SECOND NATURE - Isak Bergwall

SECOND NATURE 2015 ISAK BERGWALL

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ALIENS, PLEASE PARK YOUR SPACESHIP ELSEWHERE

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MASTER THESIS IN ARCHITECTURE

ISAK BERGWALL

EXAMINATOR MENTOR

CHRISTER MALMSTRÖM JOHN ROSS

2015

INFO@ISAKBERGWALL.SE WWW.ISAKBERGWALL.SE WWW.LTH.SE 5

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ABSTRACT 8

The animated landscape of Jökulsárlón is in constant movement. The ice of the Vatnajökull glacier shaped the dramatic landscape and left behind a serene void. Visitors travel to this land of contrast, between the ocean and the glacier and arrive to a landscape of shifting formal expression.

Second Nature is a tribute to its surroundings while contrasting the landscape. This manufactured scenery pays homage to the various geological and natural formations of Iceland; the canyons, the tectonic shifts of the earth, colliding ice and the fluid movement of water. This project is about orchestrating sequences that collectively conduct a diverse experience leading you to your final destination – the visitor centre that overlooks the vast lagoon. architecture that shape ones journey while the surroundings gives sublime experiences.

The building complements the surroundings by offering the visitor a physical interior path while also projecting views to the stunning landscape . The light plays an important role in this project as a guiding element flowing over the sculptural forms of the architecture.

No matter where you go, you are always on a journey.

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INDEX 12

INTRODUCTION 14 JÖKULSÁRLÓN 18 THE ARRIVAL 40 THE PATH 56 THE VOID 72 MATERIALITY 86 VISITOR CENTRE 88 ROOFSCAPE 128 EXHIBITION SPACE 138 DAYLIGHT SIMULATION 152 EXHIBITION & MODELS 164 REFLECTIONS 184 AFTERMATH 186

PATTERNS OF ICELAND 188

REFERENCES 240 13

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INTRODUCTION 16

No man-made object can surpass the beauty of nature, one can only try to Enhance its creation. The goal for this project is to create a setting where the visitor can appreciate the natural world and find inspiration to explore the landscape further. The architecture itself is a sculptural form with inspiration from its surroundings. A stylised triangulated expression inspired by the geometry of ice, earth and stone in contrast with the fluid sculptural forms of the ancient ice and the narrow canyons formed by fjords over the ages.

Water is an element that can be traced throughout the project, as a geometry and as an continuing element. The landscape itself merges this project into the glacial moraine hills where it rests. The cuts are minimal to let in light and for the communication around the building.

The structure is set into the hill to leave the view unobstructed from above and at the same time offer an extension of the landscape onto the panoramic scenery of the Vatnajรถkull glacier.

Depicting the unique landscape of Jรถkulsรกrlรณn Glacial lagoon and Vatnajรถkull Glacier an exhibition space invites the visitor to local art, information and exhibitions. The spaces are centered around three light wells with a crystallized form shattering the light into the spaces.

The different exhibitions are orientated around a staircase that lands in a water mirror with a waterfall running through the middle.

Giving the visitor an unique experience while descending into the sublevel. The space is constructed so that the light from the wells gives enough ambient lighting to the space without disturbing the art on the walls.

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LOOKING OVER THE LAGOON FROM THE LOCATION OF THE VISITOR CENTRE 19

JÖKULSÁRLÓN 20

When the first Vikings arrived in Iceland around AD 87 Breidamerkurjökull glacier was 20 kilometers further north than it’s present location. Between 1920 to 1965 when the temperature rose the glacier edge rapidly retreated and left icebergs at its wake, hence creating a lagoon in 1935 today known as Jökulsárlón. Glacial moraines left behind by the glacier, comprise the surrounding landscape of the lagoon. The Jökulsárlón Lagoon since 1948 grown from 8 km2 to 18 km2 in just 30 years. The lake is the lowest point in Iceland with its 200 meters below sea level.

While on their journey towards melting, thirty metre tall icebergs float past with their magnificent forms shaped by forces of nature. Some of them are covered with ash from ancient volcanic eruptions, every piece of ice that floats by the visitors tells a story of natural and geological events of the past.

Besides the geological features and the wonders of ice at the site, it also hosts an interesting fauna. The lagoon is filled with fish that drift in from the ocean with the tides, therefore seals thrive there and gather in large numbers to feed. The arctic tern nest in great numbers and the Breidamerkursandur is the main habitat for Skua (Stercorariidae).

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THE BRIDGE OVER THE LAGOON, WITH ICEBERGS MAKING THEIR WAY TO THE OCEAN. 23

THE POSITION OF THE GLACIAL EDGE FROM 1890 - 2004

2004 1992 1983

1954 JÖKULSÁRLÓN

1950 1945

1903 1890

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Sea

SINCE VATNAJÖKULLS ICE MASS FORMED THOUSANDS OF YEARS AGO IT HAS FORMED THE LANDSCAPE OF THE JÖKULSÁRLÓN AREA AND CONTINUES TO DO SO TODAY. AS THE GLACIER RECEEDS FURTHER AND FURTHER TOWARDS THE NORTH, NEW LAND SEES THE LIGHT OF DAY, BUT AT THE SAME TIME THE LAGOON EXPANDS LAYING EXISTING AREAS UNDER WATER.

