Hatlehol Parish by Pavlina Sedlakova

hatleholparish _PROCESS_ MSc01 ARC group 6 december 2014

HATLEHOL PARISH

project period: 20.10.2014 - 17.12.2014 institute: Aalborg University department: Architecture, Design and Media Technology course: 1st Semester MSc Architecture & Design module: Tectonic Design: Structure and Construction

David Drazil

Calina Manisor

supervisor: Claus Kristensen technical supervisor: Dario Parigi group: 6

Pavlina Sedlakova

Nadia Skraeddergaard Frydkjaer

Helle Toft

ABSTRACT

With departure in Nordic traditions, this research is concerned with the design of a new Church complex in the nearby proximity of Alesund, Norway. The present booklet encases a variety of studies concerned with not only the physical environment of the proposed site, but also metaphysical experiences triggered by different factors. By dwelling upon a tectonic approach, the synopsis of the conducted research outlines a dynamic preliminary proposal for the Hatlehol Parish, proposal that harmoniously merges the construing with the constructed.

CONTENTS

ABSTRACT

CONTENTS

METHOD

INTRODUCTION

ANALYSIS the site nordic approach tectonic architecture the protestant church case study 1 - place to sit case study 2 - light

12 14 20 22 24 26 30

ANALYSIS OUTCOMES the vision the concept the principle

34 36 38 40

DESIGN DEVELOPMENT complex placement functional division

42 44 46

phenomenology geometry fragementation morphology development path courtyard preliminary acoustics structure study structural principle preliminary statics facade development church seating bell tower

48 50 52 56 58 60 68 70 76 78 82 84

CONCLUSION

REFLECTIONS

REFERENCES bibliography illustrations list

90 90 92

APPENDIX surveys facade development sketches precipitation diagrams

METHOD

PROBLEM BASED LEARNING This method of learning is based upon a hypothetical problem, which is controlling the project and the appropriation of professional skills of the student. It is a lecture of active learning. With this method a solution oriented project procedure with the students own capability of sourcing lecture regarding task solving is in focus, which gives a constant altering between practical training and theory. Within the right settings the project task is started with a formulation of the problem which afterwards is treated by means of different academically methods. INTEGRATED DESIGN PROCESS With integrated design a lot of aspects are taken into account, which are incorporated in the ﬁnal solution. The method is a synthesis between problem-based learning and professional knowledge from both design and engineering ﬁelds. The design is constantly optimized through iterations, which is leads to a repetitive process. The method is undergoing 5 phases during the project process: problem phase, analysis

phase, draft phase, synthesis phase and presentation phase. A knowledge through analysis is achieved, which is afterwards used for preparation of a programme. This programme encases the vision, parameters, suggested solutions, all dwelled upon since early phases of the problem analysis. Nonetheless, the proposed solution takes this programme into account, which is acts as a catalyst for the design process. Architectonic and functional demands are merged during the synthesis phase. The final report is finalized during the presentation phase with presentation of the final design through pictures, diagrams, textures and calculations. STRUCTURE ANALYSIS This is an objective analysis which in 2D will map the structure of the context. Aspects such as infrastructure, building structure and green and blue areas are stressed. The method is used in order to get an understanding of the composition of the site through individual elements. Through this division the method gives a deeper understanding of the site.

MAPPING Mapping is used to highlight speciﬁc elements or features on a map. In the following project this is the method used to identify the placement of circulation routes and the instances found in the nearby vicinity, such as the cemetery, the fjord and the mountains PHENOMENOLOGY ” The doctrine of which proves one‘s consciousness” is the deﬁnition of phenomenology. It dwells upon the subjects’ experiences. With this method it is only possible to experience objects through empathy and interpretation. It is thereby not possible to experience from the distance. All immediate measurable, sensuous and detectable values that can be made on an object are not included in the phenomenological analysis. It is the subject’s experiences which are in focus. The method is seeing the body as the experiencing tool, though a subjective understanding and identity.

INTRODUCTION

PREFACE This project has been created by GroupÂ 6 of the 1st semester Master of Architecture & Design Programme at Aalborg University in the autumn of 2014. The project module follows the semester theme of Tectonic Design and Nordic Architecture, while introducing the assignment of designing a new Church and Community Centre in the area of Hatlehol near Ă&#x2026;lesund, Norway. BRIEF The objective of this project is to develop an architectural solution to the given brief

while encasing a tectonic approach on the design. Nonetheless, the proposal shall be comprised of an innovative structural and an accurate architectural design, while ensuring continuity and integrity between form, material, structure and construction. The ambition is to dwell upon Nordic traditions in relation to new innovative design of structure, use of materials and means of construction in contemporary architecture. The design of the Church should take into consideration the qualities of the site and heighten the experience of the surrounding landscape, also providing a local landmark for the community and place for coming together in times of sorrow, doubt and joy.

ANALYSIS

THE SITE

alesund, norway

Hatlehol, region situated on the Western coast of Norway shall provide the site for the current project. At a morphological level, the given site is framed by the mountains on the North and opens up towards the fjord on the South. However, at a metaphysical level, though the function of the complex placed within, the site shall frame a sacral processional route for the human existence, from the tradition of the baptism to that of the burial ceremony.

PLACEMENT

conceptual diagram of the site showing _main vista _surroundings _sunpath 15

AREA CONSIDERATIONS

north-south section of terrain and the site 20m

15m

10m

pine trees

decidous

tree heights 16

CLIMATE

In order to design engaging outdoor areas it is necessary to be aware of the climate aspects speciďŹ c to the site. Therefore a number of sun and wind investigations have been conducted. WIND

wind directions

Because of the site location, close to the coast, it is essential to observe parameters such as wind velocity and wind direction. The conducted analysis revealed that the wind direction is usually from the SouthWest. However there is need to consider the North-West direction of the wind as well. The site is enriched with numerous types of vegetation, which can partially absorb the strong winds. It is therefore relevant to keep some of the existing trees on the site, or in other cases create shelter for comfortable outdoor spaces.

SUN The hours of natural daylight are various through the seasons. Long, white summer nights are transformed in wintertime to only a few hours of sunlight. The low angle of sun rays provides long shadows on the grounds of the site. These changes of sunlight will have impact on the experience inside the Church and its surroundings. Summer evenings emanate a diffuse light and it could be relevant to use white, indirect light from the North in order to emphasize on a feeling of ascendance. PRECIPITATION This location is also characteristic for high level of precipitation, both rain and snow. [see APPENDIX for more diagrams]

sun light 17

CIRCULATION

residential

nature

cemetery

acoustic distress from main street

bus stop bus stop

site directions

site access

on-site circulation

The proposed site has an area of approximately 18770 square meters. To the East, the site opens up towards the cemetery, the North vista frames a view of the surrounding mountains, while in the South-West one comes across a small residential area. A main road frames the Northern boundary of the site providing several possibilities for access. Moreover, the western boundary of the site is given by a narrow water stream. The site height culminates with a peak point, the peak point, currently used for outdoor ceremonies and events. As a result of the analysis of the given location, as well as taking into consideration the requirements given in the brief, the existing parking lots are not sufďŹ cient for the new complex, and better access from the bus stops shall be provided. peak point

water on site

NORDIC APPROACH

Nordic values and traditions in architecture are connected with materials, craftsmanship, detailing, simplicity and, particular in Norway, the relationship with nature. Here architecture has to adapt to the tempestuous Norwegian conditions.

to change, and has in recent years witnessed a small revolution. Architecture is no longer an intimate matter, but an international sensation.

In the last 40 years the Norwegian economy has experienced an upturn. Nordic values and identity are now threatened by wealth, consumption and luxury. The Norwegian cabin is close to the size of a new apartment, while the maintenance of the individual simple country life disappears [Melsom, 2012].

Moreover, Nordic architecture is about creating functional, human scaled buildings, while using good materials such as timber, so that the beauty of the building changes though time. Simplicity permits architecture to be expressed in a clear and powerful way. This can be achieved by building in a honest way, taking into account the human comfort, the choice of materials and especially the craftsmanship [Sheridan, 2011].

The way in which the Norwegians experience the relationship with nature and with the traditional country-life can be revealed in the architectural culture. The real luxury in the Norwegian spectrum admits to a simple life, that focuses upon a close contact with the spectacular Nordic nature, placed in the open countryside far from the city [Melsom, 2012]. Nowadays, Nordic identity is subject

Architecture which is designed by taking into account the human scale has a positive impact on the individual in the daily life. Architectural quality is evaluated in the detail, where experiences, atmosphere and the composition of materials are integrated into the space in both the interior and exterior of a building. The created space should therefore be able to both frame, yet also

be framed by the living context [Sheridan, 2011]. The small scale, the human scale, is important in the Nordic approach, where the texture and the richness of the historic surroundings are retained in close contact with nature. Honesty in the choice of material and form is directly connected to simplicity and good craftsmanship. Moreover, light is also an essential factor in Nordic architecture. Through the seasons, signiďŹ cant changes in shadows, light and darkness exist. It is therefore important to consider how light is implemented throughout the proposed architecture. Keeping these considerations in mind, the proposed Church complex shall exhibit simplicity, encase the human scale, create a background for the human existence and relate to the local beauty of the nature.

1. bagsvaer church 2. goteborgs townhall 3. split view mountain lodge 4. juvet landskapshotell 5. oslo opera house 6. reindeer pavilion 7. viipurin library

TECTONIC ARCHITECTURE

By dwelling upon a tectonic approach, the simultaneous existence of both the arts and the crafts [Frampton, 1995] is raised to the highest level of design ambitions. Therefore, the architect, referencing the image of the master builder, is now in command of not only the art of building the gesture, but also the way in which the architectural intention is to be constructed - the principle. Moreover, as Frescari [1984] stresses in his ‘Tell the Tale Detail’ it is the detail that conﬁrms architectural greatness.

The art of detailing is in reality the joining of materials, elements, components and building parts, in a functional and aesthetic manner. It is this particular aspect that has driven the architectural decisions made within this proposal for the Church complex in the Parish of Hatlehol, Alesund. Therefore, in the expression of our proposal, the concept is expressed through an honest approach on the structural system of the Church complex by appealing to single frames, connected through a clearly deﬁned system of folded plates, consequently delineating the movement of ascendance.

