed according to the terrain and the existing rocks, integrating these elements as components in architecture. There is also consideration regarding the choice of solid, compact materials and structural solutions that resemble the resources characteristic from the site. Honesty in the use of materials evidences the raw condition of an architecture that wishes to respect the landscape it shapes.

The Structural Aspect The main material used in this building is concrete. It is used as a solid, compact, load bearing material, composed in shear walls. The roughness of the concrete is also part of the intended architectural experience. Principle uncovering Intention Uncovering Siza’s architectural intention, we are able to unfold the gestures of gathering and contemplation in the space, translated through a clear principle of designing closely to the landscape. The concept of spatial quality is revealed by a principle described through the roughness of the concrete walls. The space embraces a suggestive dimension, one that imprints the experience of ‘a place’.

2. The Practical/Fuctional Aspect The strict geometry in plan creates rigorous spaces that guide inhabitants in experiencing contrasting feelings of light and shadow; narrow and open. There is a path to be followed, a direction is suggested, and then, finally the swimming pool is revealed. Spaces progress in dimensions and importance.

Summing up - Inputs for our Project The creation of spaces that offer enriching contrasting experiences for narrow and open; light and shadow.

3. The Scenographic/Social Aspect The swimming pool sits right beside the beach and offers an expansive view of the Atlantic Ocean. Exploring the relation between the built environment of the city and the natural environment of the vast ocean, the swimming pool stands as an intermediate language between architecture and nature. Architecture is silent in its language but powerful in its presence. The swimming pool has a strong scenographic sense in the way it creates a built environment out of a natural one, keeping respect for the landscape and the scenic location between the land and the ocean.

Sense of empathy with the surroundings, considering the respect for the use of local materials, with consideration for their properties and potentials. The intentions in architecture are clear in guiding the human being through a progression of spaces that culminates in a clearly more important final destination. The idea of a path, expressed through architecture by means of directing plans, is informative for the church we are designing.

4. The Iconographic/Signifying Aspect The project explores the concepts of space and sound, creating an atmosphere that is only grasped when experienced in person. It is a building designed to enhance its surroundings – it grows subtly from the rock and bears the meaning of a close relation to nature.

Ill. 57: Looking into the surroundings

Ill. 59: Different levels of the landscape

Ill. 58: Plan of the swimming pool illustrating the progression between narrow spaces to the final open space

Ill. 60: Perspective drawings illustrating paths guided by shear walls

FIREPLACE, SKJERMVEJEN KINDERGARTEN Inspiration: Haugen/Zohar Architects, Norway, 2009 Located beside a Kindergarten, the outdoor fireplace is inspired by the traditional Norwegian huts. The theme of sustainability is very much present in this project, built up of small leftover pieces of pine core forming overlapping circles. It is an â&#x20AC;&#x153;enclosed space for fire, storytelling and playingâ&#x20AC;? [Haugen/ Zohar Architects, 2009]. The limited budget led to a design based on short wooden pieces forming an 80-layered circular wooden construction. The spaces between the wooden pieces assure natural light coming inside the space, allowing for a visual perception of the space depending on time and season, and illuminating exterior spaces in the darkness [Haugen/Zohar Architects, 2009]. Ill. 61: Filtering light into a gathering space

The circular plan encourages the use of the space, promoting the gesture of gathering, one that is enhanced by the fire and the symbolic presence of the hearth. Ultimately, the circular form suggests coming together. The hearth also plays a part in the gathering intention of the space, creating the potential center of individual and community relations.

Summing up - Inputs for our Project The structural build up of the fireplace is inspiring in its very clear principle, based on repetition. The gathering intention is very clearly expressed through the structure in this project. Ill. 62: Timber construction based on a repetition principle

The way the light is transformed in and by the structure is inspiring, creating different atmospheres as it goes inside through the spaces between the pine pieces. The space is acknowledged in its clear form.

GOâ&#x20AC;&#x2122;O SHRINE Inspiration: Hiroshi Sugimoto, Naoshima, Japan, 2002 Located in Naoshima, this installation by Hiroshi Sugimoto consists in a Shinto Shrine connected to an underground stone chamber by a glass staircase [Sugimoto, 2002]. From the outside only the entrance is visible, while the rest of the Shrine is hidden as a tunnel carved into the rock surrounding it. The Shrine is a narrow, horizontal walk towards the staircase, only allowing one person to pass at a time. The main material used is concrete, contrasting with the rocks used in the chamber. The concrete shear walls are strong load bearing structures surrounded by the rocks, and are treated in a way that gives the impression of a soft surface reflecting the light. Standing outside you are intrigued to find out what is hiding inside this tunnel. Moving inside the tunnel you get very aware of yourself in this space due to the narrow proportions and darkness contrasting the light exterior. When walking outside, the nature and the light are framed by the strong contrast of the darkness/light and narrow/open.

Ill. 63: Progressing towards awareness.

Summing up - Inputs for our Project Contrasting spatial experiences between light/darkness and narrow/open that make you aware of the space, the surroundings, yourself and the displayed features. The plan of a horizontal path turning into a bigger space at the end provides an intriguing spatial experience.

Ill. 64: Walking towards the light

The proportions suggest an awareness of yourself. Not every aspect of the Shrine is revealed at the entrance. The space creates oposing and revealing feelings, inspiring critical contemplation and reflection.

READING THE ANALYSIS This chapter aims to conclude the analysis phase by interlinking the various themes studied, and positioning them in the context of the church design we aim to develop. Reading the site and reflecting upon the theme analysis will lead us to define the specificity of each input in our own project. The design parameters for the concept development come out of the analysis and of the investigations we conducted.

READING THE SITE ANALYSIS Ă&#x2026;lesund

Football Field

Bus stop

Malerholm

Grave yard

20 meters

Ill. 66: New site plan diagram illustrating the reading of the site analysis

The analysis conducted regarding the area surrounding the site provided an awareness of the specific features we want to bring into our design. We define an axis going across the site, linking the graveyard to a connection with the sporting facilities, positioning the church as a connecting program. We also found that the path of the sun is an important

factor in the spatial experience of the church, influencing the light coming in and out of the space as well as the need for artificial lighting due to the lack of daylight during the winter. We regard the rock formations as a starting point for placing the building. The terrain has an important role in our design, as we wish to respect the terrain forms.

WHAT DOES IT MEAN TO DESIGN A CHURCH

THE ANALYSIS AS A POINT OF DEPARTURE

There is a sublime dimension in designing a church, in composing the spatial setting for the development of one’s relation with something or someone transcendent. The context is a part of this relation and the Nordic culture is intimately tied with the presence of landscape and light. Architecture plays a part in this relationship and is capable of arising new meanings and possibilities to take part in the experience.

In the development of the design process, the analysis is a constant aid in defining the direction in which the project is progressing. We intend to maintain, throughout the entire process, a direct relation to studies we completed during the analysis phase. The investigation and critical reflection conducted regarding the themes of the Nordic context and Tectonic means, with a specific focus on light as a component with a special presence in the task of designing a church, allowed for further understanding about the values we pursue in the church design: thorough respect for landscape, nature and the surroundings; regard for place, culture and heritage; honesty in the use of materials; meaning in the use of light; simplicity in the design.

What does it mean to design a church? How can Architecture be successful in transmitting a sense of presence, sacrality and contemplation? For us, the key is in making aware; designing a church that makes you aware of the context, the surroundings, the light, the structure, the materials; designing a church that makes you aware of yourself –”My mind is my own church”.

The deliberation made allowed us to position our project within the context of Nordic Architecture and the means of Tectonic Architecture , developing the motivation to design according to specific values, through an architectural language that combines form, structure and function in one unique intention. The critical reflection concerning the topic of religion lead us to position our conceptual idea of a church in architectonic means.

We perceive individual contemplation as the point of departure for gathering in a community – if you find your own church - your own significance - then you have the basis for finding your place in the community. Therefore, we aim to create a place of gathering, a space that can give you substance and that can lead you to find your own church. The church should be a very clear, honest, inspiring space in respect to form, materials, structure and construction, in defining connections and framing views, addressing the human scale.

Each analyzed case study arises a specific aspect that we intend to work with, from contrasting experiences, to the intention of gathering, contemplation and awareness. In this context, our approach is to accomplish a continuity and integrity between form, structure and construction, with an emphasis on materiality and detail, and the poetic understanding of how Architecture is actually experienced as real space.

DESIGN PROCESS The design process accounts for the storyline of the project, the narrative which will guide the reader through the working process that leads to the final proposal. It includes the concept development; initial sketching (where hand sketching is aided by 3D modeling and models to develop the idea and progression of the project) and further development of the architectural composition. Architectural and engineering knowledge are combined and inspire each other towards a final solution that aims at a unifying architectural intention. The design process describes the conception of the initial idea, followed by the understanding and optimizing of details in relation to the architectural whole. Although the design process is presented here as a cronological narrative, it has been developed as an interative process, with loops between the different phases, informing each other.

MAKING AWARE

Awareness

Ill. 68: Making Aware through Architecture

Ill. 69: Reaching Awareness in the meeting of Architecture and its inhabitants.

Considering the statement “My mind is my own church“ and the vision we formulated, this gesture of awareness becomes a clear intention, seen in every aspect of the church design.

We consider making aware as the spatial intention that is capable of arising Architecture’s potential to create authentic meanings in what we experience. Making aware through Architecture means, in our understanding, creating an experience that will be assimilated by one’s memory and will somehow contribute to a process of self awareness through contemplation.

We are approaching the spiritual dimension in Architecture through this vision of making aware: making you aware of yourself, the community, the forest, the light, the landscape, or any sense of transcendent security. This consciousness of yourself and your surroundings creates a space for individual contemplation and reflection, achieved in the meeting with Architecture. It is a personal exercise that will allow you to become a part of the community, participating in the gathering experience.

Envisioning what kind of spaces can make you aware; how they speak to the senses, address the inhabitant, which emotion or function they suggest; lead us to reflect upon how this experience could be translated into Architecture. We believe contrasting experiences will make you aware.

CONTRASTING SPATIAL EXPERIENCES

Narrow/Open

Hierarchy

Guiding/Suggesting

Ill. 70: Contrasting experiences translated through Architecture

Therefore, the concept of our project lies within the suggestion of contrasting spatial experiences. The illustration above shows a study on how these constrasts can be expressed through architectural elements. The study is useful in picturing how Architecture can arise awareness by framing contrasts and arising individual interpretations. The concept we pursue lies in translating the awareness of yourself and the surroundings through Architecture by suggesting opposing spatial qualities. Arising a sense of belonging to the space by awareness of narrow/open spaces, creating antagonistic feelings of hierarchy; light and shadow; solitude and gathering; guiding and suggesting. These contrasts frame views and allows for interpretations.

INITIAL SKETCHING

Ill. 71: Initial perspective drawings, plans and section

Ill. 72: Initial drawings of the buildingâ&#x20AC;&#x2122;s organization

Ill. 73: Initial drawings of the buildingâ&#x20AC;&#x2122;s organization

Having the intention of awareness and the concept of contrasting spatial experiences in mind, the initial sketches we made for the project can be said to be a search for this architectural intention. The sketches do not necessarily relate to a defined architectural form, instead they refer to this spatial intention - the gesture - that we aim to translate through Architecture. This investigation is accompanied by the search for a principle capable of translating the intention.

Following this initail approach, we felt the need to search for some common ground, an idea that would be the generator of our project. Therefore we searched for an inspiration in the surrounding landscape, an idea that could stand as a point of departure. We found this in the idea of a tree analogy; a concept which we tried to further develop, initially in a very literal and direct way but further on in a more conceptual way, specially concerned with the filtered light created by the experience of walking through a forest.

