portfolioarchitecture

björg halldórsdóttir

frá vatni til vatns

frá vatni til vatns

helloTo me, it is simple. Architecture has been my passion for as long as I can remember but

for the past years architecture has captivated my life. It is in my thoughts, my dreams,

it is in the way I move and speak, write and draw. Architecture has changed the way I

express myself and how I approach things. My architectural studies have allowed me

to illustrate my ideas on spatial design and the built environment. They have taught

me not to take anything for granted in my surroundings but strive to as questions,

understand, learn from the existent and try to do better. They gave me the tools that I

had been missing and ever since I have been on an eternal quest learning to master them.

brúba project: refuge for modern pilgrims

shared livingcohabitation in architectural & social context

house of gracedialogue between landscape & building

skuggiarchitecture & the urban environment

composers´ homeresidence under influence of a known architect

uniformity of residence in Iceland/ flexibility in Japanba thesis

various projects

projects

year2013

name of courseba project: refuge for modern pilgrims

instructors Halldór EiríkssonHildigunnur SverrisdóttirHólmfríður Ósmann JónsdóttirHrefna Björg Þorsteinsdóttir

course duration14 weeks

brú

references & inspiration

physical condition

project

The task was to design a refuge, a cairn on the journey of knowledge and self reflection that serves as

a setting for educational camps for school groups during the winter and a resting place for travellers

on their hiking pilgrimage during summers. Set in the vicinity of Lake Kleifarvatn, the building

incarnates a stopover on a path that stretches along the continental drift ridge across the island, from

Reykjanes in the south to Axarfjörður in the North. The pilgrim travels in solitude searching for

his true self. Physically he is strong but spiritually he lacks fulfilment. The pilgrim goes through the

journey on his physical strength in the hope of reaching spiritual satisfaction. The refuge becomes

a place to him where his body and soul meet, and from there he returns to the society complete.

spiritual satisfactionKleifarvatn

gate bridgestay

brú

Brú (e. Bridge) is the last resting place on the pilgrim’s way across Iceland from Axarfjörður

to Reykjanestá. In a way the building bridges the gap between the pilgrimage and the

destination. In a quest to interpret that in details, the project developed into a bridge.

The building takes its form from the movement and behaviour of its users. It is a bridge

on the pilgrim´s journey, where one stays and rests for the night. The bridge is a symbol of

continuation, the way, and marks the pilgrim´s direction with its form. Schoolchildren,

who frequently visit Kleifarvatn, spend the day outdoors in the nature. The power of their

group symbolizes the stream under the bridge. In spite of them not staying inside the

bridge, it inspires them to accept challenges in the same way as the pilgrims have done.

The project refers to well known symbols of traditional pilgrimages.

The project consists of two buildings, the bridge and the host’s house. Bridges are a

powerful symbol, a symbol of connection, departure and continuation. In contrast to

the bridge the host’s house serves as a gate into the site, symbolic for an arrival and

a place. The host´s house serves as a gateway into the area into which the pilgrims

pass thus marking a new era in their way. Even though the buildings are not physically

connected they are connected by the path of travel, or the way, which starts with the gate

at the host’s house and continues all the way through the bridge. The buildings are also

made of the same material, concrete, and have the same proportions, with and height.

site plan 1.1000

pilgrim´s arrival

schoolchild´s arrival

host´s house

The host’s house is on three different levels connected with a bright spiral staircase,

so the host can quickly travel between the floors. The host himself lives at the

top floor and from his desk he has an overview over the area and can monitor the

pilgrims´ arrival. On the ground floor he welcomes the tired pilgrim, accompanies

him on the final part of the route and leads him to his resting place inside the

bridge. The host’s house also has a dining room with a small kitchen, where the host

and the pilgrims enjoy a meal together before the pilgrims continue their journey.

elevation 1.200host´s house

plan 1.200host´s house

1. floor - dining room 2. floor - reception 3. floor - host´s home

1. dining room 2. lavatory 3. cooking 4. terrace 5. reception 6. travel path 7. rest 8. lavatory 9. hosts desk

1.

3. 5.8.7.

9.6.

4.2.

section 1.200host´s house

elevation 1.200bridge

bridge

The bridge is designed for the tired. It is a place embracing the primal needs of

sleeping, eating, cleansing and gathering strength for the final part of the walk.

