Set within a volcanic expanse in southern Iceland, a recent project by Sp(r)int Studio brings a nuanced response to the Stöng ruins, one of the country’s most significant archaeological sites. Excavated in 1939 and protected since 1957 by a modest shelter, the Viking-era longhouse in scenic Þjórsárdalur stands as a rare and remarkably complete remnant of early Icelandic domestic architecture. The restoration builds upon this legacy, extending the site’s function and form and remaining attentive to the surrounding terrain.

The new intervention introduces a spatial framework that protects the ruins without enclosing them. The studio preserves the original 1957 structure, cladding it in untreated larch that will weather naturally with the climate. A translucent roof of polycarbonate floats above the exposed ruins, diffusing light across the excavated stonework and dissolving the boundary between interior and exterior. The result is a structure that shelters without overpowering, prioritizing legibility and atmosphere over monumentality.

images © Claudio Parada Nunes

adapting to iceland’s volcanic Topography

The site geography of the Stöng ruins informs Sp(r)int Studio’s intervention. Rather than imposing a singular gesture, the architects design the structure to unfold across the valley floor, adapting to changes in elevation and framing natural contours. Carefully laid paths, a footbridge, and a new entry platform stitch together the disparate elements of the site, subtly choreographing the visitor’s experience while limiting physical intrusion on the landscape.

From the raised entrance, visitors are led onto a viewing platform that hovers above the longhouse remains. This shift in elevation positions the ruins in their full spatial context, granting clarity without encouraging contact. The intervention privileges alignment between visitor and view, and between architecture and terrain.

the Stöng ruins sit within a volcanic valley of southern Iceland

Light, Material, and Permeability

With its Stöng ruins shelter, Sp(r)int Studio’s design language remains sparse and deliberate. Larch cladding and polycarbonate are joined by concrete footings and steel connectors, each expressed with care and intention. The structure allows air to pass through and light to shift across the surfaces, sustaining the atmospheric conditions that have shaped the ruin for centuries. Glazed apertures and roof openings are positioned to capture views of specific artifacts and architectural traces, offering points of orientation and pause.

By emphasizing porosity and restraint, Sp(r)int Studio brings a sense of continuity between the original dwelling, the previous shelter, and the new construction. Nothing is obscured. Instead, the layers of intervention remain legible, forming a cumulative archive of preservation efforts across time.

a translucent polycarbonate roof hovers above the Viking-era longhouse remains

The renovation treats the 1957 shelter as an artifact worth conserving in its own right. Rather than replacing this earlier structure, Sp(r)int Studio extends its relevance by adapting it. In this way, the project foregrounds preservation as a living process which is neither finished nor frozen. Each design move seeks to extend the life of the site, resisting erasure in favor of architectural continuity.

This approach to heritage architecture emphasizes adaptability and engagement over interpretation. The architecture leaves room for temporal shifts and environmental variation, rather than imposing a fixed narrative. This way, the project becomes an open framework through which the past can be accessed without being finalized.

Sp(r)int Studio preserves the original 1957 shelter and re-clads it in untreated larch

elevated walkways and platforms guide visitors while protecting the excavation

interior spaces remain permeable to light and air, preserving atmospheric continuity

framed apertures direct views toward key archaeological details in the ruins

the shelter’s design by Sp(r)int Studio emphasizes restraint and continuity

project info:

name: Stöng Ruins

architect: Sp(r)int Studio

location: Iceland

area: 385 square meters

completion: 2024

photography: © Claudio Parada Nunes | @studiocapn

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Located at Hólar 6 in West Iceland, near Stykkishólmur, Eagles Dream by Gudmundur Jonsson Arkitektkontor integrates with its surrounding landscape. The design draws from the cascading mountainous ridges that define the area and incorporates distinct orientations to frame the diverse and expansive views. The concept was influenced by the discovery of an eagle feather on-site, leading to the idea of a structure poised lightly on the terrain, as though ready to take flight. Elevated on columns, the vacation residence allows the landscape to flow beneath it, treating the underside as a ‘fifth elevation’ with the same attention to detail as the rest of the design. The cladding materials establish a harmonious relationship between the house and its environment. Kebony Clear wood, applied on the trapeze-formed balcony, is used both on the exterior and underneath the house to create a unified aesthetic.

all images by Gunnar Sverrisson

‘Eagles Dream’ Harmonizes with West Iceland’s Landscape

Oslo-based studio, Gudmundur Jonsson Arkitektkontor, uses Alucoil cladding to mirror the surrounding mountainous landscape, extending the dialogue between the building and its natural setting. Inside, Icelandic bluestone, Blágrýti, covers the floors and bathroom walls, grounding the interior design in local materials. Continuity is further emphasized through the interior wooden cladding, achieved using pine veneer treated to match the patina of the weathered Kebony Clear exterior over time. A corridor leading to the bedrooms features four circular glazed floor windows, establishing a direct visual connection to the ground below. A long bay window on the north side accentuates views of the adjacent forest. The trapeze-like forms of the library and kitchen echo the design of vintage camera lenses, capturing the surrounding vistas through carefully framed perspectives. Eagles Dream blends innovative design with its natural context, offering a residence that respects and enhances its spectacular Icelandic setting.

