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这座教堂是在波什格伦教堂的旧址上建造，原先的教堂在2011年的大火中不幸被摧毁。新的教堂作为一种“复活”的象征，通过其内部的独特光线追寻着乐观精神和对未来的信念。

The new Church replaces the old Porsgrunn church which was lost in a fire in 2011. The new Church is a “Resurrection Church” that, through light, seeks optimism and new belief in the future after the fatal fire.

▼教堂外观，exterior view ©Rasmus Norlander

以瓷砖包覆的新教堂
The new Porsgrunn Church is built of porcelain

制作瓷器是波什格伦市的主要产业。用陶瓷来打造建筑的内外表面被明确地写在任务书中，目的是将教堂与其所在的城市和历史连接起来。教堂的立面以全白的瓷砖包覆，象征着崇高、洁净和尊贵，同时也表达了对逝去的白色木制教堂的缅怀。

Production of porcelain was the main industry that the city of Porsgrunn was built on. The project was proposed built in porcelain, in all its surfaces inside and outside, to link the project to the city’s identity and history. The porcelain tiles are homogeneously white through the material. The white is intended to expression a noble, clean and exalted expression. It’s also a representation of the old white wooden church that burned.

▼教堂的立面以全白的瓷砖包覆，the porcelain tiles are homogeneously white through the material ©Rasmus Norlander

几何作为教堂空间的主题
In the new Porsgrunn Church, geometry is a theme

原先的波什格伦教堂基于清晰的4.8×4.8m正方形模块和4.8×2.4m的半模块而建造。新的教堂仍然以该模块为基准，在比例、规模和与墓地的关系上均与旧教堂的尺寸形成呼应。教堂包含11个主要的体量，围绕着核心区域分布。这些体量同时扮演着承重结构，并通过横梁来连接所有的屋面。建筑中一共包含24个独立的自排水屋顶。

▼立面图，elevation ©Espen Surnevik

The old Church in Porsgrunn was, in classical tradition, based on a clarified mathematical module of squares of 4,8 x 4,8m, as well as half modules of 4,8 x 2,4m. Exactly bases on these old modules, the new church was developed. This gave the new building proportions, scale and relationship to the cemetery that reflected the sizes of the old church. The church building consists of eleven main volumes assembled to surround the church room. These volumes are the Church’s load-bearing structure. Between them it spans beams that carry all the different roofs. There is a total of 24 independent and self-draining roofs in the building.

▼教堂包含11个主要的体量，围绕着核心区域分布，the church building consists of eleven main volumes assembled to surround the church room ©Rasmus Norlander

教堂塔是场地中最显著的建筑，使教堂在波什格伦和希恩周围的广阔景观中成为标志性的存在。塔的倾斜角度为3.3度，为其他的所有体量提供了倾斜的依据。所有的体块均未设置开口，并以紧凑的形式聚合为一个庞大的整体。这种体块布局受到了位于教堂附近墓地的古埃及方尖碑的影响，试图在过去与未来之间建立对话。简洁的体块暗示着一种宏大而永恒的属性，而表达建筑形式的关键在于把控空间转换和临界点的精准度。这也对教堂的施工提出了严格的要求。

The Church tower is the building’s most prominent volume and marks the church in the vast landscape space around Porsgrunn and Skien. The tower’s angle of inclination of 3.3 degrees has given the slope to all the rest of the church’s volumes. Volumes are made dense, without openings to emerge as massive. This with inspiration in the ancient Egyptian obelisks which are located on the 1800-century tombs around the Church. This is an attempted to create a dialogue between the past and the future, with geometry as a tool. The simple geometries are motivated by representing something universal, timeless and eternal where precision in transitions and “zero-points” has been central to express the gestalt of the building. This has also set major demands on building works and details during the construction period.

▼高耸的教堂塔令教堂成为标志性的存在，the Church tower marks the church in the vast landscape space around Porsgrunn and Skien ©Rasmus Norlander

▼体块布局受到了位于教堂附近墓地的古埃及方尖碑的影响，the massing was inspired from the ancient Egyptian obelisks located on the tombs around the Church ©Rasmus Norlander

不同的体量拥有不同的高度，预示了其内部容纳的功能空间。教堂塔拥有最显著的高度，从整个城市都可以望见。第二高的是唱诗班所在的教堂主殿，其次是包含了小教堂的双子塔，然后是包含了圣器安置所和管风琴室等其他设施的六个侧方体量。位于后方的体块高度最低且功能较为次要，主要用于容纳技术设备。

The various volumes are completed at different heights that express the importance of the functions they accommodate. The tower is highest and express that the building is a Church, viewed from the whole city. Secondly, the choir follows as the second-highest, further twin towers containing Chappell, and then the six side volumes containing, among other things, the sacristy and the organ. At the back is the lowest and least important volume that contains technical spaces.

▼建筑侧立面，the side facade ©Rasmus Norlander

新波什格伦教堂的结构
Structure of the new Porsgrunn Church

主要体量中的所有几何形式均依照数学原理组合在一起，形成一个贯穿整个教堂的富有韵律的结构。该结构在不同的体量之间创造了空隙，使阳光得以进入教堂内部。结构设计的目的是在教堂内部实现形式、构造和功能的互动。教堂空间给人一种坐在户外、同时受到宽阔屋顶庇护的感觉。这样的结构能够让围绕着主体的所有功能空间实现策略性的布局，并且创造便捷通畅的路径。次要的空间变得不再明显，但依然可以从神圣的教堂空间进入。

▼平面图，plan ©Espen Surnevik

All the geometries in the main volumes are drawn in such a way that they mathematically go together, forming a rhythmic structure that runs through the entire Church building. The structure creates space between the volumes, allowing daylight flowing into the Church room. The motivation for the structure is to achieve an interaction between expressions, construction and the functions within the Church. The Church room is thought to be perceived as sitting outside, under a large roof worn by large massives. The structure is designed to facilitate all the function’s placed strategically, and easily accessible, around the Church room. In this way, the trivial functions are anonymous, but still accessible, from the sacred Church room.

