Architecture Portfolio - Gudrun Jona

A COLLECTION OF WORK BY GUÐRÚN JÓNA ARINBJARNAR

“[The skin] is the oldest and the most sensitive of our organs, our first medium of communication, and our most efficient protector… Even the transparent cornea of the eye is overlain by a layer of modified skin… Touch is the parent of our eyes, ears, nose and mouth. It is the sense which became differentiated into the others, a fact that seems to be recognised in the age-old evaluation of touch as “the mother of the senses”.”

-Juhani Pallasmaa

TABLE OF CONTENTS

TRYGGVAGATA 13

4-9

STAKKASTÆÐIN

THE UNBELIEVABLE CHALLENGE

10-15

POLE STAR: BRINGING FORTH THE YULETIDE

THROUGH THE FOREST OF COLUMNS

16-25

UNFOLDING URBAN BLINDSPOTS

PRIVATE UTOPIAS

26-29

COLLECTIVE LANDSCAPES

FINAL PROJECT:

30-35

THE CONTEMPORARY ART MUSEUM

HOUSES

36-43

IN AN URBAN SETTING

CONTEXT AND WEATHER

44-53

BODY IN NATURE

BUILDING A CITY

54-59

HOTEL IN CITY CENTRUM

RESEARCH: AUTHORS AND THEIR WORKS

60-63

TRYGGVAGATA 13 STAKKASTÆÐIN Nov 2014 - Jan 2015 ARCHITECTURE COMPETITION Collaborator: Kristín Una Sigurðardóttir Location: Iceland

The district‘s history is emphasized in the plaza’s design with motifs from the site’s history serving as sources of inspiration. The Grófar-wharf – which historically was located in the area – is symbolized with wooden planks that guide people into a café on the ground floor. The wharf continues through the building and strengthens the connection between the centrum and the harbour. There is a cavity under the planks so that the echo of people’s steps sounds as if they are walking on a wharf.

7

N

Ge

irsg

ata

a at ag gv yg

Tr The plaza is located in the heart of Reykjav铆k, between the oldest part of the city and the harbour. It enriches the impressions of pedestrians as they travel between these two vibrant districts.

n

贸fi

Gr

Droprauf

Þéttidúkur; límdur á glugga fyrir uppsetningu glugga; límdur á stein eftir uppsetningu

Bakfylling og kítti

Gler Gluggapóstur Vatnsbretti

Gluggafesting með boltum og skrúfum

Ryðfrír A4 mótateinn; Nýtist einnig sem festiakkeri til að festa sjónsteypta skel mannvirkis við burðarvegg ásamt sérhönnuðum ryðfríum stálupphengjum sem ekki mynda kuldabrú í gegnum einangrunina

Plasteinangrun (125 mm)

Hvít sjónsteypa með sléttri mótaáferð (100 mm)

Sedrusviður; festur upp á uppsetningargrind

Steinhleðsla (100 mm); situr á steyptri ásetu neðan við jarðvegsyfirborð, fest með ryðfríum akkerum í lóðréttum fúgum milli hleðslusteina; múrfylling er í fúgum

Steinullareinangrun (125 mm)

Loftunarbil; Innstreymi er útfært með því að sleppa lóðréttri múrfyllingu milli neðstu steina, sem um leið nýtist sem drengat undir jarðvegsyfirborði

Staðsteyptur burðarveggur (200 mm)

DETAIL SECTION DEILI 1:5

There are archiological sites to be found in Tryggvagata St, where clipfish was dried on rocks. These rock formations reappear in the street and extend into the plaza, guiding pedestrians towards it. They slow down traffic and increase the safety and well-being of those passing by. Plants, such as the evergreen juniper, have taken root among the rocks, enriching the plaza.

The plaza is rather small, but letting vines, such as ivy and hops, crawl up the building makes the facade function as an extension of the plaza. The perennial vines are a mix of evergreen plants and plants that lose their leaves in the autumn, allowing the faces of the season to appear on the building and the plaza.

