In each edition of ABSoluut, the magazine we create for ABS Bouwteam, two parties engage in a dialogue about architecture. In this 30th edition, Anton Gonnissen, former CEO of ABS Bouwteam and publisher of the magazine, symbolically hands over the torch to his successor, Arne Schollaert, during a visit to Bagsværd Church in Copenhagen. Although the sacred building, designed in 1976 by Danish architect Jørn Utzon, resembles a factory from the outside, it touches the soul through its interior. With divine light pouring down over the heads of parishioners along the graceful curves of a cloud-like ceiling, and an architect who values meaning over appearance, Bagsværd Church had long been on Arne’s must-visit list: “I love it when a building simply does what it’s supposed to do – without unnecessary frills.”
Blog | BAGSVÆRD KIRKE: a lesson in humility
“I vividly remember my visit to the Sydney Opera House. It was an unforgettable, goosebump-inducing moment,” Arne says. “Utzon became world-famous for it, despite the challenging construction process. Whether you like it or not, it’s definitely a building that captivates. And that’s what architecture should aim to do, in my opinion. The Opera House is also the ultimate public good, as everyone can experience the same emotion when standing before it. That feeling of happiness is so incredibly valuable, yet it’s never factored into the cost-benefit analysis of what we build. But I believe that’s exactly the feeling we should pursue – not only in public buildings but also in homes and residential projects. We’ve been celebrating beauty for decades. I’d like to add the fight against banality to that. Whether it's apartment blocks flooding the streetscape with sadness or a living room and kitchen whose poor spatial proportions cause daily unease – this is what happens when the sole focus is on maximizing returns or efficiency in the construction process. That approach carries hidden – and ultimately higher – costs. Those who strike a better balance between profit and well-being create a different kind of architecture, with spaces, materials, and proportions that generate greater value for both client and community. I aim to ensure that what we build also includes that intangible, non-monetized extra.”
Danish simplicity and functionality
It’s mid-June and drizzling in Copenhagen. Arne and Anton huddle under an umbrella, hesitantly eyeing Bagsværd Church. With its pale concrete façade, seemingly random assembly of volumes, and stacked grey aluminum roofs, the house of worship looks more like a factory. Just as unassuming as its exterior, the structure blends quietly into its surroundings ‒ on the northern edge of the Danish capital, in a suburban area amid birch trees, with its back to a local street. Beyond this harmonious integration, the simplicity and functionality of the architecture are unsurprising ‒ it’s embedded in the DNA of Danish architecture. “You could see Bagsværd Church as a box around an inspiring space. Do you recognize the style of its creator?” Anton asks, tracing the pale outline of the building with his finger from a distance. “When you look at Utzon’s other works, you can’t really speak of a signature style. He adapts like a chameleon to every client, environment, and brief. His hand is barely visible ‒ and maybe that’s a good thing. These days, too much emphasis is placed on trying to impress. Utzon is primarily an architect of substance, and we can only appreciate that.”
The church has now stood for nearly fifty years. In 1976, after three centuries without a church, the Bagsværd community finally regained a place for prayer. In addition to creating meaningful relationships between buildings and their surroundings, Utzon’s work clearly demonstrates his ability to make architecture resonate with local communities — not only in Sydney but also in the small town of Bagsværd. Arne: “Bagsværd Church is much more than a church. The adjoining volumes host neighborhood events, meetings, exhibitions, youth activities, and more. It’s a place for everyone.” Arne also takes the opportunity to mention the residential complex Fredensborg Houses in the Danish town of the same name ‒ another of Utzon’s community-centered designs. “A hallmark of that 1963 housing project is its early use of shared private green space ‒ a principle I deeply believe in.”
Ultra-thin concrete shells
As the church bells signal the end of the service, and the two men patiently wait for their turn to enter and experience the church from within. Bagsværd Church is Jørn Utzon’s most acclaimed Danish project. He’s a master at blending modern architecture with traditional elements ‒ and the ordinary with the extraordinary ‒ his approach becomes apparent the moment you step inside. The contrast with the exterior couldn’t be greater.
As in all his other buildings, Utzon’s organic approach to architecture is evident here. The church ceilings consist of 12-centimeter-thick, cast-in-place reinforced concrete shells spanning 17 meters. A technical marvel and a rarity in Western religious architecture of that era. The shells are freely shaped using circular geometry, allowing Utzon full control over height, slope, and curvature. This technique was inspired by the elegance of historic church vaults — but realized with 20th-century technology. Utzon found inspiration during a trip to Hawaii, lying on the beach and watching the cloud formations shaped by the trade winds. The result? A white concrete roof, oriented north-south, that ripples like clouds above the prayer hall. It captures daylight from the ridge and diffuses it throughout the space, creating a sacred experience of time and space, inviting contemplation. “It’s not easy for an architect to take big creative risks,” Arne states. “That’s why we as a construction team like to take on that role. This allows the architect to stay true to their vision, the client to build with confidence, and together we can realize exceptional architecture.”
Looking at a cross-section of the prayer hall, one might see a connection to Eastern calligraphy ‒ Utzon’s admiration for the flowing lines of handwriting. Some even say the church’s floor plan resembles that of a Buddhist monastery, with its rectangular courtyards and pagoda-style roofs. Besides influences from China and Morocco, Utzon also admired American architect Frank Lloyd Wright after a trip to the United States ‒ especially his ideas about harmony between architecture and nature.
Twenty shades of white
One of the true highlights of Bagsværd Church is the altar — a light, airy wall of triangular cement tiles that reflect the incoming daylight throughout the space. “Twenty shades of white,” Anton whispers, watching the light shift throughout the day, casting a different shade of white on every space, corner and detail. “This is visual poetry.” Attentive visitors will also notice how the white floor tiles align with the glazed white tiles arranged in a dynamic pattern on the white precast concrete façade. Light beechwood furniture adds the necessary warmth to the interior. A lovely detail: the altar carpets and other artworks were created by Jørn Utzon’s daughter, weaver and ceramicist Lin Utzon. The organ too was designed by Utzon himself.
Quick-acting contractor
with the Sydney Opera House, the construction of Bagsværd Church wasn’t without hurdles. Financial issues and political resistance threatened to derail the project. It was thanks to the contractor’s swift action that the church was given a real chance. Thus, the building became a story of perseverance and conviction — from both Utzon and the local community. Arne and Anton carry that thought with them as they step back outside. The rain doesn’t dampen their joy after the visit, and the group heads back to Belgium — towards sunshine.
(Text: Leslie Vanhecke - Photography: Tim Van de Velde)
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