ABSTRACT This project contains a design proposition for the Hatlehold church in Norway. The competition was presented in 2008, which demanding new facilities for churchgoers in the surrounding area. This design proposal was designed with a tectonic approach, which creates a symbiosis between the form and the technical aspects regarding acoustics and construction. Using this integrated design process the goal is to create a building that creates the appropriate atmosphere for churchgoers to gain the religious experience expected from a church. Furthermore one of the main priorities is to create a functional building complex that takes the employers into consideration. The main idea of the project is to create a complex that complimented the site, a building that melts together with nature, an expression that wipes out the line between outside and inside. The journey through the forest approaching the building should activate all of your senses, in order to intensify the journey towards the sacred place. A sacred place that creates an intimate and atmosphere with a Nordic expression that is shown in form and honest use of material and construction. The result of the final church design, is a complex that fits into the context of the site and creates a blurred line between the inside and outside, and thereby forms a close connection between the individual human and the nature. A space where thoughts can be gathered away from the busy life. The main church building creates a majestic expression in the inside by the use of big timber frames spanning over the whole roof construction, which complies with the simple and clean Nordic expression created on the exterior of the building.
Ana Habijanec
Jonathan Judes
Mikkel Nørgaard Pedersen
Pelle Jin-Woo Ziersen
Totto Tamás Rátkai
Title:
Hatlehol Church
Project module:
Tectonic Design: Structure & Construction
Period:
20.10.14 - 16.12.14
Group:
ARC 11
Semester:
MSc01 ARC
Supervisors:
Isak Worre Foged, Assistant Professor, Aalborg University
Technical Supervisor:
Søren Madsen, Assistant Professor, Aalborg University
Number of pages:
xx
Number of Chapters:
7
Number of copies:
9
Aalborg University:
Department of Architecture, Design & Media Technology
01
|
Intro
03
03
Location
34
Design Parameters
03
Site History
36
Design process
04
Surrounding churches
38
Preliminary Studies -
06
Nordic Architecture
Placement
08
Tectonics
10
Theories
Exterior
12
Methodology
|
40 42
Design process
Preliminary Studies Preliminary Studies -
Interior
02
|
Analysis
44
Room Function
46
Acoustics
16
Mappings
50
Construction
16
- Vegetation
54
Facades Studies
18
- Infrastructure
56
Model Studies
19
- Noise
58
Light Studies
20
- Building functions
22
Climate
04
26
Case study: Louisianna
28
Case Study: Bishop Edward
62
Strategy
64
Vision
King Chapel 30
Summary
|
60
Concept Concept diagrams
05
|
Presentation
07
Master plan
70
Plans
diagrams
60
Renders
104
Calculations
70
Sections
104
- Acoustics
70 AA
108
- Construction
72 BB
119
- Japanese Joint
74 CC
120
- Parking
76
Elevation
Workshop material
76
1 - North-West
List of references
78
2 - South-West
List of Illustrations¨
80
3 - East
82
4 - West
68
84
Materials
88
Details
06
Epilogue
|
94
Conclusion
Reflection
95
|
98
Appendix Surrounding church
This chapter contains a short introduction to the project, and presents the basic knowledge which has been gathered in order to get a better understanding for the surroundings and the site.
Intro
01
LOCATION
Ă…lesund is both a municipality and a town in the North-eastern part of Norway, where the municipality without suburbs has close to 45.000 residents. In 1904 an incident cause a major fire outbreak which ignited almost the entire city, made of many wood constructions, leaving approximately 10.000 people without shelter. After this incident the city was rebuilt, heavily influenced by Art Nouveau in brick.
ILL. 1 - MAP OF NORWAY
2
Intro
SITE DESCRIPTION
The site is located 16 kilometers south-east of Ă…lesund, in a suburb called Hatleholen. Having the north side bordering up to the RV60, this is the direct connecting between Ă…lesund and Bergen running along the bottom of hill. On the south side of the site, there is a rather large residential area, which is a part of the Hatleholen city, where centrum is located only 1 km east of the site. The site is a green patch, with dense forest, of approximately 16.000 m2 being closely connected to the already existing graveyard of Hatleholen. Being at the bottom of a hill, the site itself is falling 10 m in height over a 160 m span, towards the Flisfjord that is located 1.5 km south of the side.
site border - north
site border - south
ILL. 2 - SITE ILLUSTRATION
cca +30,00 m.a.s.l. cca + 20,00 m.a.s.l. ILL. 3 - LONGITUDINAL TERRAIN SECTION
Intro
3
SURROUNDING CHURCHES
Researching the medium and big sized Lutheran
decrease in the numbers of visitors, put a big tone
churches of the 20th century was as an atempt to
to be more social and general. To avoid churches
get a better understanding of the basic forming fac-
acting only as a „Sunday building”, many new cul-
tors, sizes, materials and function schemes.
tural function got introduced to the room program, such as meeting rooms, music classes, children
After the big fire that destroyed the most of the
care, which were followed by the necessary admin-
town in 1904, a general „building boom” hap-
istration and comfort places (offices, kitchen, cafe,
pened in Ålesund, creating a standard urban view
toilets).
in art nouveau style. Along this wave the main church of the town was rebuilt, on the site of the previous one. The architect Sverre Knudsen created a building that fits to the new image of the town. It has a historical, neomedieval style using the matching materials for this view (stone+marble outside, wood+white plaster inside). The floor plan is an exact copy of this old system, after entering the church, there is a big nave that continues in a smaller chapel orientated to west. The visitors (800 people) sit in parallel benches facing the altar. Since the next churches were built 70 years later, the area missed the revolution of the modern and postwar protestant architecture, brutalism and its anti-movements. The state church, in the attempt to modernize the institute and to stop the strong
4
Intro
There were only two churches in the Ålesund munipalicy built in the 70s and 80s. The first one is Volsdalen church (Ill. 6), a wood construction church built in 1974 by Leif Olav Moen. Instead of having both a chapel and nave, there is only one sacred room, the nave, which is designed for 500 visitors. The office of the parish is situated
ILL. 4 - ÅLESUND CHURCH, 1904 - 09
in the basement, utilizing the steep slope on the site. The second church, Spjelkavik church, is a brick building, built in 1987 by Alf Apalseth. Situated next to the new shopping district in town, the brick building stands from its context. The hexagon shape of the floor plan, inspired by traditional Israeli tents,
ILL. 5 - SPJELKAVIK CHURCH, 1987
has been divided into three functions, public – sacred – administration, accommodating up to 600 visitors. Two smaller churches were built in the late 20. Century, in this case they are only analyzed in terms of room programs and flow, since they are not relevant building wise, compared to their size. ILL. 6 - VOLSDALENS CHURCH, 1974
Intro
5
NORDIC ACHITECTURE
Nordic architecture started as a concept in the in-
Along with some national identity which often can
ternational context in the early 1900s, created by
be seen in e.g. local materials, small references to
modernists. In relation to the architectural perspec-
history and traditional building styles. Many Nordic
tive, it was a concept that also influenced other
architects have also been known for the way they
products of design such as, furniture, lamps etc.
played with the role of the light in their architecture, and some for experimenting with how the lack of
Amongst the front runners that represented the
so, somewhere could emphasis it elsewhere, which
Nordic countries as a whole in the beginning of the
can be linked to the Nordic climate, and its lack of
1900s, was Lars Backer (NOR), Sven Markelius
light, as the winter months approaches.
(SWE), Poul Henningsen(DEN), and Alvar Alto (FIN)
Nordic architecture can be seen everywhere in the
all of which were strongly inspired by the modern-
world, and can be designed by anyone no matter
ist, especially the European scene and architects of
nationality, but got it’s name because of a few peo-
their time. Nordic architecture became known for
ple’s way of designing was influenced by their sur-
the Minimal decoration, preferences for function-
roundings and communities.
ality over form, and simplicity. Among some of the other keywords that was used to describe the Nordic concept was “social” which was reflected in the welfare systems of the countries today.