BORGARTORG VIÐ TRYGGVAGÖTU 13 35793

Natural, low-maintenance and mostly local material is used in the building. The ground floor is lined with cut dolerite rock, while the outer walls of the upper floors are white exposed concrete. The balcony handrail is composed of untreated cedar, intertwined with vines.

THE UNBELIEVABLE CHALLENGE POLE STAR: BRINGING FORTH THE YULETIDE Sept - Nov 2014 ARCHITECTURE COMPETITION Consultants: M谩r Kristj贸nsson and Efla Location: Finland

Before, industrial buildings and warehouses were located in the hearts of cities. It was recognized that industry and trade were a main impetus for city growth. By locating the logistics centre in Oulu, Finland the sustenance of the city will be reinforced.

We want to celebrate that by giving Oulu an attractive low-rice building that takes its surroundings into consideration and draws attention to the fascinating spatial expressions that a warehouse can offer. On their journey through the facilities visitors will observe the logistic process – a process that usually takes place behind the curtains.

They will traverse the building horizontally and vertically in a circular path, never passing through the same areas twice. This provides them with a series of overlapping perspectives.

On their journey, the visitors experience a contrasting change in atmosphere and scale. From a narrow pathway that leads to a half-buried reception, they come into contact with the ground, while skylights and windows provide a glimpse of the sky and the surrounding landscape. They experience another shift in perspective of the construction, entering the entrance hall – The hall can serve as a room for presentations, using the staircase as seat rows. The journey goes then through and within the structural elements of the roof and provides a unique perspective over the warehouse and close contact to the construction ending in the restaurant that is located in the big graniteconcrete tower.

13

B

A

N

The main plan drawing cuts through the building at different heights to emphesize the flow of people through the building. Other floors are exploded to show the ground plan in its totality.

A

B

4th FLOOR restaurant in the tower and the pathway leading to it in the space gitter roofing

The office building is located south of the warehouse, with windows facing the sun. The layout is optimized to break the predominant wind. The excavated red granite from the building site is mixed with the cement, giving the concrete a red tint. The concrete is grinded, exposing slices of the red granite pieces.

SECTION A

B

B

B 3rd FLOOR tower

2nd FLOOR tower

1st FLOOR tower

The warehouse is split into two main areas. One-half is fitted with pallet racks for storage.

The other half has an automated high-speed order picking system, but also ample unallocated space that provides for flexibility of operations.

1st FLOO warehouse trash room

Ventilation machinery and ground source heat pump

B

Building Managent

Tele/data

Cleaning centre Building maintenace store

B

Storage

Sprinkler

1st FLOOR office building

The building does not overshadow the surrounding residential areas, as the warehouse is effectively lowered by 6.5 meters by excavating the granite below it. The base of all the outer warehouse walls – except for the north-eastern wall facing the docking area – is concrete. A steel structure resides on the concrete walls providing the rest of the outer walls of the warehouse. The roof is supported with a steel truss space grid. The above-ground façade of the warehouse is covered with durable wooden cladding.

2nd FLOOR warehouse changing & shower

BASEMENT & 1st FLOO warehouse

Parts of the warehouse and office building are below ground, providing natural insulation. A ground source heat pump is to be fitted during the building period.

These measures lower the energy consumption of the building.

SECTION 15 B

THROUGH THE FOREST OF COLUMNS UNFOLDING URBAN BLINDSPOTS Spring semester 2013 DIPLOMA PROJECT & EXHIBITION Location: Bergen, Norway Teachers: Espen Folgerø og Vibeke Jensen

BLINDSPOTS CREATED BY INFRASTRUCTURE The theme of this project is blindspots created by infrastructure. There are places in Bergen where vital infrastructural objects like bridges and tunnels generate leftover spaces by cutting through – and effectively creating a division in – the urban fabric.

These blindspots function as psychological and physical barriers and create spatial conflict between the infrastructure and inhabitants.