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JÖKULSÁRLÓN IS LOCATED ON THE SOUTH-EAST COAST OF ICELAND, IN THE MIDDLE OF NOWHERE SERVICED BY THE MAINROAD. HÖFN IS THE CLOSEST CITY 80 KILOMETERS AWAY, AND THE DISTANCE TO REYKJAVIK IS 378 KILOMETERS.

REYK

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KJAVIK JÖKULSÁRLÓN

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200m

THE AREA SURROUNDING JÖKULSÁRLÓN ALL SHOW TRACES FROM WHEN THE GLACIER RECEEDED OVER THE YEARS. THE LAGOON IS CONSTANTLY GROWIING AS MORE AND MORE ICE CALVES INTO THE WATER.

100m

10m 28

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THE GLACIER EDGE ON THE OPPOSITE SIDE OF THE LAGOON 32

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LAYERS OF ICE AT JÖKULSÁRLÓN 35

NUMBER OF VISITORS 2012-2013 DIVIDED BY LOCATION

MIDDLE EUROPE SOUTH EUROPE NORTH AMERICA NORDIC COUNTRIES BENELUX GREAT BRITAIN OTHER

SUMMER VINTER

NORDIC COUNTRIES BENELUX OTHER GREAT BRITAIN SOUTH EUROPE MIDDLE EUROPE NORTH AMERICA

8,5% 8,5% 18% 12% 13% 19% 21%

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166000 60000

29% 20% 11% 10% 6% 6% 18%

NUMBER OF VISITORS BETWEEN 2004-2013 DIVIDED BY SUMMER AND WINTER

88% 85% 12% 15%

81% 81% 81% 81% 81% 81% 75% 19% 19% 19% 19% 19% 19% 25%

71% 29%

240 000

100 000

0

20050002006 2007 2008 2010 TRAVELING 2011 2012TO 2013 IN 20122004 46 % (180 OF 384 627) OF THE2009 TOURISTS ICELAND VISITED THE JÖKULSARLON AREA.

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NORTH

WEST

EAST

SOUTH WIND DIRECTION ON THE SITE FOR EACH MONTH OF THE YEAR 38

MARCH

APRIL

JANUARY

FEBRUARY

MAY

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

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THE AURORA BOREALIS DANCING OVER THE JÖKULSÁRLÓN GLACIAL LAGOON. 41

THE ARRIVAL 42

Turning off the ring road, the visitor proceeds underground and arrives beneath the open roof structure that mimics sheets of ice, breaking up and letting in light through the cracks. Coupled with the weather and aurora forecasts, when there is a high possibilty of Aurora Borealis the whole parking structure is lit up with the shades of the aurora borealis, creating a surreal arrival and a hint of what awaits above ground.

Today the parking facilities on the site is a gravel plane above ground, taking away the serenity of the space as well as interrupting the site boundaries towards the glacial lagoon. By demanding function below ground this does not only create a more natural environment but also creates an interesting landscape installation which the visitor can experience and explore by walking on the roofs of the car park. By shifting the roofs materiality from the rest of the landscape it invites a natural and comfortable space for pitching your tent in close proximity to the lagoon, which is not possible in the current situation of the site.

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CREPUSCULAR RAYS FALL THROUGH THE TECTONIC SEAMS OF THE PARKING STRUCTURE AS ONE DESPERATELY SEARCHES FOR SOMEPLACE TO PARK ONE'S CHARIOT OF TECHNOLOGY. THE SUBLIME PHENOMENA OF LIGHT CREATES AN ALMOST RELIGIOUS ATMOSPHERE IN THIS TRANSITIONAL SPACE, WHERE AFTER PARKING YOU CONTINUE YOUR JOURNEY ON FOOT THROUGH SPACES SURPRISINGLY NATURAL YET ARCHITECTURAL.

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"WE ARE ALL IN THE GUTTER, BUT SOME OF US ARE LOOKING AT THE STARS."

OSCAR WILDE 55

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"ADOPT THE PACE OF NATURE: HER SECRET IS PATIENCE."

RALPH WALDO EMERSON

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THE PATH

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The visitor lands in a submerged square after leaving the car park, given a series of choices the experience varies. Does one take the stairs up to the ground or follow the constructed path? Or does one get drawn towards the framed landscape in the viewing room for a moment with a sightline towards Iceland’s highest peak Hvannadalshnjúkur.

The passage takes up the aesthetic language from the car park and with a change of orientation and materiality it symbolises the rough earth formations of stone and the tectonic plates of the earth, in a diverse composition it gives the visitor a surreal experience. On the opposite side one views a wall that encapsulates the fluid lines of icebergs through the materiality of aluminium cladding. Much like the beautiful reflections that bounce between the waters surface and icebergs, reflecting the daylight to project it down into the narrow canyon.

Running alongside the path two small waterways are lit from below to create an dancing caustic pattern on the walls, the rippling water creates an ambient backdrop to further anchor the visitor in the locality of the place.

