Committee Chair:
Co-Chairs:
Bradley Walters
Mark McGlothlin & Martin Gundersen
A project in lieu of thesis presented to the College of Design Construction & Planning of the University of Florida in partial fulfillment of the requirements for the degree of Master of Architecture.
GOĂ?SĂ–GN Inhabiting Tales of Nordic Origin through Spatial Narratives. By
Frances Alexandra Membreno
Masters Research Project May 2020
Contents
Abstract
13
Introduction Chapters
15
1.
2.
Icelandic Lore 19
3.
Goรฐsรถgn 79
Insight into Conceptual Studies 55
Findings
127
Reflections
129
4
Illustrations
Figure 1. Mapping Analysis of different Lores
12
Figure 3. Abraham Ortelius, ‘Map of Iceland’ (16th century).
20
Figure 2. Photograph Landmannalaugar, Iceland.
14
Figure 4. Time Line Analysis
22
Figure 6. Fragment of time line - Lore
26
Figure 8. Analytical Sketch of Elves
31
Figure 10. Analytical sketch of Trolls
35
Figure 12. Analytical Sketch of Trolls
39
Figure 14. Analytical Sketch of Ghosts
43
Figure 16. Analytical Sketch of Sea Creatures
47
Figure 18. Analytical Mapping - Spatial
50
Figure 5. Fragment of time line - 9th Century to 11th Century 24 Figure 7. Illustration Elves 28 Figure 9. Illustration of Trolls
32
Figure 11. Illustration of Witches 36
Figure 13. Illustration of Ghosts 40 Figure 15. Illustration of Sea Creatures
.
44
Figure 17. Analytical Mapping - Lore
48
5
Figure 19. Wild Reindeer Pavilion - Inside
56
Figure 21. Wild Reindeer Pavilion - Elevation
56
Figure 20. Wild Reindeer Pavilion Inside - Exterior
56
Figure 22. Wild Reindeer Pavilion - Map
57
Figure 24. Under - Exterior
58
Figure 23. Under - Interior 58 Figure 25. Under - Site Plan
58
Figure 26. Under - Map 59 Figure 27. Juvet Hotel - Interior 60 Figure 28. Juvet Hotel - Exterior
60
Figure 29. Juvet Hotel - Organization
60
Figure 31. Rural House - Diagrammatic Sections
62
Figure 33. Rural House - Winter Exterior
62
Figure 35. Ghost Project #1
64
Figure 37. Ghost Project #9
64
Figure 39. Long Studio
66
Figure 41. Tower Studio
66
Figure 30. Juvet Hotel - Map 61 Figure 32. Rural House - Summer Exterior
62
Figure 34. Rural House - Map
63
Figure 36. Ghost Project #5
64
Figure 38. Ghost Project - Map
65
Figure 40. Bridge Studio
66
6
Figure 42. Fogo Island Projects - Map
67
Figure 44. Kiyotsu Gorge Tunnel - Site Plan
69
Figure 46. The Drop
69
Figure 48. Periscope
70
Figure 50. Iceland Landscapes Photographs
76
Figure 52. Construct - Elves and Trolls
79
Figure 54. Construct - Witches and Ghosts
81
Figure 56. Construct - Sea Creatures and Elves
83
Figure 58. Lore Mapping and Locations
86
Figure 60. Photographs Stórurð
89
Figure 62. Photographs Prestagil
91
Figure 64. Photographs Stuðlagil Canyon
93
Figure 43. Kiyotsu Gorge Tunnel - Map
68
Figure 45. Invisible Bubble 69 Figure 47. Expression of Color
70
Figure 49. Light Cave
71
Figure 51. Manifestation - Elves and Trolls
78
Figure 53. Manifestation - Witches and Ghosts
80
Figure 55. Manifestation - Sea Creatures and Elves
82
Figure 57. Lore Locations in Iceland
84
Figure 59. Topography Stórurð
88
Figure 61. Topography Prestagil
90
Figure 63. Topography Stuðlagil Canyon
92
7
Figure 65. Topography Vestrahorn
94
Figure 67. Topography Lagarfljot Lake
96
Figure 66. Photographs Vestrahorn
95
Figure 68. Photographs Lagarfljot Lake
97
Figure 69. Light Studies
Figure 70. Analytical Study
Figure 71. Series of Studies
Figure 72. Photographs of site near Stuรฐlagil Canyon
98
100 101 102
Figure 73. Overview Stuรฐlagil Canyon
103
Figure 75. Site Plan Analysis
106
Figure 77. Ground Level
110
Figure 74. Site Plan
Figure 76. Section Figure 78. Underground Level
Figure 79. Dwelling Inside
104
108
111 112
Figure 80. Dwelling Inside Winter
114
Figure 82. Daylight Cost
118
Figure 84. Fjord Ravine
122
Figure 81. Sharp Ridges
116
Figure 83. Pitch-Black Clouds
120
8
9
10
“…But the truth of the matter was that Eve had not yet got around to washing some of her children, and so she was ashamed to let God see them, and she had pushed them away somewhere out of sight. God knew this, and said ‘ That which had to be hidden from Me, shall also be hidden from men.’ So now there children became invisible to men, and lived in woods, moorlands, knolls, and rocks.” Jacqueline Simpson in The Origins of Elves Icelandic Folktales & Legends
11
12
Fig. 01 Mapping analysis of the different conditions existing within the diverse lores and the interaction between them.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Preface
Abstract
Stories bind and tie us together in realistic or imaginary worlds,
full of possibilities. In “Goðsögn, Inhabiting Tales of Nordic Origin through Spatial Narratives” the fundamental conceptual drivers are stories that create spatial opportunities to engage both the landscape and the public, allowing them to be interpreted and passed on through generations. Iceland “The Land of Fire and Ice” portrays a pristine variety of dramatic and dynamic landscapes, each containing a series of stories of cultural value to be uncovered through timeless experiences that require careful exploration.