The project focuses on redefining and altering uncanny territory surrounding the imposing structure of a bridge named Puddefjord-bridge, positioned southwestren of the city centre of Bergen. The bridge serves its purpose well as part of the Bergen transportation infrastructure, and in fact plays a vital role in connecting the south- western and north-eastern parts of Bergen. It stretches across a strait called Damsgårdssundet, 30m above the water surface, connecting the old industrial neighborhood Møhlenpris – on the city centre side – to Gyldenpris and Laksevåg on the other. The structure dwarfs its immediate urban surroundings and creates blindspots near and under its own structure, separating the areas west and east of the bridge on both banks as well as disconnecting human inhabitants from the waterfront.

Infrastructural blindspots in Norway

Bergen region

Infrastructural blindspots

Connector

Seperator

MAPS & DRAWINGS OF URBAN BLINDSPOTS

19 UNREACHABLE SPATIAL EXPERIENCE & HIDDEN TREASURES

MØHLENPRIS N

GYLDENPRIS

THE NEW BICYCLE AND PEDESTRIAN PATHS SLITHERING THROUGH THE FOREST OF COLUMNS CREATING A STRONGER CONNECTION

NEW INTERCONNECTION The aim of the architectural response is to intersect the existing bridge structure with a web of pedestrian paths to facilitate interconnections between neighborhoods; and to introduce new rhythms to the urban fabric while maintaining a symbiotic relationship between the bridge structure and the architectural response. Instead of participating in the process of further speeding up the experience of the world, the project’s intent is to slow down experience, halt time and to defend the natural slowness and diversity of experience.

The new bicycle and pedestrian paths slither through the forest of columns under the massive Puddefjord-bridge, separating pedestrians from the noisy traffic on top of the bridge, which provides shelter from rain, snow and pollution with its decking.

The paths’ limbs stretch into the neighborhoods in an inviting gesture, drawing people into this unknown and hidden territory of infrastructural blindspots, revealing and shedding light on a sequence of hidden treasures along the way with the aim of creating multi-sensory experiences for those that move along them.

21

The new construction is merged into the rough concrete structure of the existing bridge like an endosymbiont – an organism living with another organism – connecting the human scale to the infrastructural scale.

The steel spine of the construction connects to the existing columns and thin steel ribs stick out of the spine forming support for the floor of the path while also bending up to support a handrail and in some places walls of shelter. The floor is composed of wooden planks that extend upwards along the edges to form a handrail, providing people with a soft and warm feeling of touch when holding it. In some places along the path the materials used in the handrail and floor differ, as a sign of warning and to get people to slow down, hear and feel the different spatial qualities the construction provides and the area has to offer.

The paths also lead to areas that are currently unaccessible, especially close to the water. This revitalizes them as a part of the cultural landscape leading to new kind of activities taking place there.

MØHLENPRIS

GYLDENPRIS

23

THE EXHIBITION

DETAIL MODELS IN THE SCALES; 1:20, 1:50 AND 1:100, SHOWING THE CONCEPT DEVELOPMENT, THE BRIDGE STRUCTURE AND DETAILS IN DIFFERENT LOCATIONS ALONG THE PEDESTRIAN PATH. THE MAIN MODEL OF THE SITE AND THE RESEARCH PART OF THE PROJECT IN THE BACK

DETAIL MODELS IN THE SCALE 1:1, 1:20, 1:50 AND 1:100, SHOWING THE BRIDGE STRUCTURE AND DETAILS IN DIFFERENT LOCATIONS ALONG THE PEDESTRIAN PATH. THE MAIN MODEL OF THE SITE AND DRAWINGS IN THE BACK

THE ARCHITECTURAL RESPONSE: THE MAIN MODEL IN THE SCALE 1:200, SHOWING THE PEDESTRIAN PATH SLITHERING THROUGH THE FOREST OF COLUMNS UNDERNEATH THE EXISTING BRIDGE; DRAWINGS IN THE SCALES 1:1000 AND 1:200 ALONG WITH PHOTOS AND DIAGRAMS SHOWING HOW THE PEDESTRIAN BRIDGE 25 CREATES CONNECTIONS BETWEEN NEIGHBORHOODS IN THE AREA