6
Intro
“There is no longer need for Pastiche details, but in-
stead for, practical homes, bright working spaces, show windows and illuminating advertising… But there is still room for national identity, based on climate, needs and individuality”. - Lars Backer, 1927
ILL. 7 - SVENNE FEHN PAVILION
Intro
7
TECTONICS
Tectonics in architecture means a relationship be-
over time by internal (material) and external (social)
tween design and structure, integration between
factors. Frampton refers to it from a distance in his
aesthetic and technology, a bridge among form,
system Critical Regionalism which is a progressive,
material, structure and construction. It is influ-
non-instinctive approach between global and local
enced by the technological, social and cultural en-
architecture, tied in modern tradition but tied to
vironment. [Parigi, 2014]
its geographical and cultural context. [Frampton,
The word ‘tekton’ means ‘carpenter’ in Greek (lat-
1983]
er also: ‘poet’), it also creates a word ‘arki-tek-
b) The Master-Builder – the figure that leads the
ton’=’master-builder’. Gotfried Semper started us-
construction of complex architectural bodies. It has
ing it again while he was researching the primitive
skills to keep in hand all part of building (aesthet-
people’s native architecture. [Semper, 1860] In the
ic-engineering-construction), do a synthesis, relies
20th century it was rather about phenomenology
on intuition. (Examples: Medieval cathedral build-
and clear, readable constructions „the poetics of
ers, Gaudi, Nervi)
construction that is later an abstract discourse on
In 21st century tectonics are complex models that
surfaces, volumes and planes.” [Frampton, 1997]
develop toward a new use of advanced geometry
There is a difference between tectonic (construc-
and technology. Based on the two concepts above,
tion) and stereotomic (spatial) terms. [Cornel,
tradition and intuition, today’s challenge is to use
1996] One is the external appearance, clearly
tectonic models in the designing process. Instead
readable; the other is suspended and hollowed, so
of form-making, do form-finding, with different vari-
basically they are mostly found together.
ation of solutions for one task by using digital sim-
The two fundamental concepts in tectonic philoso-
ulations and real-time feedbacks already during
phy are [Parigi, 2014]:
design process. [Nilsson, 2007]
a) Vernacular architecture – the local building tradi-
There are dissolving differences between structur-
tions of a place, an instinctive tectonism perfected
al skeleton and enclosing surfaces, which causes
8
Analysis
closer collaborations between architects and engi-
of instant feedback. The more information that is
neers. [Nilsson, 2007; Oxman, 2010] It also helps
known in the beginning of design process the eas-
to involve outsiders (individuals or groups) into the
ier is to predict and prepare for optimal details.
process, or makes an effect on it with the tools
[Parigi, 2014]
ILL. 8 - GC PROSTHO MUSEUM RESEARCH CENTER, KENGO KUMA & ASSOCIATES
Analysis
9
THEORIES PALLASMA – THE EYES OF THE SKIN
Choosing to use Pallasmas theory and thereby ob-
The quantity use of big glass facades and opening
taining a tool for emphasizing the connection be-
in this time, deprives our building volumes from
tween indoor and outdoor spaces.
intimacy, Pallasma mentions that the shadow cre-
“It is evident that ‘life-enhancing’ architecture has
ates the intimate atmosphere that defines the line
to address all of our senses simultaneously…” [Pal-
between public and private. He states that this in-
lasmaa, 2012]
terplay between the dark contours of the shadows
Architecture today is mainly designed to satisfy the
and the light creates depth, shape and life to the
sense of sight. Pallasma argues that the suppres-
elements.
sion of appeal to the other senses has led to an
“Natural materials express the age and history, as
impoverishment of our environment, which further
well as the story their origins and the history of hu-
leads to alienation and detachment.
man use.” [Pallasmaa, 2012]
“The ultimate meaning of any building is beyond
Pallasma encourages the use of natural material
architecture; it directs our consciousness back to
that gives the surfaces some texture, which has a
the world and towards our own sense of self and
more authentic expression compared to the flat-
being. Significantly architecture makes us experi-
ness of some of the materials nowadays. These
ence ourselves as complete embodied and spiritu-
materials are weakened in their sense of material-
al beings. In fact, this is the great function of all
ity, and doesn’t show any indications of their story
meaningful art.” [Pallasmaa, 2012]
and origin.
“In our time, light has turned into a mere quantita-
Pallasmas theories about activating all senses will
tive matter and the window has lost its significance
be used to empower the experience and the at-
as a mediator between two worlds between en-
mosphere of the place and thereby extending the
closed and open, interiority and exteriority, private
building as a part of the nature.
public, shadow and light.” [Pallasmaa, 2012]
10
Intro
ILL. 9 - FOUR SENSES ILLUSTRATION
Intro
11
METHODOLOGY
The project is based on integrated design process,
formation about site, users, climate, functions
which is divided into five phases. The approach to
etc. gathered through various types of analysis.
these phases are iterative which makes it fairly
Through the information extracted from the anal-
complex, a simplification of the process is illustrat-
ysis, different design criteria’s of the project are
ed in (Ill. 10, the repetitive process of the phases al-
set up. Based on the parameters the “sketching”
lows the project to be optimized through knowledge
phase is started, here are ideas shaping the proj-
sharing. The professional knowledge off architects
ect created through sketching, modelling and 3D
and engineers are gathered into one symbiosis,
visualization. The following phase is the “synthe-
which takes both technical and esthetic aspects
sis” here is all the knowledge from the analysis and
into consideration. The first part of the project
sketching reduced into an almost settled design,
is the “problem” phase, where the problems and
which is optimized through the final calculations
challenges in the project are pinpointed.
regarding the construction and energy framework.
To get a better understanding of the project, the
The finished project is then presented, through a
second phase “analysis” is initialized. Here is in-
report, models and visualizations in the last phase
12
Intro
Problem
Analysis
Sketching/ Concept
Synthesis
Presentation
ILL. 10 - INTEGRATED DESIGN PROCESS DIAGRAM
Intro
13
This chapter contains a selection of the most important basic research done throughout this project, in order to better understand the surroundings, and to make an integrated design.
Analysis
02
VEGETATION
The high vegetation in the area represents a forest
forest is its role as a sound barrier which protects
which is considered as a great value and ecological
the site from the traffic noise of RV60 road on the
resource in Norway. It consists of the three most
northern border of the site. Since spruce is the eco-
common species in Norway: Norway spruce (40%),
nomically most valuable specie in Norway, and due
scots pine (30%) and birch (30%). Tree heights
to its good properties and low weight, it is going to
vary from 10m to 20m in a mixed semi-dense order
be used as the main constructive material for the
on the site. Another important value of the existing
new building.
LEGEND: HIGH VEGETATION LOW VEGETATION SITE BORDER
ILL. 11 - VEGETATION MAPPING
16
Analysis
ILL. 12 - SPRUCE - PICEA ABIES
ILL. 13 - PINE - PINUS SYLVESTRIS
ILL. 14 - BIRCH - BETULA PUBESCENS
Analysis
17
INFRASTRUCTURE
The surrounding area is dominated by heavy traffic
meant for pedestrians and cyclists connecting the
roads. The norwegian national road - RV60 is lo-
surroundings to the site. The northern areas are
cated on the north site border connecting different
connected by two pedestrian and bicycle bridges
parts of Aalesund and acting as the main artery
west and east of the site. More direct pathways
branching out to the residential neighbourhoods.
could connect the site better to the context.
Bus stops are located near the site going in both directions along the main road giving good opportunities for public transportation. There are few paths
Motor vehicle roads Pedestrian and bicycle paths Public transportation
ILL. 15 - INFRASTRUCTURE ILLUSTRATION
18
Analysis
NOISE
The Norwegian national road - RV60 - on the north
8-12dB. The effectiveness of noise reduction also
site border, represents the main noise source with
depends on the density of the tree stems, branch-
sound levels of up to 70-75dB. In order to reduce
es and leaves, so the best solution is to have com-
the noise to a desirable level of 50-55dB it is cru-
bination of coniferous species which are effective
cial to keep and even enhance the existing tree belt
noise barrier all year long. On the site, the different
which serves as a noise barrier. The existing belt
species are Norway spruce and scots pine for that
of trees and shrubs stretches between 25-35m in
purpose, also in combination with birch.
width which and can reduce the sound levels by
70 - 75 DB 65 - 70 DB 55 - 60 DB 50 - 55 DB < 50 DB
ILL. 16 - NOISE LEVEL ILLUSTRATION
Analysis
19
BUILDING FUNCTIONS
The surroundings of the site are dominated by residential neighbourhoods, divided into four major housing areas: Blindheim which is located towards north-west, Myrland towards west, Ramsvika towards south, Hatleholen towards south-east together with an additional smaller housing area north of the site. Sports facilities are located next to the site towards west and a cemetery is connected to the site on the east side only interrupted by the parking lot in between. Two schools are located near the site, Blindheim youth school north-west of the site and Borglund primary school south-east of the site. All of which is more or less in distance of a 1000 meters making it possible to arrive to the site by bicycle or on foot.
20
Analysis
COMMERCIAL INDUSTRIAL
Education EDUCATIONAL Industrial RECREATRIVE Commercial Residential Recreative
600 m
400 m
200 m
ILL. 17 - DISTANCE & FUNCTION ILLUTRATION
Analysis
21
CLIMATE - PRECIPITATION & WIND
Hatlehol is a small city in the area of Aalesund
fjord, this makes the wind a significant factor that
which is placed in the tempered climate zone in
should be taken into consideration. The wind di-
the northern Europe. The area is characterized by
rection is mainly from southwest but also from the
having a lot of precipitation, throughout the whole
northeast and the speed in the area is between
year. The site given is placed about 1 km from the
5-10 m/s.
