The body of believers by Ole Allin Egebæk

A A U MS c0 1 A R K 2 0 1 6

Tectonic D esign - Structure and Construction - A alborg U niversity - G r. 1 0 Helene H olk Pedersen - Line Larsen - Lisa Camille G ermain - Maria Vittrup Th o ms e n - O le A llin Eg e b ĂŚ k

Body of Believers // Projectgroup 10, Ms01 ARC AAU Project Title: About:

Authors:

Project Period: Copies: Pages: Appendix Main Supervisor:

Supervisor:

Body of Believers Semesterproject, Ms01 ARCH Department of Architecture & Design Aalborg University Stud. Msc. Eng. Architecture: Helene Holk Pedersen Line Larsen Lisa Camille Germain Maria Vittrup Thomsen Ole Allin EgebĂŚk

Helene Holk Pedersen

Line Larsen

26.10.2016 - 23.01.2016 8 125

Lisa Camille Germain

44 Marie Frier Hvejsel Associate Professor Department of Architecture, Design & Media Technology

Maria Vittrup Thomsen

Mirnes Tulic Science Assistance Department of Civil Engineering Ole Allin EgebĂŚk

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Abstract

// Body of Believers This booklet presents an architectural design project, developing a new church for the parish of Hatlehol near Ă&#x2026;lesund in Norway. The aim of the project is to gather people through architecture, amplifying different atmospheres of the site though shape, materiality, acoustic abilities and lightscape extracted from the gestures and principles of the surroundings. Basic analyses about Nordic Architecture, tectonics and atmosphere establish the background for the project. An evolving design process within studies of the structural systems, acoustics, atmosphere and light according to the plan, a concept is developed. Working with curves and smaller passages, different atmospheres obtained through the building program. A church and community complex is created, which encompass the sacred and profane area. The envelope and hybrid leads towards the hearth of the building, showing the transition between stereotomic and tectonic composition.

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Contents

// Path of gathering

01 // Body of Believers

02 // Introduction

Vision Problem Statement Masterplan 1:1000 Elevations 1:500 Plans 1:500 Sections 1:500 Construction Jointing Details Fire escape

Prospect Church Tectonics Atmosphere Methodology Nordic Architecture

// 10 // 11 // 12 // 18 // 24 // 28 // 34 // 36 // 37 // 38

04 // Gathering Form of Expression Conditions of The Site Concept The Path Materiallity

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03 // Site // 46 // 47 // 48 // 50 // 52 // 54

05 // Programming // 72 // 74 // 77 // 78 // 80

Building Program

Norway Hatlehol Topography Vegetation Weather Conditions Gesture & Principle

// 60 // 62 // 63 // 64 // 66 // 68

06 // Church Room // 84

Acoustic Performance Shaping The Form Arranging of Seating Aisles Seating Acoutic Performance Structure Stability Acoustic Columns Height Jointing

// 90 // 93 // 94 // 95 // 96 // 97 // 99 // 100 // 101 // 102 // 103

07 // Profane Placement The Shaping Interior Light Studio

09 // Closing

08 // Chapel // 106 // 108 // 110 // 111

Placement The Shaping Interior Light Studio

// 114 // 116 // 118 // 121

Reflection Conclusion Appendix

// 122 // 123 // 125

// 7

// 8

Body of Believers // An Architecture That Gathers

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Vision

// Intensions for The Site With each layers different atmosphere are encountered and appealing to the different gamut of emotions in accordance to what is associated with the events, that takes place in the church facilities. To provide such atmosphere it is influenced by a modulation of light, acoustics, structural system, materiality, functionality and others. This is solved by utilizing the resources found in each layer in a tectonic manner, where the rooms are linked to a certain layer forcing a certain atmosphere to emerge. The new church of Hatlehol should be a gathering place for the parish, embracing both religious, cultural and social facilities in accordance to the landscape.

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Problem Statement

// Problem Formulation of The Project

How to create a church, which establishes a gathering place for people by amplifying the gestures of the site within the natural environment and resources due to an integration of the graduation from soil to the sky, where the experience appeals to the human senses, amplified by a movement, expressing the atmospheres within the resources present at the site in a tectonic manner?

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Masterplan // 1:1000

// 12

// 13

// 14

Exterior view from the RV60 towards the south. // 15

Path to the sacred area. // 16

Church room towards the // 17 Mezzanine.

Elevation // North // 1:500

// 18

Elevation // South // 1:500

// 19

Elevation // East // 1:500

// 20

Elevation // West // 1:500

// 21

Profane corridor towards West // 22

Congregation Hall // 23

Niveau -1 // 1:500

8 9

12 6 7

3 2

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1 Church Room 2 Sacristy 3 Additional Sacristy 4 Cloister Room 5 Sacristy Baptism 6 Storage 7 Workshop 8 Church Hall 9 Cloak room 10 Tecnical room 11 Storage 12 Toilet 13 Ritural Path 14 Chapel 15 Toilet

Niveau 000 // 1:500

17 18

16 Mezzanine 17 Childrens Chapel 18 Music Room 19 Meeting Room 20 2nd Entrance 21 Class room 22 Class room 23 Activity room 24 Kitchen 25 Tecnical room 26 Storage 27 Refuse 28 Laundry room 29 Congregation Hall 30 Corridor 31 Cloak room 32 Entrance 33 Toilets // 25

Niveau 1 // 1:500

34 35 36

// 26

Dining area Meeting area Office

// 27 Profane corridor towards East

Section 1 // 1:500

// 28

Section 2 // 1:500

// 29

Section 3 // 1:500

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Section 4

// 1:500

// 31

Common office areas // 32

Chapel // 33

Structure & Mass

// The Sacred

// The Profane

Mound & Envelope // Exterior Wall

Mound & Envelope // Stereotomic & Tectonic

Mass

An Extension of the mountainous area, rising from the context

An Extension of the mountainous country, rising from the context Heavy mass, associating the materials of the solid mountain grounds Monolictic mass - creating a unified curve

Heavy mass, associating the materials of the solid mountain grounds Creating introvercy for the interior space Monolictic mass - creating a unified curve Loads Should absorp lateral loads (windload) Should absorp lateral loads (windload)

Loads Should absorp lateral loads

Framework Structure // Interior Columns

Framework Structure & Envelope // Tectonic

Structure

Openness in the structure

Openness in the structure Furnishing of the interior

Furnishing of the interior Materialwise enhancing the transition of the solid ground to the â&#x20AC;&#x2DC;forestâ&#x20AC;? Creating a spaceious view Enhancement of the hybrid structure Loads Should absorp vertical (snowload, selfweight, payload)

Loads Should absorp vertical and lateral loads

Roofwork Structure // Exterior Roof

Roofwork Structure // Tectonic

Structure

Structure Furnishing of the interior

Furnishing of the interior Rising upwards, exspansion of the volume Enhancement of the hybrid structure Loads Should absorp vertical (snowload, selfweight, payload)

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Loads Should absorp vertical and lateral loads

// The Sacred 1 2 3 4 5 6 7

Reinforced concrete column 40 x 40 cm Single timber beam 50 cm x 22 cm Double timber beam 50 cm x 15 cm Top Chord 50 x 22 cm Inner horisontal beams 89 cm x 15 cm Outer horisontal beams 50 cm x 15 cm Purnils 15 x 10 cm

// The Profane 1 2 3 4

Inner column 40 cm x 28 cm Outer column 38 cm x 28 cm Horisontal beam 75 cm x 15 cm Purnils 15 cm x 7 cm

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Timber joint // Isometric view - 1:50

1 1 Reinforced concrete column 2 Metal joint 3 Bolt 4 Single timber beam 50 cm x 25 cm 5 Double timber beam 50 cm x 15 cm

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6 7 8 9 10 11 12 13 14 15 16 8 17 18 19 20

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 30 31 32 33 34 35

200 mm concrete 150 mm Rockwool 60 mm concrete 400 mm Rockwool 140mm concrete Steel for fixation Mounting bracket Insulation Top flashing (EWC) Top covering Insulation glazing unit Window Covering Chain actuator Front covering Buttom flashing (EWC) Drainage profile Foam gasket 200x200 mm assembly beam Zink flashing 25x20 mm beam list with 20mm wood roofing 20mm OSB wood 95 mm Rockwool 45x360 mm beam 360 mm Rockwool Vapour barrier Gypsum ceiling 25x40 mm beam list 890x150 mm truss Box gutter I-profil Assemble clamp Drainage profil with bottom flashing (ERC) Ridge top piece Top covering

1 2 3 4 5 21 22 23 24 25 26 27 28 29

12 34 8 35 11

21 22 23 24 25 26 27 28 29

20 30 18 31 32 33 14

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Fire escape // Niveau -1 // 1:500

// 38

Fire plan // Niveau 0 // 1:500

// 39

Fire plan // Niveau 1 // 1:500

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Chapel // 41

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Introduction // A Theory Behind

Throughout the following introduction the report initiates the focal point of the project by clarifying and interpreting the definition and values of the church and its key purpose. To achieve a method on how to design a church and how it is situated in the landscape in a tectonic manner, theories of such are investigated and forms the basis of our understanding of tectonics through an interpretation of these in an architectural perspective.

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Prospect

// Needs & Demands of The Parish Community in Hatlehol This project evolves around a competition for the design of a new church in Hatlehol. In conjunction with the competition a prospect describing needs and wishes both for guests, staff and from the people around the church has been issued. During the development of this design proposal the stated room- and function program has been taken into consideration. Furthermore a meditation path, parking facilities, amount of 500 seatings within the church room and others parameters have evolved from the issued prospect, such as the churchâ&#x20AC;&#x2122;s ability to gather the community. The material has thereby partially been a base for inspiration and general knowledge for decisions made throughout the process. Nevertheless, it is important to stress that it is only used as a guideline to orientate the project.

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Church

// A Body of Believers In connection to the project, which is treating a proposal for a church design, an investigatition is formed in order to enhance the understanding of the church, both in relation to its values and the definition of it. On account of this understanding we try to bear in mind how the architecture can provide the foundation for these values? The meaning of “church” gathers many different responses depending on the people asked. Responses may or may not be accurate. Commonly the church is defined as a building used for public worship. The facilities are seen as the foundation for the church bringing people together, but the real understanding of the term church, is the assemblage of people and not the physical building in itself. Therefore it is necessary to achieve the right understanding of the word and what it implies. The word “church“ originates from the Greek word ekklesia, which is defined according to the dictionary, to act as, “a called-out assembly or congregation” [dictionary.com, 2016]. Understanding the definition of ekklesia is an important component of understanding the church.

Romans 16:5 says “... greet the church that is in their house.“ [The Holy Bible 2001, 16:5] It refers to the church in their house - not a church as a building, but a body of believers. According to the Bible it is important that the church today is understood as the definition of ekklesia. Looking into the values of the church, it needs to be seen as being “called out” by God. If the church wants to make a difference in the world, then it must be different from the world. People believe in different things and in general there should be room for all kinds of believes, whether or not it is in a religious sense – believing in God, a deceased family member or a coin for luck. The importance of this matter is that we believe and everyone believes in something. Since everyone have some kind of belief, believes becomes a common thing for everyone, even though we share different opinions. Due to the term of believing, which can be taken into different interpretations, its made intangible. Deeper investigations of the foundation for the church shows that the church originally was delevoped as a space inhabiting the body of believers - a sacred space, which gathered people for

spiritual experiences and worshipping, creating a unity amongst the worshippers. During the history the body of the church has changed according to the shape and the position of the priest and the ones, who are listening. Norwegian churches can be described by their floorplan as the basic layout of the interior within the church. The main types are mentioned in classification, although there may be some overlap or combined designs. [wikipedia. org, 2016] [Appendix 1] Due to the church being a “call out” and thereby gathering people as this body for believers this leaves us to questioning how, it through architecture, is possible to create the frames set for the body of the church, how the architectural idiom can strengthen the gathering of the people and how we through formed elements can provide such leading paths towards the sacred parts wihtin the church being the assemblage for the believers?

fig. 29 // Gathering people.

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Tectonics

// A Theoretical View Upon Tectonics Through the text below we try to investigate how tectonics can be seen and how tectonics can be interpreted and used as means and method, which should guide the project, concerning an architectural design for a church. In terms of understanding the definition of tectonics, it originates of the Greek “tetenikos“, from “tekton“ a builder. According to the dictionary, the definition is as follows: “The science or art of assembling, shaping, or ornamenting materials in construction; the contrive arts in general“ [dictionary.com, 2016]. The definition refers to the architectural aspect as the art of framing construction. Looking into the theory of Gottfried Semper, a German architect, he defines an idea of tectonic with a sociocultural aspect, called, “ The Four Elements of Archi-

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tecture” [Sørensen, pp. 6]. Semper tries to conceptualize architecture into elements, being, The Earthwork, The Framework, The Hearth and The Enclosure, which he sees as basic elements within architecture through a partially anthropological and technical perspective. [Sørensen, pp. 6] The first two being technical and the second two being the anthropological ones. [Sørensen, pp. 6]. The Hearth is the core of the arrangement providing assemblage and thereby turning The Hearth into the focal point of the overall arrangement of the Architecture, as he phrases. [Semper, pp. 102] Around The Hearth the other threes elements, The Earthwork and the Framework and the Enclosure, is grouped, functioning as the protecting shell of the external environment presented within the elements of nature, which

differ due to societies, climates and surroundings [Semper, Gottfried, pp. 110]. The Enclosure operates as the walls shielding from the sides. The Framework acts as the roof protecting from above. The Earthwork operates as the foundation of the building and thereby considering the relation between the building and the topography. Through the elements Semper defines means to produce architecture, he distinguish between tectonics and stereotomic. When looking up the definition of stereotomic, it is derived from the Greek interpretation of it, “stereos” meaning “solid” and “tomia” meaning, “to cut”. [Frampton, Kenneth, 1995, pp. 5]. Semper defines stereotomic as “Earthwork, formed out of the repetitious stacking of heavy-weight units.” [Frampton, 1995] He viewed the stereotomic as a mass extended from earth, in order

Semper

Hearth

Enclosure

to provide the tectonic a base to ascend from. The stereotomic element becomes more closely associated with creating a volume, and the tectonic an open frame. He suggests that it is the transition between the tectonic and stereotomic that architecture exists within, due to the joining of the two. Through the expression of the joint, it reflects the cultures and periods seen from an architectural perspective. Semper acknowledges that the culture, climate and materials within a site are inevitably linked to architecture when creating a design. He stresses that the role of the tectonic and the stereotomic can differ. [Frampton, 1995, pp. 6]. As Semper states, the jointing should be essential for the architecture, which is also the case for Kenneth Frampton, a British architect and critic, who is examining the

Frampton

Framework

Earthwork

Texture

tectonic in the matter of architecture. [Wikipedia.org, 2016]. When defining the tectonic Frampton looks upon the entity of the whole, and how elements such as The Tactile, the Tectonic and the Telluric should merge together. The tactile refers to the sense of material, The Tectonic associates with the structure and how it is understood and at last The Telluric, relating to the earth. [Sørensen, Rikke, pp. 8]. Due to Frampton´s definition of tectonic and what it should contain, he enhances the importance of the joint, as it combines these together. Like Semper discusses how the elements within tectonic should be considered through the culture, climate and materials within a site, Frampton finds an importance to have in mind the form of the architecture due to the fact that its influenced by matters such as

Tectonic

Taciliti

“[…] building-type, technique, topography and temporal circumstance […]”, because of how all the elements which constitutes the architectural form have an impact on the cultural conditions. [Frampton, 1995, pp. 16] Through an understanding of tectonic, it has become clear how the tectonic can differ depending on the eyes of the viewer, although we find similarities in terms of Semper and Frampton and how they define tectonic. The investigation has created awareness about how the details combined generates the frames for a tectonic unity of the architecture.

fig. 30 // Tectonic according to Semper and Frampton

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Framing the inside Interior

Framing the view Exterior

Atmosphere

// Emotional Architecture How can architectural atmosphere be defined and by a certain kind of means, how is it achievable to generate such. Through the following writing we try to grasp an understanding of how the perception of atmosphere is influenced. In the book, “Atmospheres”, the author, Peter Zumthor tries to give an answer of his visions, by defining his relation to atmosphere and how he perceives it within architecture. Through the study it brings an awareness of how the architecture inevitably is linked to the human perception. [Zumthorw, pp. 7] Initially Zumthor tries to define atmosphere through a sentence, “The Magic of The Real” [Zumthor, Peter, pp.19], trying to refer to the interaction between humans and physical objects within a space in order to enhance a feeling of it. He looks upon each individual object within

fig. 31 // Emotional atmospheres in the architecture.