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EMERGING FROM THE CAR PARK THE VISITOR LANDS IN THE SUBMERGED SQUARE WHERE THE FIRST OF A SERIES OF CROSSINGS DETERMINES THE PATH ONE CHOSE TO GET TO THE VISITOR CENTRE. ABOVE, A WATER MIRROR KEEPING THE ELEMENTS OUT WHILE AT THE SAME TIME OFFERS A SPECTACULAR SHOWOF REFLECTING LIGHT. IN THIS PICTURE ONE ENTERS RIGHT UNDER THE MILKY WAY AND THE BRIGHT STARS OF THE NORTHERN HEMISPHERE.

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CREATING A SIGHTLINE FROM THE EXIT TO THE LARGE WINDOW SHOWCASING THE CONSTANT ANIMATED LANDSCAPE OF ICEBERGS MOVING IN A SLOW PACE TOWARDS THE SEA. BEHIND THE FLOATING ICE TENS OF KILOMETERS AWAY LIES ICELAND'S HIGHEST PEAK; HVANNADALSHNJÚKUR. IN THIS SPACE ONE CAN RELAX AND SLOW DOWN BEFORE CONTINUING THEIR JOURNEY TOWARDS THE VISITOR CENTRE.

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Parking garage Entrance Stair to landscape Canyon to visitor centre Viewing room E両t to the shore Tunnel The void

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THE REFLECTIVE ALUMINIUM WALL CHANGES COLOUR WITH EVERY PERSON THAT PASS IT, ITS FORMS DRAW PARALLELS TO THE WATER THAT MOVES TOWARDS THE SHORELINE RUNNING BESIDES IT. IN THIS ENDLESS PERFORMANCE OF LIGHT, WATER AND MAN COLOURS AND SHAPES MERGE, WHILE THE STRICT GEOMETRICAL WALL ON THE OPPOSITE SIDE REMINDS ONE OF THE BARE LANDSCAPE OF ICELAND.

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RIGHT: THE SUNLIGHT ENTER THROUGH A WATER MIRROR SCATTERING THE SUNRAYS AGAINST THE ALUMINIUM WALL. FILLING THE CANYON WITH NATURAL LIGHT. ABOVE: A CREOSSECTION THROUGH THE CANYON. 69

MOVING INTO THE TUNNEL YOU ARE STRIPPED OF THE NATURAL LIGHT AS YOU PASS THROUGH TO THE VOID SPACE INSIDE THE HILL. HERE YOU ARE GIVEN A CHANCE TO LET GO OF THE OUTSIDE WORLD AND JUST FOCUS ON THE EXPERIENCE OF THE JOURNEY.

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"FOR A MOMENT, NOTHING HAPPENED. THEN, AFTER A SECOND OR SO, NOTHING CONTINUED TO HAPPEN."

DOUGLAS ADAMS

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THE VOID 74

The path taken has hopefully given a bit of breath and relief from the instasanity of todays society, clearing the mind to prepare for the wonder of nature. In this fluid void, the landscape presents itself through an opening in the hill. The stage is set for the theatre of nature, the animated landscape of Jรถkulsรกrlรณn is playing before ones eyes in this transitional space of nothingness. A chance for contemplation is given the visitor before entering ones destination, the visitor centre. it is time to get your buddah on.

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"THE EARTH HAS MUSIC FOR THOSE WHO LISTEN”

GEORGE SANTAYANA

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MATERIALITY 88

The barren land of Iceland has stood as a great inspiration. The vast glacier outlet planes with it's black sands and fine texture contrasting the raw rock of the canyons, carved by ancient fjords. This dark greyish colour palette contrasted by the pure whites of ice has been the base for the materials of this project.

While the form and approach might be in contrast to the adjacent nature, the materials is grounded in the locality of its surroundings. The glacier moraines that are removed when merging the structures into the earth are used as aggregate together with the black sand from the Jรถkulsรกrlรณn beach. The water comes from the melted icebergs and to pigment the concrete, ash trapped in the glacier ice is used, bringing not only colour but history to the mix.

Aluminium is used in parts of the project, considering Iceland is one of the few places on earth that produces aluminium with a small CO2 footprint this is somehow justifiable from an environmental standpoint.

Theoretically by extracting Silica Dioxide from geothermal wastewater and using geothermal energy to heat the production phase it is possible to also produce glazing which is more environmentally friendly and local.

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VISITOR CENTRE 90

The visitor centre serves as a portal to the natural environment.

A place for inspiration, exploration and creativity.

It showcases the landscape in which it lies and tells the story of the place and history.

But you can not go on an adventure on an empty stomach therefore the visitor centre offers a world class restaurant with views seen nowhere else. Whether you are going for lunch, dinner or just want to stop by for a second breakfast before continuing on to the glacier.

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"NO HOUSE SHOULD EVER BE ON A HILL OR ON ANYTHING. IT SHOULD BE OF THE HILL. BELONGING TO IT. HILL AND HOUSE SHOULD LIVE TOGETHER EACH THE HAPPIER FOR THE OTHER."

FRANK LLOYD WRIGHT

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THE TWO KINDS OF CONCRETE USED IN THE BUILDING ARE VISIBLE WHEN ONE ARRIVES FROM THE SHORE AND ENTERS THROUGH A HOLE IN THE SLOPING HILL. FROM HERE ONE CAN CHOOSE TO CONTINUE UP TO THE MAIN ENTRANCE OR ENTER DIRECTLY TO THE EXHIBITION.

