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architecture portfolio 2014
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portfolioarchitecture
björg halldórsdóttir
frá vatni til vatns
frá vatni til vatns
helloTo me, it is simple. Architecture has been my passion for as long as I can remember but
for the past years architecture has captivated my life. It is in my thoughts, my dreams,
it is in the way I move and speak, write and draw. Architecture has changed the way I
express myself and how I approach things. My architectural studies have allowed me
to illustrate my ideas on spatial design and the built environment. They have taught
me not to take anything for granted in my surroundings but strive to as questions,
understand, learn from the existent and try to do better. They gave me the tools that I
had been missing and ever since I have been on an eternal quest learning to master them.
brúba project: refuge for modern pilgrims
shared livingcohabitation in architectural & social context
house of gracedialogue between landscape & building
skuggiarchitecture & the urban environment
composers´ homeresidence under influence of a known architect
uniformity of residence in Iceland/ flexibility in Japanba thesis
various projects
projects
year2013
name of courseba project: refuge for modern pilgrims
instructors Halldór EiríkssonHildigunnur SverrisdóttirHólmfríður Ósmann JónsdóttirHrefna Björg Þorsteinsdóttir
course duration14 weeks
brú
references & inspiration
physical condition
project
The task was to design a refuge, a cairn on the journey of knowledge and self reflection that serves as
a setting for educational camps for school groups during the winter and a resting place for travellers
on their hiking pilgrimage during summers. Set in the vicinity of Lake Kleifarvatn, the building
incarnates a stopover on a path that stretches along the continental drift ridge across the island, from
Reykjanes in the south to Axarfjörður in the North. The pilgrim travels in solitude searching for
his true self. Physically he is strong but spiritually he lacks fulfilment. The pilgrim goes through the
journey on his physical strength in the hope of reaching spiritual satisfaction. The refuge becomes
a place to him where his body and soul meet, and from there he returns to the society complete.
spiritual satisfactionKleifarvatn
gate bridgestay
brú
Brú (e. Bridge) is the last resting place on the pilgrim’s way across Iceland from Axarfjörður
to Reykjanestá. In a way the building bridges the gap between the pilgrimage and the
destination. In a quest to interpret that in details, the project developed into a bridge.
The building takes its form from the movement and behaviour of its users. It is a bridge
on the pilgrim´s journey, where one stays and rests for the night. The bridge is a symbol of
continuation, the way, and marks the pilgrim´s direction with its form. Schoolchildren,
who frequently visit Kleifarvatn, spend the day outdoors in the nature. The power of their
group symbolizes the stream under the bridge. In spite of them not staying inside the
bridge, it inspires them to accept challenges in the same way as the pilgrims have done.
The project refers to well known symbols of traditional pilgrimages.
The project consists of two buildings, the bridge and the host’s house. Bridges are a
powerful symbol, a symbol of connection, departure and continuation. In contrast to
the bridge the host’s house serves as a gate into the site, symbolic for an arrival and
a place. The host´s house serves as a gateway into the area into which the pilgrims
pass thus marking a new era in their way. Even though the buildings are not physically
connected they are connected by the path of travel, or the way, which starts with the gate
at the host’s house and continues all the way through the bridge. The buildings are also
made of the same material, concrete, and have the same proportions, with and height.
site plan 1.1000
pilgrim´s arrival
schoolchild´s arrival
host´s house
The host’s house is on three different levels connected with a bright spiral staircase,
so the host can quickly travel between the floors. The host himself lives at the
top floor and from his desk he has an overview over the area and can monitor the
pilgrims´ arrival. On the ground floor he welcomes the tired pilgrim, accompanies
him on the final part of the route and leads him to his resting place inside the
bridge. The host’s house also has a dining room with a small kitchen, where the host
and the pilgrims enjoy a meal together before the pilgrims continue their journey.
elevation 1.200host´s house
plan 1.200host´s house
1. floor - dining room 2. floor - reception 3. floor - host´s home
1. dining room 2. lavatory 3. cooking 4. terrace 5. reception 6. travel path 7. rest 8. lavatory 9. hosts desk
1.
3. 5.8.7.
9.6.
4.2.
section 1.200host´s house
elevation 1.200bridge
bridge
The bridge is designed for the tired. It is a place embracing the primal needs of
sleeping, eating, cleansing and gathering strength for the final part of the walk.