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a space and how they all are perceived as an entity and additionally in what way the entity is influencing the human perception on an emotional level and as a result of that, creating a certain atmosphere. The perception of the atmosphere relies on how the diverse physical elements relates to one another. Trying to dig deeper into the explanation of architectural atmosphere Zumthor states how to work with atmosphere through different perspectives, one being the “Body of Architecture” [Zumthor, pp.21-23]. He phrases how the architectural space can be seen as a body, consisting of the present materials covering up the space. The body - the space - creates the physical frame for humans to interact with and through such interaction humans can achieve associations and create a feeling about the atmosphere within a space as a result of the body being able to touch the human emotionally. Looking into what

the body consists of Zumthor mentions materials, sound, temperature and light as means to provoke an atmosphere. Regarding the materials, a different appearance can be achieved due to the endlessness within materials, which can be seen as a product of the treatment, amount and the appearance of it within a context. In terms of the atmosphere the sound act as an essential part, which can be interpreted through the shape of a space, surfaces and the how the application of the surfaces are installed. As the third component on how to deal with atmosphere Zumthor treats the “temperature” of a space. [Zumthor, Peter, pp. 35] When explaining it Zumthor phrases the following, “So temperature in this sense is the psychical but presumably psychological too. It´s in what I see, what I feel, what I touch, even with my feet” [Zumpthor, 2006]. Different associations concerning the temperature of a space can be drawn both physically and mentally whenever entering a room.

Sound Acoustic effect

In terms of how natural lighting provides an aspect to the atmosphere Zumthor phrases the following, “[...] to plan the building as a pure mass of shadow then afterwards to put in light as if you were hollowing out the darkness, as if the light were a new mass seeping in. […] to go about lighting materials and surfaces systematically and to look at the way they reflect the light. In other words to choose the materials in the knowledge of the way they reflect […]” [Zumthor, pp. 59] He looks unto how the light can “stage-manage” the texture and color of the materials and as a result the appearance of the materials can add to the feeling of the atmosphere. While creating the body through this enveloping element an interior and exterior are established, creating a feeling of concentration and holding people together within a space. Zumthor speaks about the facades as a method of controlling the visibility from the interior as well as

Gather people Concentrate people

the exterior. When being inside and outside in relation to a space, a method on how to connect the interior and exterior is by framing the surroundings and the body. Besides the understanding of how objects within the architecture provides an atmosphere, Zumthor also looks upon how the movement within a building should be planned as it affects the atmosphere and reflects how a space is intended to be used, he calls it, “Between Composure and Seduction” To express what he means, Zumthor gives an example of how the movement was imagined within his thermal spa in Vals, “It was incredibly important for us to induce a sense of freedom of movement, a milieu for strolling, a mood that had less to do with directing people than seducing them”. [Zumthor, pp. 41]

In the end of trying to understand how architecture can provoke a certain atmosphere, Zumthor states the importance to have in mind, how the building “becomes part of its surroundings”, [Zumthor, pp. 63]. He is looking into how the building can become a part of the people’s life. As for the aforementioned perspectives on how to generate an atmosphere, which makes use of the Nordic surroundings and the resources situated within the site, we ask ourselves how the atmosphere we see within the native soil and natural surroundings could be included into an architectural design for the church, situated in Hatlehol?

fig. 32 // Emotional atmospheres in the architecture.

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Methodology

// Understanding of Tectonics and Site

The methodology applied in the project is established through a study of theories, which evolves around the thoughts of Semper and Frampton and how they try to emphasise the definition of their tectonics approach. Through such an approach the phases within the project are developed â&#x20AC;&#x201C; the analysis and process leading to a final design. As an instrument on how to use tectonics in relation to our project, we tried to interpret the meaning of the tectonics seen from Semper and FramptonÂ´s point of view into our own opinion about tectonics through the following terms; Stereotomic. Firstly, the developing of a tectonic should consider, within a technical matter, the stereotomic. We find an importance in terms of how the architecture laying within a site. In order to emphasise this, we look

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upon stereotomic, while drawing inspiration from Semper. When treating stereotomic and how the solidity of the mass is applied, this is seen as an extension of the earthworks, creating a psychical link with the surroundings. When applying the stereotomic, we also see an importance in terms of how to enrich the aesthetics within the site and the architecture through the link between the architecture and the earthwork of the site. Framework. Semper phrases that in between the earthwork and the framework; the jointing should be noticed and pay attention to the architectural space, which it creates. The framework is seen in a constructional perspective according to the understanding of the structure, but also in an aesthetical way.

Honest use of material. In the application of the material a story should be enhanced in the use of; the structural, constructive and aesthetical properties when adding them to the architecture and the surroundings. The use of material should bring a natural aesthetic in a spatial and structure-wise context. Unity. Assemblage into an entity? When merging stereotomic, framework and the honest use of material, an entity is created into a tectonic. A constant interaction exists when experiencing the entity of architecture, each of the aforementioned elements contributes to a variety of architectural understanding as a whole, both in terms of how it affects the spatial experience and how the architectures coher to the surrounding.

Semper Hearth

Enclosure

Frampton Framework

Earthwork

Texture

Tectonic

Taciliti

Our tectonic Honest use of material

Framework

stereotomic

Unity

Atmosphere. How to create an atmosphere within the entity? When trying to understand the spatial experience and value within a space or the entity, the understanding of tectonic expanse. Through a composition within a space an atmosphere can occur. The atmosphere brings a complexity into the architecture by leaving it to the individual to make an interpretation – focusing on the human within the architecture.

to enhance the spatial qualities and how an architectural tectonic can draw advantage of these. The gesture looks into how the site invites spatially in a human scale and gives an understanding of the site. The gathered information through the gestures enhances an understanding of the principles seen within the site. Through these principles a gathering of technical inspiration can be found, allowing the architecture to have a reference to the site.

Gesture & Principles Having a perspective in terms of how to look upon tectonic we try to grasp an understanding on how to situate such tectonic within the landscape in order to explore the qualities and opportunities. As a method of doing so, we look into “the gesture” of the site and use it as a generator

With knowledge about tectonic and how this affects the architecture and grabs a hold of and treats the conditions of a site, it has become a method in terms of how to evolve the project of a church. Looking into how another method is used to achieve a coherent design proposal for Hatlehol Church in Ålesund, being the Integrated Design

Atmosphere

Process [Knudstrup, 2005], we see a smiliarity in our understanding of tectonics. Through the Integrated Design Process the recurrence of iterations between the phases such as Problem statement, Analysis phase, Sketching phase, Synthesis phase and Presentation phase explores the details when considering both engineering and architectural aspects. This detail can also be seen within tectonic in relation to how the elements collaborate and this defines architectural tectonic.

fig. 33w // A tectonic based on our knownledge and understanding

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Materiallity Surrounding Nature

Context surroundings

Site Layring

Nordic Architecture // Consideration of The Site

In the search of trying to take use and consider the elements seen within the site, situated in the Scandinavian countryside of Norway, a study tries to enhance the understanding of how to link the site and the design for a church in a Nordic manner. When speaking of Nordic architecture a quote from Peter MacKeith, a professor focusing on modern and contemporary Finnish and Nordic architecture [MacKeith, 1977], states a perspective on how to look upon it. “[…] An architecture of the true North, so shaped by climate, light (and its absence), material resources, and our sublime perceptions of the artic latitudes as to constitute its own regional construct.” [New Nordic Architecture & Identity, p.] MacKeith phrases the Nordic Architecture to be seen as an extension and consideration of the native soil and natural surroundings – like a natural rooted product rising

fig. 34 // Nordic architecture.

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from the surroundings and communicating the essence of Nordic location, relating and taking use of the various resources seen within the site. The Nordic Architecture enhances an appearance of naturalness and an honest application in the use of materials. From the arguments given by MacKeith the Nordic Architecture tries to emphasise the Nordic locus. “The idea is to integrate the influence from the universal civilization in an architecture that originates from characteristics of a particular place. It finds its inspiration in elements such as natural light in a place; in a specific method of building; in tectonics, or in the topography of a given area” - in this case Hatlehol. [Tostrup, 2006. P. 40] In the quote Frampton phrases the Nordic Architecture in terms of how this place-determined approach should be translated into Nordic Architecture, where the architecture considers the context, in relation to the place, the landscape and nature. The consideration of the

nature and its resources states how creation of the shape shows attention to the surroundings within the site. In the attempt to understand how natural lighting can affect the architectural shape of a building, a phrase from Louis Kahn brings a perspective on such, “Light gives all things their presence” [Frampton, 1995] Not only does light define shapes, it even states how they should appear within the architectural frame, by enhancing a certain atmosphere and bringing character to a space. For instance the natural daylight seen within a Nordic context plays an important role for the Nordic Architecture, due to the variation of the angle of the sun and the limitation of daylight during winter months. As a result of the daylight qualities, the need for a clever design within Nordic Architecture has to be considered – incorporating indirect or direct daylight, e.g. skylights. Looking into the natural resources within Norway, wood

MDDLE AGE

1537-1700

1701-1800

1801-1850

1851-1900

1901-1940

1945-2004

Wood

About 1000 pcs.

51 pcs.

116 pcs.

125 pcs.

460 pcs.

215 pcs.

92 pcs.

Stone, brick & concrete

271 pcs.

2 pcs.

12 pcs.

10 pcs.

82 pcs.

63 pcs.

225 pcs.

emerged to be the native product from the soil. “It was as if Norway´s traditional wood architecture had grown out of our nature and our landscape, our mountains and our forest […] it was a place-specific building tradition, deriving from our own roots”. [New Nordic Architecture & Identity, p.] The Norwegian architect Hans Jacob Sparre gives a perspective on how he found that the resources were to determine the traditions of construction works for the Norwegian and Nordic Architecture and how it led a movement of wood traditions, which repeatedly can be traced back to the archetype forms and the traditional wooden constructions. Observing the use of material applied within the architecture of the church, seen from an historical perspective, the Norwegian architecture has relied on wood as the preferred material due to the main part of vegetation within the surroundings in Norway. Only in the 20th century the majority of churches have been built of other

resources according to the Nordic Architecture such as stone, brick or concrete due to its durability - developing a new regionalist idiom for Norway that has gathered much acclaim around the world, why it is interesting to investigate further, when designing a new church in a Norwegian context. Today the majority is changed, and just a few wooden churches exist. [Muri, 1975] Previously stone churches were more common in the cities, while today the churches in smaller cities are wooden constructions. The use of local resources underlines the care for the context and more specific the place, as the various resources within the site connects to the surrounding context. It refers to Genius Loci, a theory derived from Christian Norberg Schulz, who was an architectural theorist, and was associated with the architectural phenomenology. [denstoredanske, 2016] When investigating the term Genius Loci it is a phrase, which tries to catch the essence,

sense and character of a place, it is referring to the spirit of a place, which is turning the use of Genius Loci into a very place-determined theory.[Norberg-Schulz, 2000] Nordic Architecture is conditioned by its surroundings, where the perception of the building and site support one another to create an identity, both for the people using it and the site. According to Christan Norberg Schulz architecture and places are telling a story within the relationship between four elements that are essential for our movements on earth; the earth, -sky, -people and the divine - defined as “Quadrature” in his work called “Architecture: Presence, Language, Place”. [Norberg-Schulz, 2000] The understanding and use of Quadrature seems important as they must clarify challenges in relation to the meeting between the divine and the community in connection to create a frame for essential life events such as death, name giving or marriage. How Quadrature occurs depends on how the relationship interpreted, which

fig. 35 // Number of churches in Norway by material and period.

