Rethink

Architecture through
the concept of Identity
in the age of Globalization
 Ellert Hreinsson

For the Degree of Master of Fine Arts in Architecture

at
The Savannah College of Art and Design

© May 2012, Ellert Hreinsson

The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic
thesis copies of

Signature of Author and Date _________________________________________________________________

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The Cultural District of Kópavogur
Rethink Architecture Through the Concept of Identity
in the Age of Globalization

A Thesis Submitted to the Faculty of the School of Building

Arts in Partial Fulfillment of the Requirements for the

Degree of Master of Architecture

Savannah College of Art and Design

By

Ellert Hreinsson
Savannah, Georgia
May 2012

5
 TABLE OF CONTENTS

1. List of Illusstrations 1 3. Context Analysis 23

people
1. Abstract 3
geograohy
2. Theory 5 welfare

introduction energy

technology ecnonmy

industralization architecture of iceland

globalization
4. Site Analysis 30
sustainability
location
culture
site
architectural identity
views
vernacular
analysis
form
climate
contextual forces
materials
economy

opportunities
5. Program 39
threats
 TABLE OF CONTENTS

6. Schematic Design 44 8. Conclusion 75

urban scale
9. Presentation 78
block scale

form evolution 10. Bibliography 79

7. Design Development 50
a new urban experience

site organization

urban plan

vehicular vs pedestrian

form evolution - urban

site section

program

overall view

form evolution - block

views

site plan - block

floor plans

building sections

skin

details
 LIST OF ILLUSTRATIONS

Chapter 2

Figure 2.1 Traditional Social Gathering http://seasweetie.wordpress.com/2010/02/17/

Figure 2.2 World Map http://www.clker.com/clipart-world-map-silhouette.html
Figure 2.3 Public bathing in the blue lagoon http://www.icelandictimes.is/section.php?id=167&id_art=184
Figure 2.4 Geysir http://en.wikipedia.org/wiki/File:Strokkur_geyser_Iceland_Img_2678.jpg
Figure 2.5 Icelandic Turf Houses http://www.tinyhouselover.com/recycled-homes/turf-houses-as-sustainable-architecture/

Chapter 3

Figure 3.1 World Map http://www.clker.com/clipart-world-map-silhouette.html

Figure 3.2 Aerial View of Site Emil Þór, Ljósmyndastofa Reykjavíkur
Figure 3.3 Aerial View of Site Emil Þór, Ljósmyndastofa Reykjavíkur
Figure 3.4 Aerial View of Site Emil Þór, Ljósmyndastofa Reykjavíkur
Figure 3.5 Aerial View of Site Emil Þór, Ljósmyndastofa Reykjavíkur
Figure 3.6 Map www.google.com/maps
Figure 3.7 Bessastadir http://www.flickriver.com/groups/lightzone/pool/interesting/
Figure 3.8 Snæfellsjokull http://www.skimountaineer.com/ROF/ROF.php?name=Snaefellsjokull
Figure 3.9 Hallgrimskirkja http://bluish.tumblr.com/page/5
Figure 3.10 Esjan http://www.dv.is/blogg/verold-tobbu/2009/5/24/sveittir-og-saetir-esjunni/
Figure 3.11 Perlan http://www.coupons.is/perlan/dining.html
Figure 3.12 Nauthólsvík http://flickrhivemind.net/Tags/nauthólsv%C3%ADk/Interesting
Figure 3.13 Kópavogskirkja http://www.nauterre.com/pages/Europe/Iceland/kopavogskirkja/kopavogskirkja.htm
Figure 3.14 Sheet Metal http://tedeubanks.smugmug.com/Travel/Iceland/Iceland-Heritage/13921396_
E5uZS/10/1022149400_aEVJc#!i=1022149400&k=aEVJc
Figure 3.15 Turf http://www.greenfab-media.com/landscape-and-habitat/456/iceland-and-green-roofs
Figure 3.16 Timber http://www.allposters.com/-sp/Black-Timber-Church-at-Budir-Snaefellsnes-Peninsula-North-
West-Area-Iceland-Polar-Regions-Posters_i2653024_.htm
Figure 3.17 Stone http://geologywriter.com/blog/stories-in-stone-blog/iceland-building-stone/
Figure 3.18 Harpa Concert Hall http://www.flickr.com/photos/saleh100/6979591356/

1
 LIST OF ILLUSTRATIONS

Figure 3.19 Icelandic Institute of natural history http://www.dezeen.com/2011/01/05/icelandic-institute-of-natural-history-by-arkis/

Figure 3.20 Harpa, interior http://www.flickr.com/photos/skuliorn/5874937970/
Figure 3.21 Harpa, skin http://katrin.dohop.com/tag/harpa/
Figure 3.22 Hof Residence http://www.arcspace.com/architects/granda/hof/hof.html
Figure 3.23 Icelandic Supreme Court http://www.e-architect.co.uk/iceland/supreme_court_iceland.htm

Chapter 4

Figure 4.1 Icelandic Turf House http://wwitchhuntt.tumblr.com/

Figure 4.2 Icelandic Turf House http://gardenunit.com/garden-style/beautiful-and-green-icelandic-turf-houses/

Chapter 5

Figure 5.1 View to North Ellert Hreinsson

Figure 5.2 View to North-East http://karlmagnusson.com/hdri.html
Figure 5.3 View to North Ellert Hreinsson
Figure 5.4 View to North-West http://icelandpictures.tumblr.com/post/18656914270/snaefellsjokull-glacier-in-iceland

2
ABSTRACT

3
 ABSTRACT

This book explores the use of technology, sustainability and culture the profession of architecture could be at risk, and we need to rethink

to emphasize identities in societies through architecture in the age of architecture through the concept of identity in a globalized world by

globalization. Move architecture away from the idea of becoming emphasize identities in societies through the expression of culture, tech-

standardized due to instantaneous urbanizm and new technological nology, and sustainability.

advances. We need to see through both ways by providing architecture

that would reflect the local creative potential at the same moment that it

would be critically open to trends toward higher technology and a more

global economy and culture. As a result, an architecture that is shaped

by its culture without being isolated within its culture and explore the

idea of localizing the global and globalizing the local.