These sketches represent, among other, the initial brainstorming of ideas and visions for our project.

EXPERIMENTING WITH THE TREE ANALOGY

Ill. 74: Experimenting with the tree analogy

The drawings presented above illustrate the reading of the tree analogy in some experimentations we made in plan. These sketches show a very literal interpretation of the tree analogy as a main core acting as the main path in the building, distributing functions in successive volumes.

of the forest filtering glimpses of light through the trees a concept that can inform the structural principle of the church, emphasizing constrasts of light and darkness creating spaces for different possibilities and interpretations in the use of light.

We also searched for inspiration in the Nordic surroundings of the site, looking at the tree as an element capable of arising the intention of awareness as well as a relation to the surrounding lanscape.

We took a step back and reconsidered how we really wanted the tree idea to inform the design - the conclusion was that we wanted to use the glimpse of light throughout the design. The tree analogy also suggested a study of the section shapes, inspired by the outline of the trees. This study is presented in the next page and is further understood in relation to the identity of the Nordic pitched roof.

We looked at the tree as a living organism that reaches for light in a way that can inform the sense of presence we want to achieve in the church. We also considered the inspiration

SECTION STUDIES

Ill. 75: Exploring the possibilities within the section shape

The study presented above accounts for different attempts in designing section shapes inspired by the traditional Nordic pitched roofs. These sections strive to create interesting spatial experiences, with regard for how the human being fits into the space and how it suggests an interaction with light and its surroundings by framing views and directions. Already in this initial study we regarded the sloping roof also intended for creating a hierarchy, emphasizing the main church room. Having this idea in mind, we proceed to a conceptual development of the main church room, developing a structural principle based on the traditional Nordic roof we explored here and on the experience of light we aim to keep from the tree analogy, as an inspiration for the sense of presense pursued.

CONCEPTUAL DEVELOPMENT OF THE STRUCTURAL PRINCIPLE

Ill. 76: Conceptual development of the structural principle

The diagram presented above corresponds to the conceptual development of the main church room. Using the typological Nordic roof section, we isolated the triangle as the simplest form. From the rotation of the triangle in the y-axis direction, the triangle begins to create a three dimensional space. The rotation of the triangle creates an intriguing interior space, that provides a dynamic reading of a simple geometry, with simple, straight lines creating an organic space, a reading of the roof. The base the triangle stands on is the common shear wall that materializes the

entire building, being the church room the only space where the structure is developed in this way for the roof. The remaining parts of the building will be built with a flat roof, enhancing the hierarchy of the church room. This exception will also allow for the church room to be recognised clearly in the outline of the building, from both the inside and outside, providing an evident reading of the building as a whole. Further development will lead us to explore acoustic and spatial properties of the space, in relation to the structure.

Ill. 77: Experimenting with different rotations in the nterior space of the church room

An investigation into the spatial understanding of the structural principle is presented above, where where spatial quality is a direct reading of the structural build up. Form and structure complement and enhance each other.

ribs of the construction and they meet at a common base connecting to the entire church building. The interior of the main church room is furthermore fulfilled by the inviting warm and tactile expression of the wood structure. These frames should be able to gather and transmite the sense of contemplation in the space. At this point, however, we still felt that we were lacking a unifying principle, a link between our intention and the design. We then set to develop this vision in plan, striving to create a common architectural intention.

The load bearing structure is built up in timber - the support structure is materialized in a framed construction typology that provides a strong spatial rhythm and enhances the verticality of the space and the possibility to work with the structure as light filtering. The triangles are the wooden

DEVELOPING THE PLAN

Ill. 78: The different volumes are composed in the site creating a central courtyard.

Ill. 80: The different volumes are composed in the site creating a central courtyard and a transition courtyard from the parking space.

Ill. 79: Moving towards the final design: The different volumes are composed in the site in order to create two courtyards framing the rocks; developing an orientation axis that can create a graduation between the functions in the building.

Ill. 81: Development of the two courtyards, the proportions between the building parts and the placement of the orientation axis that organizes a separation of the more sacral and profane functions in the building.

CONCEPTUAL DEVELOPMENT OF THE PLAN

Ill. 82: Developing the axis; the proportions between the courtyards and thinking about the entrances.

Ill. 84: Considering the placement of the main church room and the chapel.

Ill. 83: Introducing the timber frames in the plan

Ill. 85: Relating the functions according to the axis; studying the entrances

The drawings presented above illustrate the development of the plan, in relation to our reading of the site analysis and the search for a unifying archtectural intention.

the main rock formations, creating courtyards that mediate the relation between the built and natural environment. These sketches illustrate different studies regarding the proportions of the buildings and the relations created between the different volumes, around and across the courtyards.

There is a common concern for the sense of place in all the drawings. Volumes are placed in the landscape according to

DEVELOPING A UNIFYING ARCHITECTURAL INTENTION

Ill. 86: Perspective drawing of the whole building - understanding how the building relates to the terrain and how the courtyard spaces mediate the relationship between the built and natural environment.

Ill. 87: Perspective drawing of the whole building, illustrating the search for a unifying architectural intention, implementing the building in the landscape.

Looking at the conceptual development of the church room and the development of the plan, we reached a stage where we felt the need to return and think about the vision we defined for the project. We then tried to envision a unifying architectural composition that would be clear in translating the intention of awareness we are pursuing. The sketches presented above illustrate this search for a common intention in all the components in Architecture defining the church building.

axis, functions begin to relate to each other, facilitating interactions between the people who will inhabit them. Spaces are positioned in relation to the existing landscape, framing the forest and the particular rock formations. There are permanent visual interactions between different parts of the building through the courtyard spaces and the constant presence of the dialogue between indoor and outdoor spaces. At this point we still need to search for something that will emphasize our intentions, bringing a cohesion between the details, relating to the whole.

We aim to design Architecture that offers a place for people to meet, work, learn, contemplate and find some kind of spiritual relation. Considering the statement â&#x20AC;&#x153;My mind is my own church in mindâ&#x20AC;&#x153;, we believe that building parts also meet, work and connect to each other in the formation of an architectural whole. The assembling of the different spaces and functions in an architectural whole implies the consideration of the relationships between the parts and the whole. By grouping the spaces in relation to an orientational

The path along the different parts of the building allows for the experience of the whole and the Nordic sense of breaking the borders between private and public spaces. Individual space is preserved, however, there are interactions with the community spaces, and following the path introduces the inhabitants to all the life in the building, only sometimes he is the actor and sometimes the spectator.

READING THE PLAN

Ill. 88: Proposal plan

Having the architectural intention in mind, and also taking the site analysis into consideration, the building is placed according to a clearly defined axis. The axis leads the inhabitants into the building, offering contrasting spatial experiences of narrow and open spaces, allowing for the discovery of outdoor and indoor spaces, as well as visual relations between building directions and landscape.

contemplation and even particular religious ceremonies. The courtyards also frame the rock formations we identified in the analysis phase. The strict geometry in plan creates rigorous spaces that guide inhabitants in experiencing the spaces of the church, exterior as well as interior. There is a suggestive contrast between permanence areas and paths, making the intentions become clear in the design. There is a path to be followed, a direction is suggested, and then, finally, the church room is revealed. Our intention is to guide the human being through a progression of spaces that culminate in a final destination. The idea of a path also expresses the intention of awareness we are searching for, constituting a contemplation exercise in its own.

The different volumes are displaced according to the defined axis, with the more profane functions to the north and the sacral functions to the south, generating two courtyards that can work as outdoor amphitheaters created by the natural sloping of the terrain, providing spaces for

EMBEDDING ARCHITECTURE IN LANDSCAPE

Ill. 89: Sections illustrating the whole architectural composition.

Understanding Architecture as a way of contemplating nature and human community is an important part of our Tectonic intention. We aim to design a building that grows out of the site: Architecture that is capable of telling the inhabitants what the landscape is about.

the movement of the terrain and this relation can be felt as the inhabitants follow the path outside as well as inside the building. The building accompanies the topographical progression of the landscape, in plan and in room functions. The administrative functions are partially underground, whereas the main church room is entirely above ground. This graduation also allows for an intentional progression within the building, from everyday life activities, to more sacral activities, ending in the main church room.

The building is responding to the topography, creating an interplay between Architecture and landscape. Indoor spaces are oriented towards the courtyards - Architecture becomes a stage activated by natureâ&#x20AC;&#x2122;s changing characters. Landscape is seen as a natural extention of the building and it becomes a component in Architecture. The building is therefore materialized in different levels that accompany

FLOW DIAGRAMS

Ill. 90: Flow between the congregational hall and the main church room

Ill. 92: Path the priest would follow to the church hall and meeting room

Ill. 91: Flow of someone walking to the front of the church room

Ill. 93: Path followed by someone going to a funeral in the chapel

Ill. 94: Flow of someone going to the workshop room or activity room

Ill. 96: Flow of someone attending a class in the music room

Ill. 95: Flow of someone going for a walk in the surrounding forest

Ill. 97: Flow of someone using the cloackrooms

We also looked at the flow as an important component in the organization of the plan. The drawings presented above illustrate different ways of walking around and in the building. We created different characters and imagined what would be their flow in the building, depending on the acti-

vities they attend. The presence of the path is clear in all the drawings, as a journey of awareness of yourself and the surroundings. The path is accompanied by views of the building parts, the courtyards and of the surrounding nature. Different people with different purposes meet in the church.

THE INTENTION IN THE MATERIALS

Ill. 98: Concrete flooring

Ill. 99: Timber flooring

The choice of materials influences the project on a conceptual level as well as a physical and technical level regarding acoustics and structural considerations, and is the result of an investigation regarding the spatial experience we are pursuing - what do we want the materials to do? These questions are answered considering the qualities and potentials of the materials, and what our intentions are.

relation to the tough Nordic weather conditions, beeing a lasting material, that requires low maintenance. As was introduced during the Theme Analysis section, timber is introduced as a material in close relation to the surroundings. Its warm, inviting properties contribute to the creation of the desired spatial experience (refer to appendix 5). The timber structure evidences the hierarchy of the space. The materials are described in this section in relation to their purpose in the architectural intention. They will be considered further in comming sections of the design process, relating to the specificity of structural and acoustical aspects.

The base of the building, materialized by the shear walls visible on the plan, is built up in concrete, a material that is simbolically closer to the ground, expressing the raw, compact, solid aspects. Its texture relates to the ground, to the earth. The concrete is also the load bearing element. The climatic properties of concrete are also considered in

THE INTENTION IN LIGHT

Ill. 100: Structure filters light into the church room

Considering light in relation to our intentions, the materials and spatial experience have been an important aspect of the project. “Structure, I believe, is the giver of light“, said Louis Kahn, introducing light as an important component in the search of spatial experience, and in the context of Nordic Architecture, a notion that we have also introduced in the Theme Analysis section. We intend to use light to illustrate spatial character and intention, depending on the function the space entitles. The timber structure is the means to materialize this influence of light and the frame principle used is based on the inspiration of the filtering light in a forest. The timber structure also provides the experience of light in other spaces besides the main church, such as the chapel, the offices, the entrance and specific places of the

path, creating an integration of the architectural intention throughout the building. These spaces will get filtered, more diffuse light, creating a specific character. Some spaces have light coming through from the terrain to the roof, enhancing the proximity to the surrounding landscape we are searching for. The experience we aim to create in the church has very much to do with the Nordic affiliation to light, described in the Theme Analysis chapter, and also with the Tectonic intention we are searching for - “the tectonic statement which shares with space and light the task of conveying an anagogical meaning in order to direct the beholder’s mind spiritually upward, a play of forces is enacted most dramatically and appeals directly through empathy“ [Sekler, 1964: 93].

