Hatlehol Church

HATLEHOL CHURCH TECTONIC DESIGN: STRUCTURE AND CONSTRUCTION Adam Szczepanik, Christian Gundersen, Luca Russo and Riccardo Vide

HATLEHOL CHURCH

HATELEHOL CHURCH MAIN SUPERVISOR: MADS BRATH JENSEN TECHNICAL SUPERVISOR: DARIO PARIGI MSC02 ARC TEC - GROUP 07 AALBORG UNIVERSITY ARCHITECTURE AND DESIGN DEADLINE: 30. MAY 2018 PAGES: 50

Adam Szczepanik-Dzikowski

POLAND

Luca Russo

ITALY

Christian Schmidt Gundersen

DENMARK

Riccardo Vide

ITALY

ABSTRACT This project is oriented on creating a complex for the Hatlehol Church in Norway. The studies were combining the theme of tectonics and acoustics with profound reasoning on both sacrality and mysticism.

With this report, it is shown how atmosphere and tradition were addressed to respect the local culture and to give the community a gathering place. The idea of an ancient village, which deals with the landscape complexity and the harsh Norwegian environment, is treated with a contemporary language. This decision was derived from the studies and analysis pursued during the process.

READING GUIDE The designers uniquely make the following text of this project/report. Nevertheless, all scientific works are based on a selection of source materials. The references are presented in the Harvard Reference Style, and the text was develop using British English. Each time there is no reference for either picture or the part of the text, it should be interpreted as the authors of the design wrote the referenced part. All external sources can be found in the source list on page 50 of this report. The text is divided into six chapters representing different topics, which explains the design, such as theory, analysis and the final proposal. Every drawing, plan or sketch is oriented with north at the top.

1 2 3

INTRODUCTION 01 Project 01 Methodology

THEORY 02 Nordic Architecture 04 Acoustics in Churches 05 Vikings 06 Mistery of Stave Churches 07 The Joint as Minimal Unit of Space 08 The Sacred Pillars 12 Spaces, light and atmosphere 11 Churches, Form & Acoustic 11 Tectonic, Zollinger System

LOCATION 14 Norway 15 Ã…lesund 16 The Church Site 17 Climatic Conditions 18 Site Analysis

PROPOSAL Vision Church Chapel Community Program Considerations

20 21 22 23 24

PRESENTATION Design Concept Masterplan Church Plans Construction Detail Drawings Acoustics Radiation / Sun Hours Elevations

26 28 30 32 34 38 40 44

SOURCES Illustrations 50 Websites 50 Books 50

4 5 6

CHAPTER: 1 INTRODUCTION

PROJECT A church has to reflect the tradition of the place and culture for which it is built, in the way that Hagia Sofia reflects the historical changes of Byzantium and Muslim culture and St. Peter’s Cathedral shows the spirit of the Christianity from the XV century. Same rules apply to any other church, despite its size and importance. To a church in Norway as well.

Therefore, while being assigned to design a church, we decided to come up with a set of guidelines that allow a deeper understanding of the idea of Sacredness and the Traditional Norwegian Characteristic that will make the design vernacular and fitting into the context.

During that analysis, we made a thorough investigation of Nordic architecture, Stave Churches’ style and Viking villages as relevant reference points in terms of ambience and impression of the whole complex.

problem/idea

analysis

METHODOLOGY sketching

synthesis

presentation

The integrated design process is a model that we use to describe the different phases which are reviewed when doing an architectural project. The integrated design process is defined by Mary-Ann Knudstrup and helps clarify the design process.

The project is not a one-way process, on the contrary, it is an iterative process, in which the designer can return to one of the earlier phases if they are not satisfied or if it is too tough to proceed in the design process.

The process started by doing the analysis phase, where site registrations were taken and examined, as well as researching our key points that would lead to a final design choice. During the sketching phase, the work developed multiple different designs due to finding the proper focal point.

In the end, the design has been shaped considering different architectural and engineering factors and now is standing firm on our masterplan.

CHAPTER: 2 THEORY

ill. 01

ill. 02

LUND OG SLAATTO ST. HALLVARD KIRKE OG KLOSTER, OSLO. 1958-66

SIGURD LEWERENTZ MARKUSKIRKEN, BJÖRKHAGEN, STOCKHOLM. 1956-60

NORDIC ARCHITECTURE The general perception, when is regarding Nordic Architecture, may seem quite uniform in the whole Scandinavian region, especially for their external appearance. This is not so strange as they have significant similarities concerning living standards and social development. Therefore, there are many reasons for treating Nordic Architecture as a whole.

In the ’50s, Norway was in a period where the architectural foundations were challenged. For example, in the journal ‘Byggekunst’, the Norwegian architect Knut Knutsen presents his architectural opinion with a new organic philosophy. He believed that the architect must take care of nature and the created values. Moreover, according to Knutsen, all styles are artificial and are expressions of a disorder.

The Norwegian architect and professor Karl Otto Ellefsen, confirmed more recently by Nils Ole Lund in the book ”Nordisk Arkitektur”, gave his opinion on the architectural situation in the ’80s, which can be seen to the right.

This quote is a description of the Nordic architecture tradition that also covers the Norwegian architectural practices and style. Based on Knut Knutsen’s words, the Norwegian architects have managed to agree to ignore the ideological thinking and, instead, strives for a ”human architecture, liberated from the styles”.

”In the architectural debate, Nordic tradition, Nordic humanism, emerges in contrast to the new architecture. From outside, it is interpreted as Scandinavian [...]: the architecture of the welfare states, where monumentality is lacking, the power symbols are hidden, and strong similarities moderate the individual expressionism.

This is an architecture that basically relates to the landscape, which, at best, deals with volumes, openings and surfaces (are arranged) in relation to the place and time-variable light, and uses natural materials. Working methods are pragmatic functionalism, and the intentions are to create a quality of life more than art.”

- Karl Otto Ellefsen (translated) Trends in Norwegian Architecture, 1986 in the Architect, No. 21/22, 1986, p. 4.

2 / 50

ill. 03

Throughout the years, architects have tried to work with churches, since they feel, they could give them more artistic freedom. Erik Thelaus says in 1961 that it is in the church building where the architects explore the possibilities and where the experiments are taking place.

Inger and Johannes Exner, which are two architects from Denmark, are known for experimenting in new, unusual ways their church projects. The robust and archaic architecture has been combined with refined details and thoughtful solutions that makes their churches complete. Gug Church near Aalborg was made by the Exner’s in 1972, which can be seen to the right.

The two architects took a different path from the Danish tradition, but their work made others doubt on the value of the system that underlies the tradition. They knew how to pay attention to the assemblies and differences which resulted in the dream of the harmonic order.

(Lund, 2008.)

3 / 50

CHAPTER: 2 THEORY

ill. 04

ACOUSTICS IN CHURCHES © Utzon Archives / Aalborg University & Utzon Center

ill. 05

Traditional churches often consist of church room, chapels, mezzanine, choir, nave, side aisles and transept that are creating one sacred space. Those ”zones” can be more or less connected with one another and create sound clashes due to different acoustic requirements.

