Reykjavík - GAP 2013 by Official Global Architecture Profiling

GAP 2013 REYKJAVIK GLOBAL ARCHITECTURE PROFILING

ICELAND

ISBN: 978 0 7340 4871 4 GAP 2013 © THE UNIVERSITY OF MELBOURNE GAP COMMITTEE Blair Gardiner Mailys Baerg Michelle Chang Bryan Fan Sophie Farmer Aykız Gökmen Michelle Ho Nicola Inskip Chen Liu Janice Lobo Jake Nancarrow Emilie Sultana Emily Tang Sunny Tang Sheehan Yu Students within the Bachelor of Environments Degree at the University of Melbourne have been responsible for curating this exhibition. Every effort has been made to ensure the accuracy of the information and to correctly source attributable content. However, there may be inadvertant and occasional errors or omissions for which we apologise.

B Envs B Envs Bachelor Bachelor of of Environments Environments

GLOBALGLOBAL ARCHITECTURE ARCHITECTURE PROFILING PROFILING

GAP 2013 PRESENTS

REYKJAVÍK ICELAND 14 — 24 OCTOBER, 2013 THE WUNDERLICH GALLERY LEVEL ONE, 757 SWANSTON STREET, PARKVILLE THE FACULTY OF ARCHITECTURE, BUILDING & PLANNING THE UNIVERSITY OF MELBOURNE

CONTENTS INTRODUCTION

-01GAP 2013

-03FOREWORD

PRACTICES

-08ARKÍS

-14ARKITEÓ

-18BASALT

-24KRADS

-30STUDIO GRANDA

-36UNSTABLE

-42MAP

-44DIRECTORY

-47CREDITS

Reykjavík. Photographer: Sigurgeir Sigurjónsson, 2008

INTRODUCTION GAP 2013

GAP (Global Architecture Profiling) is a student-run initiative within the Faculty of Architecture, Building and Planning at the University of Melbourne. It profiles the work of contemporary architects from different cities around the world brought together in an annual exhibition. Previous exhibitions have featured the work of architects from Ljubljana, Slovenia in 2012, Santiago de Chile, Chile in 2011 and Bangalore, India in 2010. GAP 2013, profiles Reykjavík, the capital and largest city in Iceland. With the awarding of the 2013 European Union Prize for Contemporary Architecture to the Harpa Concert Hall, the city is gaining recognition for its high calibre of design production. This is manifest in the work presented by the six firms profiled in this year’s exhibition. The projects range from private to public sector works, varying

in scale and typology but all imbued with a reverential spirit to the landscape of Iceland. The projects have been chosen by the firms themselves to best reflect their current research and design interest. The exhibition also featured videos by the firms and The Icelandic Design Centre featuring the work of Icelandic architects. Architect and author, Pétur H. Ármannsson, has generously contributed the foreward to this catalogue. The catalogue features work displayed in the exhibition, with responses to a series of questions framed by the GAP Committee. Exhibition 14 - 24 October, 2013 Wunderlich Gallery Faculty of Architecture, Building & Planning The University of Melbourne

Glaumbær Museum, Photographer: Pétur H. Ármannsson, 2007 2

FOREWORD BY PÉTUR H. ÁRMANNSSON The absence of tangible building heritage is one of the decisive facts about Icelandic architecture. Iceland’s insular position, volcanic geology and harsh climatic conditions make buildings distinctly different from those of Scandinavia and mainland Europe.

buildings of each farmhouse could be renewed in phases, given the short time in summer which was available for doing so. The Icelandic farm complex underwent gradual changes in the course of time, reflecting the materials used and local conditions.

Before the introduction of concrete around 1900, Iceland did not have easy access to suitable materials to make permanent buildings. Mortar, brick and masonry construction were not an option for geological and climatic reasons. Icelandic basalt rock is of volcanic origin, difficult to cut and not very suitable as building stone. There were limitations to wood supply, no local forests, only small birch trees and driftwood. From early on, structural wood for larger buildings was transported by sea from Scandinavia and mainland Europe.

The oldest surviving stone buildings in Iceland date from the middle 18th century. Those include a handful of churches and official residences, sponsored by the Danish government during the period of absolute monarchy. In the late 19th century, efforts to make stone buildings proceeded, most notably with the building of Parliament House in Reykjavík in 1880-81.