Eagles Dream stands elevated on columns, allowing the Icelandic landscape to flow freely beneath

the design concept draws inspiration from an eagle feather, evoking a structure ready for flight

Kebony Clear wood cladding, applied on the trapeze-formed balcony, creates a cohesive aesthetic inside and out

Alucoil cladding reflects the mountainous ridges, blending the house into its surroundings

Eagles Dream’s design reflects the cascading ridges that define its dramatic West Iceland location

positioned at Hólar 6, Eagles Dream frames diverse and expansive views of West Iceland’s terrain

the house’s elevated structure embodies lightness, creating minimal disruption to the natural site

Eagles Dream blends contemporary design with local materials to harmonize with its Icelandic setting

glazing reflects the cascading mountainous ridges and frames the diverse and expansive views

project info:

name: Eagles Dream
architect: Gudmundur Jonsson Arkitektkontor | @gudmundurjonssonarkitekt

location: Hólar 6, Iceland

photography: Gunnar Sverrisson | @gunnarsverrisson

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Curro Cardenal’s photographic series captures the isolated homes scattered across Iceland’s dramatic landscape, reflecting the independence and resilience of the Icelandic people. These solitary structures blend into the rugged terrain, emphasizing the relationship between human habitation and the harsh natural environment. The homes are often found in remote locations, set against the backdrop of volcanic craters, glaciers, fjords, black sand beaches, and the aurora borealis, encapsulating the essence of Iceland’s contrasting geography.

While two-thirds of Iceland’s population resides in urban areas, the presence of isolated homes throughout the countryside offers a striking contrast. These modest residences can often be found in locations seemingly chosen for their remoteness, reflecting the deep connection between the people and the land. The homes are built with practicality, adapting to the challenges posed by Iceland’s extreme climate and unique geographical features. The design of these small, inconspicuous houses integrates into the landscape, harmonizing with the natural surroundings.

all images by Curro Cardenal

Curro Cardenal’s Exploration of Iceland’s Nature

The series highlights the photographer‘s reflections on encountering this unusual scenery —‘Why in the unlimited possibilities of land did they pick this particular spot? Why did they build such small homes when they could expand throughout the land? If these were summer homes, wouldn’t they prefer to spend time socializing with others after a long winter instead of being secluded? And perhaps the biggest question of all, how on earth do they get their groceries?’

Living in Iceland requires cultivating a deep reverent relationship with the land. The country’s extreme climate—featuring volatile storms, long winters with little daylight, and summers of 24-hour sunlight—necessitates resilience and adaptability. The unpredictability of Iceland’s weather is a defining factor for its inhabitants, who face natural forces with calm stoicism. This close relationship with nature is reflected in the design and placement of these homes, which prioritize functionality and integration with the environment.

Curro Cardenal captures isolated homes scattered across Iceland’s dramatic landscape

Icelanders’ embrace of Isolation

The use of local materials and minimal design allows these homes to sit naturally within the vast and unspoiled landscape. Their placement offers a continuous connection to the surrounding beauty, inviting residents to engage with the grandeur of their environment. The isolation of these homes is a reflection of the Icelandic way of life—rooted in a deep respect for nature and a desire for solitude. In this landscape, these homes symbolize a balance between the extremes of Icelandic weather and the peace found in its natural beauty.

The design of these structures reflects the Icelanders’ protective attitude towards nature, preserving the purity of their surroundings while creating spaces for reflection and retreat. Cardenal’s images emphasize the harmony between the isolated homes and their environment, capturing the unique coexistence between human life and the formidable forces of Iceland’s natural world.

