1912年决定，1873年去世的Grundtvig对丹麦的历史和文化具有重要意义，因此他值得一座国家纪念碑。1912年和1913年举行了两次竞赛，为雕像、装饰柱和建筑纪念物提供了大量的设计意见书。

It was decided in 1912 that Grundtvig, who had passed away in 1873, had been so significant to Danish history and culture that he merited a national monument. Two competitions were held in 1912 and 1913, bringing in numerous design submissions for statues, decorative columns, and architectural memorials.[3]

It was decided in 1912 that Grundtvig, who had passed away in 1873, had been so significant to Danish history and culture that he merited a national monument. Two competitions were held in 1912 and 1913, bringing in numerous design submissions for statues, decorative columns, and architectural memorials.[3]

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据说，在奥胡斯的教堂设计竞赛中，詹森·克林特(Jensen Klint)为Grundtvig的纪念碑设计并提交了自己的提案，当时他只是因为只获得了二等奖而怒气冲冲。他在工作中相信，无论他是否被选中，他仍然应该建造一座他认为Grundtvig应该得到的教堂-这种做法可以解释为什么Jensen Klint的提案的建筑费用膨胀到其他提交材料的20倍。尽管如此，法官们仍然相信丹麦人民的捐款(政府捐助增加了一倍)将足以赞助该项目，并于1913年宣布詹森·克林特(Jensen Klint)为获奖者。

It was purportedly while fuming over only taking second prize in a church design competition in Aarhus that Jensen Klint designed and submitted his own proposal for Grundtvig’s monument. He worked under the belief that, whether or not his entry was chosen, he should still produce a church he felt Grundtvig deserved – a modus operandi which may explain how the construction cost for Jensen Klint’s proposal ballooned to twenty times that of the other submissions. Nonetheless, the judges felt confident that donations from the Danish people, doubled by the government, would be sufficient to sponsor the project and announced Jensen Klint as the winner in 1913.[4]

It was purportedly while fuming over only taking second prize in a church design competition in Aarhus that Jensen Klint designed and submitted his own proposal for Grundtvig’s monument. He worked under the belief that, whether or not his entry was chosen, he should still produce a church he felt Grundtvig deserved – a modus operandi which may explain how the construction cost for Jensen Klint’s proposal ballooned to twenty times that of the other submissions. Nonetheless, the judges felt confident that donations from the Danish people, doubled by the government, would be sufficient to sponsor the project and announced Jensen Klint as the winner in 1913.[4]

 via grundtvigskirke.dk

通过格伦特维格列克

詹森·克林特(Jensen Klint)在他的设计中提到了格伦德维格(Grundtvig)所熟知的民族主义浪漫主义的一个特定品牌。Grundtvig在民间高中的普及中发挥了很大作用，这些学校欢迎来自各个社会阶层的年轻丹麦人来学习他们国家的语言和历史。这些学校体现了Grundtvig对古典学院的拒绝，他批评这些学院偏袒精英，而避开丹麦语而偏袒拉丁语。

In his design, Jensen Klint referenced a particular brand of nationalist romanticism for which Grundtvig had been known. Grundtvig had played a large part in the proliferation of folkehojskol, or folk high schools, that welcomed young Danes from every social class to come and study their country’s language and history. These schools embodied Grundtvig’s rejection of classical academies, which he criticized for favoring the elite and eschewing Danish in favor of Latin.[5]

In his design, Jensen Klint referenced a particular brand of nationalist romanticism for which Grundtvig had been known. Grundtvig had played a large part in the proliferation of folkehojskol, or folk high schools, that welcomed young Danes from every social class to come and study their country’s language and history. These schools embodied Grundtvig’s rejection of classical academies, which he criticized for favoring the elite and eschewing Danish in favor of Latin.[5]

 via grundtvigskirke.dk

通过格伦特维格列克

在许多方面，詹森·克林特的创作是令人惊讶的传统。在空间上，Grundtvig教堂被布置成一个典型的十字形大教堂，从两侧的过道中分离出正厅的柱子。和哥特式教堂一样，教堂用尖尖的拱门和窗户来定义神圣的空间。[6]詹森·克林特(Jensen Klint)也倾向于设计三合会的元素：最引人注目的是三座塔，以及教堂两侧的三座建筑-这是世界各地基督教教堂普遍存在的三位一体的宗教隐喻。后一种设计姿态总共创造了12个入口-引用圣经启示书中所描述的十二条入口到新耶路撒冷，并向使徒门徒点头。