Nevertheless, the choice in material sustains the aspiration of creating an inviting environment through its texture and strain, while the particular grain of the chosen material accurately meets the structural requirements recommended by the loads activated by the local climatic conditions as well as the geometry of the proposal. In essence, it has been our design ambition to propose a design that not only answers to matters of conceptual thinking, but is also structurally clear.

8. sendai mediatheque 9. haesley nine bridges golf glubhouse 10. canova museum 11.st. genevieve chapel 12. st. benedict chapel 13. gare de saint-exupery 14. archery hall and boxing club 23

THE PROTESTANT CHURCH

Looking back throughout history, Christianity as a new faith has been accepted by Roman emperor Constantine in the year 313. They started to call themselves Catholics,originally Greek Katholikos symbolizing the universal belief. This name compressed the entire Christian Church. This union of Christians lasted until the year of 1054 when the ďŹ rst separation in Christianity has occurred and both the Roman Catholic and the Orthodox Churches have been established. During the centuries, the Roman Catholic Church has added many doctrines and proclamations with no background in the Holy Bible, therefore the power of the Church has grown. In the 16th century, during the Church reformation, Protestantism was established as a new, independent movement within Christianity. Nowadays, protestantism is the most common faith in the Anglo-Saxon world.

The are a number of differences between Protestants and Catholics. Both believe in the same God, however having different priorities and hierarchies. For Protestants, the Bible is the highest authority, this contrasting the Catholics who honour both the Church institution and the Bible.

Since Protestants do not dwell on a close connection between Church, faith, and the actual building, they are more open to contemporary architecture. Hence, the existence of numerous examples of new Protestant Church complexes combined with community centres.

Therefore, it can be assumed that Protestants express their faith more through spiritual than physical means. The Church is understood as a place for spiritual ceremonies and as a meeting place for the community. This is contrasting to the Catholic beliefs. Even though the relationship between the worshipper, the Church (building), the Church (institution) and God is different for Catholics and Protestants, Sunday services share a great number of similarities. Usually, Catholic services have more formal and traditional parts than the modern and somehow informal Protestant liturgy.

Devaluation of sacred functions in contemporary architecture can be seen mostly in the US environment, however it is likely that this trend can affect European traditions as well. The consumer society has been spread all over the world bringing cheap materials and characterless form. This is why we need to try bring more transcendence and spirituality to Church design and include inspiration from traditional techniques of achieving this. We shape our buildings, and afterwards our buildings shape us. Winston Churchill

CATHOLIC CHURCH

PROTESTANT CHURCH

_still old-fashioned _seeking after â&#x20AC;&#x153;church looking like a churchâ&#x20AC;&#x153; _C-church - both spiritual and physical means _connection to the building - church = permanent, branch of Church _verticality, transcendence, big scale _stronger conception of hiearchy, priesthood _standardized, stylized, formulaic liturgy _integrated with architecture _sacralization of tradition

_connected to modern era, rational, informal _open to contemporary architecture _c-church - more spiritual than physical means _connection to the community - church = meeting place, can be changed or moved _connection to the transcendent is unvalued or is of a purely spiritual nature _clearly a core function of sacred architecture is lost _treating everything as common _contemporary, informal liturgies

CASE STUDY 1 PLACE TO SIT

A series of brief investigations have been made into the design of outdoor sitting areas. These investigations have revealed a number of interesting examples of how controlled landscape can respond to the gesture of sitting, while at the same time encase a feeling of safety and connection to the natural landscape. The following text encases a short study of the city garden in Jomfru Ane Park, Aalborg, and its effect on the sensorial experiences of its users.

16. swarthmore college amphitheater 17. jomfru ane park 18. storaa stream 19. yokohama ferry terminal 20. wide stepts 21. rio park

The city garden in Jomfru Ane Park, Aalborg has been chosen from the previous examples as an accurate demonstration of successful dynamics between sitting places and natural landscape. The chosen project fulﬁls the intention of safety and invitation, gestures included in the formulation of the Hatlehol Parish proposal, as seen later in the booklet.

placed in beds framed with corteen steel. The park is framed by circulation routes on both longitudinal sides. To the North and the fjord are the pedestrian and cyclist routes, while the main road is situated on the South of the site. Along the harbour, one can come across seating areas with a careful design and choice of material considered for the coating.

The garden is located in the central part of Aalborg Harbour, and has been designed by C.F. Møller Landscape architecture practice in collaboration with Vibeke Rønnow Landskab [Cfmoller.com, 2014].

The garden is lower then the ground levels, access being provided through stairs made of wooden planks, which invite the visitor to sit due to the use of a warm material. Although the park is lowered by only two steps, the difference in height creates a new atmosphere and a sense of safety occurs. Through the use of just a few steps, the frame for a new spatial quality is created. The texture of the

The garden is arranged for sitting as well as activities, and is provided with a controlled landscape where grass, ﬂowers and trees are

used materials, the detailing in the joint and the craftsmanship emphasize the gesture for the sitting areas. Dwelling on the above mentioned aspects, the landscape around the Church proposal shall also aim to invite the visitor to take a sit on the benches formed by the lowering level of the inner courtyard. The inner courtyard is moreover intended to carry the function of an amphitheatre, inviting the visitor to enjoy the surrounding nature and reﬂect upon his or her inner thoughts.

24 22-24 jomfru ane park

CASE STUDY 2 LIGHT

Light has been chosen as the second case study. The reason for choosing this gesture is its intimate integration in both Nordic and Sacred architecture. The analysis shows that light is not only used to brighten inner spaces, but is also a strong architectural tool, which can greatly emphasize the genious loci of a place, along with its spatial gesture and impression.

25. c.e.i.p. multiuse room 26. hyvinkaa church 27. kuokkala church 28. kamppi chapel 29. aarhus townhall 30. s.m.a.o.

The images on the right represent the Chapel in Valleacerón project, designed by Sancho-Madridejos Architecture Office (S.M.A.O.) in Ciudad Real, Spain. The Chapel is part of a series of objects placed within the landscape, designed by using the principle of folded boxes. Each of these objects carries an original impression such as symbolism, silence or privacy. The concept then uses the fold as a hidden generator of different spaces. In this particular case, the Chapel lacks artificial lighting, however the natural light still plays a significant role in perceiving the geometrical form. It is treated as another material contrasting to the golden concrete

used for the whole structure. It is important to notice this elegant and reciprocal relationship between material and light. Although contrasting, they work best together, by complementing each other. The Church room in the Hatlehol Parish proposal aims in manipulating the light in a very similar way. The light is intended to be introduced in the inner spaces indirectly, while supporting the typical dynamic shape of the building. The structure shall be created in a manner which emphasizes the movement of ascendence to the highest peak, and light should be let in in such a way that it highlights the altar wall.

33 31-33 s.m.a.o. chapel

ANALYSIS OUTCOME

With departure in the previously mentioned site analysis and phenomenological observations, a poetic narration has been outlined. This proposal comprises a tectonic approach related to the holistic view on architecture, where the constructed and the construing are merged together to form a cohesive solution that identiďŹ es itself with the existing surroundings. Therefore, the proposed concept relates to the human scale in referance to the organic morphology of the site, while the principle seeks to assess the human perception in relation to the beliefs speciďŹ c to the sacred environment. This chapter delineates the intended vision, concept, and principle that inspired the proposal for the Hatlehol Church complex.

THE VISION

A new iconic landmark shall adorn the site at Hatlehol, and be accommodating for the citizens of the region.

A Nordic approach shall be obtained through the choice of materials and the clear composition of the structure.

The building complex shall clean the site, while preserving the existing natural context. Axial paths leading to the mountain placed on the North, residential area towards the South, and the cemetery in the East shall be outlined as to emphasize the relationship between the surrounding existential instances and the proposed site.

Moreover, a warm atmosphere shall be achieved both withing the complex and around its surroundings through the chosen materials and volumetric shape.

The building complex shall resemble a traditional guildhall for the local community, having both indoor and outdoor activity spaces.

Nevertheless, the Church room is one of the most important rooms of the proposed complex and shall be designed to radiate ceremoniousness and a feeling of ascendance.

_iconic, honest and inviting church complex _landmark emphasizing axis to the nature, residential area and cemetery

_clean the site and keep the morphology as it is

_create warm and peacefull atmosphere with the feeling of ascending and cermoniousness

_take the landscape into consideration and protect from the wind

THE CONCEPT

Having the aim of creating a harmonious movement around the given site, movement which encourages the visitor to engage with the natural surroundings in an unfractured manner, the organic expression of the spiral has been considered, as a result of the previously driven analysis. A shape so easily recognizable in the existing natural fabric of the site, and derived from the radial decrease in importance of the nucleus point of the site represented by the highest morphological point - the peak. Keeping in mind the results of the analysis mentioned previously within this booklet,

a spatial reorganization of the site through organic spiraling has been proposed. Therefore, the proposed morphology will emphasize the main access points from the South and East borders of the site. Moreover, the deďŹ ned â&#x20AC;&#x2DC;peakâ&#x20AC;&#x2122; has been used as the focal point of the complex layout. Hence, our concept places the organic spiraling expression at the beginning of the design process, thus opening rich possibilities for architectural design and construction.

conceptual diagram showing movement around the focal point

THE GESTURE

Dwelling upon the main concept, which is deďŹ ned as the wish to achieve clear morphological conďŹ gurations using organic movement around a focal point, the layout principle has been divided into three categories, experienced as a processional route along the site. Therefore, from the exterior of the complex, the undertaken design decisions work towards inviting the visitor to the inner courtyard of the venues. Here, the visitor is

encased in a safe environment, protected from distress factors present on the site at a tangible level. [wind and noise] Moving along this processional route, the viewer reaches the inner chamber of the Church, where the feeling of ascendance is expressed through the construction of the room.

invitation

safety

ascendence

exterior of the complex

interior of the complex

interior of church

DESIGN DEVELOPMENT

The outcome from the analyses is taken into consideration when dwelling upon the design and geometry of the proposal. A tectonic approach is intended through requirements such as the shape, the aesthetic, the structure and acoustics of the encountered complex. When designing in an integrated way, various examples are tested and optimized though a trial and error method, as all elements must work as a whole.