remote homes are set against volcanic craters, glaciers, and black sand beaches, embodying Iceland’s geography

built in remote locations, the homes reflect a deep connection between people and the land

these solitary structures blend into the rugged terrain, showcasing resilience and independence

these modest residences harmonize with the natural surroundings, integrating into the landscape

the homes reflect the calm stoicism with which Icelanders face unpredictable natural forces

isolated homes symbolize a balance between extreme weather and natural peace

Cardenal’s images highlight the harmony between human life and Iceland’s formidable nature

project info:

name: Isolated Icelandic Homes
photography: Curro Cardenal Captures | @curro_cardenal

collaborator: Kim Sandoval

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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s.ap architects’ Arnhildur Pálmadóttir and Arnar Skarphéðinsson are landing at the 2025 Venice Architecture Biennale with their Lavaforming proposal, representing Iceland‘s national pavilion for the first time through an open call. Imbued with speculative thinking, the project investigates how the brutal force of lava can become a valuable resource capable of lowering atmospheric emissions through its future use as a building material. ‘In our story, placed in 2150, we have harnessed the lava flow, just as we did with geothermal energy 200 years earlier in Iceland,‘ says Arnhildur. The idea springs from the country’s geological location on a rift between two tectonic plates, which causes frequent seismic activity on the island, including the creation of impressive lava fields. Throughout history, Iceland’s volcanic activity has been perceived as a local disturbance and even as an otherworldly event.

Lavaforming proposal for the Venice Architecture Biennale | rendering © s.ap architects

exploring the power of lava as a renewable building material

As argued by the architect and her son, the potential of using lava as a new, renewable construction material could provide enough resources to build entire cities without harmful mining or energy practices. The concept serves as a practical proposal and a metaphor for a paradigm shift in architecture, urging bold, creative thinking to address current environmental challenges and outdated practices. In an exclusive conversation with designboom, Arnhildur and her son Arnar walk us through their speculative Lavaforming Pavilion heading to the 2025 edition of the Venice Architecture Biennale, highlighting the power of lava, its political implications, the future of cities, and more.

envisioning the potential of lava as a building material | rendering © s.ap architects

interview with Arnhildur and arnar from s.ap architects

designboom (DB): Can you tell us more about yourselves, your journey into architecture, and your approach to the practice? 

Arnhildur Pálmadóttir (AP): My journey began after my Master‘s at IAAC in Barcelona, which encouraged a particularly speculative and modern way of thinking about buildings, architecture, and construction. So, in a sense, you either get ruined for life or head down a good path (laughs). You always have to think about something new, about how to tackle architecture through other dimensions. When we set up the studio, we were concerned about how architects respond to climate change; that’s why it was important for us to take a speculative approach, as it can launch us further into the future without getting too caught up in existing systems. While we enjoyed pushing this agenda, we still needed to think about clients, money, etc.. So, we started with a mix of traditional architecture and some speculative projects. 

Then, when Arnar was in architecture school, we started moving further toward speculative thinking. I also run the Icelandic branch of the Danish architecture company Lendager, which specializes in reusing building materials. So these are the two paths I am currently on, with Arnar being part of s.ap architects’ speculative projects. This leads me to our Lavaforming project. We decided to look at the different kinds of building materials available in Iceland, which aren’t that many. We don’t have wood or trees; we don’t have clay for bricks. So we need to assess what we do have, which is basalt and stone. Today, stone is crushed and added to sand to use as a concrete mix. However, we noticed how much emitted energy is required for these methods, so we started looking at alternative materials. 

Icelandic architect Arnhildur Pálmadóttir | image © Aldis Palsdottir

Arnar Skarphéðinsson (AS): In my case, I’ve always been around architecture and my mother (Arnhildur). I remember being in Barcelona at the IAAC school and her showing me samples of Lebbeus Woods’ works and drawings, which I loved. As a kid, I’d always seen architecture as a speculative pursuit, with large dreams of or discussions about the practice.

AP: I like that. As practicing architects, we should maintain our childlike curiosity and dream big. Technology seems always to follow and push the agenda if ideas are big enough. One example in Iceland is the geothermal energy. About 100 years ago, using hot boiling water from the ground was probably considered science fiction. But, suddenly, technology evolved, and we could use it! We can now heat whole communities with it and use it for bathing; this has thrown Iceland into modern times. What was Sci-Fi before is now a reality, and we are approaching Lavaforming similarly. 

the proposal is set in the year 2150

DB: Speaking of your Lavaforming Pavilion — in what way does it respond to the Venice Architectural Biennale’s 2025 theme, ‘Intelligens. Natural. Artificial. Collective’? 

AP: It ticks all the boxes. To give you a bit of background on the project: we are going to situate ourselves 100 years in the future because the eruptions happening on the rift and peninsula of Iceland will keep happening, on and off, for the next century. We are putting up protection walls everywhere; engineers are leading on this, but we want to integrate architectural and design-oriented thinking into the process. We want to speculate what will happen and what this will look like in 100 years.

In the process, we will leverage lava flow models from scientists, calculating possibilities where lava could flow so protective infrastructure can be set in place. That is one type of intelligence we are seeking. We also want to react to that with our 3D modeling programs; this is where human intelligence comes in. And finally, there is the intellect of nature, how it uses its power to push up the lava. We will link all of those intelligences and create cities and forms that will probably hold a completely different aesthetic from the buildings we see today. I think the reason is the integration of nature into the creative stream.

image © Aldis Palsdottir

DB: Structurally, what promising and unique qualities does lava offer as a building material?