In many ways, Jensen Klint’s creation is surprisingly traditional. Spatially, Grundtvig’s Church is laid out as a typical cruciform cathedral, with columns separating the nave from two flanking aisles. Like Gothic cathedrals, the church uses soaring pointed arches and windows to define the sacred space with light.[6] Jensen Klint was also prone to designing elements in triads: most notable are the three towers, as well as the three entries on each side of the church – a religious metaphor for the Trinity common throughout Christian churches around the world. This latter design gesture creates a total of twelve portals – a reference to the twelve entryways to the New Jerusalem as depicted in the Biblical book of Revelations and a nod to the apostolic disciples.[7]

In many ways, Jensen Klint’s creation is surprisingly traditional. Spatially, Grundtvig’s Church is laid out as a typical cruciform cathedral, with columns separating the nave from two flanking aisles. Like Gothic cathedrals, the church uses soaring pointed arches and windows to define the sacred space with light.[6] Jensen Klint was also prone to designing elements in triads: most notable are the three towers, as well as the three entries on each side of the church – a religious metaphor for the Trinity common throughout Christian churches around the world. This latter design gesture creates a total of twelve portals – a reference to the twelve entryways to the New Jerusalem as depicted in the Biblical book of Revelations and a nod to the apostolic disciples.[7]

 Courtesy of Flickr user Flemming Ibsen

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正如Grundtvig吹嘘保持丹麦文化传统的重要性一样，Jensen Klint也努力在他的设计中代表他祖国的本土建筑。外面的乌鸦级山墙让人回想起丹麦传统乡村房屋和教堂的门面，尽管规模要大得多。尊重丹麦自己的建筑规范也影响了建筑材料的选择：手工制作的黄砖。除了洗礼字体和屋顶之外，整个教堂都是由这些砖块组成的。[8]尽管这些砖块是由几个不同的石匠制作和组装的，但所有的砖块都来自新西兰(哥本哈根所在的岛屿)，屋顶瓷砖也是如此。这项工作需要大量的砖；一根柱子大约有30 000块。

Just as Grundtvig had touted the importance of maintaining Danish cultural tradition, so too did Jensen Klint strive to represent his homeland’s vernacular architecture in his design. The crow-stepped gables of the exterior call back to the façades of traditional Danish country houses and churches, albeit on a far grander scale. Deference to Denmark’s own building canon also influenced the choice of building material: handmade yellow brick. Other than the baptismal font and the roof, the entire church is composed of these bricks.[8] Though crafted and assembled by several different masons, all the bricks came from Zealand (the island on which Copenhagen is situated), as did the roofing tiles. Vast numbers of bricks were required for the job; a single pillar contains roughly 30,000.[9]

Just as Grundtvig had touted the importance of maintaining Danish cultural tradition, so too did Jensen Klint strive to represent his homeland’s vernacular architecture in his design. The crow-stepped gables of the exterior call back to the façades of traditional Danish country houses and churches, albeit on a far grander scale. Deference to Denmark’s own building canon also influenced the choice of building material: handmade yellow brick. Other than the baptismal font and the roof, the entire church is composed of these bricks.[8] Though crafted and assembled by several different masons, all the bricks came from Zealand (the island on which Copenhagen is situated), as did the roofing tiles. Vast numbers of bricks were required for the job; a single pillar contains roughly 30,000.[9]