Icelandic lore has been recorded since the 12th Century with themes ranging from the Viking Sagas to the wide range of Nordic beliefs, all of them bound by nature. The project consists of constructing a spatial narrative based on the interaction between these Nordic fables and their corresponding mythical creatures. Stories that are deeply rooted to their respective unique landscapes involving abstract personas such as elves, trolls, witches, sea monsters, and ghosts which serve as a reminder of Iceland´s harsh and temperamental environment, and the way in which it should be respected and handled through storytelling.
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14
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Preface
Introduction
The Land of Fire and Ice, Iceland, is a country known for its rich-
ness in nature, containing several of the world’s most unbelievable landscapes. The diversity and ephemerality of landscapes found in Iceland, are not only beautiful to look at, but dangerous and mystical in parallel. Through its history, Iceland as many other Nordic countries, has grown with mythological passages, that inhabit and affect the island itself. The lore or stories inhabiting Iceland, are embedded in the landscapes, protecting it and warning people of its presence; making the landscape itself more “alive”. Stories and the act of telling them, storytelling, has been our link to past civilizations and empires; containing whole cultures, experiences, lessons, and opportunities. Stories, imaginary and realistic, represent our pure essence and experience as humans, is how we communicate between one another and an essential link that connects us as such. The idea of landscapes, humans, and lore being bind to one another in space, is the main reason “GOÐSÖ� GN, Inhabiting Tales of Nordic Origin through Spatial Narratives” started. Through the research, diverse experiential and experimental-spatial ideas emerged, based on storytelling of Icelandic lore linked to its interaction between humans and landscapes.
Fig. 02 Photograph by author, human scale and landscape contrast. Located at Landmannalaugar, Iceland.
15
16
“The various supernatural beings which lived inside the rocks and mountains of Iceland were extremely displeased when Christianity began to spread through the land, and even more so when churches were built. It is said that soon after the church at Thingyrar was erected, a Night-Troll who lived in the mountain above Vatnsdal got in a huff, and thought herself deeply injured because a church had been built there...” Jacqueline Simpson in The Giantess’ Staff Icelandic Folktales & Legends
17
18
Chapter 01
Icelandic Lore
Iceland has always been ruled by uncertainty, since the formation
of the island itself to its harsh environment. Iceland alike many other Nordic countries, contains mythological lore which has been passed from generation to generation, always present and everlasting. From elves to trolls, every creature contains a lesson, which protect and warn the people who dare explore this magical island.
19
Fig. 03 As seen in the map above, Iceland has always been represented as a land protected by various creatures. Map originated from Abraham Ortelius, ‘Map of Iceland’ (16th century).Map provided by Michael Chapman, from Guide to Iceland.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | History
“The Land of Fire and Ice”
To study Icelandic lore, one has to go through Iceland’s history, as
the culture itself its imbued on these legends. Since its beginning, Iceland has been a dynamic and unpredictable island, being formed 70 million years ago by the “Iceland Plume”; which is a volcanic or magma pocket that sits beneath the island. The volcanic activity present in the island is not only due to this natural enigma, but also to the fact that Iceland sits in the middle of the Mid-Atlantic Rift, which slowly is breaking the island in half.1
After its land formation, Iceland was host to its first settlers the “Papar” and the Vikings, who were Norseman that planted ideas of Norse mythology and beliefs in the region. After a few centuries when stable settlements were established, Christianism started to reach the island, which led to a division of beliefs between Norse gods and Christians.2 These contrast and union of religious beliefs, became imprinted in Icelandic lore. In the 12th century, Icelandic folklore started to develop as an answer to explain Iceland’s harsh and unforgiving environment. Icelandic lore was born out of the nature to protect the landscape as well as the humans interacting with it, often taught since young ages.3 These stories or legends, still play a big part in Iceland’s national identity, as part of the culture as well as its landscape.
Michael Chapman, Guide to Iceland: The History of Iceland (Guide to Iceland, 2015). Katrí�n S. Einarsdottir, Guide to Iceland: Vikings and Norse Gods in Iceland (Guide to Iceland, 2013). 3 Austa Somvichian-Clausen, NatGeo - The Eerie Folktales Behind Iceland’s Natural Wonders (National Geographic 2017). 1 2
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | History
Fig. 04 Time line analysis of Iceland’s main historical events, from its formation until the present. Diverse historic fragments were deeply studied upon this research, mainly the lore inhabiting the island.
23
Fig. 05 The fragment above, taken from the analytical time line, dates back before the recording of folklore in Iceland. Highly focused on the elements that were the catalyst for the lore to be created.
24
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | History
“The Land of Fire and Ice” Before Icelandic Lore
9th Century to 11th Century
Iceland’s belief system from the 9
to the 10th century was reigned by Norse mythological beliefs and Christianism. During the Vikings era, another type of stories, that were born from Norse men, were the sagas. For example of the most popular sagas was “Egil’s Saga, which was a recollection of a Vikings life, Egil, until his death; most of the book describes relationships between kingdoms from England to Norway. As well the saga describes an interesting duality between the main characters and the journeys they took from country to country, including Iceland. Iceland as described in the saga, was an isolated place with a harsh environment, which later was the home of the main characters family, as they were exiled to the island.4 Through the saga it is mentioned that magical and mythological personas exist in Iceland, and that they are deeply rooted in the Icelandic territory; as well as mythological gods.5 th
Besides Norse beliefs, Christianism started developing in the island around the 10th century.6 The combination of both beliefs, affected deeply the culture and with it the lore that started developing in the island around the 12th century.
W. C. Green, Translator, Egil’s Saga (Sveinbjorn Thordarson ed. 1893). Katrí�n S. Einarsdottir, Guide to Iceland: Vikings and Norse Gods in Iceland (Guide to Iceland, 2013). 6 Michael Chapman, Guide to Iceland: The History of Iceland (Guide to Iceland, 2015). 4 5
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | History
Fig. 06 The fragment above, taken out from the analytical time line, shows the diverse lore found in the Icelandic landscape. These 5 personas were the main protagonists of the stories told through architecture in the research.