If architects keep going down the path of creating generic architecture

that doesn’t have any relationship to its society,

4
THEORY

5
 INTRODUCTION

It was when Le Corbusier introduced the world to a simple solution

in architecture, what he called the universal solution, which started a

snowball-effect in the field of architecture, buildings that didn’t deal

with their local context and had no local identity. The universal solution

was rather focusing on the potentials of the new industrialized world, in

=
......................................................................................................................
Mass production within the field of architecture

regards to materials and technology.

The International style came to an end when Hitchcock and Johnson

pointed out this new architectural style in their book “The International

Style: Architecture since 1922”. After their book was published, peo-

ple started to question the architectural expression of the style. Even

though it was pointed out that the architecture was lacking an identity in
Technology Sustainability Culture

regards to our societies, we haven’t solved these issues, and we live in

a world were architecture has become a product of our clients with no

respect towards our society.

36
 TECHNOLOGY

It is certainly arguable that during the past decades, the world has been

undergoing the most significant period of technological innovation and and expansion. A new global culture is emerging as a result of computer

global restructuring since the first decades of the 20th century. Cit- and communications technologies. It is certainly arguable that during

ies have always been centers of civilization and vitality that, through the past decades, the world has been undergoing the most significant pe-

the years, have led to human progress through material and scientific riod of technological innovation and global restructuring since the first

advances. Globalization is now an unstoppable historical process led decades of the 20th century. Cities have always been centers of civili-

by technological change and involving the dissemination of science zation and vitality that, through the years, have led to human progress

and new technologies. Rapid urbanization has only been made possible through material and scientific advances. Globalization is now an un-

by the introduction of modern technology as a part of the development stoppable historical process led by technological change and involving

process. New technologies are changing the nature of work, with its
1 the dissemination of science and new technologies. Rapid urbanization

multidimensional effects, by creating new forms of leisure, including has only been made possible by the introduction of modern technology

the hyper-reality of cyberspace, new virtual realities, and new modes of as a part of the development process. New technologies are changing

information and entertainment. Dramatic change and innovation have the nature of work, with its multidimensional effects, by creating new

been part of modernity for centuries, as has technological development forms of leisure, including the hyper-reality of cyberspace, new

1 Ibrahim Mostafa Eldemery, „Globalization Challenges in Architecture,“ Journal of Architectural and

Planning Research (2009): 3-9.

74
 TECHNOLOGY

virtual realities, and new modes of information and entertainment. Dra- virtual realities, and new modes of information and entertainment. Dra-

matic change and innovation have been part of modernity for centuries, matic change and innovation have been part of modernity for centuries,

as has technological development and expansion. A new global culture as has technological development and expansion. A new global culture

is emerging as a result of computer and communications technologies. is emerging as a result of computer and communications technologies.

Transitional forms of architecture are traversing national boundaries and Transitional forms of architecture are traversing national boundaries and

becoming part of a new world culture. The new wave of technologies in becoming part of a new world culture. The new wave of technologies in

electronics, robotics, telecommunications, new materials, and biotech- electronics, robotics, telecommunications, new materials, and biotech-

nology has given rise to a new technology paradigm that accentuates nology has given rise to a new technology paradigm that accentuates

the role of the world cities.1 Thus, the adoption of appropriate technolo- the role of the world cities. Thus, the adoption of appropriate technolo-

gies is a natural and unforced consequence of appropriate architecture. gies is a natural and unforced consequence of appropriate architecture.

Together, they offer valid forms and images to take the place of models Together, they offer valid forms and images to take the place of models

offered by industrialized nations, and as Shahin Vassigh mentions, “The offered by industrialized nations, and as Shahin Vassigh mentions, “The

practice of architecture is a delicate balance of art and science — a cre- practice of architecture is a delicate balance of art and science — a cre-

ative endeavor which also requires ative endeavor which also requires

1 Lo F. Yeung, „Globalization and the world of large cities,“ United Nations University Press
(1998): 10-37.

58
 TECHNOLOGY

that the architect master a broad array of technical skills, including

engineering.”1 Technology can adapt to its local environment while at

the same time being global minded, bridging the gap that technology

has created within our societies can be accomplished through emerging

the concept of technology with the concept of culture.

We as architects are responsible for adjusting modern technology into Sustainability Technology

our societies through local specific architecture. So we need to be able

to know the limits of this phenomenon in our architectural thinking.

Technology should not be a primary source of formal expression, but

Culture

rather complimenting the architectural formal expression.