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is based in the spirit of the place - Genius Loci. [Link] When describing the Genius Loci, you gain an understanding of the space that occurs, through materiality and human use of senses, seeking the relationship between humans and nature. The following observations are based on pictures from the area, where three elements are distinguished: The light and sky is constantly changing. This change is expressed especially through the filter of the clouds that change degree during a day. Especially clouds are a mean to dramatize the sky and mountains, allowing sunrays to appear through certain openings in the sky. Within this dramatization the experience of God, the divine, arrives, when the sky is not just the sky, and when mountains are not just mountains, but testifies something bigger and supernatural. The trees and forest is perceived as the antithesis of the sky and the light. As the forest is dense, the light is absorbed and creates a more constant state under the top

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of the trees. In the forest there is a diffused light that doesnâ&#x20AC;&#x2122;t vary much through day and night. The forest is characterized by a systematic order, that is found in the vertical trunks and their repetitions in the needle and leaf structures in Hatlehol. Looking into the site one finds that the forest envelopes the site. As for the mountains seen within the site, they are animated by the changing sky and light. However, the mountains are experienced significantly more mundane and simple than the fleeting sky. Norberg-Schulz compares the Nordic region with the deep forest, that at the same time is narrow and feels infinite and where the perception of the place is deeply connected with the light, changing from morning to evening. The image of the complex forest is also reflected in the original Nordic Architecture where the lattice-work rises off the ground and becomes a skeletal roof of transverse beams and columns. The Nordic way of using materials, in a constructional, functional as well as aesthetically manner, the utilization of daylight, and the functionality of the architecture seems to imply an integrated design approach to architecture, in which tectonics play an im-

portant role. The project is aiming to develope a design proposal for a church and to enhance the values to the understanding of these. In previous texts the church was defined as a place for gathering, allowing the church to act as a body for the believers. Having in mind the parametres we ask ourselves how these values could be enhanced through an approach, that considers Nordic Architecture? Is it possible through this association of Nordic Architecture to create such gathering by relating the architecture to the site and creating a coherence between the site and the architecture and allowing a unified feeling to be stated. How is it possible to create a piece of architecture, which relates to the site and allows people, who is experiencing the architecture, to feel a connection to the site through the means of Nordic Architecture?

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Site

// The Analysis Behind In this section concerning the site of Hatlehol, studies are conducted. Throughout the studies, the theory, from the previous section and practice are related in order to grasp an understanding of the spatial elements and resources within the site. Additionally we look upon how such an experience can be encountered through architecture. Having in mind the New Nordic Architecture, the foundation for the studies evolves around the resources seen within the site, referring to the native soil and natural surroundings. Through the studies various scales are applied, allowing a diverse understanding of the site due to different levels of detailing, which provides a critical view upon the site.

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Norway

// Analysis of The Location The project site is located in a town called Ålesund in Scandinavian, Northern Europe. A town in the western part of Norway in Møre and Romsdal country, and a part of the traditional district of Sunnmøre. [www.aalesund. kommune.no, 2016] The site is centrally located in the parish, approximately 17 km east from Ålesund, which is a major city of 40.000 inhabitants. The site is very scenic. Especially the prospect of the North Sea to the south and a beautiful hillside called Bleinheimfjellet to the north, serves as a magnificent barrier around the site. In contrast to the nature, runs a very busy highway, Riksveg 60, which connects Ålesund with Bergen, that defines the area to the north. [Google Earth Pro, 2016]. The site is in total about 17.000 m2 that most of all resembles a trapezoidal green area covered by pine forest.

fig. 37 // Hatlehol within the Norwegian context.

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700 m

600 m

500 m

400 m

300 m

200 m

100 m

200 m

300 m

400 m

300 m

500 m 300 m 200 m 100 m 0m 100 m 200 m 300 m 400 m 500 m 600 m 700 m

fig. 38 // Zooming into the area of Hatlehol.

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High intensity nodes Low intensity nodes RV60 Main road Sub road Residental area Public area Common area

Hatlehol

// Zooming into the area

Looking into the site of Hatlehol a greater context than the site for the church has been investigated in order to grasp an understanding of how the site is influenced by the surounding context and in reverse, both in terms of flow, accessibility and habitation areas. This initiative originates from a vision on how to gather people from different contexts within Hatlehol and to enhance the values which is associated with the church.

fig. 39 // Mapping of Hatleholt.

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As for the plan of the site seen within a greater context, it appears scattered - The Residetial, Public and Common areas., dividing the areas into four minor areas as a result of the infrastructure. Regarding the infrastructure thee movement has been looked upon and how this is leading towards the site for the church situated in Hartlehol. To priorities the flows found within the infrastructure it has been observed how a main road (RV60), situated adjacent to the site of the church, provides access to the

church site from a context greater than the community. Smaller surburban streets provides access for the surburban areas in relation to the church. Additionally the intensity in relation to the infrastructure is looked upon and where this increases. This knowlegde also brings an understanding on how the roads are connected to one another and providing flow in between and in relation to the different roads.

Bleindheim Mountainside

Site Nature

City Seaside

Topography

// Ressources within the area of Hatlehol Looking into the topography of the site, the terrain rises about 10 meters from south to north. The surroundings of the site are dominated by mountains, with Blindheimsfjellet to the north. [Google Earth Pro, 2016] The topography should be considered carefully when designing a church to the area due to the variety of the altitudes. When observing the site within a section cutting through the topography, following observations in relation to spatial gestures can be drawn from the site. Hatlehol is located between earth and water. The area inhabits a gradual ris-

ing topography slowly moving from sea to mountainside covered by forests. Looking into the gesture of the site, different layers of altitude exist as follow; Ground - the native soil that humans walk on and in between. Forest - the walking humanâ&#x20AC;&#x2122;s experience in between the vertical elements.

Top of the the forest - The transition between the earthbound and the sky. Mountains - a remote object, that leads to the sky, and allowing humans be closer to the sky. Sky - the intangible element, situated to be unreachable for humans on ground but something to admire, the divine.

fig. 40 // Topography of the landscape.

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Vegetation

// Ressources within the area of Hatlehol In general, the areas of forest, is a mixture between two different species. It’s a classic open wood forest, where Scotch pine is relatively scattered and gives light to the ground in the forest. This means that birch trees, which require much light, are able to germinate in the bottom. Birch trees quickly becomes high when searching for the light, where Scotch pine grows more slowly. Bushes, as seen near the roads are a mix of Raspberry bushes and a little Willow bushes. In short, a bright and open nature with a mix of pine and common birch. At the cemetery there is a row of Maple trees. The individual standing trees are, respectively, Birch and Populus deltoides.

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Among the trees located in the area none of them is suitable for outdoor construction. The typical Stave church of Norway used to be build with a very hard and solid type of fir no longer available.[http://www.chapel-in-thehills.org/architecture, 2016]. Only the Scotch Pine may be used in indoor building construction, while European Marple and European Birch are more suitable for furniture [wood-database.com, 2016]. The most commonly used wood in the timber construction in Norway, and even in Europe, is the Norway Spruce, distributed through northern and central Europe. [woodsolutions.com, 2016] The Norway Spruce, may not be growing on the specific site of Hatlehol, but is very common in Norway. It is “the most common timber species used [for glue laminated

wood] which bonds and machines well, provides a clean bright surface and has an excellent strength to weight and stiffness to weight ratio.” [Structural timber Engineering Bulletin No. 8, pp.3] As the original wood used for the Nordic churches is instinct, we propose to use the glue laminated wood made out of the local Norway Spruce. The glue laminated industry and it fabrication knowledge is well established in Norway [glue laminated company, www.moelven.com, 2016] and the local craftsmen know-how, as well as the structurally very efficient material may greatly enhance our timber structure’s qualities.

25 m 20 m 15 m 10 m 5m

Rock Fundation Earth // Mountain

Scotch Pine Forest

Maple, European Forest

Birch, European Forest

Populus Deltoides Forest

fig. 41 // Variation of vegetation within the area of site

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N 330

N 30

10 20 30 40

300

60 70 80

240

120

21. June

150

210

Wind direction

21. March/september 21. December

01 // Sun

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Summer

Autumn/Spring Winther

02 // Wind

S Wind direction

On a daily basis during summer it can be observed that the sun rises in North-easterly direction at 6 in the morning. During the winter season the sun rises in South-easterly direction at 12 in the midday and sets at 15 in the afternoon, The position of the sun differs from summer to winter between a high and low angle to the ground with a difference of 60 degrees. 10 degrees above ground during winter and 70 degrees in summer. The amount of natural daylight is decreased during winter in comparison to summer.

Information about the wind conditions shows the annually average. A great amount of wind blows from the West South West all year around. Secondary winds are blowing form North-easterly direction. Contrary to westerly and easterly direction the amount of wind blowing from Northerly and Southerly direction is low. Within the boundaries of the site the strength of the wind is decreased to 5 milliseconds.

fig. 42 // Path of the sun.

fig. 43 // Wind conditions.

Oct

300 mm

Sep

Nov 200 mm

Aug

100 mm

Dec

0 mm

Jan

Jul 09

Jun

Feb

Rainfall

55-60 dB

03 // Noise

Apr

65-70 dB 70-75 dB 75-80 dB

Mar

May

60-65 dB

04 // Rainfall

Rain

Report for noise assessment appears from the measurements from the ground that over a day is measured an average noise of 55.7 dB, which exceeds the limit of 55 dB. The highway contributes to traffic noise and characterising the site, as a result such feature are considered in the design of the church.

Through information about the average rainfall on a monthly basis it is shown that the highest amount of rainfall occurs during the winter season approximately from November until December. The lowest amount of average rainfall during a year lies within 75 mm approximately during October. As a conclusion a largely rainfall dominates the site all year around.

fig. 44 // Noise conditions.

fig. 45 // Raillfall conditions.

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Gesture & Principle // According to the site

Due to various investigations of the site and the treatment of those a gesture and related principles are identified and serving as a foundations for the initiative design for the church. Looking into the topography different spatial qualities can be found, as follows: The sky, The Mountain, The Top of The Forest, The Forest and The Ground. With each spatial qualities an atmosphere follows and vary in relation to the spatial gesture. Looking into the spatial qualities found within the ground of the site these can be found within the texture of the ground, being grass and rock, which also can enhance a sense of guidance through the different materials. Earth defines the structural foundation to move upon, with a hard tactility of the rocks, which follows and breaks through the topography of the site.

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In relation to the forest a spatial gesture is found, which responds to a human scale due to the nearness of the trunks of the trees. Additionally the trunks can be seen as a guidance grid in relation to the flow within the forest appears. Through the tree crowns a diffusion and flicker through a light structure is created due to the smaller branches and leaves. To reach a lively space due to the nature, a soft tactility of the wood amplifies a warm materiality for the composition of the tectonic manner. Observing the trunks and how the are rooted to the ground, it enhances a feeling of being earthbound. Being within the forest a tall space is defined above through leaves and branches. Looking at the spatial qualities of The Mountains one feel a sense of remoteness and as a

foundation to The Sky due to the height, that extends. As a result of the height and great volumetric size of The Mountain it defines the space within the landscape and creates boundaries in relation to the flow of the landscape. Structural qualities are obtained from a rising structure leading towards the remote. Framework which defines the space within boundaries rising from the context. The Sky which is situated above The Mountain forms the roof of the landscape and seems infinite in relation to spatial qualities by consuming all there is. Principles extracted from the sky represents a great expansion of the volume within openness in the structure above, letting natural light effect the interior space.

fig. 46 // Gesture & Principle of the site.

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Gathering

// A Gathering Body Through Curves Regarding the associations we achieved through previous theories, in relation on how to define the use and understanding of a church, it became essential for us to look upon how a design could gather and bring people together, both from a religious and societal perspective, framing the activities associated with a church. In the process of trying to do so we take into account, the in following section, on how such a design could be fulfilled in a tectonic matter, integrating; Stereotomics, Framework and an Honest use of materials. We look upon how these three combined creates an entity amplifying a specific atmosphere, and thereby bringing a visually characteristic into a tectonic understanding of the architecture. Additionally we have in mind how these tectonic elements connects to the spatial gestures found within the site and furthermore the principles.

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Form of expression // A Case of Richard Serra

How to gather? We ask ourself how it is possible to lead to a gathering and how such leading can the amplyfied within the architecture. When thinking of a leading movement and the architecture as a body to gather in, the associations that emerges are curves and how they through a floating movement indirect can lead and concentrate people. Referring to P. Zumthor, he speaks of architecture as a body and how it can interact with humans and touch them consequently through a certain atmosphere. Due to the forementioned a short casestudy is conducted, to grasp an understanding on how curves differently are applied. To get a more deeply understand in doing so a reference taken advantage of in this project is seen in three of Richard Serra´s art exhibition “Forty Years”, mentoried as a enclosured shape, the curved wall cutting through the landscape and a refferene to a spiral shape. The forms are experienced as a spacious expansion, focusing primarily on large-scale elements while being

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site-specific and engaging with the architecture and urban environment it’s situated in, such as the curved wall cutting through the landscape. Through the daunting scale of the wall-alike elements and applied curves R. Serra leads and to some extend pushes the visitors walk through the winding spaces. Looking upon how different forms can affect the visitor´s in terms of mind and motion, a balance needs to be sustained. Observing his work of the spiral shape, a focus encountered is contrasts. Walking into the installation one experiences a narrow passage while curves are leading into the form. As a key point at the end, the space transforms from a narrow passage into a more wide space. Within the space a new passage is introduced leading one in the opposite direction. Looking at the installation from the outside a uniformed shape appears enclosing the centre from any exterior interference. Due to the contrasts seen within this installation, this also enhances diverse atmos-

pheres. The narrow passage states oppression as a result of the width and the height, also limiting the amount of light into the space. Whereas the space in the centre would seem more open due to the width allowing a bigger opening to the ceiling and a connection to the sky. As for one of Serra´s other work the enclosured shape, a unified overall form appears even though a vertical cut from the bottom to the top is physically separating the form. The vertical cut creates clear straight lines defining a gap or entrance, leading into a space. As a result of having this cut through the unified surface it allows one to see through and gives a sense of encouragement to interact. The cut through the surface, can be related to Zumthors theory about the envelope and how this is an element, which estabilshes the interior and exterior, telling a story about the closeness and openness of the building and thereby also the atmosphere.

fig. 47-49 // Richard Serra: Forty Years of Sculptures, at the Museum of Modern Art Archives, New York.

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01 // Curved shielding

02 // Gathering from the surroundings

03 // Orientation towards the forest

Conditions

// Development of The Concept Regarding how the curves are situated and related to the conditions on site previous analysis are considered. When applying the curves, these are priorities in relation to their overall function. Firstly we looked upon the natural flow and direction of the site according to the accessebility of the site, going from east to west in order to enhance movement, which naturally will gather people within the church.Addtionally we considered how the nuisances on site could be decreased through the architecture by shielding towards the main road (RV60).

fig. 50 // Conditions effecting.

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Secondly we observed how a direction within the site was given through the vegetation, which determined the orientation of the building. Another thought added was in relation to how a clear distinction between the sacred and profane would be provided through the flow towards and within the building. Thirdly the last curve added, and together with the two aforementioned forming the conpect, should act as cover for the sacred space by enveloping the Hearth of the building, being the church room. Looking at the last pic-

ture the product of the conditions are shown a final outcast of the curves within the site.

fig. 51 // Concept within the context.

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1.1 // A plain consistent elevation of the shape.

1.2 // A peaking elevation of the shape in the back.