27
Fig. 07 From the illustration, an elven princes is observed speaking to a human child. The image above shows the contrast of height between what is believed to be an elf and a child. Illustration by: John Bauer.
28
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Elves
Elves “Huldufólk”
The Elves or Hidden Folk (Huldufólk in Icelandic), are small mis-
terious creatures that inhabit the woods, knolls, and rocks; believed to be originated from the story of Adam and Eve. There are diverse stories of how elves have interacted with humans as well as how they are hidden from view.7 Elves are believed to live inside rocks, found all over Iceland, even populated cities within the island. These rocks are protected and respected by Icelanders, as it is believed that elves are mischievous and do not take kindly if humans mess with their homes; stories vary from one another, mentioning how elves drive humans mad and objects are stolen or ruined by them.9
There are several motion pictures and books which narrate the stories of elves, and the different versions of how they are believed to be. Several of this stories and the existence of elves, are still believed by Icelanders as true to this day, as well as the repercussions.9 There is richness within all the lore of Iceland. Specifically within the Elves stories, there are narrations of measurement, concealed and reveled elements, labyrinths within space, religious elements that deal with darkness and light contrasts, and in general how humans interact withing the creatures and the space around them. All these key elements were used to create analytical diagrams that gave an idea of how stories could be told within a space.
Jacqueline Simpson, Icelandic Folktales & Legends (Gloucestershire: The History Press, 2004). Oliver Wainwright, In Iceland, ‘respect the elves – or else’ (The Guardian, 2015). 9 Nisha Inalsingh (Director), Huldufólk 102 (Motion Picture, 2006). 7 8
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Fig. 08 30
Analytical Sketch of Elves or Hidden Folk.
31
Fig. 09 From the illustration, a troll is hidden within the darkness of her cave, she measures around 9 to 10 feet, according to the artist. Illustration by: Brian Pilkington. 32
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Trolls
Trolls “Tröll”
Trolls are the only creature that can’t be seen on the sunlight, un-
less petrified. Trolls are narrated as tall beings, that dwell with black magic, as well they are described to be hidden within caves and high peaks that are impassable by humans.10 Trolls are curious creatures that are believed to be affected by sunlight, if a troll is hit by it , then it will turn into stone; this is why Iceland has an interesting topography or cliffs that resemble trolls faces. Also, trolls are believed to be both good and evil, with stories that accompany sometimes presents towards humans or death.11
Likewise as mentioned before, Icelandic lore has been deeply affected by Christianity, and in the trolls lore there is no doubt of it. Trolls and the stories they inhabit, tend to go against Christan churches and their beliefs.12 Alike the elves, trolls normally remain hidden from humans, but as stories go, they sometimes drift away from they caves and peaks, and hunt or capture humans. Within the different narrations recollected from their stories different ideas of space were hinted, for example concepts of contrast between diffused and hidden lights, as well as dark and tall spaces that have within alternate directions.
Magnús Ó� lafsson, Guide to Iceland: Folklore in Iceland (Guide to Iceland). Vignir Á� rnason, Troll Expeditions: Trolls, giants and giantesses: Long history of trolls in Iceland (Troll Expeditions, 2018). 12 Jacqueline Simpson, Icelandic Folktales & Legends (Gloucestershire: The History Press, 2004). 10 11
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Fig. 10 Analytical Sketch of Trolls.
35
Fig. 11 The illustration shown above, represents the Icelandic Age of Fire “Brennuöld”, which was similar and inspired by the witch trails from Europe. Illustration by: R. Decker.
36
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Witches & Warlocks
Witches & Warlocks
Witches and warlocks, have been part of Iceland’s culture since
before elves and trolls inhabited the island, as told throughout the sagas.13 Alike the trolls, witches were also influenced by religion, but in this case both the Norse beliefs and Christianism. According to Salvör Bergmann, witches obtained their black magic from the Norse gods, and the gods themselves provided us humans with runes that contain magic within them. These runes serve as a way to cast a spell into someone or something, and are believed to amplify the magical spells of wizards and witches.14 An example of this runes come from the Egils Saga mentioned before, in which Egil himself saved a small girl from a love spell by lying a rune under her bed through the night. As mentioned in the paragraph above, Christian belief, also played an important role in the manifestation of the witches lore, as most of the stories were tied to graveyards near churches or witches with vendettas towards priests.15 The intricate illustrations in runes and the parallel worlds described through the witches and warlocks stories, provided ephemeral elements towards the research.
W. C. Green, Translator, Egil’s Saga (Sveinbjorn Thordarson ed. 1893). Salvör Bergmann, Guide to Iceland: A Guide to Icelandic Runes (Guide to Iceland). 15 Jacqueline Simpson, Icelandic Folktales & Legends (Gloucestershire: The History Press, 2004). 13 14
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Fig. 12 38
Analytical Sketch of Witches & Warlocks.
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Fig. 13 The illustration above is based on the story of “The Deacon of Dark River”, one of the most famous ghost stories in Iceland. Illustration by: Théodore Meyer-Heine.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Ghosts
Ghosts
Ghosts stories have always been told all around the world, each
with different variants, but always the same origin, a spectrum from a dead living being. Ghost stories in Iceland are no different, they represent a person that passed away and what drove them to keep being around in the physical world.16 Most ghost stories as told in the book of “Icelandic Folktales & Legends”, are driven by spooky or haunting reasons, tormenting the living and frightening the land. As well many of them as in other lores, are tied to Christian churches and graveyards.17 One example of this is the “Deacon of Dark River”, which tells a story that revolves a graveyard and Christmas.18
Ghost have always been described as ephemeral and invisible or semi-invisible beings, that co-exist with the living in the physical world. The ideas of invisibility or hidden elements, have always been present in the world of architecture, such as the ghost projects number one, in which architect MacKay-Lyons describes the concept of ghost stories and the way they affect space.19
Magnús Ó� lafsson, Guide to Iceland: Folklore in Iceland (Guide to Iceland). Jacqueline Simpson, Icelandic Folktales & Legends (Gloucestershire: The History Press, 2004). 18 Regí�na H. Ragnarsdóttir, Guide to Iceland: Deacon of Dark river - Djákninn á Myrká (Guide to Iceland). 19 MacKay-Lyons Sweetapple Architects, MacKay-Lyons Sweetapple Architects – Ghosts (Architects, M.-L. S. , 2011). 16 17
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Fig. 14 Analytical Sketch of Ghosts.