COMPLEX PLACEMENT

Initial site analyses played an important role when considering the complex placement on the proposed site. Therefore a number of considerations have been stressed when it came to deciding the on site position of the proposal. Placing the complex on the Northern bound of the plot has been found unwise because of acoustic distress directed from the main street. However, placing it too much towards the south, where the terrain is at its lowest level, would have resulted in lack of visual connections with the rest of the site and with the points of interest, as well as provide no possibility for ascendence towards the Church. Therefore, the middle part of the site is ideal, because it offers great connection to the cemetery, providing interesting views and includes the peak point, focal point for the proposal.

_acoustic distress from the main street

_lack of visual continuity _no possibility to ascend

_complex preliminary placement _the focal point included _connection to cemetery

FUNCTIONAL DIVISION

The bubble diagram of functions presented on the right is a powerful conceptual tool, essential to use in the beginning of the design process, when thinking of functional division. It is very helpful especially when creating reasonable relations between functions. In the case of our proposal, all required spaces are divided into three categories according to functional relations. This division into three established the thought of having three separate volumes in the morphology of the Church complex, each building encasing one of the three functional categories. For instance, all sacred functions are merged into one volume, undoubtedly accompanied by rooms of more technical purpose.

sacred functions sacred functions

church’s common functions

church’s common functions administration and other functions administration and other functions Refuse

Kitchen Technical room

Chapel Congregational hall

Mezzanine Cloister room

Sacristy

Additional sacristy

Laundry room

Technical room

Workshop

Church room

Toilets

Meeting room

Sacristy for Baptism

Storage

Offices

Meeting room

Children’s chapel

Cloakroom Storage Entrance hall Toilets

Music room

Church hall Class rooms

Activity room

table 1. functional division 47

PHENOMENOLOGY HEIGHT AND DISTANCE

The church is desired to work as a landmark, while at the same time relate to the human scale.

Observations on how a person feels when standing outside buildings with different heights are also made.

Therefore, a study of the phenomenological interpretation of various buildings and their heights is provided. Moreover, an analysis of distances between building volumes is considered, the latter being used in the understanding of what is acceptable with respect to the human scale.

Therefore, by taking the previously mentioned surveys into consideration, the choice of using a height between 20-25 meters has been made. By choosing this height, the proposal will not only serve as landmark and icon in the Hatlehol Parish, but also create a sense of ceremoniousness for the inner space of the main Church room.

With consideration to the interior of the Church room, the height is designed as to inspire a feeling ascendence towards divinity. Therefore, the ceiling heights of the atrium space in Nordkraft, Aalborg are measured as these are rooms with different heights and can give an impression of the spacial quality of chambers with different heights.

The non-sacred volumes of the building complex need not be the same height as the Church room, as the meaning of ceremoniousness does not need to be attached to these other functions. Consequently, the latter must be kept in the human scale, having the aim of achieving a height of no more then max.Â 10 m.

34. nordkraft 35. atrium in city campus aau 36. pedestrian street aalborg 37. larsen waterfront 38.viborg cathedral 39. city campus and larsen waterfront

GEOMETRY FRAGMENTATION

The comparison table on the right shows a preliminary approach concerning the design of a preliminary geometry of the complex. It reveals a veriety of compositional options on how to gradually achieve better conﬁgurations with consideration to different requirements. A planar circular shape is chosen as athe strating point of the design, as it embraces the principle of safety, stated as a requirement in the earlier stages of the project development. Nonetheless, the conducted model studies have shown that, by using curved surfaces, a sense of peacefulness is achieved.The initial shape shall further be adjusted acording to a number of requirements gained from site analyses.

It is important for the phenomenology of this proposal to create a safe place, which would invite the visitor inside, while at the same time open to vista directions, as well as frame the nature beyond the vistas. Together with adjusting the position in plan regarding the topography of the site and the peak point, the ﬁnal geometry of the fragmentation has been resulted. Indubitably, the resulted form has acted as just an abstract idea, but it did help concretize the complex´s interior-exterior relations, which were then veriﬁed by making physical models.

log

table 2. morphology considerations

mp lan lem ds en ca tin pe g

co vis mpli ta anc dir e ec wit tio h ns sp ati a wi l di thi vis n s io ite ns rel a foc tions al hip po int to sh no elte ise rin an g fr d w om ind

MORPHOLOGY DEVELOPMENT

Continuing the design process, in an effort to make progress with both acoustic and structural issues, the need to verify the spatial ideas by making physical models in scale and place them in the site has been stressed. The right side sheet presents a series of images of ďŹ rst trial models, used in achieving the desired spatial gestures by using one, three or four volumes. The form has either been edgy, curved or combined. The main considerations have been derived from all requirements obtained in the analysis so far. [see APPENDIX for detailed surveys]

CONSIDERATIONS: wind protection relation to the peak connection between buildings potential to be a landmark/icon invitation / safety / ascendance table 3. volumetric development

This phase of geometry development and form finding has been comprised to two architectural solutions, seen on the next page. The proposals share a lot of common values, such as a similar language of form, the division into three volumes or the use of a continuous roof surface, as well as inviting entrances to the inner courtyard from the directions of the parking lot in the South and the cemetery in the East. The main difference is in the shape of the inner courtyard, which is strictly circular in the first option and elliptical in the second. However, the circular configuration does not

emphasize on the importance of the peak point very well. Nonetheless, the ﬁtting of the needed spaces within this geometry, taking into consideration the dimensions stated in the phenomenology study do not recommend this shape for further usage. On the other hand, the elliptical geometry is more dynamic, having the longitudinal axes of the ellipse stretching from the peak point to the cemetery. Moreover, the shape of building is more suitable for ﬁtting the required functions. Conclusively, the elliptical alternative has more advantages and bigger potential for further development.

_plan

_birds perspective

_eye level

table 4. volumetric proposals

PATH

Since the whole complex is divided into three separate volumes, an open courtyard between the proposed volumes has been considered. A strong visual connection overseeing the buildings is already ensured by the building shape, as well as the continuous roof surface. The idea of interconnecting the complex by using a sheltered path for pedestrians, bringing more comfort in the usage of the inner courtyard, has been considered. Several trials and iterations have been made in order to analyse the right form of these paths, as can be seen on the right. However, each option comes with many disadvantages for the proposed complex

concept, such as letting less light in the interior courtyard (due to the structure of the shelter), blocking the otherwise inviting entrances to the complex, as well as duplicating the interior corridors. Moreover, some of the considered options break the main path from the South and worsen the visual connectivity throughout the complex. Therefore, it has been decided to move away from the idea of a sheltered path, and only suggest the existing of this route through materials used at ground ďŹ&#x201A;oor level.

formal development

COURTYARD

The space created between the three proposed buildings of the complex plays an important role for the initial conceptual considerations of ‘invitation’, ‘safety’ and ‘ascendance’. This interior courtyard culminates with the ‘peak point’ of the site, which acts as an attractor by arranging the radiant space under the form of an amphitheatre. The courtyard is divided in two circular areas, inﬂuencing the movement around the site by conducting the circulation ﬂow in a more dynamic arrangement through the use different heights. The axis dividing the interior courtyard is intended as a connection from the parking lot to the most sacred venue of the complex: the Church room. Dwelling upon the differences in height of the two instances of the courtyard a double movement can be perceived.

Therefore, while the western court is defined by a movement of descendance completed by the peak point which acts as a stage, the Eastern court is characterised by an ascending movement. Both movements are achieved through the used of accentuated steps which invite the user to experience the site. The intention of having accentuated steps is justified by the double use of these elements. Therefore, the steps are not only as a means of circulation, but also as sitting areas. Moreover, flexibility in the use of the two courts represented the main objective in the design process. Therefore, the spaces can host a multitude of different activities such as outdoor religious ceremonies, weddings or Sunday markets.

courtyard development

PRELIMINARY ACOUSTICS

Acoustic investigations played an important role in the design process. While using acoustic analysis as a design tool at the very beginning of the geometry development, essential errors related to acoustics can be avoided. Preliminary research has been mainly focused on evaluating different wall conďŹ gurations - parallel, non-parallel, and curved walls. All of the above mentioned were enclosed by a double-curved roof to explore acoustic behaviour in combination of convex and concave shaped surfaces. A ďŹ&#x201A;oor area of 750 m2 met project requirements. The maximum height of the exploratory volumes is 17 m. The software used for acoustic investigations has been Pachyderm Acoustic 1.7.

GENERAL CONSIDERATIONS

DOME-LIKE SHAPE

CONVEX SHAPE

CONCAVE SHAPE

DOUBLE-CURVED SHAPE

Sound is reflected back to the source, which is positioned in the middle of the space. Reflected sound is focused to one area and therefore this configuration is not suitable for larger audiences.

In this case, sound is reflected to the audience. However, distribution of reflections is focused and again not suitable for larger audiences.

This shape has very good acoustic behaviour - sound is distributed to different parts of the space and provides larger audience with the same perception of sound.

Hyperbolic paraboloid was used for this experiment. With a coherent design, concave direction distribute sound whereas convex shape helps to focus sound to the audience. This surface was has been rated in the process as the one with greatest potential to fulfill architectural concept.

FLAT SURFACE

FRACTURED SURFACE

OPENED CONFIGURATION

CLOSED CONFIGURATION

Flat surface which is not paralell to the floor can distribute sound quite well. In case of bigger spaces there is a risk of Hass effect which occures if the difference between direct and first strong reflected sound is larger than 17 meters.

Fractures can help the distribution of the sound with back reflections. With a good configuration sound can be directed back to the audience and the risk of Hass effect is lower.

Opened configuration of non-paralell walls is usually used in open air spaces, such as amphitheatres where the sound can not be reflected from the ceiling. It is not recommended for interiors.

Converging arrangement of the space can direct reflected rays to the audience and the time difference between direct sound and first strong reflection can be shorter. This configuration is recommended for interiors.