The bridge is divided into two parts; a space for solitude and a space for communal
exchange. The solitary part of the bridge consists of 6 bathrooms and 17 individual
cells facing north with view over Lake Kleifarvatn where the pilgrim can meditate
in peace and quiet. The communal space is on the south side of the bridge
and there the pilgrims unwind and enjoy each other’s company sitting on a wide sill
in the sun. Later the pilgrims walk to the lake where they cook in a small, natural
hot spring. Afterwards they walk up to the host´s house where they enjoy the meal
together. After having rested and gathered enough strength they walk for the
second time from the host towards the bridge. This time however, they will not
enter the building but cross it, thus completing their pilgrimage across Iceland.
b a
d
b a
6.
8.
5.
c
1.2.
4. 5. 7.
3.
c
1. entrance
2. travel path 3. communal space
4. rest
5. lavatory
6. cleansing
7. storage
8. departure
plan 1.200bridge
d
section 1.200 bridge
sections 1.200bridge
a - a b - b c - c
architecture
A great emphasis was laid on proportions in the design of both buildings and considered
important that the bridge and the host´s house had the same with and height.
The buildings are built with dark, untreated coarse concrete. The selection of materials is
in many ways suitable, not least as a reference to conventional Icelandic bridges that are
commonly made of concrete. As a balance to the weight of the concrete a warm wood
was used inside the bridge, in doors, stairs and the bunk beds. No electrical power is
provided on the bridge and effort was made to keep the majority of the bridge free of
plumbing system and insulation. The only input for water is at each end of the bridge
where the bathrooms are located. The decision was made for practical reasons but not
least to illustrate the roughness and purity of the structure. At one end of the bridge
is a path which leads under the building to outdoor showers. There the pilgrim can
experience connection to the ground anew while he washes after the journey. The rift
in which the bridge is placed is strong in form and as a respect for the nature it was
decided not to try to emulate it in the design of the building. Thus the bridge sits
in the ravine, in complete contrast to the nature, but with time, seasons will erode
the bridge which eventually takes root and becomes a part of the nature and the way.
year2012
name of courseurban entity
instructorsAnna María BogadóttirHildigunnur SverrisdóttirMarcos Zotes LópezMassimo Santanicchia
course duration13 weeks
shared living
body & organs body of architecture
possessions or the ground they stand on, but choose to be able to wander, at least for the
time being. The building serves as a bridge between periods in the lives of the inhabitants,
making it easier for them to move away from parents or student housing, without having
to acquire every item that comes with having a home. In that way, the apartment complex
enables the inhabitants to grow as individuals, yet feel like they are a part of a intimate
community or a family by experiencing social motivation inside the walls of their home.
project
The project was to analyse a district in Reykjavik, and the spatial dimensions concerning
the dwellings within the district. Subsequently a building was designed displaying the
architectural vision on the city development in the context of a home and a city. In the
process the architectural and social context of cohabitation was analysed. The building
is an apartment complex for young working individuals that have yet to find themselves
and settle down. They are the nomads of our time, who do not wish to commit to worldly
individual family community individuals
apartment unit 1.100
1st floor plan 2nd floor plan
apartment
The human scale was important in the design of the apartment building, and
it also appears on the exterior of the building, since its structure outlines the
existence of each and every resident. The building consists of private spaces,
semi-private and public spaces. Illustrating the private spaces are the
individual apartments with a bathroom and sleeping area. There, space and
time varies and is only bound to the personal experience of each inhabitant.
It is said that smooth space is the space of the nomad and striated space is the space of
the sedentary. The apartment building strives to be on the verge of the two, just as the
period in the young inhabitants´ lives. The semi-private spaces are found the areas that
6-8 residents share, where they come together and draw a social systems and interaction
between themselves. These spaces are the kitchen, dining room and living areas.
shared living
apartment complex 1.200
apartment building 1.500 1st floor
b - b
c - c
a - a
a a
bc
bc
2nd floor
building
The entire building shares a laundry room, outdoor area and a lounge located on
the first floor, which is also welcoming to neighbours of the building. These diverse
spaces of the building function as the organs of a body, each playing an important
role in which the building would not sustain without. The apartment building
represents layers of intimacy and a lifestyle about sharing without sacrificing, even
though clear thresholds are equally important factors of the life inside the building.