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Fig. 15 The illustration above, shows the water horse “Nykur�, taking a person towards the deep bottom of a lake. Illustration by: Theodor Kittelsen.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Sea Creatures and Monsters.
Sea Creatures and Monsters
Sea creatures and monsters stories, have been very popular and
controversial in the island. Iceland has a museum dedicated to these stories called “The Icelandic Sea Monster Museum”, in which several artifacts and photographs prove the fact that these creatures exists.20 These creatures have been a controversial topic internationally because of a video that was released on 2012, showing a giant shadow over the Lagarfljot lake, which supposedly represent the giant worm “Lagarfljotsormur”. 21
The sea creatures and monsters, are not only found at the sea but in lakes as well. According to most narrations of these stories, different from other creatures, these creatures tend to drown or eat humans; they are not a contrast of good and evil as the rest. 22 Through the narratives, different elements were researched and studied as fragments of space. These elements were derived from experiential and experimental elements such as ripples of light from bodies of water, dark bottomless spaces such as lakes and seas, and ideas of fright and uncertitude. Each lore was key to determine the experiential passage and itinerary of storytelling, that could be applied and narrated through space.
Iceland Travel Management, Iceland Travel: The Icelandic Sea Monster Museum (Iceland Travel, 2019). Á� slaug Torfadóttir, Iceland Travel: Elves, Trolls and Monsters (Iceland Travel 2019). 22 Jacqueline Simpson, Icelandic Folktales & Legends (Gloucestershire: The History Press, 2004). 20 21
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Fig. 16 Analytical Sketch of Sea Creatures and Monsters.
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GOĂ?SĂ–ďż˝ GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Analysis
Fig. 17 Analytical mapping, utilizing the lore analytical sketches, to create joints between each one of them, as most stories tend to live within one another. Meanwhile each lore is positioned according to the interpretation taken out from the stories; having the elves be under our point of view, trolls above,witches located in between both, as well as ghosts, and finally the sea creatures located even deeper. 49
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 01 Icelandic Lore | Analysis
Fig. 18 The joints or interruptions of stories between one another, was the main key into designing the project. Through this analytical mapping, spatial studies started to emerge from the analytical sketches and there background information, giving ideas of depth, perspective, shadows, revealed and concealed spaces, elevations, and itinerary. 51
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“…As soon as the magician had arranged himself, he would begin reciting the formulas and spells that served to call up the dead. At this, if he had any relations buried in one or more of the four churches to which the roads led, they would come to him and tell him all he wished to know about past and future happenings through many generations…” Jacqueline Simpson in Sitting Out at Crossroads Icelandic Folktales & Legends
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Chapter 02
Insight into Conceptual Studies
The conceptual studies researched throughout the development of the project, are positioned along deserted areas; with similar conditions or approaches that could be implemented in Goรฐsรถgn, located in Iceland. The projects involve a deep study in their dynamic relationship between landscape, biodiversity, experience, history, climate, human interaction, and architecture. The most provocative aspects behind them are derived from the stories involved in their development, ranging from fables to natural aspects of their surrounding landscapes, reigned by two main interactions, humans, stories, and nature.
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Fig. 19 Norwegian Wild Reindeer Pavilion’s contrast between the translucency and the reflection seen in its façade. Photograph by: Ketil Jacobsen.
Fig. 20 Norwegian Wild Reindeer Pavilion surrounded by the Dovrefjell Mountains Range. Photograph by: Ketil Jacobsen.
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Fig. 21 Norwegian Wild Reindeer Pavilion’s inner core, inspired by the timeless erosion of rock and ice found within nature. Photograph by: Ketil Jacobsen.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Norway
Norway Norwegian Wild Reindeer Pavilion
Hjerkinn - Dovre, Norway Snøhetta 2011
The Norwegian Wild Reindeer Pavilion located in Dovrefjell Na-
tional Park, Norway, designed by the architectural firm Snøhetta, reflect an interesting relationship between the site and its history. The landscape that holds this pavilion is concentrated near the Dovrefjell mountains range, which besides providing a scenic view, it contains a historic and mythical meaning to it.23 As most Nordic countries, the area of Dovrefjell mountain range has been considered to be an important historic site for Viking tales and the creation of their sagas, creating an even deeper meaning to the construction of the project. 24 The building itself acts as a public viewing platform that provides shelter from the harsh ever-changing landscape. The concept of the structure as described by the firm, is a “contrast between a rigid outer shell and a soft organic inner core”, as perceived through the transparency of the architecture.25 The way in which the architects managed to respect and tell the story once forgotten of the site, through architecture, deeply impacted the research, as well as the positioning of the construct through a vast landscape.
Fig. 22 Location of Norwegian Wild Reindeer Pavilion, Dovre, Norway. Background by John Moen.
Snøhetta, Tverrfjellhytta, Norwegian Wild Reindeer Pavilion (Snøhetta, 2019). Finn Roed, The heart of Norwegian consciousness (Norwegian American Weekly, 2015). 25 AD Editorial Team, Lost in the Landscape: Snøhetta’s Wild Reindeer Center Pavilion, Filmed in 4K (Arch Daily, 2016). 23 24
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Fig. 23 Under, creates an opportunity for the observer to view the constant seasonal change in the seabed and its light interaction with the space. Photograph by: Ivar Kvaal.