PRIVATE UTOPIAS COLLECTIVE LANDSCAPES Autumn 2012 MASTER COURSE, RESEARCH & GROUP WORK Collaborator: Fredrikke Frølich Teachers: Deane Alan Simpson & Gunvor Bakke Kvinlog

The aim of this course was to highlight issues concerning the double home urbanism that is taking place in Norway – with families owning single family houses and cabins. This trend of double home ownership and the popularity of single family houses with a garden is a big part of why the enormous sprawl is happening in most Norwegian cities. The product of the course was a book addressing different aspects homes typologies and their relations to political, environmental, geographical and architectural topics. The aim of the book is to gather, analyse and visualize existing information in such a way that the reader can make up his own opinion of the current situation in Norway.

My group developed a chapter about the architectural expression of the single family house and cabin. The chapter is divided in two, starting with a catalogue where 18 examples of each category are represented and analysed. The latter part discusses the dominating prefabrication companies and the role of the architect; as well as the fact that the technological standard and demands have changed through history while the facade remains mostly unchanged.

The traditional archetype is being questioned, and if one assumes that the typical Norwegian house/cabin exists, is its popularity a question of nostalgia, status and a longing to fit in with the rest? Or is it simply the anonymity of the architectural expression that makes these traditional units so present in Norway?

29

FINAL PROJECT: THE CONTEMPORARY ART MUSEUM Spring 2010 Location: Iceland Mentor: Ásdís Helga Ágústsdóttir Teachers: Steinþór Kári Kárason, Kristján Örn Kjartansson og Sigrún Birgisdóttir

SITE PLAN

CONSTRUCTION The Contemporary Art Museum is located in Reykjavík city centre near the two major art museums in Iceland. It has direct contact to the plan of Kvosin that is under construction.

The pedestrian walking path lies from Jómfrúargarður through the Contemporary Art Museum to the Tjörnin pond. On the way you walk into the cleaved mass of the Museum. The ravine that cleaves the mass of the building, serves as a passage that guides the journey around the museum. In here the focus is on materiality and creating contrasts to arouse and prepare the senses to experience the art that follows. The ascending

journey along the ravine can be described as walking through the mystic veil of the “dark-space”. Along the way, bright and clean gallery spaces open up before the visitor. Here the visitor enters the absorbing world of the artist. At the top of the ravine a café opens up to the city centre where the visitor can refuel before walking down a narrow stair where the heavy mass is experienced. The materiality of unornamented concrete and copper, as well as the scale of the formwork and openings, have a direct link to the surrondings.

ELEVATION FROM LAUGARVEGUR

3.FLOOR

2. FLOOR

1. FLOOR

BACEMENT

33

SECTION A

SECTION B

SECTION C

ELEVATION FROM SKÓLABRÚ

PICTURES

THE NARROW STAIR WHERE HEAVY MASS IS EXPERIENCED

OUTSIDE THE CONTEMPORARY ART MUSEUM

THE CLEAVED MASS OF THE MUSEUM

BRIGHT AND CLEAN GALLERY SPACE

ELEVATION FROM VONARSTRÆTI

35

HOUSES IN AN URBAN SETTING Autumn 2009 Location: Icealnd Teachers: Sigr煤n Birgisd贸ttir Hildigunnur Sverrisd贸ttir

RESEARCH The existing house has a big history and beautiful structure and by using it I am giving it a new life. I am doing that with research and by understanding the suroundings. I also studied different building methods and habits in Iceland and outside of Iceland. With outlook on city centre, the ocean and the mountains this place has an opportunity to maintain a workspace for creative people.

The environment is raw so artists can carve themselves into the environment and the space. With that I mean they install themselves and brand the place with the art they create. They work in continuous space of creation and sense. The buildings function will be an art studio with a gallery where the artists can work and also live in apartments that are a new element to the building. This building with that function will bring new life to the site and help this area of the city to grow in a positive way.