year2011
name of coursearchitecture & nature
instructorHildigunnur Sverrisdóttir
course duration10 weeks
house of grace
building site
Botnsdalur in Hvalfjörður, West Iceland
project diagram
sweat diagram
a combination of diagrams
project
The House of Grace is located in the unharnessed nature of West Iceland, in Hvalfjörður
fjord. A landscape analysis was applied through a raster method where the most desirable
elements for the site were shelter from wind, vicinity of seascape, a connection to untouched
wilderness and close proximity to running water. The site chosen is a place next to a small
stream in Botnsdalur, a valley in Hvalfjörður, 95 meters over sea level. The House of
Grace serves as a haven for individuals who need to unwind and regain their strength.
The house is a sweat lodge, based on the ancient tradition practiced all over the world
in the purpose of reconnecting to the earth, higher spirits and the true self. The grace is
embodied in the overcoming of the sweat ordeal, thus returning reborn, reset and refreshed.
references & inspiration
project diagram
sweat diagram
a combination of diagrams
I
II
III
V
IV
VI
I bonfire / gathering II changing room / undress III sweat / ordeal IV stream / cleansing V dining room / dining VI relaxation room / rest
building
Successful social spaces were studied in the process, in particular the hot
tubs in Reykjavik swimming pools. A unique atmosphere takes place in
the tubs where individuals meet, exposed but equal, in the hot relaxing
water. Furthermore was explored the delicate line that is formed in
such places between solitude and togetherness and the freedom of the
individual to take part or withdraw from the conversation with others.
The structure of the tubs, their spiral form, thresholds and flow was
an exemplary in the design of the building´s spaces. The spaces were
then brought together considering the flow of the sweat ceremony.
Also taken under consideration in the design of the building was
the dominant wind direction in Botnsdalur valley, with a dialogue
between the landscape and the structure as the focus point.
building 1.200
section 1.100
architecture
The house of grace is open for anyone. There a diverse group of individuals is united
in the act of sweat. The structure is built around several stations; the bonfire, where
the group meets for the first time, the changing rooms, where the individuals get
undressed, the sweat itself, a dining area and a resting place. The space in between
the rooms is inspired by the spiral shape of the hot tubs. That results in an effortless
flow of movements where the individual feels like he is a part of a community when
he enters a room instead of a solitary. The ceiling height is determined by the body
position in each station, which differs between standing, lying and kneeling position.
The building is made of concrete and is primal due to the absence of windows and
doors. It is partly open for air to breath inside the structure and daylight flows in
through apertures from the ceiling. The shape of the structure is a reference to the
traditional sweat tent, but also creates a centre in the space inside which eliminates
hierarchy between the individuals participating in the sweat. Sweat is a personal journey,
in accompany with others and that is what the house of grace draws itself around.
sections 1.200
year2011
name of coursebuilding a city
instructorsÁsmundur Hrafn SturlusonSteinþór Kári Kárason
course duration10 weeks
group partnerPétur Stefánsson student
skuggi
project
The underlying theme of the project was to analyse the relationship between architecture
and the urban environment. A predetermined site was allocated in order to observe
and engage in. The project was an apartment building in the centre of Reykjavik as
well as a kindergarten that would bring life to a lifeless part of the city, called Skuggi
(e. Shadow). Emphasis was laid on clarifying the urban environment and strengthening
the public space. The building site is extremely chaotic and in Skuggi the old, historical
part of Reykjavik downtown crashes with progressive ideas of a new and superior
city centre, with extravagant skyscrapers and underground parking. It is almost as if
the development of the site had suddenly stopped and time remains unchanged.
The building site is currently a big question mark but in any event a wonderful area in the
best part of Reykjavik and therefore it is important that it is activated in a proper manner.
