portfolio architecture
bj枚rg halld贸rsd贸ttir
To 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.
hello
projects
brú ba project: refuge for modern pilgrims shared living cohabitation in architectural & social context house of grace dialogue between landscape & building skuggi architecture & the urban environment composers´ home residence under influence of a known architect uniformity of residence in Iceland / flexibility in Japan ba thesis various projects
brú
year 2013 name of course ba project: refuge for modern pilgrims instructors Halldór Eiríksson Hildigunnur Sverrisdóttir Hólmfríður Ósmann Jónsdóttir Hrefna Björg Þorsteinsdóttir course duration 14 weeks
references & inspiration
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 Axarfjรถrรฐur 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. physical condition
Kleifarvatn
spiritual satisfaction
brú Brú (e. Bridge) is the last resting place on the pilgrim’s way across Iceland from Axarfjörður
The
to Reykjanestá. In a way the building bridges the gap between the pilgrimage and the
The project consists of two buildings, the bridge and the host’s house. Bridges are a
destination. In a quest to interpret that in details, the project developed into a bridge.
powerful symbol, a symbol of connection, departure and continuation. In contrast to
The building takes its form from the movement and behaviour of its users. It is a bridge
the bridge the host’s house serves as a gate into the site, symbolic for an arrival and
on the pilgrim´s journey, where one stays and rests for the night. The bridge is a symbol of
a place. The host´s house serves as a gateway into the area into which the pilgrims
continuation, the way, and marks the pilgrim´s direction with its form. Schoolchildren,
pass thus marking a new era in their way. Even though the buildings are not physically
who frequently visit Kleifarvatn, spend the day outdoors in the nature. The power of their
connected they are connected by the path of travel, or the way, which starts with the gate
group symbolizes the stream under the bridge. In spite of them not staying inside the
at the host’s house and continues all the way through the bridge. The buildings are also
bridge, it inspires them to accept challenges in the same way as the pilgrims have done.
made of the same material, concrete, and have the same proportions, with and height.
gate
stay
project
refers
to
bridge
well
known
symbols
of
traditional
pilgrimages.
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 1.200 host´s house
1. floor - dining room
1.
2. floor - reception
2.
3. floor - host´s home
4.
3.
5. 7.
8.
6.
plan 1.200 host´s house
1. dining room
2. lavatory
3. cooking
4. terrace
5. reception
9.
6. travel path
7. rest
8. lavatory
9. hosts desk
section 1.200 host´s house
bridge The bridge is designed for the tired. It is a place embracing the primal needs of
and there the pilgrims unwind and enjoy each other’s company sitting on a wide sill
sleeping, eating, cleansing and gathering strength for the final part of the walk.
in the sun. Later the pilgrims walk to the lake where they cook in a small, natural
The bridge is divided into two parts; a space for solitude and a space for communal
hot spring. Afterwards they walk up to the host´s house where they enjoy the meal
exchange. The solitary part of the bridge consists of 6 bathrooms and 17 individual
together. After having rested and gathered enough strength they walk for the
cells facing north with view over Lake Kleifarvatn where the pilgrim can meditate
second time from the host towards the bridge. This time however, they will not
in peace and quiet. The communal space is on the south side of the bridge
enter the building but cross it, thus completing their pilgrimage across Iceland.
elevation 1.200 bridge
b
a
5. d
6. 8.
b
a
c
4.
5.
2.
7. 1.
d
3.
c
1.
entrance
2.
travel path
3.
communal space
4.
rest
5.
lavatory
6.
cleansing
7.
storage
8.
departure
plan 1.200 bridge
section 1.200 bridge
a-a
sections 1.200 bridge
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.
shared living
year 2012 name of course urban entity instructors Anna Mar铆a Bogad贸ttir Hildigunnur Sverrisd贸ttir Marcos Zotes L贸pez Massimo Santanicchia course duration 13 weeks
body & organs
body of architecture
project
individual
family
community
individuals
The project was to analyse a district in Reykjavik, and the spatial dimensions concerning
possessions or the ground they stand on, but choose to be able to wander, at least for the
the dwellings within the district. Subsequently a building was designed displaying the
time being. The building serves as a bridge between periods in the lives of the inhabitants,
architectural vision on the city development in the context of a home and a city. In the
making it easier for them to move away from parents or student housing, without having
process the architectural and social context of cohabitation was analysed. The building
to acquire every item that comes with having a home. In that way, the apartment complex
is an apartment complex for young working individuals that have yet to find themselves
enables the inhabitants to grow as individuals, yet feel like they are a part of a intimate
and settle down. They are the nomads of our time, who do not wish to commit to worldly
community or a family by experiencing social motivation inside the walls of their home.
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
apartment unit 1.100
time varies and is only bound to the personal experience of each inhabitant.
shared living
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.
apartment complex 1.200
a-a
c
b
b-b
a
a
c-c
apartment building 1.500
c
b
1st 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.
