HATLEHOL KIRKE – EN NORDISK KIRKE UDTRYKT GENNEM TEKTONISKE VIRKEMIDLER
Dette projekt er udarbejdet i efteråret 2013 under hovedprojekt-kursusmodelet på 7. semester Arkitektur som hedder Tektonisk Design – struktur og konstruktion. De seks Arkitektur & Design-studerende bag projektet er David Møller Thomsen, Henrik Jacobsen, Elias Mohr Jensen, Frederik Stensgaard Diget, Joana Quintas & Martynas Didzys. Introduktionen er på dansk, hvorefter selve præsentationen er på engelsk, da kandidatuddannelserne på Arkitektur & Design foregår på engelsk.
xx Anne Charlotte Vogel, redaktør
Designforslaget relaterer sig til en konkurrence om etableringen af en ny kirke beliggende ved Hatlehol i udkanten af Ålesund i Vestnorge. Projektet er udført med en klar vision om at udtrykke sig gennem en Nordisk og Tektonisk tilgang, hvorigennem der skal skabes et samlingspunkt, som imødekommer religiøse såvel som ikke-religiøse behov fra det lokale samfund. Den nordiske tilgang lægger op til at tage landskab, klima, historiske og eksisterende bygninger med i designovervejelserne. Den tektoniske tilgang er udført forlængelse af form, struktur, materialer og detaljering, hvilket er udført i overensstemmelse med det overordnede udtryk og oplevelse af bygningen. Resultatet er en ny kirke, der integrerer kvaliteter udvundet fra konceptet af en åbning (clearing) og kontrasten til det omkringliggende gennem en simpel form. Ved brug af gårdrum/åbninger i bygningen og samlingen af religiøse/højtidelige og traditionelle funktioner under et tag søger projektet at forstærke oplevelsen af samfundet og relationen til stedets åndelighed.
HATLEHOL CHURCH – A NORDIC CHURCH EXPRESSED THROUGH TECTONIC EXPERIENCES
7th Semester, Fall 2013
Tectonic Design – Structure and Construction
Professor: Adrian Carter
Group work, 6 persons
David Møller Thomsen, Henrik Jacobsen, Elias Mohr Jensen, Frederik Stensgaard Diget, Joana Quintas & Martynas Didzys
This project report outlines a design proposal for a new church located in the parish of Hatlehol, on the outskirts of Ålesund in western Norway.
The project is made with a clear vision of using a Nordic and tectonic approach to create a gathering place that accommodates both the religious and nonreligious needs of the local community. The Nordic approach suggests that landscape, climate and historical and current building traditions be taken into consideration. The tectonic approach has been made in relation to form, structure, materials and details, which are considered in relation to the overall experience of the building.
The result is a new church which incorporates qualities derived from the concept of a clearing while contrasting to its context through a clear geometry. By using courtyards and gathering sacred and secular functions under one roof, the proposal seeks to intensify a sense of community and a relation to the spirit of the place.
THE SPIRIT OF THE PLACE
In the Nordic countries people have always lived on the premises of their surroundings. This has led to a sense of place and a relation to nature and the seasons significant to the Nordic countries, especially in Norway. Genius loci, the spirit of the place.
Nordic architecture is often described as inheriting qualities related to this spirit of the place. This becomes evident through its authenticity, naturalness and awareness of context. Qualities derived from a humble respect for nature, and a regional way of understanding our impact on it. A church must be a space of many moods as well as an integrated part of its community. Therefore, it is a key function in the Nordic context, introducing a possibility to create a building that brings forth beauty in the important moments of our lives as well as comfort and support in the tough times.
The concept is to define a clearing in an ‘unsurveyable’ landscape – an area of known space, sheltered from the rugged natural surroundings but incorporating the qualities of the clearing. A perimeter wall defines the space and creates a ‘walled garden’ into which the sacral and community functions is placed, creating a introvert sense of gathering. The space defined between these functions form clearings in the form of courtyards.
The concept is derived from a strict simple geometry, which defines the built form that emerges from landscape in contrast to the dramatic Norwegian nature. The church room and chapel reach for the sky, protruding upwards from this base as parts of a larger whole. The sacred roof floats above the building, emphasizing this connection between the earth and the divine.
THE TALE IN THE DETAILS
A clear orientation towards the sky is experienced when entering the church room. A guiding sense of verticality is created by the sloping ceiling, illuminated columns and divine light shining onto the alter, as if from the heavens above. The ceiling is recessed from the walls, illuminating the unique character and tactility of the wood, exposing the congregation to the constantly changing Nordic light and creating the impression that the ceiling is floating above.
The column is divided into two parts, one of which sits in the wall, flush with its surface. Visually revealing the play of forces in the structure and its construction. The openings in the bottom of the walls reveal the whole column, creating a larger surface and further diffusing the light as it enters the room. The view to the sacral courtyards on both sides creates a connection to a tamed nature, without distracting from the ceremonies happening in the church room.
Following the theories of Frascari the details emphasize and tell the tale of the building and supports the atmospheres which the spaces seek to create. Likewise, the details in other parts of the building are derived from the same principles, creating coherence throughout the building.
THE SACRED AND THE SECULAR
The plan is charactiarized by dividing the sacred functions towards the east from the secular functions to the west.
The ceiling principle from the church room, with its visible beams and lamella surface, is replicated throughout the other parts of the church.
The community functions are situated around a central courtyard, as stugor were arranged around a courtyard resembling the clearing. The space between the rooms and the courtyard facilitates the circulation between these functions. The central courtyard is the heart of the community, framing the rough and untamed nature with a contrasting steel edge, and creating visual connections across.
The congregational hall is a flexible space able to be used for different events. The soft, timber cladding inside is recessed from the hard outer wall, the gap between the two allows light to flush down the slate walls, highlighting the different tactility of the stone and the wood. The main focus is created by a wide window that frames the hill outside and the surrounding nature.
The side is lit up by a window to the secondary entrance courtyard. It is clad with lamellas to diffuse the light so as not to detract focus from the large window in the perimeter wall.