8. semester projekt - Hatlehol Church

HATLEHOL CHURCH Presentation Report MSc02 2018 Group 5

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AALBORG UNIVERSITY Architecture & Design Project title Project period Semester Project group

Tectonic Design - Structure and Construction Mar-May 2018 MSc02 ARC-T Group 5

Main supervisor Technical supervisor

Mogens Fiil Christensen Dario Parigi

PREFACE

Group members

Andreas Corfitz Jensen

Laura Burley

The project is a new church in Hatlehol, Norway. It basis is in providing an inclusive space for the local community which is reflective of the context it sits within. This has created a socially and functionally responsive building which emerges from the landscape, articulating the transition between built form and the surrounding nature. Tectonic expression has been central to the development and language of the design. This has been approached through the use of traditional materials to develop a new architectural approach. Combined with the use of room defining structural elements which create a particular gesture, this builds a narrative which is expressive of its own logic. Thus creating poetic integrity between form, structure and materials. The building takes on the role of facilitating a journey of gradual discovery from the secular to the sacred, a journey which is symbolic of revelation. Here, the project lies between the constraints of purely sacred and purely secular, in a society which is neither culturally or religiously homogeneous.

READING GUIDE Maria Møller Salling

This report is divided into two parts - the Presentation Report and the Process Report. The Presentation Report outlines the final project. This incorporates a detailed presentation of the final design; elements from the analysis; guiding principles and theories; the architectural concept and final technical considerations. Supporting the Presentation Report is the Process Report, which gives an overview of the thinking, testing, and making from the working process as well as a more detailed initial analysis focusing on site, context, and theme analysis.

Martin Bernhard Pedersen

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[ VISION ]

CONTENTS

The new Hatlehol church should be a versatile space which facilitates religious, cultural and social events, acting as a gathering place for the community. This is to be experienced as a journey from the secular to the sacred, following a sensory path of evolving impressions. Structural and acoustic properties should be central considerations for defining spaces and creating atmospheric conditions, contributing to the unity of a congregation or community. The surrounding nature should have an influence on the atmosphere and be incorporated throughout the design. Religious traditions should be reflected while connecting the new church to the vernacular and traditional Norwegian architecture.

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INITIAL PROBLEM With a focus on acoustics and tectonic qualities, how can a new church in the Hatlehol parish be a common gathering point for both religious, cultural and social activities?

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Nordic Architecture Tectonics in Architecture Atmosphere The Approach The Entrance The Flow Materials and Light

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2 / PRESENTATION Concept Hatlehol Church Masterplan Elevations Progression Floor plan Beginning of the Journey Chapel The Journey Sections Main Church Atmosphere In the landscape Materiality Urban qualities Structure Acoustics Details

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ANALYSIS & THEORY The following chapter contains analysis of themes and relevant theories which informed the design. This analysis gave a theoretical positioning to the project within its’ physical and ideological context.

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TECTONICS IN ARCHITECTURE

Norwegian stave churches date back to around 1200, when Christianity made its way to Norway following the conversion from the Norse mythology to Catholicism during their overseas travels. Stave church architecture is characterised by its’ traditional construction using a post and lintel system and expressive tectonic language and use of timber for both structure and cladding. The systematic approach to stave church building can be used as a principle for developing a structural system.

To achieve a poetic synthesis between structure and the resultant built form, the design has been developed through three central tectonic principles. These principles each refer to an overarching influence of understanding and evaluating how the structure is experienced as a space.

The homogeneity of materials is an aspect of traditional Norwegian architecture that has translated through to modern Nordic architecture. There has also been a continuity of the use of natural building materials, and the use of these to create a well detailed and refined complexity of the design and its’ expression (Miller, 2016).

Although Modern Nordic architecture is considered as contextually responsive, this is predominantly responsive to a setting where the building is situated in some level of isolation. The isolation can occur in both an urban environment such as the Oslo Opera House by Snøhetta (2007), and in a more natural setting such as Knarvik Church (2014), by Norwegian architect Reiulf Ramstad. This results in architectural forms which aim to create a synthesis between architecture and its’ surrounding landscape, which can be seen as the creation of somewhat sculptural elements. This ‘sculptural’ reading of Nordic architecture is perceived through a combination of both the homogeneity of materials, the referencing of natural forms, and the emergence of these from the often isolated landscapes they sit within. This can also be understood as a creation of their own context.

Ill. 1 / Stave church

Ill. 2 / Oslo Opera House

The initial principle is based in the use of a traditional material – timber, with a new architectural approach. This is an exploration into the transformation of preconceived notions of “forms that represent the Christian mind” (Bötticher, 1852). Development of a new type of geometry built from a traditional material is reflective of an evolving concept and therefore representation of the church. This exploration sits within the tension between the empirical and the rational (Beim, 2004), and attempts to create a harmony between the two to give a distinctive meaning to tectonic expression. Viability of the explorations has been explored through the use of digital technologies (namely Karamba and Robot) to investigate the potential of this structural system. This places the methodology somewhere between a contemporary and digital approach, with the intention of developing a structural system, which has the ability to create particular human experiences.

This idea of incorporating a particular human experience is closely associated with the creation of a gesture within the space, which establishes both room defining and atmospheric conditions. Through this, the structure should

Ill. 3 / Knarvik Church

convey the spatial intent of the room, adding a new and more human dimension to the space.

As the user moves up in the landscape through the building from the secular to the sacred, the framing elements guide you toward the most sacred space - the main church. Within this expansive space, the structure creates a sense of motion, and behaves as the final guiding element, directing you towards the peak of spirituality. The ambience created with the structural elements defining the room, calls forth our empathetic participation in the experience (Sekler, 1964). The structure then, through its’ gesture of motion, becomes a spatial form of communication linking the architectural idea to the individual experience of the visitor (Hvejsel, 2018).

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NORDIC ARCHITECTURE

Finally, this artistic expression of motion should have equal weight with representation of forces operating on the form. This representation can be understood through the placement of secondary structural elements, which respond to the external form, creating a cohesive language between form and structure. The secondary elements add another dimension to the room, demonstrating “the concept of structure and space that in its purely structural state cannot be perceived” (Bötticher, 1852).

As the arrangement of structural elements are located in response to forces, the construction becomes a “narrative expressing its’ own logic,” here the user is then afforded the possibility of conceiving the logic of the construction (BechDanielsen, et al., 2012).

TRADITIONAL

CONTEMPORARY

materials

architectural approach TECTONIC

expression of logic

narrative

GESTURE

STRUCTURAL PRINCIPLES

Ill. 4

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Exactly what defines atmosphere can be difficult to determine as it is often a combination of architectural dimensions entirely inexplicable in words as they operate in proportions, materials and light (Libeskind, 2009). Peter Zumthor describes the term in relation to the quality of architecture, as something understood by human perception. We perceive the atmosphere in a space through emotional response and sensibility. Zumthor describes generation of atmosphere as the ‘magic of the real’ where this magic is a result of humans interaction with objects.

Architectural spaces have a certain empathy which could be thought of as similar to bodily mass, as it is able to touch the occupant. One of the most influential elements on the atmosphere within a space is materiality. As different materials are combined, they react with one another and depending on the composition, this reaction can give the materials a radiant quality. Here the ability of the materials to reflect and absorb light is important. Atmosphere in a space is also defined by sound, changing your perception of relativity and scale, which can be perceived in both physical and psychological ways.

Architecture is a spatial and temporal art involving movement, as a response the design must include elements which prompt movement.

Within the spaces, atmosphere is also defined by the level of intimacy. This can be described by the proximity between the human body and the building. In the main church this should be considered to avoid a misrepresentation of human scale, maintaining a level of intimacy and tactility.

Atmospheric conditions are also central in ‘In praise of shadows’ by Japanese author Jun’ichiro Tanizaki. Throughout the book, the pace is slow, where every moment is considered. The movement through space is curated in particular ways to create desired spatial sensations through materiality, lighting, and placement of objects.

intimacy (Tanizaki, 1977). Atmosphere in a room can be created purely by variation in shadows, heavy shadows against light shadows, with each shadow taking on a tinge peculiarly their own. In corners of darkness, one senses a feeling the atmosphere in this darkness reigns complete and utter silence, with the presence of an immutable tranquility (Tanizaki, 1977).

These spaces, this mood, is one that can be associated with the sacred, giving a feeling there is something more. The church should acknowledge the dark, as well as light, rather than only “sunnily pushing up toward the light” (Bevan, 2011).

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ATMOSPHERE

Light is vital in the creation of a particular atmosphere that is often associated with church spaces. Light in Tanizaki’s view, is more subtle, and cannot be expressed without contrast and shadow. Spaces where one can sit in the dim light and bask in the faint glow of the surrounds, evokes a sense of tranquility and calm. Materials that gently envelop the light can produce this sensation, creating surfaces upon which the faint, frail light can play (Tanizaki, 1977).

Design of the sacred spaces within the church are to emanate a heightened sense of place, and of one’s self. The idea of transporting the visitor into a contemplative and reflective a state of mind, closer to the presence of invisible realms (Napier, 2016) should be considered throughout the design process. A successful design can provide a sense of being enfolded in a space which is reflective of and connects one to the larger context (Napier, 2016). The church is to be structurally and symbolically strong, emblematic of a unity between sacredness and geometry (Hariri, 2017). Sacred space in a contemporary context must feel intimate, and inclusive. Increasingly ambiguous relationships between sacrality and space (Brie, Daggers and Torevell, 2010), reflect a shifting context in which religion is now defined, on this blurred boundary between secular and sacred.

Dreams and emotions can be experienced through the changing of light, with thoughts evoked by contrast. This idea sees the importance of creating not only light spaces, but also dimmer, more intimate and quiet spaces, giving an environment for one’s thoughts to develop and to be able to listen with a sense of

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Tectonic Design - Structure and Construction 11 Ill. 5 / St. Henry’s Chapel

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THE ENTRANCE

The experience of the church begins when entering the site, therefore the initial arrival gesture, is very important to the whole experience. The arrival experience should be integral with the landscape, creating a journey to the building entry. Through this approach the building should emerge from the landscape, revealing the entrance while immersing the visitor within the site.

An entrance is something which causes one to distinguish between here and there by entering through a threshold. Ideally entrances can be grouped into three categories: flush, projected and recessed (Ching, 1979). The form of the entrance can either be similar or a contrast to the space entered depending on whether the entrance should reflect the interior. Placement of the entrance also differs whether it is centered or off-centered. The placement often relates to the activities within the space it is arriving at.

The arrival experience can be categorised under three approaches which are frontal, oblique and spiral (Ching, 1979.) The approach is not how one arrives at the building but how you arrive to the entrance of the building. It is an arrival experience/journey from first arrival to the site to reaching the entrance. This journey can be designed in various ways depending how the building should be staged.

In a frontal approach it is immediately clear to the visitor where you enter. You are guided directly to the entrance as the destination is visible along the whole path. This approach can be experienced as 2 dimensional since one will only be exposed to the faรงade perpendicular to the path.

Ill. 6 / Frontal approach

Ill. 7 / Oblique approach

The oblique approach gives visibility to the entrance but does not make it a focus point.

By approaching the entrance at an angle, one gains a clearer impression or understanding of the building size as it is experienced more in perspective. With this approach one also reaches the building before the entrance and an impression of the facade can be understood in terms of tactility.

With the spiral approach, it is possible to experience the whole building before reaching the entrance. The entrance is not necessarily visible at first but can reveal itself sometime along the path. This approach can be used to design and enforce a particular sensation which the visitors should have before entering the building.

1 / Grundtvigs church, 1940 The main entrance to the church is centered on the faรงade of the building which enforces the symmetry. The entrance is slightly recessed into the building, with a one-step platform defining the area in front of the entrance. The centrality is also reflected in the interior through a long aisle with a clear view through the nave. The curved forms in the entrance also reflect the great arches forming the interior.

2 / Chapel of Reconciliation, 2000 The entrance to the chapel is placed off centre on the oval shape. It is recessed into the building but has a slightly projected frame, and the change in material, enhances the entrance and provides shelter while people are entering.

The squared shape of the entrance also creates a contrast to the oval shaped building, making it more distinct.

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THE APPROACH

Ill. 9 / Grundtvigs Church

Ill. 10 / Chapel of Reconciliation

3 / Karsamaki Church, 2004 The opening leading to the entrance is located on the corner of the building which makes it visible on more than one faรงade. The opening acts as a large recess in the building, creating shelter, even though it still appears open due to the lack of walls.

Ill. 8 / Spiral approach

4 / Shonan Christ Church, 2014 The entrance is centrally placed, but due to the curved roof it is hard to recognize. The entrance is flush to the faรงade, but a large overhang emphasizes the entry area. The square shape of the entrance and the change in material is also creating a distinction of where to enter.

Ill. 11 / Karsamaki Church

Ill. 12 / Shonan Christ Church

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THE FLOW Studies of flow and function within the church, are to establish an understanding of the ways in which people move throughout the space; connections and relationships between functions; and the transition from public to sacred spaces.

Borgund Stave Church

Qichun Church

Norway Borgund Stave Church Borgund Stave Church Norway 1200 Norway 1200Church Borgund Stave

China Qichun Church Qichun Church China 2011 China 2011 Church Qichun

1200

Norway Ill. 13 / Borgund Stave Church, Norway, 1180 Stave Church 1200

Knarvik Kirke Knarvik Kirke Norway Norway Knarvik Kirke 2014 2014Ill. 15 / Knarvik Church, Norway, 2014 Norway

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Kirke

2011 Ill. 14China / Qichun Church, China, 2011

Qichun2011 Church China 2011

Flow through the building can be considered as a journey of discovery, beginning in the secular world, transcending toward the sacred. Functions can clearly be categorised between public, administrative and religious. These categories can also be understood as falling under sacred, secular, or a combination, introducing more permeable boundaries between the two ideas.

In creating a space for the community that is representative of place and its’ people, the building must be all inclusive, and afford the visitor the opportunity to individually determine their path on this journey of gradual revelation. The church is to be considered as a series of spaces which gradually intensify and converge at the nave, as an embodiment of the sacred. With this, the site itself, becomes a kind of inner sanctum (Alexander, Ishikawa and Silverstein, 1977).

Stanbrook Abbey Stanbrook Abbey United Kingdom United Kingdom Stanbrook Abbey 2015 2015 Ill. 16 / Stanbrook Abbey, United Kingdom, 2015 United Kingdom

2014

Knarvik Kirke Entry Norway 2014

Plan studies of various churches reveal a number of arrangement options regarding different elements to be incorporated into the church. The church entry, is generally located in the centre at the back of the church, in line with the aisle. In the case studies this is through an air-lock, an arrival hall, a corridor, and a winding ramp. This approach to the main chapel, should be part of the journey through the building. Also indicated in the plans is the location of the altar in relation to the administrative functions and the building entry.

2015

Entry Entry

Administravtive Stanbrook Abbey Altar Administrative Functions Administrative functions Functions Altar

Unprogrammed spaces such as circulation, are representative of a building’s essence, through its connectivity (Derix and Izaki, 2014). Circulation spaces affect the users perception of the spaces that unfold along these paths of movement (Derix and Izaki, 2014), defining a journey and suggesting which path to follow. These spaces which will connect different elements of the church can behave as a transition zone for atmospheric conditions (Self, 2014) and filtration of light and shadow. This sequence of movement creates differing degrees of intimacy (Alexander, Ishikawa and Silverstein, 1977) which respond to the function of adjacent spaces. Beginning with the most public and secular functions, the church will follow a journey toward the most intimate, sacred spaces.

Altar

United Kingdom

Entry

Administrative Functions 2015

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Altar

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One’s experience of the church is dependant on the atmosphere perceived in the space.

Materials and light are sensorial qualities which are emitted by a space to create a particular atmosphere. This precedent study will focus on how materials and light affect atmosphere.

When two different materials are arranged in a composition, they react to each other and this reaction causes the materials to change radiance, giving a new expression in the room.

Performance of the materials does not only depend on this reaction but also on the reaction it will have with the building site. Performance of materials is therefore endless, and in one material only there are thousands of possibilities when changing the tactility and composition of the material it is found in (Zumthor, 2006).

Materials also change and evolve over time, resulting in evolving reactions as these changes occur. In the case of timber, as the grain grows more subtle with age, it acquires an inexplicable power to calm and soothe (Tanizaki, 1977).

In the arrangement of two different materials, there is a critical proximity between them, which depends on their properties. When combining materials, there is a particular point where the properties are too different from one another, resulting in no reaction. There is also a point where the properties are too close to one another, which will minimise the qualities including depth and richness in the materials. In the process of creating atmosphere, it is important to consider the presence and weight of materials (Zumthor, 2006).

The physical appearance of a material depends on the relationship between light and shadow, and its ability to absorb and reflects the light.

From the beginning of the design process, there must be a focus on light, especially daylight which has the ability to create a unique atmosphere in the room (Zumthor, 2006).The creation of a building that can embody and then come alive with light (Hariri, 2017) through the use of light and darkness and the creation of shadows, finds a responsive fragility, resulting in a transformative power in the created atmosphere.

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MATERIALS & LIGHT Enghøj church, Randers, Denmark, Henning Larsen, 1994 The walls and floor are built in white concrete and the roof structure is timber. These two materials create a reaction which is enhanced by the light entering from the opening around the roof boundary. The light creates a floating roof effect and enhances the warmth and tactility in the timber in contrast to the shadowed walls which appear colder. In the front of the church room by the altar is an opening to a narrow and over-lit space. The composition of materials and light create a spiritual atmosphere with a compelling light at the altar and a sacred light from above bathing the four sides in the room in light.

Roser Chapel, Barcelona, Spain, Erithacus Architects, 2015 The two materials, light grey concrete and timber are in this case almost too close together to react to each other, meaning every surface is expressed as almost equally lit, having the same performance. As in the previous case, there was a desire for sacred light from above, bathing the walls in light from above the altar position. The cast of the concrete walls have given a certain tactility which is enhanced by the light from above.

Ill. 17 / Enghøj church, Randers, 1994

Ill. 18 / Roser Chapel, Barcelona, 2015

Ill. 19 / Church of light, Osaka, 1989

Ill. 20 / St. Henry’s Chapel, Helsinki, 2005

Church of light, Osaka, Japan, Tadao Ando, 1989 The material used in the church is grey concrete.

The position and design of the opening and the material results in a contrast between light and shadow in the room which creates a sacred but also a gloomy atmosphere in the chapel.

Ando focuses on how the light creates shadows and the light is only visible if it is contrasted by shadow.

St. Henry’s Chapel, Helsinki, Finland , Sanaksenaho Architects, 2005 The timber material used in the interior is pine and light is entering in the front part of the nave through an opening between the walls and the gable. The reaction between light and the material creates a contrasting play of light and shadow. The light enhances the warmth of the timber, creating a warm atmosphere in the chapel.

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PRESENTATION The following chapter presents the final design, with an explanation of the concept as a starting point. This section connects the theoretical basis with the final design through development of the concept.

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CLUSTERS OF FUNCTIONS

CONCEPT Emerging from a forested site, the complex materialises as a landscape of roofs. This manifestation allows you to experience the built forms and their subtle relationship with nature (Louisiana Channel, 2017), as they become an extension of the landscape.

The surrounding mountainous nature is referenced through the angular folding forms, following Nordic tendencies to spatially embed architecture within its’ site and context. This embedding creates a dialogue between the untouched nature and its built components.

Central to the process and conceptual thinking was a questioning of religion and how it should operate within the Hatlehol Church.

Within Scandinavia church membership is high, however this appears to be rooted in both tradition and the idea of community above Christian faith. Rituals marking important passages in life are still very much intertwined with the church but have little to do with their religious meaning (Steinfels, 2009), and are more about tradition and ceremony. This adherence to tradition over religion forces one to question the representation of a church within a modern society.

A fundamental religious consciousness often provides a sense of meaning and order to life, however religion can now be defined on much broader and more individual terms. Societal development has led to new ways of thinking about religion and defining it on a more personal level. This enables individuals to define their own version of religion and curate how they experience and interact with this idea.