The bridge is divided into two parts; a space for solitude and a space for communal

exchange. The solitary part of the bridge consists of 6 bathrooms and 17 individual

cells facing north with view over Lake Kleifarvatn where the pilgrim can meditate

in peace and quiet. The communal space is on the south side of the bridge

and there the pilgrims unwind and enjoy each other’s company sitting on a wide sill

in the sun. Later the pilgrims walk to the lake where they cook in a small, natural

hot spring. Afterwards they walk up to the host´s house where they enjoy the meal

together. After having rested and gathered enough strength they walk for the

second time from the host towards the bridge. This time however, they will not

enter the building but cross it, thus completing their pilgrimage across Iceland.

b a

d

b a

6.

8.

5.

c

1.2.

4. 5. 7.

3.

c

1. entrance

2. travel path 3. communal space

4. rest

5. lavatory

6. cleansing

7. storage

8. departure

plan 1.200bridge

d

section 1.200 bridge

sections 1.200bridge

a - a b - b c - c

architecture

A great emphasis was laid on proportions in the design of both buildings and considered

important that the bridge and the host´s house had the same with and height.

The buildings are built with dark, untreated coarse concrete. The selection of materials is

in many ways suitable, not least as a reference to conventional Icelandic bridges that are

commonly made of concrete. As a balance to the weight of the concrete a warm wood

was used inside the bridge, in doors, stairs and the bunk beds. No electrical power is

provided on the bridge and effort was made to keep the majority of the bridge free of

plumbing system and insulation. The only input for water is at each end of the bridge

where the bathrooms are located. The decision was made for practical reasons but not

least to illustrate the roughness and purity of the structure. At one end of the bridge

is a path which leads under the building to outdoor showers. There the pilgrim can

experience connection to the ground anew while he washes after the journey. The rift

in which the bridge is placed is strong in form and as a respect for the nature it was

decided not to try to emulate it in the design of the building. Thus the bridge sits

in the ravine, in complete contrast to the nature, but with time, seasons will erode

the bridge which eventually takes root and becomes a part of the nature and the way.

year2012

name of courseurban entity

instructorsAnna María BogadóttirHildigunnur SverrisdóttirMarcos Zotes LópezMassimo Santanicchia

course duration13 weeks

shared living

body & organs body of architecture

possessions or the ground they stand on, but choose to be able to wander, at least for the

time being. The building serves as a bridge between periods in the lives of the inhabitants,

making it easier for them to move away from parents or student housing, without having

to acquire every item that comes with having a home. In that way, the apartment complex

enables the inhabitants to grow as individuals, yet feel like they are a part of a intimate

community or a family by experiencing social motivation inside the walls of their home.

project

The project was to analyse a district in Reykjavik, and the spatial dimensions concerning

the dwellings within the district. Subsequently a building was designed displaying the

architectural vision on the city development in the context of a home and a city. In the

process the architectural and social context of cohabitation was analysed. The building

is an apartment complex for young working individuals that have yet to find themselves

and settle down. They are the nomads of our time, who do not wish to commit to worldly

individual family community individuals

apartment unit 1.100

1st floor plan 2nd floor plan

apartment

The human scale was important in the design of the apartment building, and

it also appears on the exterior of the building, since its structure outlines the

existence of each and every resident. The building consists of private spaces,

semi-private and public spaces. Illustrating the private spaces are the

individual apartments with a bathroom and sleeping area. There, space and

time varies and is only bound to the personal experience of each inhabitant.

It is said that smooth space is the space of the nomad and striated space is the space of

the sedentary. The apartment building strives to be on the verge of the two, just as the

period in the young inhabitants´ lives. The semi-private spaces are found the areas that

6-8 residents share, where they come together and draw a social systems and interaction

between themselves. These spaces are the kitchen, dining room and living areas.

shared living

apartment complex 1.200

apartment building 1.500 1st floor

b - b

c - c

a - a

a a

bc

bc

2nd floor

building

The entire building shares a laundry room, outdoor area and a lounge located on

the first floor, which is also welcoming to neighbours of the building. These diverse

spaces of the building function as the organs of a body, each playing an important

role in which the building would not sustain without. The apartment building

represents layers of intimacy and a lifestyle about sharing without sacrificing, even

though clear thresholds are equally important factors of the life inside the building.