WORKING IN MODEL

Ill. 101: Studying volumes in relation to their roof form

Ill. 104: Investigating how structure can give character to the space

Ill. 107: Developing the structure

Ill. 102: Working woth the building in the terrain

Ill. 105: Experiementing with the roof structure for the main church, in relation to the entire building

Ill. 108: Experimenting with the timber frame structure as a guiding element

Ill. 103: Working with the chapel in model, investigating the intentions of the curved structure

Ill. 106: Working with the chapel in model, investigating the intentions of the curved structure

Ill. 109: Furnishing the spaces

Ill. 110: Investigating the relation between indoor and outdoor spaces and the dialogue created between the different volumes, across the courtyards.

The process of working in models allowed us to engage on a Tectonic discussion of the interior spaces and of the presence of the building in the landscape. We used the models as a working process, a design tool.

The models presented illustrate the development of the design and also present different approaches to the development of the timber frame structure and its presence throughout the building.

DETAILING This section is dedicated to the detailing of the project, with respect to the structure; light; acoustical properties; seating plans for the main church and chapel; and urban planning. The detailing phase is also constituting an interative process with the previous phase: they mutually inform each other. We understand detailing as an essential part of the project - the detail brings meaning to the architectural whole; it has a role in the process of signification and in the Tectonic interplay between structure and intention.

GRASPING THE INTENTION IN THE DETAILING From a more general, conceptual level, we are moving into the detailing of the design, constituted in this section. As a part of our Tectonic vision we are trying to investigate the importance of the details as a substance of the whole. This section includes both more practical and technical considerations about structure, light and acoustics and more conceptual, aesthetic considerations about the flow, the gesture of guiding and urban planning. During the process, though, it has become clear to us, how much these considerations interact and influence each other and therefore cannot be seperated. We are working towards an understanding of Tectonics being more than just bringing technical and aesthetical considerations together but grasping the intention of how to inhabit the space, emphasized through the detailing of the spaces. We therefore believe that the detail has to do with marking the human scale, enhancing the sense of place. It is our hypothesis that the detail is essential in the creation of the sense of place we are searching for. The detail invites human interactions and it can be very precise as to what is being suggested - the details reveal the space, they allow the inhabitant to understand and communicate with the space. Thus, the details constitute a very important component of the intention we are pursuing, being the means to materialize it.

EXPLORING THE INTENTION WITHIN THE PRINCIPLE

Ill. 112: The curve guides the inhabitants towards the church room

Ill. 113: The curve furniches the spaces

Our Tectonic approach relies on an architectural intention - it is an investigation of how Architecture can bring an idea to life; how it can be achieved in a significant way. How does Architecture speak to its inhabitants? How does it embrace the human scale, one that is also important in the Nordic context? Pursuing this intention in Architecture, we felt the need to investigate how the space is felt; how we would like each space to be experienced; if it would be possible for us to bring the principle into the spaces hereby achieving a cohesion between the parts and the whole, translating them into inviting spaces, making them inhabitable, suggesting individual as well as social contemplation.

guiding the inhabitants towards individual and joint contemplation, providing a dynamic interpretation of the geometric plan. The curve embraces the human being and furnishes the spaces. In Tectonic terms, spatial quality is built into the structure. The curve is also creating awareness for the different character of each space, and therefore it only furnishes those spaces where the experience we are looking for is exceptional at some level. This happens in the main church and chapel as the sacral spaces, but also in the entrance hall and in specific places along the path that leads you through the building, transmitting it into a journey of spatial experience. The curving structure is furthermore intended as a relation between exterior and interior spaces, providing a visual connection between them and inviting the landscape into the spaces. Users of the exterior spaces have the possibility to interact the interior spaces. The strict plan geometry is balanced by the exceptional presence of the curve as a guiding and furnishing element.

The curve defined by the structure in the main church is scaled to the perception of each space as a guiding and furnishing element. The plan becomes alive; the principle becomes empathetic, it speaks to the inhabitants. The curve goes throughout the building smoothing the spaces,

INVESTIGATING THE PRINCIPLE AS FURNISHING SPACE

Ill. 114: Interior space - open feeling

Ill. 118: Interior space - narrow feeling

Ill. 115: Inside room - open feeling / inside path - narrow feeling

Ill. 119: Inside room - narrow feeling / inside path - open feeling

Ill. 116: Outside space - place to sit/ stand

Ill. 120: Outside space - place to sit/ lean

Ill. 117: Outside space

Ill. 121: Outside space

Ill. 122: The timber frame structure furnishes the space

Ill. 123: The timber frame becomes a table or a sitting place

The role of the detail is likewise understood in relation to the spatial experience, regarding the creation of identity and character for each space. In the Tectonic reading of our project, and relating it to the very first statement that informs our project - “My mind is my own church“ - there is a human scale to be designed as part of the architectural whole; a concern about how the human being will inhabit the spaces and how this experience will lead to the contemplation feeling we are pursuing. How do we make the structure inhabitable? Can it furnish the space? Moreover, the timber structure has the potential to bring a conceptual idea to life, creating space for individual contemplation - secure, safe places where the human being can be embraced and invited to a personal exercise of finding his own church. Spaces then become suggestive of how they can be experienced and provide an individual reading of the community.

specific function. As is suggested in the paper “The Tell-theTail Detail“, by Frascari (1984), to which we have referred in an earlier section of this report, it is the detailing and the interlinking between the detail and the whole that gives life to the project, inviting a sense of community but also embracing, creating safe places for the individual. The timber structure transforms the spaces into sensuous experiences. The structure walks through the spaces creating places where people can be alone and together at the same time - creating small niches and sitting places, allowing for the awareness of yourself in these spaces. We believe that in this way Architecture begins to take part in shaping encounters, creating different levels of intimacy in the different spaces. The structure becomes inhabitable in itself, softening the rational spaces and making them more sensuous, providing the opportunity for each inhabitant to choose how to inhabit the space.

The guiding timber structure allows the principle to adapt to each space, to each situation, to the character of the

STRUCTURAL CONSIDERATIONS

Ill. 124: Study 1 of the distance between the beams and their dimensions (perspective, plan, south elevation, west elevation)

Ill. 125: Study 2 of the distance between the beams and their dimensions (perspective, plan, south elevation, west elevation)

Ill. 126: Study 3 of the distance between the beams and their dimensions (perspective, plan, south elevation, west elevation)

The structure of the main church room is rooted within the principle of the rotated triangle. A parametric study of the frame rotation shows how the curve in the roof changes, depending on the rotation of the triangle and if it is connected to a base. In the interior the rotated form of the roof search for the gesture of guiding, adding a character to the spatial experience. Seen from the outside it creates a dialogue between the flat roof and the rotation, creating a visible hierarchy between the different functions.

clarified. In this study we are working with an exploratory load of three kN, the same load applied to all beams, being aware of the source of error. Of these experiements we found that a distance of one meter between the frames are most suitable concerning the dimensions of the beams and the expression of the light passing through. We were then looking closer into the structure, where it became more clear, that each frame is exposed to a different load due to the sloping angle of the roof, providing a graduation of the snowload as well as the windload (appendix 3). Informing the structure provides the potential to optimize the frames with different dimensions suitable to the particular load cases. Since working with different

In this guiding gesture of the roof, also seen in the facade, creating minor niches and providing a filtering effect of the light roaming through and the distance between the supporting frames are the parameters of a parametric study

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Ill. 127: Study of the distance between beams, views and dimensions of frames

graduating 10cm interval

graduating 50cm interval

1m interval

Ill. 128: Study of graduating frames in elevation

dimensions will create another curve in the floor of the interior room, with bigger frames in the middle where the loads are superior, we chose to disregard this. We therefore took a closer look of the frame with the greatest load case to find one dimension suitable for every frame to cope with the loads (appendix 3). This will provide a simple and clear expression of the frames but, on the other hand, doing this will also result in overdimensioning most of the frames. Due to our intention to keep a simple expression where light and shadow are superior parameters, we defined the bottom supports of the frames as fixed, with the possibility to hide them in the concrete. This also allows for the potential of the frames to be more slender in the top where they are joint as hinges and therefore there is no moment.

Dimensions for the frame have been explored with permanent snow and wind loads in Ultimate Limit State (ULS) and Service Limit State (SLS) giving a dimension of 185 x 500 mm for the frame (appendix 3). The applied dimensions of the frames occurs from the informations of the internal forces of normal, moment and shear forces that provide bigger or smaller dimensions of the joint intersections of the structure (beam and colums). In this decision, the forces are informing the form of the frames. Relating it to the frames applied in the rest of the building, they have no structural purpose (appendix 3), but relating it to our statement about Tectonics they have a technique, a great intention of guiding and suggesting the users how to inhabit the spaces.

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ACOUSTICS AND MATERIALS

Ill. 129: Ray tracing main church room - plan

Ill. 130: Ray tracing main church room - longitudinal section

Ill. 131: Ray tracing main church room - transversal section

Ill. 132: An absorptive textile, placed behind the timber claddings, is used in the childrenâ&#x20AC;&#x2122;s chapel to regulate the acoustics

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Our intention was to introduce acoustical considerations regarding the inhabitability of spaces, considering the choice of materials and the fact that the form of the main church room mainly adapts to the proportions of the whole of the building and the intention to emphasize this room as the essential.

the sound. Being a material that absorbs the sound, it provides a more suitable reflection of the sound, but still decreases the reverberation time to a preferred level. Meanwhile, the floor and the walls are built up of concrete, a very reflective material. The floor material has also been considered in relation to the impact sound. We wanted a material that allowed for an awareness of your movement across the room, but still respected the necessary silence.

The intention of affecting how people will inhabit the church is closely connected with our Tectonic approach of designing spaces that are clear in their intention, guiding the inhabitants, making them aware of themselves and their surroundings. The big volume of the main church room is allowing for a rather high reverberation time, which, in our understanding, stresses the sacral aspect of this space. A higher reverberation time makes it possible to hear lower voices, meaning that whispers will spread a little hum in the space, making everyone aware of their own presence as well as others. This can also work as subtle alert for the need of silence while the priest is speaking, letting his voice spread widely in the space.

It should be added that the childrenâ&#x20AC;&#x2122;s chapel, placed inside the main church room, is constituted of timber inside as well as outside, being a well-absorptive material. We wanted the children to be a part of the main church room, but considering their loudness we introduced an absorptive textile, placed behind the timber claddings to regulate the acoustic, capturing the sound inside this space.

Looking at how the sound will spread, the rectangular shape is evident for expanding the sound widely, but less for reflecting it into the space. However, looking at the section, the convex shape of the ceiling allows for the sound to be spread widely, being diffuse in its reflection. The convex form is an effective sound-distributer [Egan, 2007]. Some of the sound will be caught in the top edge of the room, before being reflected downwards again. This is also the case for the sound in the far back of the room, where echoes will occur (appendix 6). The reflection of the sound is closely related to considerations about materials. Since the main material used is concrete, constituting the shear walls, contrasting the warm timber structure, that is emphasized in the experience of the church, we wanted the conceptual intentions to correspond with the acoustical intentions. Timber claddings of Scots pine constitutes the ceiling, the greatest surface reflecting

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SEATING PLAN

Ill. 133: Development of the seating plan for the main church room - the dashed line is the projecting of the curved roof

Ill. 134: Development of the seating plan for the chapel

Developing the seating plan is part of the same Tectonic intention that we are pursuing in the spaces. The final solution for the seating plan in the main church follows the curve in the roof structure, guiding you towards the centre of the church, where the priest is standing. In this way, the different elements in the church (structure, seating arrangement, light and spatial experience) are all pointing towards the same architectural intention. The guiding intention is present in the same way in the seating plan for the chapel. In both spaces the benches are built up from the same structural principle, composed by timber frames, creating a link between the structural and furnishing principle.

