Church, Jyllinge

Like a ship run ashore, the Holy Cross Church (Hellig Kors Kirken) stands out against the scenic Roskilde Fjord. The area is characterized by innumerable islets, a tortuous coastline and stunning geology. It was from here that the Vikings set sail to plunder the world and it is here that the remains of their ships are preserved and exhibited today. Although very futuristic-looking at a first glance, the church interacts perfectly with its surroundings, be they natural, historical or social.

The entire outer shell of the skewed, square-plan building is made of a translucent composite material that resembles that of the modern ships and boats that crisscross the fjord. During the day the fibreglass material allows daylight to penetrate the hallowed hall, while at night the church glows in the landscape. The material is a composite of extremely fine fibres of tempered glass combined with hardened plastic. Composite materials are defined as engineered materials made from two or more constituent materials with significantly different physical or chemical properties, which remain separate and distinct at a macroscopic level within the finished structure. Fibreglass is characterized by its unique translucency, its high ratio of strength to weight and its cost effectiveness. In recent years, architect and professor Jan Søndergaard from KHR Architects has declared it his favourite building material and area of specialization.

In 2006, Jan Søndergaard kick-started his fibreglass adventure by designing the factory (Fiberline Composites A/S) that produces the material. It was the first ever large-scale building to be created in fibreglass. The Fiberline factory stands like a monolith in a bare field on the Danish island of Funen. It is an innovative piece of architecture, which makes what it is and is what it makes. In the case of the church, the fibreglass composite makes the structure look light green, grey or light blue depending on the weather, sunlight and reflections from the waters of the fjord. Passing clouds cast shadows on the outer walls, creating patterns on the dynamic surface. The church is skirted by a 50-cm-wide bed of light-coloured beach pebbles which help to soften an otherwise severe-looking building.

Inside, the floors and walls are made of bright, natural concrete material. This choice of material works as a great contrast to the lightweight feeling on the outside. While the outer shell seems to rise up from the ground, the interior makes sure the church is down to earth.

The interior is one big space with no divisions between nave and chancel. It is an angular space with a raised ceiling above the altar. From the altar, the ceiling slopes down towards a grand glass facade consisting of big sliding glass doors that open up to the surrounding nature. Above, a line of skylights in the shape of a long slender cross runs the entire length of the building. Although this cross-structure is not visible in its entirety from inside the church, the sense of 'divine light' is nonetheless palpable. On the slightly raked walls facing the water, is another long row of windows offering a splendid view over the fjord landscape. The daylight streaming in from the various windows casts light and shadows on the opposite wall which is ten metres longer than the actual interior of the church; its extension beyond the sliding glass doors creates a cosy outdoor shelter.

The lines of emancipating light and the general shapes of the building call to mind Daniel Liebeskind's various museum buildings. However, it is the omnipresent fibreglass material that makes this building unique. It has a frozen yet soft appearance and the minimalist, chaste look is a dynamic contrast with the picturesque landscape. Creating a church made of fibreglass is a truly original idea and a radical challenge to normal ideas of what a church should look like. Despite its innovative use of materials, the Holy Cross Church was designed with respect for the landscape, the history of the place and church traditions. This delicate combination represents real progress.