year2011

name of coursearchitecture & nature

instructorHildigunnur Sverrisdóttir

course duration10 weeks

house of grace

building site

Botnsdalur in Hvalfjörður, West Iceland

project diagram

sweat diagram

a combination of diagrams

project

The House of Grace is located in the unharnessed nature of West Iceland, in Hvalfjörður

fjord. A landscape analysis was applied through a raster method where the most desirable

elements for the site were shelter from wind, vicinity of seascape, a connection to untouched

wilderness and close proximity to running water. The site chosen is a place next to a small

stream in Botnsdalur, a valley in Hvalfjörður, 95 meters over sea level. The House of

Grace serves as a haven for individuals who need to unwind and regain their strength.

The house is a sweat lodge, based on the ancient tradition practiced all over the world

in the purpose of reconnecting to the earth, higher spirits and the true self. The grace is

embodied in the overcoming of the sweat ordeal, thus returning reborn, reset and refreshed.

references & inspiration

project diagram

sweat diagram

a combination of diagrams

I

II

III

V

IV

VI

I bonfire / gathering II changing room / undress III sweat / ordeal IV stream / cleansing V dining room / dining VI relaxation room / rest

building

Successful social spaces were studied in the process, in particular the hot

tubs in Reykjavik swimming pools. A unique atmosphere takes place in

the tubs where individuals meet, exposed but equal, in the hot relaxing

water. Furthermore was explored the delicate line that is formed in

such places between solitude and togetherness and the freedom of the

individual to take part or withdraw from the conversation with others.

The structure of the tubs, their spiral form, thresholds and flow was

an exemplary in the design of the building´s spaces. The spaces were

then brought together considering the flow of the sweat ceremony.

Also taken under consideration in the design of the building was

the dominant wind direction in Botnsdalur valley, with a dialogue

between the landscape and the structure as the focus point.

building 1.200

section 1.100

architecture

The house of grace is open for anyone. There a diverse group of individuals is united

in the act of sweat. The structure is built around several stations; the bonfire, where

the group meets for the first time, the changing rooms, where the individuals get

undressed, the sweat itself, a dining area and a resting place. The space in between

the rooms is inspired by the spiral shape of the hot tubs. That results in an effortless

flow of movements where the individual feels like he is a part of a community when

he enters a room instead of a solitary. The ceiling height is determined by the body

position in each station, which differs between standing, lying and kneeling position.

The building is made of concrete and is primal due to the absence of windows and

doors. It is partly open for air to breath inside the structure and daylight flows in

through apertures from the ceiling. The shape of the structure is a reference to the

traditional sweat tent, but also creates a centre in the space inside which eliminates

hierarchy between the individuals participating in the sweat. Sweat is a personal journey,

in accompany with others and that is what the house of grace draws itself around.

sections 1.200

year2011

name of coursebuilding a city

instructorsÁsmundur Hrafn SturlusonSteinþór Kári Kárason

course duration10 weeks

group partnerPétur Stefánsson student

skuggi

project

The underlying theme of the project was to analyse the relationship between architecture

and the urban environment. A predetermined site was allocated in order to observe

and engage in. The project was an apartment building in the centre of Reykjavik as

well as a kindergarten that would bring life to a lifeless part of the city, called Skuggi

(e. Shadow). Emphasis was laid on clarifying the urban environment and strengthening

the public space. The building site is extremely chaotic and in Skuggi the old, historical

part of Reykjavik downtown crashes with progressive ideas of a new and superior

city centre, with extravagant skyscrapers and underground parking. It is almost as if

the development of the site had suddenly stopped and time remains unchanged.

The building site is currently a big question mark but in any event a wonderful area in the

best part of Reykjavik and therefore it is important that it is activated in a proper manner.

