Le studio californien Minarc a imaginé une maison familiale et rurale, appelée « Nice », près de Reykjavik, en Islande. Cela donne une maison faite de bois, confortable et chaleureuse au milieu de la nature. Des clichés de Torfi Agnarsson sont à découvrir dans la suite de l’article.
The desolate region surrounding Iceland and Greenland is, in essence, pure wilderness. The landscape, the people—every aspect of the area is unique. While the two isolated countries share an impressive amount of geographic similarities, the native cultures are each wholly their own, developing…
Continue Reading…
Panoramic views of the dramatic Icelandic landscape are offered from this holiday home near Reykjavik by local studio PK Arkitektar (+ slideshow).
PK Arkitektar designed Árborg House for a mossy hill high above the glacial valley of the Hvita river, a two-hour drive from the Icelandic capital.
The single-storey house is clad in concrete, which is textured with vertical lines and contains gravel from the river below as an aggregate.
Moss that was removed to make way for the structure has been reinstalled on the roof.
The house is entered through a long corridor that leads from the back, past the garage.
Guest bedrooms are accessed along another corridor that runs adjacent to the entrance passage.
A linear volume positioned perpendicular to these rooms is glazed entirely across the longest facade, facing the valley and mountains to the west.
Kitchen, dining and living spaces as well as the master suite are arranged along this section, connected along the glass wall so the view is uninterrupted.
Internal surfaces are covered throughout with smooth concrete and teak boards, which conceal cupboards and drawers in the kitchen.
The wood continues out onto the terrace, where it is intended to weather and blend in with the landscape.
“Doors and terraces are clad with teak boards that will gradually weather to a colour grade to match the seasonal moss and the broken concrete surface,” said the architects.
Projecting out from the terrace, an infinity pool containing a circular hot tub has pebbles from the riverbed covering its floor.
Photography is by Rafael Pinho and Helge Garke.
Here’s a description from the architects:
Árborg House
This vacation house is located on the banks of the Hvita river, a two-hour drive East of Reykjavik. The site is a moss-covered hill with a view over a quiet bend in the glacier-formed river. In the spring, the river carries the icebergs from the glacier towards the sea some 100km away.
The approach to the vacation house is from the top of the hill. The building is organised as a sequence of events: from the entrance porch through the closed courtyard into the living space and out onto the terrace at the end.
Living, dining, kitchen, and master bedroom are all arranged in one continuous room. This enables panoramic views of the river and the distant mountains to the west.
The exterior is a broken surface of light grey fair-faced concrete. The gravel from the riverbed is blended into the concrete, and is revealed in the broken surface. It harmonises the outside walls with the moss of the surrounding landscape.
Leftover moss from the footprint of the house covers the roof. It was kept aside and regularly nursed during the building process, before being reinstalled on the roof.
Doors and terraces are clad with teak boards that will gradually weather to a colour grade to match the seasonal moss and the broken concrete surface. Fair-faced concrete walls through out the entire interior are matched with untreated teak boards on floors and ceilings.
Selected pebbles from the nearby riverbed cover the bottom of the infinity pool. The pool projects out in front of the terrace, and serves as a railing which otherwise would have interrupted the view of the river.
The post Árborg House by PK Arkitektar overlooks
an Icelandic glacial valley appeared first on Dezeen.
Situé au Nord de l’Islande, dans le golfe de Húnaflói, il est possible de trouver ce rocher de 15 mètres de haut à la forme de dinosaure. D’une incroyable beauté, cet impressionnant colosse de pierre à la forme insolite appelée « Hvítserkur » est à découvrir en images et détails dans la suite de l’article.
An ancient Icelandic calendar influenced the layout and interiors in this Reykjavík hotel designed by local architects TARK and HAF (+ slideshow).
Reykjavík Lights Hotel by TARK and HAF comprises 12 corridors, one for each month of the year, and rooms are themed around specific days in the traditional calendar.
“A key element is the hotel’s unique visual calendar,” HAF founder Hafsteinn Juliusson told Dezeen. “Inspired by the ancient Icelandic calendar Rímtafla, it reflects the year-round daylight conditions in Iceland.”
In the lobby, a large spherical light hangs above a wooden polygonal bar.
The lobby wall is decorated in graphics based on star constellations that can be seen from Reykjavík.
Graphic designer Sveinn Þorri Davíðsson worked in collaboration with the architects to design the typography for the hotel’s signage and stationery, which is based on historic Icelandic runes.
One hundred and five custom-made wallpapers were created for the hotel, which correspond to the colour spectrums of Iceland’s daylight conditions.
Room are decorated with an eclectic mix of frames, which contain artworks showing the country’s traditions and seasons.
Photography is by Gunnar Sverrisson & Vigfús Birgisson.
Here is some more information from the architects:
Reykjavík Lights is a new concept hotel managed by Keahotels. The hotel design is a collaboration between architecture studio Tark and HAF. Team HAF developed the concept, interior and visual design of the hotel. The concept revolves around Iceland’s ever-changing light conditions and how they reflect Icelandic everyday life.