AS: We were looking at lava to fulfill all the qualities a material should have for a building. We’re now getting ready to conduct actual tests to see if we can control all of these qualities. Nature shows us that lava can be puffy, light, and porous, and we can assume that that would be used as insulation. However, when lava cools slowly and under a lot of pressure, it becomes solid, like a structural material. If it cools quickly, it becomes glass. Applying these variations to architecture —  instead of having everything cut into different modules and layers, one wall could feature a gradient of all these properties; on the inside, it would be more porous, and on the outside, more solid. 

DB: Walk us through the experience of the Lavaforming Pavilion. How do you anticipate visitors interacting with it?

AP: We will have some tangible materials displayed at the Lavaforming Pavilion so that people can experience the qualities of the lava. Still, the pavilion at the Biennale will mostly encompass visualizations and animations with explanations documented through a speculative film. We want to tell stories from the perspective of people living in this new world; we want to envision how they will pass through it in their daily lives. 

rendering © s.ap architects

DB: Are there any other material(s) that you’d like to experiment with or develop in the scope of architecture?

AP: For now, we are focusing on the concept of Lavaforming as something that could be applied to many other places in the world, for example, where you have extreme heat. It is a material we haven’t considered using before because it is considered ‘extreme’ in its essence. But as we are dealing with unprecedented weather patterns, lava’s potential should be harnessed. There is indeed a lot of talk on different biomaterials, but most of them cannot be maintained in extreme climates. We also want to cast a light on the housing market and the human right to have shelter over your head. 

DB: Can you elaborate on that last point? 

AS: Well, one exciting aspect of lava is the political nature that arises when we start using it as a material. It raises the question of who will own the material. It opens up a really interesting opportunity. Who owns the city if we take out a trench and create a town in two weeks? Is it the people? Is it some private developer? We also looked into a constitution written in Iceland in 2012 that the government rejected. It stipulates that lava is owned by and is for the people; in other words, the people own all resources underneath a specific depth. We’re interpreting it as such, that lava is owned by the people, and we want to see what effect it has on society when we can create a huge city and nobody, or everyone owns it. Going back to your previous question, I think many materials have direct political implications, and the use of architecture can change how our laws or ownership are perceived. It’s essential to rethink the relationship between extraction and people.  

speculating how lava will be harnessed from the ground | rendering © s.ap architects

DB: Speaking of political implications, the word ‘sustainability’ has gotten its fair share of criticism. Many experts argue that it has been corrupted and tossed around for certain interests, rendering it ‘meaningless’ in some cases. What are your thoughts on that? And how would you define sustainability? 

AS: It’s pretty crazy to use the word or to market architecture as green when CO2 emissions are rising yearly. I think we will look back on that in a few years and think to ourselves: how stupid were these people? What reality were they living in?

AP: Sustainability is greenwashed, and the certifications we issue around it are pointless; they just offer false comfort. The real problems are still not resolved. We need to stop using this word or maybe use more words to describe what we are doing because sustainability is just a hat over many things that are not going in the right direction. And this project is a response to that: we feel that not enough is being done through the system, so we are taking ourselves out of the system. It’s also the reason why we are pursuing the Lavaforming project and pavilion without a client. We are catering to all humans.

AS: And I think this idea is prone to being co-opted for something else. That’s why we touch on its political nature. In theory, using lava would be a zero-carbon approach or an approach with only some level of carbon, the same amount coming out from a natural eruption. However, if the wrong people and systems adopt this building method, we’ll just keep destroying landscapes like we do today. 

image © Aldis Palsdottir

DB: You mention that many of our current methods have been deemed obsolete or harmful in the long term. Can you elaborate and give examples regarding these practices?

AP: The demolition of buildings is probably the most harmful because it causes considerable emissions. Of course, there is also the overuse of materials in buildings; there are so many unnecessary layers! Stripping it down to the minimum of materials and choosing materials with the lowest emissions (either natural or close to you) may be the best way to design at the moment so we can better calculate what we are doing. We are also thinking about the life cycle of a material; how will it end? Where will it end up? With so much demolition still happening in the world, we can efficiently utilize the discarded rubble and rebuild it in a new way. 

the Lavaforming Pavilion will speculate a future world | rendering © s.ap architects

DB: Seeing as your work is fueled by speculative thinking, how do you envision new technologies evolving alongside your quest for a more regenerative approach to architecture?

AS: In terms of Lavaforming, if we go full force into the building with it, just handling the heat will require us to create new technologies. It’s hard to pinpoint what innovations will be created and for what purpose they will be used, but that’s what our film will touch on a little at the Biennale. We believe in technology, but we think it’s being used for the wrong things in many cases. Again, this emphasizes the political aspect: it’s about who owns the technology and who it serves.

