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Grundtvig’s Church (Grundtvigs Kirke)

A monumental brick cathedral of Nordic minimalism and light, Grundtvig’s Church fuses expressionist form with Gothic scale on a quiet Copenhagen hillside.

4.7

Rising from the Bispebjerg hillside in Copenhagen, Grundtvig’s Church is one of Denmark’s most remarkable architectural statements: a vast expressionist brick church built between 1921 and 1940 in memory of pastor, hymn writer and educator N.F.S. Grundtvig. Formed from around five million soft yellow bricks, its towering organ‑pipe façade, stepped gables and soaring, unadorned interior combine Gothic proportions with Nordic minimalism. Flooded with pale daylight and furnished with Kaare Klint’s iconic church chairs, it feels both monumental and deeply serene.

A brief summary to Grundtvig’s Church

  • På Bjerget 14B, København NV, København NV, 2400, DK
  • +4535815442
  • Visit website
  • Duration: 0.5 to 2 hours
  • Free
  • Environment icon Indoor
  • Mobile reception: 5 out of 5

Local tips

  • Visit on a clear day to see how the high windows paint moving bands of light across the brick vaults; the effect is most dramatic around late morning to early afternoon.
  • Allow time to walk around the exterior and through the surrounding yellow‑brick housing, which was designed to frame the church and is part of the overall composition.
  • Step quietly into the nave and sit for a few minutes without taking photos first; letting your eyes adjust to the soft light helps you appreciate the scale and simplicity.
  • Check service times in advance if you wish to experience the organ and acoustics, and be respectful that this is an active parish church during ceremonies.
  • Bring a longer lens if you enjoy architectural photography; the repeating brick details, organ façade and vaulted ceiling reward close‑up compositions.
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Getting There

  • Metro and bus from central Copenhagen

    From central Copenhagen, take the M3 Cityringen metro towards the northwestern segment and travel about 10–15 minutes to Nørrebro or Skjolds Plads. From there, connect to a local bus toward Bispebjerg and ride around 5–10 minutes to a stop near På Bjerget. Including walking between stops and through the residential streets, the overall journey typically takes 25–35 minutes. A standard adult single ticket on city public transport costs roughly 20–30 DKK depending on zones and ticket type.

  • S‑train and short walk

    Alternatively, take an S‑train on line B or F from Copenhagen’s central area to Bispebjerg Station, a ride of approximately 10–15 minutes. From the station, expect a pleasant urban walk of about 15–20 minutes along gently rising streets through the residential neighbourhood to reach the church. This option is inexpensive, using the same ticketing system as the metro, with single fares in the range of 20–30 DKK.

  • Bicycle from the city centre

    For a classic Copenhagen experience, rent a city bicycle and ride to Bispebjerg via marked cycle lanes. The route from the inner city usually takes 20–30 minutes at a relaxed pace, with only modest inclines as you approach the hill. Many bike rental services charge from around 100–150 DKK for a full day, and cycling offers flexibility, though you should be comfortable riding in regular city traffic and changing weather.

  • Taxi or rideshare within Copenhagen

    Taxis and licensed rideshare services operate widely in Copenhagen and can take you directly to På Bjerget in about 15–25 minutes from most central districts, depending on traffic. This is the most convenient option if you are travelling in a small group or prefer door‑to‑door access, but also the most expensive: expect typical daytime fares in the region of 150–250 DKK one way, with higher prices at night or during peak demand.

Grundtvig’s Church location weather suitability

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Discover more about Grundtvig’s Church

A brick giant on the Bispebjerg hill

Grundtvig’s Church crowns a gentle hill in Copenhagen’s Bispebjerg district, its 49‑metre bell tower visible from far across the city’s northern suburbs. Conceived as a memorial to the influential pastor, hymn writer and educator N.F.S. Grundtvig, it was the winning entry in an early 20th‑century design competition that sought something far more ambitious than a statue. Architect Peder Vilhelm Jensen‑Klint proposed a full church, a living monument where worship, music and community life would continue Grundtvig’s legacy. Construction began in 1921, with the massive west tower completed first and used as a "tower church" from 1927. Work on the nave and flanking buildings continued into the 1930s and was finished in 1940 by Jensen‑Klint’s son, Kaare Klint, after the elder architect’s death. Around the church, rows of yellow‑brick housing known as På Bjerget were planned to frame the silhouette, keeping the surrounding buildings low so the church could dominate the skyline.

Expressionist form meets Gothic scale

Jensen‑Klint’s design is a rare fusion of Brick Expressionism and Gothic tradition. In preparation he studied rural churches across Zealand, especially those with stepped gables, and translated their forms into something monumental. The west façade is the most striking element: a vast, rippling wall of brick that evokes the pipes of a church organ, with strong vertical lines drawing the eye heavenward. The church plan follows a classic cruciform layout with a long nave, side aisles and a modest transept, but almost every surface is formed from pale yellow brick. Handmade bricks from Zealand were laid in subtle patterns that catch the light, with each massive pier containing tens of thousands. Instead of carved ornament, the drama comes from proportion and geometry: tall pointed windows, vertical buttresses and rhythmic gables create a powerful sculptural presence even before you step inside.

An interior of light, height and restraint

Inside, the space feels unexpectedly bare yet overwhelmingly tall. The triple‑aisled hall church stretches about 76 metres in length and 35 metres in width, with the nave vaults rising to roughly 22 metres. Slim columns soar into pointed arches and ribbed groin vaults, all in the same light brick, so the eye travels unbroken from floor to ceiling. The lack of figurative decoration allows daylight to become the main element, pouring in through high, clear windows and washing the walls in a soft glow. Kaare Klint, a leading figure in Danish design, completed the interior fittings with meticulous attention to scale and function. Instead of heavy pews he designed simple oak and wicker church chairs, arranged in long, flexible rows. Their modest height and warm materials keep the focus on the architecture while adding human warmth to the vast hall. The pale brick, wooden chairs and restrained chandeliers together express a distinctly Nordic minimalism that has influenced church design far beyond Denmark.

Stories embedded in brick and craftsmanship

Many symbolic details link the building to Grundtvig’s life and to Danish culture. The organ‑like façade recalls his importance as a hymn writer, while the use of everyday brick raised to towering heights reflects his belief that common life and faith belong together. Inside, simple numerical ratios govern the proportions, echoing medieval builders’ methods and creating a harmony that feels calm even at this grand scale. Craftsmanship is everywhere if you look closely: the sanding marks on individual bricks, the joinery of the chairs, and the delicate metalwork of the light fittings. A large model ship, "Queen Alexandrine", hangs in the nave in the Danish maritime tradition, and a brick pulpit and altarpiece continue the theme of structural simplicity. Rather than directing attention to paintings or stained glass, the church invites you to read light, space and material as its primary "images".

Visiting for quiet, photography and reflection

For visitors, Grundtvig’s Church is as much an experience of atmosphere as of architecture. The approach through the symmetrical brick housing estate heightens the sense of arrival, with the tower growing larger at the end of the gentle rise. Inside, the acoustic is long and resonant; even a soft footstep or whispered conversation seems to linger, and organ music can fill the entire volume with ease. Photographers are drawn to the repeating arches, linear brickwork and shafts of light which create striking compositions from almost any angle. Yet despite its visual drama, the mood remains contemplative rather than grandiose. Whether you sit quietly in a chair, trace the brick patterns with your eyes or simply stand in the centre of the nave and look up, the space offers a rare combination of monumentality and stillness in the middle of the city.

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