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BOTH ENTRANCES ON THE LOWER LEVELS ARE CLADDED IN CONCRETE. FROM HERE, ONE CAN ENTER TO THE EXHIBITION SPACE OR CONTINUE UP TO THE SECOND ENTRANCE OF THE FIRST LEVEL. IF ONE CHOOSE TO TAKE THE STAIR LEADING DOWN INSTEAD, A PATH UNDER THE HILL LEADS OUT TO THE WATER AND THE ZODIAC BOATS AWAITING TO TAKE THE VISITOR UP CLOSE TO THE ICEBERGS.

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EMERGING FROM THE SERENE SPACE UNDER THE HILL ONE LANDS IN A WHOLE OTHER EXPERIENCE, HERE THE RAW CONCRETE MEETS WITH THE WATER MIRROR THAT ONE PASSES OVER TO ENTER THE BUILDING, FROM HERE A GREAT VIEW INTO THE EXHIBITION SPACE REVEALS ITSELF RIGHT UNDER YOUR FEET. THE HEXAGONAL PANELS ON THE FACADE TAKES IT'S SHAPE FROM THE MANY DIFFERENT BASALT PILLARS FOUND IN ICELAND. CONSTRUCTED OF A SLIGHTLY REFLECTIVE ALUMINIUM, IT GIVES OFF A SUBTLE REFLECTION OF ITS SURROUNDINGS.

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Restaurant Bar Kitchen Boutique Office Computer lounge Media room WC Storage Medical Room Chan ng room Breakroom Char ng room Boat tours Land pier

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THE EXISTING SIGHTLINES HAS SHAPED THE TYPOLOGY OF THE BUILDING INTRUDING ON THE LINE OF SIGHT FROM THE HIGHEST POINTS IN THE LANDSCAPE WOULD TAKE AWAY A GREAT DEAL FROM THE EXPERIENCE OF THE LANDSCAPE * thIs sIghtlINe lIes INFroNt oF the hIghest Part oF the BuIlDINg aND Is 113

uNoBstruCteD

WHILE VIEWING THE BUILDING FROM AFAR ITS NARROW FOOTPRINT ON THE LANDSCAPE GIVES THE IMPRESSION OF A SMALL AND CRAMPED SPACE. WHEN ONE ENTERS THROUGH THE LOBBY ALL THAT IS CHANGED, WITH A SURPRISING VERTICALITY IN THE MAIN STAIRCASE ATRIUM. GIVEN IT'S LOCATION, HOVERING OVER THE DEEPEST LAKE OF ICELAND IT IS AN APPROPRIATE GESTURE TO INTERPRETATE THE HIDDEN LANDSCAPE OF THE SITE

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FROM THE MEZZAINE FLOOR ONE HAS A GREAT VIEW OVER THE INTERIOR OF THE BUILDING. FROM HERE THE VISITOR CAN CONTINUE OUT ONTO THE ROOF.

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THE MEZZANINE OFFERS A UNIQUE PERSPECTIVE MERGING ARCHITECTURE AND LANDSCAPE, AND IT ALSO OFFERS COMFORTABLE SEATING FOR THE INTAKE OF ONES NUTRITIOUS MEALS.

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THE NARROW CORRIDOR LEADING FROM THE MEDIA ROOM OUT TO THE MAIN SQUARE GIVES THE FEELING OF WALKING IN A CAVE. CONNECTING TO THIS CORRIDOR IS AN INTERNET LOUNGE, TICKET OFFICE FOR THE BOAT TRIPS AND NURSES OFFICE AS WELL AS A WC CLUSTER.

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FROM THE SQUARE IN THE MIDDLE OF THE BUILDING ONE HAS A GREAT OVERVIEW OF ITS DIFFERENT FUNCTIONS. THE METALLIC DOUBLE CURVED SURFACE IN THE ROOF THAT LEADS IN LIGHT, GIVES A GREAT SENSE OF SURREAL DEPTH.

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IN THE RESTAURANT ONE CAN SIT AND RELAX IN THE LOUNGE ENJOYING THE BREATHTAKING VIEWS OR HAVE A MEAL TO FUEL THE NEXT COMING ADVENTURES.

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IN THE BOUTIQUE ONE CAN AQUIRE NATIVE ICELANDIC TREASURES FUELING THE ENGINGES OF THE CONSUMPTION SOCIETY. AS IN THE FIRST ENTRANCE, ON THIS SIDE YOU ALSO ENTER OVER A ROOFLIGHT OVER THE EXHIBITION CENTRE.

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THE BUILDING IS ORIENTED IN ITS DIFFERENT DIRECTION BASED ON DIFFERENT CRITERIA. THE MOST IMPORTANT OF COURSE BEING THE VIEW TOWARDS THE GLACIER AND JÖKULSÁRLÓN (1).