POINTS OF REFERENCE

THE JOURNEY

ARTICULATION OF ROOF FORMS

URBAN SPACES

Ill. 21 / Concept diagram

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MAIN CHURCH

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CONCEPT Remaining within the context of a traditional church, the new Hatlehol church aspires to sit between the constraints of purely sacred and purely secular. A blurring of this boundary with the inclusion of both sacred and secular or profane spaces, responds to current traditions, as well as an evolving concept of religion and the church. This permeable boundary establishes a dialogue which facilitates this question of representation of a church, creating a place for gradual and individual discovery.

Journey of Discovery

SECULAR

Definition of a sacred community is shifting, where these sacred communities are now taking on secular patterns and commitments in an attempt to redefine the context of the church (Ostwalt, 2012). This interconnectedness is represented within the building to create a series of inclusive spaces which can be shared by all who live in a society that is neither culturally or religiously homogeneous. This connects the building to the wider community, maintaining that aspect of tradition and not just religious but also importantly, cultural significance to the complex.

Curation of Individual Experience

PUBLIC

BUILDING ENTRY

The building then takes on the role of facilitating a journey of discovery from the secular to the sacred, a journey which is symbolic of revelation. The enactment of a ritual procedure is synonymous with religion. In this proposal, the ritual is one of discovery, an atmospheric sensory journey which allows for beliefs to emerge through spiritual contemplation. It facilitates the curation of an individual experience, one which responds to this shift toward defining religion on a more personal level. Here the power of religion does not diminish, but the focus shifts, the journey takes on a subversive quality. Through the journey one enters a liminal space which can take on the role of facilitating a transformative experience akin to religious experiences such as enlightenment and revelation (Sullivan, 2015). Through this journey of discovery and its’ series of unfolding forms, the visitor is given the opportunity to curate their own version of religion, and individually define what that experience should be.

SACRED

PRIVATE

Direction of Contemplation

NATURE

SKY Ill. 22 / Concept diagram

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HATLEHOL CHURCH As you arrive at the church from the South, only small glimpses of the building are visible. These glimpses are indicative of the most spiritual spaces within the complex, creating both a hierarchy and signifying points of orientation. As you move from the carpark toward the building you begin the journey, moving through the landscape toward a secular beginning. Each step closer reveals a little more, as the building slowly emerges from the landscape.

EXTERIOR RENDER

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AA BB

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Ill. 25 / Approach to Hatlehol Church

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MASTERPLAN

N 1:750 Ill. 24 / Masterplan

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The building is oriented toward the cemetery, with the main church located at the Northernmost point of the site. This point also acts as a node, creating a strong and visible identity for the complex. Positioning of the elements has resulted in a complex that gradually ramps up from the secular beginning toward the sacred end - the main church. An axis through the entry hall, the church entry, and the main church, creates a hierarchy and visible sight lines.

There is a separate access - both vehicular and pedestrian for the church administration wing, catering to employees of the church.

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Ill. 26 / Elevation Northeast 1:500

Ill. 28 / Elevation Southwest 1:500

Ill. 27 / Elevation Southeast 1:500

Ill. 29 / Elevation Northwest 1:500

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PROGRESSION Entering the Entry Wing, one is immediately in the most public and community focused space in the complex. The reception desk and cloak room is a point of departure, and direction, giving the visitor the opportunity to either begin the journey or proceed straight to the main church through the church square. The secular chapel takes on some characteristics of the church hall, functioning as a space not connected to religion, but providing a quiet, warm place for contemplation and thinking. This inclusion of a neutral space that is open everyday is intended to cater to the wider community.

Proceeding along the journey toward the Education Wing, the visitor remains in an area of the church which is constantly humming, an area which is active day to day, one which the community feels a part of. As you leave the journey and enter the secondary path, the walls become an active element, providing areas for sitting and rest, so as to treat the edge as a “place,” inviting people to stop and engage (Alexander, Ishikawa and Silverstein, 1977). This also leads toward the framed portal looking into the nature. The children’s chapel is the spiritual point here, using the structure as an interactive element, the children become immersed in the tectonic expression of the building, providing a level of engagement and sparking curiosity. Both the Chapel and the classrooms open up toward secondary courtyards, one less programmed for play, and one with a small amphitheatre for learning in the nature.

Moving again up in the landscape toward the Community Wing, the congregation hall and chapel offer a place for functions and interaction at a community level, albeit a more sacred community. Here the pace begins to feel slower as you again move again through the landscape toward the church entrance.

N

Ill. 31 / Ground floor 1:500

As you approach the Main Church, you are directed through the church entry, a space for gathering and meeting, a small moment of pause before entering the main church. This room is darker, with only glimpses of light, the shadow providing tranquility. Cloisters face away from the main access path, directed toward the Nordic Zen gardens, giving people a private space to gather their thoughts before finally reaching the main chapel, the most sacred space.

ENTRY Entrance hall Reception Cloak room Public toilets Church hall Secular chapel

EDUCATION Workshop Music room Activity room Classrooms Children’s chapel Public toilets

COMMUNITY Congregation hall Kitchen Chapel Sacristy Cloak room Public toilets

ADMINISTRATION Offices Staff toilets Laundry Storage Meeting room Dining area

MAIN CHURCH Cloister Church entrace Main church Mazzanine Sacristy Sacristy Baptism

Ill. 30

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BEGINNING OF THE JOURNEY After entering the church complex, one is given the choice to either continue straight ahead crossing the church square to enter the main church, or to take the interior passage which leads past the different functions along the journey. Walking down the corridor one finds themselves surrounded by the wild forest to the left and the more programmed church square to the right.

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CHAPEL The chapel is a place for contemplation for individuals, or smaller and more intimate services. The light enters through the construction from above, intentionally directing the view toward nothing except for the treetops and sky to maintain the level of calm and inner peace.

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THE JOURNEY The entrance hall before entering the main church encloses as one gets closer to the main church, creating smaller niches towards the Nordic Zen-gardens for contemplation before or after services. The entrance hall also works logistically for dispersing people either toward the church square, or back through the interior journey.

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THE JOURNEY The building sequentially unfolds around a sensory journey of discovery which meanders between the landscape of roofs forming the outer edges of the complex. The journey is one of personal discovery and contemplation from the secular to the sacred.

Arrangement of the elements which unfold from this sensory journey can be understood as a series of de-centralised networks, as theorised through Paul’s Baran diagram of networked communication systems (Steenson 2017, p.53).

Functions have been clustered and access pulled away from the main path of travel.

Clusters begin from the entry with the most secular and public function. This relates to and is inclusive of the wider community, acting as a space for gathering and interaction. As one moves through the journey there is a shift toward a more sacred, and personal understanding.

The journey can be understood through human perception, encouraging of contemplation and the creation of an individual experience. As one begins the journey there is a strong and fluid connection with the outdoors, offering a contrast between the wild nature to the South in comparison with the programmed more urban nature of the Church Square to the North. As the journey progresses, the battens become denser, changing the levels of light, and shifting the focus from the outdoors to a more internal experience, giving space for thoughts to develop.

Ill. 35 / Distance between battens is 120mm

Ill. 38 / The journey with lift ups to reveal surrounding nature

Ill. 36 / Distance between battens is 80mm

Openings along the way are signifiers of a spiritual point along the journey, leading toward the peak beyond. These openings were created by a lifting up of the veil of battens, allowing the light to glide softly along the walls, guiding you around each corner. Depicted as a series of frames, the journey moves ahead toward a direction of possibilities and experiences, placing the occupant in a liminal space, where they are able to curate their own version of spirituality.

Ill. 39 / Sidepaths in the journey

Ill. 37 / Distance between battens is 40mm

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Ill. 40 / Section AA 1:500

Ill. 41 / Section BB 1:500

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Ill. 42 / Section CC 1:500

Ill. 43 / Section DD 1:500

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2 / Presentation

2 / Presentation

MAIN CHURCH Entering the main church, creates a sharp contrast from the room one just entered from, being very dark and enclosed to very bright and spacious. As the aisle runs toward the altar the roof gradually folds upwards creating an impression of greatness.

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Tectonic Design - Structure Ill. 44 and / Interior Construction render

43

2 / Presentation

2 / Presentation

ATMOSPHERE Atmospheric ambience in the main church is informed by the spatial properties of the structure; acoustic cohesion during mass; and the warmth and tactility of the timber. Looking outward from the main church the windows dissolve the border between outside and inside, allowing people to connect with nature while attending mass.

44

Tectonic Ill. 45 / Interior Design render - Structure and Construction

Tectonic Design - Structure and Construction

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2 / Presentation

2 / Presentation

46

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Tectonic Design - Structure Ill. 46and / Exterior Construction render

47

EXTERIOR

2 / Presentation

2 / Presentation

INTERIOR Ill. 47 / Materials

MATERIALITY The material used for the structural system is spruce as it is a lighter material than pine or cedar. The exterior cladding is also spruce which has been treated with linoil to assist with enduring the harsh Norwegian weather.

With time this will patinate into a cooler, greyer colour, more alike to the surrounding mountains.

The exterior cladding at the base of the church rooms, is wider to express the distinction of

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Ill. 48 / Isometric view of urban spaces

URBAN QUALITIES where the secondary structure meets the primary structure. The battens throughout the journey are also spruce, but have a lighter colour of treatment to ensure a distinction between the journey and the clusters. The scale of these elements also gives a tactile quality and warmth, bringing the journey to a more human scale.

Ambient external areas of the complex have been designed to either fit a purpose in relation to the function within or stay untouched as wild forest. A small path connecting the cemetery to the church square can be understood as a meditation path which meanders slowly through the forest with areas for seating and quiet moments. The approach from the carpark takes on a similar language, bringing the visitor from a dense enclosed forest, into the more open urban space leading you toward the building.

The journey is centred around a ‘church square’ which is a larger semi-programmed space for people to migrate into following services. It also

creates a picturesque setting for photographs of important rituals such as weddings and confirmations. To the outer edges of the complex are smaller landscape elements - an amphitheatre and a grass play and seating area tucked in beside the children’s chapel. Sitting either side of the church entry hall are two Nordic Zen-gardens, offering a different scale and level of intimacy in comparison to other landscape spaces. Both Zen-gardens can be viewed from the cloister niches of the church entrance hall as either a moment of contemplation or to take shelter from the weather.

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2 / Presentation

2 / Presentation

25m

STRUCTURE Each room has the same concept of a structural frame with a secondary structure which creates a 3-Dimensional reading of the frame.

The secondary structure is used differently in each room to achieve the desired structural capabilities, while behaving as a room defining element.

The frames in the main church span 24 meters and the highest point is 25 meters. The structure is emphasising a more divine sensation as it gradually increases in height. The main focus was to create a structure which did not require support from columns, with the aim of keeping an open and clear view through the space. In conjunction, the structure was to be not too dense or too deep to allow the maximum amount of light through.

34,5m 24m

12m Ill. 49 / Chapel interior

In the chapel the secondary structural elements are crossing each other reaching toward the other roof surface with a total span of 12 meters.

This structure is also creating an open plan without having the structure in line of sight, but creating a secondary layer of expression to the roof form. The secondary structure is creating a subtle movement along the wall leading toward the altar. This is also referenced through the expression of external materials.

12m

The structure in the children’s chapel has a more playful character, where a mezzanine is located within the secondary structure. This secondary structure is meeting the ground which creates different and more interactive spaces for children to inhabit. The total span of the frames is 8,5 metres.

11m

8,5m

Ill. 50 / Main church interior

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Tectonic Design - Structure and Construction

15m

13m

Ill. 51 / Structure in sacred parts

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2 / Presentation

2 / Presentation

Ill. 52 Structure in Main church

Main frame 800x300mm

Primary frame 600x300mm

The main frame carries the heaviest loads. These elements are only supported by a secondary element from one side, meaning it also has the longest span. A diagonal beam is connecting

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Tectonic Design - Structure and Construction

the secondary structure, the force for bending moment in the joints are reduced to 467,67 kN from 978,55 kN in the worst case

Ill. 53 / Without secondary frame

Ill. 54 / With secondary frame

The structural system is fixed with internal metal plates which are only visible where the columns meet the ground. The fixed joints between the

members reduces their effective length, making them more rigid and reducing the chance of the elements buckling due to axial pressure.

Ill. 55 / Joint between structure and floor

Ill. 56 / Joint between structural elements

Secondary frame 400x300mm

STRUCTURAL SYSTEM The structural system in the main church consists of 3 different elements which combined define the space for the main church room. The use of a structural principle to achieve a particular gesture is a tectonic approach that was used throughout the process. To achieve this, calculations of a parametric grasshopper model have been used to ensure a viable structural system which aligns with the intended vision.

Elements in the structural system also creates a hierarchy of representation in relation to the amount of load the different elements obtain, and each element has been dimensioned to achieve the highest average utilisation ratio possible.

The diagrams show the total bending moment for both cases where the secondary structure is present and one where it is not. The frame is tested with the same loads in robot and due to

the main frames to each other which also gives stability to the structural system.

The primary frame is split in two by the diagonal main frame which it is fixed to. It reads as one continuous frame which spans across the whole room and is supported from both sides by the secondary structure. The desired distance between elements and the depth of the primary frame was investigated in relation to windows, and how the weight and density of the structure was perceived in the room.

The secondary frame was primarily dimensioned to avoid buckling when certain elements became too slender. The secondary frame is intended to decrease the long spans of the main and primary frame while also creating stability in the opposite direction of the diagonal main frame.

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25

m 5m 2

2,00 2,00

Acoustics are important for the spatial experience in the main church and have been an important parameter for consideration through the design.

Acoustic simulations have been produced for the main church, where the smaller chapels have been inspired from the main church in regards to the choice of materials and spatiality.

Time, seconds Time, seconds

2 / Presentation

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2 / Presentation

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Analysis has been made in the plugin for Rhino - Pachyderm Acoustics. Reverberation time, Clarity and Sound pressure level are the focus from the analysis to investigate the acoustic performance in the main church. The purpose of the analysis was to experiment with the form of the main church as well as choice of material, to understand the acoustic implications of various alterations. The process report contains early acoustic experiments which have influenced the final design. To the right are the results of the final design of the church.

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Walls, ceilings and the visible construction is timber. Between the structure there is timber panelling with black painted gypsum on the backside. This was selected to ensure the reverberation time in the church does not get too high. The paneling contributes to the spread of the sound, but also to the absorption of the sound. In addition, the analysis has also focused on Early decay time to ensure that everyone in the church gets approximately the same experience of the 1st reflection of sound.

9

Time, seconds Time, seconds

The choice of materials in the main church have been selected based on their acoustic properties. Timber is used as the primary material, as itis a hard material and thus beneficial for spreading the sound. This promotes the reverberation time, which should preferably be high, as it is beneficial to organ music and singing. However, the reverberation time can also be too high, so the understanding of the minister’s sermon becomes obscured. An aim for the reverberation time is set between 1.5 to 2 seconds. In this project, it is envisaged that an integrated sound system will ensure good clarity for the sound of general sermon.

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Different Different positions positions inin the the nave nave 1

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Ill. 59 / Wall-roof detail 1:20

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ROOF: OUT-IN 1. 50x100mm timber battens 2. 25x50mm horizontal timber battens 3. 25x50mm vertical timber battens 4. 15mm wind barrier 5. 45mm insulation 45x45mm timber battens 6. 245mm insulation 100x245mm construction 7. 120mm insulation 50x120mm timber battens 8. Vapour barrier 9. 45mm insulation 45x45mm timber battens 10. 15mm plywood 11. 25mm timber battens 12. 300x600mm primary construction WALL: OUT-IN 1. 50x100mm timber battens 2. 25x50mm horizontal timber battens 3. 25x50mm vertical timber battens 4. 15mm wind barrier 5. 45mm insulation 45x45mm timber battens 6. 245mm insulation 100x245mm construction 7. Vapour barrier 8. 45mm insulation 45x45mm timber battens 9. 15mm plywood 10. 25mm timber battens 11. 300x600mm primary construction

FOUNDATION: UP-DOWN 1. 245X50mm timber plate 2. Metal anchoring 3. 245x10mm timber plate 4. 200x330mm foundation element 5. 200x330mm foundation element 6. 200x330mm foundation element 7. 150x330mm concrete foundation GROUND DECK: UP-DOWN 1. Stone tiles 2. 200mm concrete 3. 150mm polystyrene 4. 150mm polystyrene 5. Sand

Ill. 58 / Detail facade 1:100

Ill. 60 / Wall-foundation detail 1:20

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57

HATLEHOL CHURCH Process Report MSc02 2018 Group 5

0 / Preliminary

0 / Preliminary

AALBORG UNIVERSITY Architecture & Design Project title Project period Semester Project group

Tectonic Design - Structure and Construction Mar-May 2018 MSc02 ARC-T Group 5

Main supervisor Technical supervisor

Mogens Fiil Christensen Dario Parigi

Group members

ABSTRACT Andreas Corfitz Jensen

Located in Hatlehol, Norway, the design is for a new church to accommodate the members of this growing Parish. With a focus on tectonic design, the approach was to create poetic synthesis between form, structure, materials and details. Through the use of parametric modelling tools, there is possibility to generate a number of design proposals and iterations. Explorations into these various proposals have been tested through both structural and acoustic analyses. Analysis of Nordic architecture, both traditional and modern, has provided an understanding of the cultural and physical context this project sits within, giving a basis for the design.

Laura Burley

READING GUIDE Maria Møller Salling

This report is divided into two parts - the Presentation Report and the Process Report. The Presentation Report outlines the final project. This incorporates a detailed presentation of the final design; elements from the analysis; guiding principles and theories; the architectural concept and final technical considerations. Supporting the Presentation Report is the Process Report, which gives an overview of the thinking, testing, and making from the working process as well as a more detailed initial analysis focusing on site, context, and theme analysis.

Martin Bernhard Pedersen

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0 / Preliminary

0 / Preliminary

CONTENTS 1 / METHOD Integrated Design Other methods

5 / DESIGN PROCESS 8 9

2 / SITE ANALYSIS

PREFACE Through the analysis phase it was important to analyse and gain an understanding of the many themes which were identified as relevant, to form a basis for creating the new Hatlehol church.

Theme analysis provided a more concise direction for the site analysis, as there was a better understanding of the context, history, and concept of religion. This directed an in depth site analysis as a response to Nordic architecture’s strong emphasis on contextual and site specific design.

Throughout the process, consideration of the structure and how this is experienced was central to the design approach. This was explored through materials, acoustics, structural analysis, and examination of atmospheric conditions created by both form and structure. Simultaneously, there was investigations into the expression of structure, the harmony this creates with the form, the resulting architectural language, and each of these in relation to our positioning within the realm of Nordic architecture.

History of Ă…lesund Competition program Vegetation Infrastructure Amenities Morphology Surrounding context Sun analysis Temperature Sun hours Wind analysis Precipitation Rain days Noise analysis Image of the City Access to site

12 14 16 17 18 19 20 22 23 23 24 25 25 26 28 30

3 / THEME ANALYSIS Religion in Norway Traditional architecture Modern architecture Materiality Biophilic design Acoustic principles Structural principles

35 36 37 38 39 40 42

Sketch page Plan explorations The Journey Sketch page Form studies Structure Main church Chapel Structural iterations Acoustic iterations Final form Landscape

54 56 62 68 70 72 74 76 78 80 84 86

6 / CONCLUSION Conclusion Reflection Literature Illustrations

90 91 92 95

7 / APPENDIX Access to site Load calculation Structural meetings Joints Karamba iterations Movement in the structure Light studies Form studies Facade iterations Acoustic iterations

100 102 106 107 108 109 110 111 112 113

4 / DESIGN BASIS Function diagram Room program Design criterias Vision and initial problem Design Approach

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46 47 48 49 50

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5

METHOD The following chapter describes application of the integrated design process as the main method throughout the project. It will also outline additional methods used in conjunction with integrated design throughout each of the phases.