2nd floor
house of grace
year 2011 name of course architecture & nature instructor Hildigunnur Sverrisd贸ttir course duration 10 weeks
building site
Botnsdalur in Hvalfjรถrรฐur, West Iceland
references & inspiration
project diagram
project The House of Grace is located in the unharnessed nature of West Iceland, in Hvalfjรถrรฐur fjord. A landscape analysis was applied through a raster method where the most desirable
sweat diagram
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 Hvalfjรถrรฐur, 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
a combination of diagrams
embodied in the overcoming of the sweat ordeal, thus returning reborn, reset and refreshed.
III
building IV
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
I
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
II
V
an exemplary in the design of the building´s spaces. The spaces were then brought together considering the flow of the sweat ceremony.
VI
Also taken under consideration in the design of the building was the dominant wind direction in Botnsdalur valley, with a dialogue between I
the
landscape
bonfire / gathering
and II
the
structure
as
changing room / undress
the
focus III
point. sweat / ordeal
IV
stream / cleansing
V
dining room / dining
VI relaxation room / rest
building 1.200
architecture The house of grace is open for anyone. There a diverse group of individuals is united
position in each station, which differs between standing, lying and kneeling position.
in the act of sweat. The structure is built around several stations; the bonfire, where
The building is made of concrete and is primal due to the absence of windows and
the group meets for the first time, the changing rooms, where the individuals get
doors. It is partly open for air to breath inside the structure and daylight flows in
undressed, the sweat itself, a dining area and a resting place. The space in between
through apertures from the ceiling. The shape of the structure is a reference to the
the rooms is inspired by the spiral shape of the hot tubs. That results in an effortless
traditional sweat tent, but also creates a centre in the space inside which eliminates
flow of movements where the individual feels like he is a part of a community when
hierarchy between the individuals participating in the sweat. Sweat is a personal journey,
he enters a room instead of a solitary. The ceiling height is determined by the body
in accompany with others and that is what the house of grace draws itself around.
section 1.100
sections 1.200
skuggi
year 2011 name of course building a city instructors Ásmundur Hrafn Sturluson Steinþór Kári Kárason course duration 10 weeks group partner Pétur Stefánsson student
project The underlying theme of the project was to analyse the relationship between architecture
Lindargata
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.
VeghĂşsastĂgur
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.
inspiration from site
view from VeghĂşsastĂg
view from Lindargata
elevations 1.500
a-a
b-b
b c
a
a
c-c b
sections 1.500
c
N
apartment complex 1.200 1st floor
2nd floor
apartment
apartment I
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 1st floor
2nd floor
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
apartment II
ray of sunlight falls down thus brightening the apartment.
composers´ home
year 2010 name of course authors & their work instructor Pétur Hrafn Ármannsson course duration 6 weeks
project The task was to apply historical research as an approach to analyse the creation of a
The project is a home of a composer and his family with a connected working studio.
known architect. The architect assigned was the inspiring Peter Zumthor. His unique
The house is located in an old neighbourhood in the outskirt of Reykjavik, called
way of approaching architecture in a poetic yet minimalist way has become widely
Skerjafjörður. Skerjafjörður is unique for the reason that it was split in two parts by the
known in the architecture world. Emphasising the sensory aspect with the handling
Reykjavik airport, in the World War II. Apart from the sound of airplanes, Skerjafjörður
of light and shadow, experimenting with materials and proportions he creates the true
is a peaceful area with the sea on one side and beautiful walking paths on the other.
architectural atmosphere. Zumthors works and working methods were explored and
The neighbourhood is known for its beautiful villas and outstanding architecture
eventually applied to an independent design project based on his approach and ideology.
and therefor it was important that the building would speak to its surroundings.
Peter Zumthor
N
site 1.10.000
1. floor
2. floor
1.
3. 11.
2. 4. 5.
12.
8. 13.
6. 7.
14.
9.
plan 1.200
10.
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
c
b
b
a
a
section b - b
c
section c - c
building
section a - a
sections 1.200
The house is divided into two separate floors. The ground floor consists of shared
The house withdraws from the street but opens up towards the seascape. Comparable
spaces and living areas whereas the second floor embodies the private part of the
to Zumthor´s design, daylight plays an important role in the building, and in
home. The master bedroom hall is on one side and the composer´s studio on the other
contrast to large windows facing south narrow light slots in the roof lighten up
with separate stairway. By placing the studio on the second floor a clear threshold
otherwise dark halls and stairways. This creates a different experience inside the
is created between the home and the studio without having to detach the two.
travel paths of the house from the open and bright living spaces of the home.