Fig. 24 Under’s clashing landscapes, the interaction between both changes constantly. Photograph by: Ivar Kvaal.
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Fig. 25 Site plan photograph, showing the main axis driving the project as well its landscape contrast, and main access. Photograph by: AndrĂŠ Martinsen.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Norway
Norway Underwater Restaurant “Under”
Lindesnes, Norway Snøhetta 2019
Alike the previous mentioned project, Underwater Restaurant Un-
der, was developed by the firm Snøhetta and located in southern Norway; in this case presenting a different approach towards coastline projects. A major factor present in the site, is the continuous sea storm surges that occur, making it a constant place of change.26 Both mentioned projects act as viewing platforms and shelters, interacting with their landscape’s scenic views, by creating a framed structure that plays with the everchanging seasons. In Under the exterior concrete shell besides framing an underwater view and serving as a shelter for its harsh environment, also creates an opportunity for the ecosystems around it to inhabit it; by creating an artificial reef. 27 The project’s interaction with both the underwater and the rocky exterior landscape, creates an interesting experience for the visitors, as well as a poetic relationship between water and earth. Both projects ,located in Norway, deal with harsh weather conditions and difficult isolated access. Even though the landscapes differ, the approach taken on both, mindfully deals with the affected ecosystems and surrounding site.
26 27
Snøhetta, “Under” – Europe’s First Underwater Restaurant (Snohetta, 2019). Paula Pintos, Arch Daily: Under (Underwater Restaurant) / Snohetta (Arch Daily, 2019).
Fig. 26 Location of Underwater Restaurant “Under” Lindesnes, Background by John Moen.
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Fig. 27 Translucency is the key element used for the observer to experience a framed nature within the space as well as outside of it . Photograph by Jensen & Skodvin Arkitektkontor.
Fig. 28 The Juvet Landscape Hotel room’s design, also provides an interesting approach in relation to the ground and the way its sits on it. Photograph by: Jensen & Skodvin Arkitektkontor.
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Fig. 29 The image above shows the different directionality of two adjacent but detached rooms, of the Juvet Landscape Hotel. Photograph by: Jensen & Skodvin Arkitektkontor.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Norway
Norway Juvet Landscape Hotel
Norddal, Norway Jensen & Skodvin Arkitektkontor 2008
Different from the other projects, the Juvet Landscape Hotel is a
set or ensemble of projects, located in Norway. The Juvet Landscape Hotel project is composed of 9 separate or detached rooms located in different directions and landscapes.28 One of the most interesting elements in this project is the layout in which each room is assembled. Each room is designed to have its own scenic landscape to view upon, because of its layout, at the same time providing the clients with privacy in between rooms as none of them can view upon each other.29
The Juvet Landscape hotel has no progression or a defined itinerary, as the rooms themselves are focused on creating different framed views or experiences for their residents individually, with no connection between each other. The concept of providing each room its own story and experience without interruption, proved to be the most attractive concepts to explore through the research.
Fig.30
Location of Juvet Landscape Hotel, Norddal, Norway. Background by John Moen.
Norwegian Public Roads Administration (NPRA), Norweigan Scenic Routes, Attraction along Geiranger - Trollstigen, Juvet (Norweigan Scenic Routes, 2019). 29 Arch Daily provided by Jensen & Skodvin Arkitektkontor, Arch Daily : Juvet Landscape Hotel / Jensen & Skodvin Architects (Arch Daily, 2008). 28
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Fig. 31 The experiential sections showed above, represent the design thought of the project, the idea of subtracting from the earth and positioning these capsules according to specific views or spaces. Photograph by: RCR Arquitectes.
Fig. 32 The composition of the Horizon House within its site gives the observer the opportunity to appreciate its surrounding nature; as well as a sense of measure. Photograph by: RCR Arquitectes.
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Fig. 33 As described through the passage, the image above and the one beside, shows the contrast between seasons and how architecture can be concealed and revealed. Photograph by: RCR Arquitectes.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Spain
Spain Rural House | Horizon House
La Garrotxa, Spain RCR Architects 2007
RCR Architects Rural House project in Spain, as well as previous
projects mentioned takes into consideration its immediate landscape, mainly its topography. Although not located in an extreme weather condition as previous projects, the Rural House or Horizon House, takes into consideration both the site and the experience of the observer. As explained by the architects, the project “enhances the landscape values”, by playing with its differences in elevation and natural resources, such as the water running down the slope dividing spaces within.30 The Horizon House project, is embedded and carved on a hill, which changes as the season varies throughout the year. Interestingly enough the project is revealed and hidden within the site depending on these seasonal variations. Even though programmed along a open and vast area, the architects managed to define specific framed views with transparency in spaces, driven by the landscape itself, as shown in the experiential section. Through the research the project served as an example of careful positioning on the landscape, as well as the way in which it may be carved into it.
Fig. 34 Location of Rural House, La Garrotxa, Spain. Background by John Moen. 30
RCR Arquitectes, Arch Daily: Rural House / RCR Arquitectes (Arch Daily, 2017). 63
Fig. 35 The photograph above, is the first ghost project from the set of 13, in which experiential and imaginary worlds collide by interpreting space taken from ghost stories. Photograph by: Nicole Delamage.
Fig. 36 Ghost 5, was an experimental project concerning place in the landscape, architecture serving as marker. Photograph provided by: MacKay-Lyons Sweetapple Architects Website.
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Fig. 37 Ghost 9, serve as the reintegration of architecture into agriculture, establishing parameters of place and how people inhabit space. Photograph provided by: MacKay-Lyons Sweetapple Architects Website.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Canada
Canada Ghost Projects
Kingsburg, Canada MacKay-Lyons Sweet Apple Architects 1990 to 2011
The Ghost projects, were born from an architectural education
center emphasized on the teachings of Frank Lloyd Wright’s Taliesin, driven by the connection of built elements and nature, permanence and impermanence.31 The ghost projects are a portfolio within themselves, proof of educational work, each one of them serve a specific function and lesson. The different lessons learned through the projects vary from one another but all, ask the main questions of place-making in architecture; and as mentioned by architect MacKay-Lyons, architecture should be about improving the land not consuming it.32 Throughout the projects it was clear for the observer to understand the importance of marking the landscape, as well as how projects can draw the landscape into a narrative which is being told by the architecture itself. Even though the projects themselves weren’t as developed, the main concept that drove them and the applicability of it, was one of the main drivers used through the research.