1.3 // A peaking elevation of the shape in the front. fig. 53 // Dividing into the path.

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xx // Cutting into the hillside

xx // Dividing the curve to creat a passage/path.

The Rising of The Building // Body of Gathering

Through our considerations we looked upon how the building would rise from the ground and merge with the roofing element, thereby enclosing the building, when extenting the earthwork to the framework.

orientation of the church within the site.

We looked upon the rising of the church and had in mind different aspect while looking at the surroundings and how the church would interact with these. The last iteration showing how the building is rising towards the forest is chosen due to the fact that this also enhances the

fig. 54 // Dividing into the path.

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2.1 // Shielded concrete direct above the path.

2.2 // Glas direct above the path.

2.3// Glass with a distance inbetween the path.

The Path Visibility to the path Looking into the path and how intimicay could be enhanced, we investigated the visibility from the profane area towards the path due to the difference in heights. Our aim was to separate the profane area from the ritual path, when working with spaces where different atmosphere can occur and preventing the two from interfering with one another. In addition to visibility and the focus on the human within the path, a study in relation to materilty and distance between the path and profane have been dealt with. Initially the curve for the profane and the ritual path shared the same curved concrete wall, creating a clear distinction between the profane and ritual path. Within the composition with a concrete wall the visibility towards nature within the profane was not to be found, but still it provided an isolated space and intimacy for the ritual path. Even though an enhancement in relation to intimacy was realised, this conflicted with the profane fig. 55 // Tectonic according to Semper

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and how the view within the interior should embrace the nature, therefore a glass wall had replaced the wall, allowing people to look into nature from the inside and framing the view of the natural surroundings. Through further processing with the envelope and how it affects the spatial experience, we experienced that a glass wall was situated to close to the ritual path increasing the sense of intimacy through privacy. was to close. As a solution to such o how to keep a transparent surface for the profane and meanwhile estabilish intimacay and pricavy for the space within the ritual path an extra curve was added to the building Showing different use of material and the transition between stereotomic and tectonic. Width and Wall Height In further investigation in relation on how to define the space for the ritual path and the imtimacy within the ritual path such has been dealt with in relation to the distance between the ritual path and the profane. We ex-

plored how the curve added in between the profane and the path will occur as a wall. The wall emphasises and helps the user of the profane area to understand that the landscape is something to admire from a distance, where the architecture can coher to the surroundings. Furthermore we investigated the spaciousness of the path, while creating a path with an atmosphere. An atmosphere with a texture and color of concrete, where the appearance of the material can relate to the feeling of the underground earthwork and intimy, conditioning people. Due to the contrasts in the stereotomic composition, the narrow passage states oppression as a result of the width and the height, also limiting the amount of light from above. Exploring the path the wall decrease focus from the path into focus towards nature, choosing the wall with a height of 1,2 meter. Having 3 meters width of the path allows a smaller amount of people at a time, still having room to carry a coffin.

Wall height 0m

0,5 m

1,2 m

Width of the Path

2,5 m

fig. 56 // Passages dimentions.

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Materiality // Text..

The choice of the materiality for two of the main characters in the settlement has relied on this initial research. The walls, referred to as the earthwork, is a big construction with large plastic surfaces. Scotch pine, burned wood shingles and concrete has been investigated according to their potential shaping properties, visible appearance, stereotomic qualities and coherence to the resources on site. On the grounds of these parameters concrete was selected to enhance the continuous uniform curves creating a movement.

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For the roof, as the framework of the settlement, aluminium, roofing felt and Scotch pine has been compared on its constructive abilities and abilities to extend the inner structure as a part of the framework. By choosing Scotch pine a sneak peak of the joining between interior and exterior underlines the complete settlement as being a hybrid of stereotomics and tectonics.

3.1 // Exterior shell of xx wood.

3.2 // Exterior shell of dark concrete.

3.2 // Exterior shell of light concrete.

3.2.1 // Roof of aluminium

3.2.2 // Roof of roofing felt.

3.2.3 // Roof of Scotch pine.

fig. 57 // Variation of materiality.

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// 80

Programming // Designing a Body to Gather

In order to gain an understanding on how the functions within the building can be developed, this next sections gives an explanation of the spatial requirements, functioning, architectural and technical parametres.

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Building Program

// Sacred and Profane areas and specification When designing a body to gather, it is necessary to plan the building programm so rooms and areas fits the concept and the tectonic composition of Hatlehol Church. In the following an overview of the building within ... square meters is presented, showing the amount of the sacred and profane area. Both the sacred and profane area are divided into two sections, where each room is associated with a certain atmosphere obtained from the gestures and principles and Genuis Loci from the area. The size of the rooms reflects placement and main places to gather people from the parish, notable in the box for person capacity.

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The sacred area consists of the church and chapel, whereas the profane area consists of the common administration area and further spaces for the community such as the congregational hall. To achieve different atmospheres and understanding of rooms our building programm contains values for both architectural and technical parameters which have an influence on how the room affects you, both physical and mental. According to the programm light, acoustics and structure are divided into different segments, where the aspect that we want to achieve are marked.

Meeting/Dining Workshop Refuse Technical Laundry Toilets

PROFANE Common 522m2

Offices

Music Room Toilets

Education Room

Activity Room

Class Room

Kitchen

SACRED Church 1252m2

Congregation hall

Storage Cloakroom

Entrance Hall

Cloakroom Storage

Church Hall

Entrance Path

Sacristy for Baptism Meeting Room Toilets

Sacristy Additional Sacristy Cloister Room Childrenâ&#x20AC;&#x2122;s Chapel

Mezzanine

Church Room

Cloakroom Toilets

Chapel

SACRED Chapel 100m2 PROFANE Staff 160m2

fig. 58 // Areas of the church.

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Sacred area Church

UNIT AREA

TOTAL CLOSED PERSON NATURAL ARTIFICIAL OPEN AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE

Sacred area Churchroom Chruch

NO. 1

UNIT AREA 750

Mezzanine Chruch room

1 1

75 750

10 20

20-30 500

n n

Sacristy

n

Mezzanine Additional Sacristy Sacristy Cloisterroom

1 1 1 1

75 16 12 12

10 3 3 3

20-30 5

n n n n

Additional Children's Sacristy chapel Cloisterroom

1 1 1

16 40 12

3 3 3

5 5

Sacristy for Baptism Children's chapel

1 1

40 40

3 3

Meeting Room Sacristy Toilets for Baptism

1 1 1

25 40 2

Meeting EntranceRoom path Toilets Church hall Entrance path Cloakroom

1 1 1 1

25 150 2 80

1 1

Storage Church hall

Cloakroom

Storage

Sacred area Chapel Sacred Chapel area Chapel

TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED AREA CAPACITY LIGHT LIGHT STRUCTURE STRUCTURE VIEW MUSIC SPEECH n n n n n 750 HEIGHT 20 500 ☐ ☐

☐ ☐

n n

☐

n

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n n n n

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n n n n

n n n

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Meeting between the prest and visitors.

25 150 2 80

3 3 3 10

20-40

n n ☐ n

n n n n

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10 150

3 3

☐ n

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☐ ☐

n n

☐ ☐

n n

A ritual path cutting into theand ground leading from Meeting between the prest visitors. exterior into the interior of the church room. In connections to the church room. forest A ritual path cutting into the ground leading from exterior into the interior of the church room.

40 80

3 10

20-40

n ☐

n

☐

n ☐

n

forest

1252 10

☐

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10 TOTAL 40

TOTAL NATURAL ARTIFICIAL CLOSED PERSON OPEN n n n n n n n 80 10 40 AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE

Cloakroom Chapel Toilets

1 1 2

10 80 5

10 80 10

3 10 3

40 -

n n ☐

n n n

☐ n ☐

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Courtyard Cloakroom

1 1

n n

n ☐

☐ ☐

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Toilets

100 10

☐

n

☐

n

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n

Courtyard

n

☐

n

fig. 59 // Building program - Sacred area.hall Entrance Cloakroom

TOTAL 5 -

TOTAL UNIT NO. AREA

NO. 1

100 UNIT AREA 30

Placement in the church room according to the acoustic performance.

In connections to the church room.

forest

1252 TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE

UNIT 80 AREA

Entrance hall Prophane Common Storage

A spacred area related to the mountains with a Placement in the church room according to the rising structure defining the rasing against the acoustic performance. skies from the mountain

n n

TOTAL UNIT NO. AREA

COMMENTS - ATMOSPHERE A spacred area related to the mountains with a rising structure defining the rasing against the skies fromCOMMENTS the mountain- ATMOSPHERE

n n

1 NO.

Prophane Common

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NO.

COMMENTS - ATMOSPHERE A lighter structure independing of the church as the main building. Top of forest. COMMENTS - ATMOSPHERE Placement in the church room according to the acoustic performance. A lighter structure independing of the church as the main building. Top of forest. Placement in the church room according to the Forest performance. acoustic

Forest

100 TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE n n n n n 100 10 ☐ ☐ TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE n n 30 3 ☐ ☐ ☐ ☐ ☐

1 1

100 10

10 3

n ☐

n n

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☐

n

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Congregation hall Cloakroom Kitchen

1 1

150 10

5 3

50-100 -

n ☐

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Classroom Congregation hall

2 1

25 150

50 150

3 5

15 50-100

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☐ ☐

n n

COMMENTS - ATMOSPHERE Forest COMMENTS - ATMOSPHERE Forest

Forest

☐ Forest

1252

Sacred area Chapel

TOTAL UNIT NO. AREA

TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE

Sacred area Chapel Chapel

1 NO.

UNIT 80 AREA

TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED n n n n n n n 80 10 40 AREA CAPACITY LIGHT LIGHT STRUCTURE STRUCTURE HEIGHT VIEW MUSIC SPEECH

1 1

10 80

3 10

n n

☐ n

☐

10 -

☐ n n

n

1 1

n n

☐ n

5 TOTAL -

10 100

☐

n

☐

n

TOTAL UNIT NO. AREA

100 TOTAL CLOSED PERSON NATURAL ARTIFICIAL OPEN AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE

1 NO.

UNIT 100 AREA

TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED n n n n n 100 10 ☐ ☐ AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE

1 1 1 1

30 100 10 30

3 10 3 3

☐ n

Cloakroom Congregation hall

10 150

3 5

50-100

Kitchen Congregation hall Classroom Kitchen Activity room

1 1 2

45 150 25

45 150 50

3 5 3

1 1

45 35

Classroom Education room Activity room

2 2 1 1

25 25 35 25

50 50 35 25

2 5 1 1

25 5,5 25 -

Cloakroom Chapel Toilets Cloakroom Courtyard Toilets

Courtyard

Prophane Common Prophane Entrance hall Common Storage Entrance hall Cloakroom Storage

Music room Education room Toilets Music room Courtyard Toilets Courtyard Prophane Adminstration Offices Prophane Adminstration Meeting/dining Offices Workshop Meeting/dining Refuse

☐ n

☐ ☐

n n n n

n ☐

n

50-100 15

☐ n n

n n n

3 3

☐ n

3 3 3 3

15 10 10

n n n n

50 27,5 25 -

3 3 3 -

10 10 -

n ☐ n n

n n n n

5,5 TOTAL -

27,5 522,5

☐

n

TOTAL UNIT NO. AREA

522,5

5 1

8 NO. 1 8 1

6 UNIT AREA 25 6 20

1 1

25 12

Workshop Technical Refuse Laundry

1 1

20 35

1 1

12 10

Technical Toilet Laundry

1 2 1

35 5 10

Toilet

TOTAL 5 TOTAL

n n

☐

n

☐ ☐

☐ n n

n n

☐

n ☐ n

☐

☐ n

n

☐

n

COMMENTS - ATMOSPHERE A lighter structure independing of the church as the main building. Top of forest. COMMENTS - ATMOSPHERE Placement in the church room according to the A lighter structure independing of the church as acoustic the main performance. building. Top of forest. Placement in the church room according to the acoustic Forest performance. Forest

COMMENTS - ATMOSPHERE Forest

☐ n n ☐

☐ n

☐ ☐

☐ ☐ ☐ ☐

☐ ☐

n ☐ n n

n ☐

n

n ☐

Forest

☐ n n

☐ n ☐

n n n

☐ ☐ ☐

Forest

n n

☐ n

n n

☐ ☐

n n n n

n n n

☐ n n n

n n n n

n n n

☐ ☐ ☐ n

n

n n n

☐ n ☐ ☐ n

☐ n ☐

n

☐

☐ n

n

☐

☐ n

Forest

☐ n n

In connections to the congregation and entrance hall..

☐

☐ n

Forest In connections to the congregation and entrance hall..

n

☐

Forest

☐ ☐ n

TOTAL PERSON NATURAL ARTIFICIAL OPEN CLOSED AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE n n n n n 48 3 ☐ ☐ TOTAL NATURAL ARTIFICIAL CLOSED PERSON OPEN AREA HEIGHT CAPACITY LIGHT LIGHT VIEW MUSIC SPEECH STRUCTURE STRUCTURE n n n n n 25 3 10 ☐ ☐ n n n n n 48 3 ☐ ☐ n n n n n n 20 3 ☐ n n n n n 25 3 10 ☐ ☐ n n n 12 3 ☐ ☐ ☐ ☐ n n n n n n 20 3 ☐ n n n 35 3 ☐ ☐ ☐ ☐ n n n 12 3 ☐ ☐ ☐ ☐ n n n 10 3 -☐ ☐ ☐ ☐ n n n 35 3 ☐ ☐ ☐ ☐ n n n 10 3 ☐ ☐ ☐ ☐ n n n 10 3 ☐ ☐ ☐ ☐ 160 10

☐

n

☐

n

COMMENTS - ATMOSPHERE

☐

n

COMMENTS - ATMOSPHERE Forest COMMENTS - ATMOSPHERE Forest

In connections to the staff area, especially offices. In connections to the staff area, especially offices.

160

fig. 60 // Building program - Profane area.

// 85

// 86

Church Room // Sacred space

This section revolves around the centre of the church and the development of it, being the church room. Throughout the process we look upon the performance of the space is, being the following parametres the acoustics, tectonics, movement, structural and aesthetics.