THE SHOP WINDOW (2) IS NOT ONLY ANGLED TOWARS THE ICE BUT IT ALSO HAVE A PERFECT VIEW OVER THE SUMMER SUNSETS. THE VIEW FROM THE RESTAURANT LOUNGE (4) HAS INSTEAD ITS VIEW TOWARDS THE SUNRISE. THE BOUTIQES LARGE WINDOW (5) IS AIMED TOWARDS HÖFN WHICH IS THE CLOSEST CITY CENTER. BUT MORE THAN THAT IT ENJOYS A FANTASTIC VIEW OVER THE DISTANT MOUNTAINS. THE AURORA ROOM (3) ON THE ROOF IS ORIENTED IN A NORTH WEST DIRECTION TO OPTIMIZE THE VIEW OF THE NORDIC LIGHTS. THE EXIT (6) TO THE DIFFERENT BOAT RIDES IS SYMBOLICALLY AIMED AT THE HARBOR CITY OF SEYÐISFJÖRÐUR, WHERE ONE ARRIVES WITH THE FERRY WHICH IS ONE OF ONLY TWO WAYS TO ENTER THE COUNTRY. IN THE SAME WAY THE ENTRANCE (9) IS AIMED TOWARDS KEFLAVIK AND THE AIRPORT. IN THE MIDDLE OF JANUARY THE SUN COMES BACK TO THE ISLAND, TO CELEBRATE THIS THE ENTRANCE TO THE ROOF (8) IS LOCATED IN THE DIRECTION OF THE SUNRISE AT THIS TIME, SO THAT THE FIRST LIGHT OF THE COMING SPRING CAN FILTER INTO THE INTERIOR SPACES OF THE BUILDING. IN THE SAME WAY THE ROOF WINDOW (7) THAT SUPPLIES OFFICES AND MEDIA FUNCTIONS WITH LIGHT ENJOYS THE "FIRST" SUNSET OF WINTER.

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ROOFSCAPE 130

As an extension of the landscape, this roofscape offers a viewing platform giving the visitor a sensation of floating above the lagoon while watching icebergs float by in a birds eye view. This artificial landscape is always open and offers not only an experience but facilities for viewing the nordic lights or emergency shelter for when the storms starts rolling in. This concrete park is accessible directly from the landscape and also from the visitor centres entrance floor.

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WHEN ENTERING FROM THE LANDSCAPE ONTO THE ROOF ONE IS WELCOMED BY REFLECTIVE SHEETS OF METAL IN STRATEGICALLY PLACED POSITIONS, THESE DO NOT ONLY OFFER AN INTERESTING INTERPRETATION OF THE SURROUNDING LANDSCAPE, BUT ALSO HELP GUIDE THE LIGHT INTO THE BUILDING.

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THE DIFFERENT FOLDS OF THE ROOF IS MADE TO OFFER A RANGE OF DIFFERENT FUNCTIONS, FROM MIMICKING THE SHAPES OF THE SURROUNDING MOUNTAINS TO OFFER SEATING AND RAILING FOR THE ROOF TERRACE.

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EXHIBITION SPACE 140

Showcasing the unique landscape of Jรถkulsรกrlรณn Glacial lagoon and Vatnajรถkull Glacier an exhibition space invites the visitor to local art, information and exhibitions. the spaces are centered around three light wells with a crystallized form shattering the light into the spaces. The different exhibitions are oriented around a staircase that lands in a water mirror with a waterfall running through the middle. Giving the visitor an unique experience while descending into the ground. The space is constrected so that the light from the wells gives enough ambient lighting to the sublevel space without disturbing the art on the walls.

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Stair atrium Geolo cal exhibition passage/exhibition Glaciolo cal exhibition Temporary exhibition Subterrain Terrace Media room WC Storage Icelandic art exhibition Pier Shoreline entrance

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THE WATER GENTLE FLOWING DOWN OVER THE EDGE SERVES AS A CONSTANT CONNECTOR BETWEEN THE TWO PLANES AND ACTS AS A THREAD OF THE THEME IN THE BUILDING. THE RIPPLING SOUNDS OF THE FLOWING WATER SETS AN AMBIENT ATMOSPHERE FOR THE EXPERIENCE OF THE ART. THE CENTRAL STAIRCASE TAKES THE VISITOR TO THE THREE DIFFERENT MAIN EXHIBITIONS OF THE BUILDING.

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TAKE RIGHT AFTER THE STAIRS AND YOU COME TO THE LOCAL ARTIST EXHIBITION, HERE YOU CAN FIND ART AND CRAFTS FROM ALL CORNERS OF ICELAND. UNDER THE WATER MIRROR LIGHT ARE FILTERED DOWN TO THIS SUBLEVEL SPACE. HERE ONE HAS A GREAT VIEW TOWARDS THE SKY AND THE PEOPLE ENTERING THE BUILDING ONE FLOOR ABOVE.

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IN THE GEOLOGY EXHIBITION A SET OF PODIUMS ARE PLACED IN THE ROOM TO FEATURE DIFFERENT PIECES OF ICELANDIC GEOLOGY. ON THE WALLS PHOTOGRAPHIC EXHIBITIONS CENTERED AROUND DIFFERENT GEOTHERMAL AND GEOLOGICAL PHENOMENAS. IN THIS IMAGE ONE CAN ALSO SEE THE SERENE LIGHT THAT FLOWS THROUGH THE LIGHT WELL, FILLING THE SPACE WITH CALM.