The first Viking settlers came to Iceland around AD 870, mainly from Norway. They brought with them a method of building houses out of soil, wood and uncut stone, which was the predominant way of building in Norway at that time. The longlasting development of vernacular turf architecture is without doubt Iceland’s most important contributions to world architecture. The transitory nature of the materials meant that each building had to be rebuilt regularly. The separate

Wood-frame buildings with tarred walls and pitched roofs became common in the early 19th century, mainly in trading centres along the coast. As the 19th century progressed, the architecture of wooden houses became more elaborate. From the 1870’s onwards, the influence of prefabricated timber houses brought to Iceland by Norwegian herring merchants and whalers became widespread. One thing Iceland has in common with the Australian vernacular is the widespread use of corrugated steel as cladding on roofs and exterior walls of wooden houses. Corrugated steel, imported from England from 1874

Fremri Gjaltastaðir Turf House, Photographer: Steve Christer, 2012

onwards, had many practical advantages which contributed to its popularity. It saved expensive wood, helped to keep walls and roofs waterproof and was less expensive than other fireresistant claddings. The skilful adoption of a British industrial product to Scandinavian wood architecture to better suit weather conditions in Iceland is one example of how the merging of influences from different directions can constitute an architectural identity of a place. The introduction of concrete construction around 1900 was a turning point in Icelandic architecture. For the first time, an economical method was found to make long-lasting and fireproof buildings out of local materials. Early on, concrete was used for

‘THE VERNACULAR ARCHITECTURE OF ICELAND CONTAINS IMPORTANT LESSONS ON HOW TO BUILD IN HARMONY WITH NATURE’

Fremri Gjaltastaรฐir Turf House, Photographer: Steve Christer, 2012

technically advanced structures, such as concrete arch bridges. Although Iceland was one of the first countries to employ concrete as a general building material, some time would pass before it took advantage of its architectural potential. In their appearance and interior layout, the first concrete buildings differed little from traditional stone and timber ones. It was first with the introduction of modern architecture around 1930 that architects in Iceland began to take advantage of the new structural and spatial possibilities offered by reinforced concrete. Architecture is often ranked as a rather insignificant part of Icelandic culture. This opinion is justified by the absence of great historic buildings and the lack of a distinctive local tradition in recent

architecture. It is a common view that the Icelanders, in their rapid transition from poverty to prosperity, lost the connection with their cultural roots. Instead, the expression of progress and modernity became a central theme of Icelandic architecture throughout the 20th century. The vernacular architecture of Iceland contains important lessons on how to build in harmony with nature. Equally important is the Icelandic tradition of modern architecture, in particular the manifold use of concrete throughout the 20th century. There is a great potential in the merging of the two traditions to capture the spirit and essence of history and human values. In recent years, several architects have managed to capture in their work

the poetic qualities of the Icelandic landscape: its vastness, the quality of light and shelter from harsh weather. In light of contemporary environmental concerns and growing interest in ‘ecological’ solutions in architecture, the Icelandic tradition of building with the landscape is of particular relevance. The excessive scale of many contemporary building programs tends to be difficult to resolve with conventional methods of scale and form. One way to resolve oversize buildings programs, harmful to visually sensitive contexts, is to think of architecture as transformation of site and landscape rather than the making of building objects. The metaphor of the building as landscape has recently inspired contemporary architecture in Iceland. The architecture firm Studio Granda has worked with elements of nature as part of buildings in several projects. Their latest nature-related building is the Hof country residence in Skagafjörður, Northern Iceland (2004–07). The site offered a rare opportunity to make a building in an open landscape, at the mouth of a mountain valley with great views towards the Skagafjörður fjord. With its turf-clad roofs and timber faced walls, the house appears to be a an integral part of the surrounding field, discreetly placed in relation to a historic farmstead and church nearby. The use of geothermal water for heating and bathing is an important aspect of Icelandic culture. As a tradition in architecture, hot pools go back to the 13th century. Geothermal heating of

houses became common in Iceland during the 1930’s. In that period, small outdoor pools for swimming instruction were built around Iceland in locations where hot springs could be found. The outdoor bathing pool situated in open landscape has been the subject of several interesting architectural projects in recent years, most notably the Blue Lagoon geothermal spa (1995–98 / 2005–07) and health clinic (2003–05) by Basalt Architecture. The original lagoon was a by-product of a nearby geothermal power plant. It was later relocated to its current setting out in a lava field nearby. With sensitive planning and design, this manmade place has become one of Iceland’s major tourist attractions. In Iceland, monumental scale is ever present in volcanic, mountainous landscape, something that ‘grand’ buildings or ‘tall’ towers of glass can never compete with. Instead of trying to impose with size, new architecture in Iceland can show its strength in qualities of a different nature: sense of warmth, shelter and intimacy in scale and form. That way, it can become the necessary link between the natural and the man-made, traditions and innovative thought.