31 32
Fig. 38 Location of Ghost Projects, Kingsburg, Canada. Background by John Moen.
World-Architects, MacKay-Lyons Sweetapple (World-Architects). MacKay-Lyons Sweetapple Architects, MacKay-Lyons Sweetapple Architects – Ghosts (Architects, M.-L. S. , 2011).
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Fig. 39 The Long Studio, contains processional ideas applied in its main access as seen in the image above. The contrast of materials and angles, creates an interesting framed juxtaposition of elements. Photograph by: Bent René Synnevåg.
Fig. 40 The Bridge studio approach as seen in the image is a floating element that can be seen through a vast landscape. Photograph by: Bent René Synnevåg.
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Fig. 41 The Tower studio, functions as a marker in the landscape as a vertical black element in a sea of vegetation. Photograph by: Bent René Synnevåg.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Canada
Canada Fogo Island Projects
Newfoundland, Canada Saunders Architecture 2010 to 2018
Fogo Island projects are individual
constructs located all around Fogo Islands coastline, the entire construction of these projects has lasted over 8 years, and contain a total of 6 projects.33 The projects are a collection of studios, offices and an inn, which are conceptually are all tied by its main purpose, film and art which is born from the island itself. Through the series of studios and offices, the architects end goal was to rejuvenate the island by creating spaces that express the culture and artistic value the Fogo Island contains.34
The thought and design process taken for each studio, was the main reason of interest for the research; as seen in the different projects, ideas of composition in the landscape and marking it as well, become apparent. Also, ideas of horizontality and verticality applied through the different types of landscape found in the area, change the perception of the observer, which creates interesting elements of contrast and study of value to the research.
33 34
Fig. 42 Location of Fogo Island Projects, Newfoundland, Canada. Background by John Moen.
Arch Daily provided by Saunders Architecture, Arch Daily: Fogo Island Inn / Saunders Architecture, (Arch Daily, 2013). Saunders Architecture, Saunders Architecture – Fogo Island, (Saunders Architecture, 2018).
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Japan Kiyotsu Gorge Tunnel Kiyotsu Gorge Valley, Japan MAD 2018
The Kiyotsu Gorge Tunnel project or Tunnel of Light, is based on
a progressive experience and itinerary, designed within a 750-meter passageway that goes through and along a scenic landscape in Japan.35 The project’s concept is defined by the 5 elements of nature “wood, earth, metal, fire, and water”, as explained by the architects; which drove them to explore different artistic ways in which visitors could be reconnected with nature.36
Even though the project is not specifically based on stories, each space that describes an element, tells its own story within itself, demonstrated through materials, experience, light, views, shadows, and sounds. The concept of creating a narration and itinerary of experiences, with the help of the landscape and architecture, drove the research even further into analyzing how spaces can narrate stories; and how the landscape can be deeply involved in the its design, as the landscape itself contains these stories in the Icelandic lore.
Fig. 43 Location of Kiyotsu Gorge Tunnel, Kiyotsu Valley, Japan. Background by John Moen.
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Kiyotsu Gorge Tunnel Management, Kiyotsu Gorge Tunnel, (Gorge Kiyotsukyo, 2019). MAD, MAD Restores the Kiyotsu Gorge Tunnel with Artistic Spaces for the 2018 Echigo-Tsumari Triennale, (MAD, 2018).
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Japan
Fig. 44 The Kiyotsu Gorge Tunnel site plan, shows the itinerary in which the spaces are organized in a linear procession, utilizing the landscape in proximity for each. Photograph provided by: MAD Architects Website.
Fig. 45 The “Inivisible Bubble” space, represents metal, and plays with the observers mind through concave perforations that lead outside. Photograph provided by: MAD Architects Website.
Fig. 46 “The Drop” space, represents fire, and is built as a series of reflective openings, which acts as “windows of uncertainty” according to the architects. Photograph provided by: MAD Architects Website.
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Fig. 47 The “Expression of Color” space, represents earth, and it changes colors depending on the lookout chosen. Photograph provided by: MAD Architects Website.
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Fig. 48 The “Periscope”, represents wood, and it is programmed as a wooden spa. Photograph provided by: MAD Architects Website.
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 02 Insight into Conceptual Studies | Japan
Fig. 49 The final space through the procession is the “Light Cave”, which as observed in the image it represents the water element. This space is a contrast of nature reflected upon a shallow body of water, and therefore reflected on a steel wall that fills the tunnel. Photograph provided by: MAD Architects Website.
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“ It happened once that the owner of a very fine farm died, but on the very day he died all his money disappeared, and his most valuable goods too - a set of table silver, and many other fine things. Nor could anyone sleep in his bed, for all who did so after his death were themselves found dead next morning. One day, a man came by and asked for a night´s lodging…” Jacqueline Simpson in The Miserly Ghost Icelandic Folktales & Legends
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Chapter 03
Goรฐsรถgn
Throughout the preliminary research, diverse concepts and meth-
ods were explored, from the different types of lores and their spacial qualities to case studies that contained elements that could be applied in Goรฐsรถgn. Through this final chapter, diverse applications were delve into, with the purpose of understanding how stories can be narrated through space, storytelling , and how these narrations can dwell within the landscape and architecture.
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Fig. 50 Iceland alike many other countries, contains diverse landscapes and topographies that vary from one another, but different from those, the diverse images shown above were taken on the same day with a small walking time-frame of hours between them. Photographs by: Author and Iceland CORE Group.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape
Landscapes inhabited by Lore
The landscapes found in Iceland, vary from one another for many
reasons, as its nickname “The Land of Fire and Ice” implies, the island contains volcanic landscapes to ice cold geysers. As seen through the images, the topography of the landscapes vary as well, going from rock-filled landscapes to icy flatlands surrounded by high peaks.
