In collaboration with Sigridur Anna Eggertsdottir I participated in an open design competition arranged by the Iceland Design Center and jewelry designer Hendrikka Waage, our approach was to create asymmetry and capture the feeling of water…
The proposal came in third of just about 120 entries. The bracelet design was considered the competitions best, suitable also as a concept for a ring design. Our presentation was given great acclaim; obviously the jury liked it a lot.
Present at the seremony in Reykjavik were jury members Steinunn Sigurðardóttir, Icelands greatest fashion designer and Reykjavik City Artist of the year 2009, and Geoffroy Medinger,UK Brand director for Van Cleef & Arpels
Krissi from Krads received the prize on behalf of us.
See also extensive coverage from the prize seremony on icelandic TV here (in icelandic).
In Jelling the Danish history is visible layer by layer of continuous activity, all the way back to the earliest of days – some layers still intact while others transformed, reused or moved and others still completely removed. In the community planning these elements are looked upon as references and for inspiration – Jellinge is a place of dynamic development and not the status quo.
The rocks are in fact just blocks of granite – its the carved signs on them that give the symbolic value far greater than the mere impression of them. They occupy both a greater physical and metaphysical space – their stories of the place, the people and the land. The aura of the rocks is charged with symbols that will bring wonder and enthusiasm to generations to come – it would be unique and bind together the history with the present and point towards the future. The aura, with its artistic expression, places a new layer on top of the already existing ones and hint towards the past use of colour to enhance the stones´ message. It plays with the changing light of the different seasons.
The smallest rock, which is not in its original position, is in great danger of deteriorating. The archeological advice is therefore to bring it inside a climatized building to prevent further deterioration. The bigger rock, in better condition, is placed under a glass canopy, naturally ventilated but weather protected. These are the simplest measures to provide the necessary protection while still keep the integrity of the monument site.
All sides of the stone areclearly visible, and you can get in close to see the detail. The climatized screen protects against contact and vandalism. The screen is open and naturally ventilated so that there will be no condensation problems. Rainwater is handled through the construction foundation ring that runs along the glass canopy sides. The entire screen is produced off-site and lifted in place in one move, thus removing danger from operation processes on site close to the stones.
Throughout the development of the concept the main focus has been to reduce the CO2-emissions as much as possible. From critically evaluating the actual needs, through form- and construction optimalization, material / reuseability / lifecycle evaluations and product optimalization to energy supply and efficient lighting, the goal has been continuous monitoring and reducing the CO2 footprint. As the diagram shows, a significant reduction can be reached by making the right choices.
In june 2008 we submitted a proposal for a new university campus building in Reykjavík, gathering all Icelandic competence researching and educating in the historic Icelandic litterature and better facilities for displaying the original Saga manuscripts in one building. Needless to say, the building would be of national importance and a great many architectural offices took part. We collaborated with Geir, Jarl Ture and Espen (Griff Arkitektur), as well as brainstorming at the beginning with Odd and Adnan (a-lab).
The building is divided into three distinctive parts – Álfaborgin (the elf city);the rock you enter into where the national treasure is kept safe – jarðskorpan (the crust); the rough icelandic landscape where you move freely on top, and «bókin» (the book); hovering over the violent landscape, elevated, containing and protecting the knowledge.
We got shortlisted in the evaluation, one of 5 potential contenders to the 1. prize. Among the jury comments were «…. The floor plans of the lower floors are skillfully done with beautiful horizontal and vertical spatial connections. The idea of the connection between the storage facilities and the exposition area is particularly interesting…,… the library and exhibition spaces are interestingly designed and the overall appearance is exciting and positive, material choices are innovative»
On the 9th of April 2008 we went to Garðabær to pick up the 3rd prize for our proposal for the new Museum of Design an Applied Arts (Mudesa). There were 35 competition entries.
Visiting the museum would be a unique spatial experience – the museum opens up towards the square with its spiralling shape and invites the visitors in, as well as exposes its contents outwards and contributes to a lively town center square. The strength of the proposal is the way it weaves outside and inside together, and the multistorey central exposition space which connects all levels of the building.
Among the jury comments were » Convincing solution. Ambitious proposal, effortless in its simplicitiy without being neutral….Internal spaces are intertwined in an amusing way with good visual connections….The proposal contains brilliant solutions and interesting spaces of varying size and shape.»
The winning proposal was made by PK Arkitektar, one of the leading architectural offices in Iceland.