8th Semester by Morten Hviid

Strendur Kirkja Faroe Islands

Tectonic Design: Structure & Construction MSc2Arch - Group 2 2020

Amalie Sigaard Vroue, Asbjørn Christian Carstens, Morten Holst Hviid & Tommy Thorleifsson Ditlevsen

Title Page Project Title: Strendur Kirkja Semester: MSc02 Architecture Main Supervisor: Isak Worre Foged Co-Supervisor: Dario Parigi Group number: 2 Numbers of Pages: 101 Number of Pages in appendix: 32

Amalie Sigaard Vroue

Asbjørn Christian Carstens

Morten Holst Hviid

Tommy Thorleifsson Ditlevsen

Contents Introduction 6

Presentation

Motivation

Design Development

Method 8

Function Development

Program 11

Site Plan

Strendur 12

Plan

Vernacular Architecture

Plan

Church Typology

Façade

Visual Structure

Section

Microclimate

Spatial Acoustics

Conceptual Acoustics

Construction

Spatial Perception of Structure

Conclusion 97

Spatial Program

Conclusion 98

Design Drivers + Design Criteria

Reflection 99

Design Process 37

Illustration list

Sketching

Bibliography 101

Spatial Syntax

Sketching in 3D

Structure Sketching

Appendix 103

Space and Structure

01 Acoustic Investigations

105

Natural Light

02 Calculations - 1 bolt & 2 bolt

112

Acoustic

03 Spatial syntax

118

Materiality and Joinery

04 Frame Structure Analysis

132

100

Reading guide

Abstract

The following paper is a project divided in three parts; The program, The process, and the presentation.

The following paper showcases the process of designing a church complex in a Nordic context, specifically the Faroe Islands. Through a series of studies and investigations knowledge was acquired, a range of design drivers were identified and used to steer the project to the final proposal.

The program outlines a series of studies and design investigations conducted during the preliminary phase of the Project. The presented material serves to inform the development of a design for a church. Both the studies and investigation are structured in three parts; an introduction of the purpose; an exposition of the method; and finally, a conclusion which serves to inform design drivers or design criteria.

The design process included analogue sketching, parametric workflows, computational sketching etc.. A process which initially was focused on quantitative iterations which shifted to a qualitative approach.

The process presents the design process of the project. The process not presented chronologically, but rather as investigations, each with their own process and conclusion. The conclusion is a conclusion on the process and does not showcase the final design proposal derived from the investigations, as these are presented in the presentation.

The final design proposal is grounded in its physical context through its morphology, transitions, and materiality; and rooted in its historical context through its structure and phenomenological experience.

The presentation starts from the broad perspective and moves towards the smaller; by presenting the overall design and functions, gradually moving towards the more specific parts of the design. Finalizing the paper in a conclusion and a reflection. The paper is provided in PDF format in spreads. It is intended to read the paper on a regular laptop size 15.6’’ in Acrobat Reader in zoom 70-80%, so the whole spread is viewable. Bookmarks are embedded in the headlines, for easier navigation.

Introduction

Motivation

The subject of church architecture concerns the design of the physical framework for the Christian religious service, relating to all the practical requirements, stylistic traits but also the tradition-bound symbolic world that surrounds this type of architecture.

However, it is evident that the religious experience can be as much spiritual as social, if not more so. Kierkegaard and others highlight the importance of reflecting on one’s being, not only in the context of a community or society, but also in a metaphysical and philosophical sense. In a broader perspective, this focus on contemplation and reflection is echoed by other existentialists, such as the philosopher and phenomenologist Martin Heidegger, who states that:

Proponents of a unifying church, such as the Danish priest and theologian N.F.S. Grundtvig sought to provide a religious and social community in towns and villages across the country. In this context, the priest acts as mediator of God, communicating the teachings of the Bible by reading passages to the congregation. Additionally, there is a significant emphasis on liturgy and rituals that take place within the church. (https://www.kristendom.dk/grundtvigianisme)

“Poetry is what first brings man onto the earth, making him belong to it, and thus bringing him into dwelling.” (Heidegger, pp. 218) It can be argued, that the nature of dwelling in this case relates more so to the act of seeking meaning and gaining an understanding of the surrounding world physically (through the act of building), phenomenologically (through the act of experiencing) and philosophically (through the act of contemplation). Through this, man seeks to gain his foothold in the world and reason for existence, the latter of which may manifest itself in the adoption of faith. The church becomes a key figure in enabling the highly individual and subjective pursuit of “Dasein” as expressed in Heideggerian philosophy.

The Danish philosopher and theologian Søren Kierkegaard on the other hand was disillusioned by the prevailing ideas and practices of the church at the time of his writings. He directed his criticism towards the clergy and lamented the somewhat populist mentality of a common, Christian community coupled with a national identity, as supported by Grundtvig. Instead, Kierkegaard highlighted the ability to reflect upon the circumstances of one’s own existence, assume responsibility for your actions and act independently of commonly accepted doctrines of the church as core virtues. This all ties in with the burgeoning ideas of existentialism. Kierkegaard represented a movement towards a more individualistic interpretation of Christian faith based on introspection.

The two outlined positions on faith and the church must also be viewed in the context of a postmodern society. It can be argued, that in recent years the church has lost some of its significance, coinciding with a development towards a more secular society. This has impacted various aspects of life such as culture, politics and faith. Dwindling numbers of participants in religious ceremonies and services is attributed to the lack of relevancy for many. However, it would be presumptuous to assume, that the need for community and reflection is no longer present in some capacity. Rather, they seem to manifest in other activities not directly related to the church, such as social gatherings, public debates, talks and meditation. And while urban life affords many such alternatives, rural areas or smaller towns and villages experiencing growth in population may not provide its inhabitants such amenities to the same degree. Thus, the church can provide a combination of a communal experience and a highly individualistic experience.

The Grundtvig school of thought is rooted in a longstanding tradition, wherein the church and associated religious service provided a natural place of gathering for individuals. This seems to stem from a need for a sense of place within a given community. Theoretician Gottfried Semper identifies this phenomenon as the outcome of a process where early man settled in enclaves leading to the formation of societies and by extension the origin of culture. This culture would often be centered around worship, apparent in the architecture of these societies. (Semper, pp. 31-34) As such, this was important to the communal aspect of life.

Personal What is a church? Can it be more than a church (should it?) Veneration and respect for a church shared among believers and non-believers alike Demanding of your attention – subject/subject relation between man and architecture (you are forced to lower your voice, listen, be mindful of your being in the room etc.) Dynamic relation between “the collective” and “the individual” The experience of churchgoing has a profound impression on you (even more so than the other alternatives) We are personally motivated by the church-assignment, even more so than the other available assignments

Societal The church is a physical manifestation of worship as it relates to rituals, community and belief. The church is a place for gathering as a community, but also a place for personal belief and reflection Decrease in significance in recent years, yet there are still many, to whom religion is central to their being For some the church still holds relevance, not for the religious aspect, but more so for the communal activities such as weddings, Christmas service etc. The church fosters a community, and the community is what keeps the church alive, therefore the church should be placed where there is need for it

Method Material presented within this paper outlines the conceptualisation and development of a design proposal for a church located on the Faroe Islands. The Program-section represents the theoretical groundwork of the design process and employs both quantitative and qualitative analyses in order to research subjects.

Horisontal and Vertical Development; Progression is based on an alternation between vertical and horizontal development of the concept. This is characterised as evolution and revolution respectively and denotes development of core ideas as well as iteration based on select parameters.

St r ucture

The vertical development represents the same ideas morphing and adapting to the current conditions at any point during the process thus evolving and changing as the design is advanced. Horisontal development - Versioning based diﬀerent basic roof-geometries in At times it might also be necessary toon investigate order to widen the design investigation and certain aspects of the design by comparing a larger form the basis for decissionmaking (Revopool of data and results. In this instance, the devellution) opment can be characterised as horisontal rather

During the design process different investigations are carried out, many of them utilising simulations. Analysis of results serves to qualify decisions made in cases where multiple different solutions are considered or the outcome may be very dependent on the specifics of the simulation. The final proposal showcased in the Presentation-section of the paper is the result of an integrated design process, covering subjects such as tectonics, acoustics, phenomenology etc.

Revolution

Studies and Design Investigation; Studies in the context of this paper refers to the analysis and discussion of data in the form of literary works and illustrations in order to provide additional information and general knowledge to help steer the design development.

Design Drivers and Design Criteria; The findings of studies and design investigations prompts the adoption of design drivers that serve to steer the process and instigate new investigations. Design Criteria compliment the drivers by providing means of evaluation solutions. This helps to substantiate and concretize the concept throughout the design process

Theory is applied directly to the design using design investigations. In a seInstinse this provides a small catalogue of potential responses to be used in the advancement of the design proposal.

Evolution

than vertical. This leads to the creation of various Vertical on development - Iterations of variterations that are presented and analysed equal ious concepts in order to further the buildfooting in order to evaluate and compare their proing design (Evolution) perties.

Ill. 1.

Program

Tectonic Design: Structure & Construction

Strendur

Introduction to the Site - Landscape, vegetation, and topography

Strendur

New housing New tunnel New housing New tunnel

Ill. 2. image of the Faroe Islands (atmospheric)

The Faroe Islands lies in the Gulf stream and therefore has a mild climate, considering its latitudinal position. The average temperature ranges from 3°C in the winter to 13°C in the summer. Even though the temperature is quite consistent over the course of the year, The Faroe Islands has constantly changing weather. The weather can change between rain, sunshine, fog, and cold winds in a single day. Some say that one can “experience all four seasons in a single day” (Visit Faroe Islands, n.d.).

scape is dominated by green grass and grey-black rocks; creating a very homogenous landscape. (Visit Faroe Islands, n.d.) The Faroe Islands has always been famous for their sheep. Faroe being derived from Norse literally meaning “sheep island”. In fact, sheep outnumber people about 70.000 to 50.000. Apart from providing wool and meat, the sheep serve a cultural purpose. Sheep on the Faroe Islands roam freely outside bigger towns, meaning it is very common to meet a sheep when traveling the islands (Føroya landsstýri, n.d.).

The landscape is of volcanic nature, constantly changing, with both rolling hills and steep cliffs (Make.fo, n.d.). Trees only grow in a few select spots. The land-

Ill. 3.

Strendur; In 2017 the construction of Eysturoyar tunnel began. A tunnel connecting both sides of Skálafjørður to Tórshavn, decreasing the traveling distance substantially when finished in 2020. This means that Strendur and the area surrounding it becomes more attractive as a suburban alternative to the capital (Johannesen, 2018). With this increase in population, the existing church of Strendur cannot house the congregation

ninsula marks the endpoint of Strendur and is accessible from a larger road passing the town. This road continues around the island and leads to two small towns. When standing on the middle of the peninsula, one can see the ocean on both sides. Giving the impression that one is standing on a hill in the middle of the ocean.

Site; As of now, Strendur has one church located in the northern part of the town. The site of the new church is located south of the city, on what is called Tangavegur (toungue road). The church is located close to a monument for sailors lost at sea. The pe-

Vernacular Architecture Study

Frampton notes how artists at times would retreat into a state of introversion, in order to assess and re-evaluate the role of the arts in society. Yet, the arts continue to be commodified in the postmodern society, playing into the established regime/world order (in this case late capitalism) thus losing track of its original purpose embodied in the term ”avant-garde”. Ultimately, this leads to a state of apparent placelessness in a world that is increasingly dominated by mass media and globalization, perhaps even approaching monoculture. Frampton posits an attitude of ”arriére-garde” as the only true liberation of architecture, outlined in this instance as “free from notions of unrealistic progress for the sake of progress”, and from reactionary, non-conformist ideals. (ibid, pp. 19-20). It is a critical approach to modernization, but at the same time it is important that architecture doesn’t devolve into nostalgia and imitation of past eras. Critical Regionalism embraces both modernity and importance of place.

roofs as well as simple wood finishes. Most churches are located near the sea. (https://www.folkakirkjan. fo/folkakirkjan/um-folkakirkjuna/) Case-study of Viikki Church; Viikki Church designed by JKMM Architects was built in 2010 and is located in Helsinki, Finland. Wood is used as the primary material for exterior as well as interior cladding and for the loadbearing structure. It affects the aesthetics of the architecture, and impacts the sensation of smell, sound and touch. This ties in with the notion of tectonics. It is a matter of revealing the tectonic framework of the building, not for the sake of technology in and of itself, but as poetic conjunction of structure and construction facilitated by technology. The mediation of structure and construction is regarded by theorist Eduard Sekler as the hallmark of a tectonic approach. Here the experience is as much grounded in the merging of structure and construction as it is grounded in the expressive and emphatic qualities of the architecture. (Sekler, pp. 72-74)

Nordic Vernacular Tradition; With a location in the Nordic countries, specifically the Faroe Islands, it is relevant to consider Vernacular architecture in relation to Critical Regionalism.