1 Sahin Vassigh, „A digital pedagogy for learning structures,“ Journal of Architectural Design
(2004): 112.

96
 INDUSTRALIZATION

When the technology of power, sources of energy, materials and ele- The idea of “machine to live in” became efficient from an economic

ments of construction were introduced beginning in the late eighteenth point of view but architects failed to think of the result to our societies,

century, products could be divorced from the places they would be the lack of hierarchy and identity. Because the Universal Solution was

used and people who would use them. During that era, design started to a simple problem, and when that problem was solved, buildings could

become a reflection of interests of factory owners rather than the inter- be replicated. As a result, it makes the profession of architecture stand

ests of ordinary people. Emphasize put on the production of the product on a very thin ice.

rather than the service.1 This idea was brought into the field of archi-

tecture when Le Corbusier introduced the world to the “Universal Solu-

tion”, which lead to the “International Style”. His solutions suggested

to strip away the multi-dimension aspect of architecture and transform

it into a simple problem. In this new era of industrialization it was very

beneficial for everyone around the profession, such as contractors, engi-

neers, clients and the financiers.

1 William Porter, „Technology Form and Culture in Architecture: Misconception and Myth,“ Wil-
liam Porter, Space for Freedom (London: Butterworth Architecture, 1989) 49-58.

710
 GLOBALIZATION

The effect of globalization on architecture is notably seen in the build-

ing designs, technology, style and the architectural thinking. The idea

of globalization in the field of architecture can be traced back to eco-

nomics, economic globalization evolved into the field of architecture,

external forces influences on architecture and urbanism. The use of

classic architectural styles has become unfamiliar since the revolution

of modernization in the second half of the 20th century. Nevertheless, it

continues to develop and evolve forming a world style that has nothing

to do with the regions or origins: buildings can be built using materials

from everywhere and placed anywhere in the world, promoting its city

to a higher caliber to cope with the new world pace towards modernity

and new technology.1 If we understand “globalization” to mean no

more than architects designing structures for distant lands, getting the

designs approved, and overseeing construction, then the globalization of

architecture is not new.

1 Maged Fouad El-Sammy, NanoArchitecture, Thesis (Alexandria: University of Alexandria,

2008).

8
11
 GLOBALIZATION

The building style of the Roman Empire was notable throughout the The world of empires was plainly hierarchical. In America, Wrigh

world hundreds of years ago and almost a hundred years ago, Frank t did what Americans do; in Japan, he did the same. He was in Japan

Lloyd Wright saw to completion his famous hotel in Tokyo. to bring the best America had to offer. Today, matters are more com-

If globetrotting is not new to architects, what about globalization is? plicated. The problem is not that standards differ from place to place;

An example of the difference between globalization today and the they always have. The problem, or at least one of them, is that the old

globetrotting of the past, one difference is that architects used to oper- hierarchy is gone. Every culture is, in some sense, equal. The architect

ate largely within a few empires. For example, an English architect can no longer claim to be an agent of civilization.1

building in Egypt, meet the standards of the British Empire. While he

worked within the empire, he never really left home, however far from

London he worked. Of course when Frank Lloyd Wright worked in

Japan, he worked outside the “the American empire,” but what the Japa-

nese wanted from him was to make their country a little more like his.
Globalization through technology, culture and architecture
That brings the second difference between today and those earlier times

when even globetrotting architects did not worry about “globalization.”

1 Graham Owen, Architecture, Ethics and Globalization (New York: Routledge, 2009).

912
 SUSTAINABILITY

Globalization has a direct relationship to awareness and with that in Sustainability can have a local character to it while it’s in a global

mind, sustainability can be seen as a concept that is developed from setting. The local aspect of it deals with traditional methods of

global forces, global solution regarding global issues. This brings new dealing with local forces and also deal with non-physical things.

values and more depth into the field of architecture. Sustainability can A sustainable society brings in different user groups, activities and

be on the border of being a global phenomena and a local phenomena. different user groups to activate its surroundings, an interaction

Every culture has its own goals and issues that it has been dealing with between the individual and the environment.

for decades and therefore a traditional methods have been developed

throughout time to solve those issues. Due to technological advances, it

network

is easier to deal with those forces but in most cases the traditional meth- virtuality

ods are the most sustainable way of solving the issue while it also has language
culture

the sense of cultural identity, since methods have been developed within Local Space
identity
human

each culture to solve certain local forces. economy nature

technology

Global Mind

10
13
 CULTURE

Buildings are not just structures that are created for complex set of purposes

but rather it’s an institution. It’s a process of a cultural phenomenon were

forms and organizations are greatly influenced by the culture it belongs. We

can look back in ancient times and see that the house became more than shel-

ter for primitives and almost from the beginning, the concept of function was

looked at much more than a physical concept. So if the prevision of shelter

Culture
is the passive function of the house, then its positive purpose is the creation

of an environment best suited to the way of life of a people, in other words, a

Form Follows Function
social unit of space.1 The importance of understanding the multi-dimensions

of each culture has never been as critical as today, in a world that has been

coming flat because of technological growth can be expanded through our

cultural differences. Buildings need to become a reflection of its cultural

identity while being open to new trends toward higher technology and a more

global economy and culture.

1 Amos Rapoport, House Form and Culture (Englewood Cliffs: Prentice Hall, 1969).

14
11
 ARCHITECTURAL IDENTITY

Identity is a complex term, that can be understood in different ways, it is

used within different fields but looking at it from an architectural per-

spective it is a phenomena that doesn’t look outwards. In other words,

it looks for relations within itself. Identity is a complex adaptive sys-

tem or a network that grows each time a variable changes until it either

collapses or contionous to adapt as a complex adaptive system does.1 Bring value

into the built
That being said, if a city loses its current identity, it creates a new one at
environment
the same time. However, one could say that substituting the identity of through identities
their built environment that reflects their ancient culture for an identity
within its
culture
of a different culture, which actually does not mean anything to them, is

anything but inspiring. Therefor, the objective is to combine architec-

ture that looks at the values within it’s society in a relation to the global Architectural Identity
context.