Pétur H. Ármannsson is an architect and author based in Reykjavík, Iceland. He has been visiting professor at the Iceland Academy of the Arts, held the Vice-Chair position at the National Architectural Heritage Board of Iceland as well serving as Senior Director of the Cultural Heritage Agency of Iceland.

Keldur Turf House, Photographer: Steve Christer, 2011 7

‘THE DESIGN OF SOMETHING AS SIMPLE AS AN APARTMENT, A CLASSROOM OR EVEN A PRISON CELL CAN MAKE LIFE BETTER, MORE MEANINGFUL AND MORE PRODUCTIVE FOR THE USER.’ Snæfellsstofa Visitor Centre, Skriðuklaustur, 2010, ARKÍS Arkitektar 8

A R K Í S ARKÍS ARKITEKTAR EHF HÖFÐATÚNI 2 105 REYKJAVÍK ICELAND TEL: (+354) 511 2060 ARKIS@ARK.IS WWW.ARK.IS

PROFILE

ARKÍS is a design partnership practicing architecture, design, planning and green design consultancy. ARKÍS was founded in 1997 and have since executed projects at various scales and levels of complexity, both in Iceland and internationally, for institutional, private, and civic clients. Projects by ARKÍS reflect the practices commitment to green design practices. ARKÍS are driven by the pursuit of quality and the belief that the built environment has the potential to improve the quality of our lives. The practice has been the recipient of numerous awards and honours including nominations for the Mies van der Rohe award in architecture in 2010 for the Snæfellsstofa Visitor Centre.

WHAT HAVE BEEN THE MAJOR INFLUENCES AND DRIVERS ON YOU AS AN ARCHITECT / DESIGNER?

We are a partnership where all partners have equal voices. There are six partners and there is an over 20 year age difference between the youngest and the oldest partner. In addition, our backgrounds are very different since the partners are educated in three different countries on two continents, so each individual has their own influences and drivers. Hence, we cannot speak as one when it comes to influences. One might rather say that we as a design studio are influenced by a wealth of sources and we have been fortunate enough to be able to draw from those sources and synthesise them into our designs.

Snæfellsstofa Visitor Centre, Skriðuklaustur, 2010, ARKÍS Arkitektar

WHAT DEFINES YOUR ARCHITECTURE?

ARKÍS architects are driven by the pursuit of quality and the belief that the built environment has the inherent potential to improve the quality of our lives. Moreover, ARKÍS architects are committed to green design practices. WHAT ARE THE MOST IMPORTANT SKILLS FOR AN ARCHITECT TO HAVE?

It has often been said that the architect must know a little bit about everything, while not knowing everything about anything. That frames it quite well. The architect must have the ability to analyse, understand and work with different economies, ecologies, cultures, programs, technologies and other peculiarities.

WHAT ROLE DOES THE ARCHITECT PLAY IN SOCIETY?

The architect is a creator. As such, the architect is in the unique position to form our built environment. For that reason, we should be making the world better, one project at a time. As noble as that sounds, it is primarily a serious responsibility and we must be humble enough to understand that a better world does not have to do with monumental structures. The design of something as simple as an apartment, a classroom or even a prison cell can make life better, more meaningful and more productive for the user.

WHAT ROLE DOES THE CITY OF REYKJAVÍK PLAY IN YOUR DESIGN PROCESS?

The city of Reykjavík is our home base and as such it is important to us. Many of us are born and raised here, so inevitably the city has some subconscious influence on our design. However, it is safe to say that the Icelandic natural surroundings and landscape are much more of an inspiration than the city will ever be.

WHAT ROLE DOES THE CONSTRUCTION AND PRODUCTION PROCESSES PLAY IN DESIGN?

Construction and production processes are crucial. That is how our architecture becomes realised. Our office has a strong technical construction background, both in terms of education and work experience so those processes become continually infused into our designs.

More importantly, we thoroughly research local conditions and traditions for each project and intertwine that research with the concept. So, the local conditions of each individual project are crucial, while our local conditions as an architectural office are subconscious at best.