A key element is the hotel’s unique visual calendar. Inspired by the ancient Icelandic calendar Rímtafla, it reflects the year-round daylight conditions in Iceland. The visual calendar Rímtafla is divided by months and distributed onto 12 corridors. Each corridor represents a month of the year and each room is linked to a specific day in the ancient Icelandic calendar.
The rooms are decorated with unique color palettes expressing Iceland’s unique color spectrums. Artworks inside the rooms demonstrate local and seasonal traditions and circumstances, such as the Northern lights or the Midnight sun. In all, 105 custom made wallpapers were produced for the hotel. Throughout the hotel you will find various decorations and information about Icelandic culture, history and light.
Reykjavík Lights’ visual identity was developed in collaboration with graphic designer Sveinn Þorri Davíðsson. The typography is based on ancient Icelandic runes and the color scheme is an interpretation of the Icelandic light.
The post Reykjavík Lights Hotel by TARK
and HAF for Keahotels appeared first on Dezeen.
Images of fantasy goddesses are hidden in brightly-coloured graphics on the walls, floor and ceiling of this exhibition space in Reykjavík, Iceland (+ slideshow).
Berlin-based Icelandic graphic designer Siggi Eggertsson created a set of eight posters that fit together in different ways to form a seamless, patterned wallpaper across the interior of Spark Design Space.
Eggertsson used a mixture of curved and straight lines to generate the complex pattern. “My work is all based on grids and construction of geometric shapes,” Eggertsson told Dezeen.
“I normally work with warmer and less saturated colours, but for this exhibition I wanted to create something overly colourful, so I decided to use only pure CMYK colour blends,” he said.
On closer inspection, the graphics merge together to form images of women or ‘skvís’, the Icelandic term for a young, pretty and smart girl.
“They are sort of imaginary muses, said Eggertsson. “I knew I wanted to make a system of modular posters that could connect to each other in numerous ways to create a seamless pattern, but didn’t really know what to draw.”
“At first I thought about creating abstract patterns but then realised it would be more fun to draw pretty girls,” he added.
The exhibition continues until 16 November.
Here’s some information from the exhibition organisers:
SKVÍS at Spark Design Space
There is a special relationship between mind, sight, fine muscular movements and hands which, together with its reflection in the virtual world of digital technology, has given birth to a new species of of homo sapiens. The American science fiction writer William Gibson wanted to refer to this new-born species as “Cyber-punks”.
That was 30 years ago. This species has from early childhood had an almost unbreakable bond with a keyboard, a computer screen and a mouse. The infinite virtual world seems to be a dwelling place, an extension, and a reflection of their feelings and thoughts. When this proximity reaches a certain stage they become one and the same, the virtual world and the species.
Siggi Eggertsson is an artist of this new world. He was born in 1984 and will turn 30 next year. His life has been a constant journey in the virtual world almost since birth. He has never paused to consider the ordinary. He dives deep into the basic squares which the visual presentation of the screenshot and the printed matter are based on.
If patterns were a pure geometry without reference to the biological world such as flora or fauna, they were arabic or eastern. Patterns with a reference to flora or fauna, plants and birds, originated in Rome. A combination of the abstract and the real are found in Indian or Chinese mandalas.
The methodology is in fact the same. Squares based on horizontal and vertical lines. The density of the squares, or the resolution as we now call it, is the only thing that decides whether we can read into the pattern a representation of something real. The highest resolution digital photograph can be blown up until it ends up like squares on a ruled page without a reference to anything real. Siggi also uses a quarter of a circle pasted into a square – that is what his personal style is based on.
The exhibition consists of eight modular posters. The nature of the pattern is almost always spiritual – a suggestion of divine beauty. This beauty of infinity is always present in Siggi’s work. This may be related to methods for expanding ones mind, whether by use of substances or meditation.
That world has goddesses floating about, as can be seen in Siggi Eggertsson’s representation. He invites us on a guided journey as someone who has seen a world none of us have seen. This is a journey into infinity where we fleetingly catch a glimpse of the goddesses and make the briefest of eye contact.
The post SKVÍS by Siggi Eggertsson
at Spark Design Space appeared first on Dezeen.
Le studio AprilGarden nous propose cette nouvelle vidéo en technique timelapse de toute beauté intitulée « Beyond Nature » et tournée en Islande. Des images de nature incroyables tournées avec un Samsung Galaxy NX. L’ensemble est à découvrir en vidéo dans la suite de l’article.
Situé en Islande dans le parc national de Thingvellir, patrimoine mondial de l’UNESCO depuis 2004, le ION Hôtel est véritablement un lieu d’exception. Alliant un design ultra moderne avec un environnement naturel assez sauvage, le lieu est magnifique. Un endroit original à découvrir en images dans la suite.
by Maj Hartov A celebration of art and creative practices, the LungA festival on the east coast of Iceland invites attendees to partake in a full week of activities during July each year. Set in a…
Continue Reading…
The summer solstice is the official start of summer and the longest day of the year. It’s also a time to get together with friends and family for food, drinks and—in the higher reaches of the northern hemisphere—bask in the midnight sun. Nobody…
Continue Reading…
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