1 John Holland, Hidden Order, How Adaptation Builds Complexity (Massachusetts: Perseus
Books, 1995).

12
15
 VERNACULAR

Some of the ideas behind vernacular architecture can be intriguing and primary consumers of the energy consumption in the world, the inter-

interesting to explore in contemporary architecture, even though it’s est of some the vernacular concepts started to gain more popularity in

more of a primitive approach to architecture, it’s an isolated method recent years. The sustainable aspect of the concept is interesting since

that doesn’t apply in modern world. But it’s the strong connection to this ancient concept was used when builders managed to build using

it’s society and culture that is interesting about it, some aspects of it only a small percentage of the availabe energy resources without nega-

are interesting to explore and to bring some of the values of Vernacular tively affecting the surrounding environment. So vernacular techniques,

Architecture into the modern world, were it can be more acceptive to materials and forms become an interesting area as a resource to deal

it’s surroundings. Instead of just focusing on the local and traditional,

we could emerge the local and global and the traditional and modern.

The concept of vernacular architecture has been around for hundreds

of years, and even though I state it as being an outdated concept, it

has gained some interest in recent years. When the building industry

became interested to lower it’s energy consumption, since it’s one of the

with a local context.

16
13
 FORM

The world is becoming an utopia of architectural expressions of Francis Duffy stated in the book Culture, Meaning, Architecture that

“starchitects”, or as Rem Koolhaas stated, if we strip away the nice “the problem for architects today is to remember what buildings are

building facades, the only thing that is left is a generic building. Our for. The problem for architects in the mid sixties, was to find ways of

cities are becoming generic and they do look the same on the outside articulating what buildings could be made to express”. In a way, we

and we need to take a closer look towards the inside and represent that find ourselves in a similar position as in the mid sixties, finding a way to

through our architectural expression, so that becomes the face of our make buildings express it’s identity through it’s form and its supporting

cities. We must be careful when determing forces that shape forms, but forces.

the primary force is the society or the culture a building is in and other

forces should compliment it. Form can be approached in various ways

but it is difficult to understand form when it’s outside the context of its Sustainability Technology

setting, culture and the way of life it shelters. “Materials, construction

and technology are best treated as modifying factors, rather than form
Culture

determinants, because they decide neither what is to be built nor its

form-this is decided on other grounds.”1

1 Amos Rapoport, House Form and Culture (Englewood Cliffs: Prentice Hall, 1969).

14
17
 CONTEXTUAL FORCES

What are the forces that shape architectural forms? Architects collect

all kind of different information and program requirements as a start-

ing point to solve these problems through an archiectural form. From

there, these problems are solved through design decisions that result in

different interdependent forces. The first is imposed by the existing or

the measurable physical context, but you don’t have to be an architect

to comprehend these forces, architecture has always been afftected by

geogrophy, climate and geology. The second is determined by available

Relationship between surroundings and a building
and evolving building technologies, including new materials and new

methods of design. The third has its origins in the cultural context of a

community or society. And the fourth comes from human intellect and

will, manifested in aesthetic ideas, beliefs and theories.1 A primative

idea of a building form would be a shelter that was designed and shaped

specifically for it’s climate.

1 Roger K. Lewis, Architecture and the Global City, Paper (Maryland: University of Maryland
School of Architecture, 2002).

18
15
 CONTEXTUAL FORCES

These simple structures evolved to become highly proportioned and

meaningfull forms that told stories that had highly political architectural

language. As the technology evolved these simple structures started to

evolve into more complexed structures and light became a source the

forms were capturing. Now building form is becoming the opposite as

what it used to be, it’s more about what could be, not what has to be.

There have been different opinons on what should be the forces that

shape architectural form. The idea of the modern movement was that

architectural form were shaped based on its intended function and that

gives the impression that the form is shaped by various physical, social,

phsycological and symbolic functions it is expected to perform. This

idea gives us the impression that we as architects are only satisfying our

clients functional needs, but architects should be above solving the pro-

grammatic needs, the architect interprets social and cultural construct.

16
19
 ECONOMY

Economy has been widely used to explain settlement and build-

ing form and it’s importance is great in the profession of architec-

ture. As mentioned before, architects have to deal with various

types of problems through the design process and economics plays

a critical role. Architects should not have to compromise as bud-

get is part of the design problem or neither should form follow

economics. Generally, since people with similar economies may

have different moral systems and world views, and since build-

ings are an expression of the world view, economic life has no de-

terming effect on the building form. Economics and architecture

rely on each other, economics is the driving force in architecture.

Architecture at the same time becomes a reflection of its economic

environment, therefore, this could be looked the other way around as

well, the effect of good design on the economy. Design is looked at as

one of the most valuable resources in some societies while in others it is

underutilized.

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17
 OPPORTUNITIES

Opportunities represent the positive potentials, in which globalization

can be adapted effectively to strengthen the sense of identity in societ-

ies. In adapting globalization, it is important to get benefits from the

heritage values of the place in order to adapt the new technology to

produce new forms that are not cut off from the past and are suitable

for the time. Opportunities also emphasize the utilization of the theories

and concepts to compromise solutions related to local and global think-

ing. Place considerations and regionalism are considered resources that

should be utilized, using tradition and culture while considering com-

munity aspirations, in order to produce new homogenized developments

within the communities’ built environments to promote residents’ ties

with the communities, thus promoting place identity.1

1 Ibrahim Mostafa Eldemery, „Globalization Challenges in Architecture,“ Journal of Architectural

and Planning Research (2009): 3-9.

