Hatlehol church

HATLEHOL CHURCH

Te c t o n i c D e s i g n : S t r u c t u r e a n d C o n s t r u c t i o n Aalborg University // A&D // MSc01 ARC // 03 // DECEMBER 2015 Aleksandra Przesmycka // Barbara Sopolińska // Irene Ank Jørgensen // Jonas Wittrup Laursen // Kristian Bue Jensen

TITLE PAGE TITLE Hatlehol Church THEME Tectonic Design: Structure and Construction SEMESTER MSc01 ARC

Aleksandra Przesmycka

PROJECT PERIOD 22/10/2015 - 18/01/2016 SUBMISSION DATE 16/12/2015 GROUP 03

Barbara Sopolińska

Irene Ank Jørgensen

MAIN SUPERVISOR Claus Kristensen TECHNICAL SUPERVISOR Jesper Thøger Christensen

Jonas Wittrup Laursen

NUMBER OF COPIES 9 NUMBER OF PAGES 155 NUMBER OF APPENDIX 11

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Kristian Bue Jensen

ABSTRACT This project is based on a competition issued for Hatlehol in Ă…lesund municipality, located on the western coast of Norway. It should serve as a catalyst for the area to come together as a community. The essence of the project is summed to a joining of profane and sacral functions under one roof, by redefining the focal of a church, so that it accommodates the needs of a modern community.

Through analysis of context and reference projects, it is defined that the design of a church should be executed using Nordic architecture, local materials, traditional architecture and a coherence with the surrounding nature.

The process to the final product has been achieved through three miniworkshops focusing on acoustics, structure and detailing. The first two were centered around performance-aided design, followed by a period of analysis and concept development leading up to the last workshop revolving around structural details. This translates into a church in close relation to nature by using Nordic architectural principles, while acting as a gathering point for the municipality.

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READING GUIDE This project deals with the design of a church in Hatlehol, Ă…lesund in Norway through a performance-aided design process regarding acoustical and structural analysis.

Firstly, the reader will be taken through the vision for the project and the methodology. This is followed by a graphical presentation of the finished design.

After the presentation, the whole process will be clarified in different chapters revolving around project site analyses and case studies which shapes the design process.

The design process is split into four segments starting off with the initiating faces and concept development. After that, the detailing of the church room, the remaining rooms and the urban spaces respectively will be described.

The report will round off with an epilogue consisting of a conclusion and a reflection of the project. Hindmost, references both regarding literature and illustrations, as well as appendix, can be found.

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TABLE OF CONTENT

01 // INTRODUCTION

08 10 13

METHODOLOGY TECTONICS NORDIC

04 // CASE STUDIES

62 64 66

SAINT BENEDICT CHAPEL WOODLAND CHAPEL URNES STAVE CHURCH

07 // APPENDIX

130 APPENDIX 1: EMERGENCY

STRAGEGY

132 APPENDIX 2: FINAL ROBOT

ANALYSIS 02 // PRESENTATION

68 DESIGN PARAMETERS

136 APPENDIX 3: PACHYDERM

16 VISION

RESULTS (WS1)

17 CONCEPT 05 // DESIGN PROCESS

138 APPENDIX 4: COMPARISON OF

18 SITEPLAN

72 WORKSHOP 1 STRUCTURES

20 EXTERIOR VISULIZATIONS 74 WORKSHOP 2

139 APPENDIX 5: ROBOT ANALYSIS

28 ELEVATIONS

76 CONCEPT DEVELOPMENT (WS2)

32 SECTIONS

79 CHURCH ROOM

140 APPENDIX 6: LOADS AND

34 FLOOR PLANS

97 ROOM PROGRAMME

LOADCOMBINATIONS

36 INTERIOR VISULIZATIONS

115 SITE

147 APPENDIX 7: JOINT 42 STRUCTURE

INVESTIGATIONS (WS3)

44 MATERIALS 06 // EPILOGUE

148 APPENDIX 8: FINAL

124 CONCLUSION

ACOUSTICAL TEST

150 APPENDIX 9: DIMENSIONING 03 // ANALYSIS

125 REFLECTION

WITH DIAGRAMS

48 SITE

126 REFERENCES

152 APPENDIX 10: ROOM

50 MAPPING

127 ILLUSTRATIONS PROGRAMME

52 TOPOGRAPHY AND VEGETATION

154 APPENDIX 11: PARKING

54 SUN ANALYSIS

56 PRECIPITATION ANALYSIS

58 WIND ANALYSIS

59 NOISE ANALYSIS

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Ill. 1.1: Norwegian landscape

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INTRODUCTION

METHODOLOGY The course module revolves around the concept of problem-based learning, which derives from an iterative process in which a given problem is solved through different design phases. This process does not act linear but in a way where the different phases are revisited when new information comes to light (Ill.1.2) [Knudstrup, M., 2004].

The tools utilized in the design process of a church in Hatlehol has been introduced in the initiating course modules: Tectonic Studies and Experimentation in Form, Structure, Materials and Details taught the theories and practices of acoustical analysis and how to achieve the desired results, since different functions require different qualities. For acoustical analysis, the Pachyderm-plugin for Rhino and Grasshopper has been used in the exploration and experimentation of sound waves in a given volume.

PROBLEM

Ill. 1.2: The Integrated Design Process

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ANALYSIS

Performance-Aided Design (PAD): Form, Material, Structure, Acoustics and Fabrication combines different computer-aided design programmes to achieve a holistic understanding in a collaborative model through feedback loops in real time [Parigi, D., 2014]. For structural analysis parametric design in Grasshopper for Rhino has been combined with the Karamba-plugin and Autodesk Robot.

The importance of a PAD approach relies on an intuitive understanding and synthetic approach where materials, construction methods and the understanding of structural behaviour are merged together in a symbiosis. The PAD approach finds solutions through iterative learning processes in the combination between a variety of computer-aided design programmes that integrate and creates a synthesis between structure and aesthetics. The feedback loops created between the CAD-programmes

SKETCHING

SYNTHESIS

PRESENTATION

is the essence of the iterative process as mentioned above and is essential in creating a quality design that takes owner, user and context into account. [Parigi, D., 2014] In this course the PAD approach has influenced the design process through three workshops (Ill. 1.3). The design process was initiated with a workshop on form and acoustics. At the same time site analysis and initial concept development were investigated.

After this a workshop in form and structure resulted in a better understanding of the structural requirements and aesthetics. Hereafter followed a design process more focused on the concept and design development, but still keeping the technical aspects in mind.

Later in the process the last workshop on design development and detailing was used to implement the details of the structure such as joints,

as well as detailing the materials of the envelope.

This process has ensured that the technical aspects; acoustics, structure and detailing, have been an integrated part of the design process from the very beginning. In this way a design, where the technical aspects are just as important as the aesthetics, is achieved, which enhances both the tectonic and Nordic qualities of the design.

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Tectonic Studies and Experimentations in Form, Structure, Materials and Details

COURSE

Performance-aided Design: Form, Material, Structure, Acoustics and Fabrication Tectonic Design: Structure and Construction Mini-workshop 1/3: Form & Acoustics Mini-workshop 2/3: Form & Structure Mini-workshop 3/3: Design Development and Detailing Ill. 1.3: Structure of the semester

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TECTONICS The topic of tectonics is difficult to define and has been discussed by architects and theorists for many years. There are different approaches to the topic where some are more physical and others are more phenomenological.

One of the more physical approaches to tectonics comes from Karl Friedrich Schinkel, who, in his theoretical statement “The Principle of Art in Architecture” talks about purposiveness as the fundamental principle for all buildings. This should be considered in the spatial distribution of the plan, the joining of materials appropriates to the plan and the purposiveness of ornament and decoration. Every aspect of the building should serve a specific purpose.

In the same statement Schinkel stresses the importance of choosing the best possible material and also revealing both the quality of the material and quality of the craftsmanship. [Frampton, K., 2001] Another approach comes from Karl Bötticher who distinguishes between the core-form and the art-form. He wrote: “(…) The core-form of each part is the mechanically necessary and statically functional structure; the art-form, on the other hand, is only the characterization by which the mechanical-statical function is made apparent.” [Frampton, 2001, pp.

82] In other words, the art of a building, e.g. ornaments, should only be present to enrich the construction.

Lastly, there is Gottfried Semper, who characterizes the joint as: “the oldest tectonic, cosmogonic symbol.” [Frampton, K., 2001, pp. 86] and to him the joint is the most significant basic tectonic element. The reason for his emphasis on the joints is that in his mind the very essence of architecture is the transition from the base of the building to the tectonic frame and the way they are joined.

A more phenomenological approach to the topic of tectonic can be seen in the writings of Eduard Sekler. He distinguishes between the three concepts: Structure, construction and tectonics. He describes the connection between the three concepts like this:

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“When a structural concept has found its implementation through construction, the visual result will affect us through certain expressive qualities (…) [these qualities] cannot be described in terms of construction and structure alone. For these qualities, which are expressive of a relation of form to force, the term tectonic should be reserved.” [Sekler, E., 1965, pp.89] Sekler describes tectonics as a central part of the phenomenological experience of architecture but it must be combined with all the different elements of building. Tectonics is only one small part of creating expressive architecture, but it is also just as important as space, light and form. Tectonics should be achieved through authentic materials, joining of different elements and materials and structure that are true to the forces in play.

TECTONIC APPROACH

It is the intention to work with tectonics to achieve an authentic, expressive architecture. Purposiveness will be considered with all the structural elements, and the construction must fit the present forces – no unnecessary structure or ornamentation. There will also be focus on making the joints as a natural part of the architectural expression.

Instead of working form – detail – material, since the material is already chosen to be timber, the approach will be more material – detail – form where the properties of the timber will help to decide some details as structure and acoustics, which will lead to the shape of the building.

Tectonics is to be considered as a central part of the whole design process to achieve the desired expression and experience of the church.

Ill. 1.4: St. Genevieve Chapel by OBIKA

Ill. 1.5: Nordic Pavilion by Sverre Fehn

NORDIC When Gunnar Asplund designed the Stockholm Exhibition in the 1930s he showed the world the sense of Nordic architecture for the first time.

His pavilion elegantly combined the modern technology with the nature while still inspired by the simple forms and straight lines of the modernism.

Since then Nordic architecture has been known for its naturalness and honesty to material and place. The sense of place, or genius logi, is a central part of Nordic and is described by Christian Norberg-Schulz: “(…) genius loci, ‘the spirit of a place’, has been considered a reality one should understand and respect. Only by doing so would one acquire identity and a foothold in life.” [Kjeldsen et al., 2012, pp. 36] With this he states that our identity is fundamentally rooted in the places and communities we are a part of. It is then the architect’s job to create architecture that relates to the true identity of the place.

The nature of the site is also an important factor in the Nordic architecture.

There is a desire to bring the nature closer to people and to do this the architecture has to be honest and respectful to the nature of the given site. This becomes clear through the use of local materials and the way the architecture is placed on the site and in the community.

Light is a fundamental element in creating Nordic architecture. The changing seasons of the north provides very dark winters and bright summers and as a result there is a big difference in the way the light and shadows behaves. Many Nordic architects use this light to create specific moods desired in the architecture, giving Nordic architecture a very distinct feeling through the play of light and shadows. [Kjeldsen et al., 2012]

NORDIC APROACH

The sense of Nordic architecture is an important aspect in creating a church for Hatlehol community. The place of the church should be considered both as the nature of the site and as the place of the community. The site should be handled with respect to the naturalness of the Nordic landscape and the church should be a gathering point for the people of Hatlehol and invite everyone in to feel as a part of the community.

The light is an important aspect as well and should be used to create the feeling of spirituality that is needed in a church.

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Ill. 2.1: Top view of Hatlehol Church

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PRESENTATION

VISION

In Hatlehol there is a wish to have a church dedicated to the community, that shall act as a landmark both mentally and visually.

The approach to the church is a concept that relies on a reinterpretation, so that it is not only a place for praise, but also a place for the locals to gather and meet with the combination of both sacral and profane functions under one roof.

It is desired to achieve a church using Nordic architectural principles that elucidate itself through materiality, construction and light, with a concept that processes the placement in nature and create a clear connection in between.

The experience of the environment should achieve qualities by implementing acoustic measures in the design.

A structure using timber is a mean to implement a coherence between the project and context by using local tradition and materials.

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CONCEPT

Ill. 2.3: Views are cut through the volume to frame surrounding nature.

Smaller segments are created.

Ill. 2.4: Volume of the church room is enlarged to make it stand out.

Ill. 2.5: Church room gets shaped through PAD and to expose the bell tower.

Ill. 2.6: Other functions are placed and the church is shaped.

Ill. 2.7: Cuts are covered to make hallways and the rooms get detailed.

Ill. 2.8: Roofs are pulled up to create synergy.

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SITE PLAN The site plan shows the Hatlehol church in its context. The parking has been moved from east to north to enhance the connection between the church and the cemetery.

The vegetation is used actively in the outdoor spaces to create transitions from the parking lot to the entrance of the church. The infrastructure has undergone a change so different functions, like e.g. the chapel, can be accessed by car.

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19 Ill. 2.9: Masterplan of Hatlehol Church

The church rises from the ground, becoming a landmark by standing as a beacon above the treeline. Vertical timber cladding enhances the dynamic motion towards the bell tower. Standing on a horizontal foundation of slates creates a defined meeting between architecture and nature.

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21 Ill. 2.10: Main entrance, summer

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23 Ill. 2.11: Main entrance, fall

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25 Ill. 2.12: Main entrance, winter

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27 Ill. 2.13: Back view, winter

ELEVATIONS

0m Ill. 2.14: North elevation 28

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0m Ill. 2.15: South elevation 30

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SECTIONS

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0m 32 Ill. 2.18: Section AA

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10 m 33 Ill. 2.19: Section BB

FLOOR PLANS

0m 10 m 34 Ill. 2.20: Floor plan, level 0

The different functions of the profane and sacral are shown in a furnished floor plan. A coherence between these are achieved through a careful application of local materials, with a detailing that is build upon Nordic principles.