 Courtesy of Flickr user Flemming Ibsen

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当詹森·克林特(Jensen Klint)为他的设计合成了两种中世纪风格时，他以惊人的克制教堂的洞穴内部几乎完全没有装饰物；巨大的柱子耸立在尖顶拱门和带肋的拱顶上，几乎没有视觉上的干扰。[10]教堂开着的窗户突出了这一设计的惊人简单性，它允许阳光从里面打磨的砖块中流过和反射出来。在中世纪建筑大师的启示下，詹森·克林特将室内的比例建立在传统的审美比例之上，目的是让它看起来令人愉悦，而不需要额外的装饰。

While Jensen Klint synthesized two medieval styles for his design, he did so with striking restraint. The cavernous interiors of the church are almost entirely devoid of ornament; the massive columns rise to pointed arches and ribbed vaults with little to no visual interruption.[10] The dramatic simplicity of the design is highlighted by the church’s gaping windows, which allow the sunlight to stream in and reflect off the polished bricks within. Taking his cue from medieval master builders, Jensen Klint based the proportions of the interior on traditional aesthetic ratios intended to give it a pleasing appearance without the need for additional ornamentation.[11]

While Jensen Klint synthesized two medieval styles for his design, he did so with striking restraint. The cavernous interiors of the church are almost entirely devoid of ornament; the massive columns rise to pointed arches and ribbed vaults with little to no visual interruption.[10] The dramatic simplicity of the design is highlighted by the church’s gaping windows, which allow the sunlight to stream in and reflect off the polished bricks within. Taking his cue from medieval master builders, Jensen Klint based the proportions of the interior on traditional aesthetic ratios intended to give it a pleasing appearance without the need for additional ornamentation.[11]

 Courtesy of Flickr user Flemming Ibsen

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确切地说，在哪里建造Grundtvig教堂是1913年比赛结束和1921年开始建设之间的重大争论。经过多个地点的考虑，决定纪念馆将在哥本哈根郊区Bispebjerg形成一个新的山顶社区的中心。虽然有些人抱怨这个地方太偏僻和空旷，但另一些人反驳说，一旦新社区围绕着教堂建造，教堂就会找到有用的服务。

Exactly where to build Grundtvig’s Church was a matter of significant debate between the competition’s end in 1913 and the beginning of construction in 1921. After a number of sites were considered, it was decided that the memorial would form the centerpiece of a new hilltop community at Bispebjerg, a suburb of Copenhagen. Though some complained that the location was too remote and empty, others rebutted that the church would find useful service once the new neighborhood was built around it.[12]

Exactly where to build Grundtvig’s Church was a matter of significant debate between the competition’s end in 1913 and the beginning of construction in 1921. After a number of sites were considered, it was decided that the memorial would form the centerpiece of a new hilltop community at Bispebjerg, a suburb of Copenhagen. Though some complained that the location was too remote and empty, others rebutted that the church would find useful service once the new neighborhood was built around it.[12]

新住宅开发项目的设计最终也落在了詹森·克林特(Jensen Klint)身上，他将哥本哈根城市规划师提出的古典布局改编成了一个不那么僵化的中世纪计划。他还推翻了最初的决定，让建筑的高度从边界上升到教堂；相反，他用低矮的房屋在教堂的两侧，让它更显着地隐现在周围的环境中。在风格上，这一发展显然与教堂的核心联系在一起，有着类似的乌鸦梯级山墙和黄色的砖墙。詹森·克林特(Jensen Klint)从来不忘让房子负担得起，它极大地限制了房屋结构和装饰的复杂性；最精致的建筑姿态是每一组住宅特有的铰接式门道。

The design of the new housing development ultimately fell to Jensen Klint too, who adapted the Classical layout proposed by Copenhagen’s city planners into a less rigid medieval plan. He also inverted the initial decision to have building heights rise from the boundaries to the church; instead, he flanked the church with low-lying houses, allowing it to loom more dramatically over its surroundings. Stylistically, the development is clearly linked to the church at its core, with similar crow-step gables and yellow brick walls. Ever mindful of keeping the houses affordable, Jensen Klint greatly limited the complexity of their structure and decoration; the most elaborate architectural gestures were the articulated doorways unique to each group of homes.[13]