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7

1 / Method

1 / Method

INTEGRATED DESIGN

OTHER METHODS

The pedagogical approach Problem Based Learning at Aalborg University is based on a predefined problem, which works as the centre of rotation through the design process.

The approach is based on the Integrated Design method, which can be described as an iterative process divided into five phases. The intention of the method is to create a cohesive solution where technical considerations from the engineering field are combined and equally weighted in an integrated solution, with formal and aesthetic elements of the architectural field (Knudstrup, 2005).

The method is divided into five phases: problem, analysis, sketching, synthesis and presentation. These tend to overlap and often follow a non-linear order, where each phase can be revisited numerous times throughout the process (Knudstrup, 2005). The first step in the process is to identify a problem, which is further explored through the analysis phase to gain a deeper understanding and determine possible

Problem/Idea

Analyse phase

In each of the five phases in the Integrated Design Process, additional methods are used to gain a better understanding of a specific subject. Phenomenological analysis is used in the analysis phase to understand the site and its surroundings.

The main part of the design process occurs in the sketching phase, where the design is developed using both analog and digital design tools. Through the sketching phase, it can be necessary to return to the analysis phase if relevant additional aspects are to be investigated. Results from the analysis phase should translate into a concept in the sketching phase which will be developed and adapted into a cohesive solution through the synthesis phase. In the final phase, the design proposal will be presented.

Mapping by James Corner In “The Agency of Mapping”, landscape architect James Corner defines the use of mapping to understand a place. In his definition of mapping he distinguishes between tracing and mapping, where he defines tracing as a direct version of reality and mapping as analysis with a particular subject in mind. Mapping gives the designer an opportunity to focus on and present a particular subject which is considered engaging (Corner, 1999 p. 214). Subjects of interest could include functions or amenities in the area, local infrastructure, typologies and vegetation in the surroundings (Cullen, 1971).

Sketching phase

Ill. 61 / Integrated Design Process diagram

8

opportunities. The analysis phase addresses site conditions, religion, and theme analysis on architectural acoustics, tectonics and structure.

This phase results in a room program, function diagram, design criteria and a project vision, which create a basis for the sketching phase.

Tectonic Design - Structure and Construction

Synthesis phase

Presentation

Image of the city by Kevin Lynch Urban planner Kevin Lynch describes in “Image of the City” how the town and its architecture can be used as an orientation system. The analysis examines how the area is organised but also focuses on how the area fits into the surrounding context. Lynch examines both movement patterns, and nodes of where people meet or interact. This is to gain an understanding of how people observe, perceive and move through a given area. This method focuses on paths, landmarks, nodes, districts and edges, within the context in which the site is placed (Lynch, 1960).

Experimentation Through rapid prototyping and experimentation, it is possible to quickly evaluate design proposals against each other. This provides a clearer direction and can be used as a method of communication within the group to ensure development of the design is moving toward the same vision. Through experimentation it is

also possible to generate new interpretations of structural systems previously examined, assisting in the conceptualisation of innovative approaches.

Analogue Design Tools A number of different analogue design tools have been used as a way of developing ideas and designs in the sketching phase.

Hand drawings and model making have been used to gain a deeper understanding of form, structure, representation, expression, flow, and spatial qualities. The model making method was explored throughout the process, but mostly in both workshop 1 which focused on the relation between acoustic and structural form; and workshop 2 which focused on principles and detailing of timber construction. Hand drawing was used throughout all processes as a means of communicating and developing ideas, as well as quickly understanding the architectural expression, and scale of various proposals.

Digital Design Tools As a way of modelling in the sketching phase, digital design tools such as Rhino, Grasshopper, AutoCAD and Revit, have been used to give a visualisation of spatiality and volume, allowing for a better understanding of scale and expression of form. This was explored as a starting and generative point in workshop 1, and the proposals were then able to be tested acoustically and structurally through Pachyderm and Karamba. These tools, in conjunction with Robot, assist in verification and development of technical aspects of the project throughout the design process. Simulations of exploratory designs incorporates a component of pragmatism, and gives an understanding of how different parameters affect simulation results. This is enabled through the use of parametric design tools.

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SITE ANALYSIS The following chapter introduces the area the site is situated within, its’ history and the people living in this area. The program from a previous architectural competition has been examined to ensure the requirements from the parish are met.

A series of analyses of the site and its’ surrounding context have been performed to achieve a better understanding of climate conditions, orientation, surrounding infrastructure and amenities, topography and access to the site.

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11

2 / Site analysis

2 / Site analysis

NORWAY

Ålesund Municipality

HISTORY OF ÅLESUND The project site is situated within the Hatlehol parish in Blindheim, a suburb of Ålesund. Ålesund is located in the Møre og Romsdal region on the Northwest coast of Norway. Ålesund is characterised by a remarkable nature consisting of numerous small islands and peninsulas divided by branching fjords.

Hatlehol Parish Ålesund

Spjelkavik

Blindheim

Flisnes

Located on the Norwegian Sea, prosperous fishing banks and great harbours generated a growth of economy in the town, making it the capital of Norway’s fishing industry. It was this growing economy that made it possible to rebuild the town after a devastating fire in 1904 that destroyed 850 houses. The reconstruction of the town was inspired by Art Nouveau which is especially evident along the shoreline (Ålesund Municipality, 2018).

The Hatlehol parish was originally part of the Spjelkavik parish. Resulting from an increasing population and expansion of the parish, there was a need to split and create a new parish

(Competition document, 2008). There are 8000 members in the new parish, which exceeds the capacity that surrounding churches are able to accommodate. This sees the requirement for a new church in Hatlehol. Located in the centre of the parish, the church will play an important role in bringing the community together forming a common gathering place for religious, cultural and social activities.

Population Located within the Møre og Romsdal region which has a population of 266,858, Ålesund is the largest city. The current population is 47,511 persons (Statistik sentralbyrå, 2018), and this figure is steadily increasing at a rate of 1.2% per year (Brinkhoff, 2018). 88.9% of the population are Norwegian, indicating there is only a minor presence of cultural diversity. Ålesund has a young population with the largest age bracket being 20-29 years. The area is popular for families with children to relocate to when settling down.

Hatlehol Church

Ill. 62 / Site location in Norway

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2 / Site analysis

In 2008 Ålesund municipality announced an architectural competition for a new church in the Hatlehol parish. To ensure the requirements from the parish were met, the competition program was published. The jury’s interpretation of the perfect church within the Hatlehol parish was included with this publication along with program requirements. (Competition document, 2008)

Hatlehol church must be a common gathering place in the community which facilitates both religious, cultural and social activities. It has the opportunity to give identity to the parish, creating a new landmark building, which is symbolic of its role as a gathering place for the community. Its identity is imperative as the building can play an important role in significant life events. The church must provide opportunity for individuals and community members to feel they can communicate confidentially with their priest, each other, and God. (Competition document, 2008)

The church must appear as a sacred place while also reflecting on the people and the area it is situated within. Architectural expression of the design must reflect this modern period in which it is built, but must also represent traditional values.

Sacred spaces within the church must have an architectural language which communicates the sacred nature of the place.

The journey when approaching the church, and entering both the church building and the chapel, must evoke a sense of ‘something more’ while being momentous. In the composition of the church complex it is important the church tower is in a prominent position. (Competition document, 2008)

Hatlehol’s new church is to create a visual landmark in the area. The design must wholistically reflect on and integrate the characteristics of the surrounding landscape, which is dominated by pine trees, hilly terrain, small creeks and uncovered rocks.

Both large, open views toward the landscape along with more intimate views that give a sense of orientation are preferable within the church facilities. (Competition document, 2008)

To ensure everyday functionality in the church, it must be possible to use rooms for different purposes without disturbing other parts of the church. Programmed outdoor areas and church access must be protected from both Western wind and high noise levels from the North. Design of the new church must focus on sustainability through the choice of construction techniques, building materials, maintenance, economic and environmental operations. There must be wheelchair accessibility, and address the requirement for vehicles in ceremonies. (Competition document, 2008)

2 / Site analysis

COMPETITION PROGRAM

1. Common gathering place

2. Religious, cultural and social activities

3. Important role in life’s events

4. Symbol: meeting between individual and god

5. Symbol: meeting between community and god

6. Sacred place

7. Reflect on community

8. Modern and traditional architecture

9. Amphitheatre

10. Visual landmark

11. Landscape characteristics

12. Views towards the landscape

13. Outdoor areas

14. Function must not disturb each other

15. Sustainability

16. Good accessibility

Ill. 63 / Elements from the competition program

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2 / Site analysis

2 / Site analysis

N 1:4000

N Ill. 64 / Vegetation diagram

VEGETATION Vegetation and natural elements have proven to play an important role in human’s perception of spaces. Vegetation is a vital component of the ecosystem, releasing fresh oxygen while removing carbon dioxide through photosynthesis. Vegetation on the site is primarily dominated by a dense forest of pine trees. There is also a variety of other smaller trees, shrubs

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1:4000

Ill. 65 / Infrastructure diagram Main road

Minor roads

Parking

Bus stop

Path

INFRASTRUCTURE and plants growing in and around the pine.

The area also has small open meadows spread throughout the dense forest. In contrast to the naturally grown forest is the adjacent cemetery with evenly distributed gardens at each grave.

This space is more open, manicured and orderly.

Infrastructure surrounding the site is primarily minor roads and walking paths. The main road, bordering the Northern edge of the site connects the area to surrounding cities. A minor unnamed road connects this main road to the site.

An additional proposed road is located connecting the South West corner of the site to Ramsvikvegen.

There is a bus stop on the main road, also connecting the site to surrounding cities.

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2 / Site analysis

2 / Site analysis

N

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1:4000

Ill. 66 / Function diagram Bed & Breakfast

Car shop

Hatlehol Church

School

Residential development

Hatlehol cemetery

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Ill. 67 / Morphology diagram

Blindheim stadium

AMENITIES Buildings surrounding the site are primarily residential. There are however a few local amenities, including a school and stadium, as well as football fields. These amenities provide life to the area throughout the daytime even though they are not directly connected to the site.

1:4000

MORPHOLOGY Local businesses include a new car dealership located on the opposite site of the main road, and a Bed and Breakfast adjacent the school.

The project site is dominated by forest with only one building for storage of cemetery maintenance items. Low density detached houses are located Southeast and Northwest of the site. The most distinctive buildings in the area are the school and the car dealership which both have very different expressions and scales from the residential buildings.

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2 / Site analysis

Analysis of the surrounding context highlights the dominance of forested areas. It also give a sense of scale to the site, when comparing it to nearby residential areas or clusters of other amenities such as the school and stadium.

Site sections highlight the change in level across the site, which is gradual but significant. This is something to be considered as part of the design process, to be able to integrate the building with the landscape, responding to its’ existing condition.

Existing trees on the site create a clear edge, separating the site from the road. This edge condition is to be examined, to determine the building’s location. A level of protection from the road should be maintained. As you arrive to the site, the scale of the road and the approach shifts, this transition zone and slow reveal should be addressed in response to the desired approach.

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SURROUNDING CONTEXT

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Hatlehol Cemetery

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Hatlehol Cemetery

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Isometric view of the surrounding context Project site A-A

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Temperature - Average temperature Ă…lesund per month

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Ill. 70 / Temperature

70 80 18:58 W

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TEMPERATURE Average temperatures per month in Hatlehol are steady throughout the year. The average minimum temperature does not exceed 5 degrees from October to May. During the summer months, when people are more likely to stay outside, the average maximum temperature does not exceed 15 degrees.

Min. temperature

15 12

Sun hours - Average sun hours Ă…lesund per month Max temperature

15:02

10:05 12

N

200 hours

S

150 hours

1:2000

Ill. 69 / Sun analysis

Summer

Equinox

Winter

100 hours 50 hours 0 hours

Jan

Feb

Mar

Apr

May

Average sun hours per month

SUN ANALYSIS The above illustration shows the path of the sun during a year. On the summer solstice the sun rises at 3:37 and sets again 23:37. The angle of the sun is highest at 13:30 and reaches a 50 degree angle. On the equinox the sun rises at 6:40 and sets at 20:37, reaching a maximum angle of 33 degrees. On winter solstice the sun rises at 10:05 and sets at 15:02 and the angle

22

Tectonic Design - Structure and Construction

Jun

Jul

Aug

Sep

Oct

Nov

Dec

Ill. 71 / Sun hours

SUN HOURS never gets higher than 5 degrees. This is to be taken into consideration when placing the building on the site and working with the levels to maximise exposure toward the South of both built form and courtyard spaces, given the limited number of sun hours.

The above graph shows the average number of sun hours for each month during a year.

This reveals that although the sun is providing daylight on the winter solstice, it is rarely visible due to cloudy conditions. Direct sunlight is important for passive solar heating.

Tectonic Design - Structure and Construction

23

N

300 mm

30

0 33

2 / Site analysis

2 / Site analysis

Precipitation - Average rain/snowfall Ålesund per month

20%

150 mm

15%

30

60

0

0 mm

10%

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Average rain/snowfall per month

Oct

Nov

Dec

Ill. 73 / Precipitation

5%

PRECIPITATION V

Ø

The graph shows both the amount and when the area has the most precipitation. It shows the majority of precipitation falls during autumn and winter.

12

0

0

24

Rainy days - Average rainy/snowy days in Ålesund per month

30 days

0

21

0

15

N

S

23 days

1:2000

Ill. 72 / Wind analysis

> 11.0 m/s

5.0 - 11.0 m/s

0.2 - 5.0 m/s

15 days 8 days 0 mm

Jan

Feb

Mar

Apr

May

Average rainy/snowy days per month

24

WIND ANALYSIS

RAIN DAYS

The wind directions are predominantly offshore winds from the East and onshore winds from the West, with the dominant gusts generally coming from the Western onshore winds. Wind speed should be considered while designing outdoor spaces. As the site is located within a forest, it is naturally more sheltered from the wind.

This graph indicates on average how many days of rain or snow there are each month. In relation to the precipitation graph one can see the precipitation is not focused on single days with heavy rain or snow, but the weather conditions are slight rain and snow most days.

Tectonic Design - Structure and Construction

Jun

Jul

Aug

Sep

Oct

Nov

Dec

Ill. 74 / Rainy days

It also indicates the average number of days per month with precipitation is highest during autumn and winter.

Tectonic Design - Structure and Construction

25

2 / Site analysis

2 / Site analysis

N 1:4000

Ill. 75 / Noise analysis

75-70 dB

70-65 dB

65-60 dB

60-55 dB

55-50 dB

NOISE ANALYSIS The diagram shows the main source of noise pollution is coming from the main road. The decibel quickly drops as you move away due to dense vegetation on the site. This is not considered a problem as the building should be located some distance away from the main road, keeping the existing vegetation along the edge of the site.

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Tectonic Design - Structure and Construction

Ill. 99

Tectonic Design - Structure Ill. and 76 / Construction Ă…lesund City

27

2 / Site analysis

To gain a better understanding of the broader context, Kevin Lynch’s “Image of the City” has been used to analyse paths, nodes, landmarks, edges and districts in the area (Lynch, 1960).

Paths Paths refer to people’s movement patterns in the surrounding context. Paths connecting and providing access to the site and adjacent areas have different characteristics and scales (Lynch, 1960). Three types of paths with distinctive characteristics surround the area. To the North of the site is the main road through the area - RV60, which connects Haltehol with neighbouring districts. This is the busiest path with heavy traffic volume commuting through the area. Secondary roads intersecting with RV60 have significantly less traffic, as seen with the road beginning on the Western edge, then enclosing the site. The smallest paths in the area are predominantly pedestrian.These run through the cemetery, making it possible to enter the site from any direction by foot.

N 1:4000

Ill. 77 / Image of the City Path

Edges

Districts

Nodes

Landmarks

Nodes Nodes are intersections where paths and people converge, and where they might encounter one another (Lynch, 1960). The most important node in relation to the site is the intersection from RV60 between Blindheim Stadium and the site. This is the only path which is accessible by car. Another significant node is the connection between the paths from the cemetery and the parking lot. Encounters occurring at this node are delicate given the emotional nature of visiting the cemetery.

2 / Site analysis

IMAGE OF THE CITY from another. These edges are characterised as a difficult barrier to cross (Lynch, 1960). A natural barrier inside the area is the small creek running through the cemetery. Small bridges are crossing the creek defining where people must go to get across. Another edge in the area is the parking lot, even though it is easy to cross, it creates a barrier between the cemetery and the building site. This is to be investigated as an edge which could be dissolved, creating a stronger and more fluid connection between the site and cemetery. The main road RV60 is also creating an edge between the North and the Southern part of the area. The highly trafficked road and dense planting in the ditch makes it difficult to cross the road in many places, separating the site from the road.

Districts Districts can be understood as greater areas consisting of different functions which characterise the area. They can also be described as neighbourhoods within the city where the character differs from the surroundings (Lynch, 1960). The wider area is primarily dominated by pine forest, with nonforested areas of different functions located within this. The district which is most influential to the site is the cemetery as it creates a significant contrast to the dense pine forest and has a very specific atmosphere with associated connotations and characteristics. Other districts in the nearby context are the residential areas and the school which have characteristics of a more built suburban environment.

Landmarks Landmarks in this context are to be understood as guiding points or driving forces in the area (Lynch, 1960). The main driving force in the area is the school located South-East of the site which has a natural flow of people during the day and is a widely recognisable guiding point. Another landmark is Blindheim Stadium and football fields which also serve as a driving force to many people in the area.

Edges The edges in the townscape can be understood as barriers in the context, bounding one area

28

Tectonic Design - Structure and Construction

Tectonic Design - Structure and Construction

29

2 / Site analysis

1

2 / Site analysis

ACCESS TO SITE 2 8

3

7

4 6

5

9

The only site access by car is from the main road RV60 to the North of the site. Arriving from Northwest (direction of Alesund) Blindheim Stadium is located to the right, and soon after the unnamed road to the site appears. The road branches into 2 minor roads, one turning away towards the stadium and the other continuing into the forest. Gradually the road narrows and the ditch in front of the trees turns into a pedestrian path. Density and height of the forest within the site appears similar to on the main road, but the intimacy changes due to the reduced width of the road and reduction in pace. Continuing to the parking lot, this narrow road defines the initial part of the approach to the site.

Arriving from the East along the main road RV60, one passes along the cemetery but it is mostly obstructed by dense vegetation allowing only small glimpses. After passing the cemetery there is a small road into the site which access is blocked for cars, allowing only lighter traffic to pass.

10

11

N 12

1:4000

Ill. 78 / Access to Site Walk through New traffic plan Outlines for the building site

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Tectonic Design - Structure and Construction

South of the site there is no possibility to access the site by car, but it is possible to park at the school and take the pedestrian path through the forest into the cemetery. The residential neighbourhood Myrland to the South of the site is also connected with paths through the forest to both the cemetery and the school.

A new road system is going to be established by the Southeast boundary of the cemetery meeting with Ramsvikvegen. It will make it possible to arrive to the church from the South, where a significant number of residential dwellings are located, without needing to use the main road. The road system will also create a natural barrier around the church site and the cemetery, presenting it as one area. (Ă…lesund municipality, 2012) Towards the North, Puskholevegen is to be expanded into a two way street with a footpath and a two-lane bikeroad. New underpasses along the RV60 and Puskholevegen, as well as new footpaths and bicycle lanes on the Northern side of RV60 are part of an initiative to ensure safer conditions for the softer traffic along the main road. The development plan also provide a basis for increasing the use of public transportation with the addition of a new bus stop right by the new Hatlehol Church. This can be included as a consideration when determining the number of carparks on the site, as there will not be such a need for private transportation. (Ă…lesund municipality, 2012) See appendix 1 for supporting information.

New traffic plan A local development plan for the area presents a focus on traffic safety and environmental conditions on road RV60 to the North of the site.

The main purpose is to redevelop the existing traffic lights and generally favour facilities for pedestrians, bicycles and public transportation on this thoroughfare road.