When it comes to the sound source, we can specify three main sound sources: priest, choir and organ.

The reception of the sound depends on the sound power and architecture of the space. Defining good acoustics is difficult due to the complexity of the space; basically, regarding the church space, we can describe good acoustics as a long reverberation time that improves the mysticism and sacredness of the space and is characterised by high intelligibility level.

© Utzon Archives / Aalborg University & Utzon Center

ill. 06

In certain circumstances, the acoustic requirements can contradict one another. For prayer, protection from intrusive noise is required, for readings and the sermon, clarity of the spoken word. The invocation and worship of God are conducted through powerful incantation or by a choir with many voices. These are supported in some religions by an organ or musical instruments. (Stegers, 2008)

4 / 50

ill. 07

ill. 08

Vikings were Norse seafarers, who were living in the northern part of Europe. Most of their settlements were located on the lands of nowadays Scandinavia (their homeland), Iceland and Greenland. Remainings of their era can be found on the shores of northern, central and western parts of Europe.

The communities were equal and that equality was reflected in both the type of usage and the shape of the structures themselves. Usually, the community was gathered around one main meeting place – central plaza.

VIKINGS

Their villages were small and dense habitats, made out of wood (sometimes covered with grass and greenery on the roofs, e.g. on Iceland), located close to the seas.

The most common housing unit was a longhouse, a one-storey, single-room building, with a gable roof, where all inhabitants lived on equal laws.

The other type of the village was a gathering of habitats of similar shapes and sizes, made out of wood. Wooden structures covered with shingles were based on stone bases protecting the construction from ground moisture.

The habitats were giving a sense of protection from the outer world. The inhabitants were able to seek shelter in their cabins, which were meant for collecting.

Before the Christianity came to Scandinavia, Vikings kept cultivating in Ritual Houses, which were not much different from the buildings in the village. In the beginning, they were used as a place to display weapons of conquered enemies, but, with the passing of time, they got transferred into more religious places, similar to the churches from their times.

After the conversion of Norse people, Ritual Houses started to be reshaped, due to historical and religious changes, into Stave Churches. „Typical farm settlements took the form of a central cluster of buildings enclosed by fences. Outside the fenced areas were the fields, used for cultivation or grazing.� (Hurstwic.org, 2018)

5 / 50

CHAPTER: 2 THEORY

ill. 09

MISTERY OF STAVE CHURCHES Norwegians knew how to show the spiritual power of the Stave Churches. They constructed cultural treasures that were inspired by Viking construction techniques and tradition of wood carving. They could extract the essence of the classical inheritance, that has a fundamental part of Christian art. However, some of the adornments are a combination of Christian motifs and a sort of pre-Christian Viking theme, which also included animals and Norse mythology.

ill. 10

„Throughout the 11th and 12th centuries it is possible to trace a continuos Christian ”pagan iconography”, or rather a decorative poetic language. To this belonged the transformation of the foreing description of Doomsday or Ragnarok where the powers of evil appear in the guise of dragons, and are to be found decorating the west portal of practically every stave church, as well as being found in a host of other places.”

”Lom stave church - the original dragon- - Anders Bugge head on the nave roof (is) the only one of Bugge Anders, Norwegian Stave Churches, 1953, p. 121. its kind left from the Middle Ages.”

Stave churches are a masterpiece in the Norwegian culture, - Anders Bugge easily recognisable by the use of strong dark colours in the Bugge Anders, Norwegian Stave Churches, 1953, p. 43.

Lom Stave Church is one of the most prominent wooden Stave church in Norway that are impressively estimated to dates all the way back to 1158-59. This church is actually one of just a very few stave churches of which still has an original medieval dragon head placed on the church.

„Originally these heads were probably credited with as much protective power as the church bells against demonic powers” - Anders Bugge

façades. The identity comes first, even though the building would rot due to the harsh weather conditions.

However, their knowledge of construction was revolving around timber, and that limitation brought them to mastery wood. Moreover, for providing a longer lifespan to both timber and the building, shingles were impregnated with a tar coating, which was giving to the surface some nuances of black. These roof shingles were settled in a pattern that could visually generate the idea of “dragon’s scales”, which transmit the viewer the roughness of the Vikings and creating a touch of mystery.

(Bugge, 1953), (Bjerknes, Lindén, 1975)

Bugge Anders, Norwegian Stave Churches, 1953, p. 83.

6 / 50

ill. 12 ill. 11

THE JOINT AS MINIMAL UNIT OF SPACE When the question of significance and character in a building is posed, the detail (not intended as a particular of a larger system but as a connection between elements, either material or formal) plays a crucial role to define and interpret space. The space-defining force of the details lies in the set of geometrical relationships inherent in them.

Those relationships both articulate and communicate a space. In that, the detail represents simultaneously the material construction of the space but also its generative principle.

Worthful of further exploration, in that matter, are construction systems based on the connection of discretized elements, such as the lamella roof systems developed by Hugo Junkers and Friederich Zollinger.

In particular, the Zollinger system, implemented in multiple ways by different architects, shows the potential of describing different forms exploiting the flexibility of the material, the tolerances of the joints and the orientation of each beam. This is possible because every element can be treated individually. This characteristic can be further exploited with the use of the current parametric tools since while previously limited to analytically described geometries, digital tools allow for the application and adaptation of those systems to geometries informed by a multitude of parameters and calibrated for different goals. (Frascari, 1983)

7 / 50

CHAPTER: 2 THEORY

When Science is about facts, Religion, on the other side, is about trust. It is a big leap that not everyone is able or disposed to take. The youngest generations are more willing to comprehend the importance of a spiritual world beyond our sight, but they are less likely to follow the rules that someone thousands of years ago decided to write. The role of the church cannot be perceived anymore as a place where rules are given but should be a place where lessons can be taught, and spirituality can be experienced in the first person. - For this argument, we have to shift our reasoning from creating a traditional church to interpret and abstract the essential elements that generate the structure of a sacred space.

THE SACRED PILLARS

LITURGY:

The age-old liturgical tradition is the element that strengthens the link between God, man and the cosmos. While the Church itself transforms the cosmos into a liturgical action, the architecture for worship has to be simple, linked with the surrounding environment and significant regarding meaning.

The only way forward is to try to discover how, spontaneously, the liturgy, in the most creative period of its existence, has remodelled the buildings that had used at the beginning and as it came out then something totally new.

- Louis Bouyer (translated) Bouyer Louis, Architettura e Liturgia (trans: Architecture and Liturgy), 2007. ill. 13

When there is not a „liturgical oriented space�, space tend to be chaotic.

- Enzo Bianchi (translated) However, how can we interpret the churches of today?

Most examples show that the models of our days are a mere result of copying the models of the past or reconfiguration of common meeting spaces. Neither of these approaches seems correct for Louis Bouyer.