Ill. 4.

The purpose of the Vernacular Architecture Study is to provide an understanding of approaches to creating architecture that responds to its surroundings on a physical and symbolic level.

elements derived indirectly from the peculiarities of a particular place.” (Frampton, pp. 21) Frampton points to the avant-garde when explaining societal evolution in the age of modernization. The adversarial nature of avant-garde means that it naturally oscillates between states of propagating modern ideas and more traditional ideals in opposition to the widely accepted direction of society at any given point in history. (ibid, pp. 18) The counter-cultural and experimental arts challenge the status-quo, hence the term ”avant-garde” meaning “vanguard”. It can be argued, that this dynamic has ultimately brought about a positive development of society, as culture seems to never stray too far in one specific direction (which could work to the detriment of all by becoming a state of only marginal evolution, or even complacency).

Faced with the inherent ”loss of place” of a modern, universal civilization, architecture must address the issue of dwelling. Heidegger points to the importance of a clearly defined boundary as the precondition for dwelling and identification with one’s surroundings, both physically and metaphysically. (Heidegger, pp. 154-156, 160). The plight of “being” as an extension of dwelling forces the architect to seek ways of applying their practices to accommodate the conditions of place. Architect and historian Kenneth Frampton outlines Critical Regionalism as an approach to combatting placelessness: “The fundamental strategy of Critical Regionalism is to mediate the impact of universal civilization with

The exposed loadbearing pillars are connected by beams passing through multiple elements, functionally resembling the clasping effect of pincer beams in stave churches that align and secure the posts/ staves. The exterior cladding of Viikki Church is very textured, as is also the case with the scaled wooden roofs of its medieval counterpart. The emphasis on wood to create structures establishes a symbolic relation with the deep and dense forests so often associated with Finnish nature. This evocation of the experience of walking in local forests shared by many of its visitors constitutes the emphatic element of the architecture.

Until the middle of the eleventh century Scandinavia remained largely outside the Christian sphere of influence. Vikings returning with missionaries from raids in England marked the beginning of a conversion from pagan beliefs. With the missionaries’ knowledge of Christianity, church architecture arrived as well. Simple plans of parish churches established on principles from early Christian examples became models for the Scandinavian churches. The stave churches, or narrow-board churches, of Norway manifested themselves as a mixture of these simple plans and the vernacular building traditions of the region. (World History of Architecture, pp. 184, 210) The Finnish counterparts to the Stave Church also featured local materials and principles of construction. In both cases, wooden logs and staves where used to construct steep gables.

At the same time the church embraces modern methods of construction by employing prefabrication for many of its elements. (https://jkmm.fi/case/390/) The spatial layout further indicates that this is a church designed to accommodate current needs of the congregation by including a parish hall, offices, meeting rooms and a kitchen in addition to traditional functions like the church hall, sacristy and bell tower.

Early Faroese church architecture originates from other examples in the Nordic countries, specifically from the Danish and Norwegian tradition. The Faroese churches later became part of the Danish-Norwegian state church following the Reformation. The most distinctive examples in the context of the Faroe Islands are the 19th century wooden churches. They are often painted black and feature grass covered

Viikki Church exemplifies a contemporary critical regionalist approach to church architecture by using modern methods of production and traditional materials to express tactile and tectonic qualities.

In conclusion the approach of Critical Regionalism involves a conscious assessment of architecture and its surroundings in order to reaffirm the sense of place and dwell poetically. In relation to this project, it involves merging aspects of a contemporary universal civilization with the vernacular of Scandinavian architecture and the intrinsic qualities of the location. It is not a matter of mere subjugation to the conditions of the site, but rather a matter of mediating architecture and place. This is to be achieved in part by engaging with the topography, whether it be through the creation of terraced spaces, or situating the building on natural plateaus, as opposed to modifying the terrain to accommodate the architecture. The Critical Regionalist approach also involves revealing the tectonic elements to the perceiver and focusing on the legibility of the structure.

Ill. 5.

Ill. 7.

Ill. 6.

Church Typology Study

Ill. 8. Floor plans of a longitudinal church and a central church The purpose of the Church Typology Study is to research the general layout of churches and identify key elements to be included in the design proposal. The architecture is studied from a historical perspective and analysed in relation to functional and symbolic aspects.

columns or piers. In some basilicas the nave would lead to an atrium, with the narthex, an entrance porch or chamber before the church, separating the two. The nave and the aisles lead to the apse where the altar is located as exemplified in the layout of the Old St. Peter’s church in Rome (Moffett, M., Fazio, M., Wodehouse, L. (2008), pp. 120-121, 134-136, 151)

Church architecture has evolved and developed through the years in response to changes in functional requirements and the role of religion in society. The roman basilica serves as the typological foundation for many churches and is the base for some of the earliest church-buildings with relatively minor alterations.

This layout highlights an emphasis on hierarchy and sequence of spaces, starting from the open atrium that retains a connection with the physical or mundane world, then entering the nave marking the space for the congregation. The sequence is terminated in the apse representing the most holy space in the church where the alter is located, and worship is directed towards. This layout lends itself well to processional acts and has an easily discernible logic regarding its different functions.

Church layout; The general layout of the ancient basilica had the nave, a long tall central space, running parallel to narrow aisles on both sides separated by

Ill. 9. The four core acts.

The axial composition is contrasted with the centralized, often circular, plan widely used in Greek Orthodox churches originating in the former Byzantine. There is an inherent larger degree of omnidirectionality in the layout which helps direct attention towards the central space under a dome. This points to the importance of the Mass. However, in many churches, the social hierarchy of the times still dictated a separation of clergy, nobility and commoners, meaning that the latter would sometimes only inhabit the galleries surrounding the main space. (ibid. pp. 142-143,151)

attention towards the central space under a dome. This points to the importance of the Mass. However, in many churches, the social hierarchy of the times still dictated a separation of clergy, nobility and commoners, meaning that the latter would sometimes only inhabit the galleries surrounding the main space. (ibid. pp. 142-143,151) These features serve as the foundation of church activity. Several other functions can additionally be expressed in the architecture. The church room, or “Church Hall” can be considered the main component in the context of a larger “Church Complex”. In order to distinguish these, it seems appropriate to focus on the acts associated with them. Architect and academic Roger Tyrell outlines the “verbs of architecture” as acts resulting from a conscious or unconscious need in the individual, forming the “nouns of ar-

Church functions; The axial composition is contrasted with the centralized, often circular, plan widely used in Greek Orthodox churches originating in the former Byzantine. There is an inherent larger degree of omnidirectionality in the layout which helps direct

chitecture”, in this case the physical manifestation of buildings (Aalto, Utzon, Fehn, pp.144, 148-151). Each function of the church is encompassed by a verb and it can be argued that there are four core acts that are intrinsic to religious life:

blished to the early basilica and its adjacent atrium, and at the same time creates a space that invites one to settle down momentarily. Central to the architecture is the precise hierarchy of spaces, where the courtyards invite and embrace ordinary life, while the church room is the space that connects heaven and earth symbolically. The significance of this room is reinforced by the architecture as the use of light is an important component of religious buildings. As in examples from Gothic architecture, light serves to guide the attention towards the heavens. This building is thus modern in its expression, with simplicity of forms and general sense of transparency towards the courtyards, but at the same time rooted in longstanding traditions of Christian architecture.

- The Church Hall itself is central to religious acts and represents the meeting of the mundane and the divine. (To worship) - The Church Tower housing the bells are used for liturgical ringing and announce the commencement of church service and masses. Additionally, they are used to mark occasions of either sorrow during funerals, or occasions of joy, such as weddings. (To herald) - The Chapel can serve multiple purposes and is sometimes associated with funerary rites. It is ancillary to the Church itself and is either freestanding or connected to the larger building. (To reflect)

In conclusion, the four core elements of church architecture outlined above cover acts related to both ritualistic practices and non-service related congregational purposes. These structures may be incorporated in all iterations of the church design, and additionally helps inform the Spatial Programming. The study also points out the symbolism tied to many acts of churchgoing and how the architecture may be seen as the embodiment of these.

- The Congregation Hall provides space for communal activities such as congregational meetings, talks and lectures. The Congregation Hall is often a separate building to older churches but may be connected physically with the Church Hall in newer church complexes. (To gather) The architecture associated with the churches of today is based on what the church represents in a communal and philosophical perspective; a community, a code of morality and a humane ideal. The church buildings offer spaces for either conversation or reflection and is an institution marked by an aura of permanence. It can be argued that ”If the church changed every time cities and society changed, then we as humans would probably lose confidence in the church” as architect Jen Bertelsen writes in his article ”Mellemrum & mellemtid”. It is therefore important that the church remains a constant in the lives of its congregational members and stands as a symbol of steadfastness, both in difficult times but also in cheerful moments. This means, that it is the architect’s responsibility to relate to the church’s core values, its tradition and its history. (Bertelsen, J., (2019) Case-study of Inglheim Funeral Chapel; While church architecture has evolved over the course of many centuries, some key features of the earliest examples may still be identified in many of the churches of today. In the Ingelheim Funeral Chapel, designed by Bayer & Strobel Architekten and built in 2012 in Germany, entrance to main chamber is facilitated by an enclosed courtyard. A reference is estaIll. 10. Section and plan of the Ingelheim Funeral Chapel 20

Ill. 11. Ingelheim Funeral Chapel 21

Visual Structure Study

The purpose of the visual structure study is to investigate the visual impact structure and construction may have on a space. The perception of depth and boundaries within a room is examined using three case studies; The Scargill Chapel in England by George Pace, Fritz Höger kirche in Germany by Ossip Klarwein and the Kogakuin University archery hall by FT Architects.

of each arch, which is used to accentuate the colours of the light from the windows. Because the walls and roof do not follow the shape of the arches, multiple spatial experiences can be perceived; one from the perspective of the entrance, where you only see the space created by the pointed arch, and another once you enter the nave, and the walls and roof become visible. The dense frames hide the shape of the outside construction from certain perspectives.

Straight structure; Scargill Chapel George Pace, Skipton, England, 1960.

Joint structure; Kogakuin University Archery Hall, Tokyo, Japan, 2013

The main structural load bearing system of the church is composed of large straight wooden pillars, set up in a triangular frame, which are visible in the nave. There are six of these pillars in the length of the nave, one in each gable, and four in between, with about 4-5 meters between each pillar. Around 2/3 of the way down each pillar, the roof is slanted at a different angle, creating space for the aisles around the main hall of the nave. The spatial boundary between these aisles and the nave is defined by the pillars, as the nave is the space created within the frames of the construction, and the aisles is the spaces created outside the frames. The relatively long distance between the frames makes the room feel open and light, since the pillars are not close enough to block the visibility of the ceiling from most perspectives. The wooden elements responsible for bracing and providing lateral stability are visible in the ceiling between each of the load bearing frames, creating a visible grid which, while very simple in composition and function, create an intricate visual experience when viewed in perspective.