HABITAT 67

DIAGRAMS OF HABITAT 67

SITE PLAN

N

V

V

N

N

V

N

A

S

S

A V

VA

S

Reykjavíkurhöfn 1998-2006 Reykjavíkurhöfn 1998-2006 Reykjavíkurhöfn 1998-2006

WIND IN REYKJAVIK HARBOR WINTER ‘98-06’

N

N

V

N

A

S

S

VA

VA

S

Reykjavíkurhöfn 1998-2006 Reykjavíkurhöfn 1998-2006 Reykjavíkurhöfn 1998-2006 sumardagur sumardagur sumardagur

WIND IN REYKJAVIK HARBOR SUMMER ‘98-06’

1961

N

N

V

A

S

S

A

A

S

Reykjavíkurhöfn úrkoma Reykjavíkurhöfn úrkoma Reykjavíkurhöfn úrkoma

RAIN IN REYKJAVIK HARBOR

2009

MY PROPOSAL

39

B A

4.FLOOR B

A

B

Grunnmynd 4.hæð, 1:100 A

3.FLOOR B

B

A

Grunnmynd 3.hæð, 1:100 A

2.FLOOR

B

B

A A Grunnmynd 2.hæð, 1:100

1.FLOOR

B

A

Grunnmynd 1.hæð, 1:100

CONSTRUCTION The structure of the building is using the new units to strengthen the old house and at the same time the old house is supporting the new units. The new units break through the surface of the old building and produce phenomenology transparency on the façade of the building. The old boathouse part of the building where the transparency was in to the building is appealing. Therefore I bring back that opening out to the see with literal

transparency. At the same time I am opening that space in to the working space. There I want to make phenomenology transparency.

Where surfaces of the workspace and the new units meet and give the workspace new life. At the same time some of the partitions are demolished and the old paint on the walls is visible so the buildings history comes across.

NORTH EAST ELEVATION Útlit norð-austur, 1:100

Útlit norð-austur, 1:100

Útlit norð-austur, 1:100

Útlit norð-austur, 1:100

Útlit Útlit norð-austur, norð-austur, 1:100 1:100

Útlit norð-austur, 1:100

SOUTH EAST ELEVATION

Útlit suð-austur, 1:100

VIEW FROM THE STREET

INSIDE THE GALLERY SPACE

THE WORKING STUDIO

41

APARTMENTS The apartments are site-casted units that work together making the corridors a dark space where the artists claw themselves through the space before they come into their apartment that is a light space. The corridors are circuity and mysterious but the apartment is clean and has no unuseable space. This journey helps the artist to separate himself from the working studio and the apartment where the mind rests.

INSIDE AN APARTMENT

SECTION A

OUTSIDE AN APARMENT

THE CORRIDORS

a

a

A

d

A

b

b

A a

A

d

b

c

c

a

OVERWEIV OF THE APARTMENT

Sn

SECTION A

Grunnmynd

A

d

b

c

c

a

Útlit b

Útlit a

a b

A

A

PERSPECTIVE d

b

A

ELEVATION A

c

c Útlit c

ELEVATION B

Útlit d

ELEVATION C

ELEVATION D

43

CONTEXT AND WEATHER BODY IN NATURE Spring 2009 Location: Icealnd Teachers: Jóhann Sigurðsson, Olga Guðrún Sigfúsdóttir og Sigurður Harðarson

DEVELOPMENT We walk along the path to Breiรฐabรณlsstaรฐeyri on ร lftanes where the clean and clear nature has a cleansing affect on the body. When you come to Kasttangi, you stand on the attachment of land and sea, where you watch the sea and sky converge in northwest.

It inspired me how the vegetation sticks to the earth and stones, how the stones go from being really small to very big. Because of these things the feeling of the attachment of land and sea changes when there is flood or ebb. The weather and the climate have such a big perception in how you experience this place and its nature. It inspired me how the climate erodes the nature and our body in it, and that is why I decided to work with the climate and the time it takes for it to erode my design.

HOW THE STRUCTURAL STEEL BOAT ERODES.

INSPIRATION PHOTO

WIND ROSE IN SUMMERTIME.