Emergency exits and escape routes are applied throughout the floorplan according to regulations (see appendix 1)

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Ill. 2.21: Floor plan, level +1

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Ill. 2.22: Floor plan, level -1 35

36 Ill. 2.23: Congregation hall

The main entrance is appearing wide and transparent to lead visitors inside.

The congregation hall and church hall has the possibility to open up and merge together through the entrance hall, encouraging a meeting between different users.

The structure is visible throughout the building to continue the honest expression from the church room and literally frame the nature using glass panels at the end of the hallways, blurring the line between inside and outside.

37 Ill. 2.24: Framing nature

The fan-like ceiling rises high above the ground and in its movement directs the focus toward the priest. The construction is visible for all and plays well with the light from the opening in the concrete wall at the end of the aisle, framing the nature outside. Together with this, the local materials support a warm, calming atmosphere.

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Ill. 2.25: Church Room

The construction of the church room creates spaces within spaces.

The mezzanine is a mean to gather a large number of locals for public arrangements. From this point of view, the ceiling guides the eyes of the visitor through the church room.

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Ill. 2.26: Church Room

STRUCTURE The structural principle is based on frames creating a fan-like ceiling.

To achieve rigidity cross elements are added to the structure in both the ceiling and between columns (Ill. 2.27).

The supports are pinned (Ill. 2.29) while the joints between columns and beams are fixed (Ill. 2.28) and the frames are shaped according the moment forces affecting them.

Ill. 2.27: Structure

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Ill. 2.28: Joint, fixed

Ill. 2.29: Joint, pinned support 43

MATERIALS // ENVELOPE

Ill. 2.30: Exterior materials

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MATERIALS // CHURCH ROOM

Ill. 2.31: Interior materials, church room

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Ill. 3.1: Model of site

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ANALYSIS

SITE The location of the site is always an important part of a project analysis. In this case the church complex is supposed to make a significant change in the surrounding landscape. Thereby the major challenge of the project is to conform respectively to the context by understanding all cultural, architectural and functional issues of the site and create a significant landmark and focal point for the community.

The site for the new church of Hatlehol is located on the western coast of Norway in the municipality of Ålesund (Ill. 3.2). The town is a part of the traditional district of Sunnmøre and an important sea port, that was established in 1848 [Ålesund Kommune, 2015].

HATLEHO L

ÅLESUND

The plot for the project is situated in Hatlehol parish, 16 km to the east of Ålesund. Hatlehol parish is a residential area placed between the fjord to the south (600 m) and a large forest to the north (Ill. 3.3). Nevertheless, the proximity of the fjord is not noticeable/perceptible because of surrounding trees and forests that enclose the site. The untreated Norwegian nature creates a strong green identity and makes the nature an even more important and defining element of the site. This aspect creates multiple possibilities for the church design, which respects nature and benefits from the silence of the forest.

Ill. 3.2: Location of site 48

Ill. 3.3: Map of Ă…lesund

MAPPING The project site is surrounded by private facilities such as residential areas and businesses, and public facilities such as schools and soccer fields (Ill. 3.4). This brings a variety of people to the nearby area occupying it at different times during the day.

The site is in near contact with nature as the fjord is within a distance of 600 m due south west and hillsides covered in dense forest within 200 m due north.

The project site can be accessed in different directions – mainly from the RV60 running along its northern axis. Motorists coming from the RV60 will access the site in the northwestern corner, since the road northeast of the site is blocked. Local residents are able to access the area from the cemetery in east and the road shared with the soccer fields in west.

The two latter are also accessible by bicyclists and pedestrians.

Users of public transportation are also catered as bus stops are implemented north of the site.

The project site deals with two significant edges: The first being the current parking lot located east and the second being the stream which frames the cemetery further east.

Accessibility to the project site should be taken into consideration when designing since the different connections leaves a lot of possibilities for different flows into the site. The edges could be processed in order to create a better connection between the church and the cemetery.

The natural context plays a large role in the essence of the project site and should be kept in mind during the design of the church.

Project site

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Ill. 3.4: Mapping of site 35

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TOPOGRAPHY AND VEGETATION The topography and vegetation of the site is analyzed in order to find the best placement for the church building, respecting the surrounding nature and taking advantage of the natural terrain.

Topography lines on the site indicate the slope. The terrain slopes up to the north and to the western part of the site with a difference of 10 meters between the highest and the lowest point (Ill. 3.6). The change of height on the terrain gives a possibility to build on different levels or implement double-heigh volumes.

The vegetation consists of different species of trees commonly found in Norway, such as: Pine, spruce, birch or alder. Spruce and pine timber are well suited for construction materials and laminated wood, while birch is the most popular tree species in Norway and it’s used for interior paneling and furniture [Sciencenordic, 2015]. Trees are more dense closest to the edges of the site and are spread more widely in the middle and eastern part of the site (Ill. 3.5).

The naturalness of the site gives the possibility to hide the building more or less or create lines of sight to the church through the trees.

Ill. 3.5: Vegetation on site

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Ill. 3.6: Sections of site

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SUN ANALYSIS The northern latitude of the site determinates different lengths of the day over the entire year (Ill. 3.7). During the summer days are long, the sun rises early and goes down late, what results in 20 hours of daylight.

The shortest day is in December with barely five hours of daylight [Weatherspark, 2015]. The sunlight comes primarily from the south (Ill. 3.8) but the angles of the sun rays are completely different throughout the year. These sunlight changes create differences in casted shadows and should be considered while creating the spiritual atmosphere of the church.

During the summer, the sun goes almost all the way around the site, rising in north east and setting in north west. This creates the possibility to work with different types of light in different rooms or spaces on the site and inside the church.

In the winter the angle of the sun barely exceeds five degrees resulting in the sun never rising above the vegetation of the site. The small amount of direct sunlight opens up to work even more with the indirect sunlight that is especially interesting in Nordic architecture.

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Ill. 3.7: Daily Sun Hours diagram

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Ill. 3.8: Sun Path diagram of site

PRECIPITATION ANALYSIS

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The site for the project is situated on the coast. This explains the wet maritime climate of the site with mild and windy winters and relatively high and stable temperatures both in the summer and winter. During winter the temperature reaches -1°C and during summer 12°C [Gaisma, 2015].

The probability of the precipitation at this location varies throughout the year and is rather unpredictable. The amount of precipitation varies between 66 mm/month – 197 mm/month. During winter months, especially January, the precipitation is most likely to occur (72% of days),

while in April, May and June the precipitation is least likely (Ill. 3.11). The most common forms of precipitation (Ill. 3.9) throughout the year are: Moderate rain, light rain and moderate snow [Weatherspark, 2015]. This results in rather high humidity and cloudy sky, blocking and diffusing sun rays.

Ill. 3.9: Percenteges of different types of precipitation

Ill. 3.10: Graph of climate

The precipitation of the area should be taken into acount when designing outside spaces for the church and also in the use of outside materials and their resistance to the weather.

Ill. 3.11: Graph of the probabilty of different precipitations over the year

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WIND ANALYSIS Due to the close proximity to the fjord, the area is rather windy. Illustrations 3.12-3.15 show the wind distribution and speed in m/s during the year.

The area is exposed to a moderate wind which varies throughout the seasons. The northeast wind occurs especially during winter but also during autumn and southwest wind during spring and summer. The average wind speed ranges from 6,4 m/s to 10,07 m/s [Gaisma, 2015].

Ill. 3.12: Wind distribution, spring

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Ill. 3.13: Wind distribution, summer

The wind is especially an important aspect in the design of outdoor spaces, but is also an important factor when dimensioning the loadbearing structure. The direction of the wind and the basic wind velocity relates to the site and has an impact on the size of the wind load affecting the building. The impact of the wind for both outdoor spaces and the structure can be reduced by keeping as much of the natural vegetation as possible and using the slope and the building to give shelter.

Ill. 3.14: Wind distribution, autumn

Ill. 3.15: Wind distribution, winter

NOISE ANALYSIS The noise pollution of the site comes from the RV60. In that part of the site the noise reaches 70-75 dB and then gradually reduces to <50 dB towards the south (Ill. 3.16).

The study of the noise levels gives an idea of the optimal placement on the site for different functions of the church.

The more profane functions as congregation hall with kitchen, activity room and offices can be placed to the north on the site, while the more sacral functions need a more quiet placement further south on the site.

70 - 75 dB 65 - 70 dB 60 - 65 dB 55 - 60 dB 50 - 55 dB < 50 dB

Ill. 3.16: Noise levels on site

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Ill. 4.1: Saint Benedict Chapel

Ill. 4.2: Woodland Chapel

Ill. 4.3: Urnes Stave Church

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CASE STUDIES

SAINT BENEDICT CHAPEL The chapel was designed in 1988 by Peter Zumthor and stands on a beautiful hillside in Sumvitg, Switzerland. The tear-shaped building consists of a timber construction with attached, non-bearing walls. The walls are cladded with wooden shingles on the outside and bare white walls on the inside. The roof is reminiscent of the hull of a boat consisting of timber beams. Between the walls and the roof, a ring of windows allows natural daylight to enter to chapel.

Zumthor states about his process: “When I start, my first idea for a building is with the material. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.”

[ArchDaily, 2013]

This statement becomes very clear when looking at the Saint Benedict Chapel. The main focus of the room is the timber construction - no decoration or ornamentation, colours or other distractions. The simple vertical columns are slightly separated from the white walls which makes the whole structure very light and gives the small room more depth.

The columns support the circular roof with a small inclination towards the middle to make the room seem taller. Behind the roof beams are the timber planks of the roof. Because of this, the roof appears heavier than the walls and in this way it encloses the room and emphasizes the feeling of presence.

Between the walls and the roof is a ring of glass to allow natural light to enter the space without the distraction of direct views to the surroundings. This ring of light makes the roof look as if it is floating, making the chapel very light and spacious in spite of its small size (Ill. 4.6).

CONCLUSION

The structure of the Saint Benedict Chapel will influence the project in the way the construction is used to create and emphasize the atmosphere of the room. This will be especially useful in the design of the church room to use the construction to achieve the desired atmosphere and light.

Ill. 4.4: Structure of the chapel

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Ill. 4.5: Natural light in the chapel

Ill. 4.6: Chapel interior

Ill. 4.8: Map of Woodland Cemetery

CONCLUSION

The Woodland Chapel gives inspiration to the project in the way that the architecture interacts and respects the nature of the site. The nature is used as an active part of the architecture to create the right atmosphere and to make the building exist as a natural part of the site.

Ill. 4.7: Gate to Woodland Chapel

WOODLAND CHAPEL The Woodland Chapel is a part of the Woodland Cemetery just south of Stockholm. It was designed by Erik Gunnar Asplund and inaugurated in 1920. It is the first and smallest of the cemetery buildings and Asplundâ&#x20AC;&#x2122;s intention with the chapel was that it should be modestly subordinate to the surrounding nature. [Twentieth Century Society, 2003] The chapel is placed in the woods in the middle of the site of the cemetery (Ill. 4.8). The whole cemetery is surrounded by and connected to the nature of the site, which adds to the experience of spirituality and calmness of the cemetery. The combination of woodland, forest, graves and buildings is what gives the place its impact. [Twentieth Century Society, 2003]

Ill. 4.9: Chapel surrounded by nature

This impact becomes very clear when arriving at the Woodland Chapel.

First crossing a narrow parking lot guided by a small stone gate. When entering through the stone gate the forest opens up to both sides. A straight narrow path leads trough the trees to the small chapel that stands on its own in the middle of the forest almost disappearing between the many trees (Ill. 4.9). The building does not take anything away from the site but rather gives back to it by creating a small sanctuary in the middle of the forest where architecture and nature coexist.

Closest to the chapel the trees are a lot denser than in the start of the path. This helps the mourners get into the right state of mind before the service in the chapel. Inside the chapel a domed roof with a top window creates the right atmosphere for the services and when the mourners leave the chapel the forest opens up and emerges them into light and open landscape. All of these are architectural features that show how architecture can be used to affect a personâ&#x20AC;&#x2122;s experience without drawing attention from the functions of the building.

Ill. 4.10: Entrance columns to chapel

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URNES STAVE CHURCH The stave churches of Norway date back to the Middle Ages. Urnes stave church was built in 1150-1175 and is the oldest stave church of Norway. They were build by locals using local materials and because there were no restrictions in design or detailing, no two churches are alike. [VisitNorway, 2015] The construction principle of the stave churches was corner columns and a skeleton of timber planks. This made it possible to replace almost every part of the church as long as it was on the basis of the corner columns. [Stavkirke.info, 2015] The floor plan of the Urnes church (Ill. 4.12) shows that these corner columns are the loadbearing structure meanwhile the columns inside the church are used to create spaces within spaces. In this way the structure is not only used to keep the church standing but also as an architectural element to enhance the functions of the church.

The decoration and cladding on the walls gives the church a vertical expression, which is enhanced by the spiked shape of the bell tower.

Meanwhile the shape of the roof is more horizontal and enhances the traditional east-west direction of the floor plan (Ill. 4.11).

This combination of vertical and horizontal directions results in a church room that is rather tall compared to its width. The narrow space enhances the feeling of presence while the tall columns and high ceiling gives the room more spiritual qualities.

Ill. 4.12: Floor plan of the church

CONCLUSION

Ill. 4.11: Urnes church in its surroundings

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The Urnes stave church will influence the project in the way it uses structure to define and separate different spaces but still keeping an open floor plan. The traditional east-west direction will also be implemented in the design of the church room as well as using the volume of the room to create a feeling of both presence and spirituality.

Ill. 4.13: Urnes Stave Church

DESIGN PARAMETERS

Use the bell tower as a mean to create visibility and establish the church as a landmark.