A church building is not just a summation of liturgical areas but a dynamic space, where various focal points of celebration match with each other. (Bouyer, 2007) (Banon et al., 2015)

8 / 50

ill. 14

SURROUNDING: When we have to face a new place, the full potentials of the landscape have to be manipulated to express its true meaning. If there is no sacredness inside the site, we are the ones who give holiness to a space, merging and interconnecting the building with the landscape.

While making a new building represent, entirely, an artificial work, the landscape represents the pure authenticity and identity of a place. The architect can also try to introduce subliminal messages to arise emotions in the observer, but everything comes so suddenly and spontaneously when we find ourselves in nature.

Architects show through time that various approach can exist, creating different values and emotions to sacred buildings. (Jacobsen, 2012)(Ries, 2008)

MONUMENTALITY, is when the building stands out in the middle of nowhere to become a mark in the environmental context.

MODESTY, regarding heights, is when the building is a subordination of the forest itself and, for this cause, the building wants to get lost in the woods.

ADAPTATION, is when the building changes concerning how the light/shades/smell changes in the surrounding context.

CAMOUFLAGING, happens when the architecture takes a similar language of the surrounding and mixes into it, showing the beauty of the landscape and the necessity to preserve it.

IMPALPABILITY, it comes when the meaning is strong, but the elements are few so that the building becomes the landscape itself.

There is no univocal approach on how to work with the landscape. However, the architects have to deal with different experiences and making a sublime model, expression of the nature of the place where the building is established.

9 / 50

CHAPTER: 2 THEORY ill. 15

TRANSPARENCY:

THRESHOLD:

Also in religious terms, referring to the Bible, we can see a specific connotation of the importance of the light, as the instrument that God uses for bringing clearness from the chaos that the darkness was representing.

The indoor-outdoor relationship is so decisive that it can be defined as “the very essence of architecture”. For the Norwegian architect Norberg-Shulz, the element of the threshold is making clear the relationship between the architecture and the outer world, and the meaning gets deeper if the architecture itself is a sacred space.

In this way, the threshold is not just a mere entrance but a place of passage, a line that divides distances, bringing together two worlds. From ancient times the portal assumed the meaning of a place of transit, maybe to another “universe” where emotions in the visitor constantly shift from one state to another.

Light in space is something that we cannot see but is more something that we can feel. It can generate the feeling that something magical is happening in a space, triggering in the user the feel of the warmth of the divine. It is the tool that contributes into creating the atmosphere of the space and enhances its spirituality.

(Hoffman, 2010)

„I sense a Threshold: Light to Silence, Silence to Light – an ambience of inspiration, in which the desire to be, to express, crosses with the possible.

Light to Silence, Silence to Light crosses in the sanctuary of art.”

- Louis Kahn Kahn, Louis I., Conversations With Students, 2000, p. 58.

The language of the threshold can also be interpreted as the tool that catches the eyes of the beholder. It can be represented by a door or a void, opening the view to what is happening inside or hiding the view from the eyes of a stranger. It can be a step or a line, reminding the decision to enter inside another realm.

On the other side, the threshold can be much more than a minimal element, but it can become a whole space in between, like in the ancient times was the pronaos and the narthex. On the other side, it can also be more metaphysical, passing through and beyond the darkness of a space until reaching the light inside.

(Heidegger, 2000, p. 39)

10 / 50

ill. 16

Architecture, as some of us believe, is the conjugation of the matter with the number [‌], is what the Classics call Knowledge of the Facts.

- Alberto Campo Baeza (translated) Baeza, Alberto Compo. La idea costruida, p. 36.

MATERIALITY: Semantically, materiality refers to a precise physical quality that has a rigid concreteness. Architecturally speaking, the materiality cannot be referred as something universal, but in its own nature, it presumes and holds a geographic and temporal specificity, defined by the information overlapping and knowledge layering sedimented through time passing and tradition constituting.

Regarding Sacred Spaces, the word is also loaded by the other meaningful idea of evoking feelings that goes beyond the purely physical world. Materials, besides their pure functionality in the religious settings, are assigned with a more profound, metaphorical and philosophical significance.

In this case, a refinished concrete would be a synonym of simplicity and purity; wood would be represented as the icon for naturalness and stone as the emblem of protection and hardness.

One of the most significant challenges in the design of a Church can be so the dematerialisation of the materiality of a building, bringing the physical elements that make the architecture to a non-physical dimension.

(Baeza, 1996)

The language of Sacred Spaces most of the time is not direct to the visitor but works mainly on subtle choices made by the architect to express the impalpability of a new transcendental world that we cannot fully comprehend.

Curiosity is the engine that leads humans to investigate if something beyond can exists and the space of the architecture should remind the faithful that the search is a constant and continuous discovery, without a clear define explanation.

11 / 50

CHAPTER: 2 THEORY

„What do we mean when we speak of architectural quality? It is a question that I have little difficulty in answering. Quality in architecture … is to me when a building manages to move me. What on earth is it that moves me? How can I get it into my own work? … How do people design things with such a beautiful, natural presence, things that move me every single time. One word for it is Atmosphere.”

- Peter Zumthor Zumthor Peter, Atmosheres, 2006, Brikhauser gmbh, p. 34.

SPACES,LIGHT AND ATMOSPHERE The perception of a place is based on our sensual feel of it. The problem has been widely brought up

by Juhanii Plasma in „Eyes of the skin”. The feeling of the place is what makes it the way it is. It might sound obvious, but in terms of perception, we are capable of experiencing only the things that are influencing our senses. The way it does so defines the spirit of the place.

So how do we achieve the impression?

There is no simple way to create an atmosphere either of mystery or contemplation or of any other kind. We perceive the spaces through sounds, temperature, touch, smell and light. It is the proper mix of all those that create a particular impression.

„Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep” - Le Corbusier, August 27, 1965 Le Corbuiser, The Modulor 2, 2000, Brikhauser, p. 16.

Humans mainly rely on sight as the leading sense. For this reason, it is crucial to present „pictures” that are somehow unconsciously associated with a given atmosphere.

The picture does not always mean something we can see.

It is also about what we cannot see. Once we enter the sauna complex in Thermes of Vals by Peter Zumthor, it is precisely what we cannot see that makes the mood. The rooms are almost entirely dark, made of black stone that gives a cave-like feeling and filled with heavy moisture. In this mist, sparsely located lights give a feeling of mystery.

There is only one focal point, a strip of light coming from the ceiling. In this dark room, it gives great significance to what the light sheds on. What the author had in mind was actually making the light remarkable, but not making it super strong but quite the opposite – depriving everything else of it.

”More and more, so it seems to me, light is the beautifier of the building.”

- Frank Lloyd Wright Loyd Wright Frank, the future of architecture, Horizon Press, 1953, p. 227.

Even though the sight is our most important sense, great architecture is the one we can feel with all of our senses. A silent sound of a creek or the fracture of the surface which we touch, connected with a particular smell, are the things that complete the picture.

12 / 50

ill. 17

What really constitutes an architectural atmosphere?