Precipitation
300mm
Precipitation
150mm
0mm
Jan
Feb
Mar
ILL. 18 - PRECIPITATION FOR Ă&#x2026;LESUND ILLUSTRATION
22
Analysis
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
Wind direction distribution in (%) NNW
N
12
NNE
10
NW
NE
8 6
WNW
ENE
4 2 0
W
E
WSW
ESE
SW
SE SSW
S
SSE ILL. 19 - WINDROSE FOR SITE ILLUSTRATION
Analysis
23
CLIMATE - TEMPERATURE & SUN
The hours of sun on the site varies significant
through all seasons. According to the diagrams itâ&#x20AC;&#x2122;s
throughout the year, as it goes from a few hours a
seen that the sun is positioned in the south/south-
day in the winter period, to about 19 hours a day
east during the high masses.
in the summer. This is very important to take in consideration, in order to create the right lighting
Temperature
20 0 C
Max temp Min temp
10 0 C
0 0C Jan
Feb
Mar
ILL. 20 - HIGH & LOW TEMPERATURE ILLUSTRATION
24
Analysis
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
N 330
300
Jun.
23:37
03:37 30
10 20 30 40 50 60 70 80
21
60
06
W
E
09
18 12
15
Dec.
120
240
09:32 120
12
15:02 S
12
10:05 150
ILL. 21 - SUN LIGHT ILLUSTRATION
Analysis
25
CASE STUDIE LOUISIANA
Lousiana was founded by Knud W. Jensen and
The building volumes are connected in a roughly
opened in 1958. From the beginning it was intend-
circular form by glass corridors, connecting the dif-
ed to be a venue for cultural gathering and debate
ferent spaces and associates the inside and the
and became a museum attracting international ex-
outside in such a way, that the visitors gets the feel-
hibitions and artist that few other museums could
ing of walking in the middle of nature as were they
match. Louisiana is considered a major part of the
on a covered saunter.
danish modernist architecture, and were designed by the architects Jørgen Bo and Wilhelm Wohlert.
The design consisted of exposed structures, white-
They took inspiration in the simplicity of traditional
washed walls, laminated wooden ceilings, tiled
Japanese architecture which they elegantly trans-
floors. The glass panels are opening up to the sur-
ferred into the danish settings. Two factors were
roundings, giving an unique architectural lightness.
said to be crucial for the architecture which were
Jean Nouvel said the following about the museum;
coherence and gentleness. â&#x20AC;&#x153;At Louisiana, each thing is directly felt, and everyThe museum is based on an old villa and the idea was to link the architecture with the natural surroundings. The design presents itself as horizontal with an understated building complex which fits harmoniously and intimately together with the landscape.
26
Analysis
thing is at homeâ&#x20AC;?.
ILL. 22 - LOUISIANA
Analysis
27
CASE STUDIE BISHOP EDWARD KING CHAPEL
The Oxfordian chapel was designed by Niall Mc-
The designers tried to combine the best quality
Laughlin Architects, built in 2013; it is a good ex-
materials that have a matching world of colors,
ample of pure religious design and how to use ear-
to reach the proper atmosphere. Niall McLaughin
lier references correctly and adding contemporary
says: “If you get up very early, at sunrise, the hor-
technical features to make the idea valuable. Ear-
izontal sun casts a maze of moving shadows of
ly medieval vaults’ spirit appears in the diagonal
branches, leaves, window mullions and structure
crossing wooden frame structure of the roof, how-
onto the ceiling. It is like looking up into trees in a
ever the elliptical form and the space organization
wood.” [Trada Timber Industry Yearbook 2014)
rather follows the masters of the 20th century (i.e. Rudolf Schwarz, Peter Zumthor). The building is full with analogies and symbols. Like a stranded boat it creates a social room in a stone shelter. The building is ten meters high but simple standardized shape frames create a self-supporting tree-like roof system without requiring restraint at the top. It allows making a never-ending window between the wall and roof, similarly to Zumthor’s Saint Benedict chapel. The columns make a transparent division between the main chapel and the ambulatory. In each section 3 pieces of elements are bolted together, their cross-section sizes are 60 x 300 x 560 mm.
28
Analysis
ILL. 23 - BISHOP EDWARD KING CHAPEL
Analysis
29
SUMMARY
Analysis contain basic research of the relevant as-
ing forward the design. While the vegetation and
pects of the site. All of revealed factors and results
noise studies directed the building placement in
of the analysis predesignated the building place-
less-tree populated area, the sun analysis influ-
ment and design progress. Gathered information
enced the openings in the church taking into con-
served as a guidelines in the design process, but
sideration the proper lightning.
also as a restrictions, so that the building would
All this aspects are necessary to proper under-
be properly integrated into the site. Analysis are
stand the building context and ensure that new in-
revealing the site qualities and influencing the
terventions would respect surrounding landscape
design process in order to explore and enhance
and correspond to userâ&#x20AC;&#x2122;s needs.
the surrounding landscape. After summarising the accumulated knowledge, priorities have to be settled in order to provide clear guides for push-
30
Designprocess
Designprocesss
31
The following chapter is an attempt to give the reader an insight in the process that, that the project has gone through, before coming to an end, and to give an insight in what have influenced the decision making.
03
Design process
DESIGN PARAMETERS
Design parameters
34
-
Axial connections through site
-
Separated volumes
-
Integration and respect of the sites surrounding nature
-
Acoustic performances
-
Maintain sound barrier of the surrounding trees
-
Hierarchy in the building functions
-
Honest use of material, in which the tectonics from Nordic
architecture is showcased
-
Strong relation between interior and exterior spaces
-
Nordic architecture style
-
Enforcing use of more senses than only vision
Designprocess
Designprocesss
35
DESIGN PROCESS
At the beginning of this project, there was an in-
putting it together parametrically.
troduction to three different workshops that was
After this there were a little break, where the proj-
supposed to give a more scientific approach to the
ects were supposed to be evolved to a level where
design process, all with different focus. The first
it was possible to start drawing details and think
workshop was about working with the acoustics,
about the small scale things. The last workshop
exanimating how different forms would affect the
was about detailing buildings and thinking about
acoustics of the major rooms. As the process went
the many connections between every part of the
along and the results were compared with numbers
buildings.
that were considered good acoustics for a church
The challenge was to figure out how to solve the de-
room, a basic knowledge regarding shapes and vol-
tail around the roof, as the design proposal at the
umes for design an important part of the project
times had a doublet pitched roof, in which there
were gained.
were some complications.
Second workshop was about working with the structure, it was not mandatory to work with the previous result from the first workshop, but in order to make sense of everything , these two workshops was closely linked, as there were a mutual interest to imply the structural visible inside and trying to give it an acoustic effect. The workshop, was evolved about parametric design, and was about experimenting with different shapes and afterwards analyzing them in Karamba, which is a plugin for the 3d modelling program Rhinoceros3D which is able to analyze the construction as you are
36
Designprocess
The workshop was
ILL. 24
ILL. 26
ILL. 27
ILL. 28
Designprocesss
37
PRELIMINARY STUDIES
The preliminary studies started with some sketching of the masterplan, in order to ensure that the functionality of the spaces, creates a flow, according to the employees and the guests. Here axial paths are taken into consideration to meet the requirements acquired through the analysis phase.
