Copenhagen to Oslo

Exhibition

Page 1 .......... Inside Ouside Inbetween Introduction

Page 5 .......... Hedmark Cathedral Museum Sverre Fehn

Page 9 .......... Church of St. Peter Sigurd Lewerentz

Page 13 ........ Bagsvaerd Church Jorn Utzon

Page 17 ........ Louisiana Museum Jorgen Bo, Vilhelm Wohlert

Page 23 ........ Process Analyse, Construct, Critique

Material 2010

Inside-Outside-Inbetween

Perception of space is a subjective matter.

� is exhibition displays an exploration into how a person percieves space in a building with respect to the inside-outside-inbetween.

Analysis of the four buildings began prior to a study visit to Oslo and Copenhagen with a stop in Sweden. � is investigation was then revisited upon return, giving us a chance to refl ect on and enhance initial ideas.

� rough the process of analysis, making and refl ection we were able to gain a deeper understanding of each building.

� e drawings and objects displayed are intended to evoke the essence of each building as we percieved it.

Introduction — 1

Teams

Hedmark Cathedral Museum � omas Hetherington

Jayne � omson

Church of St. Peter Khalid AlShairrawi

Darragh Quinn

Bagsvaerd Church Zainab Aryan

Lewis Benmore Stephen McCullough

Louisiana Museum Emily Kehoe Smith

Esmeail Bemana Louise Wylie Kirstin Zuk

Introduction — 2

Final Exhibition — 3

Critique

Process — 35

Hedmark Cathedral Museum — 5

Critique

Hedmark Cathedral MuseumHamar, Norway1969 / 2005Sverre Fehn

An exercise into the investigation of the ideas of detail and layering of time. Organised as a cluster of buildings on a small outcrop of land jutting into a freshwater � ord, the museum is paired with a number of structures including a cathedral that was the core of a rural community, as well as a religious hub.

Dialogue of the Artefact

Originally a fortress dating from the 12th century, the building has served a number of functions, and laterally the majority of the form as a large farm barn. � e structure of the building is expressed as a series of horizontal and vertical concrete planes that have been moulded around the historical elements already located on the site. Gracefully organising the interior of the building the concrete punctures the threshold between interior and exterior, and begins a dialogue of placement in space allowing the existing built fabric to become part of the exhibition. � is is coupled with a timber roof structure which off ers a rhythmic contrast to the organic stonework. � ere is a very defi nite hierarchy of materials at play within the scheme, manifested through a series of joints and details which are considered carefully in accordance with Fehn’s attitude that “... in a materialistic universe museums are cathedrals for the worship of the past... Only the life that created these things is utterly destroyed”. His perception of curation involves a continuation of the life of the object, which is realised in the weather details. “� ere are no barriers between the outer and inner worlds, between the interior and the exterior spaces. A glass casket is constructed around a core of stone, which is placed in a building which is built in a space...”

Process — 33

Hedmark Cathedral Museum — 7

Louisiana Museum Emily Kehoe Smith

Esmeail Bemana Esmeail Bemana Louise Wylie Louise Wylie Kirstin Zuk Kirstin Zuk

Deconstruction

Initially the investigation centred around the ideas related to the material and the detail of built form. � is portfolio represents a body of work that echoes the process of understanding through an experimentation in drafting and modular drawings. Visiting the site strengthened an understanding of the importance of place to the building. � e narrative of time and place are key qualities that this building embodies through the references made to the past by creating an artefact in the built form itself as well as in the objects placed within.

Process — 31

Church of St. Peter — 9

Bagsvaerd Church Zainab Aryan Lewis Benmore

Stephen McCullough

Church of St. PeterKlippan, Sweden1966Sigurd Lewerentz

Finding Sanctity in the Strange

� ere is a distinct “strangeness” about the Church of St. Peter. Lewerentz, in his quest for spaces of intensity and emotion departed from conventional church typology. Outside, one would not know that this brick building is a church. No spires, bells, crosses or other religious symbols adorn the exterior. Inside, the church is incredibly dark, the fl oor is uneven and the surfaces are rough and seemingly unfi nished.

Perceived Mass and Gravity

On entering the church the visitor passes under the low vaulted ceiling of a side chapel. � e vaults are heavy and oppressive. In the main space, a single steel column stands off -centre. It supports the entire mass of the vaulted brick roof. � e perceived weight of these bricks is increased in the dimness. Moving towards the altar, a certain friction is created. Bricks are laid against the direction of movement. Motion is discouraged, stillness is fostered.