The design of the new housing development ultimately fell to Jensen Klint too, who adapted the Classical layout proposed by Copenhagen’s city planners into a less rigid medieval plan. He also inverted the initial decision to have building heights rise from the boundaries to the church; instead, he flanked the church with low-lying houses, allowing it to loom more dramatically over its surroundings. Stylistically, the development is clearly linked to the church at its core, with similar crow-step gables and yellow brick walls. Ever mindful of keeping the houses affordable, Jensen Klint greatly limited the complexity of their structure and decoration; the most elaborate architectural gestures were the articulated doorways unique to each group of homes.[13]

Grundtvig教堂的建造历时19年，在三个不同的建筑师的监督下分两个阶段建造。最初，筹集的资金只用于建造西钟楼。1927年，这座教堂作为临时教堂开业，可容纳200名教众。一旦建筑的其余部分开始施工，地板材料就从砖块变成了瓷砖，这一差异一直反映在完成的教堂的地板上。1930年，当P.V.Jensen Klint去世时，他的儿子Kaare Klint接管了这项工作。Kaare的儿子Esben也参与了这个项目，这意味着教堂的建造是由同一家族的三代人监督的。

Construction of Grundtvig’s Church lasted 19 years, during which time the building was erected in two phases under supervision by three different architects. Initially, the money raised only covered construction of the western bell tower, which opened in 1927 as a temporary church with seating for a congregation of 200. Once work commenced on the rest of the building, the flooring material changed from brick to tile, a difference that is reflected in the floor of the completed church to this day. When P.V. Jensen Klint died in 1930, supervision of the work was taken on by his son, Kaare Klint. Kaare’s son Esben also worked on the project, meaning the construction of the church was overseen by three generations of the same family.[14]

Construction of Grundtvig’s Church lasted 19 years, during which time the building was erected in two phases under supervision by three different architects. Initially, the money raised only covered construction of the western bell tower, which opened in 1927 as a temporary church with seating for a congregation of 200. Once work commenced on the rest of the building, the flooring material changed from brick to tile, a difference that is reflected in the floor of the completed church to this day. When P.V. Jensen Klint died in 1930, supervision of the work was taken on by his son, Kaare Klint. Kaare’s son Esben also worked on the project, meaning the construction of the church was overseen by three generations of the same family.[14]

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Grundtvig的教堂是由丹麦国王于1940年9月8日-19年在建造开始后，和N.F.S.Grundtvig的生日为圣的。这座建筑在开幕式上得到了充分的包装，因为它是在一天之后的一天，以及在开幕式之后的许多星期天。1921年以前，黑麦的一个领域现在是丹麦最大和最难忘的教堂之一，不仅是Grundvig的纪念碑，而且是丹麦文化、表现主义和建筑师，他们把他们都融入了一个令人叹为观止的手工制作的砖。[15]

Grundtvig’s Church was consecrated by the King of Denmark on September 8, 1940 – 19 years to the day after construction began, and on N.F.S. Grundtvig’s birthday. The building was fully packed for the ceremony, as it was the day after and for many Sundays following its opening. What was once a field of rye before 1921 is now the site of one of Denmark’s largest and most memorable churches, a monument not only to Grundvig, but to Danish culture, Expressionism, and the architect who combined them all into a stunning orchestration of hand-crafted brick.[15]

Grundtvig’s Church was consecrated by the King of Denmark on September 8, 1940 – 19 years to the day after construction began, and on N.F.S. Grundtvig’s birthday. The building was fully packed for the ceremony, as it was the day after and for many Sundays following its opening. What was once a field of rye before 1921 is now the site of one of Denmark’s largest and most memorable churches, a monument not only to Grundvig, but to Danish culture, Expressionism, and the architect who combined them all into a stunning orchestration of hand-crafted brick.[15]