„...this singular density and mood, this feeling of presence, well-being, harmony, beauty ... under whose spell I experience what I otherwise would not experience in precisely this way”.

- Peter Zumthor Zumthor Peter, Atmosheres, 2006, Brikhauser gmbh, p. 36.

What is more in his book „Thinking architecture”, Zumthor defines the fundamental actions the architect should do once trying to conceive a design. The architect has to observe the place, get to know and understand it and, finally, fall in love with it because only to those whom we love we do not mean any harm.

Having in mind all the influencing factors, light and shade, silence and sound, cold and warmth, view openings and restrictions, we can start to think about possible applications in a design way. Those moods are the factors that would lead us to create the sacred atmosphere of a church and take as much as possible from the Nordic surroundings among which it will be situated. (Zumthor, 2006)

13 / 50

CHAPTER: 3 LOCATION

NORWAY Norway, officially the Kingdom of Norway, is a sovereign state located in northern Europe. The name comes from „Nord vegen” which means a route to the north. Its territory, with a size of 385.252 km², comprises a big part of the Scandinavian Peninsula. It borders with Russia, Sweden and Finland.

Most of the country’s area is covered with mountain passes usually stretching from south to north, and only 10 per cent of its area is arable. Most of the summits are located in municipalities of Lom, Skjåk, Luster, and Vågå, but they do not range above 2000m. Highest peaks of Norway are located close to the Swedish border. Mountain passes are continuously eroded by very common in those parts of glaciers.

This is why Norway has steep valleys and fjords cutting deep into the mainland. As the economy of the late ’60s was mainly based only on the fish industry, the whole coastline is covered with fishing villages, which evolved into the cities during the years. Apparently, the shore was most appealing regarding food accessibility, rather than the inner land, and, in some spots, it was mild enough to set cities on it. Among them, there is Ålesund, which is located on the western shore and in the central part of Norway. Like many other cities, it adjoins the waterline and hosts some of the fishing industry. The population, of the whole group of cities, counts 47.199 persons, which makes it not so small in a country with an overall population of 5,23 million.

14 / 50

Ă…LESUND The plot is located in the central part of Norway, on the western shore and in the south-eastern part of several municipalities, i.e. Alesund, Lerstad, Spjelavik and Blindenheim. The area consists mainly of gently sloping ice smoothened hills and rocky beaches. This part of the Norwegian shore characterises with lots of fjords cutting deep into the mainland while being surrounded by mountain passes. This is why, as the plot is placed close to the seashore, it is sloppy as well. The ground descends towards the water, and, considering that this direction is the southern one, it presents vast opportunities to achieve grand openings, regarding both sunlight and exposition towards a beautiful view.

The northern part of the plot, adjacent to the road, is elevated, and in the middle, there is a plateau. The level difference between the northern and southern edges of the plot is around 10 meters. The natural shaping of the ground defines the most critical spots on the site somehow automatically. The plateau, located on the principal axis connecting the graveyard with the main access route, seems to be the most important place on the plot, thus possibly might host significant functions.

What is more, the place is deprived of trees; therefore, little intervention in vegetation will be necessary. On the southern part, three spots are elevated above the slope and make an impression of places of great importance as they „stick out� of the ground.

15 / 50

CHAPTER: 3 LOCATION

THE CHURCH SITE The site is located next to the vast cemetery, which abuts with it from the south-east side. The neighbourhood can be described as a typical suburban region, with a vast amount of private detached houses.

It can be accessed by car, bicycle, public transport or by foot. Highway RV60, which is the main road connecting Alesund and Bergen, limits the site from the north, giving to the area convenient access by car. From the south, east and west the site is limited by inner roads, which lead to the cemetery. Right now, there is a big parking lot between the site and the graveyard (on the south-east). Closest bus stops are located within 150 meters radius from the site. A bicycle and pedestrian path are running parallel along the RV60.

16 / 50

CLIMATIC CONDITIONS SUNLIGHT: The sun path, being so close to the North Pole, show us very different behaviour during the year, reaching the peak of 20 hours of continuous sunlight at the 21st of June and less than 5 hours at the 21st of December. However, the perception of light is also profoundly influenced by clouds. They are a constant element in the Norwegian Country, with probabilities of overcast conditions around 75% at the winter solstice and 58% at the summer solstice.

TEMPERATURES: Considering the position of Ålesund being so up in the north, the area has to face extreme cold conditions and dry weather. Indeed the warm season, that lasts from the 21st of June till the 13th of September (3 months), has average temperatures going from 10°C to 17°C, creating more a feeling of coolness than comfort. The cool season, on the other side, covers from the 19th of November till the 1st of April (4.5 months), has averages temperature going from 0°C to 7°C, with a perception of great coldness but not freezing.

WIND: One of the peculiarities of Ålesund is the presence of mild wind, which reaches its maximum on December, with a peak of 3 m/s, but keeping an average of 2 m/s over the year. The main directions where the wind blows is from West/South-West, with some secondary winds coming from East/North-East.

Nevertheless, also the presence of vegetation surrounding the site should work as a barrier.

PRECIPITATIONS: When we speak about precipitations, we generally refer both to rainfall and snowfall. Looking at the average precipitations in the last 50 years, the period of major condensation goes from September till December, with a maximum peak of 215 millimetres in September.

(Weatherspark, 2016 (Ålesund)), (Windfinder, 2018 (Gåseid/Alesund)), (Weatherbase, 2018 (Langevåg))

17 / 50

CHAPTER: 3 LOCATION

WATER

GREENERY

WIND

SUN

BUILDINGS

TRAFFIC

AXES

18 / 50

VIEWS

ill. 18

SITE ANALYSIS The plot, in the actual conditions, is covered with greenery and there is one stream flowing downhill on the most western side. The idea of the landscape was to make as little changes as possible to the plot and keep everything as it was and just introducing the church in the area. Therefore, we decided to protect as much greenery as possible and reduce the number of trees’ cut to the absolute minimum. That gave us a brief idea where the church has to be placed.

Concerning the existing river, we decided to do as little change as possible, i.e. while the stream flows along the western side of the plot, in a ditch, we decided to withdraw the infrastructure more inside the plot, saving its original shape and the greenery surrounding it.

The wind conditions on the plot are moderately mild, were the dense greenery screens from the wind.

Nevertheless, we have decided to create buildings in such a manner that they will provide shelter from the wind. For this considerations, we introduced an inner courtyard, which is protected by the volumes of the buildings.

The disposition of community spaces surrounding the courtyard reflects the light conditions that are required for each function. Due to this, the congregational hall is subject to direct sun operation while offices and workshops have openings oriented for providing appropriate light conditions, without the risk of glare.

It is also beneficial concerning sun radiation (check sun analysis part).

The church complex is withdrawn from the road so that excessive noise does not disturb the users. What is more, there are some points crucial to the plot, such as communication axis and view openings towards the fjord. They were all taken into account while we were positioning the volumes and designing the inner openings for them.

19 / 50

VISION The idea of the architecture comes from the necessity to provide shelter and satisfy the most basic needs.