Lindargata

Veghúsastígur

building

Early in the design process it was decided to look for inspiration in the elder and

smaller-scale houses located on the site, rather than the recently built skyscrapers

and apartment blocks. The traditional residential houses in Iceland have pitched

roof in order to shield them from the unpredictable Icelandic weather. Their size

speaks to the human scale and in addition they enable the inhabitants to personalize

the negative space surrounding the buildings which results in a more vivid and

colorful city life. These elements were adopted in the design of the apartment

building as well as the goal to complete the street facades and the site as a whole.

elevations 1.500

view from Veghúsastíg

view from Lindargata

inspiration from site

a - a

b - b

c - c

sections 1.500

a

b

c

c

a

b

N

apartment I

apartment II

apartment complex 1.200

1st floor

1st floor

2nd floor

2nd floor

apartment

Even though the external appearance of the apartment building

is inspired by traditional Icelandic houses, the apartment

layout is unfamiliar to Icelandic residents due to its Japanese

influence. Each apartment has two floors and is interlaced with

the facing apartment. They vary in shapes and sizes but have

in common that they are fairly small in size. The apartment

building is specifically intended for young adults and small

families that bring a fresh breath and new life to the site.

They will also benefit from having the kindergarten next

door. The ground floor of the apartments consists of living

spaces, kitchen, dining room and occasionally a work space

with a separate entrance for home working individuals.

The second floor includes the bedrooms, bathroom and

in addition each apartment has a private courtyard where

ray of sunlight falls down thus brightening the apartment.

a

year2010

name of courseauthors & their work

instructorPétur Hrafn Ármannsson

course duration6 weeks

composers´ home

project

The task was to apply historical research as an approach to analyse the creation of a

known architect. The architect assigned was the inspiring Peter Zumthor. His unique

way of approaching architecture in a poetic yet minimalist way has become widely

known in the architecture world. Emphasising the sensory aspect with the handling

of light and shadow, experimenting with materials and proportions he creates the true

architectural atmosphere. Zumthors works and working methods were explored and

eventually applied to an independent design project based on his approach and ideology.

The project is a home of a composer and his family with a connected working studio.

The house is located in an old neighbourhood in the outskirt of Reykjavik, called

Skerjafjörður. Skerjafjörður is unique for the reason that it was split in two parts by the

Reykjavik airport, in the World War II. Apart from the sound of airplanes, Skerjafjörður

is a peaceful area with the sea on one side and beautiful walking paths on the other.

The neighbourhood is known for its beautiful villas and outstanding architecture

and therefor it was important that the building would speak to its surroundings.

Peter Zumthor

N

site 1.10.000

1. computer 2. dining 3. entrance 4. laundry 5. wc 6. family 7. bedroom 8. wc 9. living 10. studio 11. wc 12. closet 13. master bedroom 14. balcony

1.

2.

3.

4.

5.

6.

7.

8.

9. 10.

11.

12.

13.

14.

1. floor 2. floor

plan 1.200

section a - a

section b - b

section c - c

building

The house is divided into two separate floors. The ground floor consists of shared

spaces and living areas whereas the second floor embodies the private part of the

home. The master bedroom hall is on one side and the composer´s studio on the other

with separate stairway. By placing the studio on the second floor a clear threshold

is created between the home and the studio without having to detach the two.

The house withdraws from the street but opens up towards the seascape. Comparable

to Zumthor´s design, daylight plays an important role in the building, and in

contrast to large windows facing south narrow light slots in the roof lighten up

otherwise dark halls and stairways. This creates a different experience inside the

travel paths of the house from the open and bright living spaces of the home.

b

c

c

a

b

a

sections 1.200

year2013

name of courseba thesis

instructorBjarki Gunnar Halldórsson

course duration9 weeks

uniformity of residence in iceland / flexibility in japan

traditional icelandic turf house traditional japanese house

N house

pantry kitchen

entrancelivingroom

lodge warehouse

bathroom S house

bath wc kitchen

living living

livingliving

bath

uniformity of residence in iceland/ flexibility in japan

In the BA thesis the author wanted to raise awareness on the lack of development in

residential housing in Iceland. If looking at the range of housing in Reykjavik, Iceland´s

capital, it is clear that the social changes that have occurred in the past years have not

been taken under consideration in the design of residential housing. Even though

70% of Reykjavik inhabitants are individuals, couples or single parent’s apartments

have increased considerably in size and with the newly published construction code

that contains stricter regulations about minimum sizes in residence, it will inevitably

keep on increasing. The goal of the thesis was to redefine quality in residential housing

and to look for answers to the question if they lie in the number of square feet or,

on the contrary, in the planning where the needs of different inhabitants are met.

