Page 52 - Anne book

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“Very early on in the project the idea arose of asking an artist
to decorate the six glass door partitions between the interior
of the church and the meeting rooms.
Since the church interior is surrounded by other rooms on
all four sides, daylight can only enter from above. This is
done partly by means of light falling through a high lantern
in the diagonal corner behind the altar, and partly through
narrow window fllets in the ceiling above the two colonnades
and areas above the doors. Here large triangular concrete
wings, placed high up, refect the light down into the interior
and along the colonnades. This unusual distribution of
light undergoes considerable change both in terms of light
intensity and angle of incidence, just as its character and
effect change between degrees of light and shade, depending
on the intensity of the light on the different sides of the
glass doors, and also depending on where one is standing in
relation to the doors.
This singular lighting solution required an artist who would
understand how to integrate light into a double-sided, light
sensitive work of art, which could bear being studied both
from the church interior and the meeting rooms. Moreover,
the glass doors, though not transparent, are diaphanous. We
had the great good fortune to come into contact with Anne
Vilsbøll who has, in her art, worked so much with the unique
technical and artistic potentials of paper, including its diapha-
nous quality. By means of her own creation of handmade
paper she works through to the specifc qualities of paper and
SKÆRING CHURCH NEAR ÅRHUS, 1996
the particular characteristics that she feels are necessary for
the artistic task in hand. This was why we approached Anne
Vilsbøll, and asked her to make a proposal.
With fne intuition for the space, the architecture and the
light in Skæring Church, Anne Vilsbøll created a work of art
which merges beautifully with the poetry and the unity of the
church.
The essential feel of the work is large and simple, refreshingly
free of sentimentality and anything tendentious.
The decoration of the 27 glass doors, which make up a large
part of the wall space in the church interior, was created on
site, and with a delicate sensitivity towards both the overall
effect and the minutest graphic details of the surfaces. It was
done with a fnely tuned feeling for the manner in which the
structure of the paper reacts to variations in the light. As
the light, coming from different directions and with varied
intensity, falls onto sections of these doors, situations arise
which move from warmly glowing slabs bathed in sunlight, to
large calm surfaces in cool shaded tones of green. Beautiful
and exiting experiences.
What has emerged, is a distinguished work of art, which
blends perfectly with the architecture, the form, materials
and tactility of the space, while also respecting the practical
functions of the place. It will be an exiting experience to
watch this work of art as the light plays over it in the church
in the days and years to come.”
Architect Johannes Exner, May 17th, 1996