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IN THE GLACIOLOGY EXHIBITION THERE IS A PHOTOGRAPHIC JOURNEY THROUGH THE VATNAJÖKULL GLACIER. HERE IT IS OPEN BETWEEN THE TWO FLOORS AND THE LIGHTWELL ITSELF FILLS WITH WATER EVERYTIME IT RAINS. THIS WATER IS THEN SLOWLY DRIPPING DOWN TO A SMALL POND IN THE MIDDLE OF THE ROOM. A STATEMENT OF OUR IMPACT ON NATURE AND THE RAPID MELTING OF THE GLACIERS IN THIS WORLD.

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DAYLIGHT SIMULATION 154

Good lighting and especially daylight is among the most important aspects of a building, therefore a big part of this project was sculpting the building towards the light.

Throughout the building this is mainly achieved by three main glass installations that acts as large roof lights. These filter the light down into both levels. Of course in a place like this, the views are just as important so the windows are focused more on views than optimal light capacity.

For the canyon it was important to get as much light in as possible due to the fact that it could feel a bit claustrophobic for some people.The light also functions as a guiding light, this is visible throughout the whole project.

To test the different spaces DIVA for Rhinoceros 3D where used.

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CD/M2

1500 1350 1200 1050 900 750 600 400 300 150 0

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THE VALUES ARE MEASURED IN CD/M2 (CANDELA PER METER SQUARED) CANDELA IS THE STANDARD UNIT OF LUMINANCE. IT REPRESENTS A LUMINIOUS INTENSITY OF ONE CANDELA RADIATING FROM A SURFACE WHOSE AREA IS ON SQUARE METER.

THE SIMULATIONS TAKE PLACE ON THE 21ST OF JUNE AT 1500

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THE MAIN SQUARE OF THE BUILDING IS FED WITH LIGHT FROM ALL DIRECTIONS CREATING A NICE EVEN ILLUMINATION WITH BRIGHTER AREAS AROUND THE ROOFLIGHTS.

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AS YOU MOVE CLOSER TO THE CENTRAL ROOFLIGHT ONE CAN SEE HOW IT ILLUMINATES THE SPACE

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IN THE EXHIBITION HALL THE ROOFLIGHT GIVES AN AMBIENT LIGHT TO THE ROOM WHILE AT THE SAME TIME KEEPING THE WALLS FREE FROM SUNLIGHT FOR THE PHOTOGRAPHIC ART.

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HOWEVER AT SOME TIMES OF THE DAY WHEN THE SUN STANDS IN AN ANGLE IT WILL FLOW THE WALLS WITH LIGHT IN THE GEOLOGICAL EXHIBITION HALL.

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THE ATRIUM SPACE IS FLOODED WITH LIGHT FROM ABOVE ASWELL AS THE EXHIBITION SPACE FOR THE LOCAL ARTISTS.

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DESPITE ITS NARROW OPENING TO LET THROUGH SUNLIGHT THE CANYON IS BATHED IN NATURAL LIGHT.

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WE BORROW FROM NATURE UPON THE SPACE WE BUILD

TADAO ANDO

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EXHIBITION & MODELS 166

For this project I wanted to explore the digital fabrication processes for creating physical models.

It is fascinating how one becomes a slave to the machine in this process.

After alot of trial and error with broken or warped models the results were worth the many moments of dispair.

The following machines were used.

Makerbot Replicator 2 PLA plastic printer RepRap mendl mono (this did not produce any final results) Z-corporation Spectrum 510z Gypsum printer CNC-milling machine (coding and supervision done by workshop staff)

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THE EXHIBITION IN FULL, ON THE TABLE LIES A COLLECTION OF GEOLOGY FROM ICELAND AND SAMPLES OF NOT SO EXCELLENT RESULTS OF VARIOUS 3D PRINTINGS 169

THE SECTION MODELS OF THE CANYONS WERE PRINTED USING A MAKERBOT PLA 3D PRINTER.

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ABOVE THE THREE SECTIONS THERE IS A SET OF ADJUSTABLE LIGHTS SO THAT THE VISITOR CAN SEE THE EFFECT IN THE CANYON WHEN THE ”SUN” IS AT DIFFERENT POSITIONS IN THE DAY

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THIS MODEL IS MADE USING A Z-CORP GYPSUM PRINTER, WHICH HAS THE ABILITY TO PRODUCE VERY FINE DETAIL AND A HUGE BONUS IS THAT IT WRITES IN A SERIES OF STEPS, SO THE STEPPING IN THE 3D SURFACE BECOMES VISIBLE IN THE PRINT. THE LANDSCAPE MODEL IS CNC-MILLED FINNFORM THAT IS PAINTED BLACK. THE WATER SURFACE IS CARDBOARD SPRAY PAINTED IN A COPPER TONE.

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DUE TO FORMAT ISSUES THE PRESENTATION RENDERS DID NOT FIT THE REPORT, THEREFORE THEY ARE DISPLAYED IN THIS SECTION INSTEAD. ALL THESE RENDERS EXCEPT THE PARKING GARAGE RENDER WERE PRINTED IN A1.