Snæfellsstofa Visitor Centre, Plan & Section, Skriðuklaustur, 2010, ARKÍS Arkitektar

Icelandic Institute of Natural History, Plan & Section, Garðabær, 2010, ARKÍS Arkitektar

WHAT CHALLENGES DO YOU SEE IN THE FUTURE OF ARCHITECTURAL DESIGN?

The biggest challenge facing our profession is that of sustainability. The building industry is a major consumer of resources in addition to being the source of tremendous pollution and waste. We must figure out ways to create our built environment in a sustainable way. WHAT IS YOUR FAVOURITE QUOTATION?

“Architecture is not so much a knowledge of form, but a form of knowledge.”

‘THE ARCHITECT IS A CREATOR’

Icelandic Institute of Natural History, Garðabær, 2010, ARKÍS Arkitektar 13

‘IF THERE IS A WILL, THERE IS A WAY’ Akrar Kindergarten, Garðabær, 2011, Arkiteó ehf 14

ARKITEÓ ARKITEÓ EHF BOLHOLTI 8 105 REYKJAVÍK ICELAND

TEL: (+354) 696 3699 ARKITEO@ARKITEO.IS WWW.ARKITEO.IS

PROFILE

Arkiteó is an award winning Nordic architectural firm with a team of highly skilled architects who have extensive experience both locally and internationally. Arkiteó strives to design a beautiful environment with comprehensive functionality in mind. In addition, the company has extensive experience in the field of sustainable design. Arkiteó is accustomed to the use of geothermal energy, since a large proportion of buildings in Iceland are heated with geothermal energy as well as swimming pools and spas which utilises the characteristics of Iceland’s geothermal hot water. Therefore Arkiteó normally consider saving energy for the owner and the end-users when designing a building.

WHAT DEFINES YOUR ARCHITECTURE?

Our experience is based on the Nordic environment, with its extreme fluctuations in temperature, precipitation, and wind. For centuries Icelanders in particular have lived and thrived in a harsh environment, utilizing local materials and other resources to do so. Our approach to building design is based on this heritage.

A Villa Among The Elves, Plan , Iceland, 2011, Arkiteรณ ehf

WHAT HAVE BEEN THE MAJOR INFLUENCES AND DRIVERS ON YOU AS AN ARCHITECT / DESIGNER?

We are very influenced by our good neighbours, such as Denmark and Norway. However, all local input, everywhere in the world, is unique. Icelandic architects do tend to express ourselves in an identifiable way. Close encounters with nature are one of the most influential influences on me as an architect.

WHAT ROLE DOES THE ARCHITECT PLAY IN SOCIETY?

Increasingly more and more. Research has proved that good planning and good design have a big impact on how we as humans feel and live our lives. Therefore, it is a great responsibility to be an architect in modern society. WHAT ARE THE MOST IMPORTANT SKILLS FOR AN ARCHITECT TO HAVE?

Curiosity and the will to go as far into each project as possible. Not to forget the skills to communicate with others and collaborate.

A Villa Among The Elves, Iceland, 2011 Arkiteó ehf

WHAT ROLE DOES THE CITY OF REYKJAVÍK PLAY IN YOUR DESIGN PROCESS?

Maybe how things should not be done in terms of planning cities. Reykjavík is a sprawling city and needs to be more compact. WHAT ROLE DOES THE CONSTRUCTION AND PRODUCTION PROCESSES PLAY IN DESIGN?

WHAT CHALLENGES DO YOU SEE IN THE FUTURE OF ARCHITECTURAL DESIGN?

Sustainability.

WHAT IS YOUR FAVOURITE QUOTATION?

‘If there is a will there is a way.’

Very much. It’s very important to understand the construction and production phase of design in order to be able to design in the right manner.

Blue Lagoon Clinic, GrindavĂk, 2005, Basalt Arkitektar 18

BASALT BASALT ARKITEKTAR AUSTURSTRÆTI 12 101 REYKJAVÍK ICELAND TEL: (+354) 515 1400 SVAR@BASALT.IS WWW.BASALT.IS

PROFILE

Basalt Arkitektar is an architectural office established in 2009 by Sigríður Sigþórsdóttir. Basalt are a group of designers and experienced architects committed to the artistic and poetic dimension of architecture in concept, in detail, and in execution. Projects span a wide range of architectural dimensions, including both urban development as well as natural landscape development. Basalts recent project ‘Swimming pool in Hofsós’ received the The Icelandic Association’s Concrete Award in 2011 as well as , the Icelandic newspaper, DV’s 2011 Culture Award in Architecture. A number of projects by Basalt have also been nominated for the European Union’s Mies van der Rohe Award representing Iceland.