ILL. 29
ILL. 30
38
Designprocess
ILL. 31
ILL. 33
ILL. 34
ILL. 32
Designprocesss
39
PRELIMINARY STUDIES
40
Designprocess
ILL. 35
ILL. 38
ILL. 36
ILL. 39
ILL. 37
ILL. 40
ILL. 41
ILL. 42
ILL. 43
Designprocesss
41
PRELIMINARY STUDIES
ILL. 44
ILL. 45
42
Designprocess
ILL. 46
ILL. 47
ILL. 48
ILL. 49
Designprocesss
43
ROOM FUNCTION Room type
Amount
Area (m2)
Capacity
1 1 1 1 1 1 1 1
750 75 40 80 40 12 25 12
300-500 15-30 20-30 20-30 5-10 people 2-5 people 2-5 people 2
1 1 1 1 1 1
16 100 60 80 150 45
20-30 50-100
8 1 1 1 1
6 25 30 35 10
8 8 -
2 1 1 1 1 1 1 1 1
25 25 35 10 12 20 10 28 30
10-15 persons 10-15 persons -
Sacred functions Church room Mezzanine Children's chapel Chapel Sacristy for baptism Cloister room Meeting room Sacristy for artifacts Community area Additional sacristy Entrance hall Storage for chairs and benches Church hall Congregational hall Kitchen Administration Offices Meeting / dining room Cloakroom Technical room Staff toilets Other functions Classrooms Music room Activity room Storage Refuse Workshop Laundry room 5 public toilets Cloakroom
44
Designprocess
FUNCTION DIAGRAM SACRED
SACRED
MAIN ENTRANCE
ADMINISTRATION
EDUCATION
ADMINISTRATION
MAIN ENTRANCE
EDUCATION
CLOAKROOM
CHILDREN’S CHAPEL
STORAGE
ADDITIONAL SACRISTY
CHAPEL SACRISTY
PUBLIC TOILETS
KITCHEN
ENTRANCE
BAPTISM
CHURCH ROOM
ENTRANCE HALL CONGREGATIONAL HALL
REFUSE
CHURCH HALL
CLOAKROOM
CHILDREN’S CHAPEL
CLOISTER ADDITIONAL
STORAGE
SACRISTY
CHAPEL SACRISTY
PUBLIC TOILETS
KITCHEN KITCHEN
OFFICES ENTRANCE HALL
CONGREGATIONAL HALL
MEETING
TOILETS
REFUSE TECH ROOM
DINING
ENTRANCE
CLASSROOM
BAPTISM
CLASSROOM MUSIC ROOM CHURCH ROOM
CLOISTER
CHURCH HALL
WORKSHOP
STORAGE
ACTIVITY ROOM
ILL. 50 - ROOM FUNCTION ILLUSTRATION
Designprocesss
45
ACOUSTICS
Considering the project requirements and function
obstacles it can respond as reflection, absorption,
of a church, the acoustics play an important role
diffusion or diffraction. The diagrams below show
in the design process. In order to achieve â&#x20AC;&#x17E;good
how the sound ray can be distributed and reflect-
acousticsâ&#x20AC;? it must be defined which kind of ambi-
ed when reaching different shapes in ceiling and
ent wants to be achieved in the church. The first
walls. Different angles are distributing the sound
tests of acoustics start with reverberation time,
differently, so the aim is to achieve a surface which
which various depending on different types of mu-
will distribute the sound equally to the audience.
sic and speech. Taking into account that the church is supposed to be used for preaching, organ music
Considering the section of the room, when the ceil-
and choir singing, the targeted reverberation time
ing is decreasing in height from the source, it is
is set to be approx. 1.4 to 2.4 seconds (See appen-
distributing the sound most efficient. And convex
dix fig. 15).
shape, while a stepped ceiling is good for sound diffusion.
In order to understand how the sound is distributed in the space, different shapes have been explored
While exploring the shape in plain view, the function-
in section and plan.
ality of the church has been considered in terms of
Sound is a longitudinal wave which moves through
positioning the altar, audience, entrance, choir and
the air (or other medium) and when reaching the
the area needed. Accordingly, the diagrams start
Fig. 1.1. Flat ceiling
Fig. 1.2. Decreasing slope
ILL. 51 - ACOUSTIC REFLECTION ILLUSTRATION
46
Designprocess
Fig. 1.3. Increasing slope
Fig. 1.4. Concave ceiling
Fig. 1.6. Convex ceiling
Fig. 1.7. Stepped ceiling
with basic rectangle as an optimal and functional
tion (D-50), clarity (C-80), both are indicators telling
shape with gradually changing the angles of longi-
how the sound can be distinguished usually used
tudinal and opposite walls. Diagrams show that the
for testing speech, and clarity for music. [Long,
best distributed sound is in the trapezoid which is
Marshal: Architectural acoustics, 2006.] and echo.
decreasing in width (Ill. 28.) and right trapezoid (Ill.
The results are presented through analysis of three
28.) which led to final shape of the church.
sound sources in the church: the priest, organs and
Acoustical simulations and experimentation with
the choir, and measured with two receivers simu-
acoustical possibilities were run in the software
lating: the audience in front and in the back.
called â&#x20AC;&#x17E;Pachydermâ&#x20AC;&#x153;. Different parameters were tested such as: reverberation time (T-30), the time which it takes the sound to decay by 60 dB, defini-
receiver 0 the priest
receiver 1
the choir
the organ
SOUND SOURCES ILL. 52 - ACOUSTIC SOUCE & RECIEVER ILLUSTRATION
Designprocesss
47
The aim was to get lower reverberation time around
The final test was showing how much echo can be
1.3s to 1.8s for the priest, which is better for speech
found in the space. Echo is the late sound which
and higher RT for organ music (from 1.8s to 2.6s)
appears after 70ms which corresponds to sound-
in order to reach desired atmosphere. When using
waves that travels more than 17m. When using
basic rectangle shape the reverberating time was
only reflective surfaces, the calculations show that
mostly from 1.3s to 2s. Tilting side walls caused
echo is present in almost all frequencies (Fig. 17 –
better sound distribution, but still quite low rever-
var 3). In order to decrease the echo, the parallel
beration time. Removing the big tilted wall and
walls have been avoided, and absorptive materials
making „free standing“ boxes for secondary func-
are applied to the back wall in order to avoid fur-
tion, the trapezoid shape remained but increased
ther bouncing of the late sound.
volume caused longer reverberation time from
Applying different materials can provide various
2.3s to 2.8s (results see appendix fig. 16). The
acoustic effects such as reflection, diffusion, scat-
aim was also to reach the highest definition (D-50)
tering or absorbing. The high dimensioned roof con-
possible, preferably between 30-40% in the front,
struction formed as a „waffle“ grid are scattering
since it is the indicator of how the sound can be
the sound from the side walls, while the windows,
distinguished for the speech.
stone floor and enclosed wall panels mostly reflect the sound. The back wall is furnished with fabric which is covered with wooden rafters which results in absorbing the sound.
Schroeder integral
Logarithmic Energy Time Curve
Sound Pressure Level (db)
0 -10 -20 -30 -40 -50 -60
Time (s)
ILL. 53 - PACHYDERM GRAPH ILLUSTRATION
48
Designprocess
0.5
1.0
1.5
2.0
priest
priest
priest choir
changing shape
ap dif m
increaasing volume
organ/choir organ/choir
organ
var. 1 62.5 hz 125 hz 250 hz 500 hz 1000 hz 2000 hz 4000 hz 8000 hz
var. 2 62.5 hz 125 hz 250 hz 500 hz 1000 hz 2000 hz 4000 hz 8000 hz
var. 3 62.5 hz 125 hz 250 hz 500 hz 1000 hz 2000 hz 4000 hz 800
T-30
0.9 s
1.36 s
T-30
1.63 s
T-30
1.5 s
D-50
42.12% 48.32% 42.87% 40.01% 34.25% 33.45% 37.91% 2.27 s
D-50
39.17% 38.77% 22.81% 26.2% 43.6% 27.5% 38.32% 20.07%
D-50
26.4% 37.85% 24.4% 18.1% 19.75% 21.7% 14.63% 14.
1.32 s 1.65 s
1.63 s
1.99 s 1.57 s 1.75 s
1.49s
2.11 s
1.55 s
1.54 s 1.96 s 1.4 s
1.34 s
echo 10% False (speech)
priest
priest
True
True
2.38 s
True
priest choir
pe
1.41 s 2.17 s
choir applying different materials
increaasing volume
reflective material diffusive material
organ/choir
absorptive material
organ
organ
var. 2 62.5 hz 125 hz 250 hz 500 hz 1000 hz 2000 hz 4000 hz 8000 hz
var. 3 62.5 hz 125 hz 250 hz 500 hz 1000 hz 2000 hz 4000 hz 8000 hz
final
62.5 hz 125 hz 250 hz 500 hz 1000 hz 2000 hz 4000 hz 8000 hz
T-30
1.63 s
T-30
1.5 s
2.38 s
T-30
0.9 s
D-50
39.17% 38.77% 22.81% 26.2% 43.6% 27.5% 38.32% 20.07%
D-50
26.4% 37.85% 24.4% 18.1% 19.75% 21.7% 14.63% 14.9%
D-50
44.14% 44.76% 29.46% 28.17% 29.297% 28.76% 24.37% 31.46%
1.49s
2.11 s
1.55 s
1.54 s 1.96 s 1.4 s
1.34 s
echo 10% False (speech)
1.41 s 2.17 s
True
True
2.38 s
True
2.78 s 2.91 s 3.07 s
True
True
True
True
echo 10% False (speech)
0,95 s 1.65 s
False
False
1.89 s
False
2.49 s 2.65 s 2.66 s
False
True
True
2.05 s
True
ILL. 54 - ACOUSTIC SIMULATION
Designprocesss
49
2.78 s 2.91 s 3.07 s
True
True
True
2.3
Tru
CONSTRUCTION
The architectural concept contained to have a tower as landmark in the building, which shall be an integrated part of the form. The evolution of the structure follows the thin tectonic hierarchy of the concept, starting from the „shoebox” basic contour, differently lifted corner points at the roof which creates a doublecurved surface, despite it’s still built up from straight lines in all parallel sections. The architectural concept contained to have a tower as landmark in the building, which shall be an integrated part of the form. Pairing the concept of shoebox with the result of acoustic experiences: strict exterior, curved hyperbolic interior. Creating the proper structure(s) for a form cannot be random while using the tectonic methods. In this case the form’s main properties were already
ILL. 55 - STRUCTURE PRINCIP ILLUSTRATION
50
Designprocess
ILL. 56 - STRUCTURAL ILLUSTRATION
given, just like the wish to use timber as struc-
the church nave.Thus the form finding was based
ture material. The solution shall be a system that
for the nave and happened in Karamba software
can be easily adopted to each building of the pro-
which allows to get instant general feedback of a
gram, however the „source” of it shall be found in
parametrized system:
ILL. 57 - STRUCTURAL ILLUSTRATION
Shifting of beams
0
1
2
3
Max. Distance
33 m
16 m
8m
4m
Cross-Section (mm)
675x2250
440x1460
360x1200
300x1000
Volume of timber(m3)
835
353 ½
290
245
Columns dimension
2 x 11
2 x 11
2 x 11 + 2 x 1
2 x 11 + 2 x 2
Designprocesss
51
Fitting different solutions to the form, reaching ra-
ings the first solution fits the most.