// 87

Acoustics Performance //

The church room serves one important purpose where the message is the key. It’s necessary to create the best conditions for the message to be heard. The sound of the speaker needs to be clear and the sound of the music needs to be real and alive - The acoustic treatment of the church will give life to the priest´s voice and enhance the musical effects, making every word crystal clear. When investigating the acoustic performance within a room, the investigation focuses on how the sound is conveyed in a space. Several aspects have to be considered in relation to the acoustics in order to design a space, which fulfils the accurate acoustic requirements. The space needs to be developed specifically in terms of its use and consequently the type of sound source. [Long, 2006, p. 698] Regarding the facilities of a church, certain parts of the building program might act as spaces for varied usages were the acoustic performance of both speech and music should be taken into account for the same space. When showing consideration for the space being both for speech and music a compromise should be adjusted to the usage due to the contrary requirements for both speech and music [Long, 2006, p. 697]. In order to sustain speech intelligibility, which entails “a

// 88

direct measure of the fraction of words or sentences understood by the listener”– the clarity of the speech [Long, 2006, p. 310], following influences needs to be studied; the overall volume of the space, the reverberation time and the placement of the sound source.

signed for unamplified music needs a longer reverberation time, making the sounds merge together, which can be preferable in a church. Besides greater volume, which can provide lateral reflections instead the ones provided from the ceiling [Long, 2006, p. 697]

Looking into the volume of a space this influence should be held minimal due to the fact that the intelligibility relates to the distance of the sound, since a larger travel distance between the sound source and the receiver is equal to a bigger energy loss in the sound. [Long, 2006, p.??] Both intelligibility and clarity of speech is important parameters of a sacred space such as a church. The quality of clear sound is dependent of the volume and intention of the room and therefore the clearness matters for the perception and understanding of the sound.

As a means to readjust the reverberation the surface material applied to the walls and ceiling within a space needs to be taken into account. By means of the use of material and the surface of the space it’s possible to control the acoustic performance through absorbing and reflection properties. In terms of a church room it’s often a large and open space with hard material and surfaces. Hard material such as stone and concrete with a flat and smooth surface has a higher reflection of the sound than a wooden and more scattered surface has. The absorption of the sound increases depending of the scattered surfaces. Furthermore the surfaces can be angled and coordinated to provide good coverage of sound for the receiver in the space.

Additionally the reverberation time, entailing the amount of sound remained in a room after the sound source is turned off [Long,2006, p.??]. It should be held low in order for the acoustic to become more precise and sharp and allowing the intelligibility to increase by preventing the sounds not to merge due to short reverberation time [Long, 2006, p. 697]. In contrary to a space designed for speech, a space de-

The acoustic analysis was made possible thanks to the use of the plug-in Pachyderm in Grasshopper and Rhino. The plug-in is still under trial beta version and do not always provide a constant accurate acoustic estimation

for a studied volume. We looked at the given results of this tools with a critical judgement, trying to weight their value thanks to our theoretical knowledge, and we used them as an overall guideline, not as a goal for our church design, finding the compromise between acoustic and architectural shape, materiality and tectonic. Each shape was set-up with one source and seven receiver dispatch in the room. The source was selected a man performing a “competing conversation”. While the source would be located on one edge of the church room, on the volume’s axe, six of the receivers were disposed on each side of the shape axe’s by pair and the last receiver was placed facing the source from the other side of the volume. This setting implied each pair of receiver would be at the same distance from the source. In the index, the reader may find a detail table confronting each iteration with their receivers pair’s results from the one closest to the source gradually to the farthest, with a selection of relevant acoustic parameter. Those result has led to the architectural conclusion display in the following part.

The church room is a place both for sermons and liturgical music. Those two activities require quiet different acoustic characteristic, making the church room an ambivalent space. The acoustic of a room may not be change easily, therefore the space need to be oriented toward a specific use, that will influence the conception of the church room’s architectural qualities. We decided the church room will be more design to enhance the experience of the priest sermon and speech. The church room will be more oriented toward the communion of the people to the worship service, rather than the listening of the organ, but this decision does not mean our church room shouldn’t be suitable for music activities. For those reason, the Early Decay Time (EDT) the time a sound need to drop of 10 decibel should be within the range of 0,8 and 4,2 seconds, bearing in mind a EDT between 0,8 and 1 is more suitable for speech, while an EDT between 2,1 and 4,2 will be in favour of music activities. The Reverberation Time (RT30) the time a sound drop of 30 decibel after the source is turned of, should be between 1,5 and 2,5 second, knowing a RT of 3 second is suitable for organ music, and under 1 second is good for

speech. The Intelligibility, or definition (D50) the ratio of direct and early sound received before 50 ms to the total sound energy should be over 50 percent, implying the receiver is directly exposed to at least half of the early sound energy. The Clarity (C50 and C80) the ratio of sound energy arriving before respectively 50 and 80 ms to the later one, should be within -5 and 5 decibel. C50 is most commonly used to study speech, while C80 is more suitable for music. When the clarity is low, the sound are not very distinguishable and merge together, on the contrary, when clarity is high, the sound are more clearly separate which is more suitable for speech. The strength (G) the ratio of sound energy measured at a point, to the same sound energy measure in a free field at 10 meters, is closely related to the feeling of loudness. Result within the range of 4 and 7,5 decibel may convey a proper experience for the user of the church room. [Berardi, 2012]

// 89

4.1 // Asymmetrically

4.2 // Symmetrical with the priest in the heigh part

4.3 // Symmetrical with the priest in the low part fig. 61 // Acoustic performance of a variation of the church room.

// 90

n

Definition (D50)

18,5

12,4

8,3

18,7

12,5

8,4

21,3

14,4

9,5

28,7

19,9

12,2

50% <

☐

Clarity (C50)

-6,4

-8,5

-10,4

-6,4

-8,4

-10,4

-5,7

-7,7

-9,5

-4

-6

-8,6

-‐5 -‐ 5

☐

n

☐

Strength (G)

14,5

12,9

13,1

14,4

12,8

13,8

12,1

12,4

10,4

10,8

4 -‐ 7.5

☐

No. 1 125 Hz

Reveberation (RT30)

1,8

1,5

1,8

1,5

2000 Hz

1,9

8000 Hz

1,6

1,9

2,4

1,9

1.5 -‐ 2.5

n

Definition (D50)

18,5

12,4

8,3

18,7

12,5

8,4

21,3

14,4

9,5

28,7

19,9

50% <

☐

Clarity (C50)

-6,4

-8,5

-10,4

-6,4

-8,4

-10,4

-5,7

-7,7

-9,5

-4

-6

-‐5 -‐ 5

☐

n

☐

Strength (G)

14,5

12,9

13,1

14,4

12,8

13,8

12,1

12,4

10,4

4 -‐ 7.5

☐

4.1 // Acoustic performance 125 Hz

125 Hz 6 Reveberation (RT30) 2,1 n

1.5 -‐ 2.5

12,2Definition (D50) ☐

50% <

-8,6 Clarity (C50) ☐

-‐12 -‐ -‐4

10,8 Strength (G) ☐

4 -‐ 7.5

500 Hz

1,6

1,1

1,6

1,2

1,1

1,7

1,6

1,5

1.5 -‐ 2.5

☐

n

☐

n

☐

n

Definition (D50)

12,5

8,2

15,1

12,7

8,4

17,4

14,3

9,5

24,3

20,2

☐

-7,5

-8,5

-10,5

-7,5

-8,4

-10,4

-6,8

-7,8

-9,8

-4,9

-6

-8,1

-‐12 -‐ -‐4

n

The acoustic analysis Strength (G) 15,4 12,4 12,7was 15,3 initiated 12,3 12,6 by 14,7 the 11,7 research 12 13,1 of 9,9 a 10 ☐ ☐the ☐acoustic ☐ ☐ expectation ☐ ☐ ☐ and ☐ the ☐ archi☐ ☐ shape 4 -‐ 7.5 both fitting tectural and tectonic. No. 3 125 Hz 500 Hz 2000the Hz meeting 8000 Hz The shape of iteration 1 was born from of 4 6 curves, 0 4 consequently, 6 0 4 6its shape 0 4 is 6 our gathering0 gestural Reveberation (RT30) 1,8 so 1,2 is1,1 1,2 1,1results. 2,1 1,2Its 1,1 1,8 1,2 asymmetric and the 1,8acoustic roof2,1slowly n ☐ ☐ n ☐ ☐ n ☐ n n ☐ 1.5 -‐ 2.5 raised from the entry to the altar, following the☐ ascending movement the11,7 curves has18,6 the20,5 Definition (D50) of18,3 12,3 of 18,4our 11,7project. 12,2 20,7Iteration 13,2 14,2 2 28,7 ☐ ☐ symmetry. ☐ ☐ ☐ It roof ☐ ☐ ☐in an ☐ expo☐ ☐ main of rise 50% <alley as ☐an axe nential manner as we get closer to the altar, intending to Clarity (C50) -6,5 -8,8 -6,8 -6,5 -8,8 -3,2 -5,8 -8,2 -0,8 -3,9 -6,4 -0,2 highlight the nmajestic qualities a ☐church should convey. n n n n n n ☐ ☐ n ☐ -‐12 -‐ -‐4 The ascending volume toward the sky is an other way Strength (G) 14 11,6 6,4 14 11,5 2,3 13,4 11 0,3 11,9 9,2 -0,2 to stress the design choice to enhance the importance of n

☐

1,1

1,6

1,2

1,1

1,7

1,6

1,5

☐

n

☐

n

Definition (D50)

12,5

8,2

15,1

12,7

8,4

17,4

14,3

9,5

24,3

20,2

13,5

50% <

☐

Clarity (C50)

-7,5

-8,5

-10,5

-7,5

-8,4

-10,4

-6,8

-7,8

-9,8

-4,9

-6

-8,1

-‐12 -‐ -‐4

n

Strength (G)

15,4

12,4

12,7

15,3

12,3

12,6

14,7

11,7

13,1

9,9

4 -‐ 7.5

☐

125 Hz

1,2

1,6

1,1

1,6

1,2

1,1

1,7

1,6

1,5

☐

n

☐

n

☐

n

12,5

8,2

15,1

12,7

8,4

17,4

14,3

9,5

24,3

20,2

☐

-7,5

-8,5

-10,5

-7,5

-8,4

-10,4

-6,8

-7,8

-9,8

-4,9

-6

n

6 2Reveberation (RT30) n

☐

1.5 -‐ 2.5

13,5 Definition (D50) ☐

50% <

-8,1 Clarity (C50)

8000 Hz

1,8

1,2

1,1

1,8

1,2

1,1

2,1

1,2

1,1

2,1

1,8

1,2

n

☐

n

☐

n

☐

n

☐

18,3

11,7

12,3

18,4

11,7

12,2

20,7

13,2

14,2

28,7

18,6

20,5

☐

-6,5

-8,8

-6,8

-6,5

-8,8

-3,2

-5,8

-8,2

-0,8

-3,9

-6,4

-0,2

n

☐

n

☐

n

☐

11,6

6,4

11,5

2,3

13,4

0,3

11,9

9,2

-0,2

☐

n

☐

15,4

12,4

12,7

15,3

12,3

12,6

14,7

11,7

13,1

9,9

☐

4 -‐ 7.5

2000 Hz

-‐12 -‐ -‐4 Strength (G)

500 Hz

n

4.3 // Acoustic performance

8000 Hz

1,2

1,1

1,8

1,2

1,1

2,1

1,2

1,1

2,1

1,8

1,2

n

☐

n

☐

n

☐

n

☐

18,3

11,7

12,3

18,4

11,7

12,2

20,7

13,2

14,2

28,7

18,6

20,5

☐

Clarity (C50)

-6,5

-8,8

-6,8

-6,5

-8,8

-3,2

-5,8

-8,2

-0,8

-3,9

-6,4

-0,2

-‐12 -‐ -‐4

n

☐

n

☐

n

☐

Definition (D50) 13,5 50% < ☐

Clarity (C50)

☐

1,1

n

8000 Hz

1,8

6 Reveberation (RT30) 2 1.5 -‐ 2.5 n

< //50% Adjustment According to the Acoustic Performance

☐

1,6

☐

No. 3 2000 Hz

125 Hz

8000 Hz

4 -‐ 7.5

☐

No. 3

2000 Hz

Shaping the form

500 Hz

4.2 // Acoustic performance

No. 2

1,2

Reveberation (RT30)

1,2

No. 2

500 Hz

Reveberation (RT30) n 1.5 -‐ 2.5

1.5 -‐ 2.5

6,4 14 11,5 2,3 13,4 11,9 9,2 -0,2 the priest 14and11,6 it sermon. The iteration113 is0,3evaluating the n ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ acoustic qualities of a ☐funnel like shape, where the☐ priest is located in the smaller side, and the shape is expanding toward the people listening the sermon.

Strength (G) 4 -‐ 7.5

Through the analyse of the pachyderm output, we may conclude the acoustic of the three iterations does not yet fit the expected acoustic. Such result may be rooted in the reflective concrete material which the shell of our project is made of.

C80 are too negative, out of the expected range and decrease as the receiver are located farther from the source and G is too strong, in some rows double the highest value of our decided range. Those results are rather oriented for music performance if any and are not fit at all for listening to sermons at all. As no iteration stand out of the analysis, the three iterations where kept for further analysis, adding gradually furnitures in the volumes.

Each iteration have a too hight EDT around 6 seconds, a RT30 between 1.5-2 seconds constant in the church room, a very poor D50 of 15-20 around percent. C50 and

fig. 62 // Results of the acoustic perforance.

// 91

Arranging of Seating // Church Room

When arranging and forming the seating for the church room, different aspects needs to be taken into considerations in order to sustain comfort within visibility and audibility for the audience and priest alike. This is provided through a visibility - and distance wise perspective, which combined should influence the spatial experience. [Neu- fert, p. 579] In terms of the seating they each take up an area of 0,4 to 0,5 sqm, in order to provide space and comfort for each audience. Looking at the maximum length of each seating row this cannot exceed 9 meters in order to sustain a decent flow amongst the audience.

fig. 63 // Arrangement of the seating.

// 92

As for the shape of the seating a fan-shape allows a greater amount of people to be situated near the sound source in this case being the priest. The fan-shaped seating arrangement provides a certain closeness between the priest and the audience [Long, 2006 , p. 698] As for the amount of aisles they increase in correspondence to the width of the church room and chapel alike. Looking further into the aisle within the chapel, a sufficient solution can be provided with one side aisle due to the capacity of chapel, though it needs to be considered whether to place the seating adjacent to an external wall or not due to the cold from the exterior, which could be prevented by implementing two side aisle and thereby

centralising the seating within the chapel. [Neufert, p. 579] When placing aisles within the church room the area is somewhat larger than within a chapel, allowing more aisles to be implemented into the building program. [Neufert, p. 579] Observering the back of the church a large area for the aisle is implemented, which provides standing audience to take part in the religious worship. [Neufert, p. 579], each standing place takes up an area of 0,63 â&#x20AC;&#x201C; 1 sqm. Commonly a central aisle is applied into the building program, which is beneficial for funerals and processions such as weddings etc., allowing easy access to the alter [Neufert, p. 579].