The plan presents a conversion of the intersection between the project site and the sport facility to the North into a roundabout and to make central reserves along the road. This should enhance the traffic safety when moving from the RV60 to the site but also from the site to the main road.

The arrival to the site must be the sideroad from the roundabout along the West boundary of the site. (Ă…lesund municipality, 2012)

Tectonic Design - Structure and Construction

31

THEME ANALYSIS The following chapter analyses a series of themes which form a design basis and general understanding of ideas related to the program.

Themes include religion, traditional and modern architecture, materiality and atmosphere, biophilic design, acoustic and tectonic/structural principles.

32

Tectonic Design - Structure and Construction

Tectonic Design - Structure and Construction

33

3 / Theme analysis

The Church of Norway is an Evangelical Lutheran denomination of Protestant Christianity. 71.5% of Norway’s population are members of the church. Representation within Møre og Romsdal is slightly higher, with 80% membership (214 116 persons) (Statistik sentralbyrå, 2017). Within Norway local representation and administration of the church is “deeply intertwined with that of the municipality” (Casanova, Wyller and van den Breemer, 2013), this is particularly evident at a local level.

In Møre og Romsdal there is a high level of church participation, exceeding the number of registered members. Participation in church services on both Sundays and holidays accounts for 79% of total church participation. These figures are indicative of two things – non-church members are attending church, which could suggest the traditions of church attendance are not so deeply rooted in religion but perhaps more in tradition or community. This idea has been examined throughout Scandinavia where this “cultural religion” that is present has “everything to do with holidays, songs, stories and food but little to do with God” (Zuckerman, 2010). This is not to say there is no religion, but perhaps one that is evolving and in the process of being redefined. Secondly, there is little church attendance outside of the ‘traditional’ worship times. This illustrates a focus on typical ‘church’ activities and perhaps a conventional determination to retain that idea. Here, there is an opportunity to determine new functions and introduce more permeable boundaries between the sacred and the secular (Ostwalt, 2012), inclusive of all members of society.

(Sullivan, 2015). Visitors to a museum are able to experience transformative experiences, ones which are comparable to those that religion claim to offer – revelation, enlightenment, spiritual elevation (Sullivan, 2015), all while “extolling moral uplift” (Fargo, 2015). These practices have opportunity to be experienced through a broader range of spaces and forms, which can redefine the context of the church (Ostwalt, 2012). Through the 19th century, museums were founded as places for ethical and social improvement. This concept aligns with moral values apparent in Christian faith, which can assist in defining religion in much broader terms, expanding our understanding of the sacred, placing emphasis on these permeable sacred– secular boundaries. Where church communities are often taking on secular characteristics, the expectation of what a community looks like is shifting. In terms of the church, this provides an opportunity to introduce new meaning and functions where elements of it could behave as “precisely a neutral spaces” which can be shared by all who live in a society that is neither culturally or religiously homogeneous (Casanova, Wyller and van den Breemer, 2013).

3 / Theme analysis

RELIGION IN NORWAY

Currently there is an emergence of a new kind of Christianity, one which follows many ethics of the secular world (Stokel-Walker, 2017). Focus is seen as shifting toward the more charitable and moral side of religion, including a sense of community, and away from the bible. Religion can now be expressed with invigorated vitality, outside the constraints of the institutional church (Ostwalt, 2012). This could occur through allusion to alternative secular cultural forms such as literature, film or art, but also the modern museum, which can be considered as “analogous to a temple, albeit a secular temple”

34

Tectonic Design - Structure and Construction Ill. 79 / Hatlehol

Tectonic Design - Structure and Construction

35

3 / Theme analysis

Norwegian stave churches were predominantly built around 1200, when Christianity made its way to Norway and was in practice until 1800.

Vikings that had been converted to Catholicism during their travels brought this new religion back to Norway. There are only 28 stave churches still intact. It is believed that there were once 10002000, most of which did not survive. In 1851, a law for the capacity of stave churches was altered, so they must be able to accommodate at least three tenths of the parish population. At this time many of them could not accommodate this and were therefore reconstructed or demolished. (Vagabond, 2017) The oldest remaining stave churches were built on previous church remains found at archaeological sites. In Old Nordic religion, a holy place was a term for a fenced sanctuary where the area was considered holy and ritual activities took place. Stave churches bear the mark of Nordic viking architecture. It is believed that the stave churches are a continuation of the earliest viking churches built of timber, where ornamental art is used both internally and externally. This use of ornamentation references the vikings, but with more Christian motifs, as the stave churches that are left today were likely built during the time when Christianity was in practice. Ornamentation often depicts animals such as dragons, snake-shaped animals, and worms. What these elements reference or symbolise is not explicitly known, but is often interpreted as Christianity’s struggle against paganism. There are still many unknowns in Norwegian stave church architecture, but their references back to the viking era’s faith and religion form an image of a detachment from Nordic mythology. (Jensen, 2012) Stave church architecture is characterised by its’ traditional construction and explicit representation where tectonics are expressed in its’ most traditional sense. The churches were constructed according to one of the most comprehensive and technologically advanced types of wooden structures that existed in Northern Europe in the Middle Ages. The structure is made up predominantly of wood, using the post and lintel architectural technique.

This technique consists of placing heavy

36

Tectonic Design - Structure and Construction

MODERN ARCHITECTURE horizontal elements on vertical supports at significant intervals. The earliest stave churches were built directly on the ground, meaning they rotted, and therefore they began to use stone as support for the construction. Internal spaces are lined with boards and the roof is clad with shingles in accordance with construction techniques common in Scandinavian countries.

These techniques are closely related to other medieval wooden structures, namely the post and palisade churches, but both are often regarded as correct stave churches.

This is because the construction of the stave churches was originally built on top of already built palisades. There are two main types of Norwegian stave churches that can be identified as type A, single ship’s church or type B, church with raised roofs. Stave churches express themselves in wood and with spatial structures of Romanesque stone architecture, characterized by the use of cylindrical columns with cubic capitals and semi-circular arches.

(Ingebretsen’s Nordic Marketplace 2018)

Ill. 80 / Stave Church

Ill. 81 / Stave Church

Norway is famous for their vast natural environment and picturesque scenery, as well as the changing and wild climate. Stave churches are often referred to as Norwegian trademarks which reference old viking mythology. Today, the capital Oslo is one of the fastest growing cities in Europe, where major projects are transforming the city into a modern metropolis. Like the stave churches, modern nordic architecture still use natural materials that create reference to the wild nature. An initial study into two prominent ‘Modern Nordic’ projects is used as a method of identifying characteristics of regional traditions, and determining a position within the context of Nordic architecture. Oslo Opera House (2007), designed by Norwegian architects Snøhetta has become a landmark for Oslo, and is recognised worldwide as a unique architectural work creating a spectacular monument. The form and materiality references a vast glacier shooting up from the water reaching land. Materials such as granite combined with Carrara marble create a sparkling expression which refers to the icecovered fjords during winter. During winter when the fjords are frozen, the ice reflects against the Opera, and here the Opera appears to merge into the ice-cold environment. Inside, timber is used to give the building a warm expression while creating contrast to shades found in the Norwegian landscape. (Archdaily, 2008) Knarvik Church (2014), designed by Norwegian architect Reiulf Ramstad, is a significant modern Nordic architectural work. Inspired

by Norwegian stave churches, this church is located at the top of the town of Knarvik, where it acts as a landmark for the city’s citizens. Adapted into the existing hillside, the church is constructed of predominantly timber.

Again, reference to the Norwegian nature is created by a conscious use of natural and local materials. Design of the church draws reference to traditional stave churches, though with a more modern expression. Stave churches indicate their function through the design, as does the Knarvik Church. Divided into two levels there is a rectangular plan which forms a separation between “holy space” and the more administrative functions. The church can accommodate 500 people. (Archdaily, 2014)

3 / Theme analysis

TRADITIONAL ARCHITECTURE

Ill. 82 / Oslo Opera House

Ill. 83 / Oslo Opera House

Ill. 84 / Knarvik Church

Ill. 85 / Knarvik Church

Tectonic Design - Structure and Construction

37

3 / Theme analysis

BIOPHILIC DESIGN

Timber is designated as the primary building material in the assignment brief for Hatlehol’s new church. In Norway the forestry industry is an important economic resource providing numerous jobs and income from export. Norway has a vast amount of forested area, with the highest concentration to the East and in the centre (Government.no. 2001). The primary tree species of economic value are spruce, pine and birch (Government.no. 2014).

With a growth in urbanisation, it is human responsibility to preserve the surrounding nature. This sees a relevance for ‘Biophilic Design’ to evaluate, discuss and use as a design parameter. Biophilic is a theory based on various analysis and theories which prove and describe how elements of nature contribute positively to humans’ well-being. Biophilic can reduce stress, while enhancing creativity and clarity in thought (Terrapin, 2014). Theorists and researchers have found 14 patterns of Biophilic.

These patterns describe the relationship between design of the built environment, nature and human biology.

Norway has a great interest in maintaining and increasing the amount of forested area, with policies to ensure the industry facilitates sustainable management of forest resources.

Today almost all timber comes from renewable forests which are replanted soon after harvesting, ensuring the rate of harvest does not exceed the rate of regrowth. Habitats of wildlife, recreational areas and storage of carbon (Government.no.

2014) within the forest must also be managed.

There is currently an increase in forested area by 25 million cubic meters of timber per year.

Outside the city forests, fields, mountains, lakes, and other natural elements all create a different definition of geometry than a building. Closer to the site, surrounding buildings that form the city have created a strong relationship to the area. In the immediate context surrounding the building, the nature, vernacular and religion creates different characteristics. Within the building, spatial qualities and materials impact and affect people’s senses and experience.

Each of these levels of representation and interpretation can form different spatialities with varying levels of contrast between density and open spaces, occuring in a forest for example. Biophilic research has proved these spatial qualities found in nature has a biological attraction from people which lies in human genetics. The same applies to certain natural elements, such as timber, rock, and running water. By incorporating these elements into the architecture, it is possible to strive for something that all people in one way or another can have a genetic attraction to. Biophilic design is an important design criteria for Hatlehol Church, as it is located within a picturesque setting. This creates ample opportunity to incorporate the existing context into the design.

Timber felled in Norwegian forests is used in the building, pulp and paper industries.

Timber facilitates long-term storage of carbon and requires only a small amount of energy to be produced. In the building industry it will become possible to replace non-renewable and larger carbon footprint materials with timber (Government.no. 2017).

Moelven (Norway), is one of the largest timber companies in Europe, and is an important supplier of materials for the building industry (Government.no. 2001). They produce both construction timber and glulam from spruce and pine (C24, C30, GL30c). When designing larger spans in a timber construction, glulam is a favourable alternative to concrete and steel as it has great strength and stiffness in relation to its weight giving more freedom to architectural design. Maintenance required for glulam is minimal and it can be treated like other types of timber with stain, paint, oil or varnish. Glulam is also notably more fire resistant than other construction materials (Moelven, 2018).

Glulam from Moelven is CE certified and produced from timber in Norwegian and Swedish forests. The company also facilitates sustainable management therefore the timber is FSC certified.

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Tectonic Design - Structure and Construction

Ill. 86 / Pine tree forest

Norway has a strong existing language in church architecture. Early Norwegian stave churches, reference nature through the use of natural materials such as timber and stone while incorporating symbolic animal ornamentation.

The use of these materials for Hatlehol Church, relates to both the site’s context and the national vernacular which is also described as a tool

in Biophilic design. The church must create a space for contemplation, and facilitate the opportunity for different events. The church also serves as a workplace for employees, therefore Biophilic design is seen as a central tool to create a good working environment, reducing the potential for stress. By interweaving the surrounding landscape through incorporating natural elements and views toward nature, these parameters can be amplified. This is a way of embedding the “outdoor pulse” into the building (Louisiana Channel, 2018).

3 / Theme analysis

MATERIALITY

Nature elements

Building in relation to context

View to outside

Ill. 87 / Biophilic Design

Tectonic Design - Structure and Construction

39

3 / Theme analysis

3 / Theme analysis

Diffusion The method used to avoid echoes in places for prayer should be to diffuse the sound. This should especially be applied to the rear wall of the church room, so it will not reflect the sound directly back to the source.

ACOUSTIC PRINCIPLES Designing a room which has the intended acoustic properties for enhancing the vibrant and resonant sounds of music and singing while allowing clear intelligibility for speaking can be challenging as the two conditions contradict each other.

(Diocese of Columbus, 2013)

Concave Concave shapes in a church room should be either avoided or very carefully designed as the sound will be focused to one specific point instead of uniting the sound into one.

The aim of acoustics in a place of worship, should foster a sense of sacredness and assist with people feeling involved in the liturgy. Unconsidered acoustics can make congregation members feel as though they are able to hear their own voices, increasing self-consciousness. This can ultimately influence people not to participate in liturgical activities. (Diocese of Columbus, 2013) The simplest way of achieving both qualities is to use technology to enhance the clarity of singular voices rather than incorporating absorption to achieve this clarity. Various factors are recommended for providing appropriate natural acoustics when designing architectural acoustics for church rooms: (Diocese of Columbus, 2013)

Convex The convex shape is good for spreading the sound but has other disadvantages such as interrupting the line of sight and making rooms less flexible. A convex shape can be used for shaping the ceiling in order to prevent this.

Absorption Absorbing panels and materials are good for making a room feel quiet while lowering the reverberation time. There should not be excessive absorption in a church room but it can in many cases be used to avoid echoes and focusing sounds.

1.

Provide a reverberation time of at least 2-3 seconds

2.

Minimise sound absorbing materials, focusing on diffusing sounds instead

3.

Sufficient room volume approx. 10m3 pr. Seat

4.

Provide hard-surfaced materials around sound surfaces

5.

Minimise use of lightweight surface materials and suspended ceilings

6.

Avoid echoes

7.

Avoid focusing sound

Factors besides these which can influence the acoustics in a room can be background noise from elements such as HVAC, lights, roads, ventilation and plumbing which should be separated where possible from rooms of prayer, worship and meditation.

Ill. 88 / Acoustic principles

40

Tectonic Design - Structure and Construction

Tectonic Design - Structure and Construction

41

3 / Theme analysis

3 / Theme analysis

STRUCTURAL PRINCIPLES To achieve a poetic synthesis between structure and the resultant built form, there must be an understanding of how the structure is experienced as a space. This consideration should be a driving force behind designing forms, both between individual functions or elements and for the complex as a whole. Tectonic emphasis will be approached and measured through achieving integrity between form, structure and construction.

Structural elements are to be developed initially through a series of gradually changing two dimensional frames that define a form. Further investigation of these elements should attempt to create a more three dimensional room defining system, creating an ambience and empathetic participation in the experience (Sekler, 1964). Expression of these elements through repeated geometry references a particular language commonly depicted in the nave of the church. These elements, could be read as emblematic portals - both sacred and secular, which you discover gradually (Walsh, 2014) as you proceed through the space. With a tectonic principle based in the use of traditional materials, with a new architectural approach, this common nave language can being to be explored and possibly redefined.

Spatial definition can be achieved through altering of these forms to create different qualities and atmospheres within each room. This gives opportunity for “once regular and exclusive systems” to no longer be homogenous in program, character or structure (Reiser & Umemoto, 2006), giving rise to a new definition of what a church could be. Conceptually this can be developed through development of roof forms, the addition of secondary structural elements and testing of their expression, variation in the ground threshold, and the meeting of secondary structure to the main frames. Studies carried out in workshop one (see opposite page) provide a basis for exploration into the system and how it can be applied across a number of scales.

The structure is to form a narrative, which is expressive of its’ own logic, providing a connection between the concepts of structure and space (Bötticher, 1852).

Parametric design as a tool to develop these systems, gives greater opportunity for exploration and iterations through its’ responsive nature. Development of parametric structural concepts, can easily indicate how ideas are translated across scales and test visually how elements come together and can be read as a whole. Structural testing in Karamba and Robot can also quickly and easily be achieved, giving performance indication if the interplay between form, structure and materials.

Nave

Chapel

Childrens Chapel

Nave

Chapel

Childrens Chapel

Nave

Chapel

Childrens Chapel

Ill. 89 / Structural principles

42

Tectonic Design - Structure and Construction

Tectonic Design - Structure and Construction

43

DESIGN BASIS The following chapter summarises the analysis phase through the creation of a room program and function diagram; establishment of design criteria, vision and problem; and outlines the approach. This provides a point of departure from the analysis into the sketching phase.

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Tectonic Design - Structure and Construction

Tectonic Design - Structure and Construction

45

4 / Design basis

Room type

Size [m2]

Number

Function and connection

Atmosphere

Acoustic and structure

Entrance

2

Entrance hall

140

-

Reception - information - selling tickets - adjacent toilets and cloak room

Building emerges from the landscape - welcoming, open and inclusive space

25

Secular chapel

65

20-40

Library and lounge - multifunctional - non religious

A space for contemplation - quiet atmosphere

Cloak room

35

-

Coats

-

Suspended ceiling

Public toilets

30

-

4 toilets

-

Suspended ceiling

Children’s chapel

100

30-40

A room for children - no interfering with actions of the church - interesting - connection to nature

The space must feel activated and exciting - elements to explore inclusive and non-hierarchical

Visible and roomdefining structure to interact with.

Workshop

25

10-15

Teaching

Active and engaging - bright uplifting spaces for interactions and learning

Acoustically separated from adjacent spiritual spaces

Music room

25

10-15

Teaching

Active and engaging - bright uplifting spaces for interactions and learning

Acoustically separated from adjacent spiritual spaces

Classroom

2x25

10-15

Teaching

Active and engaging - bright uplifting spaces for interactions and learning - connection to nature

Acoustically separated from adjacent spiritual spaces

Activity room

30

-

Hang out space - lounge and activities

Active and engaging - bright uplifting spaces for relaxation and breaks

Public toilets

15

-

1 toilet

Chapel

170

60

Smaller ceremonies - individual experience

Sacristy

15

2

Changing, preparation and kneeling - storage.

Congregational hall

150

50-100

Meetings - cources and lectures gatherings - connection to nature

Kitchen

45

-

Catering center - connection to congregational hall

-

-

Public toilets

20

-

2 toilets

-

-

Cloak room

10

-

Coats

-

-

Entrance

165

-

Quiet niches for prayer and meditation - church entrance

A space with a sense of empathy directing people - gathering

Quiet space for focus and contemplation

Church room

675

300-500

The central part of the church complex - flexible seating - arranged to draw peoples attention to the alter.

A remarkable experience - spiritual space and light - immersive ambience

Visible and roomdefining structure. A reverberation time between 1,5-2s.

Mezzanine

130

15-30

Sacristy

2x30

2

Sacristy baptism

35

5-10

Baptism - six baptismal sequences - connection to main church

Storage

50

-

Chairs and hymn books - connection to main church

Offices

65

8

Single and double offices - separate entry

Storage

10

-

Staff toilets

10

-

Laundry

10

-

Meeting room

25

8-12

Kitchenette

15

-

9

6

6

7

Public functions 10. Entrance / reception 11. Workchop 12. Music room 13. Classrooms 14. Activity room 15. Congregational hall 16. Kitchen 17. Cloak room 18. Public toilets

-

Visible and roomdefining structure.

