Randers, Denmark
1991 - 1994
Enghøj Church
With its striking inverted roof, Enghøj Church represents a unique geometric departure from the traditional Danish church. Inside, the form resembles the keel of a large sailing vessel – a tribute seafaring and Nordic heritage.
Throughout rural Denmark, the brick steeples of traditional churches mark the landscape with a sense of familiarity. Situated on a hill northwest of Randers in Jutland, Enghøj Church stands apart with its distinctive design. Built in 1994, Henning Larsen’s design reinterprets the traditional church form through a modernist lens, defined by geometric shape and the use of daylight.
More than just a place for worship, the church additionally serves as a community anchor – with locals embracing the church’s unique design, giving it the nickname “the clothespin.” Enghøj Church received the Randers Architecture Prize in 2002, and later received the same award for the addition of the bell tower in 2013.
A minimalist expression
Enghøj Church’s white, V-shaped structure stands out clearly on a hillside – defined by its modernist lines and geometric shape. To the right, a cluster of parish buildings is organized into three separate volumes, connected by a low white wall. To the left, a large grassy mound formed from surplus earth wraps around the church plaza, softening the site and framing the building.
Sixteen years after the church’s completion, a bell tower was added to the site. It’s design considered not only form and material, but also the acoustic dimension of the carillon. Adjustable hatches were used to regulate sound levels without compromising the aesthetic expression of the building.
Guided by daylight
The interior of Enghøj Church is minimalist yet warm, shaped by the presence of natural toned materials. The wood ceiling, constructed with glulam beams, resembles the upturned hull of a ship and gives the room its distinct character and sculptural presence. The space is intentionally minimal – containing only what is needed: benches, altar pulpit, and organ, and the white concrete walls remain unadorned.
Inside the church, there are no views to the outside world. Instead, light enters gently through sixteen small square openings and a continuous band of glazing between the roof and the walls. This careful use of natural light creates a clam, introspective atmosphere – characteristic of Henning Larsen’s work, where light becomes a feature of the design. Slender bulbs, hanging in clusters, add to the feeling of lightness. Combined with the soft, filtered daylight, they create an atmosphere that feels both grounded and elevated – drawing the eye toward the altar naturally.
Contact
All contactsDirector, Denmark
Louis Becker
Global Design Principal
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