Lindargata
Veghúsastígur
building
Early in the design process it was decided to look for inspiration in the elder and
smaller-scale houses located on the site, rather than the recently built skyscrapers
and apartment blocks. The traditional residential houses in Iceland have pitched
roof in order to shield them from the unpredictable Icelandic weather. Their size
speaks to the human scale and in addition they enable the inhabitants to personalize
the negative space surrounding the buildings which results in a more vivid and
colorful city life. These elements were adopted in the design of the apartment
building as well as the goal to complete the street facades and the site as a whole.
elevations 1.500
view from Veghúsastíg
view from Lindargata
inspiration from site
a - a
b - b
c - c
sections 1.500
a
b
c
c
a
b
N
apartment I
apartment II
apartment complex 1.200
1st floor
1st floor
2nd floor
2nd floor
apartment
Even though the external appearance of the apartment building
is inspired by traditional Icelandic houses, the apartment
layout is unfamiliar to Icelandic residents due to its Japanese
influence. Each apartment has two floors and is interlaced with
the facing apartment. They vary in shapes and sizes but have
in common that they are fairly small in size. The apartment
building is specifically intended for young adults and small
families that bring a fresh breath and new life to the site.
They will also benefit from having the kindergarten next
door. The ground floor of the apartments consists of living
spaces, kitchen, dining room and occasionally a work space
with a separate entrance for home working individuals.
The second floor includes the bedrooms, bathroom and
in addition each apartment has a private courtyard where
ray of sunlight falls down thus brightening the apartment.
a
year2010
name of courseauthors & their work
instructorPétur Hrafn Ármannsson
course duration6 weeks
composers´ home
project
The task was to apply historical research as an approach to analyse the creation of a
known architect. The architect assigned was the inspiring Peter Zumthor. His unique
way of approaching architecture in a poetic yet minimalist way has become widely
known in the architecture world. Emphasising the sensory aspect with the handling
of light and shadow, experimenting with materials and proportions he creates the true
architectural atmosphere. Zumthors works and working methods were explored and
eventually applied to an independent design project based on his approach and ideology.
The project is a home of a composer and his family with a connected working studio.
The house is located in an old neighbourhood in the outskirt of Reykjavik, called
Skerjafjörður. Skerjafjörður is unique for the reason that it was split in two parts by the
Reykjavik airport, in the World War II. Apart from the sound of airplanes, Skerjafjörður
is a peaceful area with the sea on one side and beautiful walking paths on the other.
The neighbourhood is known for its beautiful villas and outstanding architecture
and therefor it was important that the building would speak to its surroundings.
Peter Zumthor
N
site 1.10.000
1. computer 2. dining 3. entrance 4. laundry 5. wc 6. family 7. bedroom 8. wc 9. living 10. studio 11. wc 12. closet 13. master bedroom 14. balcony
1.
2.
3.
4.
5.
6.
7.
8.
9. 10.
11.
12.
13.
14.
1. floor 2. floor
plan 1.200
section a - a
section b - b
section c - c
building
The house is divided into two separate floors. The ground floor consists of shared
spaces and living areas whereas the second floor embodies the private part of the
home. The master bedroom hall is on one side and the composer´s studio on the other
with separate stairway. By placing the studio on the second floor a clear threshold
is created between the home and the studio without having to detach the two.
The house withdraws from the street but opens up towards the seascape. Comparable
to Zumthor´s design, daylight plays an important role in the building, and in
contrast to large windows facing south narrow light slots in the roof lighten up
otherwise dark halls and stairways. This creates a different experience inside the
travel paths of the house from the open and bright living spaces of the home.
b
c
c
a
b
a
sections 1.200
year2013
name of courseba thesis
instructorBjarki Gunnar Halldórsson
course duration9 weeks
uniformity of residence in iceland / flexibility in japan
traditional icelandic turf house traditional japanese house
N house
pantry kitchen
entrancelivingroom
lodge warehouse
bathroom S house
bath wc kitchen
living living
livingliving
bath
uniformity of residence in iceland/ flexibility in japan
In the BA thesis the author wanted to raise awareness on the lack of development in
residential housing in Iceland. If looking at the range of housing in Reykjavik, Iceland´s
capital, it is clear that the social changes that have occurred in the past years have not
been taken under consideration in the design of residential housing. Even though
70% of Reykjavik inhabitants are individuals, couples or single parent’s apartments
have increased considerably in size and with the newly published construction code
that contains stricter regulations about minimum sizes in residence, it will inevitably
keep on increasing. The goal of the thesis was to redefine quality in residential housing
and to look for answers to the question if they lie in the number of square feet or,
on the contrary, in the planning where the needs of different inhabitants are met.