WIND ROSE IN WINTERTIME.

DEVELOPMENT SKETCHES FROM THE PROJECT.

MODEL OF SITE PLAN AND THE FINAL STRUCTURE

47

BODY IN NATURE She goes along the path and suddenly realises that the path is now closed to traffic.

She sighs. She is relieved because she is in no mood to listen to the sound of the roar of the 2007 mega-jeep, that everybody seemed to have to have. She strolls on. Her shoulders are stooped, weighed down with the burden of her anger and bitterness. She has not a drop of energy left in her. The cold, fast, intimidating environment that was her work place for the past 4 years has sucked all the life from her. Where is her smile, her joy of life, her talent she used to have in her, her ability to embrace life in the present? Gone!

That much is certain! She walks on. There she glimpses a gap in a sea wall by the path.

SOUTH ELEVATION

What is it that she sees there behind the wall? It looks like an old shack. It is weather beaten but still in some way so charming.

She walks up to it. The sun is shining and dapples a mysterious light on this structure.

The tide is coming in. She takes her shoes and socks off. The feeling is blissful. Her toes are finally sensing something‌ nature, instead of being crushed in the latest fashion footwear. She strides in and lifts herself up onto the bench which is inside the old shack.

She lies down and looks up at the clear sky above, her hand dangling in the water and she enjoys listening to the sound of the water lapping around her. What a relaxation!

VEST ELEVATION

R

TE WA ra jaW LfO

a

NV

R

H HflIóGð

TE WA

a

1. FLOOR AND TIDE

SECTION A

ROOF AND WIND

EAST ELEVATION

49

The sky becomes overcast, it’s warm but it feels like rain soon. She goes back on the path when she sees another similar shack. She gets excited and strolls towards it. Now it is pouring with rain and she runs the last stretch to shelter. She stands there all alone, she is soaking but the warmth inside intensifies and her clothes stick to her body. Does it matter if she lets the bitterness and anger drip away from her? She rips the clothes off and decides to lie down on the floor. The feeling is like nothing else. She FEELS. She has emotions. She has had no time for feelings and emotional “bull-shit” at her place of work. She is glad. She is finally connecting with herself again.

The noise from the rain thundering down on the steel roof of the shack is overpowering all those destructive thoughts. She cries. She screams.

She lets all the bad feelings out, she has no need for these any more, the company is finished … broke!

Finally it stops raining. She walks out covered in sweat, her body and soul purged. The water pours from the roof showering down, she stands underneath it, washing away all the sweat.

W LO

aR jaTr E WfA

a

b

ð fló a

R

E AT HW

HIG

b

1. FLOOR AND TIDE

SV SA

ROOF AND WIND

EAST ELEVATION

SECTION A

WATERLEVEL ON ROOF, SOUTH ELEVATION

SECTION B

51

NV

R TE aA jarW fW NA LO

a b

c b

flóð

c

a

R

E AT HW

HIG

1. FLOOR, TIDE AND WIND

She peers out and sees the outline of a bench. She walks out towards it with her wet clothes. She throws the clothes on the sea wall to dry and lies down on the bench with her cardigan wrapped around her, embracing her.

She sleeps. When she awakes the sun is shining again not like she is used to watching from her office. But now she feels it on the inside. She has managed to shake off the heavy burdens of work and is ready to embrace life again with lightness in her heart and joy for her work.

SECTION A

VEST ELEVATION

50 years later she walks the same path – hoping for a reunion with the emotional bliss that embraced her this strange afternoon many years before. She walks the same path and sees the gap in the sea wall. She is excited, still remembering how she was literally reborn by nature in those strange shacks. She walks on, completely sure that it was just beyond the gap, but there is nothing there besides open spaces and nature all around. Those sacred shacks had served their purpose. Given her the peace of mind she so longed for. She now appreciates nature and it’s strengths and has done for many years since that afternoon. The shacks had reunited her body and nature after years of separation.