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REFLECTIONS 186

One can argue that the form of this project is to grand for its setting, too sculptural for such a �empty scenery". I strongly believe that it is this contrast between the nothingness of the moraine hills and the angular surfaces of the architecture that makes it merge into the landscape.

Usually when it comes to buildings in nature one tries to make a minimal impact on the nature. This often results in buildings gently placed on top of the site. This would be devastating on this site, as it would completely interrupt the sightlines and views of the landscape. The building would also stand out like a sore thumb greatly in this monochromatic landscape.

It was from this thought process that the project evolved. What if one could submerge great parts of the building without leaving untreatable scars in the nature.This is possible since the geology of the site is based on packed moraine, this does not require any removal of bedrock and can be restored when the buildings life comes to an end. The only vital part of the site is actually the moss, which could be redistributed to other locations throughout the site.

One of the most important things was to give the visitor another layer of the sites surroundings through the architecture. I believe that the sculptural forms and it’s natural heritage and levels of interpretation serves as a way for the visitor to rethink the distance between nature and building, and to find inspiration in the architecture that one can take further on the journey out in the landscape.

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AFTERMATH 188

Because of the rapid receding of the icecaps scientists believe that Jökulsárlón will in the near future transform into a fjord and carve deeper into the Icelandic landscape, when this happens the building will witness a grand transformation of it’s surrounding landscape.

But when the glacier edge has retrieved so far that it is hardly visible from the lagoon and the icebergs have stopped carving into the lake, if the building then has served it’s purpose it is my hope that nature will reclaim it.

When the parking garage and the path to the building has been removed and refilled with gravel, after all the glass and metal is stripped away.

What is left is the concrete core which largely consists of materials taken directly from the site. Therefore when the building’s lifespan comes to an end it will go back to it’s foundations and once again merge with the bare landscape of Iceland.

And in that moment it will truly become, a second nature.

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PATTERNS OF ICELAND 190

The research phase for this project consisted of five weeks of traveling through the Icelandic landscape by foot and car, searching for patterns and inspiration in the natural world.

How can one interperet natures form and convert it to an architecture?

An important factor in this body of work was to find a scaleless interpretation of Iceland at it's core.

The uncertainty of the size of an object can often mezmerise it's viewer.

This is the result of the initial research phase of Second Nature.

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THE GENTLE CURVES OF THE AURORA BOREALIS GAVE AMONG OTHER THINGS INSPIRATION TO THE INTERIOR OF THE BUILDING 193

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THE COLOURFUL LAVA CAN BE FOUND IN MANY DIFFERENT SHADES AND FORMS 195

THE DRY AND CRACKED SOIL WAS ONE OF THE INSPIRATIONS TO THE PARKING GARAGE 196

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THE QUICKSAND CREATES AMAZING PATTERNS IN DIFFERENT SCALES. THESE RIDGES CAN BE INTERPERETED INTO THE FLUID SHAPED WALL IN THE CANYON 199

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A SIMPLE BODY OF WATER IN THE MIDNIGHT SUN GIVES IT AN ALMOST METALLIC FEEL. TAKEN AT THE SITE. 201

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THE SEPARATION OF GLACIAL SILT AND WATER CREATES STUNNING LAYERS IN THIS GLACIAL LAGOON. THIS LAYERING CAN BE TRACED BACK TO THE BUILDING 203

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BASALT PILLARS LIKE THESE CAN BE SEEN IN MANY DIFFERENT SCALES AND LOCATIONS OVER ICELAND. THIS STRUCTURE STOOD AS INSPIRATION FOR THE METAL CLADDING OF THE BUILDING 205

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LAYERS OF ASH IS TRAPPED IN THE SOIL AND ROCK, HERE YOU CAN TRACE EVERY MAJOR VOLCANIC ERUPTION THROUGH HISTORY. THIS PHENOMENA LED ME TO USE VOLCANIC ASH TRAPPED IN THE ICE TO PIGMENT THE BUILDINGS CONCRETE 209

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THESE TERRACED LAYERS ARE FOUND ON THE SIDES OF GEYSERS AND ARE MINERAL DEPOSITS THAT COMES FROM THE WATER .

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THE CREPASCULAR RAYS OF ICELANDS EVER SHIFTING WEATHER LAID THE FOUNDATION TO THE AMBIENT FEEL IN THE PROJECT. 215

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NATURE’S GREAT FORCE CAN BE SEEN (AND HEARD) IN THE MANY GREAT WATERFALLS AROUND THE LAND. 217

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BOILING MUD EXPLODING , CREATING ABSTRACT SHAPES 219

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STRANDED ICE ON JÖKULSÁRLÓNS BEACH AT FIRST LIGHT. I FIND IT FASCINATING HOW WATER CAN DESTROY ITSELF BY SHIFTING BETWEEN FLUID AND SOLID STATES. 221

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A WHOLE OTHER UNIVERSE EMERGES IN A SMALL SHEET OF ICE 223

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GLACIER AND ICE HAS PLAYED A BIG ROLE IN THIS PROJECT, DUE TO ITS CONSTANT SHIFTS NEW FORMS EMERGE CONSTANTLY 225