FLOOR GEOMETRY RESULTS

logarithmic energy time curve

time (seconds)

C80 G T30

0.71 to 4.66 4.18 to 7.08 dB 1.25 to 1.82 s

logarithmic energy time curve

time (seconds)

C80 G T30

0.07 to 3.53 5.25 to 8.49 dB 1.51 to 2.17 s

NON-PARALELL WALLS

sounds pressure level (dB)

logarithmic energy time curve

CURVED WALLS

sounds pressure level (dB)

PARALELL WALLS

time (seconds)

C80 G T30

1.13 to 5.1 2.88 to 5.79 dB 1.34 to 1.9 s

Sound can be perceived in various ways depending on a number of aspects, such as the strength and type of the sound, the position and age of the receiver or the intended experience of the space.

it is important to know these acoustical parameters, be aware of their possible impact on the designed environment and use this knowledge in order to achieve desired ambiance.

Subjective parameters, as for instance loudness, intimacy, clarity, or reverence [persistence of sound in space] can only be evaluated in real standing buildings. This meaning that there is a lack of objective or measurable parameters which one can use for calculations and evaluations while the design is still in progress.

For the presented acoustic evaluation, three “objective” parameters and their magnitudes have been chosen. Reverberation time (RT or T-30) symbolizes the persistence of sound in space. The recommended values are in a range from 1.4 s to 2.2 s. Designed values at the end of the process are ideal to be around 2 seconds - a lower value being more suitable for conference rooms or small theatres, while higher values are characteristic for spaces such as Cathedrals.

For this reason, acoustic perceptions have been investigated and new “objective” parameters were established, having recommended values for different types of spaces. This division according the function of a space is meant to help the designer in choosing the right magnitudes for the evaluated parameters. Unfortunately, this is still not enough - reaching the recommenced values does not lead to the undoubtful success in a subjective evaluation. Acoustic conditions has always been a matter of subjective perception of the space which combines all senses. However,

The architectural intention is to achieve a sacral feeling, yet relate to the human scale. Taking into consideration materiality, reflective flooring such as stone or concrete can help with creating the desired reverberation. “When a musician speaks of “definition” or “clarity”, he means the degree to which the

individual sounds in a musical performance stand apart from one another.”[Beranek 2004]. The recommended values for clarity (C-80) vary, meaning that this parameter will still remain subjective. Designed values should be in a range from -3 to 0 [Beranek 2004]. “Values for sound strength (G) should be from 4 and 7.5 dB for large symphonic spaces and higher for chamber music.” [Beranek 2004]. According to this statement, designed values should vary from 4 to 10 dB. This preliminary analysis indicated all three evaluated volumes have a potential for good results. The energy curves are almost linear and they are close to requirements for reverberation time (decrease in sound intensity of 60 dB in 1.4 to 2.2 seconds). However, the spikes on the curve for the rectangular plan signalise echoes. These ﬂutter echoes could be caused by the sound reﬂection between parallel walls. Curved and non parallel walls were assessed as the best options or further development.

PACHYDERM ANALYSES RESULTS

According to preliminary results, curved and non-parallel walls were chosen for further development of the shape. Models are evaluated in 6 frequencies representing various sound sources from priest (speech) to music instruments. For basic evaluation and comparison, materials are assigned only to the general shape - audience and furniture are not taken into consideration. This is reďŹ&#x201A;ected for instance in the lenght of reverbation time - when audience is introduced, the reverbation time is shorter because of a higher absorbance level. For this reason, results for RT are considered as satisfying when magnitudes are slightly above 2 seconds.

The altar wall is introduced not only as an architectural element - acoustic analyses demonstrate that with the same position of source and receiver, different result are achieved. By placing a convex wall behind priest, the sound is directly reﬂected towards the audience. It is clear that small changes in the degree of curvature have a signiﬁcant impact on the acoustic results. For complete results, it would be necessary to introduce a higher number of acoustic receivers in the simulation, in order to substitute the whole auditorium. table 5. altar wall configuration

By using the parametric deﬁnition of the shape made in Grasshopper, various geometry iterations can be analysed in Pachyderm Acoustic. A number iterations containing different surface fragmentations were investigated. The best acoustic results have been achieved when using a slightly fragmented geometry. Nonetheless, this conﬁguration of fragments has the best impact on the light and facade design as well. table 6. outer wall iterations

The final geometry has been evaluated in three different instances. The first row represents values for sound source in front of the curved wall [priest]. Almost all values are in the desired range. The second row represents the organ and choir placement, which are situated on the mezzanine floor. Values for sound strength are slightly higher than recommended magnitudes for “large symphonic spaces” [4 to 7.5 dB] but they are still in the acceptable range - around 10 dB. The structure and audience are introduced in the last evaluation. table 7. final geometry

GRAPHIC ACOUSTICS

Preliminary graphic acoustic analysis for the basic shape shows that the difference between trajectory of direct sound ray and trajectory of ďŹ rst strong reďŹ&#x201A;ection is always less then 17 meters. This distance corresponds to the time delay of 50 ms which can be recognized by the human ear.

the haas effect graphic analysis

CONCLUSION

The acoustic analysis has turned out to be inseparable part of the design process. It is considered to be relevant especially when designing a space with high priority on intended ambiance such as churches and congregational halls. Results from preliminary acoustic analysis been used for further development of the church room design to achieve plausible tectonic solution.

STRUCTURE STUDY

A ruled surface is a three dimensional construction achieved as a result of sweeping a straight line. Ruled surfaces are often the inspiration for curved hyperboloid structures that can be built from a latticework of straight elements. The proposal for the Hutlehol Church complex stresses upon the use of such a geometry in the composition of the roof structure. Often named the ‘moving line’, the geometry of the ruled surface enhances the

conceptual gesture of the inner space of the Church room, by emphasizing the idea of continuous ascendance towards God. Moreover, the use of such a geometry reﬂects both the rough edges of the existing architecture of the surrounding settlements, as well as proposes a new architectural form inspired from organic shapes found in the poetics of the framed nature surrounding the given site.

_acoustic distress from the main street

_lack of visual continuity _no possibility to ascend

STRUCTURAL PRINCIPLE

Process of designing the appropriate load bearing structure harmonious with the concept involved number of experiments with different principles. By investigating positive and negative attributes of various structural systems, subsequent synthesis of them was possible. Final structure takes beneďŹ ts from previously analysed options, while tectonically cooperating with the other components of the design. By investigating possible solutions of spanning over large distances, two basic principles were established. One contains supports in the middle of the span, second keeps the space free. This option corresponds better with desired ambience of the chamber, because there is no functional need for additional division. Various tools were used for investigations in this process, such as sketches, sketch models, Grasshopper, and Karamba FEM plugin.

structure itterations 71

DESIGN PROCESS - STRUCTURE

STRUCTURE EVOLUTION

frame iterations

intersection frame iterations

folded plate iterations

simple frame iterations

PRELIMINARY STATICS

This section stresses upon a preliminary static analysis in the FEM plug-in KARAMBA of potential structural systems present in the complex Church room. The proportion of the frame elements analysed within this section are in strict correlation with an accurate dimensioning of the interior of the Church room, dimensioning that supports the initial concept of ascendance and sacrality. The applied loads are combined according to ULS formula containing the self weight of the structure, as well as the wind-load and the snow-load speciďŹ c to the geographical placement of the site.

At a preliminary stage, by looking at the maximum and allowable displacement results for the 3 structural solutions outlined in the diagrams placed on the right hand side, it can be stated that the high magnitude of the bending moment present in the upper chord can be solved in more then one way. A plausible solution is not only though the use of extra bars supporting the latter, but also by increasing the size of the basic frame components as well as making the joints between these elements rigid. However, as a tectonic approach on the design of the Church has constituted the main objective of this proposal, the decision to chose the simple frame for further development has been made.

simple frame

added support

added connection chords

_withstanding the bending moment _rigid joints _enlarged sections of structural elements _clear outline of design

_withstanding the bending moment _even distribution of loads _fragmentation of interior continuity

_withstanding the bending moment _even distribution of loads _obstruction of intended ascendance vista

FACADE DEVELOPMENT

Facade has been developed harmoniously with the tectonic approach of the whole project. The idea presents a solution of problematic parts of basic shape by introducing more detail to the vast surface of roof and outer facades. Therefore, surfaces of roof and walls make up one entirety using the same principle of detailing. Looking from exterior, facade and roof of the church room has been fractured into segments which has been lifted up. This discontinuity has brought light into interior and improved acoustic performance of the space at the same time

Implementation of this principle emphasizes desired movement around the focal point stated in the concept at the initial stage. Departing from the profane end of the complex conďŹ guration, facade keeps the rythm of vertical segmentation. Lenght of segments grows gradually towards the sacral volume stressing the importance of dedicated inner functions in single objects. Timber cladding naturally reďŹ&#x201A;ect structural system to the exterior. There are several ways of facade installation, however, emphasizing of verticality forms the most plausible solution.

initial shape

shingle pattern

rise of segments

adaption to the shape

horizontal planking

more ďŹ&#x201A;owing geometry

correct orientation, emphasizing the movement

vertical planking

WINDOW PLACEMENT VARIATIONS

“boring, too serious”

“playful, not emphasizing the form”

“not far from the ﬁnal”

[see APPENDIX for further details] 80

PRINCIPLE OF PANEL JOINTS

There are two essential principles of assembling the structural insulated panels (SIPs). Joint of two planar element is made either of wood lath or by inserting additional OSB plank. The second option eliminates cold brigdes to minimum while keeping the same structural effectiveness. Corner joint of two panels has to be done according the principle displayed on the top right illustration. In order to achieve unity of the facade appearance while preserving structural integrity and thermal insulation, customized wraped elements are introduced.

CHURCH SEATINGS

The images presented on the right, represent several examples of seating conﬁgurations within the Church room.

spatial clarity of the room, ideally visualised with a central guideline facing towards the altar wall.

Due to the dynamic and curved shape of the room, the requirements taken into consideration were mainly considered as to reﬂect the shape, as well as to adapt to the proposed movement, in order to establish a visual connection between visitors and the altar wall.

Neither straight lines of seatings nor radial conﬁgurations have worked well for the shape of the room.