Built with a relatively light structure, the simple grid composition carried out in a larger scale gives a very intricate spatial experience. The parallax between each layer of joints creates a varied spatial impression, using just a simple grid structure. As you walk through the room, the view through the grid is constantly changing, at some places creating views that tunnels straight through the entirety of the grid, and at others creating a wall of elements. Because of this effect, the spacing between the joints, and the size and complexity of these joints greatly changes the experience of the space. Furthermore, by changing these joint to a Chidori type joint, the entirety of the composition might change drastically, since the thin beams create a bigger gap in the same grid size.

Ill. 12.

Ill. 15.

Ill. 13.

Ill. 16.

Ill. 14.

Ill. 17.

In conclusion, the size, depth and density of visible, structural frames in a nave has a tremendous impact on the spatial experience of the room. This impact could be investigated by comparing different frame and grid composition and density.

Curved structure; Fritz Höger kirche, Berlin, Germany, Reconstructed 1965 The structural load bearing system of the church is a combination of the outer wall and pointed arch frames. These frames are relatively close, with around 2-3 meters between each frame, and an increasing width in section at the top. At the bottom of the frames the wall opens up, creating an aisle on the outside of the frames. The differentiation between the aisle and the nave is very clearly defined by the large number of arches, which are close enough to cover the entirety of the wall and ceiling from the perspective of the entrance. This denseness of the arches makes the spaces created inside the frames of the construction more defined, while the thickness of the elements create a sort of canvas on the side

Microclimate Design Investigation

Radiation

Surface Area [m2]

Radiation pr. Area Total Radiation [kWh/m2] [kWh]

Iteration 1

3422,8

429,5

1,47 E+06

Iteration 2

2987,8

480,6

1,44 E+06

Iteration 3

2951,9

451,6

1,33 E+06

Iteration 4

3297,7

419,2

1,38 E+06

Iteration 5

3566,8

425,2

1,52 E+06

Iteration 6

2946,2

436,5

1,29 E+06

Ill. 18. Iteration 1

Ill. 21. Iteration 4

Ill. 19. Iteration 2

Ill. 22. Iteration 5

Ill. 20. Iteration 3

Ill. 23. Iteration 6

the lower half. It is theorized that this might be due to shading on the courtyard, and a smaller surface area facing directly south. If solar radiation on surfaces and subsequent potential passive solar gain is the most important parameter, then iteration 2 with its relative solar radiation amount of 480.6 kWh/ m2 performs better than iteration 4 with only 419.2 kWh/m2.

The purpose of this investigation is to uncover the effects of some of the microclimatological conditions specific to the site, on different iterations of the volumetric composition. All layouts have an approximately equal area of 1000 m2 and include the four core elements identified in the church typology study as well as some additional spaces. The largest single area is the church nave, followed by the congregation hall, then the chapel. The church tower is also included, as its volume and height affect the simulations. They are arranged according to three principles:

The wind simulation indicates a general tendency for turbulence in the leeway of particularly the church nave. Greater speeds of wind occur near the church tower, however it may be reduced by placing a smaller structure in front of the tower when facing the direction of the wind as in iteration 2. The highest velocities near the church can be identified in iterations 3, 4 and 6, suggesting that large planar surfaces perform worse than smaller, perforated compositions.

- As volumes directly attached to a centralized courtyard/cloister (Iterations 1 and 4) - As clusters of free-standing volumes or volumes connected by hallways (Iteration 2 and 5)

The church nave as well as the church tower produce the largest shadows, thus indicating, that functions located north of these should not require direct sunlight.

- As a collection of closely located volumes forming a compact whole (Iterations 3 and 6) Surface area is calculated in order to indicate amount of material needed, but also which iterations risk losing more energy due to transmission of heat. Iterations 3 and 6 thus fare better than the others, however it may prove difficult supplying ample amounts of natural light in some of the innermost spaces.

In conclusion, the microclimate investigation indicates that some variations of the design perform better according to certain parameters of the simulations, while others fare better when held against yet different parameters. This points to the importance of valuing parameters when designing for building performance, however it is also important to bear in mind, that there are many other aspects not covered by this design investigation, that may indicate entirely different iterations as “better performing”.

A radiation simulation was conducted using Ladybug plug-in for Grasshopper. As is to be expected, there is a strong correlation between surface area and total radiation. However, while iteration 4 has the third largest total surface area, its total radiation ranks in

Ill. 24. Iteration 1

Ill. 27. Iteration 4

Ill. 30. Iteration 1

Ill. 33. Iteration 4

Ill. 25. Iteration 2

Ill. 28. Iteration 5

Ill. 31. Iteration 2

Ill. 34. Iteration 5

Ill. 26. Iteration 3

Ill. 29. Iteration 6

Ill. 32. Iteration 3

Ill. 35. Iteration 6

m h/ kW

0 80

0 0.

0 60

0 50

0. 40

0 0. 30

0 0. 20

0. 10

. <0

m/s

Conceptual Acoustics Design Investigation

Wood

The purpose of the conceptual acoustics investigation is to gain insight into how the geometry of a space and material of the nave affects the acoustic. Specifically, the reverberation time; T-30. Wood, concrete and acoustic blankets have been simulated, to see if one parameter is dominant over the other.

The five spaces use the same floorplan of 20m X 30m with an approximate height of 12 meters. The source and receiver are placed in each end of the nave. Three schemes have been made, one for each material, with five columns in a spreadsheet, one for each space. The different geometries are compared to the average in the specific octave. This creates an easy overview and provides insight into which spaces have longer reverberation time than others.

A rule of thumb in acoustic studies is that an increase in volume leads to an increase in reverberation time. This is also true when looking at the concrete scheme, where the two biggest spaces have the highest reverberation time. But when looking at the wood scheme of the smallest space, it appears to have the longest reverberation time across several octaves. The reverberation time is also high when the material is acoustic blankets. This observation is also found when comparing space 2 and 3, which have almost identical volume. This indicates that the geometry of the space affects the acoustics more so than its volume.

Concrete

Of other interest is the fact that space 5, which is above average reverberation time when constructed using concrete and acoustic blankets, but below when constructed using wood. This indicates that in some spaces acoustic properties are heavily defined by the materials, rather than the geometry.

In conclusion one parameter is not universally dominant over the other. Geometry, volume and material, all interact differently. This investigation provides a library to use as inspiration in the design development, consisting of five spaces constructed using three different materials, informing the acoustic properties of each of these rooms.

5 Ill. 36. The five spaces

Ill. 37.

Spatial Perception of Structure Design Investigation

Ill. 38.

The purpose of the spatial perception investigation is to better understand how the density of the visible structure and composition impact the experience of a room.

composition, split into two different compositions, a straight linear and a concave curve. Both were then tested with the bottom of the pillars either on the ground, or lifted 2 / 8 meters, and these frames were then tested with different amounts.

Six different frames were visualized, each 10 meters wide and 11 meters tall, in a 20-meter-long nave. Different amounts of frames were placed, ranging from three to eight frames spanning the length of the nave.

It is clear from this investigation that the amount of frames has an impact on the visual perception of a room. The more frames are placed, the more the frames dictate the visual impression of the room, to the point where the outside shell is no longer visible between each frame. Lifting the bottom of the pillars

These frames all follow the same standard triangular

Ill. 39.

also help to bring more air into the space occupied by the users, but greatly changes the impression of the room.

has on the overall perception of said grid, while also comparing the visuals of a very simple joint and a more complex joint.

Alongside the frame, two different joint grids were also visualized. The joint designed by FT architects used for the Kogakuin University archery hall was tested alongside a standard Chidori joint of the same dimensions.

In conclusion, the complexity of the joints will have some impact on the visual experience, and the size of the grid carries a lot of power in these compositions. At some point, the structure becomes more joint than connecting wood, and appears much heavier

This was done in order to better understand the impact varying amounts of joints in a composition

Spatial Program Room

Size (m2)

Monumental Scale Function

Capacity

Atmosphere

Acoustic

The Church

Light

The Church Church Hall

500-700 m2

Sacristy

20 m2

Sacred

Entrance Hall & Hallway

350 m2

Common

Storage

20 m2

350-500

Sacred

Introvert

Extrovert

Administration

Reverberation Diffuse/ time 2-3 sec Direct

Congregation

Diffuse/ Direct

Congregation Hall

100-200 m2

50-100

Common

Office

30 m2 (15 each)

1-2

Administration Introvert

Diffuse

Meeting Room

50 m2 (25 each)

6-10

Diffuse

Toilets

30 m2 (5 in total)

Administration Introvert/ extrovert Common

Storage

20 m

Administration

Kitchen/Dining

30 m2

Administration

Technical Facilities 10 m2

Administration

Extrovert

Chapel

Meeting room Profane Atmosphere

The Congregation

Sacristy

Office

Spiritual Atmosphere

Reverberation Direct time 1,5-2,5 sec Kitchen

Entrance Hall WC

Storage

Human Scale

The Chapel Chapel

80-100 m2

20-50

Sacred

Introvert

Reverberation Diffuse time <1,5 sec

Adminstration Office Meeting room Toilets Storage

Ill. 40. Spatial program // Overview of the spaces the project will include and their properties Ill. 41. A graph showing // the relation between the atmosphere of the building and the building. The graph shows that the size of the building and the atmosphere are connected; the more spiritual the atmosphere, the more monumental the scale

Congregation Kitchen Storage

Ill. 42. Rooms in relation to each other // An illustration showing the physical connection between the main building volumes in the church complex and what rooms they cover

Entrance Hall

The Chapel

The Church Sacristy Stor

Design Drivers + Design Criteria Driver

Using structure, acoustics and light to articulate spaces

Criteria

Nave; Visually striking (but non-intrusive) structure, long reverberation (2-3 seconds), direct light from above and diffuse light in the gable

The Nave

Chapel; Visually subdued structure, low reverberation (<1,5 seconds), diffuse light (garden to the north, diffuser in roof )

Worship/ belief

Congregation; Visually striking (but non-intrusive) structure, low reverberation time (1,5-2,5 seconds), direct light from multiple sides.

The Tower

Signify to people

Administration; Visually subdued structure, low reverberation, diffuse light from the north(working light)

The Church

Congregation hall

The Chapel

gathering/ community

Reflection

Driver

Readable volumes/function outside and inside

Criteria

Retraction of entrances Framing functions using sightlines inside (mentally adjust to the situation - anticipation etc.) Different morphological principle for primary functions and the circulation area/connection area

Driver

Identifiable entrance

Criteria

Tower as indicator of entrance Use of volumes to frame entryway

Driver Ill. 43.

The spatial program is inspired by examples of existing church such as those that appear in the case-studies above. The spatial program of the church has been divided into three section; The Nave, The Chapel, and The Congregation Hall. Each of which contain different sub-functions, outlined in the illustration 43. This tri-division should be seen more as a spiritual division; while the physical building is divided into four, because the administrative part of the church complex has its own volume.

The Tower appear outside the triangle formed by the previously mentioned sections as it does not relate to any single function within the church itself. Instead the tower symbolizes the connection between the church and the city, through its function of view and sound.

Criteria

Driver Criteria

Courtyards emphasising three different atmospheres Enclosed space suggesting reflection Wide, open space bridging the outside and church Internal courtyard for gathering and interaction between visitors Four different primary functions with their unique atmospheres, related to the associated acts (worship, reflection, congregation, administration) Entry to the church is centered on the gable, to strengthen initial impression

Design Process Tectonic Design: Structure & Construction

Sketching Design Investigation

Ill. 45. The integration of a courtyard within a building was investigated. Sketches of the courtyard were used to figure out how they should be furnished, with ideas ranging from a raised wooden plateau to a flat space covered in gravel.

Ill. 44. Above illustration represents an outtake of some sketches, which was an investigation into how volumes could be shaped and organized. The sketching led to a discussion of which elements should be included in the design, and how they were to be organized. The shapes differ by ranging from organic roof structures to angular and sharp; by multiple buildings with and without hallway connections to singular building, and the iterations in between. From these sketches two design drivers were identified: the inclusion of courtyard and readability of volumes/functions. This led to the spatial syntax investigation.

The drawings represent outtakes from a discussion of how the physical meeting between the courtyard and the buildings should be carried out. The investigation covers the look of the gable, window placement and how raising the plateau will alter the sensation of entering the complex.