Break up the edge of the existing parking to establish a connection to the cemetery.

Cater the climatic and contextual challenges of the project site actively in the design.

Use the nature and topography actively in the design as a measure to create atmospheres.

Expose the construction inside the building.

Use construction to create spaces within spaces and achieve the desired atmosphere.

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Ill. 5.1: Sketch of Hatlehol Church

05

DESIGN PROCESS

WORKSHOP 1 // FORM AND ACOUSTICS

Ill. 5.2: Acoustical concept

Ill. 5.3: Different floor plans tested

COMMUNITY

FLOOR PLAN

For the first workshop the concept of community is introduced for the church room by having people sitting close to and surrounding the priest, making eye contact possible (Ill. 5.2).

This will also result in a more clear and direct sound from the priest. The organ is placed in the back and the goal is to have a more difused and reverberant sound for the music.

The desired reveberation time is between 1.4 s and 2 s (Ill. 7.19, appendix 7)

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For the floorplan different versions of an octagon are tested using Pachyderm for Rhino (Ill. 5.3). This shape occured in some traditional Norwegian churches and the different angles of the walls are good for diffusion of sound and preventing echo. The result of the test shows that shape number 2 has the best acoustical proporties while also fitting the concept the best. The ray analysis (Ill. 5.5) shows how the sound for both the priest and the organ is distributed well in the entire space. Appendix 3 shows the results of the tests as well as ray analysis of the shapes.

1

2

3

4

5

6

7

Ill. 5.4: Different ceilings tested

Ill. 5.5: Ray analysis

CEILING

The shape of the ceiling is tested as well with the concept of different heights and angles to diffuse the sound (Ill. 5.4).

Here the results showed that shape number 2 - where the angles of ceiling are biggest closest to the priest - has the best acoustical proporties.

The ray analysis (Ill. 5.5) shows how the angles of the roof centers the sound rays from the organ in the middle of the room, where people are sitting, while not blocking the direct sound from the priest. Appendix 3 shows detailed Pachyderm results of the two best shapes.

CONCLUSION

The workshop gave a good impression of how to achieve the desired acoustical proporties in the church room. The shapes tested are conceptual and not neccesarily the best shapes in designing a church room. The overall conclusion of the workshop is therefore to avoid parallel walls in the floor plan and work with different ceiling heights.

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WORKSHOP 2 // STRUCTURE AND FORM The second workshop is focused on the structural aspects of the church room. The workshop is introduced with a brainstorm and the result is three different types of structures: Frames (Ill. 5.6), trusses (Ill. 5.7) and arches (Ill. 5.8). The qualities of the three structures are compared through different parameters desired from the structure (Appendix 4).

The result is a combination of the ideas of the frames and the trusses.

The main idea for the trusses is to create different ceiling heights and having the ceiling heighest where people are sitting. This is combined with the idea of using frames to create different spaces with different heights.

Ill. 5.6: Model of frames

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Ill. 5.7: Model of trusses

The result is combined with the octagonal floor plan from the acoustical workshop, but that created some problems with very small frames in the corners of the floor plan. The shape of the floor plan is therefore simplified to a pentagon and the frames are applied in diagonals intersecting in certain points (Ill. 5.9).

The different spaces between the frames introduced the concept to seperate the profane and the sacral functions, having a transition part in between to enhance the feeling of entering the church room and being a part of the community (Ill. 5.10).

Ill. 5.8: Model of arches

?

Ill. 5.9: Iterations of floor plan shape

Ill. 5.11: Model of structure

CONCLUSION

The conclusion for the second workshop is to work with frames as the structural principle, as well as use these to create spaces within spaces as seen in the case study of Urnes Stave Church. The structure should also be used to enhance the concept of community and creating a transition part between the profane and the sacral functions.

Ill. 5.10: Church room concept

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CONCEPT DEVELOPMENT COMMUNITY

CHURCH ROOM AS A DISTINGUISHED VOLUME

Ill. 5.12: Concept of community

Ill. 5.13: Concept of church room

The concept of community comes from the theme of Nordic where the context of the church is as much the social context as the physical one.

The idea is to combine the sacral and profane functions of the church in a way where there is a clear distinction between them, but using the combination of them to make meetings between the people of Hatlehol possible.

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To be able to distinguish the sacral and profane functions from each other the church room should stand out from the rest of the church both inside and outside.

From the outside the shape of the church room should be different from the rest of the building in order to clearly distinguish between the different functions and for the church to act as a landmark for the community.

From the inside the atmosphere of the church room should be different from the profane functions in a way that enhances the feeling of presence and spirituality as seen in the case study of Saint Benedicts Chapel.

INTEGRATING NATURE

TRANSITION

Ill. 5.14: Concept of integrating nature

Ill. 5.15: Concept of transitioning

In the case study of The Woodland Chapel it is seen how nature can be used to create different views and atmospheres. In Hatlehol church the concept of framing nature from the inside will create views to nature throughout the building. This is done to guide visitors through the building and enhance the feeling of being close to nature.

The transition from everyday life to the spiritual atmosphere of a church is an important aspect in getting the visitors in the right state of mind before a mass, funeral or wedding - as seen for example in the Woodland Chapel. This will be introduced in the design of Hatlehol Church both in a transition when arriving to the church and when entering the sacral functions.

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CHURCH ROOM The following section describes the proces of designing the church room in a more or less chronological way.

The design process for the church room contains iterations of the floor plan, test of the structural system, detailing the construction, materials and acoustical tests.

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+

Acoustics (no parallel walls) Transition Community concept

รท

Outside shape Long span of frames

+

+

+

+

รท

รท

รท

รท

Outside shape Transition Parallel walls Audience far from priest

No parallel walls Outside shape Audience far from priest Useless spaces

No parallel walls Audience closer to priest Placement of structure Useless spaces

Community concept Utilization of space Direction of structure vs. direction of audience

Ill. 5.16: Iterations of church room floor plan

FLOOR PLAN

Illustration 5.16 shows the process of designing the floor plan of the church room and starts with the results from the workshops.

The pentagonal shape creates difficulties when combining with other shapes. The church room should stand out from the other functions but the pentagon is too dominant. In attempt to change the outside shape but keep the pentagon on the inside the volume of the church becomes very big and a lot of useless spaces are created in between.

Therefore the idea of the pentagon - no parallel walls - is introduced in a

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rectangular floor plan.

Adding extra walls inside the outer shape of the church room still creates problems with useless spaces and the angles of the walls makes it difficult to have visible structure in the entire church room.

The last problem is solved by moving the structure away from the wall also to create spaces witnin spaces as well as more depth to the room as in Saint Benedict Chapel.

This results in a smaller space for the audience and when having the

+

No parallel walls

รท

Small frames where priest is Smallest space where priest is

+

Structure creates spaces in spaces Direction of structure same as for audience

รท

A lot of unused space Small frames in corners

+

Structure creates spaces in spaces Same span for all frames

รท

Direction of structure vs. direction of audience

+

Acoustics (angled end wall) Direction of structure same as for audience Community concept Framing nature East direction

รท

+

Acoustics (angled end wall) Direction of structure same as for audience Community concept Structure creates spaces in spaces Transition part

Small space

audience diagonal to the structure the quality of the space and the structure becomes different for the two different sides of the audience; one side has the structure to the side while the other has the structure to the back and the space lacks the Nordic simplicity.

To use this space in the best possible way and having the same qualities of space for both sides of audience, the seats are placed parallel to the structure. This also makes it possible to enter the seats through the structure.

To avoid having parallel walls that can cause echo the end wall is angled a bit, also making room for the bell tower behind the wall. The two side walls are parallel but the structure will ensure that the sound rays are diffused to avoid echo.

Lastly, the transition part is angled, leading the audience from the door inside the church room and making space for a mezzanine and the organ on the floor above.

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STRUCTURE // PENTAGONAL FLOOR PLAN

The structure from the second workshop on the pentagonal floor plan is modelled in Grasshopper to dimension the size of the frames.

First a test of the shape of the cross section is made. One with a square cross section and one with a rectangular cross section (Ill. 5.17).

The visualizations show that the structure with rectangular cross sections gives the room more depth and the structure creates a bigger difference of the spaces. The structure with square cross sections seems to be closer connected to the ceiling whereas the one with rectangular cross sections refers more to the space of the church room.

SQUARE CROSS SECTION

RECTANGULAR CROSS SECTION

Ill. 5.17: Comparison of cross sections 82

The structure is modelled in glue laminated timber with rectangular cross sections 200 mm thick to keep the frames slender.

Illustration 5.19 shows the static scheme of the structure with pinned supports and alternately fixed and hinged joints. The frames are shaped according to the moment forces in the joints to create an honest structure that show the forces in play, as described in Tectonics.

The results from the Robot Analysis can be seen in appendix 3.

As seen on illustration 5.20 the results of the Robot analysis is a structure with very large elements - the biggest being a 2.5 m wide beam.

This is due to the big span of the structure and the height of the meeting points between the beams.

This creates a very heavy and dominating structure, which is not the intention of the church room. There is also a problem in even manufacturing glulam elements this big. These factors should therefore be taking into account in the further development of the structure.

Ill. 5.19: Static scheme

10 m 1m

6m 5m

2m 0.5 m

3m 1m

2.5 m

1.5 m

Ill. 5.18: Model of structure

1m

Ill. 5.20: Frame sizes

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STRUCTURE // RECTANGULAR FLOOR PLAN

With the change from a pentagonal floor plan to a rectangular one the structure have to be changed as well.

Still working with the principle of frames models of two different structures are made; one with diagonal frames, and one with orthogonal frames.

The models are compared based on different statements on the quality of the structure and the room (Ill. 5.21).

Dynamic motion of the roof refers to the feeling of the direction of the room as described when working with the floor plan. The structure should be used to enhance this feeling with a dynamic expression.

Simplicity and readability of the room comes from the topic of Nordic.

Nordic architecture is know for its simplicity which also comes from being able to understand the rooms and spaces and the structure should help achieve this.

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Outside shape follows structure means that while the structure is only visible from inside the room one should also be able to read the shape of the structure from outside the building.

Direction towards one corner also comes from the development of the floor plan and the idea that the room should be tallest were the priest and audience is.

Most seating closest to the priest is essentiel in creating the feeling of being a part of the community when being in the church room.

The structures are rated with +, - and 0. + means that the structure means that it does not, and 0 means that it is neutral or that it has the possibilities to meet the statement.

DYNAMIC MOTION OF ROOF

SIMPLICITY / READABILITY OF ROOM

OUTSIDE SHAPE FOLLOWS STRUCTURE

DIRECTION TOWARDS ONE CORNER (PRIEST)

MOST SEATING CLOSEST TO PRIEST (COMMUNITY)

0

+

รท

+

+

+

0

+

+

0

Ill. 5.21: Comparison of direction of frames 85

LOADS

ULS - DOMINATING SNOW LOAD

In order to dimension the structure the loads affecting it are calculated according to Eurocodes. The loads affecting the structure are snow load, wind load and self weight. The calculations of snow and wind load can be seen in appendix 6. The self weight is calculated in Grasshopper.

Four different load combinations are calculated as shown in illustration 5.23-5.26 and the detailed calculations can be seen in appendix 6.

Illustration 5.22 shows the different zones the structure is divided into in order to apply the correct loads to different parts of the structure.

WIND LOADS

1.07 kN/m x 0.3 = 0.32 kN/m 4.61 kN/m x 0.3 = 1.38 kN/m

4.30 kN/m x 0.3 = 1.29 kN/m

3.99 kN/m x 0.3 = 1.20 kN/m

2.62 kN/m x 0.3 = 0.79 kN/m 1.73 kN/m x 0.3 = 0.52 kN/m

SNOW LOADS 2.82 kN/m x 1 = 2.82 kN/m

2.3 m

9.2 m

5.75 m

11.5 m

5.75 m

F(up)

G

F(low)

4.66 kN/m x 1 = 4.66 kN/m

H

SELF WEIGTH

16.5 m

Factor 1.0

I + +

Ill. 5.22: Floor plan of load zones 86

Ill. 5.23: Load combination, ULS 1

ZONE I ZONE H ZONE G ZONE F(low) ZONE F(up) ZONE D

SLS - DOMINATING SNOW LOAD

WIND LOADS

ULS - DOMINATING WIND LOAD

SLS - DOMINATING WIND LOAD

1.07 kN/m x 1.5 x 0.3 = 0.48 kN/m 4.61 kN/m x 1.5 x 0.3 = 2.07 kN/m

4.30 kN/m x 1.5 x 0.3 = 1.94 kN/m

3.99 kN/m x 1.5 x 0.3 = 1.80 kN/m

2.62 kN/m x 1.5 x 0.3 = 1.18 kN/m 1.73 kN/m x 1.5 x 0.3 = 0.78 kN/m

WIND LOADS

WIND LOADS

1.07 kN/m x 1.5 = 1.61 kN/m

1.07 kN/m x 1 = 1.07 kN/m

SNOW LOADS

4.61 kN/m x 1 = 4.61 kN/m

4.61 kN/m x 1.5 = 6.92 kN/m

4.30 kN/m x 1 = 4.30 kN/m

4.30 kN/m x 1.5 = 6.45 kN/m

2.82 kN/m x 1.5 = 4.23 kN/m

4.66 kN/m x 1.5 = 6.99 kN/m

1.73 kN/m x 1 = 1.73 kN/m

1.73 kN/m x 1.5 = 2.60 kN/m

SELF WEIGTH Factor 1.1

Factor 1.0

Factor 1.1

Ill. 5.24: Load combination, SLS 1

3.99 kN/m x 1.5 = 5.99 kN/m 2.62 kN/m x 1.5 = 3.93 kN/m

SELF WEIGTH

SELF WEIGTH

+ +

3.99 kN/m x 1 = 3.99 kN/m 2.62 kN/m x 1 = 2.62 kN/m

ZONE I ZONE H ZONE G ZONE F(low) ZONE F(up) ZONE D

ZONE I ZONE H ZONE G ZONE F(low) ZONE F(up) ZONE D

Ill. 5.25: Load combination, ULS 2

ZONE I ZONE H ZONE G ZONE F(low) ZONE F(up) ZONE D

Ill. 5.26: Load combination, SLS 2 87

TEST OF STATIC SYSTEM

After choosing to work with orthogonal frames different ways of doing the static scheme are tested. As the scheme (Ill. 5.28) shows, three different solutions are tested; Fixed supports + fixed joints, pinned supports + fixed joints and fixed supports + hinged joints.