Nonetheless, it has been intended that the seating system would emphasize on the

Hence, the best option has been to create a series of curved rows of seatings, which actually mirror the altar wall and therefore create a clear spatial division.

seating iterations

BELL TOWER

The bell tower is placed towards the Southern entrance of the building complex, as to be part of the pedestrial route leading to the interior courtyard of the complex. All the iterations are made for bell towers that are individualized from the main volumes. This decision is a reﬂection of the intention to conserve the continuous, honest movement of the proposed geometry. The bell towers proposed within the design process are following the same principle as used for the main Church complex, therefore referencing the initial architectural intention.

Each pictures of bell towers is accompanied by a text describing the main principle for the design. The ﬁnal proposal for the bell tower is constructed from the same timber cladding as in the building complex. Nonetheless, the composition plates are following the same movement as the one used for the main geometry. The dimensions 2m x 2m x 10m.

the

tower

are

plates on two sides, frames the view

plates at one side

plates on two sides making a corner

frames on all sides with movement as in the complex

plates in same hight on all sides

simple frame

simple frame with same hight as in the church

half frame

arch

combined frames

lower

combined plates with frames

folded plates

massive tower

lower with tilted roof

ďŹ nal bell tower

CONCLUSION

The proposal aims in placing a tectonic approach at the beginning of the design process, by harmoniously merging the constructing with the construing from the early stages of the design. Moreover, the readability of the stressed construction solution implies honesty, a key aspect with departure in Nordic architectural traditions. The narrative of the proposal is framed around the symbolic ‘peak’ of the site, presently formed as a gathering point for the locals of Hatlehol. By adapting to the current metaphysical pattern of the site, we aim in activating the genious loci of the place, thus reﬂecting upon the collective memory of the Alesund community. At a physical level, the integration of the peak is visible within the grid system, where the intention of creating a clear pattern on the site is stressed. The pattern integrates the peak as an individual element within the volumetric composition of the proposal.

Nonetheless, the structural system reﬂects a hierarchy of the functional division, by placing the most important rooms of the complex directly under the highest verticals of the geometry of the complex. This is visible on the exterior façades of the building, where the gesture of creating a ceremonious complex is achieved. However, the interior courtyard contrasts the exterior of the proposal, by directly relating to the human scale through a decrease in the height of the interior facades. Therefore, the feeling of safety is achieved. Concludingly, by integrating functional, structural and aesthetical consideration the aim of proposing a tectonic design with departure in Nordic architecture is achieved. Nonetheless, the church represents an integrated design which takes into consideration not only aesthetic and structural aspects, but also acoustic quality, lighting condition as well as materiality.

REFLECTIONS

In order to create a successful design that integrates both architectural and engineering knowledge, a well defined trial and error process has been stresses throughout the 8 week span of the project. Our group ethic enabled each individual to have an active role in all design stages and areas, therefore favouring a deeper understanding of both architectural and engineering considerations integrated within our design. Nonetheless, the international environment of the group allowed for collaboration between different design approaches and cultural differences. This can be seen in specific reflections concerning particular design discussion such as the analysis of the differences between the Catholic, Orthodox and Protestant Churches. Moreover, we have entered this assignment seeking a deeper understanding of tectonic

and Nordic architecture, which we have successfully managed to integrate in our final proposal. We feel that this proposal has the potential to encourage and influence the local architectural scene by introducing a new architectural language defined by a more organic approach. Although the design contrast the edginess of the existing architecture, it harmoniously integrates Nordic features. Moreover, the above mentioned edginess stands at the core of our design, as the curvature is defined by linear elements working together in determining a ruled surface. However, we feel that more consideration could have been given to the path connecting the three volumes of the complex. The final decision lacks a covered path that protects the visitor traveling from one side of the complex to the other. Yet, the decision of

not having a covered path has been made after taking into consideration a number of aspects that we have commonly agreed were more important in sustaining our concept, aspects that the use of a sheltered path would have obstructed, such as letting less light in the interior courtyard (due to the structure of the shelter), blocking the otherwise inviting entrances to the complex, as well as duplicating the interior corridors. Therefore, it has been decided to move away from the idea of a sheltered path, and only suggest the existing of this route through materials used at ground ﬂoor level. Concludingly, we feel that our proposal reﬂects a tectonic approach by having a clear and honest structural expression that emphasizes the architectural intentions of ‘invitation’, ‘safety’ and ascendance.

REFERENCES BIBLIOGRAPHY

HOMEPAGES: Austria, p. (2014). Chapel of Saint-Loup. [online] wooddays. Available at: http://www. wooddays.eu/en/wood-architecture/bestpractice-architecture/detail/kapelle-saintloup/ [Accessed 8 Dec. 2014]. Byensrum.dk, (2014). AALBORG KOMMUNE - Forskning+kommunikation - Juul | Frost Arkitekter. [online] Available at: http://www.byensrum.dk/netvaerk/ AalborgKommuneSlide1.php [Accessed 25 Nov. 2014]. City-journal.org, (2014). Sacred Revival by Colette Arredondo, City Journal 10 January 2014. [online] Available at: http://www.cityjournal.org/2014/bc0110ca.html [Accessed 8 Dec. 2014]. Gaisma.com, (2014). Ã…lesund, Norway Sunrise, sunset, dawn and dusk times for the whole year - Gaisma. [online] Available at: http://www.gaisma.com/en/location/ alesund.html [Accessed 8 Dec. 2014]. http://www.stroik.com/, (2014). duncan stroik. [online] Available at: http://www. stroik.com/pdf/press/Architects_and_ 90

the_Production_of_Religious_Space.pdf [Accessed 8 Dec. 2014]. Met.no, (2014). Climate in Norway - met.no. [online] Available at: http://met.no/english/ climate_in_norway/ [Accessed 8 Dec. 2014]. Pleatfarm.com, (2014). Folded-Plate Hut in Osaka. [online] Available at: http://www. pleatfarm.com/2009/12/21/folded-plate-hutin-osaka/ [Accessed 8 Dec. 2014]. Scandinavianmountains.com, (2014). Scandinavian Mountains - Introduction Climate, Geography, Geology, History. [online] Available at: http:// www.scandinavianmountains.com/intro/ geography.htm [Accessed 8 Dec. 2014]. Verdsarvjord.no (2014). Verdensarv Geology and landforms. [Online] Available at http://versarvjord.no [Accessed 8 Dec. 2014] Victorious.org, (2014). What is the difference between a Protestant church and a Catholic church?. [online] Available at: http://www. victorious.org/chur40.htm [Accessed 8 Dec. 2014].

Vinnitskaya, I. (2013). The Traditional versus the Modern in Church Design. [online] ArchDaily. Available at: http:// www.archdaily.com/385013/the-traditionalversus-the-modern-in-church-design/ [Accessed 8 Dec. 2014]. Weather-and-climate.com, (2014). Weather and Climate: Ã…lesund, Norway, average monthly , Rainfall (millimeter), Sunshine, Temperatures (celsius), Sunshine, Humidity, Water Temperature, Wind Speed. [online] Available at: http://www.weather-andclimate.com/average-monthly-RainfallTemperature-Sunshine,alesund,Norway [Accessed 8 Dec. 2014]. Windmap.se, (2014). Windmap - The ﬁrst step in wind resource assessment. Developed by Greenbyte AB. [online] Available at: http:// www.windmap.se/ [Accessed 8 Dec. 2014]. Cfmoller.com, (2014). Aalborg Havnefront - Projekter - C.F. Møller. [online] Available at: http://www.cfmoller.com/p/AalborgHavnefront-i2005.html [Accessed 24 Nov. 2014].

BOOKS: Frampton, K. (1995). Studies in Tectonic Culture, MIT Jensen, B. and Mohr, G. (2013). Teknisk ståbi. Kbh.: Nyt Teknisk Forlag. Jodidio, P. (2011). Wood - architecture now!. Cologne [u.a.]: Taschen. Kolb, J. (2008). Dřevostavby. Praha: Grada. ARTICLES: Frascari, M. (1984) The Tell-the-Tale Detail, Via no. 7, pp. 22-37; Melson, A. (2012), Norge Luksuriøst Nøjsomhed. Arkitekten 08, 114, p58 FILM: Sheridan, M (2011) Masterpieces. [Video]

ILLUSTRATION LIST

http://www.pinterest.com/ pin/109704940896558859/

http://www.pinterest.com/ pin/5629568259980442/

http://www.arthitectural.com/okrastoraa-stream-experience/denmarkholstebro-storaa-stream-2/

https://www.flickr.com/ photos/14716771@N05/ sets/72157607059095993/ detail/?page=2

http://www.pinterest.com/ pin/5629568260209434/

http://www.jotdown.es/2013/11/ el-dia-que-un-arquitecto-espanolcambio-el-mundo/

http://www.panoramio.com/ user/488206?with_photo_ id=39134861

http://www.pinterest.com/ pin/5629568260161910/

http://www.hwicleanrooms.com/thebasic-task-of-landscape-architects/ landscape-architect/

http://www.aa13.fr/architecture/ arcadia-allergutendinge-42616

http://www.pinterest.com/ pin/5629568260209435/

http://www.planners.com.cn/vision_ show.asp?vision_id=30&pageno=2

http://www.huhmagazine. co.uk/5157/the-juvet-landscapehotel

http://www.pinterest.com/ pin/5629568260161852/

http://www.coolroom.dk/?p=595

http://www.dac.dk/da/dac-life/ udstillinger/2015/snoehetta---worldarchitecture/

http://www.pinterest.com/ pin/5629568260161894/

own image

http://wikiworldpedia.blogspot. dk/2012_12_01_archive.html

http://www.stuckincustoms. com/2007/02/14/the-wrath-of-thenorse-gods/

http://www.pinterest.com/ mreinaortiz/arquitectura/

http://www.pinterest.com/ pin/273875221064215111/

http://www.mfa.ďŹ /etusivu?apid=3838

own image

http://www.archdaily.com/72755/ kuokkala-church-lassila-hirvilamm/ webjy30/

http://www.pinterest.com/ pin/5629568260209430/ 92

http://arquitectura.estudioquagliata. com/tag/raul-del-valle

http://minimalissimo.com/2012/06/ kamppi-chapel-of-silence/

Own picture

http://denfrie.blogspot.dk/2014/06/ smuk-som-det-tilfldige-mde-pa-et. html

Own photo

Own picture

http://www.archdaily.com/497857/ divinely-inspired-architecture/

Own picture

http://heating.danfoss.com/PCMPDF/ HRV_VIFYA202_Lores.pdf

http://noticias.arq.com.mx/ Detalles/11321.html#.VIXEqIuG-x0

Own picture

http://www.pinterest.com/ pin/109704940896558859/

* all other pictures, tables and diagrams are own 93

APPENDIX

SURVEYS

20-30

CHAPEL

20-30

CLOISTER ROOM

This table shows overall listing of room programme. All rooms are divided into three parts according to their functions and ideal connections to each other. It serves for quick comparisons for example between the areas of room or number of persons.