However, there is one unique building that goes beyond its functionality and also has a metaphorical role – a church. A symbol which serves higher needs. As the reasons for its erection were mystical and related solely to the individual’s inner experience with an upper entity, this should be reflected nowadays in a church, creating an atmosphere of mystery, reflection and transcendence.

Especially if we consider that the church will be located in Norway, the historical land of the Vikings.

This is why our vision of the design reflects the atmosphere and the charm that a Viking site communicates. Is going to be a small village of equal people, all down to earth, living as a community. That feeling is going to be achieved by creating common spaces, placed all on the same level, working with the landscape and creating both emerging sanctuaries and caves. It will be less about experiencing a „Path to God” and more about „Being Together”. We are putting an accent on the cosines of the place and the arising of the feeling of being a part of something bigger.

ill. 19 ill. 20

CHURCH ill. 21

The central part of the complex, at least concerning the volume, has to be the church. Even though it has to fit 500 people, we wanted to make it work for enhancing the feeling of community and the atmosphere of the village rather than express itself differently from all the rest. We wanted it to be inclusive, and for this, despite its size, is made using traditional materials and is set as low as possible to become as equal to other buildings. This is what a �balanced community� is about, information that appears pretty clear looking at the buildings’ hierarchy in Viking villages.

ill. 22

The impression on the inside is that everything should work as one multilevel volume, where all present people can fully participate at the Mass. In this way, the internal space has to be open, deprived of supports and even if the inside works on different levels, they should work as one entity. The interior has to control the light making a framed opening of the surrounding landscape.

EMOTIONS: Cheerful, with the use of light, but solemn in terms of sound.

VOLUME: Vast; oriented towards the priest, with seats as close as possible to the sound sources.

ACOUSTIC: Good intelligibility, speech oriented. EDT 1.5 sec LIGHT: Diffused, with wide openings for the light and a big one more oriented for the view.

MATERIALITY: Structure as a texture, detached from the ground, untreated surfaces, simple materials.

VIEWS: Eye-level opening, facing nature - vertically oriented, so it serves as the background for the priest and the altar.

21 / 50

ill. 24

ill. 23

CHAPTER: 4 proposal Regarding the initial shape, the idea was to have in that a bell tower. On the other side, it felt contradictory to our ”all down to the ground” idea. Hence, we decided to give up the idea of having a completely disjointed element and give to the chapel a similar expression as the church. Naturally, it will be merged with the ground and will have very limited openings.

ill. 26

The chapel was meant to be an intimate space since the very beginning. It is supposed to offer a feeling of contemplation, being fenced out from the rest of the world. For strengthening this meaning, should work as an entity itself, with a language that resembles the body of its ”big sister” but unique on its own. The walls inside should work as a filter for the light, so one can barely feel the passage of the time, and enhance the feeling of being entirely enveloped and wrapped in silence.

For these reasons, the internal reverberation should be reduced as maximum, bringing the focus to the prayer.

ill. 25

CHAPEL

EMOTIONS: Intimacy.

VOLUME: Compressed plan, but possibly stretched vertically.

ACOUSTIC: Low reverberation improve the feeling of intimacy.

LIGHT: Filtered, with no direct light enters inside the space; possibly symbolic.

MATERIALITY: The solutions that work better with the acoustics. Wood and, possibly, cloth.

ADDITIONAL COMMENTS: Close to nature, nature as a threshold, a structure of just one function, designed as a void.

22 / 50

ill. 27 ill. 28

COMMUNITY ill. 29

The community part of the church, even though it is not that important at first glance, is the leading factor for the creation of a village-like feel. The volumes should actively participate with the external world, exalting the sense of being in the middle of the forest.

ill. 30

A sense of enjoyment should fill the common areas, reflecting the spirit of participation of the whole community at the public life. The building, which has specific areas that are useful also for the sacred functions, should be linked to the main body of the church, but possibly can be treated with a different language. This because the community body is an entity that can live all the time actively while we expect the church to be more �populated� during the moments of the Holy Mess (or other special occasions).

EMOTIONS: Familiarity, feeling of being at home, vitality.

VOLUME: Low, resemble a sort of unity while being shredded in multiple pieces.

ACOUSTICS: Conventional - suited for conversations and non-musical activities.

LIGHT: No special effects, just bringing in the interiors a lot of light.

MATERIALITY: Glass, wood and concrete (treated differently from the Church).

VIEWS: Openings through volumes; focal point oriented in an inner courtyard.

23 / 50

CHAPTER: 4 proposal

PROGRAM CONSIDERATIONS Due to mainly redundant choices in the space program, one question that arises was regarding the real necessity of making all the spaces requested and why not integrate similar ones into big, flexible rooms.

For example, when was concerning the two Sacristies elements thought for providing a particular area used just by the priest - we could not see the necessity for keeping them separated.

Nevertheless, the redistribution of the square meters provided the redefinition of the program, keeping its main lines. This can be seen on the right.

If we reason in the same way, some functions represent for us not a real necessity for the church itself. In this case, the Cloister room (a space that traditionally separates with greenery the church itself and the chapel), was seen not distinguishable from the forest itself. On the other side, also the real necessity of an Entrance Room got lost during the design, seeing it more as the element introductory to the other functions in the Community Building, so representable as the central plaza.

One might say that, for daily commuting, it would be beneficial to have a community, church and chapel spaces connected by heated passages.

That might be right, for daily commuting. Nevertheless, what we wanted to achieve is what people experienced throughout the ages, magnifying the feeling of entering in a warm, cosy place.

As it is always a matter of light versus darkness, it is also a relationship between cold versus hot. You enter the space, and all wind dies down. You feel embedded in the structure. Moreover, the more unpleasant it is to leave, the more attached to what is going inside we become. It is all about managing the feeling of �discomfort�.

Moreover, it feels linked with the roots to have a gathering place outside, under the open sky. For the Vikings, it can be seen as the space of the bonfire, where people come to share their stories with the community.

24 / 50

CHAPTER: 4 proposal

1: AXIS WITH BUILDINGS

2: INVITING

3: SIMILARATIES MERGING THE LANGUAGE

4: HIERARCHY THROUGH PROGRAM

5: FOCAL POINT

6: SUNLIGHT DISPLACEMENT

26 / 50

THE CHAPEL

THE CHAPEL & CHURCH

PROCESS SKETCH OF THE FINAL DESIGN

DESIGN CONCEPT The project is based on the concept of creating a Viking village. The place with a certain cosiness and feeling of tradition. This is why the volumes are composed in a manner that creates semi-enclosed spaces in the open air. Their shapes and materiality also reflect the tradition and rugged style of the original inhabitants of these lands.

A medium-sized central plaza can be easily associated with the gathering place - a central spot in each village.

When more privacy is needed, there is an additional inner courtyard with a cherry tree located in the middle.

The complex is focused on the dialogue between the community and the sacred space of the church. They face each other while being adjacent to the central plaza located on the communication axis. The church itself is oriented towards the south, with a view opening towards the fjord. Its shape and the fact that it is embedded in the ground make it resemble a Viking-era boathouse.