The structures are dimensioned in Robot with as small cross sections as possible and they are compared on the statements of creating a light structure and how much space they take from the floor plan.

As a result the first and second solution are equally good in terms of +â&#x20AC;&#x2122;s and -â&#x20AC;&#x2122;s. The second one is then chosen based on having the smallest cross section where it meets the floor and having a more dynamic expression because of the change in the shape due to the presence of moment forces in the fixed joints.

The results of the Robot analysis of the chosen structure can be seen in appendix 2. As the table shows one of the cross elements in the wall is not holding due to shear/torsion. This is solved by having the outer walls of the church room constructed in a way so that they can obtain some of the horizontal forces from the wind.

The structure have most rigidity parallel to the frames, therefore the parallel wind forces will be obtained mostly by these. But orthogonal to the structure the frames are not very stabil, thus the side walls are constructed as plates obtaining some of the orthogonal wind forces and adding rigidity to the structure (Ill. 5.27).

Ill. 5.27: Diagram of load optaining structure 88

STATIC SCHEME

PERSPECTIVE

COLUMN SIZE

LIGHT STRUCTURE

SPACE IN FLOOR PLAN

100 cm x 20 cm

+

+

+

+

-

-

BOTTOM 90 cm x 20 cm TOP 140 cm x 20 cm

BOTTOM 150 cm x 20 cm TOP 120 cm x 20 cm

Ill. 5.28: Comparison of static schemes 89

WORKSHOP 3 // DETAILING THE CONSTRUCTION

Part of the third workshop focuses on detailing the joints of the construction. Different solutions of more or less hidden joints are investigated and can be seen in appendix 7.

The pinned supports (Ill. 5.29) are designed as a partly visible joint that lifts the columns up from the floor and in this way making them appear lighter. The joints are hinges in metal connecting the part in the column with the part in the floor in an honest way, minding the topic of tectonics.

The metal plate is hidden inside the column showing only the bolts on the outside.

The fixed joint between column and beam (Ill. 5.30) is made in the same way with a hidden metal plate and visible bolts. The bolts show the presence of a joint but by hiding the plate it does not take any focus from the shape of the frame.

TIMBER

HIDDEN METAL PLATE

BOLTS ROTATING HINGE CONCRETE Ill. 5.29: Pinned support

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TIMBER Ill. 5.30: Fixed joint

Further detailing of the structure regards the cross segments in the ceiling keeping the beams from buckling.

Illustration 5.31 show four different solutions with diagonal and orthogonal beams that are more or less dense.

The diagonal elements takes focus away from the direction of the roof towards the heighest corner and therefore the orthogonal elements are chosen.

Where the elements are denser the structure creates a grid that enhances the expression of the ceiling and therefore this option is chosen. When the elements are placed closer their cross section will also be smaller and not dominate the frames.

Ill. 5.31: Comparison of cross elements

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DETAILING TRANSITION PART

The transition part under the mezzanine is seperated from the church room by a series of columns acting as the load bearing structure for the mezzanine (Ill. 5.32).

First, the columns are made 200 mm x 400 mm to be similar to the columns in the rest of the church room. This blocks the view from the entrance to the church room creating focus on the end of the hallway.

To create more views to the church room, the columns are rotated 50 degrees. This opens up the transition part, taking focus away from the hallway and putting it towards the church room, but creates problems in the way the column and the beams are joined. If the beams are rotated with the columns they will get really long spans resulting in bigger beams.

Therefore a decision is made to make the columns 100 mm x 200 mm instead. This opens up the views in the same way as the rotated columns without the problems of joining them with the beams.

This solution also fits better with the topic of tectonics since the columns in the transition part carries a smaller load than the columns in the church room and therefore they should be smaller.

Ill. 5.32: Iterations of transition part

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DETAILING MATERIALS

When detailing the materials in the church room the goal is to create a contrast between the structure and the walls, ceiling and floor to make the structure more visible as seen in the case study of Saint Benedict Chapel.

Illustration 5.33 shows different solutions for this. The end wall is decided to be concrete to draw focus towards the priest and reflect sound.

When all walls are concrete the focus is drawn away from the end wall.

To prevent this, birch panels are introduced to keep focus towards the priest but still contrast the warmer, glulam structure.

The first and third illustration show concrete floor while the second and fourth show darker slates. The slates are a big contrast to the rest of the materials and create a bit of confussion. The concrete connects the floor with the end wall enhancing the contrast between the structure and the rest of the room.

Ill. 5.33: Comparison of materials

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FINAL ACOUSTICAL TEST

The acoustics of the final design for the church room are tested using the Pachyderm plugin for Rhino.

The appropriate absorption coefficients are applied according to the materials chosen.

Two receivers are placed in the area of the audience; one at the front and one in the middle, and the reverberation time for both the priest and the organ is tested (Ill. 5.34).

1

2

Illustration 5.35 show ray analysis for the priest and the organ. For both the priest and the organ a lot of the early sound rays (green) as well as the later ones (red) are centered around the audience. It is also visible that the structure â&#x20AC;&#x153;trapsâ&#x20AC;? some of the sound preventing echo between the two parallel walls, but for the organ especially, a lot of the sound gets situated in the corners because of the structure. Further development of the structure and placement of the organ could prevent this.

SOURCES

PRIEST

Ill. 5.34: Diagram of settings for acoustical test

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ORGAN

RECEIVERS

The results of the acoustical calculation can be seen in appendix 8.

The resulting reverberation time is 1.64 s for the priest and 1.76 s for the organ. These numbers fall under the desired reverberation time for churches (1.4 s - 2 s), but they are still in the low end of the scale.

Especially for the organ a reverberation time closer to 2 s would be preferable to have a better experience of the music.

The reverberation times for the church room are affected especially by the choice of materials. The structure, as well as most of the walls, are wooden, which is an relatively absorbtive material, whereas concrete is much more reflective causing a longer reverberation time.

Since a lot of reasons other than acoustics lead to the choice of wood, and since the reverberation times are inside the desired range, the materials will not be changed. Further work with the materials and surfaces could be done to get a longer reverberation time.

1 2

SOURCE: PRIEST

SOURCE: ORGAN

Ill. 5.35: Ray analysis

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ROOM PROGRAMME The next part focuses on the design process for the rest of the church complex.

Here the connection between the different functions, dimensioning of the structure and detailing of materials and the envelope will be investigated.

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FUNCTIONS

For the competition material a detailed room programme has been given with names, sizes, functions and details for every room needed in the church.

Illustration 5.36 shows the different functions and their sizes categorized as: Sacral, common and administration. The detailed room programme can be seen in appendix 10.

The concept of community is to have the sacral functions and administration more seperated and use the common function as entrance hall, church hall and congregation hall to connect them. In these rooms the church will be for the whole community, while the administrational rooms are for people working in the church or teaching purposes.

The sacral functions will also be open to the community but only for sacral events.

SACRAL FUNCTIONS COMMON FUNCTIONS ADMINISTRATION

CHURCH ROOM 750 m 2

SACRISTY 2 12 m

MEZZANINE 70 m 2

MEETING 25 m2

CHAPEL 80 m 2

CHILDRENS CHAPEL 2 40m

CLOISTER ROOM 2 12 m

TECHNICAL ROOM 35 m2

SACRISTY FOR BAPTISM 2 40 m

CLASS ROOM 25 m2

STAFF TOILET 2 10 m

MEETING / DINING 25 m2

ADDITIONAL SACRISTY 12 m2

KITCHEN 2 45 m

ENTRANCE HALL 100 m

LAUNDRY ROOM 2 10 m

REFUSE 2 12 m

ACTIVITY ROOM 2 35 m

OFFICE 2 6m

CHURCH HALL 2 70 m

Ill. 5.36: Categorizing of functions

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MUSIC ROOM 25 m2

2

STORAGE 2 60 m

CONGREGATION HALL 2 150 m

CLASS ROOM 25 m2

WORKSHOP 20 m2

OFFICE 2 6m

OFFICE 2 6m

STORAGE 2 10 m

CLOAKROOM 2 30 m

OFFICE 2 6m OFFICE 2 6m OFFICE 2 6m

PUBLIC TOILETS 28 m2

PUBLIC TOILETS 28 m2

PUBLIC TOILETS 28 m2

ORGANIZATION OF FUNCTIONS

When organizing the functions according to the concept (Ill. 5.37) it is with the idea of having the entrance hall as the central part of the church where all visitors and staff cross paths. The entrance hall functions as a distributor to the rest of the church connecting all functions.

The sacral functions and their adjoining rooms are seperate from the administration which is again dividing in working functions with offices, class rooms and activity room.

SACRAL FUNCTIONS TECHNICAL ROOM 35 m2

MEZZANINE 70 m

COMMON FUNCTIONS ADMINISTRATION

CHURCH HALL 2 70 m

2

CHURCH ROOM 750 m

PUBLIC TOILETS 28 m2

STORAGE 2 60 m

2

CLOISTER ROOM 2 12 m

SACRISTY FOR BAPTISM 2 40 m

SACRISTY 2 12 m

CHAPEL 80 m 2

MEETING 25 m2

ADDITIONAL SACRISTY 12 m2

CLOAKROOM 2 30 m

ENTRANCE HALL 100 m

CHILDRENS CHAPEL 2 40m

2

LAUNDRY ROOM 2 10 m

REFUSE 12 m2

CONGREGATION HALL 2 150 m

KITCHEN 2 45 m STAFF TOILET 10 m2

MEETING / DINING 25 m2

PUBLIC TOILETS 28 m2

OFFICE 6 m2 STORAGE 10 m2

OFFICE 6 m2 OFFICE 6 m2

OFFICE 6 m2 OFFICE 6 m2 OFFICE 6 m2

WORKSHOP 20 m2

ACTIVITY ROOM 2 35 m PUBLIC TOILETS 28 m2

CLASS ROOM 25 m2 CLASS ROOM 25 m2 MUSIC ROOM 25 m2

Ill. 5.37: Organization of functions

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SMALLER VOLUMES CONNECTED BY CENTRAL SPACE

The idea of the entrance hall as the central, connecting space is shown in the sketches below (Ill. 5.39-5.41). Here the idea is to create a central plaza, that could be either indoors or outdoors, connecting all the functions. The space is accessible from multiple directions creating lots of different flows on the site.

The idea is to gather the community in this space but then the space would need to have a purpose other than just connecting the other functions. Because all the functions of the church already is in the room programme adding another function to what would be a very large room becomes quite useless and the central space will become more of a transition area than a gathering spot.

Ill. 5.38: Sketch of church complex

Ill. 5.39: Central space with one entrance

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Ill. 5.40: Central space with flow trough

Ill. 5.41: Central space with multiple entrances

FLOOR PLAN

The floor plan (Ill. 5.43) shows a design proposal for the central transition space that connects all the functions of the church. The space is accesible from multiple directions and nature is integrated between the cloisters of rooms.

The floor plan is very split between functions and does not really accommodate the idea of community. Also the approach to the sacral function are not really different from that to the common functions and therefore the concept of transitioning is a bit lost.

What is good about the floor plan is the idea of having the church hall and congregation hall adjoining the main/entrance space and in this way opening the rooms up as common functions for the community.

Ill. 5.42: Concept for central space

Ill. 5.43: Design of floor plan

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ONE VOLUME DIVIDED BY HALLWAYS

With further development of the shapes and volumes the church room is changed from a pentagonal shape to a rectangle to make it more like the other volumes. Instead it stands out because of its height and dynamic shape of the roof (Ill. 5.44). This allowed the other functions to be closer connected to the church room, making the church appear as one volume.

The sketches (Ill. 5.45-5.47) show different ideas for the flows to and through the church all focusing on visual connections to nature when inside the church. The last sketch (Ill. 5.47) is chosen for further development because of the logical flow between the different functions and lines of sight to nature in all directions.

Ill. 5.44: Sketch of church complex

Ill. 5.45: All parallel flows

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Ill. 5.46: Parallel main flows

Ill. 5.47: Flows in multiple directions

FLOOR PLAN The top illustration (Ill. 5.48) shows the first idea for developing the floor plan. All the lines of sight through the building acts as hallways connecting all functions from the entrance hall.

Administrational functions as toilets and technical room are placed in the middle of the complex because they do not need daylight.

The more sacral functions that are for the priest (cloister room and sacristy) are placed in direct connection to the church room, having their own entrance. This creates a distance between these and other functions which is not really the intention.

Instead, as shown in the bottom illustration (Ill. 5.48) the chapels are integrated in the volume creating hallways that also connect the profane and sacral functions so every room is accesible from inside the church.

From the entrance hall there is a direct and open connection to the church hall on one side and the congregation hall on the other.

This makes the entrance very open and inviting and creates life in the building welcoming people as a part of the community.

Because of the slope of the site the foundation of the building turned quite big due to a decision to not have different levels inside the church. To utilize this space, administrational functions as the technical room and storage are moved to level -1 below the church room.