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URBAN PLANNING: READING THE WHOLE TERRITORY

Ill. 135: Perspective drawing showing the building in relation to the surrounding landscape

The axis is a very strong design element that orientates the concept of our project and lies within the realization of the potential the church can have in connecting the surrounding area. The axis is part of an architectural vision in a larger scale that considers the entire territory as part of the church influence area.

between narrow and open spaces. The graduation of the sacrality of the functions is organized in relation to this axis., while it establishes the connection between the sporting areas, the stream that runs in the edge of the site, the church building, the parking , the bell tower and the graveyard, an intention we made clear in the analysis phase. We aim to consider the surroundings as part of the church and the axis is the way in which the building extends to create a sense of cohesion and continuity in the surroundings.

The axis reveals the existance of the building from the surrounding roads without exposing its function and invites the inhabitants to follow the path throughout the building. This axis is a narrow space composed by concrete shear walls, opening up between the buildings to allow connections to the courtyards, emphasizing the contrasts

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INVESTIGATING A TECTONIC DETAIL- CHAPEL

Ill. 136: The curve introduces a dynamic feeling to the space, guiding you towards the front of the ceremony. It also gives character to the space.

Ill. 138: The structure constitutes the furnishing of the space and clarifies the guiding intention of the curve.

Ill. 137: The frame structure provides a clear connection between indoor and outdoor space, bringing the landscape into the spaces.

Ill. 139: The structure becomes an element of empathy in the space, speaking to the inhabitant, suggesting the guiding intention.

We chose to investigate further into the structural principle of furnishing the spaces as to embrace our intention - and to investigate and get further into the understanding of Tectonic percieved as intention. We chose the chapel as our study as this space constitutes every aspect of designing with an awareness of the intentions. We want to investigate how the structure gives life to the space of the chapel and how it become more clear to us in the process. At this stage we moved from an actual awareness of the structure as a Tectonic approach towards a greater understanding of the principle informing the architectural experience.

structure explains what the space consists of and what it is about. The structure is also informing the furnishing of the space as the timber frames suggest the same principle for the build up of the benches. The curve creates a sense of empathy that speaks to its inhabitants; it softens the space, making it more sensuous. The inhabitable structure is honest to the intention; it is carrying the experience of the space. The timber frame structure transforms light into the chapel interior, transmitting a sense of filtered and diffuse light, informing the sense of presence we want to achieve in the chapel, also enhancing a sacral mood. We experienced that in this space everything forms a synthesis.

There is a Tectonic statement in this room that has to do with how the structure informs architectural intention - the

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03 02

06 16 05

13 03

Ill. 140: Constructive detailing of the chapel: investigating the meeting between the timber frames and the concrete roofing and flooring. Legend: 01. Distant list 02. Thermal insulation 03. Concrete 04. Waterproof membrane 05. Steel bolt 06. Steel horse shoe

07. Glue laminated scots pine timber frame 08. Compact thermal insulation 09. Regularization Layer for setting the concrete 10. Radon exposure protection layer 11. Capilar layer 12. Compact soil

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13. Soil 14. Vapor barrier 15. Timber frame bench 16. Steel profile 17. Roofing verge coating 18. Asphalt membrane

Section Scale 1:40

â&#x20AC;&#x153;The joint, that is the fertile detail, is the place where both the construction and the construing of architecture take place.â&#x20AC;? [Frascari, 1984: 34]

The timber structure is the vocabulary we are working with, it is our language, our means to translate the architectural intention of contemplation. These intentions are materialized by the way in which the structure addresses the human body. We believe this is a need of Architecture: to be able to contemplate, to read the space, to understand and inhabit it. Architectural space can enrich our togetherness and our individual well-being in a place and this ability has to do with awareness - awakening the senses, addressing the human body and mind, aspiring to thoughts and ideas.

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FINAL CONSIDERATIONS This section constitutes the final conclusions of the project. We start by reflecting upon the positioning of our project within the Nordic and Tectonic context, proceeding with a reflection on the link between the Integrated Design Process and the Tectonic as a design methodology. We then present the final conclusion and final reflection of the project.

POSITIONING OUR PROJECT WITHIN THE NORDIC AND TECTONIC CONTEXT In our approach, Tectonics is very much related to intention. It is about how we are able to give life to an intention - how we can translate it through Architecture in a signifying way. This section acounts for a final reflection on what is Tectonic about our project and how this intention is related to the Nordic context.

Tectonic approach, beeing the means by which the architectural intention embraces the inhabitant. Detailing the spaces brings the idea to life and creates an empathetic participation of the human beeing in the space. The path created throughout the building has to do with the way the inhabitants experience the spaces and how they influence their state of mind.

The intention is, in our understanding, the means by which Architecture relates to and addresses the inhabitants, pursuing the creation of spaces that are able to generate an empathetic relation between Architecture and its inhabitants. It is about conveying meanings, translated through structural principles; it is about the Tectonic bond between form, function and construction.

The human scale is also present in the sensitive composition of the building in the landscape. The volumes rise from the terrain in a rather horizontal manner, being displayed in the direction that the topography is flowing. The disposition of the building in the landscape, embracing the two courtyards, makes the surrounding nature a part of the Architecture and the inhabitant’s experience of the spaces.

The Tectonic approach we tried to develop during the design process is rooted on a structural principle that will affect the inhabitants not only through constructive qualities, but also through expressive qualities that are bonded with this intention we are searching for.

The way we worked with light is also rooted within both the Nordic and the Tectonic, being light a part of the spatial intention we envision for each space and playing an important role in defining the character of these spaces, depending on their functions.

In our understanding, the Tectonic statement in our project can not be described in terms of construction and structure alone - it is how this structural principle is able to translate an intention, a spatial expression, through Architecture, furnishing the space, making it inhabitable.

We always come back to the statement “My mind is my own church“ as the meaning, the essence of this intention - the motivation for the Tectonic statement we are searching for.

This intention arises from what we envision for each space, from the spatial experience we aim to create. In this way, all the components in Architecture are composed towards this intention - from the structural principle to the use of materials.

We believe that the meeting between aesthetic and technical components in Architecture is clear in the integration of the structural principle as a generator of the spatial experience. There is also something Nordic about the courtyard spaces, which are recurrent in the works of Aalto and also widely present in the New Nordic tendencies. The same can be said for the curve as a guiding element, an element embracing space and arising dynamic experiences.

The use of the materials is also establishing a connection between the Tectonic means and the Nordic context, since we aim to design according to local materials, that are in relation to the Nordic culture and identity. The human scale is also interlinking the Nordic and

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IDP IN THE TECTONIC CONTEXT How is the IDP informed by the Tectonics? It is our understanding that Tectonics is a method of integration in Architecture. In this sense, the IDP is also informed by the Tectonic means of designing that we have pursued throughout the design process.

The detailing of the joints and the furnishing of the spaces arises the human dimension in Architecture and expresses the ultimate intention we are looking for. Hiding the joints in the meeting between the timber and the concrete, or in the meeting between the parts of the timber frames was intended as a way to preserve the continuous reading of the frames and the space they define. In our understanding, Tectonics is not about being honest in a way that we need to expose the joints - but in a way that we want to create a cohesion between the aesthetically qualities and the technical solutions in a way that the intention of the space becomes clear.

The design process we engaged on is fundamented by the interaction between Architecture and Engineering, providing the necessary tools to inperpret inputs coming from the different tools aiding the design process. There is a looping interaction between the design phases that allows each investigation to inform the other according to an interactive methodology. The previous phase informes the following phase but it is also possible to go back and forth according to a critical design approach, using the process to inform the design.

There is an architectural significance that cannot be explained by structural or constructional reasons alone but which is in the translation of a spatial intention. In this sense, we believe that Tectonics is about interpreting the architectural experience as a whole - it is about the link between the intention and the structural principle creating empathy in the field of Architecture. This is what we treid to achieve by using the structural principle to furnish the spaces, making them inhabitable and suggestive to the people using them.

The collaboration between a vast set of concerns - aesthetic, structural, constructive, material, functional and signifying components in Architecture - is a main aspect of both Tectonic design and the IDP, aiming towards integration between all aspects in the design. Aesthetical and technical components inform and complete each other, creating a design that is aming towards a unique architectural intention.

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â&#x20AC;&#x153;When the work is completed, the beginnings must be felt.â&#x20AC;&#x153; [Louis Kahn - The Power of Architecture, 2013-14.]

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“MY MIND IS MY OWN CHURCH” This statement has driven our project and informed the decisions made. It has been a motivation for us throughout the entire process. It is the beginning of our project, the first step we took towards our vision for the church and therefore it has been a common ground proving a unifying language and understanding. It was the reflection about the meaning of this statement and how it pointed to an architectural concept that guided the design process and the Tectonic intention we pursued. As is so eloquently expressed by Louis Kahn, “When the work is completed, the beginnings must be felt“. Through the project this statement has been carried out.

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CONCLUSION Throughout the whole design process we have strived for an integrated design, positioning our project within Nordic context, using Tectonics as a means. We have been true to this intention, the Tectonic say we pursued and that was clearly defined form the start of our project - â&#x20AC;&#x153;My mind is my own churchâ&#x20AC;&#x153;. This statement has been the motivational agent for the entire project and the generator of our architectural vision.

We have also found that a church is definitely a challenging building to design due to the vast concerns and reflections it entitles. However, there is also great potential in such an in-depth program - the opportunity to bring the functional, technical and poetic possibilities of Tectonic construction together to create an integrated architectural composition that provides a place for gathering and individual contemplation in the context of the Nordic tradition.

We believe that the interplay between the constructive, structural, functional, aesthetical and signifying components in Architecture is present in our project in terms of the overall architectural composition, interior spaces, detailing, choice of materials, lighting and acoustic properties. It has, though, become clear to us, during the Tectonic investigation, that Architecture is more than just the relation between aesthetical and technical aspects.

This reflection also lead us to define what of kind of church we intended to design, expressing a concern for the intention of awareness and the suggestion of contrasting experiences. We believe that the church we designed offers something to the human being who experiences it, providing a spatial experience that motivates an individual interpretation of the spiritual mood of a church, but also one that arises the meeting of the individual in the community. We believe the spaces are clear in their intention, arising meaning and empathy in Architecture.

We initiated with a hytothesis of Tectonics being the intentions of the architectural vision and, therefore, it relates to the overall experience of the space, achieved to the level of detailing related to the architectural whole. This also means that both aesthetical and technical aspects have to be considered in balance, providing a cohesion informing space in relation to its intention. In this understanding, the Tectonics is about how the space is percieved - how it is translated into inhabitable Architecture with clear intentions.

The respect for the landscape and the proximity we wished to create with the surrounding nature intend to express the Nordic context and a design that is honest in the way it approaches the site. The two courtyards mediate this relation between natural and built environment and create the interaction with nature that also enhances the contemplation feeling. The meaning of the path is an important aspect of this intention of awareness we pursued during the whole process, allowing for the necessary individual reflection along the spaces, towards the church. The axis reads the site as a whole and aims to extend the buildingâ&#x20AC;&#x2122;s influence to the surrounding area, striving for a continuity between the functions in this territory.