27 / 50

CHAPTER: 5 PRESENTATION

C B

A

28 / 50

MASTERPLAN A: Coming from the pathway, the body of the church emerges from the rest, showing its uniqueness. However, it does not try to stand above all the rest, but it merges with the natural picture of the forest. The church entrance starts from the outer piazza, from a small retailed entrance, drawn as a dot in the vastity of the facade. The passage, however, between entering the room when the liturgy happen and the outer world, is not direct but mediated by a hall.

B: Just a few steps away from the entrance plaza something is formed. Its roof resembles the church’s one, but a different sentiment arises. No walls are enveloping the body: the grass is rising and is crowned with a wooden tent. Is it a building or just a hill? Coming closer, you start defining the boundaries: a way appears, entering in the soil and is reducing till a small door.

And the more you come closer to this door, the more you feel small like an ant.

C: The community space. In the middle of a silent courtyard, there is a colourful cherry tree. The whole space is clothed with a structure embedded in the ground, giving the feeling of being in a remote place submerged in the surrounding landscape.

PLAN: 1:400 29 / 50

CHAPTER: 5 PRESENTATION

22

21

19 20 18

23 14

24

17 26 16

C 25 15

03 10 04 08

01 11

09

02 12

A 05

06 07

BB

PLAN: 1:400

AA

B

13

30 / 50

CHURCH PLANS A: In the liturgical space of the church, everything works as a whole. The assembly is arranged to point at the priest, the focal point of the liturgy, while the baptism, another essential ritual, takes its dimension. A ceremony where the closest relatives participate is framed inside the church room but shaped to create an increased feeling of closeness to the newborn. The choir, on the other side, take their position directly on the mezzanine, placed in the back of the church, to make the believer feeling immersed by the music and giving to the ones who sing in the audience the feel of being part of the choir itself. Everything works as a whole, but everything has its own scope and dynamic in the ritual. The internal space has no columns blocking the view and is arranged on different floors, which are joined using the audience.

Consequently, the symmetry gets lost to allow the choir to get their own identity. With a staircase that connects the music room with the upper mezzanine, the choir can rehearse till the very last moment and move when it is their time. This element allows them to not pass in front of the people and, therefore, interrupt the liturgy.

As the interior starts showing all the height that the church can reach, a small tunnel is connecting the spaces.

While your eyes give you a spark of the whole complex, a series of connections raise the feeling that there’s so much more that has to be experienced with your senses. The light appears designed to express the critical parts of the space, pointing the attention at the altar.

The central nave, illuminated by a zenithal glass strip, creates the path, leading you to take your position. A big window, on the back of the priest, frames the outside world, making you more conscious that the outer nature is an integrant part of the precious moment that you are living. The materials work by marking the difference between each step you make. Concrete is the entrance and concrete is the starting point, but then wood appears, in small parts, before wrapping the space of the room entirely. Just a long strip of metal appears, denoting the difference between the dynamic wooden roof and the flat concrete, merging two elements into one. And then, when you see the glass above, you suddenly understand... You are in the Woods, the space in conjunction between the simplicity of the Earth and the magnificence of the Indefinite. You are in a Church.

B: Inside the space, there is a sharp contrast between darkness and light. Just from the wall at the end, you can see the brightness of the sun penetrating small holes and filling the room. Your sight is getting clearer, and elements appear to your attention: just through a white wall you can see the light coming in while wood is enveloping all the rest of the space, tiny holes are not only present on the wall at the very end but are spreading through the whole chamber. No sounds can be heard, silence is ruling. Take a seat. It is time for praying.

C: As you enter inside it becomes clear that the structure, with its mostly diffused light, gives a feeling of mysticism. Shared spaces and winding corridor are arranged in a bizarre composition. The path creating a series of constant passages seems to connect everything while all the inner bodies are defined and separated. Anyway, you do not feel lost. The openings, oriented towards the central courtyard, give a feeling of familiarity as one walks down the patch. This is the place where all functions and experiences merge.

CHURCH:

01: CHURCH HALL: 70M2 02: TECHNICAL ROOM 03: SPARE ROOM 04: CLOACKROOM 05: CHURCH ROOM + MEZZANINE: 800M2 06: PRIEST ACCESS CORRIDOR (ADD. SACRISTY) 07: PRIEST ALTAR 08: SACRISTY: 18M2 09: SACRISTY FOR BAPTISM: 45M2 10: MUSIC ROOM (REHEARSAL) 32M2 11: PUBLIC TOILETS 20M2 12: STORAGE: 20M2

CHAPEL:

13: CHAPEL: 80M2

COMMUNITY:

14: ENTRANCE HALL: 155M2 15: CHILDREN’S CHAPEL: 45M2 16: WORKSHOP: 40M2 17: CLASSROOMS: 52M2 18: OFFICES: 48M2 19: STAFF TOILETS: 7M2 20: TECHNICAL ROOM: 20M2 21: LAUNDRY ROOM: 18M2 22: CLOAKROOM: 20M2 23: KITCHEN: 50M2 24: REFUSE: 70M2 25: PUBLIC TOILETS 27M2 26: CONGREGATIONAL HALL+MEETING DINING: 210M2

31 / 50

CHAPTER: 5 PRESENTATION

CONSTRUCTION The structural form follows the constraints dictated by the plan and by the conceptual idea of romanticizing the Viking hut. The geometry thus responds to the need of creating a rigid, concave, oblong shape, with a strong directionality and a focal point where the altar is located. This is obtained through two portions of a shell culminating in a wedge that interrupts the continuity of the weaved motif letting filtered sun rays penetrate in the space.

The Zollinger three dimensional frame has been chosen for its capacity to cover large spans, for the textural qualities of its elements on a large scale and the visual and executive simplicity of the joints compared to other lamella systems. (Weller, 2009) Differing from the original patented system is the non-standard dimension of the wooden planks, to accommodate the non-uniform, synclastic double curvature. Furthermore, the width of the lamellas varies according to the different densities of the pattern in the structure.

70 X 350 MM

80 X 350 MM

On a smaller scale, for the connection of the crosspoints, a multiple bolted joint was opted out against the original single bolt connection. The aim was improving the flexural rigidity of the nodes (an effect that is already partially obtained through the rigid roof planking, which also increases the membrane behaviour of the structure which is not satisfied due to the various inputs that informed the geometry).

CALCULATIONS / DEVELOPMENT CAN BE FOUND IN THE DESIGN LOG.

100 X 350 MM 32 / 50

33 / 50

CHAPTER: 5 PRESENTATION DETAIL: 1:20

DETAIL DRAWINGS

The detailed drawings show technical solutions that were implemented in the design. The detail above presents the solution of the skylight. Overlapping glass sheets were developed to continue the tectonics of the shingles. Furthermore, that solution allows water to be redirected with minimal risk of leakage. In order to avoid the transferring compression forces from the upper sheet to the inner layer, a clipping system was introduced transferring the loads from the roof to the construction beams.