STORAGE LAUN- REFUSE DRY MEETING/ DINING

CLOAKROOM OFFICES

CONGREGATION HALL

CHURCH HALL

STAFF TOILET

WORKSHOP

PUBLIC TOILETS

KITCHEN

PUBLIC TOiLETS

TECHNICAL ROOM

PUBLIC TOiLETS

ACTIVITY ROOM

CHURCH ROOM MUSIC ROOM

CLASSROOM

CLASSROOM

STORAGE

SACRISTY FOR BAPTISM

CHILDRENS CHAPEL

CHAPEL

ADD. SACRISTY SACRISTY

CLOISTER ROOM

MEETING ROOM

PUBLIC TOILET

STORAGE LAUN- REFUSE DRY

OFFICES

MEETING/ DINING

CONGREGATION HALL

CHURCH HALL

KITCHEN

STAFF TOILET

WORKSHOP

PUBLIC TOILETS

PUBLIC PUBLIC TOILETS TOILETS CLOAKROOM

ACTIVITY ROOM

STORAGE

CHURCH ROOM MUSIC ROOM

CLASSROOM

CLASSROOM

CLOISTER ROOM

MEETING ROOM

LEVEL -1: TECHNICAL ROOM

CHILDRENS CHAPEL

ADD. SACRISTY SACRISTY

TOILETS

SACRISTY FOR BAPTISM

CHAPEL

STORAGE

Ill. 5.48: Detailing of floor plan

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FRAMING NATURE

These long hallways throughout the building will serve as the means of framing nature so everywhere you go in the church, the nature will always be visible.

Working with frames as the structural principle of the church room it only makes sense to continue these in the rest of the complex. The frames will be the loadbearing structure, create direction in the hallways and literally create frames for the windows showing nature at the end of the hallways (Ill. 5.49).

The book â&#x20AC;&#x153;Dimensionering med diagrammerâ&#x20AC;? have been used to get the estimated sizes of the frames in the building.

Illustration 5.50 shows the different dimension of the columns and beams throughout the building.

All frames will have a thickness of 90 mm, expect in the two chapels and their connecting hallways. Here the thickness will be 185 mm due to the rooms being twice as heigh as in the rest of the building.

To get more continuity through the building some beams have been made a little bigger than necessary to fit with one of the other sizes, to not have all different sizes of beams throughout the building.

Appendix 9 shows the tables used to dimension the frames.

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Ill. 5.49: Framing nature

COLUMNS

BEAMS

90 mm x 100 mm 90 mm x 300 mm 90 mm x 100 mm 90 mm x 133 mm 90 mm x 166 mm 185 mm x 200 mm

90 mm x 400 mm 90 mm x 500 mm 185 mm x 266 mm 90 mm x 200 mm

Ill. 5.50: Dimensioning of frames

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DETAILING HALLWAYS // FRAMES AND MATERIALS

The illustrations below show tests of different materials and the distance between the frames in the hallways. The top pictures (Ill. 5.51) show a distance of two meters between the frames while the bottom ones show a distance of one meter.

The distance of one meter frames the hallways well but when they are that close the cross section of the frame will be really small.

Therefore a distance of two meter is chosen to have a bigger cross section making the structural system visible.

Ill. 5.51: Comparison of materials 106

To continue the warmth of the materials from the church room, the lighter frames are chosen. The concrete from the church room floor is continued into the hallways as well to create a connection between all functions of the church.

Thus, the chosen look of the hallways is as in the top right picture, but with concrete floor as in the bottom right picture (Ill. 5.51).

DETAILING HALLWAYS // LIGHT

Because of the long hallways, light is an important aspect. Every hallway will end in a floor to ceiling window that shows the nature outside and this framing of nature should be the focus of the hallways. More windows still have to be added to not have complete dark spaces in the middle of the hallways.

The illustrations show tests of different solutions. One with no windows, one with smaller windows near every frame and one with a glass ceiling.

It is clear that the closed hallways (Ill. 5.52, top) really puts emphasize on the framing of nature but they also create very dark spaces.

The hallway with glass ceiling (Ill. 5.52, bottom) is a very open and light space, but the focus is drawn away from the nature and towards the sky.

Therefore the solution in between (Ill. 5.52, middle) is chosen. Smaller windows - one for each frame - will ensure enough light in the hallways without putting focus away the concept of framing nature.

Ill. 5.52: Comparison of windows

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WORKSHOP 3 // DETAILING THE SURFACE

Different types of cladding and colors are compared in order to find the right expression of the building from the outside.

To contrast the lighter, warmer materials of the inside of the church, darker tonalities have been sought - also to stand out and stage itself on the project site. The investigated materials involve metals, wood and stone as seen on illustration 5.54-5.62 for the roof, outer walls and foundation respectivily.

The wooden shingles has a complex expression and does not correspond well to the overall shape of the building. Instead a vertical wood cladding is chosen to compliment the buildingâ&#x20AC;&#x2122;s verticality and make it more prominant. Illustration 5.59 is an example of this type of cladding but the aim is a darker, greyish color.

This would also comport with a dark slate cladding, which is chosen for its lighter look than a traditional stone wall, that has a more dense expression.

The contrasting wood colors, from dark to light, will hightlight the entrances and activily act as an inviting feature and draw people inside the church (Ill. 5.53).

Ill. 5.53: Exterior materials

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ROOF

Ill. 5.54: Corten

Ill. 5.55: Copper

Ill. 5.56: Zinc

Ill. 5.57: Wooden shingles

Ill. 5.58: Wood cladding, horizontal

Ill. 5.59: Wood cladding, vertical

Ill. 5.60: Slates, light

Ill. 5.61: Slates, dark

Ill. 5.62: Slates, grey

WALLS

FOUNDATION

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Ill. 5.63: Comparison of walls

WALL INVESTIGATION

The way the large foundation is perceived when walking next to it is investigated.

Illustration 5.63 (left) shows a straight surface where wall and foundation have different materiality. The wall of the foundation is more human scale and this is enhanced with slates as cladding. Illustration 5.63 (right) shows the same difference between wall and foundation.

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The wall is moved in a bit to make the building seem lower when you walk along it. This does not really make a big difference and creates problems with the overall look of the building.

Illustration 5.63 (middle) shows the wood cladding from the wall pulled almost to the ground covering the foundation, which creates a very tall, out of scale wall.

WINDOW INVESTIGATION

For the elevations of the church the size, placement and direction of windows are investigated (Ill. 5.64).

The first picture shows vertical windows with the same width but differentiating in height according the the slopes of the roof.

The windows enhance the vertical expression of both the church complex and the cladding. Having them all the same width creates a very static expression.

The second picture shows windows with the same width and height, but this solution does not utilize the heights of the walls very well. And the expression is still very static.

The third picture is an investigation of using different widths to create a more dynamic expression of the elevations. Also the windows are pulled all the way to the roof, but this creates problems with the building of the roof being visible.

Last, the fourth picture shows an investigation with square windows, which a whole other expression and does not really fit the otherwise vertical look of the church complex.

The solution is therefore a combination of the first and third picture, where vertical windows with different widths follow the slopes of the roof to highlight certain functions. This creates dynamic elevations that emphasize the shape of the church.

Ill. 5.64: Comparison of windows

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DETAILING ENVELOPE

The compitition material states that sustainability should be a focal point of the design of Hatlehol church. In this project this will mainly be investigated through detail drawings of the envelope (Ill. 5.66-5.68) and meeting the minimum demands for e.g. insulation.

Currently in Norway TEK10 is the minimum demand for new buildings but the aim is to have almost zero energy buildings by 2020 (NS3700).

[Regjeringen.no 2015]

INSULATION

Heating and cooling are the most energy consuming aspect of a building and amounts for around two thirds of the total energy use. Through reference buildings that were built using the NS3700 standard it is found that around 350 mm insulation in the walls, 500 mm in the roof, and 300 mm in the floors are sufficient for an energy efficient building.

Other aspects such as the airtightness of the envelope, can be reduced using fewer and more efficient connections. Another consideration for the envelope are a structure that minimizes the amount and volume of thermal bridges. Having the load bearing structure inside the envelope helps achieve this (Ill. 5.65).

LOADBEARING STRUCTURE

This project will aim for TEK17 requirements by using some of the above mentioned actions and measurements in a conceptual way, therefore no simulations or calculations will be done regarding this area. The references will be considered the guiding factor in achieving an energy efficient building.

Ill. 5.65: Envelope

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The envelope is constructed in such a way that surfaces meeting clear edge to bring a lightness to the overall look of the church and support the verticality of the faรงade. This also hides away constructive details, as for instance gutters, to bring a focus on the tactility of the materials and highlight the angles.

INSULATION 300 MM

LOAD BEARING STRUCTURE

Ill. 5.67: Meeting of wall and floor WIND BLOCKER CLADDING WALL STRUCTURE

INSULATION 300 MM LOAD BEARING STRUCTURE

BATTER CLADDING

BATTER CLADDING

INSULATION 45 MM BATTER 45 MM WALL PANELS

SACRIFICIAL BOARD Ill. 5.66: Meeting between walls in corner

200 - 300 MM DISTANCE TO GROUND

Ill. 5.68: Meeting between cladding and ground

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SITE The last part shows the work done with the site from beginning to end of the design process.

This includes flows, placement on the site, parking, the arrival to the church and urban spaces.

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FLOWS

When working with the placement of the church on the site the flows are investigated (Ill. 5.69).

Pedestrians should be able to acces the site and the church from different directions, while cars and bikes should mainly use the roads surrounding the site.

The parking is placed south-east of the site creating a barrier between the site and the cemetery as analysed in the mappings. The goal is to remove this barrier, thus moving the parking to another place on the site and creating more direct flows from the church to the cemetery.

The access from the RV60 should be kept at the road west of the side to not disturb the traffic.

PEDESTRIANS CARS BIKES

Ill. 5.69: Flows on site

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ARRANGEMENT ON THE SITE

Working with a model of the site different ways of placing the church and the parking are investigated.

Illustration 5.70 shows a solution where the parking is placed along the west edge of the site, and the church in the middle. Keeping the vegetation in the north part of the site, the church will not be visible from the RV60, which is not desirable.

Since the parking takes up a lot of space, the building is quite close to the parking area which is not the best solution for the church.

A direct flow to the cemetery and possibilities for a central outdoor space are created.

Ill. 5.70: Test of placement on site

In another proposal (Ill. 5.71) the parking is placed north on the site to the edge of the RV60. This makes it possible to have some lines of sight from the RV60 to the church, reveiling its presence through the trees.

Splitting the parking in two makes it less dense but creates difficulties in the access from the RV60.

A central outdoor space is placed in the middle of the site with easy access form the parking. A visible and direct connection to the cemetery is made.

The south part of the site is unused, which gives opportunities to keep the dense vegetation.

Ill. 5.71: Test of placement on site

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FINAL PLACEMENT ON SITE

The final placement on the site takes the previous investigations into consideration (Ill. 5.72).

Instead of two seperate parking areas one less dense area is made that mingles with nature to hide the parking as much as possible and not ruin the naturalness of the site with a concrete parking lot. This also reduces the access roads to one from the west of the site, to not disturb the traffic of the RV60.

The flows on the site are mainly for pedestrians, but parking for bikes and access for e.g. delivery or funeral cars has been made. The main flow for cars is still on the road surrounding the site.

There are short, direct flows from the parking to the main entrance in the north. From here there is also a direct flow to the cemetery for easy access at e.g. funerals.

From the entrance to the chapel in the south there is a path to the cemetery as well, also for easy access at funerals.

E

The direction of the church is rotated a bit, so the diagonal aisle in the church room points directly east as found in the case study of Urnes Stave Church.

PEDESTRIANS CARS BIKES

Ill. 5.72: Placement on site with flows

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PARKING

Illustration 5.73 shows the first idea for splitting up the parking and having two access roads, creating some problems with the flow to and between the parking spaces.

Illustration 5.74 then shows the solution of having one parking area along the north edge of the site with a access road from west.

The competition material specify that there should be 200 parking spots for cars in connection to the church. The BR10 guidelines states that seven of these should accommodate the needs of handicapped. [SBI, 2015] The parking areas and access roads are constructed from the directions of “Neufert 3. edition”.

In addition there will be a need for bicycle parking in close proximity to the church so that the community can access the church by bicycle. The dimensions of the parking arrangement are based upon guidelines from “Cykelparkeringshåndbog”. See appendix 11 for more details.

Ill. 5.73: Parking divided in two

The parking will, as mentioned before, be constructed as nature parking to keep as much of the vegetation as possible. The access roads will be reinforced gravel and the parking spots will be placed between the trees on reinforced grass.

Ill. 5.74: One parking area with access from west

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URBAN AREAS

The church is accessed by paths of reinforced gravel. From the east they will be big enough for cars for delivery and funerals. A path for bicyclists is placed west.

Just outside the two entrances there will be smaller urban spaces (Ill. 5.75). Here the concrete flooring from inside continues outside to create the concept of transition.

Towards the edges of the site, the vegetation is kept dense, as it is now.

Closer to the church, the vegetation gets less dense placing the church in a clearing in the woods (Ill. 5.76).

Illustration 5.77 shows the view from the parking lot where the church is hidden behind the trees only reveiling some of it. Illustration 5.78 shows how the trees then loose density closer to the church reveiling the whole design and the main entrance to welcome the visitors, guiding them inside.

Ill. 5.75: Continuing inside materials outside

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Ill. 5.76: Top view of the church complex

Ill. 5.77: View to church from parking area

Ill. 5.77: View to main entrance

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Ill. 6.1: Top view of Hatlehol Church

06

EPILOGUE

CONCLUSION The Hatlehol church is not limited to people of a certain religion to come and praise the divine, by allowing people without religion to meet and feel as a part of the community they live in.

The church is set as a landmark on the project site, with the bell tower erecting from the tree tops serving as a beacon in the mist of nature, grounded on a slate foundation. A diverse mix of functions are gathered under one roof to create meetings and interactions for the various users.

The surrounding nature is framed through the timber structure, in a way that blurs the separation of inside and outside by creating close relation to nature. By having materials breaking through the envelope the blur between inside and outside is enhanced.