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参考文献[1]“Grundtvig‘s Church，Bispebjerg，哥本哈根，丹麦”。曼彻斯特历史。2016年7月12日。http：/manchesterHistory y.net/Architecture/1920/grundtvigschurch.html。[2]Grundtvigs教堂的历史-简介。PDF。哥本哈根：柯克。[3]Grundtvigs教堂的历史。[4]Remar，Dorte。“Folkets Kirke P jerget”2011年7月22日，Torsdag。[进入]。[5]大英百科全书在线网。v.“N.F.S.Grundtvig”，2016年7月14日，[Access]。[6]Grundtvigs教堂的历史。[7]雷马尔。[8]Glancey，Jonathan。目击伴侣：建筑。伦敦：DK，2006年。P 422。[9]Grundtvigs教堂的历史。[10]Hughes，Dana Tomić.“哥本哈根Grundtvig教会的极简性”黄道。2015年11月2日。[进入]。[11]Grundtvigs教堂的历史。[12]雷马尔。[13]“Grundtvig‘s教堂，Bispebjerg，丹麦哥本哈根”，[14]Remar。[15]雷马尔。

References [1] "Grundtvig's Church, Bispebjerg, Copenhagen, Denmark." Manchester History. Accessed July 12, 2016. http://manchesterhistory.net/architecture/1920/grundtvigschurch.html. [2] The History of Grundtvigs Church - Short Introduction. PDF. Copenhagen: Grundtvigs Kirke. [3] The History of Grundtvigs Church. [4] Remar, Dorte. "Folkets Kirke På Bjerget." Torsdag, July 22, 2011. [access]. [5] Encyclopædia Britannica Online, s. v. "N.F.S. Grundtvig", accessed July 14, 2016, [access]. [6] The History of Grundtvigs Church. [7] Remar. [8] Glancey, Jonathan. Eyewitness Companions: Architecture. London: DK, 2006. p422. [9] The History of Grundtvigs Church. [10] Hughes, Dana Tomić. "Majestic Simplicity of Grundtvig's Church in Copenhagen." Yellowtrace. November 2, 2015. [access]. [11] The History of Grundtvigs Church. [12] Remar. [13] "Grundtvig's Church, Bispebjerg, Copenhagen, Denmark." [14] Remar. [15] Remar.

References [1] "Grundtvig's Church, Bispebjerg, Copenhagen, Denmark." Manchester History. Accessed July 12, 2016. http://manchesterhistory.net/architecture/1920/grundtvigschurch.html. [2] The History of Grundtvigs Church - Short Introduction. PDF. Copenhagen: Grundtvigs Kirke. [3] The History of Grundtvigs Church. [4] Remar, Dorte. "Folkets Kirke På Bjerget." Torsdag, July 22, 2011. [access]. [5] Encyclopædia Britannica Online, s. v. "N.F.S. Grundtvig", accessed July 14, 2016, [access]. [6] The History of Grundtvigs Church. [7] Remar. [8] Glancey, Jonathan. Eyewitness Companions: Architecture. London: DK, 2006. p422. [9] The History of Grundtvigs Church. [10] Hughes, Dana Tomić. "Majestic Simplicity of Grundtvig's Church in Copenhagen." Yellowtrace. November 2, 2015. [access]. [11] The History of Grundtvigs Church. [12] Remar. [13] "Grundtvig's Church, Bispebjerg, Copenhagen, Denmark." [14] Remar. [15] Remar.

建筑师Peder Wilhelm Jensen-Klint Location P Bjerget 14B，2400 K benhavn NV，丹麦建筑师Peder Vilhelm Jensen Klint Project，1940年类别地标

Architects Peder Wilhelm Jensen-Klint Location På Bjerget 14B, 2400 København NV, Denmark Architect in Charge Peder Vilhelm Jensen Klint Project Year 1940 Category Landmarks & Monuments

Architects Peder Wilhelm Jensen-Klint Location På Bjerget 14B, 2400 København NV, Denmark Architect in Charge Peder Vilhelm Jensen Klint Project Year 1940 Category Landmarks & Monuments