2-5

SACRISTY FOR BAPTISM

5-10

SACRISTY

2-5

MEETING ROOM

There are added some more requirements through which the placement of rooms is more clear in relation to facade or level of ceiling and it signiﬁcantly helped during designing the plan.

CHURCH´S COMMON FUNCTIONS ADDITIONAL SACRISTY

CHURCH ENTRANCE HALL

STORAGE

15+35

ENTRANCE/CHURCH HALL

100

20-40

CONGREGATIONAL HALL

150

50-100

KITCHEN

ADMINISTRATION AND OTHER FUNCTION OFFICE

MEETING / DINING

STAFF TOILET

TECHNICAL ROOM

CLASS ROOM

10-15

MUSIC ROOM

10-15

ACTIVITY ROOM

STORAGE

REFUSE

WORKSHOP

LAUNDRY

PUBLIC TOILETS

CLOAKROOM

ARTIFICAL

LIGHT

NATURAL

HIGH

15-30

CHILDREN´S CHAPEL

LOW

300-500

REQUIRED HEIGHT

OTHER ACTIVITIES

670

CONCERT

MEZZANINE

SACRED FUNCTIONS

PUBLIC ACTIVITIES

BURIAL

CHURCH ROOM

ATMOSPHERE

SACRED

PERSONS

WEDDING

AREA

SECULAR

NUMBER

ROOM PURPOSE

MODEL EVALUATION

On these two pages is described a part of the process of ďŹ nding a form according to site analysis, concept and other requirements listed in the tables below. Images show conceptual models used for the evaluating. Eventually, evaluation itself did not play such an important role, but a huge progress was made during the discussions. 5

05-11-14 MODEL NUMBER

WIND PROTECTION

CASTING SHADOW

RELATION TO THE PEAK

CONNECTION BETWEEN BUILDINGS

COMPOSITION ON THE SITE

SUITABLE FOR FUNCTIONS

DIRECTIONS TO THE POINTS OF INTEREST

POTENTIAL TO BE A LANDMARK / ICON

INVITATION

3.5

06-11-14 MODEL NUMBER

WIND PROTECTION

CASTING SHADOW

RELATION TO THE PEAK

CONNECTION BETWEEN BUILDINGS

DIRECTIONS TO THE POINTS OF INTEREST

POTENTIAL TO BE A LANDMARK / ICON

INVITATION

SAFETY

ASCENDANCE

7.5

FACADE DEVELOPMENT

SKETCHES

preliminary layout iterations

gesture development

childrensâ&#x20AC;&#x2122; chapel

structure development

PRECIPITATION DIAGRAMS

rainfall

cloud covering

104

hatleholparish _PRESENTATION_ MSc01 ARC group 6 december 2014

HATLEHOL PARISH

David Drazil

Calina Manisor

supervisor: Claus Kristensen technical supervisor: Dario Parigi group: 6

Pavlina Sedlakova

Nadia Skraeddergaard Frydkjaer

Helle Toft

ABSTRACT

Dwelling upon a tectonic approach on architectural design, this proposal aims in triggering a sense of construability in the subliminal self of the visitor through the use of a carefully chosen architectural form, structural system and by meticulous considerations of the fabric of the existing realm. In the poetics of the framed nature, the proposal will function as a landmark within the local scene, opening a new range of opportunities for the Hatlehol locals, yet intervening as less as possible upon the existing morphology of the site by preserving the nowadays used outdoor seating area placed on the peak point of the site.

CONTENTS

ABSTRACT

CONTENTS

THE CONCEPT

MATERIALITY

MASTERPLAN PLAN - LANDSCAPING PLAN - FURNITURE SECTIONS ELEVATIONS VISUALIZATIONS landmark by night rainy afternoon processional route ascendence in spirituality a warm melodious place

16 18 20 22 26 32 34 36 38 40

SUN LIGHT ANALYSIS daylight factor

42 44

ACOUSTICS development

46 48

STRUCTURE principle detailing

52 54 58

CONSIDERATION ﬁre ventilation water collection

64 66 68 70

APPENDIX mezzanine ﬂoorplan structural analysis

THE CONCEPT

1_three volumes, three functional types

2_connection to the focal point, the peak

3_gesture of safety

4_sun to the courtyard

5_protection from wind

6_one origin for geometry

7_relation to human scale in courtyard

8_landmark from outside

9_movement towards ascending

10_complex connected by roof and form

11_framing views from courtyard

12_relationship to points of interest

13_inviting gesture to the complex

14_circulation in the courtyard

15_important functions at high endings

16_development for light, acoustic, structure 9

MATERIALITY

EXTERIOR

LARCH WOOD CLADDING FOR ROOF AND FACADE

DARK METAL FRAMES AND DETAILS

ELONGATED GLAZED STRIPES

The decision of using this material has been made due to the local availability of the material as well as its colour. The colour works harmoniously with the surrounding natural environment, while the local availability provides a low carbon footprint, therefore appealing the sustainability of the project.

The use of this very deďŹ ned colour of the material contrast the neutral shades used in the proposal both in the interior and exterior of the complex. The choice has been made as to emphasize the framing of natural considerations such as light or surrounding landscape.

The shape of these windows accentuates the concept of ascendance, by providing an additional vertical movement on the facades, visible from both the interior, as well as the exterior. By using glazed surfaces with 75% opacity, the degree of light coming into the interior spaces is controlled and therefore creates a pleasurable environment for the user. 11

INTERIOR

BIRCH WOOD CLADDING

DARK METAL WINDOW FRAMES AND DETAILS

GLUE LAMINATED LOAD BEARING STRUCTURE

Because of the geographical positioning of the site, natural daylight hours are rather reduced. Therefore, the use of a light colour cladding for the interior spaces helps in achieving a more luminous interior space. Nonetheless, the availability of birch has also played an important role, as it is available at a local level.

GL24h has been chosen as an accurate material for the structural elements of the composition because of its ability to span over large distances. GL24h stands for Glue Laminated Timber with a maximum allowable stress of 24 MPa and with a homogeneous composition.

INTERIOR FLOORING

DARK SLATE TILES

OAK FLOORING

WET CONCRETE

The material has been used as ﬂooring in the most sacred spaces within the Church complex. The decision has been made with consideration to both aesthetic and technical aspects. The material references the relationship with the surrounding natural landscape, key feature of Nordic architecture, while the reﬂective properties of slate are preferable for the acoustics of the space.

Emphasizing on the initial intention of triggering a feeling of warmth and invitation in the perception of the visitor, the choice of using of oak ﬂooring in the activity rooms has been made. Nevertheless, the decision also concerns more functional aspects such as durability, ease in cleaning or hypoallergenic properties.

With regard to the results of the climate analysis, revealing a predominantly wet atmosphere specific to the Alesund area, we have decided to use a material that interacts to the given climatic input. Therefore, wet concrete acknowledges our intention by offering a dynamic patter on the floor when wet. [flower pattern is illustrative] 13

THE PROPOSAL

MASTERPLAN

50 m 17

PLAN LANDSCAPING

30 m

PLAN FURNITURE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

church room, 670 m 2 technical room, 15 m 2 additional sacristy, 13 m2 sacristy, 10 m2 sacristy for baptism, 45 m2 storage for hymn books, 15 m 2 cloister room, 12 m 2 church entrance hall, 50 m2 cloakroom, 25 m 2 childrenâ&#x20AC;&#x2122;s chapel, 75 m2 toilets, 12 m 2 storage, 35 m 2 meeting room, 25 m 2 chapel entrance, 20 m 2 chapel, 95 m 2

16 17 18 19 20 21 22 23

activity room, 30 m2 class room 1, 25 m 2 class room 2, 25 m 2 music room, 28 m 2 cloak room, 20 m 2 toilets, 20 m 2 storage, 12 m 2 entrance hall/library, 100 m2

C 2

A 4 5

6 8

12 11 34

14 31 33

30 32

A 29 28

16 24 25 26 27 28 29 30 31 32 33 34

workshop, 45 m toilets, 20 m 2 laundry room, 15 m 2 meeting/dining room, 20 m2 offices, 50 m 2 technical room, 25 m 2 entrance hall, 50 m 2 kitchen, 40 m2 storage, 12 m 2 refuse, 12 m 2 congregational hall, 150 m2 2

26 25

19 20 17

15 m

[see APPENDIX for the mezzanine floor plan]

SECTIONS

ADMINISTRATIVE BUILDING SECTION

15 m

CHURCH BUILDING CROSS-SECTION

0 24

25 m

CHURCH BUILDING SECTION

25 m 25

ELEVATIONS

NORTH ELEVATION

25 m 27

SOUTH EAST ELEVATION

0 28

25 m

SOUTH WEST ELEVATION

25 m 29

SOUTH ELEVATION - CHURCH BUILDING

0 30

25 m

LANDMARK BY NIGHT

Upon arrival to the site of the Hatlehol Parish Complex from the main road, through the typical Northern raw natural scene and humbly above the peaks of the highest trees, the visitor acknowledges the inďŹ ltration of a somehow abstract silhouette that triggers his attention. This gesture is intended as guidance for the user towards the new Church complex, a place of worship and intimacy framed by the natural purity of the Alesund landscape. The proposal aims in achieving through its design and use a new landmark for the Alesund community.