The final considerations we make regarding this project are very much linked to the first considerations we have made, and these are rooted within the Nordic context and the Tectonic means, two concepts we strived to understand along and through the architectural process. We came to believe that the Nordic and Tectonic meet in the search for an integrated design, an Architecture of a narrative dimension that is clear in its storyline and in its intention, designing space that reaches out and can be so simply acknowledged as a place to be.

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REFFLECTION We believe that, above all, we were able to extract interresting questions from this working process, that we can take with us to inform further projects. We believe there is a general reflection to be made on the design process and on the integration of the semester themes in the architectural design. We worked towards the IDP, bearing in mind the integration between aesthetic and technical components in Architecture and the iterative relations between the design phases, however, making a critical analysis, we can acknowledge that we did not exactly follow the IDP as it is intended, letting each aspect inform one another. In fact, we focussed greatly on the Tectonics as a method, striving to investigate what it meant to design in a Tectonic way. Nonetheless, this Tectonic means is also about an iterative and integrated process of composing space, a relation which brings these two methodologies close together, as we have seen earlier.

The international aspect of the group work also allowed for the collaboration between different design approaches and in each situation we tried to work in the way that would bring us closer to the common architectural intention we were searching for.

The borders between the different design phases become more blurred and integrated in the design process we followed, bearing in mind the idea of using a principle as a unifying element, understanding how different components are informing the design. In this way, we strived to take a stand regarding the themes we are working with, striving to clearly position our project within the context of the Nordic and Tectonic Architecture.

One might also argue that the decision of hiding the joints is not truly Tectonic, however, for us it lies within the architectural intention we are pursuing - it is an aesthetic decision for a structural purpose that allows the structural frame to be read as a continuous element.

There are some specific reflections concerning particular design decisions which we recognise do not entirely speak to the whole architectural intention. One of these situations relates to the volume of the main church, which we struggled to design in order to satisfy both the aesthetic proportions between the parts and the suitable volume for the acoustics in relation to the understanding of a church. There is also a monumental component that we wish to include in the main church room, however, the heighest point in the church might have turned out to be reluctant to the human scale.

We also find that there could have been a more clear integration between the private and public spaces in the building, in relation to the Nordic culture, even though the building is intended to be welcoming to everyone.

Due to the fact that we compose an international group, there is also a reflection to be made regarding the approach to the IDP that includes the introduction of various tools able to aid the design process. We valued different inputs from different backgrounds and also different understandings of Architecture, and embraced the possibility to use all the tools in an architectural language, working very much in plan and section as a way to discover the spatial character of the building, but also in models (both digital and physical) and using the digital perfomance-aided design tools that allow for the consideration of structural and constructive concerns early in the design process.

Concerning the flow through the building, we feel it is important to stress that the idea of the path is important for the intention we pursued, in the arising of a journey of awareness. However, reflecting upopn this led us to reconsider the lenght and the directions of the path.

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ILLUSTRATION LIST Ill. 00:

Own illustration

Ill. 01:

Grindley, T. (2013) Public Works and Public Space, available online at: <http://publicworksandpublicspacee.tumblr.com/ post/53283771051/ryanpanos-spring-wind-house-by-architecture> accessed 1.11.2013.

Ill. 02 - 25:

Own illustration

Ill. 26:

Luxury Travel in Norway (2013), Hunting the Northern Lights, available online at: <http://luxury-travel-norway.com/huntingthe-northern-lights/attachment/northern-lights-2/>accessed 26.10.2013.

Ill. 27:

Own illustration

Ill. 28:

Articles and Responses - Plus Things (2011-13) Fantasy Town: Alesund, Norway, available online at: <http://www.plusthings. com/fantasy-town-alesund-norway/> accessed 29.10.2013.

Ill. 29:

Own illustration

Ill. 30:

Articles and Responses - Plus Things (2011-13) Fantasy Town: Alesund, Norway, available online at: <http://www.plusthings. com/fantasy-town-alesund-norway/> accessed 29.10.2013.

Ill. 31 - 32:

General Course Material (2013) MS01_ARK Fall 2013, Curriculum 2013, Tectonic Design - Structure and Construction, Study Board for Architecture & Design, Department of Architecture, Design and Media Technology, Aalborg University, Denmark.

Ill. 33 - 37: Ill. 38:

Ill. 39 - 40:

Ill. 44:

Ill. 45 - 47:

Chin, S. (2010), Saint Benedict Chapel (Capuletta Sogn Benedetg – 1988, available online at: <http://chlorinegardening.wordpress.com> accessed 10.11.2013.

Ill. 49:

Seier (2008) Asplund Skogskrematoriet, available online at: <http://commons.wikimedia.org/wiki/File:Asplund_Skogskrematoriet_02_(photo_by_Seier_on_Flickr).jpg> accesed 4.12.2013.

Ill. 50:

Grindley, T. (2013) Public Works & Public Space, available online at: < http://publicworksandpublicspacee.tumblr.com/ post/53283771051/ryanpanos-spring-wind-house-by-architecture> accessed 1.11.2013.

Ill. 51:

Kok, P. (2013) Piscinas de Leça da Palmeira, Matosinhos, Portugal, Fotografía de Arquitectura, available online at: <http://www.pedrokok.com.br/es/2012/04/piscinas-de-lecada-palmeira-matosinhos-portugal/p1030075/>accessed 15.11.2013.

Ill. 52:

Tiainen, J. (2005) St. Henry’s Ecumenical Art Chapel, Turku, Finland, Matti Sanaksenaho, 2005, available online at: <http:// www.architonic.com/aisht/st-henrys-ecumenical-art-chapelsanaksenaho-architects/5100059> accessed 30.10.2013.

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Norwegian Meteorological Institute (2013) Weather and Climate Data from Norwegian Meteorological Institute from Historical Data to Real Time Observations, available online at: <http:// sharki.oslo.dnmi.no> accessed 29.10.2013.

Ill. 42:

Own photograph

Ill. 43:

Nurmi, T. (n.d.) Säynätsalo Town Hall, A10 Insider - New European Architecture, available online at: <http://www.a10. eu/insider/a10_insider/budget_hotel_finland.html> accessed 08.12.2013.

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Own photograph

Ill. 48:

Own illustration Mit Rejse Vejr (2013) MitRejseVejr - Vejret verden rundt -med vejrudsigter, klima og temperaturer, Vejret i Ålesund, Norge, available online at:<http://www.mitrejsevejr.dk/l/norge/ vejret-aalesund-vejrudsigt-temperatur-klima.php>accessed 29.10.2013.

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Own illustration

Ill. 55:

Ill. 56:

Own illustration

Ill. 57:

Kok, P. (2013) Piscinas de Leça da Palmeira, Matosinhos, Portugal, Fotografía de Arquitectura, available online at: <http://www. pedrokok.com.br/es/2012/04/piscinas-de-leca-da-palmeiramatosinhos-portugal/p1030075/> accessed 15.11.2013.

Ill. 58:

Own illustration

Ill. 59:

Kok, P. (2013) Piscinas de Leça da Palmeira, Matosinhos, Portugal, Fotografía de Arquitectura, available online at: <http://www. pedrokok.com.br/es/2012/04/piscinas-de-leca-da-palmeiramatosinhos-portugal/p1030075/> accessed 15.11.2013.

Ill. 60:

Own illustration

TABLE LIST Ill. 61-62:

Ill. 63 - 64: Ill. 65:

Havenraas, J. & Skogvoll, U (2009), Fireplace for Children, Haugen/ Zohar Architects, available online at: <http://www.hza.no/ page.php?pid=28> accessed 15.11.2013.

Grindley, T. (2013) Public Works & Public Space, available online at: < http://publicworksandpublicspacee.tumblr.com/ post/53283771051/ryanpanos-spring-wind-house-by-architecture> accessed 1.11.2013. Own illustration

Ill. 67:

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Ill. 68-100:

Own illustration

Ill.101-110:

Own photograph

Ill.112-136:

Own illustration

Ill. 137:

Own photograph

Ill. 138:

Own illustration

Ill. 139:

Own photograph

Ill. 140:

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Ill. 141:

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Ill. 142:

Gaucho, B. (2013), Hiroshi Sugimoto - Una aproximaci贸n para capturar el tiempo y espacio / One approach to capture time and space, available online at: <http://biggaucho.blogspot. dk/2013/09/hiroshi-sugimoto-una-aproximacion-para.html> accessed 12.12.2013.

Ill. 143:

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Ill.144-156:

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Ill. 157:

Aalto, P. (2011) Boathouse / TYIN tegnestue, Archdaily, available online at: <http://www.archdaily.com/168642/> accessed 18.11.2013.

Ill. 158:

TreStykker (2012) The Boathouse / TreStykker 2012, Archdaily, available online at: <http://www.archdaily.com/342359/theboathouse-trestykker-2012/> accessed 18.11.2013.

Ill.159-161:

Byggforsk (2003) Vindlaster p氓 bygninger, available online at: <http://bks.byggforsk.no/DocumentView.aspx?documentId=3 118&sectionId=2> accessed 02.12.2013.

Tab.05-07:

Own table

Tab. 08:

Eurocodes 0, 2010, Tabel A.1.1 NA

Tab. 09:

Eurocodes 0, 2010, Tabel A. 1.2(A) NA

Tab.10-12:

Huttunen, M. (2013) Kamppi Chapel of Silence, available online at: <http://openbuildings.com/buildings/kamppi-chapel-of-silence-profile-44789/media/330364/show> accessed 05.12.2013.

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Tab.02-04:

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Ill. 111:

Tab. 01:

Own table

APPENDIX The appendix includes additional information that will allow the reader to go further into detail regarding specific aspects of the project.

Cloister room Additional sacristy

sacristy

APPENDIX 1: FUNCTION DIAGRAM Storage Mezzanine Sacristy for baptism

Chapel

Additional sacristy

Church room Church hall

Cloister room

Sacristy

Childrenâ&#x20AC;&#x2122;s chapel Public toilets

Entrance hall

Offices

Staff toilet Meeting room Kitchen

Classrooms

Congegrational hall

Refuse

Music rooms Activity room Workshop areas

Storage

Technical room

Cloack room Ill. 144: Initial function diagram

This diagram aims at an understanding of the complex functional flows, included in the church program, by synthesizing the room programs and functional demands. This organization will further on inform architectural demands, and the integration in a coherent project.

The design will also take into account the relationship and the dymanics created between sacred functions and everyday life activities, integrating them in a way that we believe to be benefitial to the functioning of all necessary programs in the church.

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APPENDIX 2: ROOM PROGRAM Roomtype

Area [m2]

Amount [pcs]

Volume pr. seat [m 3]

Persons [pcs]

Reverberation time

Main church

555

300

1,4-1,6

Cloister room

1,0

Children's chapel

0,6-0,8

Sacristy

1,0

Additional sacristy

1,0

Storage

Entrance hall

0,7

Church hall

0,7

Public toilets

Chapel

1,4

Offices

142

0,7

Meeting room/dining

0,7

Technical room

Classroom

1,0

Music room

1,2-1,4

Activity room

1,0

Workshop area

1,0

Laundry room

Storage

Refuse

Cloack room

Congregational hall

113

1,0

Kitchen

35+10

Administration

Total

1587

Tab. 01: Room Program

125

APPENDIX 3: STRUCTURAL ANALYSIS In order to analyse and make studies of the loadbearing structure for the church room, loads and definitions have been defined according to Eurocodes 01 and 5. As all of the frames are sloping with different angles, the calculation for the load has been made for all of the frames to find the one with the biggest load. A calculation is shown for frame nº15.

