interior, south aisle.
klint's use of the single, uncut brick as the basis of all ornament works particularly well in the interior. his articulation of columns, corner, and arches, using a single brick set back, stresses the vertical as in the gothic churches he was emulating without repeating shapes or patterns directly.
(the resulting module of app. 11 cm is identical, I think, to the one chosen by carlo scarpa for his cemetery).
the at times almost white, pale yellow of the masonry was achieved by sanding down each indiviual brick to remove all traces of its having been baked. this strange decision is still controversial among architects who care for brickwork; most would prefer the exact opposite: to see traces from the production and gain a more lively surface, (see: www.flickr.com/photos/seier/2141693607/ ), but it did set a new standard of respect for the material and it works well with the natural light.
for the large, unbroken surfaces jensen-klint developed a bond which only repeats after 10 courses, adding further calm to his bid for timeless architecture. again, klint set a new standard and well into modernism Danish architects would introduce bonds as part of projects of special importance.
(like here: www.flickr.com/photos/spanier/9771420/).
the jensen-klint set so far.