GUÐRÚN JÓNA ARCHITECTURE
“[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
FINAL PROJECT:
4-11
HOUSES
12-19
CONTEXT AND WEATHER
20-29
BUILDING A CITY
30-35
RESEARCH:
36-41
INTERESTS
42-50
THE CONTEMPORARY ART MUSEUM
IN AN URBAN SETTING
BODY IN NATURE
HOTEL IN CITY CENTRUM
AUTHORS AND THEIR WORKS
FINAL PROJECT:
THE CONTEMPORARY ART MUSEUM BYG0626H Mentor: Ásdís Helga Ágústsdóttir Teacher:s: Steinþór Kári Kárason Kristján Örn Kjartansson 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 “darkspace”. 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
MODEL
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SECTION A
SECTION B
SECTION C
ELEVATION FROM SKÓLABRÚ
STRUCTURE Copper pipe for ventilation in the roof
Supporting insulation panel with copperplate glued on Aluminum window system
Aluminum window system Insulation glass Steel beam RHS 100 x 200
Inset gutter in roof edge Site-casted roofplate
Closed edging
Copper pipe for ventilation in the roof Ventilation Mineral wool insulator 200 mm Vapor barrier
Plexiglass that passes troug soft light from light bulbs
Lowered ceiling
Site-casted raw concrete moulded with rough vertical wood trim. Vertical, unequa, raw laths are spreaded randomly in the mould. The laths are taken from the mould right before the concrete gets full strength so it granulates a little.
Punctured plasterboard 13 mm Trajectory system that the copper hatch slides on Opening copper hatch for the gallery window
Mullion Double insulation glass Foamedging to separate levering leyer from carrying system Solid Iroco parquet
Inset roof drainpipe behind copper plate align with adjoining wall
Anhydrit leveling leyer on top of Sound linoleum 50 mm Sound linoleum 30 mm
Site-casted pavement
Inset lights in slot
Asphalt Rainwater pipe
Site-casted floor plate in gallery
Solid handlath made of Iroco
Site-casted basis Plastic insulation 100 mm Whitepainted plastering Solid Iroco parquet
Inset lights in slot
Leveling layer, 50 mm
Solid Iroco parquet Gravel filling Mineral wool 100 mm Mineral wool 50 mm
DETAILS
ELEVATION FROM VONARSTRÆTI
9
PICTURES
THE PASSAGE THAT GUIDES THE JOURNEY AROUND THE MUSEUM
BRIGHT AND CLEAN GALLERY SPACE
THE CLEAVED MASS OF THE MUSEUM
THE NARROW STAIR WHERE HEAVY MASS IS EXPERIENCED
OUTSIDE THE CONTEMPORARY ART MUSEUM
VIEW FROM LÆKJARGATA
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HOUSES
IN AN URBAN SETTING BYG0518H 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 VINTER ‘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
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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
17
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
Sn
SECTION A
OVERWEIV OF THE APARTMENT 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
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CONTEXT AND WEATHER BODY IN NATURE BYG0105H Teachers: Jóhann Sigurðsson Olga Guðrún Sigfúsdóttir 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.
PHOTO THAT INSPIRED ME IN THE WORKINGPROSESS.
WIND ROSE IN SUMMERTIME.
WIND ROSE IN WINTERTIME.
DEVELOPMENT SKETCHES FROM THE PROJECT.
MODEL OF SITE PLAN AND THE FINAL STRUCTURE
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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
SOUTH elevation
path. 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
a water low fjar
a
NV
high flóð
water
a
1. floor and tide
Section a
Roof and wind
East elevation
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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.
low
ra fja water
a
b
ð fló a high
b
1. floor and tide
SV SA
Roof and wind
water
East elevation
Section a
Waterlevel on roof, south elevation
Section b
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NV
a water fjar NA low
a b
c b
flóð
c
a
high
water
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.
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BUILDING A CITY
HOTEL IN CITY CENTRUM BYG0123H 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 33
MODEL OF THE BUILDING
INSIDE THE RESTURANT
OUTSIDE LAUGAVEGUR
OUTSIDE KLAPPARSTÍGUR
THE BACKYARD
SECTION A
SECTION B
SECTION C
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RESEARCH:
AUTHORS AND THEIR WORKS ALL1163H Teacher: Pétur Ármannsson
SITE PLAN
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.
A B C
C
B
A
1. FLOOR
2. FLOOR
MODE
L OF
CONSTRUCTION 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.
MO
MODEL OF HOUSE
TO
P
V
IE
W
DE
LO
FH
HOUS
OU
E
SE
SECTION A
SECTION B
SECTION C
L
I TA
DE
ED
EW
VI
INTERESTS
photography Potography is one of my hobbys that I pursue. I love taking photos of my surroundings where ever I am. To capture the atmosphere, the community I am in and the people and how they live and act in an urban setting. Photography is something I tend to steadily and use in my studies in architecture.
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ILLUSTRATION Illustration and drawing have been passion of mine since I was a little girl. I draw people, houses and other things around me and I do that specially when I travel. Sometimes pictures pour in to my mind and I have to get them out on paper or some other fun material. Illustration and drawing is something that I use alot in my studies in architecture and tend to stedily.
“I believe in God, only I spell it Nature.” -Frank Lloyd Wright
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