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21
 THREATS

Threats represent the negative influences that should be taken into

consideration while acting globally and locally. New forms and moder-

nity sometimes lead to architects and developers becoming fascinated

with new, impressive forms in order to be distinctive, disregarding local

considerations. Negative potentials or threats are also represented in us-

ing technology, imposing standardization, and producing bland archi-

tecture that deprives human habitats of cultural, regional, and national

identity by not adapting them to produce modern local developments.

Threats are also represented in producing buildings that could be built

anywhere, what is called international architecture, in order to produce

juxtapositions ignoring the context for personal gain.1

1 Ibrahim Mostafa Eldemery, „Globalization Challenges in Architecture,“ Journal of Architectural

and Planning Research (2009): 3-9.

22
19
CONTEXT ANALYSIS

20
23
 PEOPLE

Iceland is a former protectorate of Denmark; Iceland didn’t win a Iceland. Until the twentieth century, the Icelandic population relied on

complete independence status as a Republic until 1944. It is the second fisheries and agriculture and was from 1262 to 1944 a part of the Nor-

largest island in Europe, with a surface area of 103,000 sq km (40,000sq wegian later the Danish monarchies. In the twentieth century, Iceland’s

miles). With a population of 318,000, which makes it one of the small- economy and welfare system developed quickly. In 2006, Iceland was

est nations in the world or the 180th. 218,000 people live in the Capital the most developed country in the world and the fourth most productive

region, meaning that 63% of the total population lives in the capital re- per capita.

gion, which has a surface area of 390 square miles (1% of total surface

area).1 With only 3 inhabitants per square kilometer, Iceland is one of

the least densely populated countries in Europe. Its history of habitation

started the year 874, when according to “Landnámsbók”, the Norwegian

chieftain Ingólfur Arnarson became the first permanent settler on the is-

land. Others had visited the island earlier and stayed over winter. Over

the next centuries, people of Nordic and Gaelic origin settled in

1 Luke Metcalfe, Nation Master, 01. 01 2003, 19. 01 2012 <http://www.nationmaster.com/country/

ic-iceland>.
Figure 2.1 Traditional social gathering

24
21
 GEOGRAPHY

Due to its location on the Mid-Atlantic Ridge, Iceland is volcanically

and geologically active on a large scale, this defines the landscape in

various ways.

The interior mainly consists of a plateau characterized by sand fields,

mountains and glaciers, while many big glacial rivers flow to the sea

through the lowlands. Because of the Gulf Stream, Iceland has a tem-

perate climate relative to its latitude and provides a habitable environ-

ment and nature.

WELFARE
Iceland is a modern welfare state that guarantees its citizens access to

universal health care, education and a high degree of social security. Figure 2.2 Site location

The Icelandic health care system is a tax-financed universal system,

healthcare services are provided mainly free of charge. Life expectancy

is among the highest in the world and one of the world’s lowest infant

mortality rates.

22
25
 ENERGY

Iceland is a world leader in the use of geothermal energy for domestic

and industrial purposes other than generating electricity. Renewable

energy provides over 70% of the nations primary energy. Over 99% of

the country’s electricity is produced from hydropower and geothermal

energy, and the country expects to be energy-independent by 2050.1

90% of all homes are heated by geothermal energy, at less than one-

third of the comparable cost of fossil fuels or electrical heating. How-

ever, Icelanders still emit 10 tones of CO2 equivalent of greenhouse

Figure 2.3 Public bathing in the blue lagoon

gasses per capita, higher than for example France and Spain.2 This can

be explained with the great use of personal transport in Iceland. Iceland

currently provides a testing ground for the feasibility of using hydrogen

in transport systems, By taking advantage of Iceland’s geothermal and

hydropower resources to produce hydrogen for powering cars and ships.

Buses in the city of Reykjavik are already running on emission-free

hydrogen.
1 Luke Metcalfe, Nation Master, 01. 01 2003, 19. 01 2012 <http://www.nationmaster.com/country/
ic-iceland>.
2 Luke Metcalfe, Nation Master, 01. 01 2003, 19. 01 2012 <http://www.nationmaster.com/country/ Figure 2.4 Geysir
ic-iceland>.

26
23
 ECONOMY

In the twentieth century, Iceland was transformed from being one of

Europe’s poorest economies, with almost 67% of the labour force em-

ployed in agriculture to a prosperous modern economy employing 67%

of its labour force in services.1 Following the privatization of Iceland’s

State owned banks; the banks grew phenomenally, expanding their bal-

ance sheets many times over between 2004 and 2008.2 They established

branches overseas and acquired other financial companies through

leveraged buyouts. This increased participation in a global economy

became the recipe for a crash in the economical system due to various

reasons, but greed being the primary cause. Early October 2008, 90%

of the banking system in Iceland collapsed in a week, changing a devel-

oped country into a redeveloped country.

1 Luke Metcalfe, Nation Master, 01. 01 2003, 19. 01 2012 <http://www.nationmaster.com/country/

ic-iceland>.
2 Rannveig Sigurdardottir, „Economy of Iceland,“ The Economy of Iceland (2010): 3-24.