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A WALL OF WATER, THIS OFCOURSE WAS A GREAT INSPIRATION TO THE ”WALL OF WATER” IN THE CANYON 227

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NATURAL OILS THAT COVERED A SMALL PUDDLE HAS STARTED TO CRACK AND DRIFT APART. THIS SENSATION INSPIRED ME AMONG OTHER THINGS TO THE PROJECT THAT NOT EVERYTHING IS WHAT IT SEEMS ON THE SURFACE 229

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”BEAUTY IN DEATH” TO CREATE A STRUCTURE THAT CAN STAND AS A MONUMENT OF BEAUTY AFTER IT ’S FUNCTION IS GONE. 233

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SULPHUR MINERALS IN DIFFERENT COMPILATIONS, TAKEN ON A GEOTHERMAL FIELD. 235

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A SECTION OF GLACIAL ICEMASS WITH IT’S MANY CREVASSES 237

I WAS STANDING ON A MOUNTAIN OVERLOOKING THE MAGNIFICIENT GLACIER AT (ALMOST) FIRST LIGHT, I WOKE UP AT 4 O’CLOCK AND STARTED HIKING IN THE DARKNESS, WITH NO IDEA WHERE I WAS GOING, I JUST WANTED TO GET FURTHER UP. WITH A HEADLIGHT AS MY ONLY GUIDE I SLOWLY ASCENDED THE MOUNTAINSIDE. AS I HAD DROVE PAST THIS SITE FROM AFAR A FEW TIMES I KNEW WHERE I HAD TO GO TO GET THE RIGHT COMPOSITION. THIS MORNING WOULD BE PERFECT FOR THE IMAGE I HAD IN MIND. AFTER A FOUR HOUR HIKE I ARRIVED 15 MINUTES TO LATE TO THE TOP AND MISSED THAT GOLDEN LIGHT I WAS COUNTING ON FOR THE FOREGROUND. LEAVING THE GLACIER IN SHADOW. BUT AS ALWAYS THE JOURNEY HAD BEEN SO MUCH MORE WORTH IT THAN THAT PHOTOGRAPH AND IT TURNED OUT TO BE ONE OF THE MOST INTERESTING AND EXCITING HIKES I DID IN ICELAND. IT WAS AT THAT MOMENT I FOUND THE PURPOSE OF MY THESIS. IT SHOULD BE ABOUT THE JOURNEY. THE NATURAL EXPERIENCE ONE GET WHEN TRAVELS INTO THE UNEXPECTED. ORCHESTERED BY THE SCULPTURAL FORMS OF ARCHITECTURE AND LIGHT.

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THANK YOU! 240

EXAMINATOR Christer Malmström MENTOR John Ross JURY AT PRESENTATION Lina Dahlström David Andreen INFORMATION AND MATERIAL Árdís Erna Halldórsdóttir Eyjólfur Magnússon Josef Forslund Sergej Rumjantsev Fiskeby Kartong GENERAL WIZARD THINGS Karl Allemyr Elinor Andersson Linnea Berg Felicia Lans Björn Hellberg Sofia Kanerud Mathilda Narvander Karolina Nilsson Fredrik Petersson Christopher Polteg Elin Schnipper Martin Samuelsson Behrooz Tal A SPECIAL THANK YOU TO

Hans Kristian Eyðunsson Hansen

AND THANK YOU TO THE MASTER THESIS STUDIO OF HT14/VT15

FOR ALL THE INSPIRATION, LAUGHS, MOTIVATION, EPIC SPOTIFY PLAYLISTS AND GOOD TIMES! 241

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BOOKS ARCHITECTURE WITHOUT ARCHITECTS

BERNARD RUDOFSKY ISBN-13: 978-0826310040

BIOMIMICRY IN ARCHITECTURE

MICHAEL PAWLYN ISBN-13: 978-1859463758

ART FORMS IN NATURE

ERNST HAECKEL ISBN-13: 978-37911319902

INFORMATION & IMAGERY LIDAR DATA

TOMAS JOHANNESSON / ICELANDIC METEOROLOGICAL OFFICE HELGI BJÖRNSSON / INSTITUTE OF EARTH SCIENCES, UNIVERSITY OF ICELAND FINNUR PÅLSSON / INSTITUTE OF EARTH SCIENCES, UNIVERSITY OF ICELAND

RÖGNVALDUR GUDMUNDSSON VISITOR STATISTICS

JEFF SCHMALTZ/MODIS LAND RAPID RESPONCE TEAM, NASA GGSFC SATELITE IMAGE OVER ICELAND

SIMON DISCH (GOOGLE MAPS PHOTOSPHERE SEPT 2014) ORIGINAL BACKGROUND IMAGE FOR RENDER ON PAGE 95

HANS KRISTIAN EYÐUNSSON HANSEN

TERRAIN MESH AND SURROUNDING MOUNTAIN 3D MODELS ALL OTHER MATERIAL IS CREATED BY THE AUTHOR. IF YOU WANT TO REPRODUCE THIS MATERIAL PLEASE GET IN CONTACT WITH ME FIRST.

COPYRIGHTED 2015 243

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