Spatial Syntax Design Investigation

Following the initial composition sketches, a workshop focusing on the spatial syntax of the church was conducted. For this workshop, the five main volumes were defined and given a size. The nave – 16x40m The congregation halls – 12x16 The chapel – 8x12 The administration – 8x16 The tower – 4x4 These volumes were then arranged in different compositions, in order to investigate the spaces created between each of them. Some recurring elements were identified in multiple different iterations, such as the inclusion of a central courtyard, the use of the tower to visibly mark and define the entrance and allowing the eastern façade of the nave to be visible from the outside. The entrance to the nave was created with instances of entry both from the side and from the gable. Different ways of arranging the hallway and facilitating circulation were also identified across different iterations, such as using it as either a spine, a central room, or a circular path surrounding an atrium to connect the building volumes. One feature which was identified in most of the compositions was pulling back the hallway from the façade, allowing the building volumes to stand out. A series of five roof shapes were designed alongside the main volumes, and held up against each layout compositions, to obtain an understanding of how the orientation of the roofs could have an impact on the space between buildings. Additional plans and sections can be found in appendix 3.

Ill. 46. - 47. Various iterations of the layout of predetermined functions within the church complex. Ill. 46. 40

Ill. 47. 41

Sketching in 3D Design Investigation

Ill. 48. Following the spatial syntax design investigation, each of the plans were tested with the five roof shapes. Three of the five roof shapes were relatively quickly cut since these had either an asymmetrical inclination or hipped roof proving functionally difficult. Two of these were hipped roofs, which had low directionality and posed problems with the regularity of the internal frames. The hipped roofs influence on the space between the volumes was also low since they by definition were slanted away on all sides.

Ill. 49. The last of the cut roofs was lifted on one side, orienting the volume to only one side. This shape did not have enough internal space for an organ and was therefore scrapped. The two remaining roofs both had gables, one with a plane slanted roof, and the other a curved roof. These roofs had many similarities in the sections, both in terms of the space between and within, and both were brought forward for further analysis.

Structure Sketching Design Investigation

Near the beginning of the project a workshop was used to initiate the process of designing the structural system. This workshop was extended and turned into an investigation of how the structure inside a volume would affect the space. The design sketching produced some conceptual structures which were flat on the wall and others that were more prominent in the room. This helped determine how much the structure should enter the room, and lead to the adoption of a system of frames as the structural principle for the different spaces. ill. 50. Outtake of the sketches which acted as a nexus in the discussion of the workshop. Both sections, perspective, and details proved relevant to the discussion. As seen in many of the sketches a scale person is included to better understand the relation between the structure, space, and visitors. ill. 51. Outtake of sketches which represent further developments from the structure workshop. The sketching phase was used to provide a quick overview of some of the possibilities the frame could bring. Ill. 50.

Ill. 51.

Ill. 53.

Ill. 52 - 53 To better understand the impact of the structural system on the space, the frames were modeled in a 3D environment, which also included different roof inclinations. These models provided the possibility for qualitative analysis of the structures and the space. Ill. 52.

Space and Structure Design Investigation

Deformation

Static scheme

Ill. 54., 57. Low material use but with high displacement; suggesting that more material will be necessary. The frames give a sensation of lowering the space from the roof; which also has the effect of creating an empty space in the top of the room. The high placement of the note in the crossbeams makes the lower crossbeams imitate the roof inclination Displacement [cm]: Mass [kg]:

259,7 6407,3

Ill. 54.

Ill. 57.

Ill. 55.

Ill. 58.

Ill. 56.

Ill. 59.

Ill. 55., 58. Good relations between amount of displacement and material use, compared to the others. Has stabilizers in the outerframe which the crossbeams are mounted on. Divides the room in a lower and upper space, removing the sensation of entering a grand space. The angle of the crossbeams gives a halt stop to the roof inclination, increasing understanding of this divide. Displacement [cm]: Mass [kg]:

107 6802,2

Ill. 56., 59. Good relations between amount of displacement and material use, compared to the others. The crossbeams are parallel to the outerframe, which means the structure enlargens the roofs impact on the observer. This structure does have a large impact on the occupation space, which means there is less room for church goers. Displacement [cm]: Mass [kg]:

86 7482,4

Static scheme

Deformation

Ill. 60., 62. Very good relation between displacement and material use. Though the relation between displacement and material is good, the lower part of the outer structure is not stable unless the columns are fixed, which means there is a need for very large supports. Which could mean more material use in the end. Displacement [cm]: Mass [kg]:

51,1 6083,7

Ill. 60.

Ill. 62.

Ill. 61.,63. Very low displacement, but at cost of high material use. The crossbeams are mounted on the lower part of the outerframe, removing the sensation of the vertical wall raising the roof. The space will be experienced as an A-frame. The 4 joints in the top of the room will give a lot of mass to the upper space; perhaps blocking the roof window. Displacement [cm]: Mass [kg]:

9,2 9247,4

Ill. 61.

Ill. 63.

The space and structure investigation covers different iterations of frame systems. The investigation focuses on the visual qualities, the static scheme, forces, mass, and deformation. The investigation began as an extension of the investigation outlined in the section Structure Sketching. These structures where modeled as 2D frames using the software Grasshopper and Karamba3D. The structures were modeled with a generic cross section, as to decrease the number of parameters and make them more comparable. Before any qualitative assessments were made, the structures were optimized using Octopus multi-objective, seeking a better correlation between deformation and mass.

Natural Light Design Investigation

Ill. 64.

Ill. 65.

Ill. 64. - 67. The spatial experience created by the frame structures and four variations of roof window has been investigated by examining how these influence the spread of light in the room. The four variations are:

- A horizontal band of windows - No windows - A small strip of windows - A wide strip of windows

This investigation highlights the need for a skylight since having only a gable window in the nave makes the space otherwise too dark. It also shows how the frames clearly define the room, the effect of which should be further investigated. While examining the light using the frames from the Space and structure investigation, the light using the curved roof was also considered. However, this roof created a much darker interior since the light has to enter through a bottleneck. (s. 54-55)

Ill. 66.

Ill. 67. Following the investigation of the influence of the frames on the light conditions, a new frame structure was designed, with a focus on the hierarchy of element sizes, while removing the topmost crossbeam, since this element was discovered to have only minor internal forces. This creates the effect of two separate walls, inclined against each other, with a continuous strip of light in the top, rather than a complete shell with perforations in the roof. This effect is further

increased by the hierarchy of beam sizes, keeping the elements following the walls larger than the elements moving across the room, which makes the structure visually lighter, while highlighting the opening. Seeing as this hierarchy reduces the size of the elements blocking the sun, more light is also allowed into the room compared to some of the previous iterations of the frame structure.

Acoustic Design Investigation

Four different spaces have been investigated, but the focus has been largely on the nave as it is the most important experience of the church complex.

sitions for the nave, chapel, congregation hall and hallway area. Focus was on reverberation (T-30), Definition (D-50), and Sound pressure level (SPL), with different parameters for the four spaces tested.

Nave - Wood Lamella - Pulpit - Organ

ill. 68. Preliminary raytracing drawn during the first workshop, showing the difference between saddle and curved roof ill. 69. The four different geometries simulated when investigating geometry and material

Ill. 68.

Chapel - Wood Lamella - Ceiling panel - 2- and 4-meter frame grid

The process can be divided into three categories, which will be explained below: - Geometry - Material - Detailing

Congregation hall - Wood Lamella - 2- and 4-meter frame grid

Four different nave spaces were conceptualized, and a material study in relation to acoustics was conducted concurrently. The expectation of this investigation was to investigate whether roof geometries would have a major impact on the acoustic environment of the space, and if the environment could be altered by materials.

Hall area - Cassette roof or not The nave; contains three specific sources which are crucial to the act of communion: The priest speaking from the altar, from the dedicated pulpit, and music originating from the organ in the west end of space.. The priest must be hear clearly throughout the whole church from both positions, and the organ must fill the entire space with music. Sources were placed in these positions, and receivers were distributed across the seating area.

The parameter T-30 was used to verify the space in relation to the goal of a reverberation time of 2-3 seconds. The model was simplified to optimize the simulation time, by removing details which were considered negligible A source was placed centered in one end of the space, and a receiver in the other end.

The expectation was that a person speaking at the alter will be clear the first couple of rows of seating, but maybe unclear in the other end of the church. This proved to be the case, as the SPL was around 70 dB at the backend of the church both with and without the lamella; however the definition rose from 35-40% to 50% by adding said lamella to the ceiling. The high reverberation time could however decrease the articulation.

When looking at the results of the simulations, it was evident that shape alters the reverberation time; but not enough to fit different functions, like speech or music (when referring to Hyperphysics’ model, see appendix 1). But these changes could be obtained by using different materials. The reverberation time in some of the frequencies could be lowered 50% or 1 second by changing just the floor and the walls to wood instead of concrete.

The pulpit was to be compared with the altar, and in both cases with and without wooden lamella. When comparing sound origins from the pulpit and the altar it is clear that the elevated position of the pulpit near the wall increases the definition throughout the whole church. The wooden lamella additionally accounts for a 10-20%-point difference however in the case of the organ music the difference the inclusion makes is insignificant and cannot be used to inform the design.

These findings indicate that acoustics should not form the basis for verification of design iteration on its own in this part of the process. The expectation is that the inner structure in the rooms will have a larger impact than the overall geometry. Detailing; The detailing phase of the acoustics investigation focused on more specific design propo-

Ill. 69. The chapel; has a larger emphasis on the intimacy of the space, which should be obtained by having a low reverberation and a high definition which increases articulation, thus allowing the occupants of the space to speak at a lower volume.

situation with a sound system placed on the stage is simulated with three receivers; two placed seated in the audience and one in the balcony. In the congregation hall two design parameters were used as the basis of the simulation; the number and spacing of frames (every 2- or 4-meters) and inclusion of lamella in the ceiling.

In the chapel three different design parameters were used as the basis of the simulations; the number and spacing of frames (every 2- or 4-meters), inclusion of lamella in the ceiling, and an acoustic panel in the ceiling. The situation was performed with a single person speaking in front of an audience. The source was placed beside the coffin, and two receivers placed among the audience.

These simulations showed that the use of lists in the ceiling increased the definition both in the audience and on the balcony but lowered the reverberation. When comparing the loss of reverberation to the gain of definition, it becomes clear that the increase in definition on the balcony and in the back is worth it. These first simulations where done with frames every 2-meter; but further testing included frames every 4-meter.

When comparing the SPL, it shows that none of the design propositions have a noticeable effect; around 2-3 dB difference.

The hall; tis the area to which every other rooms are connected, meaning it is a possibility that multiple people will occupy the space in different groups at the same time. This could lead to a room full of noise, which is not desirable. Therefore, the focus has been on the sound pressure level.

In terms of definition, it is desirable to reach the highest possible value. First 2- and 4-meter frames with list and floaters was simulated. Of these, the 2-meter space showed the highest definition. Afterwards the 2-meter space was tested without lists and the acoustic panel in the ceiling. The list and the acoustic panel showed large improvements to the definition in the room, without greatly altering the reverberation.

The simulation is conducted with three sources and two receivers. Since the materials were tested earlier, this investigation seeks to verify if ceiling cassettes will increase the acoustic space, by decreasing the volume traveling around the space

As The congregation hall; will both host speech and music, it was desirable to have a reverberation time around 1,5-2,5 seconds, and a high definition. A

Materiality and Joinery Design Investigation

Ill. 73. Reference photo of wood façade painted black

Ill. 70. Illustration showing the connection between the tectonic and stereotomic During the process of developing the church, two distinct principles relating to the associated acts of construction are considered. In this instance, the ”tectonic approach” refers to a set of principles guiding and governing construction using a series of particular material but mainly wood. The tectonic approach is juxtaposed by the ”stereotomic approach” which concerns the craft of both stonework, masonry, sculpting and casting, using primarily stone-like materials.