tio=1.00 (= utilisation 100%) with only self-weight
The static scheme is a totally fixed frame structure
The fourth explored variation became chosen for
(in the nave in a diagrid organisation) supported
the church room which serves both the structural
with hinged ubstructure for the wallsâ&#x20AC;&#x2122; strifness.
and aesthetical needs. For the small other build-
ILL. 58 - STATIC SCHEME OF STRUCTURE
The deeper analysis happened in Autodesk Robot
applied: 400 x 1250 mm for the church nave and
which is a well-detailed software for final-element
200 x 500 mm for the other buildings.
methods (FEM). Concluding static, economical and
The chosen material is glue-laminated Norway
aesthetic views, two regular cross sections were
spruce (Pieca abies) form local raw material.
52
Designprocess
For the design of joints the main basic aspects
- location of extensions shall be at the zero-points
were:- the elements shall be produced in factory in
of bending moments
smaller pieces, transported to the site and assem-
- it shall keep the fixed system of the structure
bling easily there
Chosen solution are three variation of steel plate connections:
ILL. 59 - JOINT ILLUSTRATION
Designprocesss
53
FACADE STUDIES A facade study was explored during the workshop 3 in terms of aesthetics, functionality and indoor/outdoor relation. Different proposals was investigated and applied for further investigation. Wooden slats were implemented on the facade and technical details were examined.
ILL. 60 -
ILL. 61 -
54
Designprocess
ILL. 62 -
ILL. 63 -
Designprocesss
55
MODEL STUDIES A model study was examined in order to get a better understanding of the scale and the interior spaces aswell as solving specific design issues. In our first design proposal of the church volume, the interior space was divided by a transverse wall going on the longitudinal direction, creating spaces for the chapel and additional sacral rooms. A design issue with this proposal, was that it divided not only the interior spaces, but also the structure of the roof which was unfortunately for the aesthetic and the tectonic expression. Therefore we redesigned the interior space, placing boxes to create spaces both within the box and inbetween the box and the walls. The backwall was also redesigned, so that it follows the construction of the transverse beams, creating spaces, but still maintaining the view of the structure.
ILL. 65
ILL. 64
56
Designprocess
ILL. 66
ILL. 68
ILL. 67
ILL. 69
Designprocesss
57
LIGHT STUDIES
58
Designprocess
ILL. 68
ILL. 69
Designprocesss
59
This chapter is the result of the previous ones, and contains a description of the main concept, which is derived from the design parameters and also the integrated design process.
Concept
04
CONCEPT
„An ideal architecture is an outdoor space that feels like an indoors and an indoor spacethat feels like the outdoors.”
ILL. 70 - CONCEPT ILLUSTRATION
62
Concept
- Sou Fujimoto
STRATEGY
Boxes divided by function
admin
sacred
education
public
Orientation towards center
Connection inbetween functions
Circulation inbetween buildings
Access from context
Indoor-outdoor relation
ILL. 71 - DESIGN STRATEGY ILLUSTRATION
Concept
63
VISION
64
Concept
The vision for the project is to create a church that invites the community to be involved in the use of the buildings. Buildings in which the atmosphere are closely related to the surrounding context, where the users are feeling connected to the nature, also when inside. The building should be designed with a tectonic approach, which creates integrity between form material, structure and construction. It is strived for to achieve a Nordic expression, this is applied to the esthetics as well as the Nordic building tradition regarding construction. Furthermore the goal is to use parametric design tools to calculate and verify the construction.
Concept
65
This chapter contains the presentation of the final proposal made, including, renders, section, elevations etc. to give a detailed description of the project.
05
Presentation
MASTER PLAN
68
Presentation
ILL. 72 - MASTERPLAN 1 : 1000
Presentation
69
ILL. 73 - FLOOR PLAN - GROUND FLOOR 1 : 500
70
Presentation
DW
ILL. 74 - FLOOR PLAN - FIRST FLOOR 1 : 500
ILL. 75 - FLOOR PLAN - SECOND FLOOR 1 : 500
ILL. 76 - FLOOR PLAN - THIRD FLOOR 1 : 500
Presentation
71
RENDER 1
72
Presentation
ILL. 77
Presentation
73
RENDER 2
74
Presentation
ILL. 79
Presentation
75
RENDER 3
76
Presentation
ILL. 80
Presentation
77
78
Presentation
ILL. 81
Presentation
79
80
Presentation
ILL. 82
Presentation
81
SECTION AA 1:300
82
Presentation
ILL. 83 - SECTION 1 : 300
Presentation
83
SECTION BB 1:300
84
Presentation
ILL. 84 - SECTION 1 : 300
Presentation
85
SECTION CC 1:300
86
Presentation
ILL. 85 - SECTION 1 : 300
Presentation
87
ELEVATION NORTH-WEST
88
Presentation
ILL. 86 - ELEVATION 1 : 300
Presentation
89
ELEVATION SOUTH-WEST
90
Presentation
ILL. 87 - ELEVATION 1 : 300
Presentation
91
ELEVATION SOUTH-EAST
92
Presentation
ILL. 88 - ELEVATION 1 : 300
Presentation
93
ELEVATION NORTH-EAST
94
Presentation
ILL. 89 - ELEVATION 1 : 300
Presentation
95
MATERIALS
The main material used in this project is wood
great choice for structural solutions. Also, it is eco-
which was applied in a way to focus on its tectonic
nomically most important and most common tree
potential. When choosing between various types
species in Norway.
of wood, different aspects have been considered,
The roof and facades of all church buildings are
such as: characteristic strength of the wood, resis-
covered with vertical rafters (70x30 mm) of Siberi-
tances to weather conditions, colors and textures.
an larch (Larix sibirica). It is a very dense wood with
Priority was also set for locally produced materials,
moderate durability and resistance to rot and fun-
taking into account energetic sustainability.
gal attack which makes it ideal for outdoor spaces.
Materials used in this church are divided into four
It’s natural honey-brown color usually turns more
main categories: loadbearing construction, exteri-
grey over one to two years of UV exposure. Also,
or, interior and corridor materials.
charring creates a layer of carbon which extends it’s lifespan of 30-50 years or more.
Loadbearing construction (Fig. 54) – spruce picture Norway spruce (Picea abies) was the most logical
Interior walls and ceiling of the church are covered
choice for construction due to its good properties
with birch (Betula pubescents) plywood (20 mm).
and local availability. The construction columns
It’s commonly used for interiors and also meets the
and beams are made of glued spruce laminates
desired criteria as a clean and light surface which
which can be easily produced for required cross
fits in between the loadbearing columns. Birch is
sections of the structure. It’s lightweight, relative
also one of the most common tree species in Nor-
strength; long length and straightness make it a
way which means it is available as a local product.
96
Presentation
ILL. 90 - MATERIALS ILLUSTRATION
ILL. 91 - MATERIALS ILLUSTRATION
ILL. 92 - MATERIALS ILLUSTRATION
Presentation
97
Floors in the church are tiled with grey stoneware tiles which are made by grinding the stone material and storing them into slots to unify their properties. Loadbearing frames and rafters in the corridors are using the same material as the church building, while the floors and roof are different. Floors are paved with gravel tiles in order to create a boundary space between inner (stone tiles) and outdoor (natural paths and pavements) spaces. Flat roof on top of the corridors are predicted as green surfaces as an extensive green roof with planted succulents plants. Flat roof on top of the corridors are predicted as green surfaces as an extensive green roof with planted succulents plants.
