Unity and Diversity in Reykjavik - Portfolio

LSC331 - Kelci Vittachi - 140184477

THEME UNITY AND DIVERSITY EXPRESSED THROUGH TEXTURAL QUALITIES & VISUAL FORMS

To what extent is the sense of unity and diversity achieved through textural qualities and visual forms in landscapes?

R EYKJAVĂ? K URBAN FOREST The containment of unified housing and trees creates a satisfying integration that balances opposing elements of nature and man-made structures.

The desire for diversity is tangible in the painting of the buildings.

Diverse textures in the natural elements (mountain, sea, sky, vegetation) create patterns of certainty - patterns that can be seen as bold blocks.

The general expectation is for diversity to come from nature and for the unifying quality to come from man’s desire to contain and organise. However, in this case, nature is the prevalent feature.

The adaptation of Green Belts from post WWII British design alleviates built forms.

HALLG R Ă? M S KI R KJA SQUARE The selection and placement of soft materials featured in the square seeks to juxtapose the amount of hard surfacing.

The lack of trees and seating in the forecourt encourage visitors into the church.

The paving pattern reinforces the levelled forecourt space. Its geometric patterns offer strategic guidance to viewing the edifice of the church.

As a balance to the site’s symmetrical design, circular organic shapes of vegetation have been used.

Volcanic lava has become the design feature of this structure, integrating the concept of nature into the urban landscape and its surroundings.

The tall, thin structure of the trees draws the eye upwards towards the tower of the church.

These trees could also be seen as parallel structures.

The surrounding topography gently slopes upwards to the church, drawing the eye to it as a foci.

HAR PA HALL FORECOURT The unified features emphasise the forecourt as being a canvas for the concert hall. However, perceptions of a desolate landscape are inferred.

Few textures that cover large surface areas in water, glass and stone create a unity in the design.

Even the concrete cubes measure out the tedium.

In an attempt to create a unified landscape, the expectation of focal point is not offered when looking out onto the forecourt.

The regularity of built horizontal forms emphasise surrounding vistas.

Lose rocks contrast the gleaming facade of the concert hall. The desire to incorporate textural variation is prevelant, however, the rocks are contained within the design form.

K R I N G LA N CAR PAR K Unity is achieved through the limited material palette, although there is a wide variation in the way these materials are used.

Unlike most car parks, this design has a strong identity thanks to its diverse textural qualities.

The organic form of the trees on the viewing platform adds another textural component that is ever-changing.

Horizontal, protruding brick detailing oppose the vertical concrete strips.

These elements balance each other.

Unity is achieved through the repetition of Corten steel as the primary material.

However, it is also diverse as it is visible in varying forms.

Contrast in size and shape of fragmented, smooth basalt paving against the rough, corrugated steel are surprisingly complimentary.