By respecting traditional Norwegian church architecture, the structure achieves architectural quality by creating spaces within spaces â&#x20AC;&#x201C; especially in the church room where the loadbearing structure is used to achieve this.

Through mini-workshops, based on the Performance-Aided Design Process, revolving around acoustical and structural explorations, the

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design of the church has come together iteratively. By having several studies in different computer-aided programs, the real time feedback loop of different iterations has made it possible to reach an expression that serves both the structural and aesthetical elements in a unity that fits the context.

The result is an earthbound church, that relies on its concept through the distribution of functions and the integration of nature. Administrational, common and sacral spaces all share an overall expression to enhance the idea of community in the building itself, by not splitting up the functions.

A large, transparent entrance that merges together with gathering points as the congregational and church hall further enhances the feeling of community.

With inspiration from the topic of Nordic, small details can be a measure to achieve great architectural values. And so, slight roof angles utilizing the limited amount of light, a visible construction for an honest expression, and glass panels creating transparency in the structure, framing the Nordic nature.

REFLECTION The main course moduleâ&#x20AC;&#x2122;s division into three mini-workshops has been partially beneficial to the design of the Hatlehol Church.

The reason being, that the overall holistic knowledge that the iterative design process contributes to a complete design, feels outweighed by the technical aspects of the church room. The two mini-workshops in the beginning of the design process explored the acoustics and structural system of the church room, without taking the remaining room programmes or the project site into account. In this regard, a mini-workshop revolving around site analysis would have been much welcomed in the beginning of the design process, so the more technical aspects could be more easily integrated on the project site instead of acting as a setback.

The undersigned design process testifies to this. A simplification of the design seemed a necessity half way through the process, since the results of the workshops where interpreted more as a solution rather than a process. The real-time feedback loops of the Performance-Aided

Design has in this regard been proven useful for experimentation and further development.

The decision to settle on frames a the structural system came early in the process since these fits the concept and corresponds well to the Nordic and tectonic analysis. Mini-workshop 3:3 has been beneficial in the understanding of scale and detail and has given a new understanding of the impact these brings to the experience of the design.

When reviewing the process, the overall objectives of the main course module has been achieved with a coherent design. Lots of changes have been made in order to do this and the outcome has changed drastically from the initial design phases. A reevaluation of the plan was the turning point of the project as the vision became clearer, but the radical change have also caused a somewhat eficient detail level in the remaining rooms of the church, since time was limited.

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REFERENCES Ahler, K., 2010, Dimensionering med diagrammer, Nyt Teknisk Forlag, Denmark ArchDaily, 2013, AD Classics: Saint Benedict Chapel / Peter Zumthor, [Online], Available at: http://www.archdaily.com/418996/ad-classics-saint-benedict-chapel-peter-zumthor, [Accessed: 06/11/15]

Regjeringen.no, 2015, Fakta om nye energikrav til nybygg, [Online], Available at: https://www.regjeringen.no/no/tema/plan-bygg-og-eiendom/plan--og-bygningsloven/ bygg/innsikt/faktaark-om-nye-energikrav-til-nybygg/id2461620/, [Accessed: 27/11/15] SBI, 2015, BR10 Guidelines, [Online], Available at: http://www.sbi.dk/tilgaengelighed/tjeklister/parkeringspladser-for-personer-med-handicap, [Accessed: 04/12/15]

Baiche, B., Walliman, N., 2000, Neufert 3. edition, [PDF] Bygningsreglementet, 2012, Eksempelsamling om brandsikring af byggeri, [Online], Available at: http://bygningsreglementet.dk/file/218960/exsamling_brand_vtre.pdf, [Accessed: 13/12/15]

Sciencenordic, 2015, Trees Top 10, [Online], Available at: http://sciencenordic.com/treestop-10, [Accessed: 11/12/15] Sekler, E., 1965, Structure, Construction, Tectonics, in ed. Kepes, G., Structure in Art and Science, Studie Vista, London

Dansk Cyklist Forbund, 2007, Cykelparkeringshåndbogen, [PDF] Dansk Standard, Eurocode 0 Dansk Standard, Eurocode 1-1-3

Stavkirke.info, 2015, Sammendrag, [Online], Available at: http://www.stavkirke.info/artikler/sammendrag/, [Accessed: 03/11/15] Twentieth Century Society, 2003, Building of the month, [Online], Available at: http://www. c20society.org.uk/botm/woodland-cemetery-stockholm/, [Assessed: 05/11/15]

Dansk Standard, Eurocode 1-1-4 Dansk Standard, Eurocode 5 Frampton, K., 2001, Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, MIT Press, Cambridge Massachusetts Gaisma, 2015, Ålesund, Norway, [Online], Available at: http://www.gaisma.com/en/location/alesund.html, [Accessed: 11/12/15]

VisitNorway, 2015, Stavkirker, [Online], Available at: http://www.visitnorway.com/dk/omnorge/historie/stavkirker/, [Accessed: 03/11/15] Weatherspark, 2015, Average weather for Ålesund, Norway, [Online], Available at: https:// weatherspark.com/averages/28840/Alesund-M-re-og-Romsdal-Norway, [Accessed: 11/12/15] Ålesund kirkelige fellesråd, 2008, En åpen plan- og designkonkurrance for Hatlehol kyrkje, [PDF]

Kjeldsen, K. et al., 2012, New Nordic – Architecture & Identity, Rosendahls, Denmark Knudstrup, M., 2004, Integrated Design Process In PBL, [Online], Avalable at: vbn.aau. dk, [Accessed: 07/12/15] Parigi, D., 2014, Performance Aided Design: tradition and development of tectonic design process, International Association for Shell and Spatial Structures (IASS)

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Ålesund Kommune, 2015, Byhistorien, [Online], Available at: http://www.alesund.kommune.no/fakta-om-alesund/om-byen/byhistorie, [Accessed: 11/12/15]

ILLUSTRATIONS Ill. 1.1: http://wallpaper.pickywallpapers.com/1366x768/norwegian-landscape.jpg Ill. 1.2-1.3: Own illustrations Ill. 1.4: http://ad009cdnb.archdaily.net/wp-content/uploads/2014/07/53cf3774c07a80c64a000465_ chapel-st-genevieve-obika-architecture__0002968_copy-530x793.jpg Ill. 1.5: http://www.lindmanphotography.com/wplindman/wp-content/uploads/2011/12/venedig-8353-007.jpg Ill. 2.1-2.8: Own illustrations Ill. 2.9: Own illustration Ill. 2.10: Own illustration Ill. 2.11: Own illustration Ill. 2.12: Own illustration Ill. 2.13: Own illustration Ill. 2.14-2.17: Own illustrations Ill. 2.18-2.19: Own illustrations Ill. 2.20-2.22: Own illustrations Ill. 2.23-2.24:Own illustrations Ill. 2.25: Own illustration Ill. 2.26: Own illustration Ill. 2.27-2.29: Own illustrations Ill. 2.30-2.31: Own illustrations Ill. 3.1: Own picture Ill. 3.2-3.3: Own illustrations Ill. 3.4: Own illustration Ill. 3.5-3.6: Own illustrations Ill. 3.7: https://weatherspark.com/averages/28840/Alesund-M-re-og-Romsdal-Norway Ill. 3.8: http://www.gaisma.com/en/location/alesund.html Ill. 3.9-3.11: https://weatherspark.com/averages/28840/Alesund-M-re-og-Romsdal-Norway Ill. 3.12-3.15: http://www.windfinder.com/windstatistics/gaseid_alesund?fspot=heisa Ill. 3.16: http://www.miljostatus.no/kart/?lang=no&extent=-43590|6557269|-14564|6573686&layers=261:70;&basemap=KART&opacity=70&saturation=100 Ill. 4.1: http://www.cgarchitect.com/content/portfolioitems/2012/05/51211/Chapel_02_large.jpg Ill. 4.2: http://www.woodlands.co.uk/blog/wp-content/uploads/skog6.jpg Ill. 4.3: https://i.ytimg.com/vi/5IX62JP0ugg/maxresdefault.jpg Ill. 4.4-4.5: Own sketches Ill. 4.6: http://cdn.archinect.net/images/1200x/s4/s4wjhm4sdflhemkg.jpg Ill. 4.7: http://api.ning.com/files/anKnwVgceFSNOm8-VAwdEKNkSLmI0qnL7nrffUvsTD3hL7dFldU0bw5HRI3AghhR4PeekF-UXDV4yoA9W-5yfmhAFpH5PqSJ/IMG_6521.jpg Ill. 4.8: Own illustration Ill. 4.9-4.10: Own sketches Ill. 4.11: Own sketch Ill. 4.12: https://upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Grunnplan_stavkirke,_HĂĽkon_Christie.jpg/582px-Grunnplan_stavkirke,_HĂĽkon_Christie.jpg Ill. 4.13: https://upload.wikimedia.org/wikipedia/commons/f/f0/Stave_church_Urnes,_exterior_view_1. jpg

Ill. 5.1: Own sketch Ill. 5.2-5.5: Own illustrations Ill. 5.6-5.8: Own pictures Ill. 5.9-5.10: Own illustrations Ill. 5.11: Own picture Ill. 5.12-5.15: Own illustrations Ill. 5.16: Own illustration Ill. 5.17: Own illustration Ill. 5.18: Own picture Ill. 5.19-5.20: Own illustrations Ill. 5.21: Own illustration Ill. 5.22-5.26: Own illustrations Ill. 5.27-5.28: Own illustrations Ill. 5.29-5.30: Own pictures Ill. 5.31: Own illustration Ill. 5.32-5.33: Own illustrations Ill. 5.34-5.35: Own illustrations Ill. 5.36-5.37: Own illustrations Ill. 5.38-5.41: Own sketches Ill. 5.42-5.43: Own illustrations Ill. 5.44-5.47: Own sketches Ill. 5.48: Own illustration Ill. 5.49: Own sketch Ill. 5.50: Own illustration Ill. 5.51-5.52: Own illustrations Ill. 5.54: http://amazingtextures.com/textures/data/media/10/metal08.jpg Ill. 5.55: http://orig04.deviantart.net/89ea/f/2012/240/3/a/old_copper_by_allecca-d5cq7q3.jpg Ill. 5.56: http://bgfons.com/upload/zinc_texture2454.jpg Ill. 5.57: http://www.texturemate.com/image/view/2439/_original Ill. 5.58: http://www.picture-newsletter.com/textures/texture-z3y.jpg Ill. 5.59: https://esgair.files.wordpress.com/2013/04/cladding.jpg Ill. 5.60: http://www.publicdomainpictures.net/pictures/50000/nahled/dry-stone-wall-background.jpg Ill. 5.61: http://www.theplasmacentre.com/images/sized/details/products_25753_slate-a-001_2.jpg Ill. 5.62: http://www.muriva.com/wp-content/uploads/2013/08/Design-Wallpaper-Small-Slate-KozielBluff-Muriva-J276-09jpg1.jpg Ill. 5.63-5.64: Own illustrations Ill. 5.65: Own illustration Ill. 5.66-5.68: Own sketches Ill. 5.69: Own illustration Ill. 5.70-5.71: Own pictures Ill. 5.72-5.74: Own illustrations Ill. 5.75: Own illustration Ill. 5.76-5.78: Own sketches Ill. 6.1: Own illustration

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07

APPENDIX

APPENDIX 1 // EMERGENCY STRATEGY The building should be constructed so that there is easy access outside to terrain in case of emergency. In no circumstance can there be more than 25 meters to the nearest exit or escape opening.

Sections of the building get assigned different application categories depending on the usage. The profane functions are under category 1, and the church room is under category 3. For a room with a capacity of 440, such as the church room, it is required to have four different escape doors or at least a total width of 1 mm pr. person, leading to separate escape routes, all with a minimum width of 130 cm. [Bygningsreglementet, 2012] The access to these exits should have an even distribution of the users.

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There should always be multiple escape options for all of the profane functions, which can be achieved by having several escape openings placed strategically in a variety of the different rooms. All windows big enough for a person to pass through is considered an escape opening.

[Bygningsreglementet, 2012] In illustration 7.1 escape routes are marked with green and escape openings with exitdiagrams. All hallways are dimensioned to be escape routes (minimum 1.3 meter) [Bygningsreglementet, 2012], and at the end of every hallway the windows can be opened, functioning as escape openings. In this way there are never more the 25 meter to an escape opening.

0m

10 m

Ill. 7.1: Emergency stragegy (Own illustration) 131

APPENDIX 2 // FINAL ROBOT ANALYSIS

Ill. 7.2: Structure imported to Robot (Own illustration)

90 cm

140 cm

140 cm 90 cm 140 cm

90 cm

Ill. 7.3: Frame sizes (Own illustration)

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90 cm

Ill. 7.4: Member verification Robot, result table (Own illustration)

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Ill. 7.5: Member verification Robot, result table, continued (Own illustration)

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ELEMENT 92

Ill. 7.6: Element 92 (Own illustration)

Ill. 7.7: Element 92, Fz force (Own illustration)

Ill. 7.9: Detailed results for element 92 (Own illustration)

Ill. 7.8: Results for element 92 (Own illustration)

Ill. 7.10: Expressions for shear and torsion (Eurocode 5-1-1, pp. 41-42)

135

APPENDIX 3 // PACHYDERM RESULTS FROM WORKSHOP 1 FLOOR PLAN (2)

RECEIVER 1 RECEIVER 1 RECEIVER 2

SOURCE: ORGAN

RECEIVER 0

RECEIVER 2

SOURCE: PRIEST

RECEIVER 0

T30

Ill. 7.11: Pachyderm results for floor plan, sketch 2 (Own illustration)

136

C80

D50

L

CEILING (2)

SOURCE: PRIEST

RECEIVER 0

SOURCE: ORGAN

RECEIVER 0

T30

C80

D50

L

Ill. 7.12: Pachyderm results for ceiling, sketch 2 (Own illustration)

137

APPENDIX 4 // COMPARISON OF STRUCTURES

Ill. 7.13: Comparison of structural concepts (Own illustration)

138

APPENDIX 5 // WORKSHOP 2 ROBOT ANALYSIS

Ill. 7.14: Member verification Robot, results table (Own illustration)

Ill. 7.15: Structure imported to Robot (Own illustration)

139

APPENDIX 6 // LOADS AND LOAD COMBINATIONS SNOW LOAD

Finding the snow load shape coefficient, Âľi:

(5.1, Eurocode 1-1-3, pp. 18)

S = ¾i ¡ ce ¡ct ¡ sk

ce - exposure coefficient ct - thermal coefficient sk - characteristic value of snow load on the ground at the relevant site [kN/m2] Âľi - snow load shape coefficient Exposure coefficient:

(Figure 5.2, Eurocode 1-1.3, pp. 22) For our structure: Where the angle of the roof is bigger than 60o there will be no snow load.