Wind Load

Permanent (G) - Self load (beam/column + roof) Short term (S) - Snow load Instantaneous (W) - Wind load [Eurocodes 5, 2012: Tabel 2.2]

cr(z) Factor for the roughness of the terrain kT Adjustment factor for roughness of the terrain z Height over terrain on the sight, is z<zmin is zmin used z0 Roughness length zmin Start level for logarithmic wind profile

Factor for roughness of the terrain

⎛ z ⎞ cr ( z ) = kT ⋅ ln ⎜ ⎟, zmin ≤ z ≤ 200m ⎝ z0 ⎠

Service class: 1 (heated rooms) [Eurocodes 5, 2012 :22] Security class: CC3 (high risk for loss of human lives) [Eurocodes 0, 2010: Tabel B.1]

⎛ 18, 96m ⎞ cr ( z ) = 0, 22 ⋅ ln ⎜ ⎟ = 0, 91 ⎝ 0, 30m ⎠

self weight

suction

Basis wind speed

wind snow

Vb cRET cÅRS cHOH cSAN vREF

wind Ill. 145: Self, wind and snow load frame nº 15.

Snow Load

s = µi ⋅ ce ⋅ ct ⋅ sk

i µ

Ce Ct sk

Basis wind speed Factor of the direction, 1,0 Factor for time of the year, 0,8 for May to August, otherwise 1,0 Factor for level, height over sea level Statically factor, 1,0 Reference wind speed

In this calculation and indication of the wind load the basis wind speed that has been used is assumed to be the same as the reference wind speed for Ålesund.

Factor for form Factor for exposure Thermic factor, 1,0 Characteristic terrain value

Vb = VREF = 29 ms

The characteristic terrain value for Ålesund is 3kN/m , according to the snow loads in the municipalities of Norway [Byggforsk, 2003]. 2

s = 0, 8 ⋅1⋅1⋅ 3, 0 mkN2 = 2, 4 mkN2

126

Peak wind speed pressure 2

qkant = 0, 5⋅ ρ ⋅ cr2 ( z ) ⋅ ct ( z ) ⋅ vb2

⎛ ⎛ c ( z ) ⋅ k ⎞⎞ T ⎟⎟⎟⎟ ⋅ ⎜⎜1+ 7 ⋅ ⎜⎜ tt c z ⋅ c ( ) ( ⎝ r t z ) ⎠⎠ ⎝ H

Density of air, 1,25kg/m3 cr(z) Factor for the roughness of the terrain ct(z) Factor for the typography vb Basis wind speed ctt(z) Topography factor kT Adjustment factor for the roughness of the terrain

e/10

The wind speed pressure is calculated with ct(z) and ctt(z) assumed to 1, which means, that the site is not located near slopes and mountain, which is an assumption that differs from the real terrain., to simplify the calculation.

e/10

Ill. 146: Wind form factor on sloping roof

H Min

-0,6

-0,3

Max

0,2

I Min Max

-0,6 -0,6

-0,4 0

Angle

-0,7

0,2

02: Form factor on flat and sloping roof Tab.

Form factor for the roof Looking at the diagram for the wind on page 46 it is seen that most of the wind comes from north east and south east, in this calculation we will work with wind from south. To find the load a form factor for the roof is need. Finding the form factors to the angles of the frame in-between the ones listed in table 02. there is used interpolation. The maximum value for frame 15 where the wind is coming directly from the south on the roof:

-0,2

0,7

0,4

0,6

0,7

0 0,4

-0,2 0

-0,2 -0,2

y2 ! y1 " ( x ! x1 ) + y1 x2 ! x1 0, 4 ! 0, 2 H max frame 15 = " (30 !15) + 0, 2 30 !15 = 0, 39 H max frame 15 =

127

With the form factor the wind load for frame 15 becomes

Roof load

Qwind = qkast ⋅ ( c pi + c pe )

The load for the roof is found with the dimensions of the heaviest parts as shown in the table below: [m]

[kg/m3]

[kg/m2) [kN/m2]

Qwind = 1,18 mkN2 ⋅ ( 0, 3+ 0, 4) = 0,83 mkN2

Roof

0,022

530

11,66

0,11

South facade horizontal wind load

Insulation Laths (pr.0,2m)

0,300 0,300

30 530

9,00 31,80

0,09 0,31

The form factor for the southern wall is found with the height of the frame:

Insulation Cladding

0,050 0,022

30 530

1,50 11,66

0,01 0,11

0,80 − 0, 70 D= ⋅ ( 0, 64 − 0, 25) + 0, 70 = 0, 75 1, 00 − 0, 25

Load distribution Wind and snow load have been calculated for all 29 frames of the roof with the respective angles, so snow and wind loads for each frame has been obtained. The results are shown in table 5, 6 and 7 showing that the southern beams have the biggest snow load and the smallest wind load in the first frame (nº 1) and the biggest wind load and smallest snow load in the last frame (nº 29).

e e/5

0,64

Tab. 04: Roof dimensions and load

h 12, 96 = = 0, 64 d 20, 38

Total

e/5

e d

Ill. 147: Form factor for facade 15 Angle

0,25

D E

0,7 -0,7

0,8 -0,5

29 Ill. 148: Axonometry showing numbering of the frames

Tab. 03: Table on form factors for facade

128

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

Angle Height of frame Height from terrain Snow Load Roof Load Roughness Maximal speed pressure Q [degrees] [m] [m] [kN/m2] [kN/m2] [N/m2] [kN/m2] 87,50 4,16 10,16 0,00 0,58 0,77 942,94 0,94 87,50 4,82 10,82 0,00 0,58 0,79 965,52 0,97 86,67 5,48 11,48 0,00 0,58 0,80 986,87 0,99 85,63 6,13 12,13 0,00 0,58 0,81 1007,12 1,01 85,00 6,79 12,79 0,00 0,58 0,83 1026,45 1,03 83,75 7,43 13,43 0,00 0,58 0,84 1044,67 1,04 82,86 8,08 14,08 0,00 0,58 0,85 1062,14 1,06 81,88 8,71 14,71 0,00 0,58 0,86 1078,75 1,08 80,83 9,34 15,34 0,00 0,58 0,87 1094,57 1,09 80,00 9,97 15,97 0,00 0,58 0,87 1109,83 1,11 78,87 10,58 16,58 0,00 0,58 0,88 1124,12 1,12 77,92 11,19 17,19 0,00 0,58 0,89 1137,97 1,14 76,92 11,79 17,79 0,00 0,58 0,90 1151,13 1,15 75,89 12,38 18,38 0,00 0,58 0,91 1163,66 1,16 75,00 12,96 18,96 0,00 0,58 0,91 1175,84 1,18 73,91 13,52 19,52 0,00 0,58 0,92 1187,13 1,19 72,94 14,08 20,08 0,00 0,58 0,92 1198,14 1,20 71,95 14,62 20,62 0,00 0,58 0,93 1208,57 1,21 70,92 15,14 21,14 0,00 0,58 0,94 1218,46 1,22 70,00 15,67 21,67 0,00 0,58 0,94 1228,13 1,23 68,93 16,15 22,15 0,00 0,58 0,95 1236,94 1,24 67,96 16,64 22,64 0,00 0,58 0,95 1245,59 1,25 66,96 17,11 23,11 0,00 0,58 0,96 1253,72 1,25 65,94 17,55 23,55 0,00 0,58 0,96 1261,36 1,26 65,00 18,00 24,00 0,00 0,58 0,96 1268,88 1,27 63,95 18,40 24,40 0,00 0,58 0,97 1275,55 1,28 62,97 18,81 24,81 0,00 0,58 0,97 1282,13 1,28 61,97 19,18 25,18 0,00 0,58 0,97 1288,23 1,29 60,95 19,54 25,54 0,00 0,58 0,98 1293,88 1,29

Cpi

h/d

0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30

0,50 0,53 0,56 0,60 0,63 0,66 0,69 0,72 0,75 0,78 0,81 0,84 0,87 0,90 0,93 0,96 0,99 1,01 1,04 1,06 1,09 1,11 1,13 1,16 1,18 1,20 1,22 1,24 1,25

D 0,73 0,74 0,74 0,75 0,75 0,75 0,76 0,76 0,77 0,77 0,78 0,78 0,78 0,79 0,79 0,79 0,80 0,80 0,80 0,80 0,80 0,80 0,80 0,80 0,80 0,80 0,80 0,80 0,80

E -‐0,63 -‐0,63 -‐0,62 -‐0,61 -‐0,60 -‐0,59 -‐0,58 -‐0,57 -‐0,57 -‐0,56 -‐0,55 -‐0,54 -‐0,53 -‐0,53 -‐0,52 -‐0,51 -‐0,50 -‐0,50 -‐0,49 -‐0,48 -‐0,50 -‐0,50 -‐0,50 -‐0,50 -‐0,50 -‐0,50 -‐0,50 -‐0,50 -‐0,50

Wind facade pressure Wind facade suction [kN/m2] [kN/m2] 0,97 -‐0,31 1,00 -‐0,31 1,03 -‐0,31 1,05 -‐0,31 1,08 -‐0,31 1,10 -‐0,30 1,12 -‐0,30 1,15 -‐0,30 1,17 -‐0,29 1,19 -‐0,29 1,21 -‐0,28 1,23 -‐0,28 1,25 -‐0,27 1,26 -‐0,26 1,28 -‐0,26 1,30 -‐0,25 1,32 -‐0,24 1,33 -‐0,24 1,34 -‐0,23 1,35 -‐0,22 1,36 -‐0,25 1,37 -‐0,25 1,38 -‐0,25 1,39 -‐0,25 1,40 -‐0,25 1,40 -‐0,26 1,41 -‐0,26 1,42 -‐0,26 1,42 -‐0,26

Tab. 05: Permanent snow and wind load on north beam Wind column Wind on roof

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

Angle Height of frame Height from terrain Snow Load Roof Load Roughness Maximal speed pressure Q [degrees] [m] [m] [kN/m2] [kN/m2] [N/m2] [kN/m2] 2,00 4,16 10,16 2,40 0,58 0,77 942,94 0,94 4,00 4,82 10,82 2,40 0,58 0,79 965,52 0,97 6,00 5,48 11,48 2,40 0,58 0,80 986,87 0,99 8,00 6,13 12,13 2,40 0,58 0,81 1007,12 1,01 10,00 6,79 12,79 2,40 0,58 0,83 1026,45 1,03 12,00 7,43 13,43 2,40 0,58 0,84 1044,67 1,04 14,00 8,08 14,08 2,40 0,58 0,85 1062,14 1,06 16,00 8,71 14,71 2,40 0,58 0,86 1078,75 1,08 18,00 9,34 15,34 2,40 0,58 0,87 1094,57 1,09 20,00 9,97 15,97 2,40 0,58 0,87 1109,83 1,11 22,00 10,58 16,58 2,40 0,58 0,88 1124,12 1,12 24,00 11,19 17,19 2,40 0,58 0,89 1137,97 1,14 26,00 11,79 17,79 2,40 0,58 0,90 1151,13 1,15 28,00 12,38 18,38 2,40 0,58 0,91 1163,66 1,16 30,00 12,96 18,96 2,40 0,58 0,91 1175,84 1,18 32,00 13,52 19,52 2,24 0,58 0,92 1187,13 1,19 34,00 14,08 20,08 2,08 0,58 0,92 1198,14 1,20 36,00 14,62 20,62 1,92 0,58 0,93 1208,57 1,21 38,00 15,14 21,14 1,76 0,58 0,94 1218,46 1,22 40,00 15,67 21,67 1,60 0,58 0,94 1228,13 1,23 42,00 16,15 22,15 1,44 0,58 0,95 1236,94 1,24 44,00 16,64 22,64 1,28 0,58 0,95 1245,59 1,25 46,00 17,11 23,11 1,12 0,58 0,96 1253,72 1,25 48,00 17,55 23,55 0,96 0,58 0,96 1261,36 1,26 50,00 18,00 24,00 0,80 0,58 0,96 1268,88 1,27 52,00 18,40 24,40 0,64 0,58 0,97 1275,55 1,28 54,00 18,81 24,81 0,48 0,58 0,97 1282,13 1,28 56,00 19,18 25,18 0,32 0,58 0,97 1288,23 1,29 58,00 19,54 25,54 0,16 0,58 0,98 1293,88 1,29

