How do we feel when we are in a fascinating place? The wide and magnificent panorama, the aerial positioning, the shades of the colors, the wind and the light that pierces the fog. The situation sublimates the feelings of man in the face of the planet. The mood of a person who thinks of his life and of his meaning can be intensified to the dismay, highlighting the fact that he can not understand the creation.

But in man's help there can be two attitudes:

• Understanding a form, the geometric abstraction, defined and rational in aesthetics and structural and static conception.
• Empathy with the natural environment and cultural context, colors, shapes.

These two concepts want to be on the background of the project, perhaps not at the conscious level for all those who observe, but they are two founding elements of the designer's will. 

The intersection of the panels, different in shape, cut and position in the space, creates a crossing of lines that grows from the bottom up. These lines, on the one hand, recall the idea of human lives and the dreams of men intertwining and rising from the earth point to the sky, on the other they recall the intersection of the fractures of the rock floor of the “pulpit rock” and make it three-dimensional. With these concepts, a preliminary cardboard model was developed, with which the architectural study and the lights continued.

The aerial location, natural exposure, wide panorama, are emotional motors and we want them to be part of the project. For these reasons, the project aims at obtaining a building without physical doors and windows, in which the outside environment can enter, in the form of lights, pieces of panorama, but not only, also temperatures, sounds, wind and aromas will be the original ones of the external environment, creating a particular symbiosis.

The lightness and airiness of the place have also led to the structural choice that will be described in the end.

Along with the insertion in the context, thanks to the wide cuts and triangular holes between the structures, the building will offer the visitor panorama scraps enveloped by the architecture of the church, creating a blend of panorama and architecture.

The triangular panel trusses that form the chapel, have different shapes. The one towards the entrance is lower, meaning the piety of those who enter, and wider, to signify the creator's welcome. The second truss, which overlooks the altar, is higher, symbolizing the spiritual elevation and hierarchy of the central place of the chapel.

Behind the chapel, the apse is constructed with two vertical panels, the highest upward momentum. The panels are parallel and offset, positioned one forward and the other a little further back so that the light and shadow play between the two panels draw the vertical axis of the cross. Above both panels, to the altar, a second panel is set off from the ground and reaches about three meters high. This second panel has the high edge edged with an acute angle so that it forms a horizontal shadow on the panel behind it. This horizontal shadow is the horizontal axis of the apse cross.

The bell tower represents a vertical scream that recalls men to the meaning of their existence, which was said in the beginning. Highest point. Solid anchored to the ground. Slim ... is empty inside! And what fills it up? Who answers the vault of the empty bell tower? : An iron cross inside. An essential answer, made of iron, raw material and true.

The lateral volume containing the sacristy and toilets is built as a casing that hides two boxes of similar size. The casing of this volume is on one side adhering to the chapel, on the other hand it is cut with a sloping plane relative to the vertical so as to highlight the bell tower. Even the inclination of this plane with respect to the horizontal plane allows, in the perspective from behind, to see the bell tower being born from a vase built by the lateral structures.

Tilting in vertical axes, arranged in a geometric series, ideally crosses the horizontal steps, resuming the concept of the chapel lines and panels.

Overall, the shape of the building conveys the idea of a racing upward. In the prospect, the top of the roof rises from the first chapel to the bell tower, following a hyperbolic pattern. From the corner behind the bell tower, the upward explosion appears frontal, with the lines of the fanatical structures close to the bell tower in the center.

Norwegian culture, open to new experiences, is well-connected to modern architecture, with solid roots in its cultural heritage. The red church, the blue sea, white clouds (or snow) unconsciously recall the colors of Norway and make the church symbolically be a Norwegian spiritual flag.

The place is harsh, the essence of nature, and the proposed structure wants to be suitable: essential, durable, rational.