On the following page, there are details of the Zollinger connections. In terms of connection, the beams are shifted so that the assembling is facilitated. The detail of base beam joint with the lamellas was developed in such a manner that the amount of bolts is reduced to the minimum. The proposed solution consists of just one bolt and wooden wedge. Lamellas are embedded in the base beam, and the wedge is bolted down to it, therefore, whole connection locks due to the disposition of vertical compression force to the sides.

34 / 50

DETAIL: 1:50

DETAIL: 1:50

DETAIL: 1:10

DETAIL: 1:20

SECTION AA: 1:250

35 / 50

CHAPTER: 5 PRESENTATION

06

08

07 05

04

02 09

03

01

DETAIL: 1:40 OF THE CHURCH

CHURCH & CHAPEL 1: FOUNDATION BASE 2: THREE LAYERED WALL WITH INSULATION OF 15CM MADE OUT OF EPS STYRO 3: SLOPE FORMED OUT OF SOIL FROM FOUNDATIONS 4: DRAIN DITCH FILLED WITH GRAVEL 5: C-SHAPED STEEL BRACING FOR ZOLLINGER SYSTEM 6: ZOLLINGER SYSTEM BEAMS 7: INTERNAL CLADDING AND INSULATION THERMO WOOL 25 CM 8: WOODEN SHINGLES 9: FLOOR LAYERS (FINISHING/CONCRETO 6CM/INSULATION EPS 15CM/ CONCRETE BASE 15 CM/ MECHANICALY DENSIFIED GRAVEL

CHAPEL DETAIL - ROOF / WALL

36 / 50

CHAPEL SECTION DETAIL

SECTION BB: 1:150

37 / 50

CHAPTER: 5 PRESENTATION

1.1

1.2

1.3

2.1

2.2

2.3

3.1

3.2

3.3

ACOUSTICS The analysis was divided into two steps, considering multiple geometries characterized by two different parameters: transversal and longitudinal sections. In this way, nine different models were produced and confronted.

After a first analysis, we came to the conclusion onto bringing on the more performant in terms of SOUND POWER - represented with a mapping going from blue to red the SPL in the range 40dB (whisper) รท 60dB (hearable) - REVERBERATION - preferring values between 1.4 and 1.6 seconds (optimal for a good understandability) and with a minimum DEFINITION above 50%. For this considerations, just the case 1.2 and 2.2, showed above, resulted as the only proficuous for a further analysis.

During the next step, our focus was on speech intelligibility. In this way, three factors were considered on two receivers: CLARITY (minimum 0 dB), SPEECH TRANSMISSION INDEX (GOOD 0,45 รท 0,6 - VERY GOOD 0,6 รท 0,75) and ECHO CRITERION. For this case, the value resulted FALSE (echo not present) in both samples. The upper diagram represents the mapping of the DEFINITION, which results pretty similar for both cases.

Considering the higher clarity and the better intelligibility of the second case (2.2), our study showed that the structural language chose and the acoustic one are both pretty aligned with our design intentions.

38 / 50

1.2

2.2 60 dB 55 dB 50 dB 45 dB 40 dB

HZ 62.5 125 250 500 1000 2000 4000 8000

EDT 1.32 s.

0.93 s.

0.88 s.

0.76 s.

0.74 s.

0.76 s.

0.95 s.

0.97 s.

T-30 1.58 s.

1.42 s.

1.42 s.

1.29 s.

1.15 s.

1.33 s.

1.35 s.

1.41 s.

D-50 54.56 56.41 58.22 59.34 60.28 50.51 55.42 54.72

EDT 0.95 s.

0.77 s.

0.74 s.

0.67 s.

0.62 s.

0.61 s.

0.8 s.

0.93 s.

T-30 1.58 s.

1.5 s.

1.55 s.

1.42 s.

1.65 s.

1.41 s.

1.58 s.

1.64 s.

D-50 52.1 54.14 53.66 55.22 52.73 53.04 51.57 52.18 100 dB 85 dB 60 dB 55 dB 40 dB

HZ C-50 (0) C-50 (1) 62.5 3.26 0.79 125 4.14 1.12 250 4.27 1.44 500 4.8 1.64 1000 5.08 1.81 2000 5.04 1.49 4000 4.5 0.93 8000 4.15 0.82

STI GENERAL MALE FEMALE

(0) 0.59 0.68 0.68

STI (1) 0.52 0.6 0.6

C-50 (0) C-50 (1) STI 6.21 1.26 GENERAL 6.84 1.52 MALE 6.93 1.61 FEMALE 7.3 1.78 7.49 2.04 7.55 1.64 7.96 1.24 6.46 1.03

39 / 50

(0) STI (1) 0.64 0.52 0.62 0.51 0.62 0.50

CHAPTER: 5 PRESENTATION RADIATION ANALYSIS - BERGEN NORWAY: 1. SEP 1:00 - 31. APR 24:00

RADIATION During summer months on the other hand, when the sun is high and days are incredibly long, we might face a problem of overheating. However, we have decided to deal with this problem by extending eaves by 60 cm (not simulated due to the need of having a simplified model). Therefore we will reduce the amount of solar energy getting into the interior by shading the openings in the summer and use it to the full when the sun is very low, and it beams almost parallel to the surface of the windows.

The disposition of functions inside also reflects the light conditions required for different spaces. This is why the offices along with classes and workshops are located on the Western side of the community space and partially shaded by the volume of the church from the East.

That results in diffused light conditions, satisfactory for office work. On the other hand, communal spaces have big openings to get as much direct light as possible.

RADIATION ANALYSIS - BERGEN NORWAY: 1. JAN 1:00 - 31. DEC 24:00

Moreover, during the winter period, when the sun is low on the sky, we are expecting it to operate directly and deeply onto the volume of the congregational hall and canteen, spaces that we suppose are going to be the most used. After a preliminary analysis, we manage to asses that the amount of kWh of solar energy to which the facade will be exposed would equal 62.700 kWh for the winter months. The total amount of radiation throughout the whole year will equal 190.010 kWh.

40 / 50

RADIATION ANALYSIS - BERGEN NORWAY: 1. SEP 1:00 - 31. APR 24:00

SUN HOURS The disposition of buildings reflects the need for creation of inner space. Cosy and village-like. Inner courtyard of common facilities located up north of complex could be, however, subject to excessive shadowing. We wanted the courtyard to be as narrow as possible to create the feeling of being surrounded by the buildings and fenced out from the outer world while maintaining proper light conditions. For this reasons, the disposition of volumes has been tested for direct sunlight access to the courtyard at various moments during the year. We have assumed that the test will be conducted for midday as Holy Mass takes place at midday on Sundays.

RADIATION ANALYSIS - BERGEN NORWAY: 1. SEP 1:00 - 31. APR 24:00

As a result, it turned out that there will be direct access to light throughout the whole year, apart from winter months – from 10 to 2. In other months the midday sun gets directly in between the volumes. A limited amount of sun reach the courtyard during winter time, but this does not represent a problem, considering that during that period the use of the outer spaces will be limited due to low temperatures and very short days – around 4 hours.