4 / Design basis

Sacred functions 1. Main church 2. Mezzanine 3. Chapel 4. Children’s chapel 5. Secular chapel 6. Sacristy 7. Sacristy Baptism 8. Cloister / entrance 9. Storage

Education

Administration 19. Offices 20. Storage 21. Staff toilets 22. Laundry 23. Meeting room 24. Kitchenette 25. Technical room

25 1 24

16

22 21

23

-

-

Suspended ceiling

20 Community

3

6

15

25 18 17

13 13

8

19

25 14

A light and open space - community feeling - connection to nature

Quiet space for focus -

17

Main church

18

11 10

Public functions

Administration

-

Visible and roomdefining structure guiding toward altar

18 25

Sacred functions 12

A remarkable experience - spiritual space and light - sense of intimacy

5

4

Music and choir - 24 pipe organ

-

-

Connection to main church

-

-

Calm and quiet atmosphere

-

-

-

Natural light - connection to nature

-

-

-

-

-

-

-

-

-

Meetings and dining

Natural light - connection to nature

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Coffee and dining

Natural light - connection to nature

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-

-

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-

Ill. 90 / Function diagram Administration

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FUNCTION DIAGRAM

ROOM PROGRAM

The function diagram takes the required rooms from the brief, arranging them into clusters of related functions. This helps to understand the relationship between adjacent spaces and can form an initial starting point for arranging elements in the design process. In the diagram the functions are grouped into sacred, public and administrative.

The room program gives an understanding of the functional requirements of each room, determining a placement of them within the plan.

An understanding of the areas, required adjacent rooms, desired atmosphere, and acoustic and structural requirements provides a general overview of what form and characteristics these spaces should take on.

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Technical room

To wash church textiles

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AESTHETIC

TECHNICAL

Use of forms, materials and light to create specific atmospheres within the different spaces.

Incorporation of environmental consideration through the use of local and natural materials.

4 / Design basis

Structural system must be integral to defining the rooms and creating spatial and atmospheric qualities.

The Church complex should reflect both traditional and modern Nordic architecture through materiality, form, reference to nature and aesthetic qualities.

FUNCTIONAL

Create a church that not only addresses religion but also creates a social and cultural gathering point in the Hatlehol area.

Inclusion of a journey representative of personal discovery from secular/public to sacred/private.

Create a connection with the adjacent cemetery through a blurring of the boundary edge.

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4 / Design basis

DESIGN CRITERIAS

Tectonic Design - Structure and Construction

Acoustics in the main church should favour music and singing. Sound systems for amplifying speech are to be integrated into the design.

Structural elements should be developed through an iterative design process, with testing throughout.

[ VISION ] The new Hatlehol church should be a versatile space which facilitates religious, cultural and social events, acting as a gathering place for the community. This is to be experienced as a journey from the secular to the sacred, following a sensory path of evolving impressions. Structural and acoustic properties should be central considerations for defining spaces and creating atmospheric conditions, contributing to the unity of a congregation or community. The surrounding nature should have an influence on the atmosphere and be incorporated throughout the design. Religious traditions should be reflected while connecting the new church to the vernacular and traditional Norwegian architecture.

INITIAL PROBLEM With a focus on acoustics and tectonic qualities, how can a new church in the Hatlehol parish be a common gathering point for both religious, cultural and social activities?

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4 / Design basis

Through the analysis phase, a positioning within the social, cultural and physical context was established. This provides a basis for the design approach, guiding the project within the following conceptual framework.

History and Future Haltehol’s new church is to accommodate parishioners from the surrounding area for religious, cultural and social activities. It is to acknowledge the history, economy and nature of the surrounding context to create a character suitable for this locality.

From the competition documents and jury recommendations, an idea of the vision for the church can be understood. The new Hatlehol church is to be a landmark building, representative of its’ surrounds, function, and the community it will serve. This gives an identity to the Hatlehol parish, while creating a versatile space that is inclusive of all.

Traditional and Modern Nordic Traditional Norwegian stave churches mark the beginning of Christianity in Norway while also referencing viking architecture and Nordic mythology. The distinctive timber construction methods are traditional, and have a strong tectonic expression. Analysis and understanding of the spaces defined within the stave churches along with the strong systems that are prevalent in the composition of the designs, could be referenced in the formation of the new church.

Modern nordic architecture is commonly referencing nature through both forms and materiality. Expression of the materials, defines a strong language through the designs, this should also be present in the new church design.

This expression is often a homogenous one, with the materiality seeming to envelop the form.

A synthesis between the architecture and its surrounding landscape should be harmonious, where the building can be spatially embedded into the site and its context, emerging as a landscape structure.

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4 / Design basis

DESIGN APPROACH Religion and Community Religion in Norway is strongly rooted in tradition, with the majority of the country as members of the church. In Møre og Romsdal membership is above average, and their is a need for a new church within the parish. Patterns of attendance indicate church visits are mostly limited to holidays and Sundays. This sees an opportunity to create a versatile space which can facilitate religious, cultural and social activities, acting as a gathering place for the wider community.

Societal development has lead to new ways of thinking about religion, and defining it on a more personal level. Within the context of a traditional church, the new Hatlehol church could aspire to sit between the constraints of purely sacred and purely secular. This new territory creates not only religious, but also neutral spaces for not only worship, but also gathering, socialising, education and interaction. A blurring of this boundary with the inclusion of both sacred and secular spaces, responds to current traditions, as well as an evolving concept of religion and the church.

Approach and Entrance Approach to the church complex should offer an experience which immerses the visitor within the nature of the site and slowly reveal the building.

This arrival gesture should respond to the built form, and suggest which path to follow. As one approaches the building, the entrance hall should feel open and inviting, representative of its’ secular public function.

Atmosphere and Material Atmosphere within the church spaces should be reflective of their intended use. An understanding of this atmosphere through human perception, feelings and mass can begin to define what constitutes these spaces. The use of light, shadow, materials, and scale should construct atmospheres that either heighten or reject sacrality, creating an architecture that has the capacity to move you.

In the new Hatlehol church, timber is to be the primary building material. In focusing on sustainability, this should be sourced within close proximity of the site, which is entirely possible within Norway. Investigation into properties of particular products while designing will ensure the expression of the material is coherent with the language of the design.

Tectonic and Structure In the creation of a parametric structural system, tectonic expression is to be achieved through considered integrity between form, structure and construction. Development of structural systems that can translate across different scales is to be pursued to develop a holistic system and language throughout the site. The use of a traditional material with an architectural approach which is not necessarily common in a church, is to be explored to represent the evolving concept of religion and its’ representation within the church. This tectonic approach, combined with the development of a structural system which creates a particular gesture and atmosphere in a space, should be explored and tested through digital design tools.

Acoustics and Representation Acoustics within the sacred spaces, especially the main church, are important for obtaining a particular spatial experience. The acoustic qualities of the spaces should foster a sense of sacredness and calm, immersing the visitor within the space. An enhancement of the vibrant and resonant sounds of music and singing while allowing clear intelligibility for speaking is difficult to achieve as they are often contradictory, but as much as possible, this should be the intent.

Representation of a ‘church space’ should be analysed and evaluated, in order to reflect a more modern evolving version of religion, and a more diverse community. Here, the influence of acoustics, structure, materiality and atmosphere all affect this representation, coming together to create a harmonious, inclusive space for all.

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DESIGN PROCESS The following chapter outlines the design process through the sketching and synthesis phases.

This categorises the investigations into smaller separate aspects, which all then came together to form the final design.

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Ill. 91 / Site and floor plans

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PLAN EXPLORATIONS Following the idea of the building creating a journey from the secular to the sacred, a systematic approach was introduced to distribute elements.

Through the categorisation of required functions along a scale spanning from the most secular and public to the most sacred and private, a progression was established. With the intention for the church to act as a common gathering place for the wider community, the most public functions should be placed at the beginning of this journey closest to the entrance. Here they become the most accessible and inclusive areas, acting as a neutral space which is open to all who live in a modern society which is neither culturally or religiously homogeneous (Casanova, Wyller and van den Breemer, 2013). Recognising the longstanding traditions of ceremony that occur within the church, it was appropriate to include a somewhat traditional place of worship which facilitates these rights of passage. Located at the end of the journey, the visitor is given the opportunity to discover this most spiritual or sacred space on their own, facilitating an individual experience, where belief is given the grounds to slowly emerge.

Arrangement of the elements which unfold around the journey were considered throughout the process in both a linear arrangement and a series of de-centralised networks, as theorised through Paul’s Baran diagram of networked communication systems (Steenson 2017, p.53). The networks are each centred around the most spiritual function, creating points of reference and hierarchy while grouping similar functions as seen in the diagram on the adjacent page. The linear arrangement is seen as creating more of a circulative and less empirical journey.

Start

SECULAR

3/4

1/2

6/7

5

10

11 / 12

8/9

Entry

SECULAR

ENTRY 1. Entrance hall 2. Reception 3. Cloak room 4. Public toilets 5. Secular chapel

13 / 14

16 / 17

15

20

18 / 19

Community

21 / 22

End

25

SACRED

Main church

Education

EDUCATION 6. Workshop 7. Music room 8. Activity room 9. Classrooms 10. Children’s chapel

23 / 24

SACRED

Administration

COMMUNITY 11. Congregation hall 12. Kitchen 13. Public toilets 14. Sacristy 15. Chapel

ADMINISTRATION 16. Staff toilets 17. Laundry 18. Storage 19. Meeting / dining 20. Offices

MAIN CHURCH 21. Cloister 22. Church entrace 23. Sacristy / Baptism 24. Mazzanine 25. Main church

Ill. 92 / Systematic approach

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57

5 / Design process

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Chapel

Chapel Children’s chapel Congregational hall

Congregational hall

Main church

Main church

Education

Story below: Administration

Education

Education

Story below: Administration

Entrance Church hall

Entrance

Children’s chapel

Secular chapel Church hall

Ill. 93 / Plan 1

Ill. 95 / Plan 3

Chapel Congregational hall

Children’s chapel Congregational hall

Chapel

Main church

Children’s chapel Education

Education

Story below: Administration

Main church

Entrance Church hall

Entrance Secular chapel

Secular chapel

Ill. 94 / Plan 2

Ill. 96 / Plan 4

PHASE 1

PHASE 2

During initial explorations, the journey is heavily curated, determining the experience of the visitor by weaving them in and around built forms. Access to the spiritual elements is from the outside, which brings the visitor into a more wild and natural experience of the site and forest prior to entering these sacred spaces.

This contrast in experience, moving from the

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Story below: Administration

Children’s chapel

Tectonic Design - Structure and Construction

inside to the outside of the building, is intended to act as a series of moments of revelation as you move through this changing atmospheric condition. This strengthens the feeling of being on a journey which was made to wander through, discovering both externally and internally along the way.

In contrast to phase 1, this phase introduced a more free and less curated version of the journey. Taking on both one way and enclosed forms (plan 3 and 4 respectively), the visitor is given a more open experience, having the freedom to wander between functions in a nonsuccessive motion. Within this arrangement, the forms are separated and read as a series of

rooms rather than one form. Here the expression of the journey is not as clearly read, and no hierarchy is able to be distinguished between spiritual and administrative/functional spaces.

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Main church

5 / Design process

Children’s chapel

Secular chapel

5 / Design process

Congregational hall

Chapel

Main church

Chapel Congregational hall

Administration

Story below: Administration

Entrance Church hall

Ill. 97 / Plan 5

Chapel Congregational hall

Entrance Secular chapel

Education

Main church

Ill. 98 / Plan 6

Ill. 99 / Plan 7

PHASE 3

FINAL DESIGN

Following phase 2, this phase works with an opening of the church square to strengthen the gesture of the journey. This returns to a more linear arrangement in plan 5 and maintains the clustering in plan 6. In plan 5 there is an exploration into the addition of small niches along the journey to provide a different conditions and a quiet space to stop. Here there were also level

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studies, through an incorporation of accessible ramps to accommodate moving up through the landscape. Plan 6 is addressing the option of direct access to the main church for ceremonies such as weddings and funerals.

The final plan incorporates elements from each of the phases, but its main concept lies within the journey from secular to sacred.

When entering the church the visitor is given the option of beginning the journey or moving straight ahead directly to the main church. If choosing the journey the visitor is drawn down a more intimate path which connects you to the

Secular chapel

Children’s chapel

Children’s chapel Education

Entrance hall

Story below: Administration

landscape and moves you through the complex.

It follows this series of frames that can be read as emblematic portals - both sacred and secular, which you discover gradually (Walsh, 2014). In this plan the offices are now located above ground, giving daily access to those who this is their place of work.

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THE JOURNEY The experience of the journey is strongly connected to the interaction with the surrounding nature. The journey ramps up following the landscape, forming a direct connection to the site, and moving the visitor through the existing forest, taking them on a journey immersed in nature. Biophilic design is used here to integrate the user within nature and the site to help evoke a sense of calm, and enhance clarity of thoughts for contemplation. This is achieved through the use of natural materials and connection to the outdoors.

The landscape connection has been developed through a series of principles of interaction, all of which create a slightly different experience with the outdoors. Firstly as used in phase 1 of the plan explorations, the journey was always located with one side opening toward the outdoors and the opposite side was programmed space. This focused the view toward the outdoors, however access to the programmed spaces was from the journey, activating these as more circulation type spaces, which detracted somewhat from the intended atmosphere.

Secondly through phase 2 there was a combination of one sided views toward nature and a framing of particular views, following the direction of the portal elements. This framing created quiet moments and long glances outward, as well as directing the visitor toward these glimpses of nature.

Finally in phase 3 the journey became isolated, which truly immersed the visitor within the site and surrounding nature. As you follow along toward the most spiritual spaces, you constantly have raw, untouched nature to one side and more programmed, smaller scale nature to the other. This imbeds the user within both the site and the building, acting as a transition space between the large and wild scale of the existing forest and the more human and intimate scale of the built forms.

PHASE 1

View towards surrounding nature

View towards programed square

PHASE 2

Framing view of nature

View towards programed square

PHASE 3

Framing view of nature

View of nature - view of square

Ill. 100 / Principles of the journey

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ATMOSPHERE Slivers of light from above give an experiential quality which focuses on drawing in the light, giving it a particular spatial presence. This, instead of focusing on views out, encapsulates the viewer in the atmosphere, as the light and shadows respond to your every movement.

Ill. 101 / The position on the ground

Ill. 102 / The meeting between two forms

Dreams and emotions can be experienced through the changing of light, giving importance to the depth of light which cannot be experienced without shadow. To create this, light coming from both above and beside gives a a variation of both shadow and light evoking a sense of tranquility and calm.

EXPRESSION OF THE FRAME The position of the frame in relation to the ground was explored to ensure the external expression of the journey is synonymous with the interior experience, as well as being representative of its’ scale. Within the journey the desired impression is light and permeable, which is expressed through both the materiality, its’ porosity and the penetration of light. This informed the decision to raise the journey above the ground slightly, to represent this expression and reflect its’ small scale in comparison to the cluster forms.

A framing of light in contrast to darker, quieter spaces creates a juxtaposition, drawing the visitor in. Once in this space of contrast, it provides a sense of being enfolded in a space, this connects you to the surrounding context as the light frames the nature outside.

Meeting of the journey with adjacent forms was examined to determine whether the journey should be perceived as a separate or integrated element. The meeting of one edge, then a change of angle, ensured the journey was read as a separate element while remaining connected to the more solid built forms.

Expression of the frame was investigated to determine whether it should be understood internally or externally. This was also a response to climatic conditions, whether the construction should be exposed or protected. The final result was a combination where the structure is located internally, with additional battens to maintain an external expression.

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More typical window like forms frame the nature, and result in larger rays of light. This also creates a space of contrast, however there is less texture and therefore tactility to the shadows, resulting perhaps in less intrigue and awe.

Ill. 103 / Expression of the frame

Ill. 104 / Atmospheric conditions

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1.

2.

3.

4.

5.

6.

Ill. 105 / Secondary elements

SECONDARY ELEMENTS Inclusion of secondary elements between the frames are to create a sense of motion, guiding the visitor through the journey, while introducing a level of tactility. The gesture of the battens should reveal particular views toward the nature while subtly suggesting a path of travel. A changing density of the battens throughout the journey has two main intentions - one creates an evolving atmosphere through porosity, affecting

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Ill. 106 / Experiences in the journey

EXPERIENCES IN THE JOURNEY both light and shadow, as well as a changing level of intimacy. Secondly, the interaction with the outdoors should evolve as one moves through the journey. Here from the secular which is more open, connecting you to the site and directing your focus toward the nature, to the sacred where the battens are more dense and closed, forming a place for internal and personal reflections.

Previous investigations into experiences within the journey: 1. Creation of niches off the main path of travel as small quiet spaces, providing a different scale for sitting, waiting, and thinking.

2. Niches which extend into the landscape as extensions of the journey. Experiences within the journey in the final design: 3. Lifting of the batten layer to signify spiritual spaces beyond, this is reflected in denser planting responding

to the reveals. 4. Activation of edges creating a visual connection through to more transparent adjacent functions. 5. Main church entry and adjacent Nordic Zen gardens slowing the pace and atmosphere as move toward the entry of the main church. 6. Cloister niches facing toward the Nordic Zen gardens offer a private place to feel immersed in the nature.

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Iterations of the form have been developed to create a poetic integrity between structure and form as the two aspects evolve simultaneously. The form is responsive to the surrounding context through a reference to its’ natural forms.

Ill. 107 / Form studies

5 / Design process

5 / Design process

FORM STUDIES Form explorations have been centred around expressing the idea of the journey through form.

The form should also respond to the landscape, moving up through the site, to embed itself within the nature. Explorations into the creation of hierarchy as both a wayfinding device and signifier of spirituality has been evaluated through the process.

The surrounding context is defined by the fjord and the Sunnmørs alps to the South and a forest covered mountain to the North (Competition document, 2008). These natural elements should also be referenced in the form, alluding to ideas of Nordic architecture, and its’ representation of nature within design.

Generally, the explorations can be understood within three categories - one cohesive form (1), the isolation of spiritual forms (2), and the mediation between spiritual and functional forms (3). See appendix 8 for further form studies of spritual elements. In the initial cohesive forms (1), the concept of the journey is strengthened through the gesture created by the one motion.

Here, there is clearly a beginning and an end, with a shifting scale from human, to a more expressive gesture upward toward the sky.

Within this it is difficult to define the journey as a separate entity, as it takes on the form as the whole building.

1. Initial cohesive form

1. Initial cohesive form

2. Isolation of spiritual forms

2. Isolation of spiritual forms

3. Mediation between forms

3. Mediation between forms

Ill. 108 / Form studies

Ill. 109 / Form sketches

Through the isolation of spiritual forms (2), the journey is separated as one element, as are both the functional, and spiritual spaces. This gives a clearer hierarchy to the spiritual elements, conveying a series of wayfinding devices as points of reference within the landscape. There is however a resultant dichotomy between the language of each of the separate elements.

Creation of a mediation between spiritual forms, functional forms, and the journey (3) is a response to the dichotomy of previous iterations, where the forms now have more cohesion between elements. The journey can be understood as a separate entity but remains within the same general language as the other forms. This unites each of the components of the complex, returning more so to the gesture created through the first iterations. This option combines the gesture of the journey with the hierarchy created within spiritual forms, and has in principle been followed through to the final design.

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STRUCTURE The structural system has been constantly developed throughout the design process. Iterations have been generated as a dynamic response to form, atmosphere, materials, tectonic expression, and its’ structural capability of handling loads.

A selection of these systems have been more thoroughly investigated with Robot and Karamba (appendix 5), while others have been explored through their experiential qualities in 3-dimensional models both virtually and physically. This process was able to test and verify potential structural systems, while giving and understanding of the application of loads. A number of precedents have also been referenced and examined to achieve an understanding of their structural capabilities, while indicating potential directions for exploration.

Workshops 1 and 2 instigated initial exploratory approaches into various structural systems. This was on two scales, both as a whole structural system, and also through studies of detailing and materiality. This aspect of the process providing an initial design basis for further development and testing of these ideas.

Joints (appendix 3-4) and various ways of supporting the structure have also been considered in physical and virtual models to achieve an understanding of how internal joints and supports react in regard to the restraints, also in relation to secondary structural elements.

Ill. 110 / Initial explorations into frame systems

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1.

2.

2.

3.

4.

3.

5.

6.

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1.

MAIN CHURCH The structural principle in the main church was experimented through both analogue and digital methods to determine a conceptual approach which informed the development of the system.

This conceptual approach was based in both a desired tectonic expression and the inclusion of room defining structural elements (appendix 6).