Renewed Truth in Conventional Materials

� e church appears to be carved from a monolithic conglomerate material. � e un-pointed and roughly wiped mortar joints (up to 50mm wide) reduce the impact of individual bricks. A merging of brick and mortar into a single entity is suggested. � e conventional modular language of brickwork is downplayed. A language of continuous surface emerges.

Process — 29

Church of St. Peter — 11

Church of St. Peter Khalid AlShairrawi

Darragh Quinn

Process — 27

Bagsværd Church — 13

Hedmark Cathedral Museum

� omas Hetherington Jayne � omson

Bagsværd Church Copenhagen, Denmark1976Jorn Utzon

Centralised Basillica

� e ground plan fi nds resonance in a wide range of religious and secular buildings. Besides the church itself the building also includes a chapel, congregation rooms and administrative offi ces. � e functions are laid out successively so that together they make up a unifi ed building volume. � e centralized sanctuary is contained by the structural frames that run along the facade and across the building. � ese establish narrow zones, forming side-aisles within the sanctuary space, while in the other parts they function as corridors. � is creates a subtle threshold between the circulation space and the sanctuary, allowing the user to engage with the structure.

Skeletal Space

� e structure consists of a prefabricated concrete post and beam structure with white concrete infi ll panels. � e orthogonal structure and columns are expressed both internally and externally, creating rhythm and dictating the circulation.Utzon was also inspired by the traditional Chinese construction practices –Yingzao Fashi. � e Yingzao Fashi building standard originates from the Song Dynasty 960-1279 and is based on the idea that the structure is a kit of parts that can be used to assemble diff erent temple structures. � is method of construction can be observed in Bagværd Church where the

joints between variying elements of the kit of parts are expressed, referencing their process of construction / piecing together.

Earth and Sky

� e utilitarian exterior contrasts with the organic ceiling inside the church. Inspired by nature, the ceiling recalls an unusual cloud formation rolling over-head, this dialogue between nature and the sacred space is central to the churches conception. � e orthogonal structure dictates the circulation through the building, light into the circulation space by use of roof lights, accentuating the verticality of the space. � e ceiling spans the whole width of the main space and ascends dramatically from the entrance, where it is low, upwards over the altar. Where the ceiling is highest, there is a window opening to the west across the whole width of the space, letting daylight in and increasing the sense of connection with the sky.

Process — 25

Bagsværd Church — 15

ProcessAnalyseConstructCritique

Louisiana Museum — 17

Louisiana MuseumHumlebaek, Denmark1958, 1966, 1971, 1982Jorgen Bo, Vilhelm Wohlert

Working with the Landscape

Louisiana Museum is nestled in a tree covered landscape north of Copenhagen. One crucial part of the design was that the central expanse of park and distant views survive the trees, grass, paths and continual views of the Sound and the Swedish coast. � e museum is situated on a piece of land approximately ten meters above sea level. � e Baltic Sea frames the West side of the site, and to the East there is a manmade lake. � e experiential design of the museum brings awareness to the surrounding topography by weakening the barrier between inside and out. Framed views encapsulate the journey through the building. � e views are the most striking and memorable part of the experience. � e plan works on two levels, above and below. � e plan is strongly dictated by the topography of the site. Above ground, the building works in harmony with nature. � e fl oor to ceiling glazing refl ects the surroundings and together with the dark-stained laminated timber columns, the building obscures itself. � e line between inside and outside becomes blurred by the use of materiality. Paved and cobbled terraces fl ow continually throughout the building, and these continue to external paths, routes and the sculpture garden. Below ground, the building is embedded in the landscape and in terms of visual experience disconnects you from the views but off ers a

very diff erent spatial quality and a great sense of disorientation.

� e Continuous Route

� e relationship between the interior and exterior is of great importance throughout the building. � e museum forms a continuous loop, shaping a permanent route that fl ows around the park and sculpture garden. � is then creating a fl uid transition linking both the long corridors and gallery spaces. At various points, the scale of spaces can be somewhat overwhelming as the route channels through narrow corridors followed by considerable double height gallery spaces.As a whole, the journey is more spatially rich, unpredictable and contributes to the complete enjoyment and experience of the building. Although the route is a continuous loop, this is not apparent when exploring the museum. Instead a feeling of linear movement is evident. � e expansion and compression of spaces distorts the experience of the user. Simultaneously, the arrangement of the glazing discloses views in one direction at any time which further enforces the perceived linearity of the route. � e Louisiana Museum, presents the user with an unexpected experience. � e pre-conceived expectations are manipulated as the user completes the route through the ever changing spaces.

Louisiana Museum — 21

Louisiana Museum — 19