uniformity of residence in iceland / flexibility in japan
year 2013 name of course ba thesis instructor Bjarki Gunnar Halld贸rsson course duration 9 weeks
bath N house
bathroom
pantry
entrance
traditional icelandic turf house
lodge
kitchen
bath
S house
kitchen
living room
wc
living
living
living
living
ware house
traditional japanese house
uniformity of residence in iceland / flexibility in japan
references & inspiration
In the BA thesis the author wanted to raise awareness on the lack of development in
The Icelandic turf house on the other hand is built in a completely different way that
residential housing in Iceland. If looking at the range of housing in Reykjavik, Iceland´s
results in clear hierarchy of spaces where each and every room has predetermined role.
capital, it is clear that the social changes that have occurred in the past years have not
This arrangement served the Icelandic nation and their pattern of behaviour well, but now
been taken under consideration in the design of residential housing. Even though
when a century has passed since Icelanders abandoned the turf house, their needs and
70% of Reykjavik inhabitants are individuals, couples or single parent’s apartments
desires have changed extensively. Icelandic patterns of behavior are diverse and manifold
have increased considerably in size and with the newly published construction code
and therefor less suitable for predetermined dwelling structures, but when observing
that contains stricter regulations about minimum sizes in residence, it will inevitably
today´s dwelling range the arrangement is still very related to the old turf house. It is
keep on increasing. The goal of the thesis was to redefine quality in residential housing
important to liberate ourselves from that approach, take diverse needs and behavior of
and to look for answers to the question if they lie in the number of square feet or,
inhabitants into consideration and redefine the home in a more flexible manner. In the
on the contrary, in the planning where the needs of different inhabitants are met.
end, it is all about diversity – to embrace it and nurture it with various residencies. In
The author´s case in support Iceland was compared with Japan, where flexibility
order to implement the Japanese vision to the Icelandic home, a radical redefinition is
and adaptability have been predominant in the architecture and a great emphasis
essential. Japanese ideology requires not only removing the labelling of rooms, but also to
is laid on aesthetics. When the traditional Japanese house is compared to
rethink and redefine the spacial hierarchy that prevails in planning of the dwelling. The
the Icelandic turf house it is clear that the concept home is approached from
quality of residential housing is embodied in the freedom of each individual to redefine
opposite sides. The fundaments in the Japanese house are flow and flexibility and
the term dwelling according to their own desires. It is time to think outside the box.
therefor the home can easily react to ever changing patterns in the household.
various projects
year 2010 - 2013 name of course various / none instructors various / none course duration various
krads lego lab
shelter in öskjuhlíð
For the period of one week the goal was to produce as many dynamic structures as thinkable
In this collaboration studio the task was to design a shed in Öskjuhlíð, an outdoor
from the simple geometrical units of lego – and conversely – to break such structures
paradise in Reykjavik. From the first concept idea the project evolved into a model and
and forms down to a simple unit. The concept lab was instructed by KRADS architects.
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
dialogue
A project by Reykjavik´s department of Environment and Planning. The focus
A collaboration project between all departments in The Iceland Academy of
was to bring life to squares and streets in Reykjavik city that were on standby
the Arts. Students worked in interdisciplinary groups and the focus point was
regarding future planning and usage. Temporary installations were designed and
on the dialogue rather than the outcome. Emphasis was laid on exploring
placed in the areas, installations such as urban chandeliers that brightened dark
new surface between different art forms and furthermore to explore them
streets in gloomy Reykjavik and grass hills that brought nature into the city centre.
in a creative aspect. The harvest from the dialogue was a mirror installation.
rintala eggertsson building workshop
design march
Architecture students from Iceland, Finland and Norway were invited to the
The main focus of the studio was on making a model in 1.20 illustrating the
Architecture Festival in Oslo 2011 in order to participate in a building workshop
design of a pavilion in a public garden in Reykjavik city centre. The aim was
by Rintala Eggertsson architects. The task was to work under the instructions
to enhance the activity in the area in an aesthetic way as well as to create a
of Rintala and Eggertsson towards finding suitable implementation for the
platform for various events and performances. The models were showcased in
design of installations and pavilions as well as to engage in the construction.
the City Hall of Reykjavik as part of the annual event Design March in Reykjavik.
prelude to ba project
space / time
In the course Preclude to final project the idea arose to activate geothermal heat and hot
The course focused on the two philosophical foundations of perception, space and
springs around Lake Kleifarvatn for cooking. Examples of such activities can be found
time, in a quest for answers to questions regarding the nature and boundaries of
in various places in the world, for instance in Sou Paulo. In that way, the two resources
space, connection between the body and space and how the environment, perception
of Kleifarvatn are combined, geothermal heat and fishing. The ceremony of cooking
and meaning are intertwined. Theories and essays of philosophers such as Deleuze &
is powerful and draws people together. The experience of cooking in the ground is
Guattari, Bachelard and Heiddegger were studied and then placed in a personal context
primitive and brings the human being back to its roots, hunting for food and cooking it.
of a philosophical travelogue.
thank you
bj枚rg halld贸rsd贸ttir address grettisgata 57b, 101 rvk, iceland phone number +354-661-6495 email bjorg.halldors@gmail.com