Different loads will be applied to the beams where the angle is between 30o and 60o and where it is below 30o.

(Figure 5.1, Eurocode 1-1.3, pp. 20) đ??śđ??ś! = 1.2

(Sheltered by high trees and terrain)

Thermal coefficient: (Not high thermal transmittance) (Eurocode 1-1.3, pp. 20) đ??śđ??ś! = 1 Characteristic value of snow load on the ground:

(Figure 1, Angle of roof, own illustration)

(http://snofangerkroken.no) đ?&#x2018; đ?&#x2018; ! = 3.0đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161;

140

!

(Site is lower than 150 m above sea level)

(Figure 5.2, Eurocode 1-1.3, pp. 21)

Snow Load: For the segment between 30o and 60o the average angle of the roof is 45o.

60 − 45 ∗ 1.2 ∗ 1 ∗ 3𝑘𝑘𝑘𝑘/𝑚𝑚 ! = 1.44𝑘𝑘𝑘𝑘/𝑚𝑚 ! 𝑆𝑆!"°!!"° = 0.8 ∗ 30 𝑆𝑆! !"° = 0.8 ∗ 1.2 ∗ 1 ∗ 3𝑘𝑘𝑘𝑘/𝑚𝑚 ! = 2.88𝑘𝑘𝑘𝑘/𝑚𝑚 !

ZONE I: Roof Area: 337.73 𝑚𝑚 !

Beam Load Area: 337.73 𝑚𝑚 ! 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 = = 37.53𝑚𝑚 !

9 𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁 𝑜𝑜𝑜𝑜 𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏

Point Load: 𝐵𝐵𝐵𝐵𝐵𝐵𝐵𝐵 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 ∗ 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 = 37.53𝑚𝑚 ! ∗ 2.88𝑘𝑘𝑘𝑘/𝑚𝑚 ! = 108.07𝑘𝑘𝑘𝑘 Line Load on beams: 108.07𝑘𝑘𝑘𝑘 𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 = = 4.66𝑘𝑘𝑘𝑘/𝑚𝑚 23.19𝑚𝑚 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿ℎ 𝑜𝑜𝑜𝑜 𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏 (𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎)

(Zones with frames, own illustration)

Distribution of snow load to beams: ZONE H: Roof Area: 238.25 𝑚𝑚 !

Beam Load Area: 238.25 𝑚𝑚 ! 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 = = 47.65𝑚𝑚 !

5 𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁 𝑜𝑜𝑜𝑜 𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏

Point Load: 𝐵𝐵𝐵𝐵𝐵𝐵𝐵𝐵 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 ∗ 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 = 47.65𝑚𝑚 ! ∗ 1.44𝑘𝑘𝑘𝑘/𝑚𝑚 ! = 68.62𝑘𝑘𝑘𝑘 Line Load on beams: 68.62𝑘𝑘𝑘𝑘 𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 = = 2.82𝑘𝑘𝑘𝑘/𝑚𝑚 24.3𝑚𝑚 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿ℎ 𝑜𝑜𝑜𝑜 𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏 (𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎𝑎)

141

WIND LOAD Wind pressure on external surfaces: (Table 5.1, Eurocode 1-1-4, pp. 24)

đ?&#x2018;¤đ?&#x2018;¤! = đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;! đ?&#x2018;?đ?&#x2018;? â&#x2C6;&#x2014; đ?&#x2018;?đ?&#x2018;?!"

we = Wind pressure on external surfaces qp(z) = Peak velocity pressure cpe = Pressure coefficient for external pressure

Peak Velocity Pressure: đ?&#x2018;Łđ?&#x2018;Ł! = đ?&#x2018;?đ?&#x2018;?!"# â&#x2C6;&#x2014; đ?&#x2018;?đ?&#x2018;?!"#!$% â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Ł!,!

(4.1, Eurocode 1-1-4, pp. 18)

vb = basic wind velocity cdir = directional factor cseason = season factor vb,0 = fundamental value of basic wind velocity Recommended values (Note 2 and 3, Eurocode 1-1-4, pp. 18): đ?&#x2018;?đ?&#x2018;?!"# = 1 đ?&#x2018;?đ?&#x2018;?!"#!$% = 1

(Figure 1, building heights, own illustration) h = 25 m b = 23 m 2b = 46 m 23 m < 25 m â&#x2030;¤ 46 m

(NS 3491-4:2002) đ?&#x2018;Łđ?&#x2018;Ł!,! = 30 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018;

đ?&#x2018;Łđ?&#x2018;Ł! = 30đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2014; 1 â&#x2C6;&#x2014; 1 = 30đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018;

(Figure 7.4, Eurocode 1-1-4, pp. 35) â&#x201E;&#x17D; â&#x2C6;&#x2019; đ?&#x2018;?đ?&#x2018;? = 25đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2019; 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 2đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Because the peak velocity pressure qp(h) will only be applied to 2 meters of the top of the walls (see grey area on figure 1) the difference will be so small, that it will not be taken into consideration. qp(b) = qp(z) will be applied to the walls.

142

đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;! đ?&#x2018;§đ?&#x2018;§ = 1 + 7 â&#x2C6;&#x2014; đ??źđ??ź! đ?&#x2018;§đ?&#x2018;§

â&#x2C6;&#x2014; 0.5 â&#x2C6;&#x2014; đ?&#x153;&#x152;đ?&#x153;&#x152; â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Ł! ! (đ?&#x2018;§đ?&#x2018;§)

qp(z) = Peak velocity pressure Iv(z) = Turbulence intensity đ?&#x153;&#x152;đ?&#x153;&#x152; = Air density = 1,25 kg/m3 vm2(z) = Mean wind velocity z = building height = 23 m

(4.8, Eurocode 1-1-4, pp. 22)

Turbulence intensity: ! đ??źđ??ź! đ?&#x2018;§đ?&#x2018;§ = ! = !! (!)

!!

!! ! â&#x2C6;&#x2014;!" (!/!! )

(4.7, Eurocode 1-1-4, pp. 22)

for đ?&#x2018;§đ?&#x2018;§!"# â&#x2030;¤ đ?&#x2018;§đ?&#x2018;§ â&#x2030;¤ đ?&#x2018;§đ?&#x2018;§!"#

0.05 < ÎŚ < 0.3 â&#x2021;&#x2019; đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ = 1 + 2 â&#x2C6;&#x2014; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2014; ÎŚ s = Orographic location factor

(A.2, Eurocode 1-1-4, pp. 96)

kI = Turbulence factor = 1 (Recommended value) c0(z) = Orography factor

(A.2, Eurocode 1-1-4, pp. 97)

(Tabel 4.1, Eurocode 1-1-4, pp. 20) đ?&#x2018; đ?&#x2018; = 0.25

Terrain category III Ă z0 = 0.3 m zmin = 5 m zmax = 200 m (4.5, Eurocode 1-1-4, pp. 20)

đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ = 1 + 2 â&#x2C6;&#x2014; 0.25 â&#x2C6;&#x2014; 0.07 = 1.035 đ??źđ??ź! đ?&#x2018;§đ?&#x2018;§ =

Orography factor: 10.63đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??ťđ??ť = = 0.07 ÎŚ= đ??żđ??ż! 151.26đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;!

1 = = 0.223 đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ â&#x2C6;&#x2014; ln (đ?&#x2018;§đ?&#x2018;§/đ?&#x2018;§đ?&#x2018;§! ) 1.035 â&#x2C6;&#x2014; ln 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; 0.3đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Mean wind velocity: đ?&#x2018;Łđ?&#x2018;Ł! đ?&#x2018;§đ?&#x2018;§ = đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ â&#x2C6;&#x2014; đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Ł! đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ = đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;! â&#x2C6;&#x2014; ln

(4.3, Eurocode 1-1-4, pp. 19)

!

(4.4, Eurocode 1-1-4, pp. 19)

!!

cr(z) = Roughness factor kr = terrain factor depending on roughness length đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;! = 0.19

!!

!!,!!

đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ = đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;! â&#x2C6;&#x2014; ln

(Figure A.1, Eurocode 1-1-4, pp. 95)

!.!"

= 0.19

!.!!

!.!"!

!.!"

= 0.215

(4.5, Eurocode 1-1-4, pp. 20)

đ?&#x2018;§đ?&#x2018;§ 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 0.215 â&#x2C6;&#x2014; ln = 0.93 đ?&#x2018;§đ?&#x2018;§!

0.3đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;Łđ?&#x2018;Ł! đ?&#x2018;§đ?&#x2018;§ = đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ â&#x2C6;&#x2014; đ?&#x2018;?đ?&#x2018;?! đ?&#x2018;§đ?&#x2018;§ â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Ł! = 0.93 â&#x2C6;&#x2014; 1.035 â&#x2C6;&#x2014; 30đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; = 28.88 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018;

143

Peak Velocity Pressure: đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;! đ?&#x2018;§đ?&#x2018;§ = 1 + 7 â&#x2C6;&#x2014; đ??źđ??ź! đ?&#x2018;§đ?&#x2018;§

â&#x2C6;&#x2014; 0.5 â&#x2C6;&#x2014; đ?&#x153;&#x152;đ?&#x153;&#x152; â&#x2C6;&#x2014; đ?&#x2018;Łđ?&#x2018;Ł! ! đ?&#x2018;§đ?&#x2018;§

= 1 + 7 â&#x2C6;&#x2014; 0.223 â&#x2C6;&#x2014; 0.5 â&#x2C6;&#x2014; 1.25đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! â&#x2C6;&#x2014; = đ?&#x;?đ?&#x;?. đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;đ?&#x;&#x2018;/đ?&#x2019;&#x17D;đ?&#x2019;&#x17D;

đ?&#x;?đ?&#x;?

28.88đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018; đ?&#x2018;

!

= 1335.01đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161; !

(Table 7.1, Eurocode 1-1-4, pp. 37)

External wind pressure on walls:

â&#x201E;&#x17D; 25đ?&#x2018;&#x161;đ?&#x2018;&#x161; = = 0.89 â&#x2030;&#x2C6; 1 đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 28đ?&#x2018;&#x161;đ?&#x2018;&#x161;

cpe,10 is recommended for overall loadbearing structures of buildings.

đ?&#x2018;¤đ?&#x2018;¤!,! = 1.335đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! â&#x2C6;&#x2014; (â&#x2C6;&#x2019;1.2) = â&#x2C6;&#x2019;1.602đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! đ?&#x2018;¤đ?&#x2018;¤!,! = 1.335đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! â&#x2C6;&#x2014; (â&#x2C6;&#x2019;0.8) = â&#x2C6;&#x2019;1.068đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! đ?&#x2018;¤đ?&#x2018;¤!,! = 1.335đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! â&#x2C6;&#x2014; (â&#x2C6;&#x2019;0.5) = â&#x2C6;&#x2019;0.668đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! đ?&#x2018;¤đ?&#x2018;¤!,! = 1.335đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! â&#x2C6;&#x2014; 0.8 = 1.068đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! đ?&#x2018;¤đ?&#x2018;¤!,! = 1.335đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; ! â&#x2C6;&#x2014; (â&#x2C6;&#x2019;0.5) = â&#x2C6;&#x2019;0.668đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; !

Only the pressure force we,D will be applied to the structure, as an area load on the wall because the church room is not standing as a separate building but is surrounded by other buildings, expect for the end wall D. The inner walls between the church room and the rest of the building will obtain the rest of the suction forces.

(Figure 7.5, Eurocode 1-1-4, pp. 36) đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = đ?&#x2018;?đ?&#x2018;? = 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; or 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; < 50đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2021;&#x2019; đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 28đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; < đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 28đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 2â&#x201E;&#x17D; = 2 â&#x2C6;&#x2014; 25đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 50đ?&#x2018;&#x161;đ?&#x2018;&#x161;

External wind pressure on roof:

đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = = 4.6đ?&#x2018;&#x161;đ?&#x2018;&#x161; 5 5 4 4 đ??ľđ??ľ = đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = â&#x2C6;&#x2014; 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 18.4đ?&#x2018;&#x161;đ?&#x2018;&#x161; 5 5 đ??śđ??ś = đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2019; đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = 28đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2019; 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 5đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??ˇđ??ˇ = 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??¸đ??¸ = 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??´đ??´ =

(Figure 7.7, Eurocode 1-1-4, pp. 41) đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; = đ?&#x2018;?đ?&#x2018;? = 23đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = = 5.75đ?&#x2018;&#x161;đ?&#x2018;&#x161; 4 4 đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; 23đ?&#x2018;&#x161;đ?&#x2018;&#x161; = = = 2.3đ?&#x2018;&#x161;đ?&#x2018;&#x161; 10 10

đ??šđ??š!"!!"#,!"#$! =

(Zones on walls with frames, own illustration)

144

đ??šđ??š!"!!"#,!"#$!