5.1 // Free space

5.2 // Center aisles

5.3 // Side aisles

5.4 // Combination

5.3 // Smaller sections

Aisles

// The movement The symmetrically shape of the church room defines a focus within the interior of the church room, creating a direction for the interior towards the priest when entering the interior. During the different ceremony it is necessary to sustain an easily accessibility to the alter when walking down the aisles. The aisles is defining the pattern of movement and furthermore the focus towards the priest and the ceremony up in front of the alter.

By incorporating side aisles along the exterior walls the aisles leads towards a priest and alter within the church room, but in a more curved manner. Side aisles will only allow accessibility from the sides and into the seat rows which make it troublesome to access the midle of the rows without disturbing and interrupting the one who is already seated.

A center aisle is defining a main straight path to the alter and increases the focus towards the priest. Itâ&#x20AC;&#x2122;s dividing the church room into two section of seat.

When looking at movement the patterns according to an easily accissibility towards the priest but also the seating rows the church room is combined with both a center aisle and two side aisles analogous to the curved exterior.

When dividing the seat into smaller sections it makes the movement pattern more easily crosswise the church room. Such as fire escape is also taking into account by dividing the seats. By incorporating a center aisle, two side aisle are dividdng the seat into sections to enhance an optimally movrment towards the priest.

fig. 64 // Aisles defining the pattern of movement.

// 93

6.1 // Without midter aisles

6.2 // Parallel midter aisles

6.3 // Diagonal midter aisles

6.4 // Diagonal midter aisles

Seating

// Iterations of the benches According to the arrangement of the seating and aisles within the church room, we investigated different solutions for both seating and aisles according to standards and our building programme about square meters as well as the competition material with 500 seatings for Hatlehol Church.

The overall plan, as the best solution for the church room, is related to the flow and direction within the church room facing the altar and the placement for the priest. Obviously the arrangement obtains a area in the back of the church that provides a standing audience to take part in the religion worship.

When planning aisles and seating, we investigated different programme with a center aisle in 2,5 meters, aisles in both sides in 1,5 meter and two in between, with the desire about a church room divided into smaller areas to increase intimacy and achieve the atmosphere related to the mountains rising against the skies.

In terms of the programme and the atmosphere our aim for the church room was to emphasize the symmetry and flow from entrance towards altar, which no. 5 allows us to work with for acoustics and structure.

fig. 65 // Variation of arrangement the seats.

// 94

6.5 // Curved midter aisles

1.5 -‐ 2.5

1,1

0,7

1,1

1,4

0,1

1,1

2,1

2,7

1,1

0,8

1,6

1,5

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1.5 -‐ 2.5

2,3 n 52,2

Definition (D50)

28,7

13,2

31,5

36,5

15,5

34,7

43,1

19,7

36,4

49,3

22,2

38,8

Definition (D50)

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Clarity (C50)

-3,9

-8,2

-3,4

-2,4

-7,4

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-6,1

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-0,1

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Clarity (C50)

0,4

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14,1

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14,8

13,3

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12,5

6,4

12,6

Strength (G)

8,9

4 -‐ 7.5

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No. 2 Seating 125 Hz

500 Hz

2000 Hz

8000 Hz

Reveberation (RT30)

1,9

2,3

2,2

2,4

2,3

2,1

1,8

2,2

1,8

Reveberation (RT30)

1.5 -‐ 2.5

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Definition (D50)

48,5

26,6

22,3

53,9

28,7

57,2

39,7

58,8

33,1

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Definition (D50)

37,4

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Clarity (C50)

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Clarity (C50)

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No. 3

6.5 // Acoustic performance within the seats.

125 Hz

500 Hz

2000 Hz

8000 Hz

Reveberation (RT30)

2,4

2,3

1,9

2,6

1,8

2,3

2,2

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Definition (D50)

49,3

26,6

18,5

54,1

28,5

22,6

59,8

32,3

28,1

57,7

40,5

30,8

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Clarity (C50)

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-4,5

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5,3

1,7

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1,3

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10,2

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6,2

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Acoustic Performance

// Adjustment According to the Acoustic Performance In a second row of analysing, the seating where added in the three iterations. The addition of the wood benches in the volume considerably ameliorate the acoustic of each iteration, giving the possibility to properly compare and select a shape.

The EDT is now closer to 4 seconds, RT30 is around 2 seconds, D50 has rise from 25 up to 50 percent in the first rows. C50 has values from -4 to 0, so as C80. G values fits into 7 and 4 decibel except the front and back receivers where the values are too high.

The Pachyderm result in Rhino display a clearer difference of result between iteration 2 and 3 and iteration 1, which asymmetric characteristics between each pair of receivers was enhanced by the addition of the wood benches. While iteration 1 has different results, sometimes opposed from one side to an other, iteration 2 and 3 has results closer to our expectation, evolving gradually from the front to the back.

Except for the D50, better than the first study but still very low, the values of each parameters tend to overlap the expected range whether in the fronts row of in the back, stressing the acoustic parameters’ value yet has to be more unified in the whole church room.

is expected for a sermon space. Those results may be optimised by adding absorbing material especially in the back of the room, that will probably reduce the nuisance of the reflected sound. Unlike the first study, iteration 1 clearly stand out by showing some problematic unequal values from each pair of receiver that may create some difficulties to arrange the acoustic of the space in an equal manner. For constructive optimisation but also to uninformed the acoustic in the church room, iteration 1 may not be suitable enough and will not be further analysed in the following acoustic studies.

The addition of benches engender a better acoustic in the church room, buts still does not correspond to the what

fig. 66 // Accoustic performance.

// 95

2,3

// Light studies of the church room

Structure

// Furnituring the Church Room 5b The first model expressed our will to create a timber structure that will rise to the sky as the curve enveloping it. The structure express a spine following the central alley as an axe of the church leading to the alter, under the highest truss. The dimensions too ambitious where reduces in the following studies and the structure explored different iteration of the same system. 4a The second iteration explored a diagonal tensile system that could further divide the central alley to the side alley. But the shorter dimensions of the structure generate some unusable space next to the beam. The curvature of the roof was explored in order to stress a feeling of rising, by slowly flipping it curvature. 6b This iteration explored the possibility to reduce the section of the structure by adding bearing element that will also further define the different alley of the church room. The timber structure was then elevated over con-

// 96

crete pillars that would highlight the contact of the concrete massive base with the slender wood structure nested into it. This connection of material and form was also meant to liberate the space under the beams.

it and the timber structure encounter the concrete pillar at human eye sight in order to liberate the space and stress the contact of the two structure, between stereotomic strong foundations and slender tectonic timber structure

5a This model further explore the elevation of the wood structure on the concrete with the original simple timber structure.

Light Studies When working with the lightning of the church room, we wanted the light to help create a gradually changing atmosphere referring to the gestures and principle extracted from the site, by the intangible sky, the earthbound mountain and the vibrant forest in between. This desire has been dealt with by only opening the room upwards and letting in a large amount of light from above. The large, narrow skylights in the centre and the sides, as seen on iteration three, underlines the main flow in the room, while clearly separating the frame- and the earthwork.

4b The high of the structure was increase again in order to convey a majestic feeling as one would enter the church room, and the beams were double in order to reduce their sections, for preventing the trusses to be too massive. 6b The selected proposition is similar to the original trusses, less high to be realistic and it beams doubles for reducing their section. The structure slowly rise to the sky as the ascending movement of the curves enveloping

7.1 // Iteration 1

7.2 // Iteration 2

7.3 // Iteration 3

7.4 // Iteration 4

7.5 // Iteration 5

7.6 // Iteration 6

fig. 67 // Iterations of structural design within the church room.

// 97

Inter. con. 2 D.O.F

Inter. con. 2 D.O.F Inter. con. 2 D.O.F

Inter. con. 2 D.O.F

Inter. con. 3 D.O.F

Inter. con. 2 D.O.F

Inter. con. 3 D.O.F

Inter. con. 2 D.O.F

Inter. con. 3 D.O.F

8 Element = 24 D.O.F Exter. con. - Removel of 6 D.O.F Inter. con. - Removel of 14 D.O.F 4 D.O.F left

8.1 // Kinematically indeterminate

Inter. con. 2 D.O.F Inter. con. 2 D.O.F

Inter. con. 3 D.O.F

Inter. con. 2 D.O.F

Exter. con. 3 D.O.F

Inter. con. 2 D.O.F

Exter. con. 3 D.O.F

8 Element = 24 D.O.F Exter. con. - Removel of 6 D.O.F Inter. con. - Removel of 16 D.O.F 2 D.O.F left

8.2 // Kinematically indeterminate

Inter. con. 2 D.O.F

Inter. con. 2 D.O.Fw

Exter. con. 3 D.O.F

7 Element = 21 D.O.F Exter. con. - Removel of 6 D.O.F Inter. con. - Removel of 15 D.O.F 0 D.O.F

8.3 // Statically determinate

Stability

// Degree of freedom By using â&#x20AC;&#x2DC;Degrees of Freedomâ&#x20AC;&#x2122; it is possible to investigate the stability of the structure according to the amount of element and constraints. When determining the stability this depends on the amount of element and the external and internal constraints in between those. Looking at the first iteration, which mainly consists of hinged in the internal constraints and fixed external constrains, works

fig. 69 // Stability through iteration of the truss.

// 98

a an kinematicall indeterminate structure, which act as mechanism and thereby are unstabile. In the second iteration of the truss a variation of constrains are applied, but still the construction is kinematically indeterminate.

In the third iteration the inner columns constitutes the triangles in the middle part are fix, and therefor working as one element, instead of two. As for the stability of the truss, this is statically determinate due to the fact that the structure is in equilibrium.

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No. 2 Seating 125 Hz

No. 2 Seating + foam

500 Hz

2000 Hz

8000 Hz

125 Hz

Reveberation (RT30)

1,9

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No. No. 13 125 125 Hz Hz

Reveberation Reveberation (RT30) (RT30) 1.5 1.5 -‐-‐ 22.5 .5

8.3 // Acoustic performance within adding the truss.

Acoustic

Definition Definition (D50) (D50)

No. 2 Seating + structure + foam

500 500 Hz Hz

2000 2000 Hz Hz

8000 8000 Hz Hz

125 Hz

1,1 2,4

0,7 2,3

1,1 1,9

1,4 2,6

0,1 1,8

1,1 2,3

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Reveberation (RT30)

500 Hz

2000 Hz

8000 Hz

2,3

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Clarity (C50)

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14,1 10,2

9,2 6,5

14,8 6,9

13,3 9,4

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13,9 6,2

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5,8

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// Raytracing with shape + seats + structure + foam No. 2 Seating 125 Hz

500 Hz

No. 2 Seating + foam 2000 Hz

8000 Hz

125 Hz

Foam The addition of absorbing material is very beneficial for Reveberation (RT30) 1,9 1,9 2,3 2,2 2,4 2,3 2,1 2 1,8 1,8 2,2 1,8 The addition of foam in the back of the church room is thendefinition inn then church room especially forn the values n n n n n n n n 1.5 -‐ 2.5 meant to reduce the reflection of the sound and create a of the second row that used to receive most of the reflectDefinition (D50) 26,6 22,3 53,9 28,7 23 57,2 39,7 28 58,8 33,1 30,8 space more suitable for sermon. ed48,5 sound from the back. Some values of iteration 3 may n ☐ ☐ n ☐ ☐ n ☐ ☐ ☐ 50% < be slightly better than the one of iteration 2☐ but☐ they both -0,3 -4,5 -5,4 results 0,7 -2,8 despite -5,2 1,3 their -2,6 -4,1 1,5 -2,2shape, -3,6 The Pachyderm result in Rhino display a EDT in the Clarity ex- (C50) display close different and are n nsuitable ☐ ☐ forn music ☐ ☐ n speech ☐ ☐and☐ sermon. pected range for all the receiver but mostly close to 4-‐12 -‐ -‐4 both☐ rather than seconds, so more suitable for music. RT30 is within Strength the (G) 10,3 7,2 8,4 9,3 5,7 7,4 9,1 5,5 6,7 9,3 5,6 6,9 n ☐ ☐ n n ☐ n n ☐ n n ☐ range, around 2.5 seconds, except for the first row a bit4 -‐ 7.5 Structure lower than the decided range. D50 is between 40 and 60 The addition of the structure in the shape is complexing No. 3 the sound will evolve but is also an percent. C50 and C80 fits into the highest range except the volume in which 125 Hz 500 Hz 2000 Hz Hz for a few high frequencies in the first and last rows. G is addition of an other wood element as the8000furnishing with 4 6 0 4 6 0 4 6 0 4 6 too strong only in the first rows and first into the range for the 0benches. Reveberation (RT30) 2,4 2,3 1,9 2,6 1,8 2,3 2,2 2,2 2,1 2,1 1,8 2 the rest of the rows. 0

fig. 70 // Acoustic performance.

1.5 -‐ 2.5

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49,3

26,6

18,5

54,1

28,5

22,6

59,8

32,3

28,1

57,7

40,5

30,8

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Clarity (C50)

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5,3

1,7

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1,3

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10,2

6,5

6,9

9,4

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2000 Hz

8000 Hz

6 The Pachyderm result in Rhino does not display a4 strik2,3 2,9 2 2,6 2,2 2,1 2,6 1,9 2,4 2,4 2 1,9 ing difference between the study with and without the n ☐ n ☐ n n ☐ n n n n n 1.5 -‐ 2.5 structure except for D50 that may be slightly better withDefinition (D50) 37,4 27,3 18,4 52,9 43,3 33,7 59,5 53,3 48,1 62,2 51,2 46,3 out the structure. 0

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-2,2 numbers -3,7 -6,4 0,5 -1,2 2,9 row, 1,7 the 0,7 results -0,3 2,2 are 0,4 now -6 Except a few in some n n ☐ n n n n room n n n ☐ to -‐5 -‐ 5 within the ranged decided for an church oriented a sermon. On may4,7have Strength (G) 11,4 the 7,8 overall, 9,1 10,2 iteration 5,7 5,1 9,6 3,1 some 9,4 4,8better 2,8 ☐ ☐ some ☐ ☐parameters, n n ☐ however, n n ☐ both n n results regarding as fits 4 -‐ 7.5 the expected rather, iteration more architecturally fitting in our project concept was selected as the final shape.