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 ARCHITECTURE OF ICELAND

Architecture is relatively young field in Iceland, in the early 20thcentu- Icelandic architecture dates back to the late ninth century when Norwe-

ry, the first architects and designers began seeking education to Europe. gian settlers brought their building methods of their turf-houses, known

The nation’s fight for independence inspired them to look to tradition. as the “Langhúsið” or the “Longhouse”, built from turf, rocks and tim-

Again today, folklore, heritage, history and a touch of nostalgia influ- ber frame. As stated before, the turf-house became an end of an era in

ence designers, attempting to define and celebrate a national identity in the mid twentieth century, and then stone, timber and concrete became

a globalized world. more noticeable in buildings. The introduction of concrete construction

The turf-house has been an identity for Icelandic architecture, they were around 1900 was a turning point in Icelandic architecture. For the first

part of the farming culture and people lived in turf-houses for 1100 time, an economical method was found to make long-lasting and fire-

years or until mid-twentieth century. Wood and brick were not common proof buildings out of local materials. From early on, concrete was used

building materials since the availability for those materials were very for technically advanced structures.

limited, therefore the turf houses was primarily built out of rocks, soil

and turf and later adding timber for structural framing.

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25
 ARCHITECTURE OF ICELAND

Iceland doesn’t have any specific international identity in the area of

architecture; it has largely been influenced by its history of overseas

connections. People and economic ties brought in material, knowledge,

styles and trends creating a sort of mixture of approaches to buildings.

Architecture in Iceland has been treated as a commodity for the last

years, since during the short boom years architects were willing service

providers for New Money and built the gigantically scaled complexes

relying on customary international methods but with new materials.

Figure 2.5 Icelandic turf houses

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SITE ANALYSIS

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27
 LOCATION

Site is located in Kópavogur, town with a total population of 30,000.

Kópavogur is part of the capital region and is the second largest town

in Iceland, after Reykjavik. The site is located in the neighborhood of

Kársnes, were the town of Kópavogur started originally. Kársnes has a

population of 4,200 with a total area of 0.7 square miles.

Figure 3.1 Site location, global

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31
 SITE

Figure 3.3 Aerial view of site Figure 3.4 Aerial view of site Figure 3.5 Aerial view of site

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29
 VIEWS

Figure 3.9 HallgrímskirkjaHallgrímskirkja

Figure 3.8 Glacier
Snæfellsjökull Figure 3.10 Esjan Esjan

Figure 3.11 Perlan Perlan

Figure 3.7 The president’s house

Figure 3.6 Map of area

Figure 3.12 Nauhólsvík

Nauthólsvík

Figure 3.13 Kópavogskirkja

Kópavogskirkja
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33
 ANALYSIS

6000

5000

4000

3000

2000 0-6 6-16 65+

1000
1954 1972 1992 2008

Population Population

Service, Past Service, Present

Site 94 apartments
35 apartments ?
? 1983
1988

1990 - 2003

Harbour Area Development

2005

4 miles
197 apartments
+ 57 service apartments

Recent Development Points of interest

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31
 CLIMATE

The climate of Iceland’s coast is Sub polar oceanic, moderately cool May in particular. Sunshine hours are around 1300, similar to other

summers but relatively mild winters because of the warm waters from places in the Northern and North-Eastern Europe.1 From the end of

the Gulf Stream. The temperature is around 50-60 F in the summer and May to the beginning of August, there is 24/7 daylight and the sun rises

around 32 F in the wintertime. Temperature changes little throughout as high as 48 degrees. However at winter solstice there are only about

the day. Kársnes coastal location makes it very prone to wind. Kopa- 4 hours of daylight each day and it strongly depends on the cloud cover.

vogur is indeed a windy town but it strongly depends on various condi- The cloud cover is 70% in average. The complete darkness in the win-

tions from being in an open field or surrounded by trees and buildings. ter and constant daylight in the summer influence the use of the urban

East is the most common wind direction but sea breeze from the north- spaces within the city drastically. Weather changes very fast and often

west is frequent during summer time. Spring is the sunniest season, and as a result people have gotten used to seizing opportunities quickly

depending on the weather.

1 Rannveig Sigurdardottir, „Economy of Iceland,“ The Economy of Iceland (2010): 3-24.

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35
 CLIMATE

WEATHER
Average Average Warmest Coldest Daylight
The avarage annual precipitation is about 800 mm high low ever ever Hrs
Jan 36 28 50 1 4
The cloud cover is in average 70% Feb 37 28 50 7 7
Mar 39 32 57 7 10
Precipitation is greatest in fall and winter Apr 45 33 59 9 15
May 50 39 70 19 18
Jun 54 45 70 32 20-22
Jul 60 50 74 34 19
Aug 57 48 70 32 16
Sep 52 43 68 25 13
Oct 45 37 61 14 9
Nov 39 34 54 10 6
Dec 36 26 52 1 4

WINDS TEMPERATURE
Kópavogur is a rather windy city. Temperature in Kópavogur is usualy
The closest weather station to at about freezing in winter, but
the city center is at Reykjavik around 50 Degrees Fahrenheit
airport. The wind in a in summer. Temperature changes
densely built environment is little during the day
somewhat less than in open
space. East is the most
common wind direction
SUN ANGLE
but the sea breeze from
the northwest is frequent S
during the summer. 48

W
2

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36
 MATERIALS

Figure 3.14 Sheet Metal Sheet Metal Figure 3.15 Turf

Turf

Figure 3.16 Timber Figure 3.17 Stone

Timber Stone

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33
 MATERIALS

Figure 3.20 Harpa, interior Figure 3.21 Harpa, skin

Figure 3.18 Harpa Concert Hall Harpa Concert Hall by Henning Larsen

Figure 3.22 Hof Residence Hof Residence by Studio Granda

Icelandic Institute of Natural History by ARKÍS Supreme Court by Studio Granda

Figure 3.23 Supreme Court
Figure 3.19 Icelandic Institue of Natural History

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38
PROGRAM

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35
 PROGRAM

Architecture is a young field in Iceland, the first Icelandic architects until mid 20th century or for about 1100 years. This was part of the

started studying in Europe in early 20th century. Majority of architects farming culture, were people lived and worked in the turf houses, there-

even today studies outside of the country, the Icelandic Art Academy fore the turf houses could be sensed as a community. Lack of resources

was established in 2000, and offers Bachelor’s degree in architecture. is what identifies historical architecture in Iceland. Since there were not