WHAT DEFINES YOUR ARCHITECTURE?

For me, successful architecture is the result of a dialogue and, as in all fruitful dialogue, one has to respect all participants, the Site, the Light, the Weather, the Client, the Users, Oneself and the design and construction team. It is vital to position architecture in its context, thus I am not interested in making so called good architecture if it doesn’t contribute to the goals of the project, on the contrary, architecture should aid in the success of the project it partakes in as a whole. This is why time or rather timelessness is an important factor, as it may take time for projects to reach their full potential, as it does architecture to age gracefully.

Blue Lagoon Clinic, Grindavík, 2005, Basalt Arkitektar

WHAT HAVE BEEN THE MAJOR INFLUENCES AND DRIVERS ON YOU AS AN ARCHITECT / DESIGNER?

‘THIS IS WHY TIME OR RATHER TIMELESSNESS IS AN IMPORTANT FACTOR, AS IT MAY TAKE TIME FOR PROJECTS TO REACH THEIR FULL POTENTIAL’

The complexity of the wild, volcanic Icelandic nature and the simplicity of Modern architecture in the last century. WHAT ROLE DOES THE ARCHITECT PLAY IN SOCIETY?

Perhaps to bring balance to the environment of our daily lives, both the mundane and the spectacular. It is the architect’s task to recognise how to achieve this balance, it may be through socially critical projects, it may be to maintain a street pattern for the sake of continuity, it may be to stand out from the existing, it may be to juxtapose nature and the man-made. It is, I believe, a lifelong study.

WHAT ROLE DOES THE CONSTRUCTION AND PRODUCTION PROCESSES PLAY IN DESIGN?

This perhaps varies to some extent. In general these processes have a great impact on the implementation of ideas, if neglected a great idea or design can lose its potency fast. There really is no separating these fields. Just as design influences construction and production so can and should it be vice versa, not least considering technological advances in production methods and materials as well as a growing knowledge of environmentally friendly building for instance. When considered through the lens of the Blue Lagoon project, construction and production processes were tightly coupled with the

specificity of the site. The Blue Lagoon has recently been listed as one of the 25 wonders of the world by National Geographic. Such a site imposes strict limitations on the on-site production where great care has to be taken towards the unique environment. This has been done in the Blue Lagoon. In fact a tight line was painted around the footprint of the buildings and strict penalties imposed on the workers should they cross it. Off-site construction was implemented as much as possible such as the prefabrication of concrete elements to lighten the impact onsite. The site also inspired the material production process, as the concrete was cast with a coating of lava from the site for example.

Blue Lagoon Clinic Plan, GrindavĂk, 2005, Basalt Arkitektar 21

Blue Lagoon Spa Hotel, Grindavík, 2005, Basalt Arkitektar

WHAT ARE THE MOST IMPORTANT SKILLS FOR AN ARCHITECT TO HAVE?

As Vitruvius said over 2000 years ago, an architect must be knowledgeable about a great many disciplines. In other words they must be skilled generalists. They must both be able to see the big picture as well as control the tools to represent it through its parts. However, in today’s design reality which increasingly places emphasis on specialisation this may be changing. WHAT IS YOUR FAVOURITE QUOTATION?

After a difficult period of postmodernism and endless possibilities of computerised design the quotation by Mies van der Rohe ‘Less is more’ is classic.

WHAT CHALLENGES DO YOU SEE IN THE FUTURE OF ARCHITECTURAL DESIGN?

First and foremost we must take seriously the environmental impact of the building industry and do what we can to lessen it. This is a challenge now and for generations to come. Another challenge, albeit not a new one, is to maintain historic and site-specific characteristics in a globalised world. More information, text and images pass through us than ever before, which adds pressure on architects and designers to ‘filter up’ so to speak at the same time as we keep up to speed.