Cpi 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30 0,30

H Min -‐0,70 -‐0,70 -‐0,57 -‐0,51 -‐0,45 -‐0,39 -‐0,33 -‐0,27 -‐0,28 -‐0,27 -‐0,25 -‐0,24 -‐0,23 -‐0,21 -‐0,20 -‐0,17 -‐0,15 -‐0,12 -‐0,09 -‐0,07 -‐0,04 -‐0,01 0,01 0,04 0,07 0,09 0,42 0,51 0,61

Max

0,02 0,06 0,10 0,14 0,18 0,22 0,24 0,27 0,29 0,32 0,35 0,37 0,40 0,43 0,45 0,48 0,51 0,53 0,56 0,59 0,61 0,64 0,67 0,69 0,66 0,67 0,69

I Min Max 0,20 0,20 -‐0,58 -‐0,54 -‐0,50 -‐0,46 -‐0,42 -‐0,38 -‐0,32 -‐0,27 -‐0,21 -‐0,16 -‐0,11 -‐0,05 0,00 -‐0,03 -‐0,05 -‐0,08 -‐0,11 -‐0,13 -‐0,16 -‐0,19 -‐0,21 -‐0,24 -‐0,27 -‐0,29 -‐0,20 -‐0,20 -‐0,20

Min [kN/m2]

-‐0,54 -‐0,42 -‐0,30 -‐0,18 -‐0,06 0,06 0,08 0,13 0,19 0,24 0,29 0,35 0,40 0,35 0,29 0,24 0,19 0,13 0,08 0,03 -‐0,03 -‐0,08 -‐0,13 -‐0,19 -‐0,12 -‐0,15 -‐0,17

-‐0,38 -‐0,39 -‐0,27 -‐0,21 -‐0,15 -‐0,09 -‐0,03 0,03 0,02 0,04 0,05 0,07 0,08 0,10 0,12 0,15 0,18 0,22 0,25 0,29 0,32 0,36 0,39 0,43 0,47 0,50 0,92 1,05 1,17

I Max Min Max [kN/m2] [kN/m2] [kN/m2] 0,47 -‐0,48 0,32 -‐0,28 -‐0,24 0,36 -‐0,24 -‐0,12 0,41 -‐0,21 0,00 0,46 -‐0,17 0,13 0,51 -‐0,13 0,25 0,56 -‐0,09 0,39 0,59 -‐0,02 0,42 0,63 0,04 0,48 0,67 0,10 0,55 0,71 0,16 0,61 0,74 0,22 0,68 0,78 0,29 0,75 0,82 0,35 0,82 0,86 0,32 0,77 0,90 0,30 0,71 0,94 0,27 0,65 0,98 0,24 0,59 1,02 0,20 0,53 1,06 0,17 0,47 1,10 0,14 0,41 1,15 0,11 0,34 1,19 0,08 0,28 1,23 0,04 0,21 1,27 0,01 0,14 1,23 0,13 0,23 1,25 0,13 0,20 1,28 0,13 0,16

Tab. 06: Permanent snow and wind load on south beam

Angle Height of frame Height from terrain Snow Load Roof Load Roughness Maximal speed pressure Q Cpi h/d D E Surface wind load D Surface wind load E [degrees] [m] [m] [kN/m2] [kN/m2] [N/m2] [kN/m2] [kN/m2] [kN/m2] 90,00 14,08 3,50 0,00 0,58 0,54 591,05 0,59 0,30 0,69 0,76 -‐0,58 0,63 -‐0,17

Tab. 07: Permanent snow and wind load on column

129

Load combinations

Load combination in Ultimate Limit State, ULS, example with dominating snow load:

Load combinations are found with reduction factors and partial coefficients after Eurocodes 0. It is assumed that the factors and coefficients for Norway are close to those in the national annex for Denmark, therefore the values found are from the Danish annex.

∑γ j≥1

0,3 0

W S

Gk, j "+"γ P P"+"γ Q,1Qk,1 "+"∑γ Q,iψ 0,iQk,i

+1,1⋅1, 5⋅ 0, 3⋅ w

(dominating snow load) (dominating wind load)

LoadDominating snow = 1,1⋅1, 0 ⋅ 0, 64 kN m

Tab. 08: Reduction factors

+1,1⋅1, 5⋅ 2, 40 kN m

Partial coefficients γ G, j γ G, j γ Q,i

1,0 1,5 1,5

+1,1⋅1, 5⋅ 0, 3⋅ 0,81 kN m

= 5, 06 kN m

G (Gravity) S (Snow) W (Wind)

Load distribution

Tab. 09: Partial coefficients

Load combinations have been made in SLS for all northern columns and southern beams with wind from south. The load distribution on the graphs in illustration 1 and 4 shows that it is beam 15, on the southern side, that gets the biggest load in the load combination, therefore it is this frame that will be used for further studies in Karamba and Robot structural analysis

Load combination in Service Limit State, SLS, example with dominating snow load:

∑G j≥1

k, j

i≥1

LoadDominating snow = 1,1⋅1, 0 ⋅ g +1,1⋅1, 5⋅ s

Reduction factors

ψ Q,i ψ Q,i

G, j

"+"P"+"Qk,1 "+"∑ψ 0,iQk,i i≥1

LoadDominating snow = g + s + 0, 3⋅ w LoadDominating snow = 0, 64 mkN2 + 2, 40 mkN2

+ 0, 3⋅ 0,83 mkN2 = 3, 29 mkN2

130

kN/m2

Frame Number

Ill. 149: North column SLS

Ill. 151: South beam SLS

kN/m2

Frame Number

Ill. 150: North column ULS

Ill. 152: South beam ULS

131

Deformation The biggest allowable deformation for the beams is up to the contractor to decide, those values can be larger or smaller compered to those recommended in Eurocodes. For wood the recommended values for deformation are according to Eurocodes 5. Deformation =

L 200

Deformation frame15, south beam =

18670mm = 93, 35mm 200

15 29

As those values are recommended, the allowable deformation for the project is defined as 93,35 mm for beam 15, as deformation L/200.

Ill. 153: Exploring frame 1, 15 and 29

work with permanent self load, and a variable snow and wind load coming from South. The wind coming from West or East is not considered here although realistically those would have an effect on the structure.

For further studies of the frames and the dimension of those, studies of frame 15 have been made with the tools of Karamba to Grasshopper and Autodesk Robot structural analysis.

This study is made with the 29 frames in the church roof structure and is calculated with wind coming from South giving the loads as shown in table 5, 6 and 7. This study shows that the dimensions for the frames are verifying the conditions of ULS but not SLS because the deformation becomes 137 mm for frame 15, meaning that it is bigger than the allowed 93,35 mm, that has been defined as the biggest allowable deformation.

Dimension of the frames Exploring the dimensions of the frames, Karamba, a Grasshopper plug-in for Rhino, is used to give an indication on the behaviour of the structure and what dimensions the frames should have. We are working with frame 15: The applied loads are for SLS: Self load: calculated by Karamba South beam: 3,29kN/m2 (dominating snow) North column: 0,39kN/m2 (dominating wind)

The next study seeks to find a dimension for the frame, where it is able to verify the conditions of SLS as well, there the intention is to form the structure, so that it describes where the biggest moments are. By investigating the frames from this point the dimension of the beams and columns are becoming bigger in the places where there are fixed joints and smaller in the top of the frames, where there is a hinged joint. The frame dimension therefore becomes 500 x 185 mm in one end and 700 x 185 mm in the other end of the columns and beams, depending on the joints and supports. A closer look at the columns shows that the

The dimensions found in Karamba are 185 x 700 mm with glulam G32h.Illustration 153 shows how tension and compression are in the beams and column. A closer study of the structure is made in Robot, where load combinations in SLS and ULS are applied. The first study in robot explores how the construction will behave with dimensions of 500 x 185 (l x b) mm for the columns and beams. The studies

132

ratio in ULS and SLS for the northern beams are low, under 0.1, meaning that they are overdimensioned: for these parts of the structure the dimensions could have been changed

decreased. But due to aesthetic considerations, we chose to use the same dimensions for all the beams, giving the same expression to the whole structure.

Original Geometry

Modified Geometry

Geometry

Displacement

Moment

Shear

S Max

Original Original Geometry Geometry

Ill. 154: Comparison

Ratio Ratio Element Element Member Member Material Material SLS SLS Column Column 15 GL32h 15 GL32h 0.33 Column-North Column-North 44 GL32h 44 GL32h 0.08 Beam-South Beam-South 73 GL32h 73 GL32h 1.49

133

Ratio Ratio ULS ULS 0.33 0.59 0.08 0.14 1.49 0.71

Modified Modified Geometry Geometry

Ratio Ratio SLS SLS 0.59 0.20 0.14 0.07 0.71 0.91

Ratio Ratio ULS ULS 0.20 0.52 0.52 0.07 0.10 0.10 0.91 0.42 0.42

APPENDIX 4: STABILITY AND STURDINESS For the stability and sturdiness the building is divided into different sections. The first section contains the main church and chapel; the second contains the congregational hall, workshop area and offices; and the third includes the music room and classrooms. This division provides the security that if the elements of one section collapses it will not affect the rest of the volumes. The connection of the roof coverings between the main volumes needs to be executed to prevent a domino-type collapse, meaning that in the case of a collapse they should tear of and fall down. The structure for the building consists of concrete shear walls/plates, where a minimum of three shear walls is supporting a plate for the roof construction, stabilizing the structure. As three shear walls obtain the stability, we have the opportunity for windows from terrain to roof. It is also this effect that makes it possible for us to take advantage of the frames as guiding the inhabitants because they have no load bearing purpose.

Ill. 155: Diagram showing the location of the shear walls

As the roof for the second volume is around 1 meter to the ground, it will be a possibility that people find it attracting to walk on, although it is not an intended effect, but an effect that shall be prevented by applying a live load when calculating the roof. Main church Stability for the structure of the main church - the frames - is obtained by placing laths horizontal on top of those for fastening the cladding of the roof. A domino-type collapse should be prevented so that, in case of one frame collapsing, the rest of the roof structure will not collapse.

Ill. 155: Axonometric diagram of the roof structure

134

APPENDIX 5: SCOTS PINE TIMBER Spruce, pine and birch, in this order, are the most important and most used types of timber for construction in Norway [Jagt og Natur, n.d]. Scots Pine (scientifuc name Pinus Sylvestris) ranges from northern Norway; Turkey; West Scotland and through Russia to Siberia [Linde, 2010]. The wide range of the locations where this material exists shows its toughness, being able to endure extreme weather conditions, a scenario with which we are also dealing with while designing in the Norwegian conditions. The Scots Pine tree can grow up to 30 meters and has a denser crown at the top, making the forest more open on the ground level [Skovplanter, n.d.]. The Hatlehol site we are working on mainly consists of this kind of pine trees, justifying the use of a local material for the timber structure, using local craftsmanship and giving something back to the surroundings and community. A Norwegian company - Kebony - works with the Scots Pine wood in a way that makes the material environmentally friendly, expressing a concern for ecological aspects. The wood is treated in a way that is non-toxic to the environment and has no need for maintenance beyond normal cleaning. The treatment additionally increases the density of the wood and makes it stiffer and harder, which also makes the dimensions more stable and reduces (by 50%) the shrinkage and swelling of the material compared to untreated wood. These properties make the Kebony Scots Pine wood sustainable [Kebony, n.d.]. Being a very soft material, Scots Pine is also a very good sound absorver [Lunawood, 2013].