The main principle was a frame system spanning the width of the rooms, with a secondary structure that assists in supporting the long spans while creating this room defining gesture.

Here, the secondary structure should also be representative of the loads, as it responds to the external roof form.

In the testing phase large diagonal trusses were examined. with smaller trusses attached between, following the direction of the aisle, and gesturing in a folding motion toward the direction the folded roof rises (see iteration 1 and 2). These iterations had the advantage of only being supported by columns, instead of a frame which gave more freedom to placing windows and designing the faรงade. This phase also made a clear distinction between wall and roof elements, resulting in less homogeneity within the form, taking away from this enveloping feeling of being within the space. A strong expression was read, but this was not room defining, and did not create an atmosphere that was suggestive of a spiritual place. Trusses which spanned in other directions creating different conditions within the space were also investigated (see iteration 4). These iterations were also made to question the necessity of the secondary structural element, having a similar outcome to iterations 1 and 2.

Earlier investigations were made up rectangular roof surfaces, while still rising to alternating peaks. This resulted in curved surfaces, creating a different architectural expression while still maintaining a structure comprised of straight elements. Following this, the rectangular segments were divided into triangles, to create a stronger harmony between structure and form.

Ill. 111 / Light studies in Main church

See appendix 7 for further light studies.

Ill. 112: Structure in Main church

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2.

3.

4.

5.

6.

5 / Design process

1.

CHAPEL The structural system in the chapel was developed based on the same concept and principles present in the main church as a starting point. The spatiality and experiential qualities of the structure were in focus. As the short span and reduced height of the chapel required a simpler structural solution.

The exterior form of the chapel (and other spiritual spaces) also needed to relate to the main church, and mediate this with the journey which resulted in the folded roof form. Experimentation was mostly based on the experience of the room, and how the structure lead toward the altar creating a gesture which responded to the external form. There was a focus on the human scale as the chapel should feel more approachable and intimate in comparison with the main church.

In iteration 1 a secondary structure is supporting the primary structure, creating a movement towards the raised corner of the chapel. In iteration 2 the secondary structure is crossing while still creating a movement toward the tallest corner of the chapel.

This structure is reducing the impression of size of the space.

Iteration 3 is similar to 1 in creating this movement toward the corner, but the secondary structure connects to the adjacent frame creating a more 3-dimensional structure instead of a 2D frame. Iteration 4 creates an orientation towards the middle of the chapel along the aisle. The secondary structure is crossing but instead of emerging as a linear progression it curves along the outer wall, shiftin the internal language. Iteration 5 incorporates a truss which becomes smaller and larger as it reaches toward a diagonal beam which spans from the lowest to the highest point in the chapel. Iteration 6 is similar to 2 but has fewer, more slender elements. Each of the iterations were investigated in a 3D model to determine the desired spatial experience.

Ill. 113: Structure in Chapel

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77

SECONDARY STRUCTURE Average

Max

Min

STRUCTURAL ITERATIONS The aim of the structural analysis is to find the correct dimensions and number of required frames in the structural system. Variable parameters consist of changing dimensions of the cross section, and the distance between frames to achieve a system which is structurally capable of taking the loads (appendix 2) while maintaining the intended architectural expression. To ensure the system is structurally viable, the utilisation ratio of each member must be below 1, with a goal to have the average utilisation ratio as close to 1 as possible. This is to ensure efficient use of materials, as well as consideration of the desired expression of the structure to not feel to dominant and heavy within the main church.

The structure in iteration 1 holds but the members are poorly utilised, and the spacing between is relatively narrow, making the structure appear too dominant. Incorporation of windows to allow light in is also difficult given the density and heavy appearance of structural elements. The primary structure is failing in iteration 2 and 3 due to the shear forces in the members, here the cross sections need to be less rectangular. In iterations 4 and 5, spacing between the frames is increased to 1.42 m. In both of these cases the main frame buckles at one specific member.

Although the member is fixed at both ends, the slenderness ratio of the member is too high.

For iteration 6 the cross section is increased to ensure the member from iteration 4 and 5 does not buckle around the z-axis when subjected to axial forces, and in doing so, the optimal dimension for the cross section and distance between the frames has been determined.

0,72

0,66

0,59

0,55 0,4 0,25

0,18

0,36

0,29

0,25

0,2

MAIN FRAME STRUCTURE RATIO 0,15

0,13

0,12

0,04

0,02

1

2

3

4

5

0,59

1,93

0,58

1

0,1

0,1

0

0

0,1

6

MAIN FRAME Average

Max

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0,89

Min 1,03

0,87

0,84

0,56 0,36

0,34

0,29

0,22

0,15

0,09

0,02 1

0,03

2

0,29

0,25

0,101 0,03

3

0,03

4

0,03

5

6

1.

2.

Distance between elements: 0,85 m Primary structure: 900x200mm Secondary structure: 300x200mm Main frame: 900x200mm

Distance between elements: 0,85 m Primary structure: 500x200mm Secondary structure: 300x200mm Main frame: 700x200mm

PRIMARY STRUCTURE RATIO

1,29

1,01

1

1

0,1

0,1

0

0

PRIMARY STRUCTURE Average

Max

Min

1,93

1,29 0,94 0,622 0,39 0,15

0,85

0,43

0,379

0,36

0,09 0,07 0,03 STRUCTURE PRIMARY

0,01 1

2

3

Average

4

Max

0,77

0,41 0,09

0,07

5

Min

6

1,93 SECONDARY STRUCTURE

Average 1,29

Max

0,89 0,622 0,15 0,59

0,07

0,85

0,43

0,379 0,66

0,01

0,03

2

0,4

0,72 0,41 0,09

0,29 0,13

0,12

3

Average

0,89

0,1

0,1

0,07

0

0

0,1

5

Min

0,83

6

MAIN FRAME 0,66 Average

0,59

4

Max

1

0,2

SECONDARY STRUCTURE 2

0,84

6 0,36

0,04

1

Max

0,72

Min 0,55

0,4

1,03

0,87

0,29

0,25

0,18

0,25

0,15

2

0,36

0,09

0,02 2

0,13

0,84 0,2 0,1

0,04 3

0,22

0,15

0,36

0,12 0,56

0,02 0,34 1

5

0,25

1,03

0,36 0,09

4

0,15 0,02

1

0,55

3

0,25

0,18

Distance between elements: 1,42 m Primary structure: 600x250mm Secondary structure: 400x250mm Main frame: 800x250mm

0,77

SECONDARY STRUCTURE RATIO 1

4.

Distance between elements: 0,85 m Primary structure: 600x200mm Secondary structure: 300x200mm Main frame: 800x200mm

Min 0,94

0,39

3.

4

0,29

5

0,29

6 0,25

0,101 / Structure iterations Ill. 114 0,03 0,03 0,03 0,03 MAIN FRAME 3

Average

Max

4

Min

5

5.

6.

Distance between elements: 1,42 m Primary structure: 600x250mm Secondary structure: 300x250mm Main frame: 900x250mm

Distance between elements: 1,42 m Primary structure: 600x300mm Secondary structure: 400x300mm Main frame: 800x300mm

6

1,03

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0,87

0,84

0,56

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Time, seconds

Time, seconds

2,00

1,50

1,50

1,00

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In Pachyderm Acoustic, two different model calculations have been made in terms of understanding the acoustics in the main church.

For each test, a model calculation of the entire room has been made, incorporating benches, occupants and an organ. In Pachyderm Acoustic in Rhino, the mapping calculation method has been used for model calculation. The results have subsequently been evaluated and compared, where mapping of the sound pressure level has been included for further analysis. In Pachyderm Acoustic in Grasshopper, different models of

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Architectural acoustics is a broad topic and simulation results rarely give an exact result of the acoustic quality of space due a number of uncertain factors. These uncertainties can include the mirroring and diffuse reflections of sound waves as well as different absorption properties of the materials (Voetmann, 2017).

Therefore, the aim of this project is to strive for the measurement of suggested values ​​in terms of reverberation time, sound pressure level and clarity of sound. These values ​​should, based on a series of experiments, guide and contribute to the design of the main church.

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Through the process, various materials have been considered for the walls, ceilings and floors. Simulations have been run and interpreted to understand areas for improvement regarding the properties of absorption and reflection coefficients, respectively. Floors in these iterations have been calculated using material properties of concrete, where walls and ceilings have been calculated using material properties of timber. The main church is analysed both with and without construction to determine the acoustic impact of the structure. The structure has the same material properties applied as the walls and ceilings.

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This section will describe how acoustic principles of the main church have been considered through the design phase. The section is divided into two pages with text describing adjacent illustrations, and how various principles have been used toward the intent of favourable acoustics in the main church. Acoustics in the main church are calculated using different digital design tools such as Rhino and Pachyderm Acoustic.

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In the project, a speaker system in the main church is installed to amplify the clarity of sound in normal speech/sermon. The mapping calculation method shows the sound pressure levels from 100 to 105 dB, here, the difference throughout the room should minimal.

In the adjacent illustrations, there are numbers from 1-12 indicating different locations of people (receivers) in the main church. The source is placed on top of the organ, providing a sound of 120 dB in all frequencies. Subsequently, the “experience” at each of the different locations is analysed in terms of reverberation time, sound pressure level and clarity of sound. Throughout the iterative testing process, a number of experiments then simulations have been made, incorporating both variations in the form/ structure as well as the location of the organ.

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Values for ​​ reverberation are sought within the range of 1.5 to 2, which are indicative values​​ for a good reverberation time in churches. For the clarity C80, the target is set within the range of -3 to 0, which according to acoustic expert Leo Beranek, is recommended for concert halls.

Clarity C80 is the early to late energy ratio (in dB), where the sound energy used within the first 80ms is considered as the “early” part (REW, 2018). Clarity C80 is most commonly used as an indicator of music clarity, here its’ relevance for choir, organ, and musical performances is understood. Beranek suggests these values of -3 to 0, as there is a longer reverberant field, meaning more sound energy in the “late” than the “early” part. (Foged, 2018)

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the main church have been built for a more efficient workflow with parametric work models, where changes in the form can then be tested, providing quick results for processing. Values​​ for reverberation time and clarity of sound have been analysed, with graphs (as pictured) giving an overview and ability to compare the different results.

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1. Form

FINAL FORM Four main principles can be understood as informing the development of the final form. The first is the creation of peaks within the sacred forms, creating points of reference which emerge from the folded roofs. This creates a hierarchy within the complex, denoting the more spiritual functions while making them visible from the outside, either within the site, or from the surrounding area. These peaks then fall down toward the journey, mediating this height difference. Secondly, the integration of structure and a creation of cohesion between form and tectonic expression. The structure should follow a series of principles in both the main church and other chapels. Following this, the structure allows windows to emerge in between the framing elements, directing the view toward the sky. The windows within spiritual forms follows the edge of the secondary structure, to create a clear distinction of where the structure interacts with the room, expressing this space defining gesture. Exterior cladding is then placed following this secondary structure edge, (Appendix 9) defining the gesture externally, in a more subtle and integrated way.

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With the chapels - secular, children and small chapel, structure of the functional elements is an extension of the chapel, integrating the cluster into one form. In these functional spaces windows emerge from the ground, in comparison to coming down from the roof as in the spiritual spaces.

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LANDSCAPE Opening up toward the cemetery the building has been oriented to break down the edge created by the existing car park. This creation of a stronger dialogue between the building and cemetery, gives the site a feeling of extension into the adjacent cemetery, blurring its’ constraints and slowly connecting to the wider context.

The car park has been relocated to the South Western corner and out of sight, creating opportunity for a more nature oriented building approach by giving the feeling of walking through the forest. A smaller road leading to the entry hall provides an accessible drop off area, accommodating all visitors. The main entry path, which is also accessible, runs alongside this road from the carpark, then weaves away into the forest, before returning to the main entry.

For church staff, there is a separate additional road located to the North of the site, allowing more direct daily access and parking, while also doubling as vehicular access for funerals.

Running away from the church square toward the cemetery is a meditation path, which immerses the visitor in the quiet of the forest, allowing them to slowly meander toward the cemetery.

Along this path the nature changes from more programmed and smaller scale as you begin at the church, to much larger, and more wild forest, changing your perception of self within the site.

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Placement of the built forms has been investigated as it was important to reflect the existing conditions of the site within the building.

This process informed the levels of the clusters, and therefore accessible ramping of the journey between these determined clusters.

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Consideration of the approach and identification of built elements as you move through the site, was developed as a wayfinding device. The form language creates a series of “sacred peaks� which emerge from the landscape, becoming a point of reference and orientation.

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CONCLUSION In the following chapter, conclusions are drawn on the final project in response to the initial defined problem. A reflection on potential further investigations has also been outlined.

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6 / Conclusion

CONCLUSION

REFLECTION

This new church in the Hatlehol parish creates a common gathering point for religious, cultural and social activities through its’ creation of an identity for the community and a landmark within the area. It caters to the wider community through the inclusion of flexible neutral spaces such as the secular chapel, activating the complex on a daily basis, and providing a place for local groups to gather. Its expression as an open and inviting space, differs from that of a traditional church, activating the site, and creating a level of engagement with the wider context. Acoustics have been optimised for music and singing, responding to ceremonial and community use being central to modern church membership.

For further investigations, the representation of the journey could be investigated through more experiential and spatial qualities.

Through development of this idea, the journey took on a more pragmatic approach, providing access to spaces within the complex and mediating this change in levels throughout the landscape. This pragmatic approach responded to questions of whether the journey would be used if visitors were given a choice. This however, constructed a set of parameters which were somewhat limiting for speculation of the idea of what kind of form the journey could take on.

The journey from secular to sacred facilitates the transition between the public and social spaces to the private spiritual spaces, which is also reflected through one’s interaction with the structure. Beginning at the secular chapel, the structure meets the ground within the room, creating an immersive experience where the visitor is able to interact and engage with the tectonic expression. As the visitor moves through the journey, this interaction changes, shifting your focus upward to the structure above while moving toward the more sacred parts, immersing you in a spiritual atmosphere of contemplation and reflection. In the main chapel this folding form is represented in the tectonic expression and gesture of the visible structure.

This creates a level of tactility, and through the use of materials, detailing, and interplay with light and shadow, generates a unique atmosphere within the space. This use of materiality and expression of structure connects both traditional Norwegian stave churches as well as modern Nordic architecture to the design, similar to the referencing of nature through form and materiality. An extensive analysis of themes, site, and context created a strong positioning which informed the rest of the process, validating decisions made throughout.

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Through development and testing of the sun and light conditions, intention of a particular atmospheric condition was determined.

With an understanding of weather in Norway which often results in a more diffuse light, development of artificial light integration should aim to create an atmosphere similar to this intention. This gives the opportunity to experience the intended atmosphere regardless of time of year or weather conditions, also responding more to the local context and environment.

Within the design proposal, the form was mostly guiding the placement and formation of the structure. This process may have been somewhat limiting, and further investigations could experiment with how the two could inform each other, giving possibility for more varied structural explorations. In addition, the concept of using the structure to define spaces within the room could be more clearly outlined. This would be to give a clearer understanding of what kind of atmosphere and ambience this definition should introduce, and how this should affect the space.

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6 / Conclusion

LITERATURE Miller, W. (2016). Nordic modernism.

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Ill. 1: Stave Church. Available at: http:// www.inspirationcruises.com/-/wp-content/ uploads/2016/05/Borgund-Stave.jpg [Accessed 10 May. 2018].

Ill. 2: Oslo Opera House. Available at: https:// www.ntbinfo.no/pressemelding/tre-millioner-opera--og-ballettgjengere-pa-ti-ar?publisherId=9868234&releaseId=16663021 [Accessed 10 May. 2018].

Ill. 3: Knarvik Church. Available at: https://www. arch2o.com/wp-content/uploads/2015/05/RRA_ Knarvik-33%C2%A9Hundven-Clements_Photography-copy.jpg [Accessed 10 May. 2018].

Ill. 4: Own illustration Ill. 5: St. Henry’s Chapel: Available at: http:// www.archilovers.com/projects/4303/st-henry-s-ecumenical-art-chapel.html [Accessed 10 May. 2018].

Ill. 6: Own illustration Ill. 7: Own illustration Ill. 8: Own illustration Ill. 9: Grundtvig’s Church. Available at: https://images.designtrends.com/wp-content/uploads/2016/03/04102750/470feb7640f84ca7743b6bb063d0cceb.jpg [Accessed 10 May. 2018].

Ill. 10: Chapel of Reconciliation. Available at: http://3.bp.blogspot.com/-FzA8kMvtooQ/U5bwAS_UT-I/AAAAAAABP5g/_AOSGgveTJM/ s1600/Reconciliation+Church.jpg [Accessed 10 May. 2018].

Ill. 11: Karsamaki Church. Available at: https://www.archdaily.com/465128/ karsamaki-church-lassila-hirvilammi/52cdffd3e8e44e849600003c-karsamaki-church-lassila-hirvilammi-photo [Accessed 10 May. 2018].

Ill. 12: Shonan Christ Church. Available at: https://www.archdaily.cn/cn/784737/ jiao-tang-li-sui-shi-jian-bian-hua-er-bian-hua-de-guang-xian-takeshi-hosaka/ 5449beaee58ece999700027c-shonan-christchurch-takeshi-hosaka-photo [Accessed 10 May. 2018].

Ill. 13: Borgund Stave Church. Available at: http://www.wikiwand.com/en/Stave_church [Accessed 10 May. 2018].

Ill. 14: Qichun Church. Available at: https:// www.archdaily.com/529038/qichun-catholic-church-leekostudio/53c9471bc07a805e080 00259-qichun-catholic-church-leekostudio-floor-plan [Accessed 10 May. 2018].

Ill. 15: Knarvik Church. Available at: https:// www.archdaily.com/574811/community-church-knarvik-reiulf-ramstad-arkitekter/547fb3b3e58ece8a0e0000aa-first-floor-plan [Acces-

sed 10 May. 2018].

Ill. 16: Stanbrook Abbey. Available at: https:// www.archdaily.com/792317/stanbrook-abbey-feilden-clegg-bradley-studios/579b7344e58ecee6f70000d8-stanbrook-abbey-feilden-clegg-bradley-studios-floor-plan [Accessed 10 May. 2018].

Ill. 17: Enghøj Church. Available at: https://www. pinterest.dk/pin/400046379386178201/?lp=true [Accessed 10 May. 2018].

Ill. 18: Roser Chapel. Available at: http://www. guillamat.com/?portfolio=roser-chapel [Accessed 10 May. 2018].

Ill. 19: Church of light. Available at: https://www. pinterest.dk/pin/456341374716437666/?lp=true [Accessed 10 May. 2018].

Ill. 20: St. Henry’s Chapel: Available at: http:// www.archilovers.com/projects/4303/st-henry-s-ecumenical-art-chapel.html [Accessed 10 May. 2018].

Ill. 21: Own illustration Ill. 22: Own illustration Ill. 23: Own illustration Ill. 24: Own illustration Ill. 25: Own illustration Ill. 26: Own illustration Ill. 27: Own illustration Ill. 28: Own illustration Ill. 29: Own illustration Ill. 30: Own illustration Ill. 31: Own illustration Ill. 32: Own illustration Ill. 33: Own illustration Ill. 34: Own illustration Ill. 35: Own illustration Ill. 36: Own illustration Ill. 37: Own illustration Ill. 38: Own illustration Ill. 39: Own illustration Ill. 40: Own illustration Ill. 41: Own illustration Ill. 42: Own illustration Ill. 43: Own illustration Ill. 44: Own illustration Ill. 45: Own illustration Ill. 46: Own illustration Ill. 47: Own illustration. Timber battens: Available at: https://www.poliigon.com, Stone tiles: Available at: https://i.pinimg.com/originals/5b/ d8/9e/5bd89e1a8ac8b53a35f4a3f93d3fbff1.jpg Ill. 48: Own illustration Ill. 49: Own illustration Ill. 50: Own illustration Ill. 51: Own illustration Ill. 52: Own illustration

Tectonic Design - Structure and Construction

6 / Conclusion

ILLUSTRATIONS

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Tectonic Design - Structure and Construction

6 / Conclusion

6 / Conclusion

96

Ill. 53: Own illustration Ill. 54: Own illustration Ill. 55: Own illustration Ill. 56: Own illustration Ill. 57: Own illustration Ill. 58: Own illustration Ill. 59: Own illustration Ill. 60: Own illustration Ill. 61: Own illustration Ill. 62: Maps of Norway. Available at: https:// www.kartverket.no/ [Accessed 10 May. 2018].