AP: That is the reason why we want to use this project to link up with the geologists’ data. They are monitoring the inflation of the lava below the surface, conducting earthquake assessments, and creating flow models. It is crucial to establish this interdisciplinary connection between designers, architects, scientists, and technology. Almost everyone uses BIM technology, but probably 1% of them are adopting scientific data, and that is what we are trying to cast light on.

AS: At the end of the day, this kind of project is out of this world. Every decision we make is going to create an obstacle. We will have to carve out different pathways in every decision we make. This will influence how the discipline in Iceland will be thought about in the future. It’s an exciting project that encourages us to reassess everything about architecture and its interdisciplinary nature. 

volcanic eruptions will continue, on and off, for the next decade | rendering © s.ap architects

project info:

name: Lavaforming Pavilion

architecture studio: s.ap architects | @sap_arkitektar

interviewees: Arnhildur Pálmadóttir, Arnar Skarphéðinsson

program: Venice Architecture Biennale 2025 | @labiennale

dates: May 10 – November 23, 2025

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In the heart of Reykjavik, the newly inaugurated Iceland Parliament Hotel, Curio Collection by Hilton, emerges as more than just a luxury accommodation, but as a journey through time, blending historical references and memories with contemporary design. The hotel complex is exclusively dressed with surfaces from Iris Ceramica Group‘s sub-brands Ariostea, FMG Fabbrica Marmi e Graniti, Iris Ceramica, and SapienStone. From the reception desk to the sauna in the basement, the porcelain stoneware surfaces of the Italian company marry the Icelandic style with contemporary elegance.

the Iceland Parliament Hotel is exclusively dressed with surfaces from Iris Ceramica Group’s sub-brands

all images courtesy of Iris Ceramica Group

every space is elevated with the company’s high-end surfaces

The Iceland Parliament Hotel, Curio Collection by Hilton has been inaugurated to skilfully combine history, cultural heritage, architecture and contemporary design. The project is presented as a multi-faceted portrait of Reykjavik, with the aim of telling visitors a story of comfort, sophistication, curiosity and a sense of belonging. In this story, the Iris Ceramica Group brands – Ariostea, FMG Fabbrica Marmi e Graniti, Iris Ceramica, and SapienStone – play a crucial role. From FMG’s Quarzite to Iris Ceramica’s Pietra di Basalto for public areas, each collection was chosen for its strength, durability, and aesthetic appeal.

Ariostea, FMG Fabbrica Marmi e Graniti, Iris Ceramica, and SapienStone play a crucial role in telling the story of the renovated Hotel

The main floor, open to the public and measuring over 500 sq.m., is divided into two separate areas. FMG Quarzite and Iris Ceramica Pietra di Basalto, the stone-effect porcelain stoneware collections with a velvety appearance, were used on the floors in the gallery open to the public, featuring a large staircase designed to host exhibitions and offer spaces for conversation.

the main floor, open to the public and measuring over 500 sq.m

In the adjacent reception area, the language is reversed: here, where clients need privacy to discuss prices or request reserved information, the reception desk and load-bearing columns are covered in the paler shades of Ariostea Fragmenta Full Body Grigio Luminoso. In a harmonious colour contrast, Black Marquinia – again by Ariostea – elegantly customises the frames around the lift shafts. In the Hjá Jóni restaurant, the rigorous, geometrical forms of a large island used as a counter stands out for the green marble texture of MaxFine Connemarble Irish, with its shading running from dark to pale with clear white grains. Again on the ground floor, in the Telebar, SapienStone Alpi Chiaro Venato helps to create a pleasantly intimate atmosphere, embellishing the bar counter top.

the reception desk and load-bearing columns are covered in the paler shades of Ariostea Fragmenta Full Body Grigio Luminoso

In the basement there is a large luxury spa including a thermal area, sauna and steam bath, as well as cabins for massages and wellness treatments. Creating a welcoming, intimate and sophisticated atmosphere, FMG Quarzite and Iris Ceramica Pietra di Basalto express a harmonious, natural feeling with their low reflectivity. Covering the various rooms, the large FMG MaxFine slabs add powerful patterns to the space. Marmi MaxFine Travertino cover the walls of the reception, the drinking station, the changing rooms and toilets, massage cabins and geo-thermal whirlpool tub with simple charm.

the large luxury spa area in the basement

MaxFine Amazonite adds a sense of peace and well-being with its streaks of green, white and grey, giving a strong identity to the steam bath, cold-jet rooms, reception counter and rear wall. Completing the spa, a bold and sophisticated lounge marked by the sinuous, enigmatic movements of MaxFine Onice Malaga slabs. Finally, in the fitness area, the accesses to the facilities were customised with dark metal reflections from the FMG Iron Black collection.