Clarity (C50)

// 99

Column and the human scale

9.1 // Column hight 0 m

9.2 // Column hight 0,5 m

9.3 // Column hight 1 m

9.4 // Column hight 1,3 m

Column Height

// Furnituring according to the Human Scale Looking into the jointing in between the framework and how it touches the earthwork we investigated different transitions, which should tell the story of the stereotonics - being the earthwork - and tectonics - being the framework.In relation to the earthwork and how it is applied in the design of the church - being this element, which is seen as an extension rising from the ground meanwhile being a direct link to the ground, when digging into the topography, we have been working with how this story can be enhanced both from an exterior and interior perspective.

fig. 71 // Iteration according to the column height.

// 100

Due to the church room being partially lowered into the ground as a result of the topography, we want to tell a story of such within the interior through the structure and shows how the concrete rises from the ground. Furthermore investigation concerning the height of the concrete column is conducted to have a look upon how the movement in relation to the framework would be and additionally the visibility.

9.5 // Column hight 3 m

Variation of assembly

10.1

// Steel discs between the fundament and truss.

10.2 // Steel disc between the column and truss.

10.3 // Steel case between the column and truss.

10.4 // Steel discs between the 10.5 // Steel discs between the column and truss.

column and truss.

Jointing

// Height and detaling according to the Human Scale As the exterior envelope and the inner framework of the building seems to be visually disconnected, this story of detachment are repeated in the jointing as well, by working with a gap in between the wood and concrete, being connected with a steel case.

fig. 72 // Jointing of the truss and the foundamentation.

// 101

// 102

Profane In the following section, parameters are investigated in order to develop the profane area for the church and to solve the interaction in between those, making the design seem as an entity; the flow, the structure, the lighting and the atmosphere.

// 103

Gathering flow

// Gathering people into the body When separating the body of believers into two areas, consisting of the sacred and profane area it became necessary to take advantage of the shape to gather people in a uniform flow. To achieve so, we looked into the plans aiming for a fluent flow as a result of the enveloping curves and the tectonic composition that allows a leading direction from exterior and interior. Working with the movement within the building and how it should be planned as it affects the atmosphere achieved from gestures and principles from the site, the overall flow begin in both the sacred and profane area from the parking area towards the hearth

fig. 73 // Gathering with the flow.

// 104

Looking at the flow and how the curves can represent it, while creating a feeling of concentration and holding people together within a space, the shape of the curve changes throughout the design process, as well for the plan of the building. Intentionally the passage and the back of the building was open towards nature. According to Richard Serra and his appointment about a space that transforms, enclosing the centre form from any exterior interference it became reality that the curve should be uniform and appear enclosing. Thereby stick to the idea about a funnel planning that transforms from a narrow passage into a more open and wide space - the heart of the building.

The curve provokes the movement within the building, enclosing the space, defined further through the opening in the roof. Within the space a new passage leads in the opposite direction, connecting different movements both from the profane and sacred area and the gathering hiraki between them.

11.1 // One main entrance for the church

11.3 // Single axe of circulation in the profane area

11.2 // Openng in the back, creating an axe of circulation

11.4 // Double circulation in the profane area

// 105

Structure // Profane area

For the structure and timber design of the profane area we investigated how a coherence between the structure within the church room and the profane area could appear, speaking the same language in terms of being the framework of the building. Several iterations testifies that the construction needs to benefit the area and rooms within the profane area. When developing the plan for the profane area, aiming that the administration is located on 1st floor, the issue was to obtain space enough for offices, and the area in connection to their daily use. A a similar construction raised on columns did not work well in that case, while neglecting the area for

fig. 74 // Gathering with the flow.

// 106

the administration. Working with a pitched roof, is was notable that the framework resulted in a closed space and no view towards nature and light for 1st floor, knowing that a pitched roof could contribute a slender construction in terms of how loads are distributed. When defining the flow and areas in between the space for the profane area, a roof sloping inwards helped the plan in creating niches, corridors and a wide space in the middle to gather people. The best solution is both linear and directional, allowing spaciousness and direction towards the hearth.

During investigations for the roof sloping inwards, with a reverse parallel chord scissor truss , structural analysis with Autodesk Robot Structural Analysis we obtained that the individual beams within the truss had a too large cross sections caused by the loads obtained the idea about a single beam carrying the roof. Furthermore the beam affects the opening to the sky, and allows a linear and clear definition to appear.

12.1 // The church room structure into the profane

12.2// Tensil elements freeing the space from the timber

12.3 // Pair of column raising from the ground

12.4 // Iteration on the pitch of the roof

12.5 // The truss as a scissor thruss

12.6 // Iteration of a beam

fig. 75 // Iterations of the structural design within the profane area.

// 107

Inter. con. 2 D.O.F

Inter. con. 3 D.O.F

Inter. con. 2 D.O.F

Inter. con. 3 D.O.F

Inter. con. 2 D.O.F

Exter. con. 3 D.O.F

5 Element = 15 D.O.F Exter. con. - Removel of 6 D.O.F Inter. con. - Removel of 15 D.O.F 6 D.O.F removed than necessary

13.1 // Statically determinate

Exter. con. 3 D.O.F

6 Element =18 D.O.F Exter. con. - Removel of 6 D.O.F Inter. con. - Removel of 10 D.O.F 2 D.O.F left

13.2 // Kinematically indeterminate

Exter. con. 3 D.O.F

5 Element = 15 D.O.F Exter. con. - Removel of 6 D.O.F Inter. con. - Removel of 11 D.O.F 2 D.O.F removed than necessary

13.3 // Statically determinate

Stability

// Degree of freedom Initial research of the structure was made in Karamba to get an idea of the design for the structure [Appendix]. Further investigations in terms of the stability within the structure for the profane has been conducted. This investigation guides to design where the suitable constrains are applied in order to secure stability to the structure. When determining the stability this depends on the amount of element and the external and internal constraints in between those. fig. 76 // Stability through iteration of the truss.

// 108

Looking at the first iteration the beams are connected with fixed constraints allowing them to act as one element. Additionally, fixed constraints are used in the columns touching the ground. As for the rest, hinged constrains are applied. Due to the type of constraints and elements the structure becomes Statically indeterminate meaning that more degrees of freedom are removed than what necessary. In the second iteration fixed constrains are only added to the columns attached to the ground,

which gives a cinematically indetermined structure, meaning that the structure works as a mechanism and makes the structure unstable. The third iteration, is made with fixed beams but as a difference to the first iteration, all of the four columns are touching the ground where they are fixed. The result becomes that the structure acts statically determined, meaning that the structure is stabile.

14.1 // A opening of profane space

14.2 // Slender lamella inbetween the truss.

14.3 // Thicker lamella inbetween the truss.

Light Studies During the work with the chapel the lightscape has been studied. We wanted to make a bright and open chapel that brings with nature and allows a large amount of light, but at the same time provides an intimate space for ceremonies. Furthermore, the movement from exterior to interior has been inspired by the works of Richard Serra, which is en-

deavoured to show through the lightscape in the chapel. The East side of the chapel is enclosed with at solid concrete wall placed one meter from the chapel. This helps reflect the light in to the room, in iteration one and two, lamellas are placed towards the concrete wall, they were removed in iteration three and four to allow more light and to enhance the tactility of the concrete. During the studies of the access corridor towards west, the facade

has gradually been opened, from being solid to a glass and lamella in the attempt to find a balance between intimacy and letting the nature and light. The fourth and final iteration, the lamellas on the western wall has been rotated to provide a sense of enclosure from the corridor, but still let in the nature in direction of the sight of the spectator inside the chapel.

fig. 77 // Light studies of the profane area.

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// 110

Chapel

// Within the Nature When looking into the chapel and the development of it the following parameters are dealt with: functionality, flow, spaciousness and light studies.

// 111

Placement

// Location of The Chapel Looking at the location for the chapel, an extension of a concrete wall have been dealt with. The concrete wall acts as a link between the main building for the church and the chapel, creating a movement in between both buildings, through curves. When working further with the shape of the curve and the location for the chapel the curve is used as a shield, which provides privacy for the ones being inside the chapel by excluding a view to the most public exterior space within the site in the eastern direction, being the parking space.

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In relation to the location of the chapel this is situated with a shorter distance to the church allowing nearness to the nature when experiencing it on a short distance. Meanwhile determining the shape of the concrete curve it was looked upon how to enter the chapel.

15.1 // ..

15.2 // ..

15.4 // ..

15.5 // ..

15.3 // ..

fig. 79 // Arranging of the chapel.

// 113

The Shaping

// A Movement into The Chapel In further investigations we looked upon how the volume of the chapel would relate to the concrete wall and how one would be introduced into the chapel from the opening in the concrete. Firstly we tried to situate the chapel agianst the wall to lead people directly into the chapel, but when doing so, the concept of a hybrid building did not apply for the chapel. Instead an approch of having a distance to the concrete wall was investigated. By working with this distance between the concrete wall and the chapel a solution on how to lead people from the opening in the concrete wall to the inside of the chapel

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was found through a curve. At first intension the curve was a elongation of the exterior wall of the chapel, leaving the chapel to have one interior space. In the search of trying to define the area for .. walls was installed reflecting the same shape on the exterior and interior. At last the curve ended up with being offset from the exterior wall, which would increase the functions of the concrete wall - a leading and spatial object. Looking into the main flow of the chapel a winding small passage is created leading towards the main space within the chapel, where a more wider space appears. In continuation to the lamella, concrete and glass implemented to the walls and how these affects the light stud-

ies a visual aspect was also included. Having the Chapel to be located nearby the forest, we wanted the space to open up towards the nature and to allow the nature into the interior. The lamella which is applied in the interior should have a reference to the trunks of the threes and a walk through the forest. Additionally a rotation of these lamellas have been investigate, and while doing so we had in mind the orientation within the chapel in terms of the arrangement of seating and how the nature could be a part of the view by being transparent but still provide privacy from the entrance areas and partially the passage leading into the main space of the chapel.

16.1 // Solid vs. solid

16.2 // Lamella vs. lamella

16.3 // Lamella vs. glass

16.4 // Rotated lamella vs. glass

fig. 80 // Placement of the chapel.

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Interior In continuation to the lamella, concrete and glass implemented to the walls and how these affects the light studies a visual aspect was also included. Having the Chapel to be located nearby the forest, we wanted the space to open up towards the nature and to allow the nature into the interior. The lamella which is applied in the interior should have a reference to the trunks of the threes and a walk through the forest. Additionally a rotation of these lamellas have been investigate, and while doing so we had in mind the orientation within the chapel in terms of the arrangement of seating and how the nature could be a part of the view

// 116

by being transparent but still provide privacy from the entrance areas and partially the passage leading into the main space of the chapel.

17.1 // Solid vs. solid

17.2 // Lamella vs. lamella

17.5 // Rotatet lamelle vs glas

17.6 // Rotated lamella vs rotated lamella

17.3 // Lamella vs. glass

17.7 // Lamella vs. Lamella

17.4 // Rotated lamella vs. glass

17.8 // Lamella vs. glass

fig. 81 // The flow and visuallity within the chapel.

// 117

18.1// ..

fig. 82 // Visibility throught the chapel.

// 118

18.2// ..

18.3// ..

18.4// ..

19.1 // Solid vs. solid

19.2 // Lamella vs. lamella

19.3 // Lamella vs. glass

19.4 // Rotated lamella vs. glass

Light Studio // Lamella iteration

During the work with the chapel the lightscape has been studied. We wanted to make a bright and open chapel that brings with nature and allows a large amount of light, but at the same time provides an intimate space for ceremonies. Furthermore, the movement from exterior to interior has been inspired by the works of Richard Serra, which is en-

fig. 83 // Light studies of the chapel.

// 119

Reflection //

In the creation of the church, a focus has been dealing with how the curves within the concept have been encouraging to a certain flow towards and within the church. We ask ourselves if this flow is achieved as intended, leading both to the sacred and profane area within the church. Initially we saw the ritual path as the main leading element towards the sacred placed due to it being the key function of the church. Looked back and reflecting upon, if this hierarchy is neglected due to the inference of the profane within the sacred and as a result the state of mind we wished to achieve through the ritual path can be disturbed. The general idea of a hybrid derived from a structural perspective has been modified to accommodate the functions within profane areas where the sense of a hybrid has partly been compromised, where the framework slightly

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touches the enveloping elements. It can be discussed whether this is a compromise or a distinguish between the different programs of the church, being the sacred and the profane. Furthermore the telling of the hybrid structure is told also in the detailing of the joint for the columns within the structure but whether this was fulfilled or not can be argued. A balance needed to be found in order to hide away the steel connection in between the wooden and concrete materials applied in the columns. Throughout the process it has been a topic to merge the interior with the exterior parts in the chapel and the surrounding nature, this has done by move the chapel further towards the nature situated within the site and dissolve the boundaries to a greater extent by designing a more external spatial experience in the program. It would have

been interesting to investigate a more fluent flow between the interior and exterior by expanding the elements to a partly outdoor chapel. Looking into the dimensions of the elements within the structure these could have been optimized further by looking at the utilization of each elements of the structure. Additionally the structure could have been dimensioned in relation to the constrains added to the system, combined with the size of the load and drawn advantage of these scenarios. The decision of not doing so, the choice was made from an aesthetic point of view. To sum up the decisions made throughout the development of the design, combines together our suggestion for the Hatlehol church

Conclusion //

The key motivation throughout the development of the project has been evolving around how to design a church to gather the people of Hatlehol and thereby enhancing the values, the church stands for. In a matter of doing so, the Nordic architectural tradition and the properties found within the gestures on site have been taken into account in order to strengthen the connection between the natural surroundings of the site and the church, through the use of material referring to the resources and the spatial gesture qualities found within the site. To enhance the gathering of the church a sturdy carved curvature ascends from earth to sky, meanwhile enclosing a soft timber structure constituting the core of the church. The encounter and intersection between the curves has generated paths, leading to the core of the building

through the native soil, conditioning the visitors to the experience the atmosphere within the church â&#x20AC;&#x201C; isolating them from the outside and conditioning them to enter the church. Exploring the different properties seen with the spatial atmosphere of the site we meant to recreate and amplify the feeling and emotions, experienced in the surroundings, through our tectonic architecture for the church by linking the architecture to the whole of the site. The church is meant to interpret and highlight the feelings, emotions experience in the surrounding through our tectonic architecture in order to link the architecture to the whole of the site Throughout the project we look upon different aspect, which combined form a tectonic design; In relation to the structural aspects within the design, this is amplified in a

hybrid structure and clear states the use of Stereotomics, Framework and utilization of materials in an honest application. As for the functioning of the hybrid we look upon how the external concrete foundation inserted into the native soil, the Stereotomics, encounters the internal timber structure arising upwards, the framework. Through the development of the project different iterations have been made, stressing the importance of specific parameters such as construction, acoustic, light, material and how those combined could turn the design for the church situated in Hatlehol into a holistic solution for gathering people and where the visitors are encouraged to experience the amplified atmospheres, evolving from the soil to the sky, throughout the path enveloping the overall project composition.

