Nyberg's chapel in Hoor is a precise exercise in the balance of geometry and material. Its brick shell seems a living mass as it breaths warm air from cracks and openings; moving with the light that traces its raw surfaces. It is based on a simple concept and clear geometry: two roof structures, one trapped within the mass and another free in the landscape, both inscribed within two squares. These moments are linked by an ascending exterior approach and linear interior sequence solve programmatic constraints through a series of formal and material thresholds.
The competition was won by the section's design which gracefully segregates the inner workings of a funeral chapel with flexible worship space above. The coffered slabs above could not contrast more with the brick shell as they meet at impossibly thin steel plates. This gap holds a dense concentration of thoughtful details; a conversion point of two radically different systems in keeping with Nyberg's attitude towards making the most of a joint. The building is an essay in vague tectonics; an elevator core meets a stair at a thin mirrored piece of glass, a doorframe meets a wall via a sandwich of stacked plywood on its surface, and structure meets enclosed at aluminum-foil-clad concrete reflecting a blue tinted sky via the paint on the waffle slab's edge.