in the basement there is a large luxury spa including a thermal area, sauna and steam bath, as well as cabins for massages and wellness treatments

In the hotel room bathrooms, FMG MaxFine White Calacatta was chosen to cover the walls, inside the showers and around the baths with its elegant luminosity and delicate weave, while the Iris Ceramica Pietra di Basalto collection was chosen for the floors. As in the lobby, Ariostea Fragmenta Full Body was used in the main suite, measuring over 120 sq.m. with a 360-degree view over the city. The full-body technology, in which the pattern runs through the full thickness of the slab, was used to create elements with visible edges that blend naturally into the setting.

FMG MaxFine White Calacatta was chosen to cover the walls of the bathrooms

The result is a luxury hospitality facility that is also an ode to the city of Reykjavik and its history. Based on a philosophy blending Icelandic style with contemporary elegance, the hotel was designed to pay homage to the wonderful backdrop of the island, a synthesis of the country’s traditions and the most sophisticated furnishing solutions.

the result is a luxury hospitality facility that is also an ode to the city of Reykjavik

the newly inaugurated Iceland Parliament Hotel emerges as a journey through time, blending historical references and memories with contemporary design

the main ground floor is divided into two separate areas

each collection was chosen for its strength, durability, and aesthetic appeal

Iris Ceramica Group turns the Iceland Parliament Hotel into a canvas for its luxurious surfaces

in the Hjá Jóni restaurant, the large island used as a counter stands out for the green marble texture of MaxFine Connemarble Irish

Ariostea Fragmenta Full Body was used in the main suite

project info:

name: Iceland Parliament Hotel (Curio Collection by Hilton)

hotel group: Berjaya Iceland Hotels

ceramic surfaces: Iris Ceramica Group (Ariostea, FMG Fabbrica Marmi e Graniti, Iris Ceramica)

project architect – Freyr Frostason

leading architect & interior designer: Paolo Gianfrancesco

coordination: THG Arkitektar

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ED|DE – Erna Daniela Design Studio takes over the construction of ‘Ylja’, a summer house located in a rural area in the municipality of Grimsnes, Iceland. The residence is named after the word for ‘warmth’ as the shelter and symbol of unity for the users, a Mexican-Icelandic family. The natural context holds one of the main focal points of the design as the structure situates near the shore of Lake Úlfljótsvatn, one of Iceland’s most important bodies of water. The cluster of solid volumes forms glazed openings offering views of the lake, the ever-changing fields, and the mountains, while seamlessly blending with the natural landscape. With weather and climate standing as the main constraint, the construction held during the summer months follows a series of restrictions determined in terms of square meters, materials, and heights. Lerki wood cladding coats the facades of the house achieving uniformity and cohesion while framing the landscape.

all images by Erna Daniela López Córdova

neutral color palette and subtle materials adorn Ylja’s interior

The internal layout of the house is formed around the central dining area following the rich Mexican culinary culture. The space is distributed according to the particular customs of the multicultural family with common gathering areas requiring great prominence. The design team opts for a neutral color palette avoiding generating an outstanding contrast with the immediate context. The natural tone of the CLT laminate wood is used, integrating subtle accents of green, black, and white as a secondary color. The house features a hot tub, attending to the customary habit in Iceland, a septic tank, as there are no drainage connections in the area, a geothermal water supply, radiant floor heating, and good thermal insulation.

lerki wood cladding coats the facades of the house achieving uniformity

the cluster of solid volumes forms glazed openings offering views of the lake

timber box-like volumes compose a warm home adjacent to Lake Úlfljótsvatn

a neutral color palette avoids generating an outstanding contrast with the immediate context

the internal layout of the house is formed around the central dining area

the Icelandic natural context blends with Mexican cultural element for an intriguing design

project info:

name: Ylja House
designer: ED|DE – Erna Daniela Design Studio | @edde_arquitectura

location: Grimsnes, Iceland

photography: Erna Daniela López Córdova

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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FRAMESCAPE Greenhouse Restaurant by Heffrence Teow

Set against the dynamic landscape of Iceland, the FRAMESCAPE Greenhouse Restaurant by Heffrence Teow proposes a new culinary experience where farming, ingredient processing, and dining are brought into one place. Envisioned as a simple geometric volume, the project translates the ‘Farm-to-Table’ ideology into an immersive architectural experience where visitors witness and celebrate the often ‘hidden’ parts of food production. 