The author´s case in support Iceland was compared with Japan, where flexibility

and adaptability have been predominant in the architecture and a great emphasis

is laid on aesthetics. When the traditional Japanese house is compared to

the Icelandic turf house it is clear that the concept home is approached from

opposite sides. The fundaments in the Japanese house are flow and flexibility and

therefor the home can easily react to ever changing patterns in the household.

The Icelandic turf house on the other hand is built in a completely different way that

results in clear hierarchy of spaces where each and every room has predetermined role.

This arrangement served the Icelandic nation and their pattern of behaviour well, but now

when a century has passed since Icelanders abandoned the turf house, their needs and

desires have changed extensively. Icelandic patterns of behavior are diverse and manifold

and therefor less suitable for predetermined dwelling structures, but when observing

today´s dwelling range the arrangement is still very related to the old turf house. It is

important to liberate ourselves from that approach, take diverse needs and behavior of

inhabitants into consideration and redefine the home in a more flexible manner. In the

end, it is all about diversity – to embrace it and nurture it with various residencies. In

order to implement the Japanese vision to the Icelandic home, a radical redefinition is

essential. Japanese ideology requires not only removing the labelling of rooms, but also to

rethink and redefine the spacial hierarchy that prevails in planning of the dwelling. The

quality of residential housing is embodied in the freedom of each individual to redefine

the term dwelling according to their own desires. It is time to think outside the box.

references & inspiration

year2010 - 2013

name of coursevarious / none

instructorsvarious / none

course durationvarious

various projects

krads lego lab

For the period of one week the goal was to produce as many dynamic structures as thinkable

from the simple geometrical units of lego – and conversely – to break such structures

and forms down to a simple unit. The concept lab was instructed by KRADS architects.

shelter in öskjuhlíð

In this collaboration studio the task was to design a shed in Öskjuhlíð, an outdoor

paradise in Reykjavik. From the first concept idea the project evolved into a model and

finally a shed in 1:1 size. An emphasis was laid on spacial quality, aesthetics, building

material and the building structure, in addition to social connections and relationship

with the environment.

squares in standby

A project by Reykjavik´s department of Environment and Planning. The focus

was to bring life to squares and streets in Reykjavik city that were on standby

regarding future planning and usage. Temporary installations were designed and

placed in the areas, installations such as urban chandeliers that brightened dark

streets in gloomy Reykjavik and grass hills that brought nature into the city centre.

dialogue

A collaboration project between all departments in The Iceland Academy of

the Arts. Students worked in interdisciplinary groups and the focus point was

on the dialogue rather than the outcome. Emphasis was laid on exploring

new surface between different art forms and furthermore to explore them

in a creative aspect. The harvest from the dialogue was a mirror installation.

rintala eggertsson building workshop

Architecture students from Iceland, Finland and Norway were invited to the

Architecture Festival in Oslo 2011 in order to participate in a building workshop

by Rintala Eggertsson architects. The task was to work under the instructions

of Rintala and Eggertsson towards finding suitable implementation for the

design of installations and pavilions as well as to engage in the construction.

design march

The main focus of the studio was on making a model in 1.20 illustrating the

design of a pavilion in a public garden in Reykjavik city centre. The aim was

to enhance the activity in the area in an aesthetic way as well as to create a

platform for various events and performances. The models were showcased in

the City Hall of Reykjavik as part of the annual event Design March in Reykjavik.

prelude to ba project

In the course Preclude to final project the idea arose to activate geothermal heat and hot

springs around Lake Kleifarvatn for cooking. Examples of such activities can be found

in various places in the world, for instance in Sou Paulo. In that way, the two resources

of Kleifarvatn are combined, geothermal heat and fishing. The ceremony of cooking

is powerful and draws people together. The experience of cooking in the ground is

primitive and brings the human being back to its roots, hunting for food and cooking it.

space / time

The course focused on the two philosophical foundations of perception, space and

time, in a quest for answers to questions regarding the nature and boundaries of

space, connection between the body and space and how the environment, perception

and meaning are intertwined. Theories and essays of philosophers such as Deleuze &

Guattari, Bachelard and Heiddegger were studied and then placed in a personal context

of a philosophical travelogue.

thank youbjörg halldórsdóttir

address

grettisgata 57b, 101 rvk,

iceland

phone number

+354-661-6495

email

bjorg.halldors@gmail.com