Ill. 159: Scots pine used in the Boathouse / TYIN tegnestue, 2011, Norway

The wood often has large knots, which contain many large resin ducts, providing a fresh fragrance of pine in the interior space, that can make you aware of the use of material [Natur Styrelsen, 2013]. The color of the wood, yellow when untreated, gets a golden brown color after the treatment, which naturally turns silver-grey patina when the wood is exposed to the weather [Kebony, n.d.]. The material then blends into the surrounding nature.

Ill. 160: Scots pine used in Boathouse, TreStykker Students, 2012, Norway

135

APPENDIX 6: ACOUSTIC ANALYSIS - ECOTEC

Ill. 161: Acoustic analysis using Ecotec, section

Ill. 162: Acoustic analysis using Ecotec, plan

The illustration presented above shows how the sound spreads in the main church room.

Reverberation time: calculations Tables 10, 11 and 12 account for the calculations made regarding the reverberation time. Reverbertion time

The green lines represent the direct sound and the yellow lines are the reflected sound, illustrating that the sound spreads in the church room in a way that suits the sound quality that we wish to achieve. Analyzing the plan, we can see that there are a few red lines, which shows that there is a possibility that echos will occur, however, this will not disturbe the audience of the church because it will only affect the area between the children’s chapel and the roofing structure. Due to this fact we have considered making the children’s chapel wall absorbent, decreasing the sound that reflects back to the church room.

Equation for reveberation time

T=(0,16*V)/((6D s)+(6n*A)+(4*m*V))

Equivalent absorption area where Į = absorption coefficient and S = surface area

(6D s)

Absorption from persons (6n*A) where n = number of persons and A = absorption coefficient for person Absorption in air where m = air absorption and V = volume of room

(4*m*V))

Tab. 10: Reverberation time calculations, table 1

136

5500

Reveberation time Equivalent absorption area

Material

Floor

Reveberation time

Unpainted concrete rough finish

Ceiling Equivalent absorption area

wood cladding Material

wall of concrete windows Floor Backwall Wood frame Ceiling Wood wall doors wall of concrete windows Absorption from persons Backwall Persons Wood frame chairs Wood wall doors Absorption in air v/ 50% RF Absorption from persons Persons chairs

unpainted concrete termo glass Unpainted concrete rough finish Arkustik wall gluelam wood cladding wood

Total absorption Absorption in air v/ 50% RF Efterklangstid

massiv wood unpainted concrete termo glass Arkustik wall gluelam wood massiv wood

Areal S(m^2) 716,2

125 Hz D SD

250 Hz D SD

500Hz D SD

0,01

0,02

0,04

7,162

0,08

57,296

0,1

71,62

125 Hz 250 Hz 500Hz 1000Hz 2000Hz 4000 Hz SD stk SD SD stk SD SD stk SD SD stk SD SD stk SD Sa/stk SD m mV m mV m mV m mV m mV m mV 0,25 87,5 0,35 122,5 0,42 147 0,46 161 0,5 175 0,5 175 0,0004 2,2 0,001 5,5 0,0024 13,2 0,0061 33,55 0,01 3,5 0,01 3,5 0,01 0,02 0,04 14 0,05 17,5 0,57 199,5 752,9

0,9

627,5

0,9

542,3

0,9

436,3

1,0

586,0

1,6

721,9

Volumen 125 Hz 1,2 250 Hz 1,4 500Hz 1,6 1000Hz 2,0 2000Hz 1,5 4000 Hz 1,2 [m3] m mV m mV m mV m mV m mV m mV 1,48857 5500 0,0004 2,2 0,001 5,5 0,0024 13,2 0,0061 33,55

Total absorption Efterklangstid Average reveberation time

0,06 42,972

4000 Hz D SD

0,24 583,87 0,19 462,23 0,14 340,59 0,08 194,62 0,13 316,264 0,1 243,28 Areal 125 Hz 250 Hz 500Hz 1000Hz 2000Hz 4000 Hz S(m^2) D SD D SD D SD D SD D SD D SD 403,8 0,1 40,38 0,01 4,038 0,02 8,076 0,02 8,076 0,02 8,076 0,05 20,19 124,3 0,1 12,43 0,07 8,701 0,05 6,215 0,05 6,215 0,02 2,486 0,02 2,486 716,2 0,01 7,162 0,02 14,324 0,04 28,648 0,06 42,972 0,08 57,296 0,1 71,62 42,6 0,1 4,26 0,05 2,13 0,06 2,556 0,07 2,982 0,09 3,834 0,08 3,408 60 0,15 9 0,11 6,6 0,1 6 0,07 4,2 0,06 3,6 0,07 4,2 2432,8 0,24 583,87 0,19 462,23 0,14 340,59 0,08 194,62 0,13 316,264 0,1 243,28 32 0,15 4,8 0,11 3,52 0,1 3,2 0,07 2,24 0,06 1,92 0,07 2,24 5,3 0,15 0,795 0,11 0,583 0,1 0,53 0,07 0,371 0,06 0,318 0,07 0,371 403,8 0,1 40,38 0,01 4,038 0,02 8,076 0,02 8,076 0,02 8,076 0,05 20,19 124,3 0,1 12,43 0,07 8,701 0,05 6,215 0,05 6,215 0,02 2,486 0,02 2,486 SD stk SD SD stk SD SD stk SD SD stk SD Sa/stk SD Antal SD stk SD 42,6 0,1 4,26 0,05 2,13 0,06 2,556 0,07 2,982 0,09 3,834 0,08 3,408 350 0,25 87,5 0,35 122,5 0,42 147 0,46 161 0,5 175 0,5 175 60 0,15 9 0,11 6,6 0,1 6 0,07 4,2 0,06 3,6 0,07 4,2 350 0,01 3,5 0,01 3,5 0,01 0,02 0,04 14 0,05 17,5 0,57 199,5 32 0,15 4,8 0,11 3,52 0,1 3,2 0,07 2,24 0,06 1,92 0,07 2,24 5,3 0,15 0,795 0,11 0,583 0,1 0,53 0,07 0,371 0,06 0,318 0,07 0,371 350 5500 350

Average reveberation time

28,648

2000Hz D SD

2432,8

Volumen Antal [m3]

T=(0,16*V)/((6D s)+(6n*A)+(4*m*V))

14,324

1000Hz D SD

752,9 T=(0,16*V)/((6D s)+(6n*A)+(4*m*V))

0,9

627,5

1,2

0,9

542,3

1,4

0,9

436,3

1,6

1,0

586,0

2,0

1,6

1,5

721,9 1,2 1,48857

Ill. 11: Reverberation time calculations, table 2 Reveberation time

Equivalent absorption area

Material

Floor

Reveberation time

Unpainted concrete rough finish

Ceiling Equivalent absorption area

wood cladding Material

unpainted concrete termo glass Unpainted concrete rough finish Arkustik wall gluelam wood cladding wood massiv wood unpainted concrete termo glass Arkustik wall gluelam wood massiv wood

Total absorption Absorption in air v/ 50% RF Efterklangstid

716,2

125 Hz D SD

250 Hz D SD

500Hz D SD

0,01

0,02

0,04

7,162

14,324

1000Hz D SD

28,648

2000Hz D SD

0,06 42,972

0,08

4000 Hz D SD

57,296

0,1

71,62

2432,8

0,24 583,87 0,19 462,23 0,14 340,59 0,08 194,62 0,13 316,264 0,1 243,28 Areal 125 Hz 250 Hz 500Hz 1000Hz 2000Hz 4000 Hz S(m^2) D SD D SD D SD D SD D SD D SD 403,8 0,1 40,38 0,01 4,038 0,02 8,076 0,02 8,076 0,02 8,076 0,05 20,19 124,3 0,1 12,43 0,07 8,701 0,05 6,215 0,05 6,215 0,02 2,486 0,02 2,486 716,2 0,01 7,162 0,02 14,324 0,04 28,648 0,06 42,972 0,08 57,296 0,1 71,62 42,6 0,1 4,26 0,05 2,13 0,06 2,556 0,07 2,982 0,09 3,834 0,08 3,408 60 0,15 9 0,11 6,6 0,1 6 0,07 4,2 0,06 3,6 0,07 4,2 2432,8 0,24 583,87 0,19 462,23 0,14 340,59 0,08 194,62 0,13 316,264 0,1 243,28 32 0,15 4,8 0,11 3,52 0,1 3,2 0,07 2,24 0,06 1,92 0,07 2,24 5,3 0,15 0,795 0,11 0,583 0,1 0,53 0,07 0,371 0,06 0,318 0,07 0,371 403,8 0,1 40,38 0,01 4,038 0,02 8,076 0,02 8,076 0,02 8,076 0,05 20,19 124,3 0,1 12,43 0,07 8,701 0,05 6,215 0,05 6,215 0,02 2,486 0,02 2,486 SD stk SD SD stk SD SD stk SD SD stk SD SD stk SD Sa/stk SD Antal 42,6 0,1 4,26 0,05 2,13 0,06 2,556 0,07 2,982 0,09 3,834 0,08 3,408 175 0,25 43,75 0,35 61,25 0,42 73,5 0,46 80,5 0,5 87,5 0,5 87,5 60 0,15 9 0,11 6,6 0,1 6 0,07 4,2 0,06 3,6 0,07 4,2 350 0,01 3,5 0,01 3,5 0,01 0,02 0,04 14 0,05 17,5 0,57 199,5 32 0,15 4,8 0,11 3,52 0,1 3,2 0,07 2,24 0,06 1,92 0,07 2,24 5,3 0,15 0,795 0,11 0,583 0,1 0,53 0,07 0,371 0,06 0,318 0,07 0,371 Volumen 125 Hz 250 Hz 500Hz 1000Hz 2000Hz 4000 Hz SD stk SD SD stk SD SD stk SD SD stk SD Sa/stk SD Antal SD stk SD [m3] m mV m mV m mV m mV m mV m mV 175 0,25 43,75 0,35 61,25 0,42 73,5 0,46 80,5 0,5 87,5 0,5 87,5 5500 0,0004 2,2 0,001 5,5 0,0024 13,2 0,0061 33,55 350 0,01 3,5 0,01 3,5 0,01 0,02 0,04 14 0,05 17,5 0,57 199,5 709,2

T=(0,16*V)/((6D s)+(6n*A)+(4*m*V))

Average reveberation time Total absorption

Ill. 12: Reverberation time calculations, table 3

Efterklangstid Average reveberation time

Areal S(m^2)

T=(0,16*V)/((6D s)+(6n*A)+(4*m*V))

0,9

566,3

0,9

468,8

0,9

355,8

1,0

498,5

1,6

634,4

Volumen 125 Hz 1,2 250 Hz 1,6 500Hz 1,9 1000Hz 2,5 2000Hz 1,8 4000 Hz 1,4 [m3] m mV m mV m mV m mV m mV m mV 1,71628 5500 0,0004 2,2 0,001 5,5 0,0024 13,2 0,0061 33,55 709,2 1,2

137

0,9

566,3 1,6

0,9

468,8 1,9

0,9

355,8 2,5

1,0

498,5 1,8

1,6

634,4 1,4 1,71628

138

139