Tectonic Construction; At the core of the tectonic approach is the principle of addition. It is characterized by assembling smaller sub-units of a system into a larger structure. These may be identified on their own as specific elements, such as a beam, column, cladding etc., but when put together form a system. Stereotomics Shaping; Stereotomic materials such as stone and concrete are given form by carving voids, and in the case of the latter also by casting it into a predefined shape. Up until that point the concrete is amorphous and indeterminate in its form, size and usage. The act of casting and carving is therefore what makes the material tangible, while subtraction of material from a larger body or medium is the premise of detailing.

This dichotomy is rooted in fundamental differences in the methods with which tectonic and stereotomic materials are given shape, structured and ordered. The acts related to these crafts mirror the ”Four Elements of Architecture” identified and outlined by Gottfried Semper in his seminal work of the same title (Semper, 1851/1989):

Ill. 71. Reference photo of joint between wood beam and column Ill. 74. Reference photo of burned wood façade Cladding; The use of wood cladding establishes visual relation with the existing and historical architecture of the Faroe Islands. As is the case with many of the traditional buildings, wood should be treated in order to prolong its lifespan and make it more resilient to the effects of the weather and moist. Two methods of treating the external wood cladding is considered. One in which the material is treated with linseed oil and heat, another in which it is treated with extreme heat and burnt, in both cases changing the physical structure and chemical properties of the material.

Tectonic Construction The Roof The Enclosure

Carpentry Weaving

Stereotomic Shaping The Mound

Earthwork

The Hearth

Ceramics/Metals

Both treatment methods satisfy the conditions for usage in an environment characterized by frequent bursts of rain and high levels of moisture in the air. Factors such as cost and weathering of the material is also to be considered, as this presents two different outcomes.

Ill. 72. Reference photo of concrete flooring

Ill. 75. Sketches of joints, to better understand connections Tectonic joinery; The tectonic approach extends to cover not only the structural system, but also the constructional aspects as it relates specifically to joints and connections. This is achieved first and foremost by making the overall structure visible and legible through the act of revealing or disclosing its static properties and materiality unto the observer. By contrasting materials, the act of joining separate elements is emphasized, and the joint becomes an entity unto itself. This act has informed the conditions for creating joints during the design development. Steel is used in many joints to visually mark the transition of forces from one element to the next. Knife plate connecters are embedded in the ends of woo-

Ill. 77. Illustrations of different between the stonewall and wall envelope

den elements but made visible by extending both the base plate and the knife plate itself to coincide with the section dimensions of the wooden elements. While the joints help inform the development of the entire structure, connections are likewise affected by the conditions imposed by the frame system. This results in a relation that is reciprocal, neither fully determined by the overall structural system, nor predetermined by the specifics of the joint and connections. This results in an organic development of the architecture based on an interplay between ”the detail” and ”the entirety”.

Wall tectonics; Use of stone for additional, external cladding is rooted in Faroese building tradition and harkens back to the vernacular architecture thus grounding the building in its surroundings physically and metaphorically. The stone wall serves a symbolic, yet also practical purpose as a shield against the elements which the people of the Faroe Islands ultimately live at the behest of. In this way it becomes a signifier of an existential foothold, suggesting both strength and permanence due to its apparent weight. Ill. 76. Illustration of joint propositions between the crossbeams in the frame

Presentation Tectonic Design: Structure & Construction

Design Development Presentation

The church is developed through a series of morphological actions informed by the spatial program, circulation, and navigation as well as structure and light. The volume of each of the individual functions is determined by a number of factors related to expected numbers of occupants, acoustics of the space as well as necessary sub-functions to be integrated.

Ill. 78. Primary functions, as defined in the Spatial Program, are outlined and arranged within close proximity and in a 4x4m grid.

Ill. 80. Primary functions are connected physically by a secondary spatial entity that facilitates circulation.

Ill. 82. Roofs help define the volume of each of the primary functions and the morphology is informed by the underlying structure.

Ill. 84. Exterior spaces evolve from the voids created between buildings and the surrounding landscape.

Ill. 79. Boundaries of the primary functions are further defined by extruding walls, thus creating separate spatial entities.

Ill. 81. The structural system is adapted to each of the primary spaces from a base frame structure that acts as an archetype.

Ill. 83. Volumes further developed and detailed with window openings to facilitate light in each room.

Ill. 85. The unified building emerges as a result of a specific spatial distribution and a series of morphological drivers.

Function Development Presentation

Ill. 86. All of the primary functions; the nave, the congregation hall, the chapel and administrative offices, are arranged around a central courtyard and oriented according to light conditions and views.

Ill. 89. Visitors enter from east, leading into a circulation concourse, and an ancillary entrance from the north, as well as an additional door located in the southern wall of the concourse space intended for funerals.

Ill. 87. The administration area contains an additional level consisting of a meeting space and a common room intended for workers. The nave contains an additional level for the organist, and the congregation has an area overlooking the level below.

Ill. 90. At each junction point in the concourse, sight is directed towards one of the primary spaces in one direction. Visitors are thus always greeted by and guided towards one of the primary functions, emphasizing the importance of the associated acts.

Ill. 88. A designated parking space is located 100 meters north of the church. A small gravel road continues past the church, allowing a hearse to park by the service entrance located in the south facade of the church.

Ill. 91. When exiting any of the four primary spaces, the line of sight stretches beyond the physical boundaries of the church and towards the surrounding landscape. Thus, the connection with the mundane world is reestablished.

Site Plan Presentation

Ill. 93. The atrium is placed in the center of the concourse, creating space and visibility between volumes, and allowing light into the building. At the same time, the atrium can be used as a wind sheltered outdoor space, providing members of the congregation a place to enjoy the sun inside the church. .

Ill. 94. The entrance yard is the area of entry and physically defined by the tower, the nave, and the administration building. Enclosed by an open walkway, this is the first area visitors will enter after climbing the staircase or ramp to the church plateau.

Ill. 95. The reflection garden is placed between the congregation hall and the chapel, acting as a small enclosed green space, with a direct connection to the chapel though a window. It is located opposite to the nave entrance, placing it in the direct sightline when exiting the nave.

Ill. 96. The surrounding terrain is an uneven grassy plain, surrounded by water on three sides. The church is placed on a plateau, lifting it above the surrounding landscape, which is left as undisturbed as possible.

Ill. 92. Site plan showing the church placed on the tongue and connecting path in 1:1000

Ill. 97. Above: Shows the church when approaching along the path from the north

Ill. 98. Left: Atrium within the church intended for gathering and staying.

Ill. 99. Right: Shows the church when looking over the fjord from Runavík, showing the building in context

Plan

Presentation; Ground floor 1:200

Section BB

Section AA

Section DD

Section CC

Ill. 100.

Plan

Presentation; First floor 1:200

Section BB

Section AA

Section DD

Section CC

Ill. 101.

Façade Presentation; 1:200

Ill. 102. South Elevation

Ill. 103. North Elevation

Ill. 100 Floor plan ground level. Nave; 625 m2(gross) Congregation; 229 m2 (gross) Administration; 243 m2 (gross) Chapel; 86 m2 (gross) Entrance and Hallway; 340 m2 (gross)

Ill. 101 FLoor plan of the first floor including area for the organ, meeting room and common room in the administration section aswell as a balcony overlooking the congegation hall.

Ill. 104. East Elevation

Ill. 105. West Elevation

Section Presentation; 1:200

Ill. 106.

Ill. 107. 80

Ill. 105 Section AA showing the nave, hallway area, atrium, and reflection garden; showing the difference between the smaller hallway area, gardens, and the large space of the nave

Ill. 106 Section BB showing the congregation hall, hallway area, and tower garden; showing which spaces one would encounter if entering the building and walking to the congregation hall

Ill. 108.

Ill. 107 Section CC showing the congregation hall, reflection garden, and chapel; showing the connection between the reflection garden and the surrounding areas. Also showing the use of the congregation as a stage with floor and balcony

Ill. 108 Section DD showing the nave, hallway area, and administrative area; showing the organ in the gable of the nave. Also showing the relation between the administrative area and the hallway area.

Ill. 109. 82

Ill. 110. Above: Congregation hall from the northern part in a setup for performance on the scene Ill. 111. Left: Hallway area from the entrance, showing the openness between the hallway area, administration, and atrium Ill. 112. Right: Chapel from the western part showing the windows to the reflection garden, the floater, and the door used during funerals

Ill. 113. The nave from the eastern part, showing the structure, the seating, the organ, and how the sun light from the gable window

Ill. 114. The nave from below the organ, showing the structure, seating, and the altar

Spatial Acoustics Presentation

The acoustic environment for each of the four primary functions illustrated in typical situations of use.

Ill. 115. The Chapel is designed to have clear speech. The reverberation for the voice is around 1,20 seconds with a definition over 60% and very little loss in Sound Pressure level; meaning the speaker does not need to raise their voice. The size of the room ensures that the difference between front and backrow are minimal.

Ill. 117. The cassettes in the hallway area serve the purpose of reducing the reverberation time and sound pressure level, in a room where floor and a lot of the wall is reflective surfaces. They reduce the SPL, so it does not travel all around to the other side of the complex.

Ill. 116. The nave serves multiple functions, music and preaching. Most important is high definition from the pulpit to the whole congregation, which ranges from 80% in the front rows to 50% in the back rows. Second is the organ music which has reverberation time around 3 second, which creates a fuller and richer acoustic experience.

Ill. 118. The Congregation Hall is both used for lectures and music performances, and the acoustic environment reflects this. The reverberation time is around 1,5 seconds, with as high definition as possible. Another aspect is the balcony, which was not neglected, and therefor can be used as extra seating with same acoustic qualities as the floor area.

Construction Presentation

”[…] to build is to reveal the narrative, through layers of tectonic endeavor that provide the tangible built form in structure, construction and material” (Tyrrell) The final design of the frame utilizes a hierarchy of element sizes, the dimensions of which is a product of the internal forces. The elements found to be carrying lesser loads than others are smaller, thereby reducing the amount of excess wood used in the construction, while also giving a visual representation of the internal forces of the frame. The frame consists of three major elements, two load carrying columns and a set of stabilizing crossbars. Each column consists of three elements, which put together creates a triangular frame. These frames are braced against each other using the stabilizing crossbars. Originally, the columns were also stabilized by a horizontal element across the top of the frame, but this element was found to be redundant during optimization. The element was therefore removed, to emphasise the emerging spatial composition of the frame, which focused on keeping the heavy element to each side and bracing these with smaller elements across the middle. This composition of elements visually split the buildings in two, allowing for large skylight windows with less shadows from the small construction. This split was further highlighted in the nave, by continuing the skylight windows down the eastern façade.

Ill. 119. Static scheme – Wind and self-load

Each of the elements are rectangular in crosssection, with the biggest element being the outer parts of the column in the Nave. These measure 300mm x 600mm

Ill. 121. Detail 1:33: Column and beam joint in assembled view to the left, and exploded view to the right

Ill. 120. Moment forces in the structure

ulation of the joint by overfitting it with bolts, the minimum needed amount was calculated using lecture material from the PAD course (Appendix 2).

Tectonic joinery; The articulation of the joints of the frame is made by inserting a metal plate into the middle of the wooden elements, and showing this metal connection between each element. This creates a small visual distance between each wooden element, reinforcing the impresison of seperate elements put together, rather than one large element. Bolts are used to fasten these elements, and in order to not overpower the artic-

Since the frame is designed using hinges, the bolts are not receiving any torque, and therefore only a small amount of bolts are needed. The final design uses two bolts with a diameter of 10mm on each side of the metal plate, which along with the metal plates themselves makes the joint readable.

Ill. 122. Section detail 1:20: Detail drawing of wall construction in top view showing wood panels that consists a core of MDF engineered solid wood and are used for sound absorption.