98
Presentation
ILL. 93 - MATERIALS ILLUSTRATION
ILL. 94 - MATERIALS ILLUSTRATION
ILL. 95 - MATERIALS ILLUSTRATION
Presentation
99
DETAILS
In order to ensure the best performance of the
church room with loadbearing columns, connection
building, all materials has to be considered and
between two walls, window detail and placement of
their mutual connection developed. Crucial details
a facade cladding. Detail 2. is showing complete
of the building have been defined such as: detail-
section from the foundation to the roof, where
ing the envelope, defining types of surfaces and
drainage has been considered and window detail
textures, and detailing the openings. Details are
where it meets the ground.Detail 3. presents con-
containing wall and floor layers list with all defined
nection between encoded wall and facade which is
materials. Detail 1. is showing plan view of the
meeting the ground.
ILL. 96 - WALL 1 : 25
100
Presentation
ILL. 97 - DETAIL OF FOUNDATION + WALL 1 : 25
Presentation
101
ILL. 98 - FOUNDATION 1 : 25
102
Presentation
Presentation
103
Epilogue
06
CONCLUSION
Based on the competition brief for the Hatleholen church, there has been designed a proposal for the church that shall serve as a religious landmark of the city. The church complex including the communal function is designed in a way that compliments the side and takes the context into consideration, in a way that makes the architecture a prolongation of the nature. This enhances the feeling of being outside when being inside, which is the main design parameters. The paths of the entrances to the church which are derived from the analysis, creates a walkthrough the forest which activates all of your senses. The urban planning ensures that visitors, experience nature at its fullest, and experience the architecture, in a human scale due to the height of the corridors in relation to the towering church. The church expression is of Nordic expression, and is made in wood from the local area, the type and origin of the wood ensures sustainability. The construction is true to the material and is made from a tectonic point of view, which fulfills both the aesthetic and technical aspects of architecture.
106
Appendix
REFLECTION
Looking at the project we can say that the result is more of a progress than a specific solution. Integrated Design Process helped to collect all the perspectives to solve the problems in acoustics and statics and let us offer a result that satisfies both aesthetic and technical requirements. The suggestions in the two theme above are proved by different simulation progresses and explorations. Using the tools of digital fabrication allowed to parametrize and study different variations of every system, however the amount of time was fairly not enough to have all the analyses and finalize the proper details for them, thus the some missing in the report can be found. Smaller difficulties were observed also because of the beta versions of these experimental tools, in spite of this it is uncontroverted that reaching these softwareâ&#x20AC;&#x2122;s border helps to fix and improve them in the future. Despite these, the results gotten are valid and show the process of a tectonic design and could be easily developed in case of a bigger time capacity.
Appendix
107
Appendix
07
SURROUNDING CHURCHES
FIG. 1
FIG. 2
110
Appendix
FIG. 3
FIG. 4
Appendix
111
FIG. 5
112
Appendix
FIG. 7
FIG. 8
Appendix
113
FIG.9
FIG.10
FIG.11
114
Appendix
FIG.12
FIG.13
FIG.14
Appendix
115
CALCULATIONS ACOUSTICS 1)
The tables with results (T-30, D-50, C-80)
for different receivers (receiver 0 and 1)which were
The tables below shows all given results from
relevant for showing, how definition is much high-
Pachyderm, according to frequencies and sound
er when receiver are closer to source. Positions of
sources. The main parameters which are taken into
sound sources and receivers are shown in figure xx
consideration are: reverberation time (T-30), defini-
(picture section with sources in report part).
tion (D-50) and clarity (C-80). There are also results
T-30, D-50, C-80
FINAL RESULTS from Pachyderm T-30
62.5 hz 125 hz
250 hz
500 hz
1000 hz 2000 hz 4000 hz 8000 hz
priest
0.9 s
0,95 s
1.65 s
1.89 s
2.49 s
2.65 s
2.66 s
2.05 s
organ
1.2s
1.26 s
2.05 s
2.4 s
2.47 s
2. 74 s
2.88 s
2.27 s
choir
1.07 s
1.07 s
1.64 s
2.17 s
2.45 s
2.47 s
2.81 s
1.99 s
D-50 priest organ choir
62.5 hz 125 hz
250 hz
500 hz
1000 hz 2000 hz 4000 hz 8000 hz
rec.0
44.14 % 44.76 % 29.46 % 28.17% 11.67 % 12.45 % 20.37 % 20.59 %
rec.1
25.35 % 34.05 % 29.3 %
rec.0
39.93 % 31.36 % 22.75 % 25.45 % 13.74 % 18.78 % 15.11 % 25.05 %
rec.1
57.74 % 58.34 % 43.05 % 43.65 % 43.61 % 37.38 % 37.51 % 30.42 %
rec.0
63.02 % 65.63 % 55.98 % 39.98 % 35.22 % 43.05 % 37.89 % 47.51 %
rec.1
40.5 %
C-80 organ
7.63 %
38.56 % 19.73 % 9.58 %
21.32 % 14.82 % 22.98 % 11.94 %
6.34 % 19.3 %
62.5 hz 125 hz
250 hz
500 hz
rec.0
2.27 s
2.3 s
-1.76 s
- 2.71 s - 5.89 s - 4.5 s
rec.1
2.94 s
2.77 s
0.63 s
0.86 s
9.3 %
3.81 %
1000 hz 2000 hz 4000 hz 8000 hz 1.77 s
- 5.91 s - 3.97 s
- 0.08 s - 0.11 s - 1.22 s
MATERIAL absorption and scattering coefficient Appendix 116 coeff.
62.5 hz 125 hz
250 hz
500 hz
1000 hz 2000 hz 4000 hz 8000 hz
2)
Mapping pictures and legend
Mapping of reveberation time is sligtly different
Using Pachyderm mapping tool, some results from
from results acording to frequencies. The pictures
the analysis can be shown graphicaly. Relevant pa-
are showing the T-30 is almost equaly distirbuted
rameters in this analysis were sound pressure level
along the audience, while audience closer to the
(SPL), reverberation time (T-30) and definition (D-
source have always slightly lower reverberation
50). The color graph is placed to the audience in or-
time than the audiance in the back.
der to show results allong the whole audiance surface, depending on the three sources: the priest, organ and choir. SPL pics Sound pressure level is indicator of acoustic wave strength and it can be interpreted as human preception of loudness [Long, Marshal: Architectural
D-50 pics
acoustics, 2006.].
Deffinition (D-50) graphs show good sound distin-
T-30 pics
guishing allong the whole audience. The most of the public are reaching 40-50%, while the ones closer to source are aproaching 70-80% of the deffinition values. 3)
Material coefficients
FIG.16
Appendix
117
FINAL RESULTS from Pachyderm T-30
62.5 hz 125 hz
250 hz
500 hz
1000 hz 2000 hz 4000 hz 8000 hz
priest
0.9 s
0,95 s
1.65 s
1.89 s
2.49 s
2.65 s
2.66 s
2.05 s
organ
1.2s
1.26 s
2.05 s
2.4 s
2.47 s
2. 74 s
2.88 s
2.27 s
choir
1.07 s
1.07 s
1.64 s
2.17 s
2.45 s
2.47 s
2.81 s
1.99 s
D-50 priest
rec.0
62.5 hz 125 hz
250 hz
500 hz
1000 hz 2000 hz 4000 hz 8000 hz
44.14 % 44.76 % 29.46 % 28.17% 11.67 % 12.45 % 20.37 % 20.59 %
rec.1 25.35 % 34.05 % 29.3 % 7.63 % 21.32 % 14.82 % 22.98 % 11.94 % In order to perform acoustic analysis in Pachyderm, 4) Audience
all surfaces must have properties rec.0applied 39.93material % 31.36 % 22.75 % 25.45 % 13.74 % 18.78 % 15.11 % 25.05 %
organ
as absorption and rec.1 scattering the % The scattering coeffitiens are%calculated follow-% 57.74coefficients. % 58.34 %In 43.05 43.65 % 43.61 % 37.38 37.51 %as30.42 tested model there were four types of assigned maing: rec.0
63.02 % 65.63 % 55.98 % 39.98 % 35.22 % 43.05 % 37.89 % 47.51 %
choir terials, which had assigned absorptive coeffitiens
f = c / (d * 4)
“Audience and Chair Absorption in Large Halls,”
f = the frequency above which the scattering coef-
40.5 % 38.56 % 19.73 % 9.58 % from the sound apsorption tabels [L.L. Beranek, rec.1
6.34 % 19.3 %
9.3 %
3.81 %
Journal of the Acoustical Society America, will be 90%,hz and2000 belowhzwhich thehz scattering C-80 62.5 hzof 125 hz Jan250 hz ficient 500 hz 1000 4000 8000 hz uary 1969.]: coefficient will be 20% or lower;
organ
rec.0
2.27 s
2.3 s
-1.76 s
rec.1
2.94 s
2.77 s
0.63 s
1)
Reflective walls/roof – (no.17.)