Blue Lagoon Clinic, GrindavĂk, 2005, Basalt Arkitektar 23

Stöðin Roadside Stop, Borgarnes, 2012, KRADS 24

K R A D S KRADS KLAPPARSTÍGUR 16, 101 REYKJAVÍK ICELAND

TEL: (+354) 534 0320 INFO@KRADS.INFO WWW.KRADS.INFO

PROFILE

KRADS is an architectural studio based in Denmark and Iceland. Founded in 2006, KRADS have gathered an extensive portfolio of built works despite its young age, and received critical acclaim and awards for their works in urbanism, architecture design and product design. KRADS was most recently recognised for its roadside stop project “Stöðin” which was nominated for the Mies van der Rohe Award, the European Union Prize for Contemporary Architecture 2013.

WHAT HAVE BEEN THE MAJOR INFLUENCES AND DRIVERS ON YOU AS AN ARCHITECT / DESIGNER?

In terms of architectural influences I could name some of the paragons for our practice; Aalto, Utzon, Neutra, Le Corbusier and Koolhaas. An underlying driver I would say is the basic need for creating something of value and to contribute to our generations’ cultural production. Architecture is a rewarding vehicle for that passion as it touches upon so many different aspects of society.

Stöðin Roadside Stop, Borgarnes, 2012, KRADS

WHAT DEFINES YOUR ARCHITECTURE?

Our practice, with bases in Reykjavík, Iceland, and Aarhus, Denmark, is on one level informed by a critical regionalist approach. Simultaneously, we belong to the generation of new Danish architects, rooted in the specifically Scandinavian appropriation of Dutch pragmatism. To consolidate this into a new term, one could say that KRADS practices a critically founded regional pragmatism.

WHAT ROLE DOES THE ARCHITECT PLAY IN SOCIETY?

Architecture is a broad field and thus architects can play many different roles in society. As architecture ultimately manifests itself in the built environment the architect has a responsibility not only to his client but also to wider society and the overall aim of architecture should be to serve the public good. WHAT ARE THE MOST IMPORTANT SKILLS FOR AN ARCHITECT TO HAVE?

Creative and social skills are relevant but it’s equally important to have an open, curious and critical mindset.

WHAT ROLE DOES THE CITY OF REYKJAVÍK PLAY IN YOUR DESIGN PROCESS?

Reykjavík’s and the Icelandic architectural profession is characterized by a prolific tension that seems to contribute to what is simultaneously it’s strength and weakness. Because Icelandic architects have always had to travel abroad to gain their professional degree, the Icelandic profession is in open dialogue with the wider western architectural scene, despite its seeming topographical isolation. This results in diverse international influences on the local practices. Meanwhile, the Icelandic condition is quite unique both due to

the strong geographical characteristics and historical circumstances. As urbanization started only in the early 20th century (until then, the sparse population largely lived in turf houses) Iceland’s architectural history is very young, compared to that of most Western countries. Therefore, there is a continuous emphasis on defining what constitutes Iceland’s architectural identity. We are proud to be contributing to this discourse through our practice.

‘... THERE IS A CONTINUOUS EMPHASIS ON DEFINING WHAT CONSTITUTES ICELAND’S ARCHITECTURAL IDENTITY’

Stöðin Roadside Stop, Borgarnes, 2012, KRADS

Langitangi Summerhouse, Grímsnes, Under Construction, KRADS

WHAT ROLE DO THE CONSTRUCTION AND PRODUCTION PROCESSES PLAY IN DESIGN?

It depends on the nature of each project. In many of our realised works they have played a very important role and tied the works to their geographical and cultural context. WHAT CHALLENGES DO YOU SEE IN THE FUTURE OF ARCHITECTURAL DESIGN?

Apart from navigating the pros and cons of globalisation, becoming more environmentally responsible, etc. I think one of the main challenges will be in redefining and appropriating already existing structures and urban areas.

WHAT IS YOUR FAVOURITE QUOTATION?

‘You can fool the audience but you can’t fool the players.’ - John Cage.

Langitangi Summerhouse, GrĂmsnes, Under Construction, KRADS 29

Nyja Bíó, Reykjavík, 2011, Studio Granda 30

STUDIO GRANDA SMIÐJUSTÍGUR 11B 101 REYKJAVÍK ICELAND

TEL: (+354) 562 2661 STUDIOGRANDA@STUDIOGRANDA.IS

WWW.STUDIOGRANDA.IS

PROFILE

Margrét Harðardóttir and Steve Christer established Studio Granda in Reykjavík, Iceland, in 1987 after winning the competition for the design of the Reykjavík City Hall. Their work has been recognised from the onset with numerous awards and citations both locally and internationally. Projects include commissions for public and private clients, infrastructure, planning, product design and collaborations with artists. This broad portfolio has reinforced the belief that design philosophy grows from the issues surrounding each project rather than from a universal design theory. Each scheme is developed according to it’s own unique needs and the final product is often the result of a long process of listening, testing and reconsideration.