Ill. 124. Joint detailing - Final articulation of the joint

Ill. 123. Section detail 1:20: Detail of the wall construction in elevated view between the wall and roof, and wall and ground 130 mm Stone 20 mm Wooden facade 45 mm Spacing 20 mm Plywood 2 x 195 mm Insulation 0.1 mm Vapor barrier 20 mm Internal wood surface Load carrying construction

Ill. 125. Joint detailing – Pillar meeting concrete pedestal

Inner cladding; The inner walls are lined with acoustic panels covered with lamella, serving acoustic and aesthetic purposes. The lamellas are vertically oriented to emphasize the structure of the frames.

Flooring; Concrete flooring is used in all rooms, as acoustic investigations showed that reverberation times would decrease too much using wooden floor. The stereotomic nature of the concrete mirrors the outside stone wall.

External cladding; Burned wood was chosen for multiple reasons; one being having a connection to Faroese architecture. But also because it is functionally viable in the Faroese environment dominated ny rain and moisture.

Stone wall; The stone has a strong significance in landing the building on a plateau, while also serving the practical purpose of protecting the lower parts of the wood cladding.

Conclusion Tectonic Design: Structure & Construction

Conclusion

Reflection

A church complex with a total area of 1523m^2 has been designed for the town of Strendur, on the Faroe Islands. The church is located on a peninsula south of the town, close to a development for new houses. This housing development was sparked by the construction of a new tunnel connecting Strendur to the neighboring town of Runavík, as well as Tórshavn, the capital of the Faroe Islands.

The structure of the overall design process resulted in a minimum of inconveniences throughout.

detailing of the nave, the chapel, the congregation, and the hallway was all influenced by acoustic simulations. Influenced in the sense that no big changes could be implemented.

Case studies are used instigate and help found investigations. These were then used to steer the design process in the right direction, with design drivers and criteria found throughout providing additional guidance for the project. The design process was initiated with a broad outlook and spectrum of possibilities, initially favoring quantity over quality. By creating a large amount of iterations at the start, it was easier for the group to decide on a common approach and overall concept. Over time, the investigations started turning more qualitative, because while the quantitative approach has a high chance of producing a usable iteration at some point, this process can take a long time. The qualitative approach to the investigations was adopted at a point when different aspects began locking into each other, removing some of the initial freedom of the iterations.

The project is based in Faroese vernacular architecture, built primarily of a wooden construction. Since wood is a scarce material on the Faroe Islands, the local building custom of protecting the wooden façade using stones is applied. This works to not only protect the wood but helps to ground the project both symbolically, visually, and practically in the context. One of the main focuses in this project was to ensure a continuity and integrity between form, structure and construction. This ties in with the notion of integrated design as a whole in which the architecture becomes the embodiment of different fields of expertise and a tectonic approach.

As oppose to structure, acoustic has not been used as driver but rather as a selection filter; a “gate-keeper” of iterations, ensuring that the proposals fitted the criteria. During the design process while the primary focus was on the creation of iterations and evolutions, there was a lack of note writing. This meant that during some meetings, some of the points were lost or forgotten, so that at the end of the project it was hard to remember and explain some of the design decisions. In later projects, it would be more beneficial to write sections about each decision, such as why an iteration was cut or why the design took a different turn, on the day the decision was made.

Technical aspects of the project were brought into the design from the start, with simulations of acoustics and structure informing the design process at most stages of the project. At one point the acoustic investigations were put on the back burner since the group decided to focus on the construction. Focus the other way around could have had an influence on the final design and shape of the church.

Progression of the design is achieved by grounding investigations in studies of theories related to subjects introduced in the program and process. The performance of iterations is compared according to different parameters ranging from spatial syntax, the perception of light in a space, reverberation time, deformation of the structural system etc. Performance aided design using parametric design tools for structural and acoustical analysis has further helped progress the concept and final proposal.

The time not spent on acoustics was spent on the structure of the frame instead, which according to the project assignment may have been a mismanagement of resources. While the acoustics may have been lacking at one point of the process, the final

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Ill. 6.

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Ill. 7.

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Ill. 13.

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Ill. 14.

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Books: Frampton, Kenneth: “Towards a Critical Regionalism: Six Points for an Architecture of Resistance”(1980) in “The Anti-Aesthetic. Essays on Postmodern Culture”(1983) Heidegger, Martin: “Building, Dwelling, Thinking”(1954) in “Poetry, Language, Thought”(1971) Heidegger, Martin: “… Poetically Man Dwells…”(1954) in “Poetry, Language, Thought”(1971) Johannesen, E., 2018. Place Identity Of The Runavík Area - Life After The Tunnel, Preparations For The Future. Master thesis. Fróðskaparsetur Føroya Kierkegaard, Søren Aabye: “Øieblikket Nr. 5”(1855) in “Selections from the writings of Kierkegaard”(1923) Moffett, M., fazio, M., Wodehouse, L. (2008). A world history of architecture. London, Laurence King Sekler, Eduard Franz: “ Structure, Construction, Tectonics”(1965) in “Reader on Tectonics in Architecture”(2018) Semper, Gottfried: “The Four Elements of Architecture”(1989) in “Reader on Tectonics in Architecture”(2018) PDF: Bertelsen, J., 2019. Mellemrum & Mellemtid. 2nd ed. [PDF] Kirken i dag, pp.4-5. Available at: <https://bsarkitekter.dk/wp-content/uploads/2019/11/KirkenIDag-2-19.pdf> [Accessed 2 April 2020]. Web page: Folkakirkjan [online] Folkakirkjan Available at: <https://www.folkakirkjan.fo/folkakirkjan/um-folkakirkjuna/> [Accessed 02 April 2020]. Føroya landsstýri, n.d. Faroe Islands - The Sheep Islands. [online] faroeislands.fo. Available at: <https://www.faroeislands.fo/nature-environment/fauna-flora-vegetation/the-sheep-islands/> [Accessed 2 April 2020]. Kristendom.dk: Grundtvigianisme, available at https://www.kristendom.dk/grundtvigianisme [Last accessed 06-04-2020] Make.fo, n.d. Færøerne. [online] Make.fo. Available at: <https://www.make.fo/da/ faeroeerne/> [Accessed 31 March 2020]. Visit Faroe Islands, n.d. Klima. [online] Visit Faroe Islands. Available at: <https://old. visitfaroeislands.com/dk/fakta-om-faeroeerne/klima/> [Accessed 31 March 2020].

All other illustrations not accounted for above were made by Group 2.

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101

Strendur Kirkja

Faroe Islands Appendix

Tectonic Design: Structure & Construction MSc2Arch - Group 2

01 Acoustic Investigations Four different spaces have been investigated, but the focus has been largely on the nave as it is the most important experience of the church complex.

major impact on the acoustic environment of the space, and if the environment could be altered by materials.

As a result, it was decided that the different spaces should share materials and have an overall clear connection, which will be based on the nave. Analysis of acoustics have for example served as a selection filter during the design process, informing which design iterations perform better than others. Four different nave spaces were conceptualized, and a material study in relation to acoustics was conducted concurrently. The expectation of this investigation was to investigate whether roof geometries would have a

The reverberation times in this project will be held against the http://hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/revtim.html. It which rooms should have which reverberation time, and what tion time is. It is explained in the program, which rooms should

104

105

illustration shown above, from gives an overview over the effect of the reverberahave which reverberation time.

Nave

The acoustic qualities of the nave has been tested with three sources and six receivers, testing the difference between two parameters, with or without lists on the walls. The receivers are placed throughout the church, starting from the front and ending below the organ. The sound from the organ is tested, and the difference in sound from the Altar to the Pulpit are tested

Nave with lists

Source 0 (Organ) SPL

Receiver 0 1 2 3 4 5 [Hz] [db] [db] [db] [db] [db] [db] 62,5 89,29 90,84 92,28 94,95 96,86 93,74 125 88,43 90,08 91,53 94,43 96,34 92,7 250 88,34 90,11 91,49 94,32 96,41 93,23 500 87,79 89,68 91 93,97 96,13 93,13 1000 86,86 88,94 90,09 93,29 95,55 92,16 2000 86,35 88,57 89,52 92,84 95,17 90,95 4000 86,91 89,02 90,15 93,3 95,61 92,11 8000 86,69 88,81 90,03 93,2 95,53 91,64 Nave with lists

Nave with lists

Receiver 0 1 2 3 4 5 [Hz] [db] [db] [db] [db] [db] [db] 62,5 89,81 91,34 92,74 95,32 97,41 94,44 125 88,68 90,34 91,77 94,63 96,74 93,2 250 89,96 91,49 92,89 95,45 97,6 95,27 500 89,98 91,49 92,88 95,48 97,67 95,9 1000 89,62 91,16 92,55 95,28 97,53 96,1 2000 89,95 91,43 92,82 95,49 97,73 96,53 4000 90,51 91,93 93,31 95,83 98,05 96,95 8000 90,10 91,6 93,04 95,59 97,84 96,42

Receiver 0 1 2 3 4 5 [Hz] [s] [s] [s] [s] [s] [s] 62,5 2,86 2,27 2,24 2,23 1,97 4,58 125 2,78 2,04 1,92 2,03 1,7 4,54 250 3,2 2,81 2,55 2,49 2,27 4,57 500 3,46 3,23 2,97 2,98 2,49 4,9 1000 3,75 3,54 3,35 3,56 2,71 5,1 2000 3,98 3,68 3,78 4,04 2,94 5,22 4000 3,74 3,53 3,36 3,41 2,73 4,97 8000 3,13 2,61 2,39 2,42 1,97 3,81

Source 1 (Pulpit) SPL

Receiver 0 1 2 3 4 5 [Hz] [db] [db] [db] [db] [db] [db] 62,5 22,71 17,81 15,99 13,71 13,15 13,28 125 32,38 27,28 25,37 22,99 22,37 22,35 250 58,26 53,13 51,38 49 48,41 48,75 500 70,95 65,74 64,02 61,6 60,97 61,45 1000 77,44 72,05 70,41 67,95 67,26 67,75 2000 76,11 70,59 69,09 66,61 65,94 66,31 4000 70,48 65,08 63,51 61,03 60,39 60,86 8000 59,49 53,95 52,38 49,8 49,18 49,5

106

Nave without lists

Receiver 0 1 2 3 4 5 [Hz] [s] [s] [s] [s] [s] [s] 62,5 3,11 2,49 2,22 1,97 1,99 3,18 125 2,95 2,24 2,12 1,8 1,72 3,12 250 3,2 2,58 2,28 2,06 2,1 3,04 500 3,65 2,79 2,43 2,23 2,28 3,37 1000 3,76 2,91 2,54 2,32 2,38 3,51 2000 3,72 2,97 2,37 2,44 2,51 3,55 4000 3,43 2,91 2,68 2,52 2,52 3,34 8000 2,58 2,45 2,29 2,15 2,1 2,58

Source 1 (Pulpit) T-30

Nave without lists

Source 2 (Altar) T-30

Nave without lists

Nave with lists

Receiver 0 1 2 3 4 5 [Hz] [db] [db] [db] [db] [db] [db] 62,5 22,65 18,85 16,21 14,1 13,34 13,74 125 32,26 28,22 25,45 23,19 22,38 22,6 250 58,59 54,86 52,23 50,11 49,37 50,06 500 71,48 67,8 65,14 63,02 62,28 63,2 1000 78,25 74,56 71,83 69,68 68,92 70 2000 77,34 73,71 71,02 68,9 68,17 69,33 4000 71,56 68 65,39 63,32 62,63 63,81 8000 60,50 56,81 54,19 52,01 51,32 52,34

Receiver 0 1 2 3 4 5 [Hz] [s] [s] [s] [s] [s] [s] 62,5 1,45 1,95 1,9 2,35 1,97 2,6 125 1,25 1,73 1,7 2,06 1,85 2,27 250 1,48 2,27 2,18 3,04 2,37 3,11 500 1,69 2,69 2,58 3,53 2,75 3,5 1000 1,8 2,98 2,91 4,34 2,98 3,76 2000 2,03 3,13 3,23 4,57 3,21 3,94 4000 1,94 3,03 3,04 4,02 3,12 3,83 8000 1,41 2,26 2,26 2,94 2,43 3,04