// 121

Literature // ..

// Internet

Aalesund.kommune.no - Aalesund, avaliable: http://www.alesund.kommune.no/ [2016,14-11-2016] Inhabitat.com - Teshima Art Museum. Available: http://inhabitat.com/provocative-teshima-art-museumin-japan-emulates-a-bead-of-water/ [2016, 07-22-2014] ArchDaily.com - Teshima Art Museum. Available: http://www.archdaily.com/151535/teshima-art-museum [2016, 07-19-2011] Dictionary.com – Belief. Available: http://www.dictionary.com [2016, 2016] Moma.org - Richard Serra Sculpture: Forty Years https://www.moma.org/calendar/ exhibitions/14?locale=en [2007, 14-12-2026] Yr.no - Ålesund. Available: https://www.yr.no/place/Norway/Møre_og_Romsdal/ Ålesund/Ålesund/statistics.html [13-11-2016] Wood-database.com - Birch. Available: http://www.wood-database.com [01-12-16, 2016] Woodsolutions.com.au - Wood solutions, design and build. Available: http://www.woodsolutions.com.au [01-12-16, 2016]

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// Books

FRAMPTON, K. 1997, “Studies in tectonics culture - The Poetics of Construction; the poetics of construction in nineteenth and twentieth century architecture” Graham Foundation for Advanced Studies in the Fine Art, Chicargo, Illonis KNUDSTRUP, M-A. 2005, “Arkitektur som integreret design” Aalborg Universitetsforlag, Aalborg. KJELDSEN, K. m.fl. 2012, “New Nordic - Architecture & Identity” Lousiana Museum of Modern Art, Humlebæk DK NORBERG-SCHULZ, C. 2000,” Architecture: Presence, Language, Place, Skira” SEMPER, G. 1851, “The four elements of architecture” Cambridge University Press, Cambridge, New York MURI, S. 1975 “Gamle kyrkjer i ny tid” Samlaget, Oslo TOSTRUP, E. 2006, Norwegian Wood; The Thoughtful Architecture of Wenche Selmer, Princeton Architectural Press. ZUMPTHOR, P. 2006 “Atmosphere” Birkhäuser, Berlin

// Articles & Standards

DS/EN 1991-1-3:2007 Eurocode 1: Last på bærende konstruktioner - Del 1-3

SØRENSEN, WEDEGE R. 2013, “Tectonics”, vol. 18, pp, 6-8 Google Earth Pro (Program)

Illustration //

1 // Masterplan - pp 12 2 // Rendering - pp. 14-17 3 //Elevation North - pp. 18 4 //Elevation South - pp. 19 5 //Elevation East - pp. 20 6 //Elevation West - pp. 21 7 //Rendering - pp. 22-23 8 // Plan -1 - pp. 24 9 //Plan 0 - pp. 25 10 //Plan 1 - pp. 26 11 //Rendering - pp. 27 12 //Section 1 - pp. 28 13 //Section 2 - pp. 29 14 //Section 3 - pp. 30 15 //Section 4 - pp. 31 16 //Rendering - pp. 32-33 17 //Structure and mass - pp. 35 18 //Joint detail - pp. 36 19 //Detail drawing - pp. 37 20 //Fire plans - pp. 38-40 21 //Rendering - pp. 41 29 // Gathering people - pp. 20. Own illustration 30 // Tectonic according to Semper & Frampton - pp. 21. Own illustration 31 // Emotional atmospheres in the architecture - pp. 50. Own illustration 32 // Emotional atmospheres in the architecture - pp. 51. Own illustration 33 // A tectonic based on our knownledge and understanding- pp. 53. Own illustration 34 // Nordic architecture- pp. 54. Own illustration 35 // Number of churches in Norway by material and period - pp. 55. Own illustration 36 // Nordic surroundings - pp. 28. Own illustration 37 // Hatlehol within the Norwegian context - pp. 60. Own illustration 38 // Zooming into the area of Hatlehol - pp. 61. Own illustration 39 // Mapping of Hatleholt - pp. 62. Own illustration 40 // Topography of the landscape - pp. 63. Own illustration 41 // Variation of vegetation within the area of site - pp. 65. Own illustration 42 // Path of the sun - pp. 66 Own illustration 43 // Wind conditions - pp. 66. Own illustration 44 // Noise conditions.pp. 67 Own illustration

45 // Raillfall conditions. pp. 67 Own illustration 46 // Gesture & Principle of the site. pp. 69 Own illustrations. 47-49 // Richard Serra - Forty Years. https://www.moma.org/calendar/ exhibitions/14?locale=en - pp. 73 Own illustrations 50 // Conditions effecting. - pp. 74 Own illustrations 51 // Concept within the context. - pp. 75 Own illustrations. 53 // Dividing into the path - pp. 76 Own illustrations 54 // Cutting through - pp. 77 Own illustrations 55 // Sheilding the path. - pp. 78 Own illustrations 56 // Passages dimensions - pp. 79 Own illustrations 57 // Building program - pp. 81 Own illustrations 58 // Areas for the church - pp. 85 Own illustrations 59 // Building program - sacred area - pp. 86 Own illustrations 60 // Building program - Profane area. - pp. 87 61 // Acoustic performance of a variation of the church room. - pp. 92 62 // Results of the acoustic perforance. - pp. 93 . 63 // Arrange of the seating - pp. 94 [Neufert] 64 // Aisles defining the pattern of movement. - pp 95 Own illustrations 65// Variation of arrangement the seats. pp. 96 Own illustrations 66// Acoustic performance. - pp. 97 Own illustrations 67// Light studies of the church room - pp. 98 Own illustrations 68// Iterations of structural design within the church room. - pp. 99 Own illustrations 69 // Stability through iteration of the truss.- pp. 100 Own illustrations 70 // Acoustic performance.- pp. 101 71 // Iteration according to the column height.- pp. 102 72// Jointing of the truss and the foundamentation. - pp. 103 73// the profane flow - pp. 107 75// Iterations of the structural design within the profane area. pp. 109 76 // Stability through the iteration of the truss - pp. 110 77 // Light studies of the profane area - pp. 111 79 // Arranging of the chapel - pp. 115 80 // Placement of the chapel - pp. 117 81 // The flow and visisbility within the chapel - pp. 119 82// Visibility throught the chapel - pp. 120 83 // Light studies of the chapel - pp. 121

// 123

// 124

Appendix

// 125

fig. xx // Long Church

fig. xx // Cruiciform Church

fig. xx // Octangonal Church

fig. xx // Center Church

The Body

// History of Norwegian Churches Long Church In terms of gathering people, the simplest church comprises a single meeting space. It’s the most common churchs in Norway and also regarded as the prototype or in other words it’s historically speaking the original design of the church. The shape of the church is a typically rectangular single nave for the congregation normally with a lower ceiling. The side aisles is approximately equal height with the nave, united under a single immense roof. It lets in light through windowed side walls typecially spanning the full height of the interior. Cruciform Church, 1600 and 1700s A cruciform church where all parts are symmetrically around a central vertical axis - a tetraconch plan likely a Greek cross with arms of equal length. During the history it’s also called a cross-in-square plan. The shape

// 126

was constructed to make it withstand even the strongest winds. [Wikipedia.org, 2016] Octangonal Church, 1700s An architectural layout of an eight-sided polygon. The layout is showed in exterior and inteorir as the shape has approximately equal sides or only the nave is eight-sided supplemented by various function to the octagon. Center Church The layout of a center church is centralized around the middel with a single central spot, that reaches and connects the ground with the roof construction. Stave churche was once a common church in nort-western Europe, mostly Norway, with a center layout. It has a clear orientation towards it’s middle point within a symmetrical layout. It is mostly closed off from the surroundings

which makes a dark church room as a reference to cavity. Humans need a proctected space in which contemplation, meditation and personal space are central for the experience and function of the church. [Wikipedia.org, 2016]

Appendix 2 // Function diagram

Workshop 20m² Storage 60m²

Cloakroom 15m² Public toilets 12m² Church hall 80m² Meeting room 25m² Mezzanine 75m² Children chapel 40m²

Sacristy 12m²

Church room 750m²

Additional Sacristy 16m²

8 Offices 6m² Saff toilet Meeting/Dining 10m² 25m²

Sacristy for baptism 40 m² Cloister room 12m²

Technical room 35m² Laundry room 10m² Storage 10m² Kitchen 45m²

Music room Congregation Hall 25m² 150m²

Refuse 12m² Cloakroom 15m²

Activity room Entrance hall 35m² 100m² Classroom Classroom 25m² 25m² Chapel 80m²

Public toilets 13m²

// 127

Appendix

// Autodesk Robot Structural Analysis - Church Room

// 128

Structure

//Autodesk Robot Structural Analysis - Church Room

// 129

Appendix

// Autodesk Robot Structural Analysis - Church Room

// 130

Appendix

// Autodesk Robot Structural Analysis - Church Room

// 131

Appendix

// Autodesk Robot Structural Analysis - Church Room

fig. // Structure

// 132

fig. // Applying load combinations

Appendix

// Autodesk Robot Structural Analysis - Church Room

fig. // SLS - Deformation

fig. // ULS - Bending moment

Displacement: 10 mm Max: 55 mm Cases SLS

My: Max: Min:

10 kNm 80,03 30,82 // 133

Appendix

// Autodesk Robot Structural Analysis - Church Room

fig. // Normal forces

fig. // Stresses

Fx+c Fx+t: Max: Min

S max Max: Min

// 134

50 kN 135,75 28,93

1 MN/m^2 2,51 0,07

Appendix

// Load combinations - Church Room

Snowloads are defined by the equation below: For persistent or transient design situations respectively

(teknisk ståbi s. 130) μ_i

Snow load shape coefficient

The shape of the roof influences this factor. The roof is considered to the a horisontal roof due to the inclination of 20 degrees.

1,06 C_e

(teknisk ståbi s. 130)

Exposure coefficient

Is influcened by the placement of the building - is it placed in the city center and sheltered by other construction works or placed in an agriculture area and not sheltered by any other construction works. The same applies for the vegetation. The construction work is significantly lower than the construction works and vegetation surrounding it.

1,2 C_t

(teknisk ståbi s. 130)

Thermal coefficient

The thermal properties in the roof and furthermore the amount of heat, which is estabilshed underneath the roof in the interior. determining the reduction in the snow load

1,0

S_k

(teknisk ståbi s. 130)

The characteristic snowload on the groundlevel

Depends on the local circumstances in terms of wind, temperature variation and rainfall- relationship

3,0 kN/m^2 S

http://www.snofangerkroken.no/sider/lastkalk7.php#

Snowload

3,8 kN/m^2

// 135

Appendix

Self-weight are defined by the equation below:

// Load combinations - Church Room A

Area 750

Weight

Self-weight

m^2

Construction type 0,5

kN/m^2

375

lucened by the placement of the building - is it placed in the city center and sheltered by 3m

Line Load

125 kN/m

Statik og Konstruktiv forstĂĽelse, s. 11

// 136

Appendix

Payload are defined by the equation below:

// Load combinations - Church Room

Statik og Konstruktiv forstĂĽelse, s. 11

// 137

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 138

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 139

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 140

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 141

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 142

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 143

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 144

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 145

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 146

Appendix

// Autodesk Robot Structural Analysis - Profane area

// 147

Appendix

// Autodesk Robot Structural Analysis - Profane area

fig. // Structure

// 148

fig. // Applying load combinations

Appendix

// Autodesk Robot Structural Analysis - Profane area

fig. // SLS - Deformation

fig. // ULS - Bending moment

Displacement: 10 mm Max: 69 mm Cases SLS

My: Max: Min:

10 kNm 44,18 70,35 // 149

Appendix

// Autodesk Robot Structural Analysis - Profane area

fig. // Normal forces

fig. // Stresses

Fx+c Fx+t: Max: Min

S max Max: Min

// 150

20 kN 77,37 11,84

1 MN/m^2 4,97 0,11

Appendix // Load calculations

Snowloads are defined by the equation below: For persistent or transient design situations respectively

(teknisk ståbi s. 130) μ_i

Snow load shape coefficient

The shape of the roof influences this factor. The roof is considered to the a horisontal roof due to the inclination of 20 degrees.

0,8 C_e

(teknisk ståbi s. 130)

Exposure coefficient

1,2 C_t

(teknisk ståbi s. 130)

Thermal coefficient

The thermal properties in the roof and furthermore the amount of heat, which is estabilshed underneath the roof in the interior. determining the reduction in the snow load

1,0

S_k

(teknisk ståbi s. 130)

The characteristic snowload on the groundlevel

Depends on the local circumstances in terms of wind, temperature variation and rainfall- relationship

3,0 kN/m^2 S

http://www.snofangerkroken.no/sider/lastkalk7.php#

Snowload

2,88 kN/m^2

// 151

Appendix

Self-weight are defined by the equation below:

// Load calculations A

Area 750

Weight

Self-weight

m^2

Construction type 0,5

kN/m^2

375

y the placement of the building - is it placed in the city center and sheltered by 3m

Line Load

125 kN/m

Statik og Konstruktiv forstĂĽelse, s. 11

// 152

Appendix // Load calculations

Payload are defined by the equation below:

Statik og Konstruktiv forstĂĽelse, s. 11

// 153

Appendix // Karamba

fig // no. 1

fig // no. 2

fig // no. 4

// 154

fig // no. 3

fig // no. 5

Appendix

// Light studies - profane area

// 155

Appendix

// Light studies - Church Room

// 156

Appendix

// Light studies - Chapel

// 157

// 158

Appendix

// Acoustics - Pachyderm analysis

// 159

Appendix

// Acoustics - Pachyderm analysis

// 160

Appendix

// Acoustics - Pachyderm analysis

// 161

Appendix

// Acoustics - Pachyderm analysis

// 162

Appendix

// Acoustics - Pachyderm analysis

// 163

Appendix

// Dimensions of parking area

15,5 m

2,3 m

// 164

5,5 m

// 165

MSc01 // Gr. 10

Body of Believers Gathering people together

// 166

Helene Holk Pedersen Line Larsen Lisa Germain Maria Vittrup Thomsen Ole Allin EgebĂŚk