Since majority of the Icelandic architects studies abroad, a disconnec- a lot of trees in Iceland at the time, the Vikings built the turf houses out

tion within the field is noticeable, both in style and workflow. Archi- of turf, soil and rocks and in some cases timber was used for structure

tects come back from different architectural backgrounds with different and the facade.

approaches and the result is a flatten architecture, with no dimension to

it, globalized architectural approach which is the cause that Icelandic

architecture doesn’t have any international identity, it is influenced by

its history overseas.

Turf houses have been known as the architectural identity in Icelandic

architecture, they are dated back to the late 9th century and were used

36
40
 PROGRAM

By looking into traditions and at the same time be open towards new

trends in a globalized world, a new housing typology is proposed which

merges traditions and proposes new features within the community.

network
Moving away from the mono-functional approach, where different

programs and functions within the society are isolated, rather merge
virtuality

those things together. Integration of functions and facilities un urban language

culture

space provides conditions for the overlap of various activities, dynamic Local Space
identity
atmosphere and suitability to different user groups throughout the year. human
nature
economy

Mixed use within the community can be related back to the turf houses,
technology

were peopled worked and lived, a community with mixed programs, Global Mind
mixed activities and mixed people or suitable for different user groups

is a sustainable society.

41
37
 PROGRAM

The need for preserving the cultural identity through the built environ- Other Scandinavian countries such as, Norway, Denmark and Finland

ment is key to be able to create an architectural identity on a interna- started to work on their authentic national identity within the field of de-

tional level. Therefore a cultural center is proposed, were designers can sign around 1900, which means that Iceland is about 100 years behind

collaborate on various things related to art and design in workshops, other Scandinavian countries when it comes to developing an authentic

not only to preserve the cultural identity but to create a stable identity national identity. The Cultural Center is supported with a Gallery space,

within the field of design and to be able to promote it. which hosts results from new research and projects that deal with the

topic of identity within the culture.

Addressing the disconnection that is created because of the fact that ma-

jority of architects study abroad and bring different alien-like approach-

es that has no relation to its actual context. The cultural center would be

connected to the University of Reykjavik, which is located next to the

site and would serve as a research center that allows more variety in this

collaborative approach of preserving its national identity.

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42
 PROGRAM

The idea of the sustainable society can be related back to the icelandic

building tradition or to the icelandic turf-houses. These buildings used

to serve as a place to live, work and play. Different variations can be

seen in the turf-house construction but the form changed and adapted to

a changing context throughout time. These buildings become the clos-

est thing to an authentic national style in Icelandic architectural

history.

Within every turf-house, a centralized gathering space, known as the

Figure 4.1 Icelandic Turf house Figure 4.2 Icelandic Turf house
hearth served as a public space that brought people together. The hearth

always kept its importance throughout every transformation of the turf-

house. The hearth connected the different user groups and activities that

took place in the area since those houses were multi-functional.

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39
SCHEMATIC DESIGN

40
44
 URBAN SCALE

45
41
 BLOCK SCALE

80,000 sq. ft.

13,500 sq. ft

29,200 sq. ft
13,500 sq. ft

42
46
 FORM EVOLUTION

Form of the building masses was determined by its contextual forces,

maximize views and sun in certain areas while minimizing cold winter winds.

47
43
SCHEMATIC DESIGN

44
48
SCHEMATIC DESIGN

49
45
DESIGN DEVELOPMENT

46
50
 A NEW URBAN EXPERIENCE

Afther further development, site boundary was expended to meet the

needs of a bigger idea, an idea that explored the idea of creating a new

urban experience by creating a topographical addition on the site. Get 1.000.000 square feet

away from the idea of creating an urban barrier and privatize the water-

front. Since the overall site was expanded from 750.000 square feet to

1.000.000 square feet, a new urban plan had to be designed. The hearth

became a primary element in the design process of the urban plan, it

Urban barrier

became a centralized public space which connected the different pro-

grams, activities and user groups in this sustainable society. Axis points

framed certain views, maximized sun in certain areas and minimized

primary winds. Overall form was treated as a continous surface, in- Topographic addition

spired from the turf houses, a closed relationship between the landscape

and the built environment. 1.000.000 square feet

topographic ad
dition phyexisting topography
program topogra
existing topography existing
waterfront
New Urban Experience

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47
 SITE ORGANIZATION

1.000.000 square feet Vehicular Axis

Vehicular Axis

The Hearth Voids vs Solids

Pedestrian Axis Site Adaption

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52
URBAN PLAN

53
49
 VEHICULAR VS PEDESTRIAN

The vehicular traffic is minimized within the Cultural district of Kópavogur, while trying to maximize the pedestrian traffic. An existin pedes-

trian path that loops around the neighbourhood is connected to a pedestrian axis within the district, creating a new destination within the existing

pedestrian path.

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54
 FORM EVOLUTION - URBAN

The overall form of the site was treated as a continous surface, instead of creating an urban barrier on the waterfront that would block views,

minimize sun then a form was created that would maximize views to certain areas that surround the site, maximize sun in certain areas and to

block cold winter winds.