Source 2 (Altar) SPL

Receiver 0 1 2 3 4 5 [Hz] [db] [db] [db] [db] [db] [db] 62,5 30,41 28,91 26,11 25,36 24,33 25,64 125 39,98 38,39 35,42 34,65 33,56 34,79 250 66,07 64,45 61,59 60,9 59,88 61,2 500 78,93 77,21 74,32 73,74 72,7 74,1 1000 85,56 83,7 80,76 80,32 79,26 80,66 2000 84,28 82,39 79,49 79,14 78,09 79,5 4000 78,58 76,77 73,88 73,44 72,41 73,85 8000 67,38 65,56 62,57 62,01 60,96 62,31

Source 0 (Organ) T-30

Nave without lists

Nave with lists

Receiver 0 1 2 3 4 5 [Hz] [db] [db] [db] [db] [db] [db] 62,5 30,55 29,32 26,56 25,62 24,61 25,73 125 40,01 38,68 35,7 34,77 33,69 34,73 250 66,75 65,42 62,69 61,79 60,77 61,94 500 79,86 78,43 75,72 74,88 73,83 75,18 1000 86,79 85,25 82,48 81,71 80,61 82,09 2000 85,95 84,42 81,71 80,94 79,87 81,41 4000 80,17 78,7 76,09 75,28 74,25 75,8 8000 68,89 67,44 64,72 63,81 62,77 64,19

Receiver 0 1 2 3 4 5 [Hz] [s] [s] [s] [s] [s] [s] 62,5 2,19 2,44 2,64 2,8 2,87 3,62 125 1,91 2,12 2,38 2,51 2,43 3,43 250 2,6 2,97 3,22 3,25 3,43 3,74 500 3,05 3,51 3,72 3,66 3,93 4,13 1000 3,36 3,89 4 3,91 4,19 4,34 2000 3,68 4,18 4,23 4,15 4,38 4,49 4000 3,64 4,12 4,22 4,15 4,35 4,39 8000 2,88 3,16 3,4 3,33 3,55 3,59

Receiver 0 1 2 3 4 5 [Hz] [s] [s] [s] [s] [s] [s] 62,5 1,64 1,85 1,87 2,1 2,14 2,17 125 1,39 1,56 1,64 1,86 1,89 1,86 250 1,8 2,05 2,07 2,31 2,29 2,43 500 1,94 2,23 2,32 2,51 2,47 2,69 1000 1,99 2,3 2,43 2,6 2,56 2,85 2000 2,12 2,4 2,58 2,71 2,64 2,99 4000 2,26 2,47 2,64 2,74 2,69 2,96 8000 2,02 2,12 2,28 2,38 2,35 2,46

107

Receiver 0 1 2 3 4 5 [Hz] [s] [s] [s] [s] [s] [s] 62,5 2,11 2,34 2,48 2,6 2,62 3,73 125 1,89 2,02 2,31 2,46 2,36 3,59 250 2,38 2,69 2,79 2,85 2,94 3,66 500 2,71 3,11 3,17 3,25 3,37 3,98 1000 2,88 3,39 3,41 3,56 3,59 4,19 2000 3,04 3,59 3,58 3,72 3,73 4,24 4000 3,06 3,54 3,52 3,65 3,69 4,02 8000 2,50 2,71 2,8 2,85 2,98 3,13

Congregation Hall

Nave

The acoustic qualities of the congregation hall has been tested with one source and three receivers, testing the difference between a 2m grid with lists, a 2m grid without lists and a 4m grid with lists. The receivers are placed throughout the audience, and on the first floor balcony.

Nave with lists

Source 0 (Organ) D-50

Receiver 0 1 2 3 4 5 [Hz] [%] [%] [%] [%] [%] [%] 62,5 50,61 52,73 55,8 61,61 64,25 0,82 125 56,74 58,48 61,09 66,06 68,47 0,92 250 57,11 59,31 61,66 67,14 68,6 0,85 500 59,76 62,38 63,34 69,42 70,31 0,84 1000 65,81 68,64 70,82 74,86 75,84 0,81 2000 70,27 72,9 76,43 78,69 81,62 0,66 4000 66,24 68,86 71,53 75,26 76,89 0,74 8000 68,09 70,21 72,8 76,36 78,05 0,79 Nave with lists

Receiver 0 1 2 3 4 5 [Hz] [%] [%] [%] [%] [%] [%] 62,5 42,96 45,88 49,46 56,42 59,42 0,56 125 50,94 53,64 56,62 62,4 65,07 0,65 250 39,99 43,37 46,3 53,79 55,58 0,52 500 37,95 42,01 44,4 51,94 52,98 0,48 1000 38,48 43,14 44,81 52,34 52,45 0,47 2000 36,09 40,89 42,63 50,35 50,51 0,44 4000 32,99 37,58 39,81 47,68 48,39 0,41 8000 35,27 39,49 41,96 49,75 50,69 0,45

Source 1 (Pulpit) D-50

Receiver 0 1 2 3 4 5 [Hz] [%] [%] [%] [%] [%] [%] 62,5 77,39 63,61 59,57 51,37 58,28 46,8 125 79,91 67,8 64,11 56,44 64,12 53,23 250 79,54 67,93 64,59 55,53 63,84 50,91 500 80,38 69,55 66,71 57,02 66,36 52,88 1000 82,57 73,01 71,17 60,81 71,5 58,19 2000 84,43 75,07 74,71 63,41 74,76 61,8 4000 82,77 72,79 71,35 60,55 70,92 57,12 8000 83,80 74,4 72,72 62,63 72,13 58,56

Nave with lists

108

T-30

2m Grid with lists

2m Grid without lists

4m Grid with lists

Receiver 0 1 2 [Hz] [s] [s] [s] 62,5 1,28 1,24 1,14 125 1,13 1,09 1,01 250 1,44 1,36 1,16 500 1,61 1,5 1,22 1000 1,74 1,62 1,26 2000 1,84 1,73 1,34 4000 1,83 1,72 1,35 8000 1,68 1,57 1,26

Receiver 0 1 2 [Hz] [s] [s] [s] 62,5 1,29 1,3 1,24 125 1,13 1,13 1,06 250 1,41 1,41 1,35 500 1,52 1,51 1,45 1000 1,56 1,56 1,47 2000 1,62 1,61 1,53 4000 1,66 1,64 1,58 8000 1,57 1,56 1,51

Receiver 0 1 2 [Hz] [s] [s] [s] 62,5 1,32 1,35 1,28 125 1,17 1,2 1,13 250 1,42 1,5 1,38 500 1,59 1,66 1,52 1000 1,73 1,79 1,66 2000 1,85 1,89 1,83 4000 1,84 1,88 1,78 8000 1,68 1,73 1,6

D-50

Nave without lists

2m Grid with lists

2m Grid without lists

4m Grid with lists

Receiver 0 1 2 3 4 5 [Hz] [%] [%] [%] [%] [%] [%] 62,5 75,3 61,92 56,83 48,31 53,07 41,95 125 78,71 66,99 63,06 54,98 60,76 49,61 250 73,66 60,49 55,02 45,88 51,12 39,18 500 72,71 59,57 54,09 44,48 50,08 37,52 1000 72,98 60,33 55,05 45,19 51,4 38,15 2000 71,88 58,81 53,21 43,24 49,09 35,89 4000 70,44 56,63 50,51 40,54 45,64 32,8 8000 72,22 58,55 52,44 42,79 47,53 34,49

Receiver 0 1 2 [Hz] [%] [%] [%] 62,5 46,96 55,7 53,33 125 52,83 60,45 58,93 250 49,28 58,09 56,83 500 49,34 58,13 57,8 1000 52,94 60,94 62,5 2000 55,74 63,23 66,26 4000 52,05 60,38 62,1 8000 53,57 61,94 63,03

Receiver 0 1 2 [Hz] [%] [%] [%] 62,5 53,12 44,85 50,12 125 58,77 51,8 56,92 250 50,66 41,22 46,6 500 48,26 38,19 43,72 1000 47,91 37,53 43,19 2000 46,16 35,52 41,04 4000 44,63 33,8 38,92 8000 46,32 35,44 40,32

Receiver 0 1 2 [Hz] [%] [%] [%] 62,5 54,41 43,13 52,21 125 58,89 48,34 57,26 250 58,26 47,18 58,26 500 58,74 47,89 60,37 1000 61,95 51,86 66,4 2000 64,65 54,84 71,44 4000 61,8 51,33 66,95 8000 63,48 52,91 67,87

Source 2 (Altar) D-50

Receiver 0 1 2 3 4 5 [Hz] [%] [%] [%] [%] [%] [%] 62,5 61,5 61,92 46,26 43,94 44,3 42,09 125 65,98 66,51 51,58 49,33 50,2 46,85 250 65,45 65,38 49,54 47,61 47,19 43,88 500 67,11 66,39 50,47 48,69 47,8 42,96 1000 71,23 69,8 54,08 51,89 50,52 44,29 2000 74,19 72,44 57,03 53,56 51,98 45,32 4000 70,93 69,53 53,71 50,85 49,29 43,47 8000 72,62 71,97 56,81 53,65 52,34 46,88

Nave without lists

SPL

Nave without lists

2m Grid with lists

2m Grid without lists

4m Grid with lists

Receiver 0 1 2 3 4 5 [Hz] [%] [%] [%] [%] [%] [%] 62,5 57,37 58,11 42,31 41,5 42,76 39,48 125 63,15 63,88 48,83 48,04 49,93 45,31 250 55,2 55,78 39,52 39,73 40,33 35,97 500 54,02 54,29 37,89 38,59 38,83 32,85 1000 54,71 54,76 38,19 39,39 39,37 31,84 2000 53,01 52,99 36,41 37,56 37,35 29,87 4000 50,67 50,71 34,23 35,1 34,75 28,1 8000 52,84 53,14 36,67 37,45 37,21 30,67

Receiver 0 1 2 [Hz] [db] [db] [db] 62,5 99,85 102,25 99,9 125 99,05 101,63 99,13 250 99,44 101,84 99,45 500 99,34 101,64 99,32 1000 98,82 101,14 98,65 2000 98,49 100,88 98,01 4000 98,97 101,29 98,61 8000 98,76 101,2 98,42

Receiver 0 1 2 [Hz] [db] [db] [db] 62,5 102,44 100,01 100,37 125 101,73 99,08 99,43 250 102,53 100,32 100,91 500 102,61 100,65 101,34 1000 102,45 100,64 101,43 2000 102,66 100,94 101,75 4000 102,94 101,25 102,05 8000 102,79 100,94 101,75 109

Receiver 0 1 2 [Hz] [db] [db] [db] 62,5 102,49 100,45 100,47 125 101,89 99,67 99,79 250 101,94 99,69 99,75 500 101,7 99,44 99,5 1000 101,15 98,67 98,72 2000 100,85 98,08 97,99 4000 101,26 98,7 98,59 8000 101,17 98,5 98,4

Chapel

Hallway

The acoustic qualities of the chapel has been tested with one source and two receivers, testing the difference between a 2m grid with lists, a 2m grid without lists and a 4m grid with lists. The influence of an acoustic floating board was also tested.

The acoustic qualities of the hallway has been tested with three source and two receivers, testing the difference between having a grid of beams in the ceiling, or not have a grid. The sources are placed as two people talking, and as a singular person on. The receivers are then placed close by, and at the other side of the atrium.