Taking into consideration the different ever-changing landscapes present in Iceland, as well as the stories narrated through its lore; different studies were made. As initial studies of landscape, conceptual manifestations were developed, through a process based on layering aspects of depth, shadows, environment, measurement , and uncertitude. The approach taken towards these constructs, was the idea of discovery of unknown elements, just as stories unfold into their conclusion.
Through the making process of these manifestations, different elements of the stories and the landscape were applied. In each one of them, two main stories were intertwined, and with them, their diverse fragments evolved into a final construct. These final constructs or manifestations, as mentioned above, are open to interpretation, creating the opportunity of discovery through layers, for the observer to find and define for themselves.
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Fig. 51
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Manifestations process iterations, focused on the lore of elves and trolls. Link: https:// www.youtube.com/watch?v=Ymc6y9SSRko&feature=emb_title
Fig. 52 Final Construct of elves and trolls.
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Fig. 53 Manifestations process iterations, focused on the lore of witches and ghosts. Link: https:// www.youtube.com/watch?v=hYKT4SPxrgg&feature=emb_title 80
Fig. 54 Final Construct of witches and ghosts.
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Fig. 55 Manifestations process iterations, focused on the lore of sea creatures and elves. Link: https://www.youtube.com/watch?v=_ytBq27WFKQ&feature=emb_title 82
Fig. 56 Final Construct of sea creatures and elves.
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Landscapes inhabited by Lore
Iceland’s lore is deeply rooted within its landscape as a way of protection and conservation, and the variations that differ each other are confusing to identify at times. Through the initial process of research, diverse stories were found to contain specific locations in which the different plots took place. The map database called “Sagnagrunnur�, started in 1999, serving the purpose of locating the origin of the stories recorded in Icelandic folktale books.37 By identifying the locations with the help of the interactive map database dedicated to Icelandic lore, the initial steps towards the development of the project were introduced. Within the locations identified, five areas were chosen for the amount of lore they are influenced by.
Sagnagrunnur (Trausti Dagsson), Sagnagrunnur, A geographically mapped database of Icelandic Folk Legends (Sagnagrunnur, 2014).
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape
Fig. 57 Locations of Icelandic Lore according to “Sagnagrunnur, A geographically mapped database of Icelandic Folk Legends”, in Iceland.
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Fig. 58 Analytical map of Icelandic Lore locations. This analytical map helped undercover the focal locations where most of the lore stories were sighted, in the eastern part of Iceland. As well, within the research, 5 locations were chosen for the magnitude of lore originated from them.
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Fig. 59 The first location, Stórurð “The Giant Boulders”, is the home of several stories relating to elves. As seen in the image above, several mountain peaks surround the area, but the main area itself is relatively flat and surrounded by boulders hereby its name.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape Locations Elves
Fig. 60 As seen in both images above, winter and summer, Stórurð, contains diverse sizes of boulders whi according to stories, are the houses of several families of elves. Photographs by Visit Austurland (above) and Yongsung Kim (below). 89
Fig. 61 Prestagil, also known as “The Gorge of the Priests”, is a deep ravine found in “Mjóifjörður”. Its nickname was originated after the lore that inhabits the ravine, in which an old she-troll is believed to lure priests towards it.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape Locations Trolls
Fig. 62 As seen in the images above, Prestagil is an imposing ravine with rough edges all around, hidden within with dark and unseen spaces, who are called home by trolls. Photographs by World Waterfall Database and Visit Austurland and (above) and Go Now (below).
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Fig. 63 Stuรฐlagil Canyon, is a natural basalt rock formation in which a river flows. Visited by many, the canyon was once known to inhabit witches and elves within and nearby.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape Locations Witches
Fig. 64 As seen in the photographs above, the canyon has been a main source of interest with Iceland tourists, largely due in part because of social media, but in reality the canyon is mostly impassable at times, and tourists normally leave disappointed. Photographs by Cars Iceland (above) and Ernest But (below).
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Fig. 65 Vestrahorn, is well known by Icelanders and tourists alike, as a magical area in which the sea is shallow the peaks are known as the “Barman Mountain�. Around the site there are diverse areas were ghosts have been spotted, and recorded in books.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape Locations Ghosts
Fig. 66 As seen in the images, the monumentality of the landscape seems almost unreachable, diverse areas have never been explored, and many believe that those places are the hidden homes of ghosts. Photographs by Snow News (above) and Marc Pelissier (below).
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Fig. 67 Lagarfljot Lake, has been an area of controversy as mentioned before, home to the most famous sea monster known in Iceland. As seen in the site plan, the elevation is minimal in comparison to most of the other locations.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Landscape Locations Sea Monsters
Fig. 68 Surrounding the lake, there are diverse flatlands and infrastructure, which differs from the rest of the locations, as most are isolated. Photographs by Hit Iceland(above) and Stefan Numi (below).
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Fig. 69 Light study analysis, which provided ideas of perspectival focal points, sections, and elevations. These studies were based out of the lore of Iceland, in which light and shadows play an important role in the survival of certain creatures, as well as the ability to hide and concealed elements within the stories.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Analytical Studies
Analytical Studies
Through the process of identifying the locations, several analytical
studies took place, specifically focused on light qualities, shadows, and the environment presented in Iceland and in its lore. Through the process of identifying key elements from the lore, several fragments from them were taken specifically the light conditions that varied from one to another. These light conditions differ according to each lore, in some light is reflected above but hidden within depths, in others sunlight is non-existent as it affects the creatures within the stories. The concept of how light enters a space or is reflected, was a key element to the project, as spaces could evoke such elements and narrate the stories through them. Through the course of the studies, several different methods were tested, from perspective drawings to a motion picture.