2)
Apsorptive walls – (no. 24.)
3)
Floor – (no.28.)
- 2.71 s - 5.89 s - 4.5 s
- 5.91 s - 3.97 s
d= average dimension of irregularity;
0.86 s
1.77 s
- 0.08 s - 0.11 s - 1.22 s
c= speed of sound in air=343 [m/s];
MATERIAL absorption and scattering coefficient coeff.
62.5 hz 125 hz
250 hz
500 hz
1000 hz 2000 hz 4000 hz 8000 hz
reflective walls/roof
absorbtion
42 %
42 %
21 %
10 %
8%
6%
6%
10 %
scattering
20 %
20 %
20 %
90 %
90 %
90 %
90 %
90 %
absorptive walls
absorbtion
15 %
15 %
26 %
62 %
94 %
64 %
92 %
60 %
scattering
20 %
20 %
20 %
90 %
90 %
90 %
90 %
90 %
absorbtion
1%
1%
2%
2%
2%
2%
2%
2%
scattering
20 %
20 %
20 %
20 %
20 %
20 %
20 %
20 %
absorbtion
15 %
25 %
35 %
45 %
55 %
55 %
50 %
45 %
scattering
20 %
20 %
20 %
90 %
90 %
90 %
90 %
90 %
floor audience FIG.19
118
Appendix
Appendix
119
CALCULATIONS STRUCTURE
1. Calculations 1.1.
Snow load
Ă&#x2026;lesund â&#x20AC;&#x201C; 3
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
http://www.fig.ol.no/~atso0701/NS%20tabeller/NS-EN%201991-1-3%20pkt.%20NA.4.1.pdf
đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; = đ?&#x153;&#x2021;đ?&#x153;&#x2021;đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018;&#x2019;đ?&#x2018;&#x2019; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018;Ąđ?&#x2018;Ą â&#x2C6;&#x2122; đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x153;&#x2021;đ?&#x153;&#x2021;đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; = the snow load coefficient = evenly distributed load 0,8 for â&#x2030;¤ 30° đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = the characteristic snow load on the ground = 3 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;â &#x201E;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
đ??śđ??śđ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = the expositor coefficient = Windswept topography, where đ??śđ??śđ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 1,2
đ??śđ??śđ?&#x2018;Ąđ?&#x2018;Ą = the thermal coefficient = 1
đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; đ?&#x2018;&#x2020; đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; đ?&#x2018;&#x2020; đ?&#x2018;&#x2020; đ?&#x2018;&#x2020; đ?&#x2018;&#x2020; đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; đ?&#x2018;&#x2020; đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;88
120
Appendix
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
1.2.
Wind loads
(see pdf02)
đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? 0 = 28
đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018; đ?&#x2018;
Basic wind velocity:
đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 1
đ?&#x2018;?đ?&#x2018;?đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; = 1, transportable structure Peak velocity pressure
đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? = đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2014; đ?&#x2018;?đ?&#x2018;?đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? đ?&#x2018;&#x153;đ?&#x2018;&#x153;
đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? = 1 â&#x2C6;&#x2014; 1 â&#x2C6;&#x2014; 28
đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 28 đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018;
đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;?đ?&#x2018;? (đ?&#x2018;§đ?&#x2018;§) = đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; â&#x2C6;&#x2014; 0,613 â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?2 Terrain category lll Average height z = 11.36 đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 1.8 - 4.10 eurocode_1_1.4
Appendix
121
Basic wind velocity: đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? = đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2014; đ?&#x2018;?đ?&#x2018;?đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? đ?&#x2018;&#x153;đ?&#x2018;&#x153;
đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 1
đ?&#x2018;?đ?&#x2018;?đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; = 1, transportable structure Peak velocity pressure
đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;? = 1 â&#x2C6;&#x2014; 1 â&#x2C6;&#x2014; 28
đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 28 đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018;
đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;?đ?&#x2018;? (đ?&#x2018;§đ?&#x2018;§) = đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; â&#x2C6;&#x2014; 0,613 â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?2 Terrain category lll Average height z = 11.36 đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 1.8 - 4.10 eurocode_1_1.4
FIG.20
đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;?đ?&#x2018;? (đ?&#x2018;§đ?&#x2018;§) = 1.8 â&#x2C6;&#x2014; 0,613 â&#x2C6;&#x2014; (28
đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; 2 ) = 865 2 = 0.865 2 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018; đ?&#x2018;
Line loads on elements
FIG.21
External pressure coefficients for monopitch roofs â&#x20AC;&#x201C; 7.3a eurocode_1_1.4 122
Appendix
External pressure coefficients for monopitch roofs â&#x20AC;&#x201C; 7.3a eurocode_1_1.4
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;
G: đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;¤đ?&#x2018;¤ = â&#x2C6;&#x2019;1.9 â&#x2C6;&#x2014; 0.865 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 = â&#x2C6;&#x2019;1.125
H: đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;¤đ?&#x2018;¤ = â&#x2C6;&#x2019;1,3 â&#x2C6;&#x2014; 0.865
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
= â&#x2C6;&#x2019;0.779
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 7 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2
External pressure coefficients for vertical walls of rectangular buildings â&#x20AC;&#x201C; 7.1 eurocode_1_1.4
Appendix
123
A: 𝑞𝑞𝑤𝑤 = −1.2 ∗ 0.865
B: 𝑞𝑞𝑤𝑤 = −0.8 ∗ 0.865
C: 𝑞𝑞𝑤𝑤 = −0.5 ∗
𝑘𝑘𝑘𝑘 𝑚𝑚2
𝑘𝑘𝑘𝑘 𝑚𝑚2
𝑘𝑘𝑘𝑘 0.865 2 𝑚𝑚
D: 𝑞𝑞𝑤𝑤 = 0,8 ∗ 0.865
𝑘𝑘𝑘𝑘 𝑚𝑚2
= −1.038
= −0.692 =
𝑘𝑘𝑘𝑘 𝑚𝑚2
E: 𝑞𝑞𝑤𝑤 = −0,5 ∗ 0.865 2 = 0.433 𝑚𝑚
124
Appendix
𝑘𝑘𝑘𝑘 𝑚𝑚2
𝑘𝑘𝑘𝑘 −0.433 2 𝑚𝑚
= 0.692
𝑘𝑘𝑘𝑘
𝑘𝑘𝑘𝑘 𝑚𝑚2
𝑘𝑘𝑘𝑘 𝑚𝑚2
FIG.22
1.3.
Load combinations
ULS ∑ 𝛾𝛾𝐺𝐺𝐺𝐺𝐺 ∙ 𝐺𝐺𝐾𝐾𝐾𝐾𝐾 " + "𝑌𝑌𝑄𝑄𝑄𝑄 ∙ 𝑄𝑄𝐾𝐾𝐾𝐾 " + " ∑ 𝛾𝛾𝑄𝑄𝑄𝑄𝑄 ∙ 𝜓𝜓𝑂𝑂𝑂𝑂𝑂 ∙ 𝑄𝑄𝐾𝐾𝐾𝐾𝐾 𝑗𝑗𝑗𝑗
𝑖𝑖𝑖𝑖
SLS ∑ 𝐺𝐺𝐾𝐾𝐾𝐾𝐾 + 𝑄𝑄𝐾𝐾𝐾𝐾 + ∑ 𝜓𝜓𝑂𝑂𝑂𝑂𝑂 ∙ 𝑄𝑄𝐾𝐾𝐾𝐾𝐾 𝑗𝑗𝑗𝑗
𝑖𝑖𝑖𝑖
The factors for each load combinations have been found in Eurocode0, and been applied in grasshopper and then exported to Robot.