‘The amalgamation of a restaurant with a greenhouse is an act of celebrating food – especially in places like Iceland, whereby locally grown food is a rarity. It becomes a symbol of appreciation and raises awareness around our consumption. Furthermore, by integrating the ‘behind the scenes’ process of food production as part of the visitor experience — meandering around the farm before reaching their seats — an immersive environment is created by adding context and background to the meal served at one’s table,’ comments the architect. 

the restaurant sits humbly on the ground like a set of interlocking basic geometries 

a ‘back to basics’ approach 

Given its proposed location, the FRAMESCAPE Greenhouse Restaurant expands the isolated dining experience into a bigger context by exploring the relationship between farm and dining versus surrounding and space. This, however, raises two questions: How can the restaurant further enhance the experience and deliver a new perspective to the landscape in a similar, appreciative way that farm does to food? What additional qualities can the restaurant provide to its visitor in experiencing Iceland when they can just simply wander around the open landscape?

Heffrence Teow (see more here) responds to those interrogations by pairing the ‘farm-to-table’ ideology with a ‘back to basics’ approach. He decided to break down the richness of the Icelandic landscape by separating the surrounding elements and framing them individually, allowing visitors to take in each natural wonder, one at a time, without the others ‘shouting’ for equal attention. 

meandering paths bring visitors around the Greenhouse and connects the spaces together

attention to and gratitude for what is being consumed 

Reducing external stimuli and distractions focuses the attention on specific attractions found around the site – Hverfjall, Lake Mývatn, and the Northern Light – enhancing the dining experience by heightening awareness of the context. Teow continues: ‘In the same manner that farm allows us to better understand the food we eat, the ‘reduction’ of our surroundings allows us to better witness the beauty of nature, helping us raise consciousness and gratitude of what we consume.’

In line with his ‘back to basics’ vision, the architect imagined the restaurant as a simple yet abstract rectangular form that humbly sits on the ground to prevent overpowering the rich, natural surroundings. Inside, meandering paths bring visitors around the Greenhouse and connect the four main spaces: The Cube (Entrance), The Cone (Multipurpose Space), The Cuboid (Restaurant), and The Tetrahedron (Lounge Bar). Each area is designed to respond and frame a particular element on site. 

the Tetrahedron Lounge Bar frames and dramatizes the Hverfjall landscape with its triangular opening 

‘Instead of replicating the natural environment and trying to compete, the structure complements and highlights its characteristics by adopting basic geometries to eliminate unnecessary attention while acting as a backdrop that frames the views and elevates the immersive ambiance: a round aperture frames the shapeless sky; a triangular opening dramatizes the mountainous landscape and Hverfjall; a rectangular portal captures the panoramic view of shimmering Lake Mývatn and the plain faraway, reflecting it up close,’ elaborates Teow. 

the Cone Multipurpose Space conceals the surrounding with a slanted and continuous concrete wall 

project info:

name: FRAMESCAPE Greenhouse Restaurant

location: Mývatn, Iceland
architecture: Heffrence Teow / ALOT

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: lea zeitoun | designboom

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the salvation army headquarters doubles as a new community center in the city

south façade of the salvation army headquarters | image © chris lund

a spacious building with multifunctional programs 

the architects at teiknistofan tröð shaped the headquarters as a spacious building with ceiling heights that vary greatly due to sloping roof surfaces, and carefully designed to give the appropriate acoustics in every room. mostly open to the public, the ground floor hosts a café/eatery that welcomes guests into a seating area to the north and veranda to the south. next to the café, on the west side, are two workshops for carprentry and crafts. moving to the center, the church stands tall with its high ceilings and connects to a multifunctional hall with a folding wall. a more private area, meanwhile, occupies the east side and has direct access to a counsellor office and lounge area for smaller group sessions. the upper floor finally holds more offices, a few technical rooms and a storage area.

the building is clad with fiber cement sheets of varying shades of red | image © claudio parada nunes

an insultated, concrete structure with bold shades of red 

using in-situ concrete to build the main structure, the architects clad the headquarters with fiber cement sheets of varying shades of red – giving it the distinct character that makes it stand out in the area. additionally, they kept the concrete structure widely visible on the inside with a transparent surface coating, accompanied by linoleum floors and custom-designed ceilings made of fire-protected spruce. in line with local requirements, the building is properly heated thanks to geothermal water in radiators, floor heating, and external wall insulation.

detail view of the fiber-cemented façades | image © chris lund

a multifunctional hall, with a folding wall offering flexibility for large groups | image © claudio parada nunes

view from the café area facing a garden to the south | image © claudio parada nunes

the headquarters is located on the outskirts of the reykjavik city centre | image © claudio parada nunes

project info:

name: the salvation army headquarters 

location: reykjavik, iceland
materials: cembrit fiber cement façade panels, concrete, linoleum, fire-protected spruce
architecture: teiknistofan tröð – architects in reykjavik
photography: claudio parada nunes, chris lund, hans-olav andersen

