Take Me to Church, Jørn Utzon
When discussing Jørn Utzon, it is easy for your mind to leap to images of the Sydney Opera House and its sculptural, reinforced concrete shells. When you google the word "Sydney", Utzon's opera house is the first image. When you google the word "Australia", Utzon's opera house is the third image. Much like how the word "google" has naturally become associated with searching, the Sydney Opera House has since become associated with Australia and its culture.
In this writing, I want to focus on the Bagsværd Church, a lesser known project of the architect but one that still echoes his unique, inventive style. With an unassuming, rectilinear exterior form, the project inherits the context of the suburban Copenhagen region that it resides in. Viewing the church from the outside leaves much to be desired architecturally in my opinion. To my surprise, this dull simplicity has become one of my favorite parts of the project as it foreshadows essentially nothing of the organic dreamscape that resides on the interior.
Upon entering the church, viewers are treated with an interior that could not differ more extremely from the exterior. Flowing, curved concrete shells wrap the upper limits and walls of the space feeling remarkably soft and light despite their materiality. These white, curved slabs enhance the lighting qualities within the interior of the space adding to the religious programmatic intentions. The interior section, as discussed in class, was remarkably complex for the physical, built environment (as was the Sydney Opera House) and was executed in the fabrication nearly perfectly. Utzon claims that the form was derived from trips to Hawaii where he developed an appreciation for the wind and clouds and the peace they bring with it. I believe he has captured the sense of tranquility and created an experiential sanctuary.
It is interesting how the interior and exterior are so different. The exterior relates to its regional material context, but the interior is otherworldly. There is no doubt that the architecture of the interior is outstanding, but I wonder if there could have been a stronger contextual relationship? Perhaps the regional approach was in the lighting conditions, creating an atmospheric condition that feels familiar and dreamlike all at once.
ReplyDeleteI agree with Michael. I think the project is beautifully simplistic, but if the regional context came from the site, I think this project could have a completely different, but sacred space for the site. Another thing I think many of these amazing experiential projects are missing is the connection to its usage. This project in particular is missing its connection to the church, which could have easily been considered with the lighting effect this project has.
ReplyDeleteEric, I agree in your analysis with the building. I too agree that the exterior is nothing more than basic and unappealing which is ironic since typically churches attempt t be attractive to people and welcoming. Maybe the architect was trying to keep this church to be a best kept secret where those who are truly pursuing their faith can come and experience this drealike world that he provides on the interior.
ReplyDeleteEric, after learning about this in class, I believe Bagsværd Church is more of an example of the theory of atmosphere more than critical regionalism. The interior of the church creates amazing and inspiring sensory through the use of form and light. If I hadn't known the architect, I would have assumed it was a Zumthor project.
ReplyDeleteHey Eric! Utzon's projects are definitely remarkable in their own way but I would argue that this psychological effect that he creates on the interior is equally as important as what can be designed on the exterior. I think most designers when thinking about this topic tend to lean towards designs of interior spaces but not many designers talk about what the exterior can contribute to this movement. Architecture has an effect on people regardless if your inside walking up a grand stair case or outside looking up at the ornate façade of a European cathedral. I think it's important for us to keep this duality in mind when designing.
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