架构师提供的文本描述。教堂坐落在一个小山顶上，上面有大松树和一些裸露的岩石。从几何上讲，教堂是现有地面的补充，除了小心清除薄土层外，没有必要进行爆破和开挖。这项技术，除其他外，使它更容易保存现有的植被和地形，从而增加了一个维度的建筑经验。

Text description provided by the architects. The church is situated on the top of a small crest with large pine trees and some exposed rock. Geometrically speaking the church is an addition to the existing ground, no blasting and excavation was necessary except carefully removing the thin layer of soil. This technique, among other things, makes it easier to preserve the existing vegetation and topography, thereby adding a dimension to the experience of the building.

一些树木保存在围场内的中庭中。一些岩层像岛屿一样出现在教堂的混凝土地板上，在教会和唱诗班之间。因此，教会将其主要的分部从已经在现场的元素中剥离出来。这是可能的，因为在确定房间尺寸时有相对较大的公差。没有使用模块来确定花园的确切位置。而是选择材料和结构，这样就可以在没有步骤或模块的情况下逐步非增量地调整尺寸。

A number of trees are preserved in atriums within the enclosure. Some of the rock formations emerge like islands in the concrete floor of the church, between the congregation and choir. Thus the church takes its major divisions from elements already on the site. This is possible because there are relatively large tolerances in dimensioning the rooms. No module has been used to determine the exact positions of the gardens. Rather the materials and structures are chosen so that a gradual non incremental adjustment of dimensions, without steps or modules, is possible.

创建一个“无声”自我参照空间的愿望与限制这种可能性的各种障碍之间的紧张关系，被蓄意选择作为一种战略，在建筑上“干扰”一个涉及广泛的人和利益的过程，否则就会充斥着大量的传统和其他历史参考文献。

The tension between the wish to create a "silent" self-referring room, and a variety of obstacles limiting this possibility, has been deliberately chosen as a strategy to architecturally "disturb" a process in which a wide range of people and interests are involved, and which otherwise would be heavily loaded with conventional and other historical references.

主要结构是一个带有石墙的钢框架。离石墙90至160厘米的玻璃幕墙构成了教堂房间周围的狭窄走廊。这面墙里的石头是没有灰泥建造的，因此光线可以穿透，并且有一个均匀的侧面，一个作为标准的凹凸不平。内部石墙的外部凹凸不平，通过教堂三面的玻璃正面暴露在外面。石墙水平加劲钢板，4mm x 250毫米，跨柱，插入墙每米。只有当墙本身的重量加到这个结构上时，这些板才能使墙变硬。玻璃正面由插入玻璃板之间的垂直接头的钢板和石墙中的水平钢板组成的“推进”来加强。

The main structure is a steel framework with a stone wall carrying the roof. A glass facade 90 - 160 cm off the stone wall defines a narrow gallery around the church room. The stone in this wall is built without mortar, thus letting light through, and has one even side, and one uneven as standard. The uneven outside of the internal stone wall is exposed to the outside through the glass facade on three sides of the church. The stonewall is stiffened horizontally by steel plates, 4mm x 250mm, that spans between the columns, inserted into the wall every meter. These plates can stiffen this wall only when the weight of the wall itself is added to this structure. The glass facades are stiffened with "propels" made from steel plates that are inserted into the vertical joints between the glass panes, and to the horizontal steel plates in the stonewall.

预算非常紧张，每平方米的价格相当于奥斯陆的社会住房价格。为了让这座建筑意识到，我们必须利用我们所能想到的每一种可能性，从经济上来说，从更少的地方得到更多。这主要是通过避免传统的外观、结构、墙壁、地板等“专有”系统来实现的。相反，我们使用了非常基本的方法和技术，令人惊讶的是，我们一次又一次地发现，这不仅更便宜，而且给了我们更大的建筑自由。这个零碎而复杂的角色出现并结束了寻找可能的配置的过程-在我们的限制下最终可以实现的布局-变得如此复杂以至于几乎不可能一次拍摄到整个建筑或内部。

The budget was very tight, and the price per square meter equals that of social housing in Oslo. To get this building realized we had to use every possibility we could think of to get more out of less, economically speaking. This was achieved mainly by avoiding conventional "proprietary" systems for facades, structures, walls, floors etc. Rather we used very basic methods and techniques and surprisingly found out, again and again, that not only was it cheaper, it also gave us a far greater architectural freedom. The fragmented and complex character that emerged and concluded the process of searching for the possible configurations - that is the layout that eventually could be realized given the limitations we had - turned out to be so complex that it is virtually impossible to photograph the whole building, or interior in one shot.