RAINY AFTERNOON

When arriving from the north, where the bus stops are situated, one can clearly recognize the highest point of the Church building. The whole complex is slowly opening towards the visitors when reaching the axis between the cemetery and the peak - focal point of the complex courtyard. The ďŹ rst building that grabs your attention is dedicated for the sacred functions. The volume is divided by a glazed strip into the Chapel and the Church. The Chapel is situated in the lower part of the building with close and intense relation to the cemetery. Even in uncomfortable weather conditions, so often experienced in this part of Norway, a warm inviting gesture, emphasized by natural materials on the facade, encourages the visitor to experience the complex and enjoy a safe shelter, while allowing a peaceful and ascending contemplation.

PROCESSIONAL ROUTE

Visitors are encouraged to approach the Church complex through the South entrance placed close to the main parking spaces. The path to the inner courtyard is framed by the two non-sacred buildings, while creating an inviting visual axis with the most sacred space within the complex: the Church room. Walking towards the building complex, one passes by the bell tower and the entrance hall, which is clearly identiďŹ ed by the use of glass on the facade. The hall can be used as a gathering point for the users of this facility, in which information about events, books and the history of the place can be obtained.

Entering further into the core of the complex, the visitor reaches the inner courtyard, perceived as an outdoor theatre. From this position, the viewer experiences a feeling of safety achieved through the curvature of the interior facades. The Church room stands out from the rest of the building because of the fragmented roof which appears as an intention of ascendance towards the skies.

ASCENDENCE IN SPIRITUALITY

Placed under the highest peak of the building facade, the Church room exudes a feeling of ceremoniousness expressed through the use of a clear structural system that emphasizes the gradual increase of verticality towards the peak point of the Church volume. Although imposing through its height, the space expresses familiarity through the use of a birch cladding. Timidly inďŹ ltrating the interior space through systematically placed windows, white light livens up the otherwise dark room, while indicating the fractured movement of the structure towards the altar.

Dwelling upon tectonic considerations, the altar wall has been shaped as a competing geometry to the layout of the church as to complete the dynamics of the space from an aesthetic view, while at the same time to redirect the sound towards the audience in a preferable acoustic scheme.

A WARM MELODIOUS PLACE

Honesty and simplicity in design decisions are key characteristics in Northern architectural traditions. These features are clearly visible in the interior of the Church room, where the construing meets the constructed through a carefully chosen structural system that clearly outlines the architectural intention. Moreover, the layout and proportion of the Church room has proven ideal for acoustic considerations [see QRcode in ACOUSTICS section]. The choice in material for the ďŹ&#x201A;ooring has been decided with consideration towards acoustic and aesthetic principles. The use of a reďŹ&#x201A;ective material enhances the acoustic qualities of the space, while the choice in colour contrast the warmth of the walls by referencing the existing morphology of the site.

SUN LIGHT ANALYSIS The morphological conďŹ guration of the three buildings of the complex is designed in a way which allows sunlight to reach the interior courtyard deďŹ ned by the three geometries. However, the outer space between the proposed buildings will not be fully shaded during the using hours between 10 am and 07 pm, from April to July. With consideration to the interior seating arrangement, the working areas have been placed in sunny areas, making these spaces a more pleasurable working environment.

january 10am

january 01pm

january 04pm

january 07pm

april 10am

april 01pm

april 04pm

april 07pm

july 10am

july 01pm

july 04pm

july 07pm

october 10am

october 01pm

october 04pm

october 07pm

DAYLIGHT FACTOR

As speciﬁed in the building code, daylight factor has been taken into account in each room with work-related functions. The analysis is made based on the height of a table, which is the surface of where the work will be performed. The results show that in all work zones there is at least a daylight factor of 2, which is demanded by the labor inspectorate under Danish law. The daylight factor in each room leads to optimum conditions for work.

windows are located to the north to avoid direct sunlight, as during service direct light can be accounted as a disturbing factor. The soft diffused light, which comes in the form of light from the sky, is the desired external light. In the church, the light must be a staging factor for the experience of space, compared to the classrooms and the ofﬁce where the light is a function factor.

As seen in churches, there is a strong contrast between the ship’s two sides. One appears brighter. In order to emphasize the bright and achieve this, the contrast is required in the form of darkness. In this room, there are no special precautions to take in relation to their daylight factor. All

diagram of analyzed rooms

church, perspective

church, daylight factor

church, lux factor

classroom, perspective

classroom, daylight factor

classroom, lux factor

ofﬁce, perspective

ofﬁce, daylight factor

ofﬁce, lux factor

ACOUSTICS

DEVELOPMENT

Tectonic design has been the main objective of the project, therefore the problematic of acoustics was taken into consideration in the development of the geometry of the Church Room. During the analysis, various iterations of the wall and roof conďŹ gurations have been tested. In spite of the fact that the original shape performed quite well in preliminary analyses, further studies have showed that a more fractured surface helped in breaking the continuity of the convex curvature of the outer wall. The shape of inner curvature remained the same.

The curved altar wall has been introduced to help direct back sound reďŹ&#x201A;ections to the audience. The selected degree of curvature has had the best results when analyzed with from the perspective of a receiver placed at the back of the space reserved for the audience. Therefore, it can be stated that even the auditor sitting on the back rows is able hear the priest clearly. The pictures on the right hand side illustrate sound distribution in the space. The cutting plane is made parallel to the outer wall in order to show the maximum height of the Church room.

church room ďŹ&#x201A;oor plan

church room section

sound source - priest

sound source - organ, choir

FINAL RESULTS

10 ms

30 ms

50 ms

80 ms

10 ms

30 ms

50 ms

80 ms

10 ms

30 ms

50 ms

80 ms

[see APPENDIX for numerical results]

CONCLUSION

For the final analysis, a simplified audience box-like shape has been introduced. As expected, a decrease in the magnitude of reverberation time has been noticed. However, the newly obtained values of Clarity, Loudness and Reverberation Time are still in the desired range. Although preceding analysis was mainly focused on numerical comparison and on the profile of the energy curve, the most important result achieved from the acoustic software is of subjective nature. Numerical results present relevant guidance on the way

from desired ambiance to ﬁnal proposal. To be able to make ﬁnal quality evaluation of the space, a recording of “Toccata and Fugue in D minor”, BWV 565 by Johann Sebastian Bach has been rendered. This recording represents the achievement of the objective which has been set at the preliminary stage - sacral ambiance related to the human scale. Final results in numbers have met requirements in the majority of cases, however, a subjective evaluation of auralized sound is still more important.

Scan the QRcode and listen to the church!

STRUCTURE

PRINCIPLE

The ďŹ nal proposal for the structural system is a synthesis between load bearing systems analysed in the preliminary stage. The chosen system consists of two structural parts which cooperate and mutually eliminate their weak features. Glue laminated timber frames are arrayed along the outline curve of the building. Dwelling upon a honest approach on the structural solution as to reďŹ&#x201A;ect Northern traditions, the frames serve as the primary load bearing system. Rigid joints are designed as a solution for the frame lateral stability in plane.

Due to three dimensional instability of discrete frames, the risk of buckling of the slender elements, and large cross-sections, a complementary structural system is introduced. Structural insulated panels (SIP) consist of two OSB sheets and a thick layer of thermal insulation which together serve as shear wall. The structural insulated panels cover the glue laminated frames on the exterior, protecting them from weather conditions, and connecting planar frames to create larger segments. Since frames are attached to shear planes along their height, the risk of buckling is eliminated.

These segments open the facade towards the exterior and emphasize the dynamic ascending movement along the focal point of the complex. Connection of segments is achieved through vertical and horizontal elements, which transfer the load to the main load bearing frame. This principle of connected fragments is similar to that of folding plates, characteristic for its excellent 3D stability and mutual cooperation of its components. Forces are distributed throughout the whole structure and internal forces in linear elements are smaller. Therefore, ďŹ nal cross-sections (and corresponding mass of the structure) can be smaller.

church building structure

rigid frames - glue laminated timber

various sections of frames due to

structural insulated panels

exterior view

simpliďŹ ed model for calculation

static reasons, light, ascending gesture

3d stability, no buckling, thermal insulation

STATIC SCHEME AND LOADS

Taking into consideration the structural solution explained in the previous section the following scheme has been stressed. Each individual frame is constrained in the bottom points, the forces being transferred to concrete foundations. In terms of statics, these supports can be considered as external hinges [see DETAILING for joint details]. Moreover, internal glued joints in all standard frames are considered as rigid. The secondary frames above the window openings are pinned to the main load bearing frame, while also using vertical and horizontal connectors between the two mentioned frames.

For the analysis of the structural behaviour of these elements, a number of load cases and their combinations (according to Eurocode formulas) were applied. Keeping in mind the placement of the proposed site: Alesund, Norway, consideration towards a high chance of snow fall and strong wind had to be stressed. Therefore, these loads have the most signiﬁcant impact on internal forces. Leading from structural analysis in the FEM plug-in Karamba the ﬁnal cross-section dimensions for the main frames have been decided at 1100x240 mm. These dimensions have been calculated for the

most stressed frame of the structure - on the second segment with the largest loaded area. Moreover, the final cross-section for the first smaller segment of the series is 700x240 mm, while the cross-sections for following segments would be designed in accordance with the decreasing internal stress. The calculated model in ROBOT is composed of a simplified proposed structural system to an acceptable level, therefore resulting an analysis for the most stressed elements of the series. The ratio of the designed and allowable stress in timber material is for the main frame 0.77 and for the smaller crosssection 0.78. [see APPENDIX for more details]

DETAILING

The current chapter focuses on some of the most interesting and challenging details of the building from both architectural and structural point of view. Since the church building represents the ďŹ nal gesture of the movement on the site, emphasized by the height and facade fragmentation, it takes all the attention. The following pages contain drawings describing the facade in connection with both the ground and the roof structure. Moreover, important joints of the loadbearing frame are explained in relation to the static scheme. All the drawings should represent main principle of the structure with considerations to thermal insulation and water protection.