Ill. 63: Own illustration Ill. 64: Own illustration Ill. 65: Own illustration Ill. 66: Own illustration Ill. 67: Own illustration Ill. 68: Own illustration Ill. 69: Own illustration Ill. 70: Own illustration Ill. 71: Own illustration Ill. 72: Own illustration Ill. 73: Own illustration Ill. 74: Own illustration Ill. 75: Own illustration Ill. 76: Ă&#x2026;lesund City: Available at: https://pxhere.com/ [Accessed 10 May. 2018].

Ill. 77: Own illustration Ill. 78: Own illustration Ill. 79: Hatlehol: Available at: https://pxhere. com/ [Accessed 10 May. 2018].

Ill. 80: Stave church. Available at: http:// www.inspirationcruises.com/-/wp-content/ uploads/2016/05/Borgund-Stave.jpg [Accessed 10 May. 2018].

Ill. 81: Borgund Stave church interior. Available at: http://www.inspirationcruises.com/-/ wp-content/uploads/2016/05/Borgund-Stave. jpg [Accessed 10 May. 2018].

Ill. 82: Oslo Opera House. Available at: https:// www.ntbinfo.no/pressemelding/tre-millioner-opera--og-ballettgjengere-pa-ti-ar?publisherId=9868234&releaseId=16663021 [Accessed 10 May. 2018].

Ill. 83: Oslo Opera House interior. Available at: https://operaen.no/globalassets/pressebilder/ operahuset/hires/operaen-i-oslo-13_foaje-_photo-erik-berg.jpg [Accessed 10 May. 2018].

Ill. 84: Knarvik church. Available at: https:// www.arch2o.com/wp-content/uploads/2015/05/ RRA_Knarvik-33%C2%A9Hundven-Clements_ Photography-copy.jpg [Accessed 10 May. 2018].

Ill. 85: Knarvik church interior. Available at: https://specifier.com.au/community-church-knarvik/ [Accessed 10 May. 2018].

Ill. 86: Pine tree forest. Available at: https:// pxhere.com/ [Accessed 10 May. 2018].

Ill. 87: Own illustration Ill. 88: Own illustration Ill. 89: Own illustration Ill. 90: Own illustration Ill. 91: Own illustration Ill. 92: Own illustration Ill. 93: Own illustration Ill. 94: Own illustration Ill. 95: Own illustration Ill. 96: Own illustration Ill. 97: Own illustration Ill. 98: Own illustration Ill. 99: Own illustration Ill. 100: Own illustration Ill. 101: Own illustration Ill. 102: Own illustration Ill. 103: Own illustration Ill. 104: Own illustration Ill. 105: Own illustration Ill. 106: Own illustration Ill. 107: Own illustration Ill. 108: Own illustration Ill. 109: Own illustration Ill. 110: Own illustration Ill. 111: Own illustration Ill. 112: Own illustration Ill. 113: Own illustration Ill. 114: Own illustration Ill. 115: Own illustration Ill. 116: Own illustration Ill. 117: Own illustration Ill. 118: Own illustration

Tectonic Design - Structure and Construction

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APPENDIX

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Tectonic Design - Structure and Construction

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7 / Appendix

7 / Appendix

100

APPENDIX 1: ACCESS TO SITE This appendix is supporting the access to site analysis included in the site analysis chapter.

1.

5.

9.

2.

6.

10.

3.

7.

11.

4.

8.

12.

Tectonic Design - Structure and Construction

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7 / Appendix

Windloads on roof

Windloads on roof

The loads are calculated to achieve a realistic dimensioning of the structural system. The loads were also used throughout the process of developing the structural system to make different structural analysis with Karamba and Robot to understand how to loads affected it. The loads were only calculated for the main church room since it is considered the worst-case scenario.

The wind load on the roof depends on the angle of the roof in relation to the direction which the wind comes from. The roof has simplified into 8 parts where the specific wind load can be calculated for each individual surface.

As the surfaces are calculated individually the roof is considered as a monopitched roof.

Roof 1 Width, b e/10 Roof area, Roof area,

Wind loads

External pressure coefficients

The wind rose from the analysis shows that the highest wind speeds and most frequent winds come from SW which will make the basis for the wind calculation.

For monopitched roofs

Basic wind velocity

(0° â&#x2030;¤ đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; â&#x2030;¤ 30°), Ó¨ = 0, Cpe, G = 0,7 We,G = 1,1 kN/m2 â&#x2C6;&#x2122; 0,7 = 0,77 kN/m2

From DS/EN Eurocode 1-1-4

(0° â&#x2030;¤ đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; â&#x2030;¤ 30°), Ó¨ = 0, Cpe, H = 0,4 We,H = 1,1 kN/m2 â&#x2C6;&#x2122; 0,4 = 0,44 kN/m2

vb = đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2122; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?,0

(đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; â&#x2030;Ľ 75°), Ó¨ = 0, Cpe, G = 0,8 We,G = 1,1 kN/m2 â&#x2C6;&#x2122; 0,8 = 0,88 kN/m2

A function of wind direction and season in 10 m vb,0 = 27 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; level above ground vb = đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2122; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?,0 vb = đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2122; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?,0 vb =fundamental đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; basic â&#x2C6;&#x2122; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?,0wind velocity The vb = đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2122; đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; â&#x2C6;&#x2122; đ?&#x2018;Łđ?&#x2018;Łđ?&#x2018;?đ?&#x2018;?,0 đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 1 vb,0 = 27 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; vb,0 = 27 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; vb,0 = 27 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; vb,0 = 27 đ?&#x2018;&#x161;đ?&#x2018;&#x161;/đ?&#x2018; đ?&#x2018; factor The direction đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; =1 đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 1 đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 1 đ??śđ??śđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 1 đ??śđ??ś =1 1â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 27 m/s vbđ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;=seasonal The factor đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; = 1 đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; = 1 đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; = 1 đ??śđ??śđ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; = 1 vb = 1 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 27 m/s Calculation vb = 1 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 27 m/s vb = 1 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 27 m/s vb = 1 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 27 m/s

(đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; â&#x2030;Ľ 75°), Ó¨ = 0, Cpe, H = 0,8 We,H = 1,1 kN/m2 â&#x2C6;&#x2122; 0,8 = 0,88 kN/m2 (0° â&#x2030;¤ đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; â&#x2030;¤ 30°), Ó¨ = 180, Cpe, G = â&#x2C6;&#x2019;0,8 We,G = 1,1 kN/m2 â&#x2C6;&#x2122; (â&#x2C6;&#x2019;0,8)= â&#x2C6;&#x2019;0,88 kN/m2 (0° â&#x2030;¤ đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; â&#x2030;¤ 30°), Ó¨ = 180, Cpe, H = 0,4 We,H = 1,1 kN/m2 â&#x2C6;&#x2122; 0,4 = 0,88 kN/m2

(a â&#x2030;Ľ 75đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G (a â&#x2030;Ľ 75đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 18,62 m = 1,86 m = 17,34 m2 = 214,66 m2

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = 15,25 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = 188,91 kN Roof 2 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 8,98 m = 0,90 m = 4,03 m2 = 104,97 m2

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = -3,55 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = -92,37 kN Roof 3 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 9,73 m = 0,97 m = 4,73 m2 = 113,27 m2

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = -4,17 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = -99,67 kN Roof 4 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 8,98 m = 0,90 m = 4,03 m2 = 103,97 m2

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = 3,10 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = 45,75 kN

Roof 5 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 9,97 m = 1,00 m = 4,97 m2 = 115,03 m2

Roof 6 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 8,68 m = 0,87 m = 3,77 m2 = -89,08 m2

Roof 7 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 10,51 m = 1,00 m = 5,52 m2 = 121,48 m2

Roof 8 Width, b e/10 Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), G Roof area, (0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30đ?&#x2018;&#x153;đ?&#x2018;&#x153; ), H

= 8,98 m = 0,90 m = 4,03 m2 = 102,97 m2

7 / Appendix

APPENDIX 2: LOAD CALCULATION

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = 3,83 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = 50,61 kN

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = -3,32 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = -89,08 kN

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = -4,86 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = -106,90 kN

đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,G â&#x2C6;&#x2014; Roof area = 3,10 kN đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;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; = We,H â&#x2C6;&#x2014; Roof area = 45,31 kN

Roof surfaces

Terrain category

Category 3: Area with low vegetation

đ?&#x2018;?đ?&#x2018;?0 = 0,3

đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 0,5

1 4 2

3

Peak velocity pressure Read in graph from DS/EN Eurocode 1-1-4

đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;?đ?&#x2018;?(đ?&#x2018;§đ?&#x2018;§) = 1,1 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

102

Tectonic Design - Structure and Construction

4 3

5 6

1

7

8

2

Tectonic Design - Structure and Construction

103

7 / Appendix

The wind load on the walls is found by multiplying the wind preassure by the area of each wall.

The pressure coefficient is found in Eurocode and depends on different zones and the relation bewteen height and width of the building.

Wall 1 Wall area = 327,75 m2 External pressure coefficients, Wall 1 Cpe , đ??ˇđ??ˇ = 0,8 Wall area = 327,75 m2 2 W , D = q â&#x2C6;&#x2014; C , D = e p(z) pe External pressure coefficients, 0,88 kN/m Wall 1 C , đ??ˇđ??ˇarea = 327,75 0,8 Qpe 288,42 kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 Wall = m2 2 W , D = q â&#x2C6;&#x2014; C , D = 0,88 kN/m e p(z) pe External pressure coefficients,

Wall C , đ??ˇđ??ˇ1 = pe Q = 0,8 288,42 kN2 wind3load = 0,88 â&#x2C6;&#x2014; 327,75 Wall Wall area = 327,75 m2 2 W , D = q â&#x2C6;&#x2014; C , D = kN/m e p(z) pe Wall area = 0,88 342,84 m External pressure coefficients, External pressure coefficients, Q = kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 C = 288,42 0,8 Wall pe , đ??ˇđ??ˇ3 Cpe , đ??ˇđ??ˇ = -0,5 Wall = 0,88 342,84 m2 22 We , Darea = qp(z) â&#x2C6;&#x2014; Cpe , D kN/m W , D = q â&#x2C6;&#x2014; C , D = 0,55 kN/m e p(z) pe External pressure coefficients, Wall Q wind3load = 0,88 â&#x2C6;&#x2014; 327,75 = 288,42 kN C , đ??ˇđ??ˇarea = Q -188,562 pe wind load = 0,88 â&#x2C6;&#x2014; 327,75 Wall = -0,5 342,84 m2kN W , D = q â&#x2C6;&#x2014; C , D = 0,55 kN/m2 e p(z) pe External pressure coefficients,

Wall C , đ??ˇđ??ˇ3load = 0,88 â&#x2C6;&#x2014; 327,75 = pe Q = -0,5 -188,562 2kN wind4,A Wall Wall area = 342,84 m2 W , D = q â&#x2C6;&#x2014; C , D = 0,55 e areap(z) pe Wall = 86,83kN/m m2 External pressure coefficients, External pressure coefficients, Q = kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 C = -188,562 -0,5 Wall pe , đ??ˇđ??ˇ4,A Cpe , đ??ˇđ??ˇ = -1,2 Wall 86,83kN/m m2 22 W = qp(z) â&#x2C6;&#x2014; Cpe , D = 0,55 e , Darea W , D = q â&#x2C6;&#x2014; C , D = -1,32 kN/m e p(z) pe External pressure coefficients, Wall 4,A Q = -188,562 kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 C , đ??ˇđ??ˇarea = Q -114,61 pe wind load = 0,88 â&#x2C6;&#x2014; 327,75 Wall = -1,2 86,83 m2kN W , D = q â&#x2C6;&#x2014; C , D = -1,32 kN/m2 e p(z) pecoefficients, External pressure

1

roof 21

Snow load, Snow load, roof 1 Snow load, roof 2 Snow load, roof 2 Snow load, roof 3 Snow load, roof 3 Snow load, roof 4 Snow load, roof 4 Snow load, roof 5 Snow load, roof 5 Snow load, roof 6 Snow load, roof 6 Snow load, roof 7 Snow load, roof 7 Snow load, roof 8 Snow load, roof 8 Total snow load Total snow load

Wall C , đ??ˇđ??ˇ4,A = pe Q = -1,2 -114,61 2kN wind4,B load = 0,88 â&#x2C6;&#x2014; 327,75 Wall Wall area = -1,32 86,83 m 2 2 W , D = q â&#x2C6;&#x2014; C , D = e areap(z) pe Wall = 339,16kN/m m External pressure coefficients, External pressure coefficients, Q = -1,2 -114,61 kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 C = Wall pe , đ??ˇđ??ˇ4,B Cpe , đ??ˇđ??ˇ = -0,8 Wall 339,16kN/m m2 22 W = qp(z) â&#x2C6;&#x2014; Cpe , D = -1,32 e , Darea W , D = q â&#x2C6;&#x2014; C , D = -0,88 kN/m e p(z) pe External pressure coefficients, Wall 4,B Q = -114,61 kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 2 C , đ??ˇđ??ˇarea = Q -298,46 pe wind load = 0,88 â&#x2C6;&#x2014; 327,75 Wall = -0,8 339,16 mkN 2 W , D = q â&#x2C6;&#x2014; C , D = -0,88 kN/m e p(z) pecoefficients, External pressure Wall C , đ??ˇđ??ˇ4,B = Qpe = -0,8 -298,46 kN wind load = 0,88 â&#x2C6;&#x2014; 327,75 Wall = -0,88 339,16kN/m m2 2 We , Darea = qp(z) â&#x2C6;&#x2014; Cpe , D = External pressure coefficients,

Q wind load = 0,88 â&#x2C6;&#x2014; 327,75 C pe , đ??ˇđ??ˇ We , D = qp(z) â&#x2C6;&#x2014; Cpe , D Q wind load = 0,88 â&#x2C6;&#x2014; 327,75

104

= -0,8 -298,46 kN = = -0,88 kN/m2 = -298,46 kN

Tectonic Design - Structure and Construction

Deadload, roof envelope Light construction Total deadload

= 0,5 kN/m2 = 513 kN

Snow load, roof 1 Snow load, roof 1 Snow load, roof 2 Snow load, roof 2

232m2 232m2 109m2 109m2 Snowload, worst 118m2 118m2 The snow load at a specific place is mapped 108m2 and the characteristic terrain value can be read 108m2 from these maps to have a basis of the snow 120m2 load. In order to calculate the snow load on the 120m2 roof each surface is considered as individual 105m2 surfaces, and all surfaces except for surface 1 1 105m2 have an angle between 0 and 30 degrees.

127m2 127m24 2 The characteristic terrain value is found by rea107m2 3 5 ding map.

107m2 6 The characteristic terrain value is found by reading map, 8 7

Norway, snow load on the ground, from DS/EN Norway: the Ground, from DS/EN Eurocode 1-1-3 0 kN Snow Load onEurocode 1-1-3 0 kN sď&#x20AC;&#x201A; = 1,75 kN/mď&#x20AC;?

152,60 kN 152,60 kN Snow load formula, 165,20 kN Snow load worst formula, 165,20 kN From DS/EN Eurocode 1-1-3 151,20 kN from DS/EN Eurocode 1-1-3

Roof areas Roof 1, ( a â&#x2030;Ľ 60đ?&#x2018;&#x153;đ?&#x2018;&#x153; )

= 232 m2

Roof 2, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300

= 109 m2

Roof 4, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 sđ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ = Îź â&#x2C6;&#x2122; Ce â&#x2C6;&#x2122; Ct â&#x2C6;&#x2122; sad Roof 5, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300

= 108 m2

Roof 3, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300

Roof 6, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 Cesl = 2 Roof 7, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 Roof 8, 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 sad = đ??śđ??śđ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; â&#x2C6;&#x2122; đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;

7 / Appendix

Windloads on walls

Roof 1 ( a â&#x2030;Ľ 60o) Roof 1 ( a â&#x2030;Ľ 60o) Roof 2 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 2 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Wall surfacesRoof 3 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 3 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 4 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 4 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 5 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 5 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 6 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 6 (0o â&#x2030;¤ a â&#x2030;¤ 30o) Roof 7 (0o â&#x2030;¤ a â&#x2030;¤ 30o) 4 Roof 7 (0o â&#x2030;¤ a â&#x2030;¤ 30o) 3 a â&#x2030;¤ 30o) Roof 8 (0o â&#x2030;¤ Roof 8 (0o â&#x2030;¤ a â&#x2030;¤ 30o)