4m Grid with lists + floatee Receiver 0 1 [Hz] [s] [s] 62,5 1,27 1,24 125 1,12 1,08 250 1,38 1,41 500 1,6 1,61 1000 1,76 1,77 2000 1,91 1,9 4000 1,92 1,91 8000 1,77 1,77 4m Grid with lists + floatee Receiver 0 1 [Hz] [%] [%] 62,5 54,87 59,96 125 59,5 64,68 250 59,48 64,48 500 60,07 65,04 1000 62,99 68,02 2000 64,57 70,19 4000 61,88 67,23 8000 63,25 68,72 4m Grid with lists + floatee Receiver 0 1 [Hz] [db] [db] 62,5 14,88 14,32 125 31,38 30,72 250 45,12 44,66 500 46,92 46,43 1000 42,32 41,86 2000 36,75 36,45 4000 35,27 34,93 8000 30,10 29,81

2m Grid with list + floatee

T-30

Receiver 0 1 [Hz] [s] [s] 62,5 1,07 1,02 125 0,96 0,89 250 1,08 1,08 500 1,19 1,21 1000 1,29 1,32 2000 1,44 1,45 4000 1,46 1,45 8000 1,27 1,31 2m Grid with list + floatee

Receiver 0 1 [Hz] [s] [s] 62,5 1,11 1,06 125 0,98 0,92 250 1,13 1,12 500 1,21 1,2 1000 1,23 1,25 2000 1,26 1,32 4000 1,28 1,34 8000 1,19 1,22 D-50

Receiver 0 1 [Hz] [%] [%] 62,5 58,82 60,16 125 63,65 65,53 250 62,18 64,05 500 62,81 65 1000 66,08 68,92 2000 68,27 71,99 4000 65,38 68,41 8000 66,18 69,3 2m Grid with list + floatee Receiver 0 1 [Hz] [db] [db] 62,5 14,64 13,22 125 31,12 29,55 250 45 43,66 500 46,8 45,41 1000 42,19 40,8 2000 36,57 35,4 4000 35,1 33,89 8000 29,98 28,84

2m Grid without lists + floatee

2m Grid without lists + floatee Receiver 0 1 [Hz] [%] [%] 62,5 57,41 58,51 125 62,95 64,79 250 57,09 58,53 500 56,01 57,84 1000 57,17 59,98 2000 56,74 60,67 4000 54,89 57,65 8000 55,78 58,44

SPL

2m Grid without lists - floatee Receiver 0 1 [Hz] [s] [s] 62,5 1,17 1,11 125 1,01 0,94 250 1,26 1,21 500 1,38 1,33 1000 1,44 1,37 2000 1,49 1,44 4000 1,5 1,47 8000 1,41 1,38

With beams

T-30

Receiver 0 1 [Hz] [s] [s] 62,5 1,74 1,84 125 1,72 1,85 250 1,34 1,49 500 1,38 1,6 1000 1,31 1,66 2000 1,22 1,79 4000 1,25 1,73 8000 1,14 1,57

2m Grid without lists - floatee

With beams

Receiver 0 1 [Hz] [%] [%] 62,5 54,01 58,16 125 59,99 64,79 250 52,25 55,82 500 50,35 53,77 1000 50,51 54,05 2000 48,88 52,18 4000 47,37 50,17 8000 48,49 51,12

Receiver 0 1 [Hz] [%] [%] 62,5 46,63 42,57 125 51,5 48,09 250 52,96 53,89 500 52,03 52,43 1000 57,16 58,84 2000 65,47 66,94 4000 61,63 63,18 8000 62,88 64,58

2m Grid without lists + floatee

2m Grid without lists - floatee

With beams

Receiver 0 1 [Hz] [db] [db] 62,5 14,83 13,32 125 31,23 29,56 250 45,68 44,24 500 47,71 46,22 1000 43,42 41,89 2000 38,25 56,88 4000 36,59 35,24 8000 31,45 30,18 110

Receiver 0 1 [Hz] [db] [db] 62,5 14,65 13,47 125 30,97 29,66 250 45,8 44,6 500 48,02 46,7 1000 43,98 42,53 2000 39,18 37,75 4000 37,36 36,05 8000 32,19 30,96

Receiver r0s0 r0s1 r02 r1s0 r1s1 r1s2 [Hz] [db] [db] [db] [db] [db] [db] 62,5 12,34 14,15 14,61 20,78 6,53 6,28 125 11,6 13,47 13,96 20,36 5,54 5,28 250 11,13 13,16 13,59 20,42 3,47 2,85 500 11,39 13,28 13,66 20,64 3,5 2,78 1000 10,71 12,55 12,84 20,84 1,31 0,3 2000 9,48 11,34 11,46 20,12 -3,11 -4,54 4000 10,03 11,9 12,13 20,25 -0,37 -1,55 8000 9,61 11,59 11,83 20,07 -1,04 -2,24

Without beams Receiver 0 1 [Hz] [s] [s] 62,5 2,02 2,05 125 2 2,04 250 1,54 1,68 500 1,53 1,77 1000 1,39 1,88 2000 1,26 2,07 4000 1,29 1,92 8000 1,15 1,76

D-50

Without beams Receiver 0 1 [Hz] [%] [%] 62,5 48,19 26,07 125 51,7 30,05 250 59,32 42,06 500 60 42,38 1000 66,86 53,7 2000 77 69,44 4000 72,39 61,75 8000 73,43 62,51

SPL

Without beams

Receiver r0s0 r0s1 r0s2 r1s0 r1s1 r1s2 [Hz] [db] [db] [db] [db] [db] [db] 62,5 15,14 15,8 16,1 20,55 10,83 10,35 125 14,57 15,3 15,62 20,23 10,09 9,6 250 13,45 14,3 14,63 19,79 7,22 6,25 500 13,53 14,21 14,51 19,87 7,03 5,92 1000 12,69 13,3 13,53 19,53 4,66 3,24 2000 11,32 11,93 11,96 18,99 -0,5 -2,09 4000 11,86 12,53 12,71 19,19 2,62 1,05 8000 11,49 12,27 12,45 19,02 2,03 0,39 111

Bolt

The angle of the load to the grainv

02 Calculations - 1 bolt Description

Calculations have been carried out in order to ascertain how many bolts are needed at one of the joints in the nave frame construction, and to make sure the wood holding the bolt wont split from the stresses carried through the connection. The first pass showed that one bolt would be able to hold the connection, but only just. Another bolt was therefore added for extra security

Definitions - Dimensions

Characteristic load-carrying capacity per fastener in double shear

The thickness of the timber side member

The fastener diameter

= unitless

Material Data Timber

= Load-carrying capacity of the connection per fastener per shear plane

Characteristic load-carrying capacity per fastener in double shear =

Characteristic embedment strength parallel to grain, in =

Calculations - 1 bolt

Mode (H)

Ductile failure verification

Modification factor - 2.2.20 EUROCODE 5 - Gluelam, service class 1, Permanent action

= 1.450

Characteristic embedment strength in the timber member

Partial factor for connections given in Table 2.6 EUROCODE 5

= Characteristic timber density, in Characteristic fastener yield moment =

Bolt

Characteristic withdrawal capacity of the fastener

The angle of the load to the grainv

Design strength per shear plane. = Amount of rows of fasteners laterally loaded parallel to the grain

Amount of equally spaced fasteners of the same size

Load-carrying capacity of the connection per fastener per Definitions - Dimensions shear plane Characteristic load-carrying capacity per fastener in double shear

Effective number of fasteners in the connection in each row parallel to the grain

In this case, failure mode (F), (G), and (H) are checked

Number of shear planes in the connection

The thickness of the timber side member Mode (F)

The fastener diameter Mode (G) Characteristic embedment strength parallel to grain, in = = unitless

= 1.450

Characteristic embedment strength in the timber member 112 Mode (H) =

Testing the capacity of the connection used = 0.9780509010

Brittle failure verification (Splitting) Member thickness - Which member?

113

Bolt Testing the capacity of the connection used The angle of the load to the grain

= 0.9780509010

Calculations - 2 bolt

Brittle failure verification (Splitting) Member thickness - Which member?

Definitions - Dimensions

Material Data

The thickness of the timber side member

Characteristic timber density, in

The fastener diameter

Bolt

Characteristic embedment strength parallel to grain, in =

The angle of the load to the grain

Characteristic load-carrying capacity per fastener in double shear

The loaded edge distance to the centre of the most distant fastener or to the edge of the punched metal plate fastener, in mm.

The timber member height, in mm. Width of the punched metal plate fastener parallel to the grain, in mm.

Modification Factor

= unitless

Calculations - 2 bolts

= 1.450

Characteristic embedment strength in the timber member

Timber

Definitions - Dimensions

Characteristic load-carrying capacity per fastener in dou

= The characteristic splitting capacity for the arrangement

The thickness of the timber side member Characteristic fastener yield moment

= 51647.45146

The fastener diameter

Characteristic withdrawal capacity of the fastener = Taking account of the possibility of splitting caused by the tensin force component

Characteristic embedment strength parallel to grain, in =

Load-Carrying capacity of the connection per fastener per shear plane In this case, failure mode (F), (G), and (H) are checked Mode (F)

Mode (G) =

Calculations - 2 bolts Material Data Timber

= 114

Mode (H)

115

Testing the capacity of the connection used = 0.4890254505

Brittle failure verification (Splitting)

Mode (H)

Member thickness - Which member?

= Load-carrying capacity of the connection per fastener per shear plane

Characteristic load-carrying capacity per fastener in double shear =

The loaded edge distance to the centre of the most distant fastener or to the edge of the punched metal plate fastener, in mm.

The timber member height, in mm. Width of the punched metal plate fastener parallel to the grain, in mm.

Ductile failure verification

Modification factor - 2.2.20 EUROCODE 5 - Gluelam, service class 1, Permanent action

Partial factor for connections given in Table 2.6 EUROCODE 5

Modification Factor = = 1.4689

Design strength per shear plane.

The characteristic splitting capacity for the arrangement

= 51647.45146

Amount of rows of fasteners laterally loaded parallel to the grain =

Amount of equally spaced fasteners of the same size Effective number of fasteners in the connection in each row parallel to the grain

Taking account of the possibility of splitting caused by the tensin force component

Number of shear planes in the connection

Testing the capacity of the connection used = 0.4890254505

Brittle failure verification (Splitting) Member thickness - Which member?

116

117

03 Spatial syntax The following plans were discarded before sections were examined, either for lack of potential or similarity to other plans.

118

Notes of things found during this workshop

Tower as indicator of entrance and drawing back the walls between volumes.

Readability of complex - Volumes from outside - Functions from inside

Framing of nature inbetween volumes

119

Uses the tower as an indicator of entrance Clear visibility between functions Entrance located towards city in shelter of heavy west wind Hallway pulled back from volumes

Entrance located towards heavy west wind Entrance to nave from the side Congregation and administration seperated by small hallway Hallway between chapel and church?

120

121

Tower defining the entrance, but it’s facing west Entrance to nave both in the end and side Long narrow hallways

Entrance to nave from the side No apparent entrance to admin without moving through congregation Has so go outside to enter chapel Hallway pulled back from volumes

122

123

Tower defining entrance, situated towards city. Entrance very defined To much space between volumes

Central hallway, very close volumes Entrance defined by tower, but situated away from the city Hallway pulled back from volumes

124

125

Same as last, without hallway pulled back at main entrance Congregation rotated to present facade instead of gable, greatly changes the meeting with the building

Volumes cut out of square, the same length as nave Creates tight spaces between volumes Courtyard are hard to define

126

127

Volumes placed along “spine” Creates alot of long hallways Building volumes defines entrance, situated away from city End of nave used as hallway/entrance

Clear seperation between the nave and other functions Entrance to nave from the side

128

129

Entrance from the north Sightlines either towards a window, or a volume Tower used to define courtyard

Volumes placed along a hallway Chapel placed with a distance to the spine Entrance to the nave from outside Entrance defined by tower

130

131

04 Frame Structure Analysis

Displacement: Shows the ba3D plug-in. Purple is

displacement of the structure, done high displacement, while white is zero

Loads: Shows the loads applied on the structure; wind and self-load

FxForce: Shows the axial forces in the structure. 120.03 kN compression; 109.56 kN torsion

MyMovement: Show the moment forces in the structure. Max 95.34 kNm moment

Deformation: Shows the deformation of the bars in the structure. Max is 47mm displacement

Timber Design: TimberDesign is used to verify that the section of the element work.

in Karamdisplacement

Utilization: Shows the utilization of the members in relevance to the axial stress, done in Karamba3D plug-in. Red is compression; white is natural; blue is torsion 132

Structure: Shows the structure in the Robot workspace

133