DETAIL A

DETAIL B

SECTION PLANE

2 INTERIOR BIRCH CLADDING

LATHS 40 x 50 mm

VAPOR BARRIER

STRUCTURAL INSULATED PANEL (SIP) OSB SHEET 20 mm INSULATION EPS 300 mm OSB SHEET 20 mm HYDRO INSULATION LAYER

ߔQJHU

2 LAYERS OF LATHS 40 x 50 mm

MATERIALS

EXTERIOR LARCH CLADDING

THERMAL INSULATION EPS

3 OSB SHEET ROOF LARCH CLADDING

2 LAYERS OF LATHS 40 x 50 mm

HYDRO INSULATION LAYER

STRUCTURAL INSULATED PANEL (SIP) OSB SHEET 20 mm INSULATION EPS 350 mm OSB SHEET 20 mm VAPOR BARRIER

LATHS 40 x 50 mm

INTERIOR BIRCH CLADDING

ߔQJHU

detail A - roof connection 60

ߕRRULQ

ߔQLVKLQJ SURߔO

1 STONE FLOOR TILES (SLATE) OSB SHEET DOUBLE FLOOR FOR VENTILATION

OSB SHEETS 2 x 20 mm

MATERIALS

INSULATION EPS 300 mm

CONCRETE

HYDRO INSULATION LAYER

CONCRETE SLAB 150 mm THERMAL INSULATION EPS SPRINKLE SOIL

ORIGINAL SOIL RIGID FOAM INSULATION

ߕRRULQ

2 ORIGINAL SOIL INTERIOR BIRCH CLADDING

SPRINKLE SOIL

LATHS 40 x 50 mm

VKLQJ SURߔO

VAPOR BARRIER GRAVEL / PEA GRAVEL STRUCTURAL INSULATED PANEL (SIP) OSB SHEET 20 mm INSULATION EPS 300 mm

OSB SHEET

OSB SHEET 20 mm HYDRO INSULATION LAYER

2 LAYERS OF LATHS 40 x 50 mm

EXTERIOR LARCH CLADDING

detail B - plinth

3m 61

COLUMN TO SLAB JOINT

SELECTED COLUMN

plan

section A-A

section B-B

CONCLUSION

The most important feature of the proposed structure is that it works as a whole. Nonetheless, separate elements meet their requirements for static, acoustic or thermal insulation consideration. However, the aim is that through a tectonic approach and an integrated design process a successful solution is achieved when merging all components together. The departuring point for the design process has been in the formulation of the desired gestures, which strongly inďŹ&#x201A;uence the design through all its stages. In an effort to achieve the initial goals, as well as harmony among all structural

parts, a great number of analyses and explorations regarding statics, acoustics and lighting have been made. Conclusively, the end result is a structure which supports the concept and gestures, as well as the dynamic movement through facade fragmentation. This fragmentation permits light inďŹ ltration into the church room and positively inďŹ&#x201A;uences the acoustics of the geometry. Last but not least, the facade is made of structural insulated panels which ensure 3D stability and thermal insulation at the same time.

CONSIDERATIONS

Consideration to ďŹ re, ventilation and water collection have been made from the early stages of the design process. The presented ďŹ&#x201A;ows are only principles for how the above mentioned considerations could work, therefore there are no calculation of the size of the rain gutter or of the ventilation ducts which can determine the thickness of the wall and ďŹ&#x201A;oor.

FIRE

Considerations in relation to fire safety in the Church complex are accounted for in the design of the circulation routes within the complex. Fire cells divide the buildings in smaller sections, therefore meeting the standards for personal safety in evacuation and rescue. The building is provided with sprinkler and fire alarm systems. The sprinklers prevent the fire to spread and limit the fire damage. Because the load-bearing elements as well as the exterior classing are wood, the need for intumescent material to block the flames and delay the spread of fire is stressed.

ﬁre exit

Fire exit

ﬁre unit Fire exit

exit route

Fire exit

VENTILATION

For the church complex, it is desired to have a ventilation system where the air supply is demand driven, as there is a great variation in the density of users around the building. As the complex is divided into three building volumes, there will be a need for separate ventilation units. The design proposes a visible structure. Therefore, it will be necessary in most of the building to have the air supply unit in the ďŹ&#x201A;oor and place the supply under windows or heaters along the external walls.

Technical rooms

ventilation principle

double ďŹ&#x201A;oor

vent

WATER COLLECTION

Since the site is located on the western coast of Norway, near Ă&#x2026;lesund, there is a high level of precipitation, both snow and rain. Therefore, it is important to consider a way in which water collecting could be solved. In this case, the shape of the buildings suggest a clear solution. Due to sufďŹ cient declination of the roof surface and the same direction towards the courtyard, water from all buildings can be collected around the inner perimeter of the complex. The roof of the church building is divided into several fragments and each has its own rainwater spouting and downspout. On the other hand, the roofs of the other two buildings are more continuous therefore leading to a smaller area, which allows to use just three mutual downsprouts for each building.

perspective view - declination and direction of roof surfaces

downspout rainwater spouting declination of the roof

plan - declination and piping

APPENDIX

MEZZANINE FLOORPLAN

15 m

STRUCTURAL ANALYSIS

In order to analyze the behaviour of the structural system in Autodesk Robot Structural Analysis Professional 2014, various load cases have been determined. All calculations have been made according Eurocode formulas. All loads are considered as static, ďŹ xed actions acting directly on the structure. Loads cases were combined according to the formula for Ultimite Limit State (ULS) and resulting internal forces were used for calculations regarding the design stress in material. The Serviceability Limit State (SLS) combination formula was applied to the load cases for the purpose of deformation analysis.

GENERAL CONDITIONS

Load duration classiﬁcation and moisture content in timber material are considered to be important for its stiffness. Therefore, these conditions have to be taken into account when calculating strength of timber structures. RELEVANT LOAD DURATION CLASSES (Eurocode 5.1.1., p. 22) _permanent - self-weight of structure - roof self-weight _short-term - snow _instantaneous - wind SERVICE CLASS (Eurocode 5.1.1., p. 22) _service class 1 - temperature 20°C and relative humidity of the surrounding air only exceeding 65% for a few weeks per year PARTIAL FACTORS (Eurocode 0, p. 51, 98) _partial factor for permanent action - γG = 1.35 _partial factor for variable action - γQ = 1.5

_factor for combination value of a variable action - ψ0 = 0.7 _factor for frequent value of a variable action - ψ1 = 0.7 _factor for quasi-permanent value of a variable action - ψ2 = 0.7

MATERIAL PROPERTIES MATERIAL - GL24h (Teknisk Ståbi, 2011, table 7.1, p. 314) _density - 380 kg/m3 = 3.8 kN/m3 _characterictic values of strenght - fm,k = 24 MPa - ft,0,k = 16.5 MPa - ft,90,k = 0.4 MPa - fc,0,k = 24 MPa - fc,90,k = 2.7 MPa _characterictic values of elasticity module - E0,k = 11.6 GPa _characterictic values of shear module - G = 0.72 GPa _design values (Eurocode 5.1.1., p. 27) - fd = (fk*kmod)/ γM γM = 1.25 (glue laminated timber) kmod = 1.1

SNOW LOAD

LOADED WIDTH - FRAMES

walls roof

WIND LOAD

ÅLESUND, < 100 m alt.

1m 1m

(http://snofangerkroken.no/sider/lastkalk7.php#)

ROOF SELF-WEIGHT LOAD Roof structure consist of Structural Insulated Panels (SIP) which provide the strcture with 3D stiffness and thermal insulation. At the same time, SIPs distribute internal forces in the structure what eliminates buckling for tall slender elements and in the same time allows smaller dimensions of sections. _OSB sheet 2x 60 kN/m3 - th. 20 mm _EPS foam 3 kN/m3 - th. 350 mm _laths 51 kN/m3 - 2*50*30 mm _roof cladding - timber 50 kN/m3 - th. 20 mm

0.100 kN/m2

total line load calculation

0.500 kN/m2

sk = 3kN/m2

_basic wind velocity vb,0 vb,0 = 27 m/s z0 = 0.003 m (seafront) ce(z) = 2.1 _peak velocity pressure qp (z) = ce (z) * 0.5 * ρair * vb2 qp (z) = 2.1 * 0.5 * 1.25 * 272 = 0.957 kN/m2

_snow load arrangement (Eurocode 1.1.3, p. 18)

s = μi * Ce* Ct *sk μ1 = 0.8 s = 0.8 * 1 * 1 * 3 =

2.4 kN/m2

_line load 2.4 kN/m2 *1 m =

2.4 kN/m

_external pressure coefﬁcients (Eurocode 1.1.4)

0.120 kN/m2 0.105 kN/m2 0.015 kN/m2

_line load on element (1 m loaded width) fD = qp (z) * D * 1 fD = 0.975 * (+ 0.8) * 1 = fE = qp (z) * E * 1 fE = 0.975 * (- 0.4) * 1 = fH = qp (z) * H * 1 fH = 0.975 * (- 0.8) * 1 =

+ 0.765 kN/m2 - 0.383 kN/m2 - 0.765 kN/m2

ROBOT CALCULATION RESULTS

EXPLANATORY FRAME

For structural analysis, simplified model was used. Due to software limitation, structural panels could not be applied - cross bracing elements were used to substitute panels preserving the same effect on 3D stability. Preliminary analysis from Karamba FEM plugin confirmed prediction regarding various requirements for dimensions of cross-section. Final dimensions were calculated for main load bearing frames and for the most stressed frame from the group of frames designed with smaller dimensions. Simplified principle is described on illustrations.

position in structure

designed principle

simpliﬁed principle

robot model

STRUCTURAL BEHAVIOUR DESCRIPTION _tall column Stress in the tall column is mainly caused by normal force which is acting in the direction of the central axis of element. This behaviour is predictable because applied load has predominantly vertical direction. Resulting normal force is slightly larger at the bottom point which is caused by self-weight of this element. The other signiﬁcant internal force is bending moment which dominant part is transferred from the beam through rigid joint. Moment is always equal to zero at hinge type support. _small column This column is primarilly stressed by transferred bending moment as the previous element. _beam Normal force in this element is caused by lateral windload. Dominant force is the bending moment which expectedly has high values at the ends (rigid joints) and in the middle of the span.

INTERNAL FORCES - DIAGRAMS

ACOUSTIC RESULTS