Kyrkorum och bild i Brunnby kyrka

Ever since Brunnby Church was first erected it has been altered and it has crossed boundaries in terms of both religious and national affiliation - from a Catholic to a Lutheran place of worship and from being a Danish to being a Swedish church. The boundaries around and within the church itself have changed, and have become displaced as new forms of worship have been introduced. Boundaries and intersections have formed around and inside the church that permit and prevent access, signal distance, frame the space, focus attention and create hierarchies within the sacred space through a physical as well as a visual access and orientation, to which the architecture, placing of images, design and inner context contribute.
These boundaries and this orientation have changed throughout the history of Brunnby Church. The medieval room has a simple axial orientation directed toward the altar, which is the focal point of the room. This mode of orientation and focus is supported by the painted images on the vaults that were designed to cater for the needs og the church-goers. The late 15th century paintings appear to have been still exposed in 1558, when an adjoining image was added. The church was extended and given the form of an inverted T in the 16th century, by which time the sanctuary had lost its focal position. This was a result of the increased importance of the sermon whithin the Lutheran service and of the diminishing importance of the altar and Eucharist In conjunction with the demystification of the mass, the boundary between sanctulary and nave, as well as between the outer world and the sacred room a coherent whole, was toned down. A monumental pulpit was added in 1623 together with fixed seating, which served to glorify and set the stage for the sermon. The paintings were whitewashed in 1682 at the latest. The church was given a cruciform shape in the 18th century, resulting in a central rather than an axial space. The introduction of an organ in the western end of the church in 1841 displaces and alters the soundscape, which was earlier oriented toward the sanctuary.