53

BUILDING A CITY HOTEL IN CITY CENTRUM Autumn 2008 Collaborator: Björg Elva Jónsdóttir Teachers: Steinþór Kári Kárason Ásmundur Hrafn Sturluson

KLA

PPA

RST

ÍGU

R

La uga ve

Klap

pars

tígu

r

gur Hv er sg ata SITE PLAN

CONSTRUCTION This project was a collaboration by me and Björg Elva Jónsdóttir. We designed a quality hotel on the corner of Reykjaviks main street Laugarvegur and Klapparstígur. We decided to preserve and use the old house on the corner as a restaurant for the hotel. This house was designed by Guðjón Samúelsson in the 1920s. We stripped down the second and the third floor in that house to have a high ceiling inside the restaurant where you can also see the history of the building on the bearing walls. This gives the space a beautiful illumination where the light from outside comes into the restaurant through the windows on every floor down to the first floor. It is an open space where you can walk in from the corner of Laugarvegur and

Klapparstígur and also from inside the hotel.

The kitchen is located in the basement.

The hotel opens up to both Laugarvegur and Klapparstígur with the lobby and relaxing area. Bar and toilets are in the basement with the kitchen. The hotel features twenty hotel rooms which all have big windows out to the city life and all guests can visit the hotel spa on the top floor that is partly outside.

The building is built with raw concrete on the inside and the outside with wooden floors and doors. The stairway between floors is made out of steel cables and wood, where the cables hold up the wooden stairs. These materials give the hotel a raw straight feeling on the inside and outside.

ELEVATION OF KLAPPARSTÍGUR

A

A

B

B C

C

A

A

C

C

B

B

4. FLOOR

3. FLOOR

A A

B B

C C

A

C A

C

B B

2. FLOOR

1. FLOOR

A B

C

A

C

BASEMENT B

ELEVATION OF LAUGAVEGUR 57

MODEL OF THE BUILDING

INSIDE THE RESTURANT

OUTSIDE LAUGAVEGUR

OUTSIDE KLAPPARSTÍGUR

THE BACKYARD

SECTION A

SECTION B

SECTION C

59

RESEARCH: AUTHORS AND THEIR WORKS Spring 2008 Teacher: Pétur Ármannsson

MODE

L OF

RESEARCH Me and three other girls from my class made a research about New York Five, the architects Peter Eisenman, Michael Graves, Charles Gwathmey, John Hejduk and Richard Meier. These five had a common allegiance to pure form af architectural modernism, harkening back to the work of Le Corbusier in the 1920s and 1930s. Although on closer examination their work was far more individual. I used our study as a guidance and inspiration, by dedicating myself their methods. Working with public and private spaces, long hallways and the spectrum.

Since they used timber that was suppose to look like concrete I decided to use timber and actual concrete, and develop a new kind of method to make concrete with lava that is in the area. I used black and red lava stones in the concrete and then sanded it afterwards to get a specific finish.

MO

DE

HOUS

E

LO

FH

MODEL OF HOUSE

TO

P

V

IE

W

OU

SE

Sneiðing A, 1:200

SECTION A Sneiðing A, 1:200 Sneiðing A, 1:200

Sneiðing B, 1:200

Sneiðing B, 1:200 Sneiðing B, 1:200

SECTION B

CONSTRUCTION

Sneiðing C, 1:200

Sneiðing C, 1:200 Sneiðing C, 1:200

SECTION C

C

B

A

I separated the traffic street in south from the building with the lava where then the heavy lava wall takes over the separation.

The wall is rather closed so you feel that this is a private area. The lava wall is also in east where the garage is in the front with a ravine that opens up to you as an entrance.

The entrance into the building breaks trough the lava wall and there the view out into the garden opens up. The kitchen and the living room are on the first floor where the fireplace separates them. The lava wall has the same texture on the outside and the inside. The bedrooms are on the second floor with bathrooms and a workspace is located on top of the garage. To enter the workspace you have to walk under a part of the lava wall.

1. FLOOR

EW

D ILE

VI

C

B

A

TA

DE

2. FLOOR

“I believe in God, only I spell it Nature.”

-Frank Lloyd Wright