RADIATION ANALYSIS - BERGEN NORWAY: 1. SEP 1:00 - 31. APR 24:00

41 / 50

42 / 50

43 / 50

CHAPTER: 5 PRESENTATION

WEST ELEVATION: 1:300

NORTH ELEVATION: 1:300

44 / 50

45 / 50

CHAPTER: 5 PRESENTATION

EAST ELEVATION: 1:300

SOUTH ELEVATION: 1:300 46 / 50

47 / 50

48 / 50

49 / 50

CHAPTER: 6 SOURCES

ILLUSTRATIONS ill. 01: Available: http://www.havran.no/index.php?/ churches/st-hallvard/ [2018, 26-05-2018]. ill. 02: Available: https://jbdowse.com/eur/ markuskyrkan [2018, 26-05-2018]. ill. 03: Available: http://mr-nielsen.dk/blog/exnerchurches/ [2018, 26-05-2018]. ill. 04: Available: http://www.fluidr.com/photos/ seier/5893565856 [2018, 26-05-2018]. ill. 05: Available: https://www.utzon-archives.aau.dk [2018, 26-05-2018]. ill. 06: Available: https://www.utzon-archives.aau.dk [2018, 26-05-2018]. ill. 07: Available: http://denstoredanske.dk/Danmarks_ Oldtid/Yngre_Jernalder/Konger,_høvdinge,_krigere_og_ trÌlle_800-1050_e.Kr/Ringborgene [2018, 26-05-2018]. ill. 08: Available: http://viking.archeurope.info/index. php?page=borg [2018, 26-05-2018]. ill. 09: Available: https://millymarmot.wordpress.com/ pilegrim/hamar-trondheim/03-mageli-campingfavang/ [2018, 26-05-2018]. ill. 10: Available: https://commons.wikimedia.org/wiki/File:Stave_ church_Lom,_dragon_heads.jpg [2018, 26-05-2018]. ill. 11: Available: https://www.pinterest.dk/ pin/499477414903135274/ [2018, 26-05-2018]. ill. 12: Available: https://www.pinterest.dk/ pin/433612270354819170/ [2018, 26-05-2018]. ill. 13: Available: http://viking.archeurope.info/index. php?page=borg [2018, 26-05-2018]. ill. 14: Available: https://www.huffingtonpost. com/2014/06/21/arkansas-thorncrownchapel_n_5515375.html [2018, 26-05-2018]. ill. 15: Available: https://www.pinterest.co.uk/ pin/463518986636012285/ [2018, 26-05-2018]. ill. 16: Available: https://www.pinterest.dk/ pin/397090892130791915/ [2018, 26-05-2018]. ill. 17: Available: https://openhousebcn.wordpress. com/2011/12/10/openhouse-architectural-retreat-therme-vals-

peter-zumthor/ [2018, 26-05-2018]. ill. 18: Available: PICTURE FROM STUDENT [2018, 26-05-2018]. ill. 19: Available: https://www.pinterest.dk/ pin/314829830170551924/ [2018, 26-05-2018]. ill. 20: Available: http://sciencenordic.com/new-vikinggraves-discovered-denmark [2018, 26-05-2018]. ill. 21: Available: https://www.flickr.com/photos/ ronjansen/7068335361/lightbox/ [2018, 26-05-2018]. ill. 22: Available: https://www.som.com/projects/ cathedral_of_christ_the_light [2018, 26-05-2018]. ill. 23: Available: https://www.pinterest.com.au/ pin/155374255878565987/ [2018, 26-05-2018]. ill. 24: Available: https://www.pinterest.dk/ pin/687291593106351822/ [2018, 26-05-2018]. ill. 25: Available: https://www.pinterest.dk/6ruiyan/ peter-zumthor/ [2018, 26-05-2018]. ill. 26: Available: https://www.archdaily.com/547748/ the-new-crematorium-the-woodland-cemetery-johancelsing-arkitektkontor/54124d48c07a80a040000076the-new-crematorium-the-woodland-cemeteryjohan-celsing-arkitektkontor-photo [2018, 26-05-2018]. ill. 27: Available: https://www.pinterest.co.uk/ pin/488359153331402799 [2018, 26-05-2018]. ill. 28: Available: http://openarchaeology.info/ institutional-members/lofotr-viking-museum-no [2018, 26-05-2018]. ill. 29: Available: https:// [2018, 26-05-2018]. ill. 30: Available: https:// [2018, 26-05-2018].

50 / 50

BOOKS

WEBSITES

Lund Nils-Ole, 2008, Nordisk Arkitektur 3. udg.

Arkitektens Forlag.

Sørensen Øystein, Strath Bo, Oslo 1997, The Cultural Construction of Norden, Scandinavian University Press Stegers, Rudolf, Sacred Buildings: A Design Manual, 2008, Birkhäuser.

Hall Richard, 2007, The World of the Vikings, Thames & Hudson Inc. Bugge Anders, translated by Christophersen Ragner, Norwegian Stave Churches, 1953, Dreyers Forlag.

Bjerknes Kristian, Lindén Hans-Emil, The stave Churches of Kaupanger, 1975, Fabritius Forlag.

Zumthor Peter, Atmosheres, 2006, Brikhauser gmbh.

Le Corbuiser , The Modulor 2, 2000, Birkhauser.

Kahn, Louis I., Conversations With Students, 2000.

Bouyer, Louis, Architettura e Liturgia (trans: Architecture and Liturgy). 2007, Qiquajon.

Banon et al. Architettura, Liturgia e Cosmo (trans: Architecture, Liturgy and Cosmos), 2015, Qiquajon.

Jacobsen, Eric O. The Space Between: A Christian Engamenet with the Built Environment. Baker Academic, 2012.

Ries, Julien. Simbolo, Le costanti del sacro (trans: Symbol, the constants of sacred). Jaca book, 2008.

Hoffman, Douglas R. Seeking the Sacred in Contemporary Religious Architecture. Kent State University Press, 2010.

Heidegger, Martin. In cammino verso il linguaggio (Language speaks), 1973.

Baeza, Alberto Campo. La idea costruida. Madrid, Spain: Colegio Oficial de Arquitectos de Madrid, 1996.

Menges Achim, Advancing Wood Architecture, 2016.

Weller Bernhard, Tasche Martin, Baatz Julia, Lamella Roof Constructions by Hugo Junkers, 2009, Technische Universität Dresden Institute of Building Construction.

Norsk Folkemuseum. Available: https:// norskfolkemuseum.no/en/stave-church [2018, 26-052018].

Frascari Marco, The Tell-the-Tale Detail, 1983 In: Deely J.N., Lenhart M.D. (eds) Semiotics 1981.

Springer, Boston, MA

Nurstwic. Available: http://www.hurstwic.org/history/ articles/daily_living/text/Villages.htm [2018, 26-052018].

52 / 50

53 / 50