▼教堂主殿，the Church room ©Rasmus Norlander

▼体量之间的空隙使阳光得以进入教堂内部，the space between the volumes allows daylight flowing into the Church room ©Rasmus Norlander

▼神圣的教堂空间，the sacred Church room ©Rasmus Norlander

所有的主要体量均采用了自承重的钢结构，凭借强大的构造力形成一个双向稳定的刚性系统。位于主要体量之间的横梁承载了全部的屋顶，并在空间内外明显地展现出来。这种有意的“暴露”旨在发出一种提醒：我们都是被物理现实包围着的尘世中的人类。

All Church’s main volumes are self-supporting steel structures. They have great constructive capacity and form a rigid system which are stabile in two directions. Between the main volumes its spanning beams that carry all the roofs. The beams are highlighted in both the church’s exterior, and in the Church interiors. It has been an intention, in the design, to express the bearing as a reminder of the physical reality we surround ourselves with, the earthly.

▼空间细节，interior view ©Rasmus Norlander

教堂的材料
Materials of the new Porsgrunn Church

教堂的所有主要体量均搭配以柔软且有机的橡木元素。门、吊顶、非承重墙和家具都是由橡木制成，同时还结合了羊毛织物。材料的选择体现了承重结构与非承重结构以及受力与非受力元素之间的对比。此外，木材的使用也为教堂赋予了与清冷且抽象的瓷质立面截然不同的温暖触感。

From the outset, all the Church’s main volumes have been thought accompanied by soft, organic building parts made from oak. Doors, suspended ceilings, non-bearing walls and furniture are all made from oak, and in combination with genuine wool fabrics. This to point out a contrast between what does not carry and the bearing, the resistant and the unresistant. Furthermore, the wood is also chosen to give the church a warm touch along with the otherwise cool abstract porcelain surfaces.

▼空间内搭配以柔软且有机的橡木元素，all the Church’s main volumes have been thought accompanied by soft, organic building parts made from oak ©Rasmus Norlander

▼天顶视角，ceiling view ©Rasmus Norlander

教堂中的艺术装饰
Artistic decoration of the new Porsgrunn Church

除了作为艺术品本身的教堂，唱诗班主殿的内部还设有高度超过五英尺的装饰物，由数百块烧制的釉面砖构成，描绘了天使进入主殿的过程。带状元素指示着天空，光线透过天窗照耀在唱诗班空间上方，使神圣的典礼成为教堂的核心。装饰物的制作者为挪威艺术家Espen Dietrichson和Marie Buskov。

The Church itself is thought of as a work of art, in addition, the choir is adorned with an over five feet of high embellishment consisting of several hundred pieces of burnt glazed porcelain. The decoration depicts an angel entering the Church room. The frieze relates to the sky over, through a skylight that brings light down over the choir and puts the sacred actions in the centre of the church room. The porcelain-frieze is made by Norwegian artists Espen Dietrichson and Marie Buskov.

▼主殿的装饰物由数百块烧制的釉面砖构成，the artwork in the choir consist of several hundred pieces of burnt glazed porcelain ©Rasmus Norlander

▼从室外望向装饰，view from outside ©Rasmus Norlander

教堂的建造过程
Building process of the new Porsgrunn Church

教堂的建造展现了一个历时数年的独特过程。精准的施工依赖于规划者、企业家和承包商的共同努力。施工过程中对挪威的建筑限差标准做出了必要的更改。基于一种在当今挪威并不常见的方式，承包商和工匠们以极高的精确度将施工图纸变为了现实。

The construction of Porsgrunn Church represents a several years long, and unique process. The precision of the project would be impossible to implement without the unusual personal dedication of both planners, entrepreneur and contractors. In the execution it has been necessary to put away the Norwegian standard for building tolerances. Contractors and craftsmen have been capable to build the architect drawings for the project with great precision in a way that is unusual in Norway today.

▼教堂概览，exterior view ©Rasmus Norlander

▼剖面图，sections ©Espen Surnevik

Main Architect – Espen Surnevik
Collaborating Architect – Trodahl Architects

Project type: Church (Den Norske kirke / Church of Norway) – evangelical Lutheran/ Protestant
Location: city-Porsgrunn , district-Telemark country – Norway
Client: Porsgrunn kirkelige Fellesråd (The Church municipality of Porsgrunn)
Size/Area: Hight-34m, Width-23,6m ,Length-37,2m, Area-960sqm (brutto)
Project period: spring 2015- autumn 2019
Project cost:Ca 50 mill NOK (4,5 mill EUR)
Consultants:
Structural engineer/Rådgivende ingeniør bygg: A.L.Høyer Skien AS
Ventilation engineer/Rådgivende ingeniør VVS: Erichsen & Horgen AS
Electro engineer/Rådgivende ingeniør elektro: Malnes og Endresen AS
Landscape Architect/Landskapsarkitekt : sivilarkitekt espen surnevik as
Interior Architect/Interiørarkitekt: sivilarkitekt espen surnevik as
Clients representative / Byggherrens representant:wsp-Tønsberg
Acoustic engineer/Rådgivende ingeniør akustikk: Multiconsult
Fire engineer/Rådgivende ingeniør brann:Erichsen & Horgen AS
Artist: Espen Dietricson and Marie Buskov
Contractors:
Main Contractor/Hovedentreprenør:Tor Entreprenør AS
Ventilation/piping/VVS: BRAVIDA
Electro/Elektro: Elektro4
Photo: Rasmus Norlander

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