𝐺𝐺!"#$! = 23𝑚𝑚 − 2 ∗ 5.75𝑚𝑚 = 11.5𝑚𝑚 𝐺𝐺!"#$! = 2.3𝑚𝑚 𝐻𝐻!"#$! = 23𝑚𝑚 𝑒𝑒 𝑒𝑒 23𝑚𝑚 23𝑚𝑚 𝐻𝐻!"#$! = − = − = 11.5𝑚𝑚 − 2.3𝑚𝑚 = 9.2𝑚𝑚 2 10 2 10 𝐼𝐼!"#$! = 23𝑚𝑚 𝐼𝐼!"#$! = 28𝑚𝑚 − 11.5𝑚𝑚 = 16.5𝑚𝑚

𝛼𝛼!!" = 34.8° ≈ 45° 𝛼𝛼!!"# = 34.8° ≈ 45° 𝛼𝛼! = 34.8° ≈ 45° 𝛼𝛼! = 25.5° ≈ 30° 𝛼𝛼! = 25.5° ≈ 30° 𝑤𝑤!,!!" = 1.335𝑘𝑘𝑘𝑘/𝑚𝑚 ! ∗ (−1.5) = −2.003𝑘𝑘𝑘𝑘/𝑚𝑚 ! 𝑤𝑤!,!!"# = 1.335𝑘𝑘𝑘𝑘/𝑚𝑚 ! ∗ (−1.3) = −1.736𝑘𝑘𝑘𝑘/𝑚𝑚 ! 𝑤𝑤!,! = 1.335𝑘𝑘𝑘𝑘/𝑚𝑚 ! ∗ (−1.4) = −1.869𝑘𝑘𝑘𝑘/𝑚𝑚 ! 𝑤𝑤!,! = 1.335𝑘𝑘𝑘𝑘/𝑚𝑚 ! ∗ (−1) = −1.335𝑘𝑘𝑘𝑘/𝑚𝑚 ! 𝑤𝑤!,! = 1.335𝑘𝑘𝑘𝑘/𝑚𝑚 ! ∗ (−0.8) = −1.068𝑘𝑘𝑘𝑘/𝑚𝑚 !

The forces will be applied as line loads to the individual beams in each zone: 𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 = 𝐵𝐵𝐵𝐵𝐵𝐵𝐵𝐵 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁 𝑜𝑜𝑜𝑜 𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏𝑏

𝐵𝐵𝐵𝐵𝐵𝐵𝐵𝐵 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 ∗ 𝐴𝐴𝐴𝐴𝐴𝐴𝐴𝐴 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 = 𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿

𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 = 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿 𝐴𝐴𝑣𝑣𝑣𝑣𝑣𝑣𝑣𝑣𝑣𝑣𝑣𝑣 𝐵𝐵𝐵𝐵𝐵𝐵𝐵𝐵 𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿𝐿ℎ

(Zones on roof with frames, own illustration)

Fup Flow G H I

Srf. Area [m2] 31.22 31.22 62.43 238.25 337.73

Number of Beams 2 2 2 5 9

Beam Load Area [m2] 15.61 15.61 31.22 47.65 37.53

Area Load [kN/m2] - 2.003 - 1.736 - 1.869 - 1.335 - 1.068

Point Load [kN] - 31.27 - 27.10 - 58.35 - 63.61 - 40.08

Avr. Beam Length [m] 6.79 6.79 13.58 24.3 23.19

Line Load [kN/m] - 4.605 - 3.991 - 4.297 - 2.618 - 1.728

(Table 7.3b, Eurocode 1-1-4, pp. 42)

145

LOAD COMBINATIONS

LOAD COMBINATIONS

With dominating snow load: đ?&#x203A;žđ?&#x203A;ž!,! = 1.1 (Unfavourable) (Unfavourable) đ?&#x203A;žđ?&#x203A;ž!,! = 1.5 (Unfavourable) đ?&#x203A;žđ?&#x203A;ž!,! = 1.5 đ?&#x153;&#x2018;đ?&#x153;&#x2018;!,! = 0.3 (Other)

1.1 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;¤đ?&#x2018;¤đ?&#x2018;¤â&#x201E;&#x17D;đ?&#x2018;Ąđ?&#x2018;Ą + 1.5 â&#x2C6;&#x2014; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; + 1.5 â&#x2C6;&#x2014; 0.3 â&#x2C6;&#x2014; đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;

With dominating wind load: (Unfavourable) đ?&#x203A;žđ?&#x203A;ž!,! = 1.1 (Unfavourable) đ?&#x203A;žđ?&#x203A;ž!,! = 1.5 (Unfavourable) đ?&#x203A;žđ?&#x203A;ž!,! = 1.5 (In combination with dominating wind load) đ?&#x153;&#x2018;đ?&#x153;&#x2018;!,! = 0

1.1 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;¤đ?&#x2018;¤đ?&#x2018;¤â&#x201E;&#x17D;đ?&#x2018;Ąđ?&#x2018;Ą + 1.5 â&#x2C6;&#x2014; đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; + 1.5 â&#x2C6;&#x2014; 0 â&#x2C6;&#x2014; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;

SLS â&#x20AC;&#x201C; Serviceability Limit State: đ??şđ??ş!,!

(Table A1.2(A), Eurocode 0, pp. 51) LOAD đ??&#x2039;đ??&#x2039;đ?&#x;&#x17D;đ?&#x;&#x17D; đ??&#x2039;đ??&#x2039;đ?&#x;?đ?&#x;?

Snow Loads on buildings: In combination with dominating imposed load (E) 0.6 0.2 In combination with dominating wind load 0 0 Other 0.3 0.2 Wind Loads on buildings: In combination with dominating imposed load (E) 0.6 0.2 Other 0.3 0.2 (Table A.1.1 (section), Eurocode 0, pp. 38) ULS â&#x20AC;&#x201C; Ultimate Limit State: đ?&#x203A;žđ?&#x203A;ž!,! đ??şđ??ş!,!

!"#$%&"&' !"#$%

+

đ?&#x203A;žđ?&#x203A;ž!,! đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;!,!

!"#$%&'$%( !"#$"%&' !"#$

(6.10, Eurocode 0, pp. 44)

146

+

đ?&#x203A;žđ?&#x203A;ž!,! đ?&#x153;&#x2018;đ?&#x153;&#x2018;!,! đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;!,!

!"!!" !"#$"%&' !"#$%

0 0 0 0 0

đ??&#x2039;đ??&#x2039;đ?&#x;?đ?&#x;?

!"#$%&"&' !"#$%

+

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;!,!

!"#$%&'$%( !"#$"%&' !"#$

(6.14b, Eurocode 0, pp. 47)

+

đ?&#x153;&#x2018;đ?&#x153;&#x2018;!,! đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;!,!

!"!!" !"#$"%&' !"#$%

With dominating snow load: (Other) đ?&#x153;&#x2018;đ?&#x153;&#x2018;!,! = 0.3

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;¤đ?&#x2018;¤đ?&#x2018;¤â&#x201E;&#x17D;đ?&#x2018;Ąđ?&#x2018;Ą + đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; + 0.3 â&#x2C6;&#x2014; đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;

With dominating wind load: (In combination with dominating wind load) đ?&#x153;&#x2018;đ?&#x153;&#x2018;!,! = 0 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;¤đ?&#x2018;¤đ?&#x2018;¤â&#x201E;&#x17D;đ?&#x2018;Ąđ?&#x2018;Ą + đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; + 0 â&#x2C6;&#x2014; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;

APPENDIX 7 // JOINT INVESTIGATION FROM WORKSHOP 3

Ill. 7.16: Frame with hidden joints (Own picture)

Ill. 7.17: Two-part beam (Own picture)

Ill. 7.18: Frame with visible joints (Own picture)

Ill. 7.19: Frame with partly visible joints (Own picture)

Ill. 7.20: Hidden metal plate (Own picture)

Ill. 7.21: Hidden metal plate (Own picture)

147

APPENDIX 8 // FINAL ACOUSTICAL TEST

148

The acoustical test of the final design for the church room focus on the reverberation time of the room.

Ill. 7.22 shows which frequencies are relevant for the speech of the priest (90 Hz - 3000 Hz) and for the music of the organ (30 Hz - 16000 Hz).

Ill. 7.23 shows the optimal reverberation time for different functions.

Churches should be between 1.4 s and 2 s.

Ill. 7.24 show the analyzed reverberations times for the room with two receivers.

Ill. 7.22: Frequency ranges for different sources (http://www.dak.com/reviews/ImagesR/2024_FreqGraph.gif)

Ill. 7.23: Reverberation time for different functions (https://acousticalsolutions.com/wp-content/uploads/2015/04/reverb_time_chart_525.jpg)

RESULTS FOR RT60

The results are calculated as an average of the relevant frequencies and an average between the two receivers.

RT60

SOURCE: PRIEST

RECEIVER 1 (MIDDLE OF AUDIENCE)

1.64 s

SOURCE: ORGAN

RECEIVER 0 (FRONT OF AUDIENCE)

1.76 s

Ill.7.24 : Pachyderm results for T30 = RT60 (Own illustration)

149

APPENDIX 9 // DIMENSIONING WITH DIAGRAMS

TRIBUTARY AREA [m2]

COLUMN LENGTH [m] Ill. 7.25: Dimensioning of columns, b = 90 mm (Ahler, K., 2010, Dimensionering med diagrammer, Nyt Teknisk Forlag, Denmark) 150

TRIBUTARY AREA [m2]

COLUMN LENGTH [m] Ill. 7.26: Dimensioning of columns, b = 185 mm (Ahler,K., 2010, Dimensionering med diagrammer, Nyt Teknisk Forlag, Denmark)

TRIBUTARY AREA [m]

SPAN [m] Ill. 7.27: Dimensioning of beams, b = 90 mm (Ahler, K., 2010, Dimensionering med diagrammer, Nyt Teknisk Forlag, Denmark)

TRIBUTARY AREA [m]

SPAN [m] Ill. 7.28: Dimensioning of beams, b = 185 mm (Ahler, K., 2010, Dimensionering med diagrammer, Nyt Teknisk Forlag, Denmark) 151

APPENDIX 10 // ROOM PROGRAMME

Ill. 7.29: Room programme (Ålesund kirkelige fellesråd, 2008)

152

ROOM DETAILS Church Room - The heart of the church.

- The seats should be placed so that eye contact with other visitors is possible. o The seats should be on a flat floor (not amfi).

- One or more side altars are preferable.

- There should be enough room around the altar, preaching chair and such. And also room for choirs.

- Room for kneeling for communion.

- Good visual communication, both natural and artificial light.

- Enough space for the organ. o Also room for a piano.

Children’s Chapel - Should be sacral in the same way as the church room.

- Should allow children to be children without the sacral actions.

- The challenge is to make a chapel that children can relate to.

- Should have a short reverberation time.

Chapel - Is used for sacral actions when the church room is too big.

- Should have the right shape and such to make the experience of the room the same as in the church room.

Cloister Room - Should be placed adjoining to the church room and the chapel.

- A quiet room for children and meditation.

- Must make both individual and community actions possible.

- Should have room for kneeling and pre-prayer.

Entrance Hall - Much have a place for selling tickets to concerts.

- Toilets in direct connection.

Congregation Hall - Eating room or party room.

- Adjoining the kitchen.

- Should be next to the church room and possible to open up and join the church room for more space.

Church Hall - Salon and library.

- Acoustics for both speech and music.

- Should be placed so activities can happen in the adjoining rooms without disturbing the arrival or sound.

Kitchen - Storage room for food and equipment.

Administration and offices - Toilets and wardrobe.

- Tea-kitchen and dining room.

Storage - Should be placed strategically for the use.

- Could be split in more, one for the church room, one for the congregation room and so on.

Sacristy for Baptism - Should be shaped and decorated with the purpose in mind.

- Primarily for baptisms, but also for teaching and smaller meetings.

- Close to the church room. Maybe with a view to the church room through glass.

- Toilet in direct connection.

Meeting Room - A warm and sacral room for conversation.

Sacristy - Room for storage of the robes.

- Room for preparation before the sacral actions.

- Enough space for kneeling and a crucifix.

Ill. 7.30: Room details (Ålesund kirkelige fellesråd, 2008)

153

APPENDIX 11 // PARKING For the design of parkingspots Neufert 3. edition has been used to get the correct dimensions for both car parking and bicycle parking (Ill. 7.29-7.30).

For dimensioning of the handicap parking spots SBI standards are used (Ill. 7.31).

BICYCLE PARKING

The number of parking spots for bicycles are determined after the guidelines from “Cykelparkeringshåndbogen”. The calculations are based on educational institutions (Uddannelsesinstitutioner), cinemas and theater (Biografer og teatre) and offices and industry (Kontor og industri) (Ill. 7.32).

Educational: 0.4 × 20 = 8 Cinemas and theaters: 0.25 × 444 = 111 Offices: 0.4 × 8 = 3.2 Total: 122 Because of the geographical placement of the project site, it is unlikely that the majority will be biking. Therefore, 80 bicycle parking spaces is estimated to be sufficient – also taken into consideration that functions such as schools are located nearby.

Ill. 7.31: Dimensioning of car parking (Baiche, B. and Walliman, N., Neufert 3. edition, pp. 437)

Ill. 7.32: Dimensioning of bicycle parking (Baiche, B. and Walliman, N., Neufert 3. edition, pp. 218)

Ill. 7.33: Dimensioning of handicap parking spaces (http://www.sbi.dk/tilgaengelighed/tjeklister/parkeringspladser-for-personer-med-handicap) 154

Ill. 7.34: Number of parking spaces needed according to functions (Dansk Cykel Forbund, 2007, Cykelparkeringshåndbogen, pp. 41)