= 118 m2

= 120 m2 = 105 m2 = 127 m2 = 107 m2

Snow load, roof 1 = 0 kN Calculation the snow on each roof surfaces Snow load, roof 2 = 152,60 kN Snow load, roof 1 = 0 kN Snow load, roof 3 = 165,20 kN Snow load, roof 2 = 305,20 kN Snow load, roof 4 =151,20 kN Snow load, roof 3 = 330,20 kN Snow load, roof 5 =168,00 kN Snow load, roof 4 = 302,40 kN Snow load, roof 6 =147,00 kN Snow load, roof 5 = 336,00 kN Snow load, roof 7 =177,80 kN Snow load, roof 6 = 294,00 kN Snow load, roof 8 = 49,80 kN Snow load, roof 7 = 355,60 kN Total snow load = 1111,60 kN Snow load, roof 8 = 299,60 kN

sđ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ = Îź â&#x2C6;&#x2122; Ce â&#x2C6;&#x2122; Ct â&#x2C6;&#x2122; sad 151,20 kN s = Îź â&#x2C6;&#x2122; Cď&#x20AC;&#x2018; â&#x2C6;&#x2122; Cď&#x20AC;&#x2019; â&#x2C6;&#x2122; sď&#x20AC;&#x201A; 168,00 kN s = Îź â&#x2C6;&#x2122; Ce â&#x2C6;&#x2122; Ct â&#x2C6;&#x2122; sk 168,00 kN s = Îź â&#x2C6;&#x2122;factor, Ce â&#x2C6;&#x2122; Ct for â&#x2C6;&#x2122; sk Form Description 147,00 kN sCesl = Îź=â&#x2C6;&#x2122; 2Ce â&#x2C6;&#x2122; Ct â&#x2C6;&#x2122; sk 147,00 kN s= Ceâ&#x2030;¤â&#x2C6;&#x2122; Cat â&#x2C6;&#x2122;â&#x2030;¤sk300 = 0,8ď&#x20AC;? = Îź0â&#x2C6;&#x2122;đ?&#x2018;&#x153;đ?&#x2018;&#x153;on s = SnowÎźload the roof (kN/m ) 177,80 kN đ?&#x2018;&#x153;đ?&#x2018;&#x153; Îź = 0 â&#x2030;¤ a â&#x2030;¤ 300 = 0,8 177,80 kN đ?&#x2018;&#x153;đ?&#x2018;&#x153; 0 sad==0(0o đ??śđ??śđ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; â&#x2C6;&#x2122; ađ?&#x2018; đ?&#x2018; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;aâ&#x2030;¤ â&#x2030;¤3030o) Îź â&#x2030;¤â&#x2030;¤ Îź = Form factor = 0,8 Form factor, for 0 = 0,8 đ?&#x2018;&#x153;đ?&#x2018;&#x153; 149,80 kN Îź â&#x2030;¤ 60 a đ?&#x2018;&#x153;đ?&#x2018;&#x153;â&#x2030;¤) =300 = 0,8 Îź= = (0a â&#x2030;Ľ 149,80 kN Îź = Form a đ?&#x2018;&#x153;đ?&#x2018;&#x153;â&#x2030;Ľ 60o) Îź =factor ( a â&#x2030;Ľ(60 )= 0 =0 1111,60 kN Îź = ( a â&#x2030;Ľ 60đ?&#x2018;&#x153;đ?&#x2018;&#x153; ) = 0 1111,60 kN đ?&#x2018;&#x153;đ?&#x2018;&#x153; Îź = ( a â&#x2030;Ľ factor 60factor ) = 0= 1 Exposure Cď&#x20AC;&#x2018; =Exposure C e = 1load, Snow roof 1 = 0 kN Ce = 1 Total snow load = 2223,20 kN thermalroof factor Cď&#x20AC;&#x2019; = The Snow 2 =1 = 305,20 kN C e = 1load, Worst case snow load C = 11 e= C load t Calculation Snow load,Worst roof 3 case snow = 330,20 kN Ct =form 1 DS/EN The thermal factor Eurocode 1-1-3 Snow = 302,40 kN C = 1load, roof DS/EN ď&#x20AC;?4 Roof surfaces s = 0,8 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 1t â&#x2C6;&#x2122; 1,75form kN/m = 1,4Eurocode kN/mď&#x20AC;? 1-1-3 C = 1 đ?&#x2018;&#x153;đ?&#x2018;&#x153; 2 t Roof 1 =116 kN sď&#x20AC;&#x152;ď&#x20AC;?ď&#x20AC;&#x17D;ď&#x20AC;?ď&#x20AC;? =(Îźaâ&#x2C6;&#x2122; C â&#x2C6;&#x2122; Cď&#x20AC;&#x2013;)â&#x2C6;&#x2122; sď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; Roof 1 â&#x2030;Ľ 60 232 m ď&#x20AC;&#x2022; Snow 5t â&#x2C6;&#x2122; sad đ?&#x2018;&#x153;đ?&#x2018;&#x153; = 336,00 kN sđ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤ load, = Îź â&#x2C6;&#x2122; sCroof 2 e â&#x2C6;&#x2122;ď&#x20AC;?C ď&#x20AC;?Cď&#x20AC;&#x2013; â&#x2C6;&#x2122; sď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; = Îź â&#x2C6;&#x2122; C â&#x2C6;&#x2122; Roof 1 ( a â&#x2030;Ľ 60 ) 232 m ď&#x20AC;&#x152;ď&#x20AC;?ď&#x20AC;&#x17D;ď&#x20AC;?ď&#x20AC;? ď&#x20AC;&#x2022; s = 0 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 1,75 kN/m = đ?&#x2018;&#x153;đ?&#x2018;&#x153; 0 kN/m 2 Roof 2 = 55 kN Roof 0 aâ&#x2C6;&#x2122; ď&#x20AC;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x153;â&#x2030;¤) 300= 294,00 kN 109 sSnow = Îź â&#x2C6;&#x2122; sfor Croof C â&#x2C6;&#x2122; ď&#x20AC;&#x161;ď&#x20AC;?ď&#x20AC;&#x203A; sâ&#x2030;¤ đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;¤2 e â&#x2C6;&#x2122;exeptional = Roof 1load, (6tđ?&#x2018;&#x153;đ?&#x2018;&#x153;aď&#x20AC;&#x2122; â&#x2030;Ľad60 232 m m22 ď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; ď&#x20AC;? snow Coefficient 0 loads Roof 2 0 â&#x2030;¤ a â&#x2030;¤ 30 109 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; 2 = 60 ď&#x20AC;&#x2122;ď&#x20AC;&#x161;ď&#x20AC;?ď&#x20AC;&#x203A;) â&#x2C6;&#x2122; ď&#x20AC;&#x153;0ď&#x20AC;? s a â&#x2030;¤â&#x2030;Ľ Roof 1 232 m 2 Roof 3 = 59 kN Roof 3 0(0đ?&#x2018;&#x153;đ?&#x2018;&#x153;7ď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; đ?&#x2018;&#x153;đ?&#x2018;&#x153; Roof â&#x2030;¤ aa â&#x2030;¤â&#x2030;¤ 30 3000= 355,60 kN 118 109 m m22 Snow roof Cesl =2load, 2 Description đ?&#x2018;&#x153;đ?&#x2018;&#x153; Roof 3 0 118 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 30 0 2 Roof 22 0đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤â&#x2030;¤ aa â&#x2030;¤â&#x2030;¤ 30 300 109 m 2 Roof 4 = 54 kN Roof C esl =4 Roof 3load, roof0 0đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x153;8Description â&#x2030;¤ a â&#x2030;¤ 3000 = 299,60 kN 108 118 m m22 Snow Roof 4 0 â&#x2030;¤ a â&#x2030;¤ 30 value load on 108 the m đ?&#x2018;&#x153;đ?&#x2018;&#x153; exceptional 0 snow 2 Cď&#x20AC;&#x2022;ď&#x20AC;&#x17E;ď&#x20AC;&#x; =Design coefficient forof exeptional snow loads =2 Roof 3 0 118 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 2 Roof 5 = 60 kN 1 Roof 5 0 aa â&#x2030;¤ 30 120 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ location 0 2 ground for the given Roof 4 0 â&#x2030;¤ â&#x2030;¤ 30 108 m snow load = 2223,20 kN Cď&#x20AC;&#x2022;ď&#x20AC;&#x17E;ď&#x20AC;&#x; = coefficient for exeptional snow loads = 2 sTotal = đ??śđ??ś â&#x2C6;&#x2122; đ?&#x2018; đ?&#x2018; ad đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x153;đ?&#x2018;&#x153; 0 2 Roof 5 0 â&#x2030;¤ â&#x2030;¤ 30 m 2 Roof 0đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x153; load â&#x2030;¤ aa4 on â&#x2030;¤ the 3000 ground for the120 108 m given sď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; = design value of exceptional 2location Roof 6 = 53 kN sad =4 đ??śđ??śđ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; â&#x2C6;&#x2122; đ?&#x2018; đ?&#x2018; snow Roof 6 105 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 2 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0 Roof 5 0 â&#x2030;¤ a â&#x2030;¤ 30 120 m đ?&#x2018;&#x153;đ?&#x2018;&#x153;snow load on 0 the ground for the given 2 of exceptional location sď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; = design valueRoof 4 2 6 0 105 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 2 Roof 5 0 120 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 2 3 Roof 7 3 5 = 64 kN Roof 7 0 127 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 2 Calculation Roof 6 0 â&#x2030;¤ a â&#x2030;¤ 30 105 m Calculation đ?&#x2018;&#x153;đ?&#x2018;&#x153; 0 2 Roof 7 0 â&#x2030;¤ a â&#x2030;¤ 30 127 m đ?&#x2018;&#x153;đ?&#x2018;&#x153;Calculation 0 2 Roof 6 0 105 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a â&#x2030;¤ 300 2 Roof 8 = 54 kN Roof 8 0 30 107 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a 0 2 ď&#x20AC;š â&#x2030;¤ ď&#x20AC;š 6 Roof 7 0 â&#x2030;¤ a â&#x2030;¤ 30 127 m 1 =116 kN Snow load, roof 1 = 0 kN = 2 â&#x2C6;&#x2122; 1,75 ď&#x20AC;ľď&#x20AC;ś/ď&#x20AC;¸ = 3,5 ď&#x20AC;ľď&#x20AC;ś/ď&#x20AC;¸ sRoof 8 đ?&#x2018;&#x153;đ?&#x2018;&#x153; 0 2 ď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; 8 0 107 m đ?&#x2018;&#x153;đ?&#x2018;&#x153; â&#x2030;¤ a1 â&#x2030;¤ ď&#x20AC;š300 2 ď&#x20AC;š Roof 0 1 â&#x2030;¤ď&#x20AC;ľď&#x20AC;ś/ď&#x20AC;¸ a â&#x2030;¤ 30 127 m 7 Total dead load = 513 kN = 2roof â&#x2C6;&#x2122; 1,75 = 3,5 ď&#x20AC;ľď&#x20AC;ś/ď&#x20AC;¸ s7ď&#x20AC;&#x2014;ď&#x20AC;&#x2DC; Snow load, = 0 kN 0 Roof 107 m2 2load, roof0đ?&#x2018;&#x153;đ?&#x2018;&#x153;2 â&#x2030;¤ a â&#x2030;¤ 30 55 kN kN Snow8 ď&#x20AC;š = 305,20 ď&#x20AC;š2 = 0,8 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 3,5 kN/m = 2,8 kN/m sď&#x20AC;&#x152;ď&#x20AC;?ď&#x20AC;&#x17D;ď&#x20AC;?ď&#x20AC;?

Roof 8load, roof0đ?&#x2018;&#x153;đ?&#x2018;&#x153;1 â&#x2030;¤ a â&#x2030;¤ 300 =ď&#x20AC;š 305,20 kN 107 m2 ď&#x20AC;š kN Snow 0 = 0,8roof â&#x2C6;&#x2122;12 = 2,8 sSnow Roof 59 kN kN/m 3â&#x2C6;&#x2122; 1 â&#x2C6;&#x2122; 3,5 kN/m= 330,20 kN ď&#x20AC;&#x152;ď&#x20AC;?ď&#x20AC;&#x17D;ď&#x20AC;?ď&#x20AC;?3load, Snow load, roof 1 0 kN 3 = 330,20 Snow 152,60 kN Snow load, roof roof 2 1 Roof 4load, 54 kN kN 4 = 302,40 kN 0 kN Snow load, roof 2 152,60 Snow load, roof roof 1 0 kN kN 4 = 302,40 Snow 3 165,20 kN 0 kN Snow load, roof 2 Roof 5load, 60 kN kN 5 = 336,00 kN 152,60 kN Snow load, roof 3 165,20 kN 0 kN Snow load, roof 2 kN Tectonic Design - Structure and Construction 5 = 336,00 kN 152,60 Snow load, roof 4 151,20 kN Snow load, roof 3 165,20 kN Roof 6 = 53 kN 6 294,00 kN 305,20 kN Snow load, roof 4 151,20 kN Snow load, roof 3 165,20 kN 305,20 kN

105

Tectonic Design - Structure and Construction

7 / Appendix

APPENDIX 4: Joints - Physical models

7 / Appendix

106

APPENDIX 3: Structural meetings - Virtual models

Tectonic Design - Structure and Construction

107

Tectonic Design - Structure and Construction

7 / Appendix

APPENDIX 6: Movement investigation in the structure

Tectonic Design - Structure and Construction

7 / Appendix

108

APPENDIX 5: Karamba iterations

109

7 / Appendix

APPENDIX 8: Different form studies

7 / Appendix

APPENDIX 7: Light studies

Chapels in conjunction with functional spaces

Main Church form exploration

110

Tectonic Design - Structure and Construction

Tectonic Design - Structure and Construction

111

APPENDIX 10: ACOUSTICS

7 / Appendix

7 / Appendix

APPENDIX 9: Cladding investigation

Test 2

2,00

2,00

1,50

1,50

1,00

0,50

Acoustic simulation - Without the structure

Reverberation time, (RT) 2,50

Time, seconds

Time, seconds

Reverberation time, (RT) 2,50

27

Acoustic simulation - Without the structure

m

,5

10

63

125

250

500

1000

2000

4000

0,00 8000 63

125

250

Frequency, Hz

1000

2000

4000

4,00

3,00

3,00

2,00

2,00

1,00

1,00

0,00

0,00

-1,00 -2,00 -3,00

-5,00

-6,00

-6,00

-7,00

2000

4000

-8,00 8000 63

2,00

2,00

Time, seconds

12

11

10

10

8m

3,5

Different positions in the Nave 500

1000

2000

4000

9

m

3,5

m

Different positions in the Nave

8000 1

2

3

4

5

81

7

6

Acoustic simulation - With the structure

27

10 3

92

4 11

125

8

7

6

Acoustic simulation - With the structure

m

10

9

11

12

m

27 Sound pressure level, dB

Sound pressure level, dB

105 dB

105 dB

100 dB

100 dB

1,50

1,00

,5

10

63

125

250

500

1000

2000

4000

0,00 8000 63

125

250

Frequency, Hz

4,00

3,00

3,00

2,00

2,00

1,00

1,00

0,00

0,00 Time, seconds

5,00

4,00

-1,00 -2,00 -3,00

-4,00 -5,00 -6,00

-7,00

-7,00

-8,00 1000

Frequency, Hz

m

,5

10

8000

m

m 12

12

2000

4000

4

m

-8,00 8000 63

4

3

3 8

,5

10

2

m

,5

10

1 12

12

5

m

8

m

5

10

10

8m

3,5

Different positions in the Nave 500

1000

Frequency, Hz

2000

4000

12

11

9

250

m

6 11

8m

125

3,5

7

12

1 6

m

3,5

2

m

7

-3,00

-6,00

500

4000

-2,00

-5,00

250

2000

-1,00

-4,00

125

1000

Clarity, (C80)

5,00

63

500

Frequency, Hz

Clarity, (C80)

Time, seconds

6

5

9

250

m

12

11

8m

125

3,5

7

0,50

0,00

Tectonic Design - Structure and Construction

m

8

m

12

1 6

m

3,5

2

m

5

Reverberation time, (RT) 2,50

0,50

,5

10

1

Reverberation time, (RT) 2,50

1,00

2

m

12

Frequency, Hz

1,50

4

7

Frequency, Hz

112

m

3 8

,5

10

-7,00

-8,00 1000

12

4

-3,00

-5,00

500

m

m

3

-2,00

-4,00

250

12

-1,00

-4,00

125

,5

10

8000

Clarity, (C80) 5,00

4,00

Time, seconds

Time, seconds

Clarity, (C80)

Time, seconds

500

m

Frequency, Hz

5,00

63

m

1,00

0,50

0,00

27

9

m

3,5

m

Different positions in the Nave

8000 1

2

3

4

5

6

7

81

92

10 3

4 11

125

6

7

8

9

10

11

12

Tectonic Design - Structure and Construction

113

3

Reverberation time, (RT)

Acoustic simulation - Without the structure

Reverberation time, (RT)

m

Acoustic simulation - Without the structure

2,00

2,00

1,50

1,50

1,00

,5 10

m

,5 10

2000

4000

0,00 8000 63

0,50

m

12

250

1000

2000

4000

63

Clarity, (C80)

m

12

4

3

4,00

,5

10

2,00

m

2

,5

10

,5

10

3,5

2

1

m

,5

10

6

0,00

8

12

m

5

12

-3,00

8m

m

5

10

8m

9

9

-4,00 3,5

-5,00

m

3,5

m

-6,00 -7,00

1000

2000

4000

Different positions in the Nave 125

250

Frequency, Hz

500

1000

2000

4000

Reverberation time, (RT)

2

3

4

5

81

7

6

Acoustic simulation - With the structure

27

103

92

114

125

8

7

10

9

11

m

27 Sound pressure level, dB

2000

4000

,5

125

250

Frequency, Hz

500

1000

2000

4000

105 dB

105 dB

100 dB

100 dB

m

,5

10

Clarity, (C80)

,5

10

m

2

,5

10

1

m

,5

10

6

8

12

11 2m

5

1

-2,00

5

1

10

10

-3,00 8m

8m

9

-5,00

m

6 11

2m

3,5

7

12

1

m

-1,00

-4,00

114

3,5

2 7

,5

10

0,00

4000

m

2,00

1,00

1,00

-2,00 -3,00

9

-4,00 -5,00

-6,00

-6,00

500

1000

2000

4000

-8,00 8000

2,50

2,00

2,00

1,00

0,50

0,00

0,00 8000

250

500

1000

2000

4000

5,00

4,00

4,00

3,00

3,00

2,00

2,00

1,00

1,00

0,00

0,00

-1,00 -2,00 -3,00

Different positions in the Nave 1000

Frequency, Hz

2000

4000

Different positions in the Nave

3,5

125

250

2

3

4

Tectonic Design - Structure and Construction

5

6

7

81

92

103

114

125

6

7

8

9

10

1000

2000

4000

11

12

m

5

9,5

10

m

9

3,5

m

Different positions in the Nave

8000 1

2

3

4

5

8 1

7

6

Acoustic simulation - With the structure

25

10 3

9 2

11 4

12 5

Acoustic simulation - With the structure

m

8

7

6

10

9

11

12

m

25 Sound pressure level, dB

Sound pressure level, dB

105 dB

105 dB

100 dB

100 dB

8,5

m

8,5

63

125

250

500

1000

2000

4000

m

m

11

m

8000

6m

4

3

3 8

,5

10

m

2

,5

10

m

1

m

3,5

2 7

13

6m

4

13

6

m

5

m

12

6 11

8,5

3,5

7

12

1

m

8

m

11

8,5

10

m

5

10

9,5

-3,00

m

9,5

9

3,5

m

9

m

3,5

m

-7,00

63 1

500

8,5

m

Different positions in the Nave 63

11

9

-4,00

-8,00

8000

12

6

10

m

m

-2,00

-6,00

500

5

9,5

-1,00

-5,00

250

m

Clarity, (C80)

5,00

-4,00

m

12

1

m

3,5

7

Frequency, Hz

-7,00

125

13

6

8

m

1,00

0,50

125

3,5

2

1,50

-6,00

3,5

m

1

m

8,5

Reverberation time, (RT)

2,50

1,50

,5

10

11

Frequency, Hz

-5,00

-8,00 8000 63

13

6m

3

2

7

-7,00

250

m

4

8

m

-3,00

-5,00

6m

3

,5

-2,00

-7,00

m

11

4

-1,00

-4,00

125

m

8000

0,00

-1,00

-6,00

3,5

4000

10

Clarity, (C80)

3 m

2000

m

4

8

1000

11

12

3

500

m

m

4

1,00

2000

250

Frequency, Hz

2,00

Frequency, Hz

12

12

3,00

1000

2,00

63

4,00

500

m

m

8000

5,00

250

3,00

Frequency, Hz

Clarity, (C80)

125

4,00

3,00

Reverberation time, (RT)

Sound pressure level, dB

Time, seconds

Time, seconds 1000

125

Frequency, Hz

1,00

12

500

4,00

12

1,50

10

8,5 m

Frequency, Hz

-8,00

6

Acoustic simulation - With the structure

m

0,50

250

63

Clarity, (C80)

-7,00

Different positions in the Nave

2,00

125

0,00 8000

5,00

63 1

2,50

0,00 8000 63

4000

5,00

8000

Frequency, Hz

Reverberation time, (RT)

2000

0,00

11 12

10

-2,00

m

6 11

-1,00

3,5

7

12

1

m

m

Time, seconds

Time, seconds

m

7

1,00

500

1000

Clarity, (C80)

3 8

3,00

-8,00 8000 63

500

m

m

m

4

5,00

250

250

Frequency, Hz 12

125

125

Frequency, Hz

Clarity, (C80)

8,5

11

8000

25

1,00

0,50

Time, seconds

Frequency, Hz

500

Acoustic simulation - Without the structure

m

m

0,00 125

25

m

Time, seconds

1000

1,00

Acoustic simulation - Without the structure

Reverberation time, (RT)

1,50

Time, seconds

500

Reverberation time, (RT)

2,00

12

250

m

2,50

0,50

125

27

Time, seconds

Time, seconds

27

2,50

2,50

Time, seconds

7 / Appendix

Test 5

Time, seconds

3

Test 4

Time, seconds

3

APPENDIX 10: ACOUSTICS

7 / Appendix

3

APPENDIX 10: ACOUSTICS

125

250

500

1000

Frequency, Hz

2000

4000

-8,00 8000

Different positions in the Nave 63

125

250

500

1000

Frequency, Hz

2000

4000

Different positions in the Nave

8000 1

2

3

4

5

6

7

8 1

9 2

10 3

11 4

12 5

6

7

8

9

10

11

12

Tectonic Design - Structure and Construction

115