The author´s case in support Iceland was compared with Japan, where flexibility
and adaptability have been predominant in the architecture and a great emphasis
is laid on aesthetics. When the traditional Japanese house is compared to
the Icelandic turf house it is clear that the concept home is approached from
opposite sides. The fundaments in the Japanese house are flow and flexibility and
therefor the home can easily react to ever changing patterns in the household.
The Icelandic turf house on the other hand is built in a completely different way that
results in clear hierarchy of spaces where each and every room has predetermined role.
This arrangement served the Icelandic nation and their pattern of behaviour well, but now
when a century has passed since Icelanders abandoned the turf house, their needs and
desires have changed extensively. Icelandic patterns of behavior are diverse and manifold
and therefor less suitable for predetermined dwelling structures, but when observing
today´s dwelling range the arrangement is still very related to the old turf house. It is
important to liberate ourselves from that approach, take diverse needs and behavior of
inhabitants into consideration and redefine the home in a more flexible manner. In the
end, it is all about diversity – to embrace it and nurture it with various residencies. In
order to implement the Japanese vision to the Icelandic home, a radical redefinition is
essential. Japanese ideology requires not only removing the labelling of rooms, but also to
rethink and redefine the spacial hierarchy that prevails in planning of the dwelling. The
quality of residential housing is embodied in the freedom of each individual to redefine
the term dwelling according to their own desires. It is time to think outside the box.
references & inspiration
year2010 - 2013
name of coursevarious / none
instructorsvarious / none
course durationvarious
various projects
krads lego lab
For the period of one week the goal was to produce as many dynamic structures as thinkable
from the simple geometrical units of lego – and conversely – to break such structures
and forms down to a simple unit. The concept lab was instructed by KRADS architects.
shelter in öskjuhlíð
In this collaboration studio the task was to design a shed in Öskjuhlíð, an outdoor
paradise in Reykjavik. From the first concept idea the project evolved into a model and
finally a shed in 1:1 size. An emphasis was laid on spacial quality, aesthetics, building
material and the building structure, in addition to social connections and relationship
with the environment.
squares in standby
A project by Reykjavik´s department of Environment and Planning. The focus
was to bring life to squares and streets in Reykjavik city that were on standby
regarding future planning and usage. Temporary installations were designed and
placed in the areas, installations such as urban chandeliers that brightened dark
streets in gloomy Reykjavik and grass hills that brought nature into the city centre.
dialogue
A collaboration project between all departments in The Iceland Academy of
the Arts. Students worked in interdisciplinary groups and the focus point was
on the dialogue rather than the outcome. Emphasis was laid on exploring
new surface between different art forms and furthermore to explore them
in a creative aspect. The harvest from the dialogue was a mirror installation.
rintala eggertsson building workshop
Architecture students from Iceland, Finland and Norway were invited to the
Architecture Festival in Oslo 2011 in order to participate in a building workshop
by Rintala Eggertsson architects. The task was to work under the instructions
of Rintala and Eggertsson towards finding suitable implementation for the
design of installations and pavilions as well as to engage in the construction.
design march
The main focus of the studio was on making a model in 1.20 illustrating the
design of a pavilion in a public garden in Reykjavik city centre. The aim was
to enhance the activity in the area in an aesthetic way as well as to create a
platform for various events and performances. The models were showcased in
the City Hall of Reykjavik as part of the annual event Design March in Reykjavik.
prelude to ba project
In the course Preclude to final project the idea arose to activate geothermal heat and hot
springs around Lake Kleifarvatn for cooking. Examples of such activities can be found
in various places in the world, for instance in Sou Paulo. In that way, the two resources
of Kleifarvatn are combined, geothermal heat and fishing. The ceremony of cooking
is powerful and draws people together. The experience of cooking in the ground is
primitive and brings the human being back to its roots, hunting for food and cooking it.
space / time
The course focused on the two philosophical foundations of perception, space and
time, in a quest for answers to questions regarding the nature and boundaries of
space, connection between the body and space and how the environment, perception
and meaning are intertwined. Theories and essays of philosophers such as Deleuze &
Guattari, Bachelard and Heiddegger were studied and then placed in a personal context
of a philosophical travelogue.
thank youbjörg halldórsdóttir
address
grettisgata 57b, 101 rvk,
iceland
phone number
+354-661-6495