WHAT HAVE BEEN THE MAJOR INFLUENCES AND DRIVERS ON YOU AS AN ARCHITECT / DESIGNER?

The effortless, selfless beauty of nature and the fear of failure are the most powerful inspirational and moderating forces. However, a family background from the industrial heartlands of north eastern England coupled with an adolescence in the shadow of Oxford most certainly played their part. Moving to Iceland, a world apart from the defined society of Britain, was a paradigm shift in ways of perception and architectural response. It was like a window to an entirely new reality.

Hof House, Skakafjördur fjord, 2007, Studio Granda

WHAT DEFINES YOUR ARCHITECTURE?

If our architecture appears obvious then we have succeeded. WHAT ROLE DOES THE ARCHITECT PLAY IN SOCIETY?

The architect is a moderator, working with people to help achieve not what they say they want but what they truly need in harmony and balance with nature. It is a profession of generalists with a remit that crosses class, professional, cultural and financial boundaries to link together the wideranging forces that collectively make a building function effectively. Architects are the last alchemists.

WHAT ROLE DOES THE CITY OF REYKJAVÍK PLAY IN YOUR DESIGN PROCESS?

We live and work in the city and enjoy its freedom, chaos and ever-changing weather every day. It’s a young town with a free spirt bordering on the adolescent. It doesn’t have a clear selfimage but is always searching for one and this creates the most fruitful and unbridled environment an architect could hope to work in. However, with freedom comes responsibility and one is highly aware that in a place where almost anything can get built the architect must rigorously engage selfdiscipline and skillful judgement.

‘WITHOUT THE SKILLS AND COUNSEL OF CRAFTSMEN THERE WOULD BE NO BUILT ARCHITECTURE’

WHAT ROLE DOES THE CONSTRUCTION AND PRODUCTION PROCESSES PLAY IN DESIGN?

Without the skills and counsel of craftsmen there would be no built architecture. Every person in the design and construction team plays a part in ensuring the successful outcome of the project. If the task of construction is undertaken in an environment of mutual understanding and trust where solutions and authorship are shared the likelihood of a successful building is greatly enhanced.

Hof House, Skakafjördur fjord, 2007, Studio Granda 33

ground

plan

Nyja Bíó, Ground Floor Plan, Reykjavík, 2011 Studio Granda

WHAT CHALLENGES DO YOU SEE IN THE FUTURE OF ARCHITECTURAL DESIGN?

The glittering promises of computational design and the temptation of ever bigger projects in faraway places are challenges that can only be met by controlling ones ego. However, a more insidious threat to the profession is the call for standardisation in design methodology and the physical materiality of building. Gradually we are becoming a profession that decorates forms that are deemed acceptable by bankers, lawyers, insurance companies and accreditation agencies in stark contrast to our selfproclaimed creative status.

WHAT ARE THE MOST IMPORTANT SKILLS FOR AN ARCHITECT TO HAVE?

Humility and understanding tempered with a dash of arrogance and ambition, or a reasonable grip of Photoshop. WHAT IS YOUR FAVOURITE QUOTATION?

‘Stöðug óvissa’ ‘Continual insecurity’ - Hreinn Friðfinnsson

10m

Nyja Bíó, Reykjavík, 2011, Studio Granda 35

‘THE ENTIRE CITY BECAME A PLAYGROUND, AN ENVIRONMENT THAT COULD BE COLONISED THROUGH A CREATIVE PROCESS’ Pixel Cloud, Reykjavík, 2013, UNSTABLE, Photo © Árni Sæberg 36

UNSTABLE UNSTABLE BLEIKJUKVÍSL 9 110 REYKJAVÍK

TEL: (+354) 661 8166 INFO@UNSTABLESPACE.COM WWW.UNSTABLESPACE.COM

PROFILE

Founded and directed by Marcos Zotes in 2012, UNSTABLE is a multidisciplinary design and research laboratory that explores the social and political aspects of architecture in relation to the urban context. Through the use of technology, multi-disciplinary collaboration, and citizen participation, UNSTABLE’s interventions challenge the limitations of urban public space and provide opportunities for debate, autonomy, and interaction with the urban environment.