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Fig. 70 As part of the analytical studies different perspectival views were tested, in which different elements like heights, shadows, light, measure, landscape, and others were applied. As an initial take on space, the perspective above, shows qualities of scale in which the project could exist.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn | Analytical Studies
Fig. 71 As shown through the series of studies above, the initial draft of space located beside the image, was used as a subject to create experiential sequences of space. The series of images above are part of a video done by the author. Link: https://youtu.be/cL3KlAWsArU 101
Fig. 72 In the first image Stuðlagil Canyons main attraction is observed, being this pillar of basalt rock located in the water, and the second image the access to get there. Photographs from left to right by: Einar Páll Svavarsson and Oscar F. , Google Earth.
Fig. 73 Overview of chosen site, above the canyons main “attraction”, through its access. As seen in the photograph above, the landscape itself contains countless opportunities besides the pillar located below. Photograph by: Oscar F. , Google Earth.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn
Goðsögn
Throughout the research several concepts of landscape, space, ex-
perience, and storytelling were studied. Each lore, location, and analytical study brought knowledge into the project itself, and each one assisted the idea of different opportunities to design space through storytelling. For the application of the different studies, a single location was chosen. Stuðlagil Canyon, as mentioned before, is a natural basalt rock formation that has attracted many tourists to Iceland. Influenced by social media, the site has become an attraction for tourists, mainly with the sole purpose of photographing the famous pillar that stands withing the river. As many places within the world, the cultural value has been overthrown by the aesthetic value of the places themselves. Stuðlagil Canyon is no different, the journey to get to this pillar is a harsh one, and not particularly enjoyed by visitors.
In Iceland several focal locations are hard to get to, as for natives to the island the journey is what counts and not the final destination, this is why most trails are formed by the travelers themselves walking again and again through the same path. Through the journey, it is hard to pause, experience, and listen to the story the landscape is willing to tell, and in the case of Stuðlagil Canyon, the story has been long forgotten. This was the reason why Goðsögn, was located within this site, to create a moment of pause to help the landscape narrate its story once again.
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn
Fig. 74 Site Plan “Pillar of Stone”. As mentioned through the introductory passage, the project was located above, in the steep hill away from the final destination of the site;having in mind the elements bound to the landscape such as its trails and natural crevices. 105
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Fig. 75 Different elements drove the project’s orientation and positioning. As seen in the image above, the main orientation was decide by the waterfall located across the canyon. As well the landscape itself with its topography, trails, and surrounding crevices, defined the location and formal edges of the project. 107
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn
Fig. 76 As observed in the site plan, the existing trails played and important role within the section of the project, by creating connections within it. As researched from the different conceptual studies, ideas of subtraction were applied to the landscape to create experiential conditions within the project. As observed in the section, the connection between spaces were designed to create an itinerary of storytelling, by using light, shadows, heights, views, and accesses.
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Fig. 77 Ground Level. The main access toward the project, follows the site’s natural descend defined by a ramp, in which the idea of framing the landscape becomes apparent as you slowly descend towards the project. Once inside, each space resounds with a story, this is why the spaces were named by the experiences they would evoke to the public. 110
GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Chapter 03 Goðsögn
Fig. 78 Within the lowest level, diverse experiential elements are discovered, each changing over the course of time and season. The itinerary through the set of spaces guides the user into discovering the story, creating findings for themselves, just as the manifestations did, through unconditioned and conditioned spaces.
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Fig. 79 “Dwelling Inside�. The descent towards the project starts framing the landscape, by using the trails located above, the limits of the project, and the descend itself.
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Fig. 80 “Dwelling Inside”. Iceland’s seasonal change create diverse opportunities for the story to be narrated, explored and experienced differently.
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Fig. 81 “Sharp Ridges�. Once inside, the first space experienced is driven by light, sound, and water; focused on ideas of reflection and pause.
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Fig. 82 “Daylight Cost�. The descent towards the lower level is reigned by a narrow staircase and a floating path, that leads to a vast tall open space. Different light conditions and seasons play with the space throughout the course of the day.
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Fig. 83 “Pitch-Black Clouds�. The perspective was taken from the bridge that connects to the trails outside the project. Within the view, different elevations of spaces can be found, as well as the interactions with one another.
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Fig. 84 “Fjord Ravine�. This final perspective shows an unconditioned space, which interacts with the seasons and the climate of Iceland, creating a different experience every time the user visits.
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“The Water Horse is named either Nykur or Nennir, and lives in the rivers or lakes or even the open sea. He looks just like a horse, usually a gray but sometimes a black one, but all his hoofs are turned back to front and the tufts on his pasterns point backwards. However, he is no way limited to this form; it is characteristic of him to change suddenly into various shapes, just as he chooses‌â€? Jacqueline Simpson in The Water Horse Icelandic Folktales & Legends
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GOÐSÖ� GN Inhabiting Tales of Nordic Origin through Spatial Narratives. Conclusion
Reflections
Stories are everlasting pieces of history which define us as humans.
Architecture is part of these stories, impermanent or permanent, architecture always leaves a mark in history.
Throughout the research, it has been clear that there are many paths one can take into developing a space for storytelling, so how do we start? What story are we telling? Through the course of the research those questions only grew bigger, with endless possibilities to answer them with. The steps taken through the research are just a small fragment of what the answers could be, and maybe, there isn’t even a specific answer at all.
The research extended into several branches, from the fragmentation of stories and their cultural importance, to conceptualizing narrations into architectural terms. The origin of Icelandic lore, is indeed humble towards the landscape, even though sometimes dark and scary, the main purpose of it is to protect the landscape and to demand respect towards it. Through the case studies and stories, it was clear that architecture ‘s main role in the project would be to enhance the landscape and give it an opportunity to narrate the existing lore to its users. The idea of letting the landscape tell us how to proceed as architects, is indeed powerful. The lore through the development of the project, made the landscape feel more alive, and this helped the architecture become part of it instead of going against it.
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