ULS – Snowload dominant ∑ 1,35 ∙ 6,85 𝑗𝑗𝑗𝑗
𝑘𝑘𝑘𝑘 𝑘𝑘𝑘𝑘 𝑘𝑘𝑘𝑘 + 1,5 ∗ 2,88 2 ∙ (4𝑚𝑚) ∑ 1,5 ∗ 0,6 ∗ (4𝑚𝑚) ∗ 0,769 2 𝑚𝑚 𝑚𝑚 𝑚𝑚 𝑖𝑖𝑖𝑖
SLS ∑ 6,85 𝑗𝑗𝑗𝑗
𝑘𝑘𝑘𝑘 𝑘𝑘𝑘𝑘 𝑘𝑘𝑘𝑘 + 2,88 2 ∗ (4𝑚𝑚) + ∑ 0,6 ∗ 0,769 2 𝑚𝑚 𝑚𝑚 𝑚𝑚 𝑖𝑖𝑖𝑖
Appendix
125
2. Model in Karamba Model settings: All loads vectorized after the calculations above. Support restraints: Tx, Ty, Tz, Rx, Ry, Rz Bending beams: True Bending columns: True Bending sub-structure: False Utilization results: -95.7% to 90.8%
126
Appendix
Bar number
M_y
results
maximum
(loadcomb.leading:snow) bar 345
995.618121 kNm
bar 278
995.435759 kNm
bar 365
990.897599 kNm
bar 289
990.755788 kNm
bar 551
99.870923
kNm
bar 453
98.542101
kNm
bar 463
98.032865
kNm
bar 339
977.975859
kNm
bar 281
977.955717
kNm
bar 410
968.396291 kNm
bar 465
96.416467
kNm
bar 401
95.796338
kNm
bar 367
942.966775 kNm
bar 290
942.691944 kNm
3. Model in Robot Loads, supports and bar properties are set after the Karamba settings. M_y results (illustration attached06)
Appendix
127
Ratio results (illustration and table attached07 08 09)
Bar tag
Section tag
Material
Lay
Laz
RATIO Load case
129
sectionbig2
C24
1.38
4.48
1.00
3 snow
131
sectionbig2
C24
2.61
8.49
0.98
3 snow
133
sectionbig2
C24
3.85
12.50 0.96
3 snow
204
section big
C24-karamba 6.93
21.65 0.95
3 snow
135
section big
C24-karamba 5.28
16.51 0.94
3 snow
153
sectionbig2
C24
0.94
151
section big
C24-karamba 4.78
155
sectionbig2
C24
159
section big
C24-karamba 1.32
4.13
0.91
3 snow
157
section big
C24-karamba 3.92
12.24 0.91
3 snow
80
section big
C24-karamba 14.69 45.90 0.90
3 snow
8
section big
C24-karamba 14.87 46.46 0.90
3 snow
16
section big
C24-karamba 14.73 46.02 0.90
3 snow
14
section big
C24-karamba 14.63 45.73 0.89
3 snow
65
section big
C24-karamba 14.68 45.88 0.88
3 snow
77
section big
C24-karamba 14.69 45.92 0.88
3 snow
15
section big
C24-karamba 14.66 45.80 0.87
3 snow
17
section big
C24-karamba 14.85 46.41 0.87
3 snow
64
section big
C24-karamba 14.64 45.74 0.87
3 snow
81
section big
C24-karamba 14.79 46.21 0.86
3 snow
128
Appendix
2.10 6.26
6.82
3 snow
14.94 0.92
20.36 0.92
3 snow
3 snow
5
section big
C24-karamba 14.63 45.73 0.85
3 snow
6
section big
C24-karamba 14.66 45.81 0.85
3 snow
63
section big
C24-karamba 14.64 45.76 0.85
3 snow
293
section big
C24-karamba 6.93
21.65 0.85
3 snow
7
section big
C24-karamba 14.74 46.06 0.85
3 snow
66
section big
C24-karamba 14.77 46.17 0.85
3 snow
78
section big
C24-karamba 14.64 45.75 0.84
3 snow
68 Timber Member_68
section big
C24-karamba 6.98
348
sectionsmall C24-karamba 59.58 74.48 0.83
3 snow
137
section big
C24-karamba 6.57
20.52 0.82
3 snow
4
section big
C24-karamba 14.66 45.80 0.82
3 snow
19
section big
C24-karamba 15.24 47.64 0.82
3 snow
271
section big
C24-karamba 6.93
21.65 0.82
3 snow
210
section big
C24-karamba 6.93
21.65 0.81
3 snow
148
section big
C24-karamba 0.45
1.40
0.81
3 snow
79
section big
C24-karamba 14.64 45.75 0.80
3 snow
18
section big
C24-karamba 15.02 46.95 0.79
3 snow
125
section big
C24-karamba 5.80
18.12 0.79
3 snow
76
section big
C24-karamba 14.80 46.24 0.78
3 snow
67
section big
C24-karamba 14.92 46.62 0.78
3 snow
149
section big
C24-karamba 6.93
3 snow
21.65 0.77
21.81 0.83
3 snow
Appendix
129
130
Appendix
JAPANESE JOINT
The structural system allows to integrate two kind of joint types. The primary one is a modern reinterpretation of traditional Japanese technics that allows to create a fixed connection between two bars wothout using any metal or other helping tool, only the own material transmit loads. (ill.1) This is suggested to use between those elements that are assembled on the ground before craning.The secundary one is the steel plate technic that was already presented in the structure chapter. It is for assembling smaller elements during craning, in the air.
Appendix
131
CALCULATIONS PARKING
There are 52 parking places on the eastern en-
Total number of parking places are 201, which
trance plato of the site, and 149 parking places on
meets the parish criteria and capacity of the church
the southern plato adjacent to the graveyard area.
for 500 people.
132
Appendix
Appendix
133
WORKSHOP ADD. SKETCHES
134
Appendix
Appendix
135
136
Appendix
Appendix
137
138
Appendix
Appendix
139
140
Appendix
Appendix
141
LIST OF REFERENCES
Cornel E., The Space in Architecture (1996) Frampton K., Towards a Critical Regionalism (1983) Frampton K., Studies in tectonic culture (1997) Juhani Pallasmaa, Eye of the skin: architecture and the senses, 2007 L.L. Beranek, â&#x20AC;&#x153;Audience and Chair Absorption in Large Halls,â&#x20AC;? Journal of the Acoustical Society of America, January 1969. Marshal Long: Architectural acoustics, 2006 Nilsson F., New technology, new tectonics? - On architectural and structural expressions with digital tools (2007) Oxman R., Morphogenesis in the theory and methodology of digital tectonics 2010 Parigi D., Performance Aided Design (IASS-SLTE 2014 Symposium) Semper G., Style (1860) Trada Timber Industry Yearbook 2014
142
Appendix
Appendix
143
LIST OF ILLUSTRATIONS
Contents
Ill. 22 - http://traveljapanblog.com/wordpress/
Ill. 1 - OWN ILLUSTRATION
wp-content/uploads/2008/07/img_6262trim.jpg
Ill. 2 - OWN ILLUSTRATION
Ill. 23 - https://upload.wikimedia.org/wikipedia/
Ill. 3- OWN ILLUSTRATION
commons/8/8b/Bishop_Edward_King_Chapel_
Ill. 4 - Ã&#x2026;lesund church, 1904 - 09
5
(inside)-130928.JPG
Ill. 5 - Spjelkavik church, 1987 5
Ill. 24 - OWN ILLUSTRATION
Ill. 6 - Volsdalens church, 1974 5
Ill. 27 - OWN ILLUSTRATION
Ill. 7 - Svenne Fehn pavilion
Ill. 26 - OWN ILLUSTRATION
7
Ill. 8 - GC Prostho Museum Research Center, Kengo
Ill. 28 - OWN ILLUSTRATION
kuma & Associates
Ill. 29 - OWN ILLUSTRATION
9
Ill. 9 - Four senses illustration 11
Ill. 30 - OWN ILLUSTRATION
Ill. 10 - OWN ILLUSTRATION
Ill. 31 - OWN ILLUSTRATION
Ill. 11 - OWN ILLUSTRATION
Ill. 32 - OWN ILLUSTRATION
Ill. 12 - Spruce - Picea abies 17
Ill. 33 - OWN ILLUSTRATION
Ill. 13 - Pine - Pinus sylvestris 17
Ill. 34 - OWN ILLUSTRATION
Ill. 14 - Birch - Betula pubescens
17
Ill. 35 - OWN ILLUSTRATION
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Ill. 67 - OWN ILLUSTRATION
Ill. 90 - Materials illustration 97
Appendix
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Ill. 91 - Materials illustration 97
Ill. 95 - Materials illustration 99
Ill. 92 - Materials illustration 97
Ill. 96 88 - OWN ILLUSTRATION
Ill. 93 - Materials illustration 99
Ill.
Ill. 94 - Materials illustration 99
Ill. 88 - OWN ILLUSTRATION
88 - OWN ILLUSTRATION 101
Appendix Fig. 1 110 Fig. 2 110 Fig. 3 111 Fig. 4 111 Fig. 5 112 Fig. 7 113 Fig. 8 113 Fig.10 114 Fig.11 114 Fig.9 114 Fig.12 115 Fig.13 115 Fig.14 115 Fig.16 117 Fig.17 118 Fig.18 118 Fig.19 118
146
Appendix
Appendix
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