WHAT DEFINES YOUR ARCHITECTURE?

UNSTABLE understands architecture as the process through which complex urban conditions are mediated. The city is our laboratory, and public space our field of intervention. We are set to deploy a series of urban devices that seek to challenge the conventions of public space through its temporary appropriation. Our interest relies on derelict buildings, obsolete public spaces and disused urban structures, breathing new life into places that have become stagnant or empty. UNSTABLE encourages the active participation of city dwellers by challenging them to question their relationship to the city, re-contextualizing the familiar in order to re-evaluate its meaning and value.

‘ARCHITECTURE HAS THE POTENTIAL TO AFFECT AND TRANSFORM THE WAY WE LIVE. SOCIAL AWARENESS IS THEREFORE THE MOST IMPORTANT SKILL FOR AN ARCHITECT TO HAVE’

WHAT HAVE BEEN THE MAJOR INFLUENCES AND DRIVERS ON YOU AS AN ARCHITECT / DESIGNER?

I feel strongly influenced by my previous experience as a skateboarder and graffiti artist during the late 80’s and early 90’s. It is through these street art forms that I learned that the urban environment could be experienced far beyond its imposed limitations of use. In this way the entire city became a playground, an environment that could be colonised through a creative process. Today, my work as an architect continues to follow this approach, seeking to challenge the limitations of urban public space by providing opportunities for debate, autonomy, and social interaction.

Rafmögnuð Náttúra, Reykjavík, 2012, UNSTABLE

WHAT ROLE DOES THE ARCHITECT PLAY IN SOCIETY?

Architects have a responsibility with the context in which they operate, including its inherited social, political, economic and environmental factors. We must learn to function not only as mediators between the members of the local community and the decision makers in the complex processes comprising the production of space, but also as initiators and generators of change.

WHAT ROLE DOES THE CITY OF REYKJAVÍK PLAY IN YOUR DESIGN PROCESS?

The city of Reykjavík has on several occasions commissioned UNSTABLE to create projects in the form of temporary installations with the intention to activate its urban public space. Our successful collaboration in the past has generated a strong sense of trust, resulting in very positive support during all stages of the project. Being part of such a relatively small community like Reykjavík has many advantages. The design process involving multiple agents is usually more familiar and relaxed than in more densely populated cities, providing more satisfactory results.

WHAT ROLE DOES THE CONSTRUCTION AND PRODUCTION PROCESSES PLAY IN DESIGN?

Construction and production processes play a very important role in design, affecting both the social, economic and environmental aspects of ordinary life. UNSTABLE strongly embraces a collaborative approach during the production process, supporting the use of local resources a well as the reuse and adaptation of discarded or obsolete objects, buildings and spaces. WHAT ARE THE MOST IMPORTANT SKILLS FOR AN ARCHITECT TO HAVE?

Architecture has the potential to transform the way we live. Social awareness is therefore the most important skill for an architect to have. WHAT CHALLENGES DO YOU SEE IN THE FUTURE OF ARCHITECTURAL DESIGN?

As cities are increasingly becoming more socially restrictive and exclusionary, there is an urgent need for urban spaces that are able to provide the necessary conditions for supporting a more democratic and socially inclusive urban life. One of the major challenges is, perhaps, how to motivate and actively involve local residents in this bottomup process of urban transformation. WHAT IS YOUR FAVOURITE QUOTATION?

‘Public space is not something that is given or inherited, it must be fought for and defended constantly.’

Pixel Cloud, Construction Sequence, Reykjavík, 2013, UNSTABLE

Pixel Cloud, Reykjavík, 2013, UNSTABLE 41

PROJECTS ARKÍS ARKITEKTAR EHF

D Snæfellsstofa Visitors Centre J Icelandic Institute of Natural History

STUDIO GRANDA

ARKITEÓ EHF

C Hof Residence F Nyja Bíó

Akrar Kindergarten

BASALT ARKITEKTAR

KRADS B Stöðin Roadside Stop I Kauptún Shopping Centre

UNSTABLE

Blue Lagoon Clinic

G Rafmögnuð Náttúra E Pixel Cloud

D B

ICELAND

REYKJAVÍK

H I J

CITY OF REYKJAVÍK 43

Reykjavík. Photographer: Sigurgeir Sigurjónsson, 2008 44