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: lea zeitoun | designboom

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bua studio transformed a dilapidated barn in iceland into an artist’s studio and dwelling. dubbed ‘hloduberg artist’s studio’ the conversion emerges from the existing concrete structure maintaining a cohesive character with the fragmented buildings of the area. as part of the remaining walls were too fragile to be reused, the architects retained them in their original state, enclosing an open garden. 

after stabilizing the robust concrete structure, the studio incorporated a lightweight two-storey timber structure within. this way they maintained the unique texture of the existing material that reveals the traces of time.all images courtesy of marino thorlacius 

a palette that reflects the colors of the surrounding nature

the ground level acts as a massive workspace including the artist’s studio, as well as a kitchen and dining space. there, the architects (see more here) sought to avoid the additional openings so as not to overload the structure. they only created two new ones: one to let more natural light penetrate the kitchen and one to create an entrance between the studio and the living area. 

contrary to the rough exterior, the openings are cut with precision to create visual juxtaposition. the flooring is covered in polished concrete, and the walls are clad in stained birch plywood. in collaboration with the client, who had previously worked with stained plywood in her practice, the architects generated pigments on a palette that reflected the colors of the surrounding nature.

materials informed by local vernacular interiors

a staircase rises up the residents to a timber-clad mezzanine with a sitting area, creating visual connection through a double-height space. a row of openings lets natural light enter the interior and provides unobstructed views towards the coast and the mountains. the first floor or domestic sphere accommodates a small sitting room, two double bedrooms, and a bathroom.

there, the architects maintained a muted palette of materials informed by local vernacular interiors: walls and floors are wrapped in white stained pine boards. meanwhile, at the end of the hallway, a double-height studio is revealed, offering a different perspective to observe emerging artworks. ‘given the remote location and for economic and environmental reasons, our clients shared our goal to minimize waste material wherever possible,’ mentioned the studio.

the existing concrete wall in the old barn was repaired where it was needed

the gabled shape of the construction echoes the initial silhouette, while the new corrugated aluzinc highlights the new supplement. its reflective material follows the color of the sky and meadow around the house, changing with the seasons and weather.

‘this allowed us to extend to a second storey without overpowering the concrete barn. from our experience working in harsh climates, this rather industrial material is one of the few cladding options that can withstand the extremes of weather. the corrugation is also a reference to a local building tradition. from the early 20th century corrugated steel has been used diffusely in iceland in rural and urban settings for all typologies. most dwellings and farm buildings in the area are partly or completely clad in this material,’ said the architects.

in the smaller cement repairs pebbles from the local beach were inserted to assimilate better to the rough background

the new corrugated addition erects from the neglected concrete

a walled open courtyard

revealing the passage of time

project info:

name: hloduberg artist’s studio

architects: bua studio

location: skardsstrond, iceland 

photography: marino thorlacius 

The post bua studio converts dilapidated barn in iceland into artist’s studio and dwelling appeared first on designboom | architecture & design magazine.

french artist vincent leroy continues his experiments around the phenomena of perception and tests his new installation lenscape on the scale of icelandic nature. born during a road trip around the island and inspired by the incredible diversity on the landscapes, the optical device was imagined mobile, easily transportable, and quick to install to be tested in different places and lights. after experimenting with it in different environments, it’s in the spectacular iceberg lagoon of fjallsárlón in iceland that the artist has installed his artwork.

general view in front of the iceberg lagoon of fjallsárlón

all images courtesy of vincent leroy

the installation blends with its environment while magnifying it

the installation by vincent leroy is composed of optical mobiles with different geometries and animated with a soft and silent movement. the grazing and shifting light of the midnight sun, the shades of blue and grey of the glacier, the movements of pieces of the iceberg that collapse and drift on the lake, and the lapping and the reflections of the water seem increased by the kaleidoscopic devices.

lenscape acts like a prism through which the landscape becomes a geometric, abstract, and lively composition, evolving to the rhythm of nature. for the artist, the landscape forms an integral part of the artwork and each site– depending on its colors, shapes, lights, textures, etc– interacts in a singular way with the installation and produces a result that is different every time. with this installation, the french artist invites us to contemplate the nature that surrounds us while offering us a different and poetic vision of it.

drifting icebergs, a landscape in perpetual motion

diffraction of light through the installation

the blue shades of the glacier blend with the reflections of light

the kaleidoscopic effect overlaps reality

geometric decomposition of a natural landscape

the midnight sun sets over the installation

project info:

name: lenscape
artist: vincent leroy

designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: yasmina karam | designboom

The post vincent leroy tests his new optical installation lenscape in the iceberg lagoon of fjallsárlón, iceland appeared first on designboom | architecture & design magazine.