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55
 SITE SECTION

MARKET // MARKET

52
56
 PROGRAM

Cultural Center Parking

Library Housing Market

Bike Rental Café / Supermarket

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53
OVERALL VIEW

54
58
 FORM EVOLUTION - BLOCK

A further exploration of the building form was explored on a smaller scale. Looking at this block and how each building on that block could

maximize views to its surroundings while at the same time being respectful towards the overall form of the site that had been designed.

59
55
 VIEWS

Hallgrímskirkja Nauthólsvík University of Reykjavík Perlan

Figure 5.1 View to north Figure 5.3 View to north

Esjan Snæfellsjökull

Figure 5.2 View to northð-east Figure 5.4 View to northð-west

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60
SITE PLAN - BLOCK

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57
 FLOOR PLAN

CAFE

KICTHEN

LAVA WALL

GALLERY

GALLERY/PERFORMANCE

UP

STORAGE

GALLERY

LAVA WALL

SERVICE ENTRY

EXHIBIT

RECEPTION
THE HEARTH

UP

SEATING

UP

AIR LOCK

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62
 FLOOR PLAN

OBSERVATION
AREA

LECTURE HALL

MEETING ROOM

GLASS BRIDGE

CONNECTION TO LIBRARY
OFFICE
LOUNGE

OFFICE

OFFICE

OFFICE

LOUNGE
DN

SEATING

UP

DN

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59
 FLOOR PLAN

DN
EGRESS

RESTAURANT

KITCHEN

BAR

DN
DN

SEATING

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64
 BUILDING SECTION

15’ 60’

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61
 BUILDING SECTION

15’ 60’

62
66
 SKIN

Frame Glass Panel Truss System

67
63
 DETAILS

GREEN ROOF SYSTEM-WALKABLE ROOF

VEGETATION
DRAINAGE COURSE
MOISTURE MAT
ROOF MEMBRANE
METAL DECKING

PILE CAP

PILES

Panel Assembly
Retaining Wall Wall Section

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68
DESIGN DEVELOPMENT

69
65
DESIGN DEVELOPMENT

66
70
DESIGN DEVELOPMENT

71
67
DESIGN DEVELOPMENT

68
72
DESIGN DEVELOPMENT

73
69
DESIGN DEVELOPMENT

74
CONCLUSION

75
 CONCLUSION

Architecture is made for people, people make societies, societies make cultures. .serutluc ekam seiteicos ,seiteicos ekam elpoep ,elpoep rof edam si erutcetihcrA

Culture is a link between people and their value systems, these systems connecting people through culture while at the same time expanding

need to be understood and addressed within architecture. this flattened world through our cultural differences. This frame-

In the age of globalization, cultures have been overlapping due to work can be set up within every culture to emphasize cultural iden-

technological advances. The built environment has been going down tities to create architecture that is suited only for its specific culture.

the same path, creating a standardized architecture. Looking at values Since the three concepts that set up the framework are a mixture of

within societies has never been as important. We dont want to be all the local, global and “glocal” forces, the result isn’t an isolated ap-

same but we want to understand each other. Seeing through both ways proach to architecture. Rather an architecture that has a great under-

by the idea of globalizing the local and localizing the global was accom- standing of its surroundings and is aware of the opportunities and

plished through emphasizing identities within societies through the use threats of global forces. The three concepts were the primary force

of culture, sustainability and technology. Those three concepts set up in the project, supported by the idea of the hearth.

the framework of bringing back values within the built environment and

76
 CONCLUSION

The hearth became an inspiration and a secondary design force Cultural identity needs to be explored in further details in every

within the project. Every design decision for all scales of the project, this multi-dimensional concept needs to be fully understood

project took the idea of the hearth into consideration, a centralized to be able to create one. No society is perfect, therefore the idea of

gathering space which connects different people, programs and the three primary concepts to balance each other in a way to im-

activities. The building skin and materials have a strong relation- prove its society needs to be explored. So the result will be an

ship to its culture, therefore form, color and texture represent its architecture that celebrates the values within its society while im-

surroundings. The framework could have been set up in a different proving it at the same time.

way, depending on existing conditions or type of project. Second-

ary forces can be picked from different concepts or combined from

all of the three concepts.

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 FINAL PRESENTATION

Final Presentation Board

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 BIBLIOGRAPHY

1. Ibrahim Mostafa Eldemery, „Globalization Challenges in Architecture,“ Journal of Architectural and Planning Research (2009): 3-9.

2. Lo F. Yeung, „Globalization and the world of large cities,“ United Nations University Press (1998): 10-37.

3. Sahin Vassigh, „A digital pedagogy for learning structures,“ Journal of Architectural Design (2004): 112.

4. William Porter, „Technology Form and Culture in Architecture: Misconception and Myth,“ William Porter, Space for Freedom (London:

Butterworth Architecture, 1989) 49-58.

5. Graham Owen, Architecture, Ethics and Globalization (New York: Routledge, 2009).

6. Amos Rapoport, House Form and Culture (Englewood Cliffs: Prentice Hall, 1969).

7. Keith Diaz Moore, Culture, Meaning, Architecture (Aldershot: Ashgate, 2000).

8. Roger K. Lewis, Architecture and the Global City, Paper (Maryland: University of Maryland School of Architecture, 2002).

9. John Holland, Hidden Order, How Adaptation Builds Complexity (Massachusetts: Perseus Books, 1995).

10. Ibrahim Mostafa Eldemery, „Globalization Challenges in Architecture,“ Journal of Architectural and Planning Research (2009): 3-9.

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