The architecture of Iceland draws from Scandinavian influences and traditionally was influenced by the lack of native trees on the island. As a result, grass- and turf-covered houses were developed. Later on, the Swiss chalet style became a prevailing influence in Icelandic architecture as many timber buildings were constructed in this way. Stone and later concrete were popular building materials, the latter especially with the arrival of functionalism in the country. Contemporary architecture in Iceland is influenced by many sources, with styles varying greatly around the country. [1]
The architecture of Iceland is mainly low-rise, with many low tower blocks and two- or three-storey buildings with pitched roofs predominating. Houses and smaller municipal buildings were traditionally wooden-framed, and clad in wooden planks or corrugated metal. Often they were painted in traditional bright colours. [2] Many architectural influences can be seen, notably in the capital, such as the once-popular Swiss chalet style.
The original turf houses constructed by the original settlers of Iceland (from the west coast of Norway) were based on Viking longhouses (langhús). The exterior turf walls were lined internally with a wooden frame, which was then paneled, with the roof resting on two rows of pillars dividing the internal space. The main room of the house was known as the skáli, consisting of a central open hearth and two raised platforms, known as set. Similar designs of longhouse have been found across Scandinavia, the Faroes and the Scottish isles, as well as Greenland. [3]
There are many benefits and functionality to the turf houses. Turf houses provided thermal comfort to the cold, harsh climates that Iceland experiences. To prevent any cold from intruding into the house, cavities were filled with soil to add more insulation to the buildings. In addition, the turf houses required less resources, which Iceland was lacking in the late 9th century. Simple wood structures were used since wood was one of the few resources semi present. Other resources such as sod, twigs, moss, etc. were used to build the houses and further add to the thermal comfort of the houses. [4]
Later the houses included an additional living space, the stofa, and would be accompanied by smaller outhouses. [3] This layout also incorporated a pantry and lavatory. [5] Over the years, the layout became more compartmentalised, eventually to include a baðstofa (a heated sauna room). In response to the colder Icelandic climate, the sleeping area was eventually moved into the baðstofa. [5] The design evolved as the entrance was moved between the living room and main room; all the rooms in the house were joined by a central passageway, this layout was known as a gangabær. This was possibly in response to a deteriorating climate, and as timber supplies dwindled, people went back to living in the one-room baðstofa layout.
Around 1791, under Danish interest, a gable-fronted design (burstabær) was proposed by Guðlaugur Sveinsson, [5] which became widespread in the south of Iceland where the climate is warmer. An example of this design is the Glaumbær turf farmhouse at Skagafjörður Folk Museum which was opened in 1952 at the Glaumbær Farm. [6]
By the 20th century, the design was evolving still, seeing such additions as the framhús, a kind of timber porch at the front entrance of buildings. [3] Today grasshouses are no longer constructed in Iceland (construction stopped in the mid-20th century), and the few remaining examples are generally open to public as open-air museums. [3] There is some evidence to suggest a Celtic influence in early Icelandic architecture in the form of stone roundhouses and sheepcotes, however much of this is still shaded in obscurity. [3]
Like many other areas in the world, Iceland would often pull ideas from previous architectural styles, a method called historicism. Many of these styles can be seen in various buildings such as the gothic style in the churches and neoclassical style in commercial buildings such as banks. When it comes to residential buildings, a common theme seen is the simplicity in the designs, focusing more on functionality of the buildings rather than the ornamentation. Then, in the mid-18th century, there was some influence to the architecture from the Danish Government. One of the main stylistic changes seen in this time period is the transition from turf housing to stone housing. [7]
Many high-quality stone buildings were erected in the 18th century, the first being a mansion on Viðey, made completely out of Icelandic stone. These were some of the first buildings in Iceland to be constructed by architects, who were from Denmark, as these buildings were constructed for the Danish authorities. The craftsmen involved in the construction of these buildings were also foreign. Icelandic stone buildings from this period were inherently similar to those in Denmark, save the use of timber to clad the roofs instead of slate. This type of building was considered very expensive and is seen in many official buildings such as Bessastaðir (the presidential residence) and Alþingishúsið in Reykjavík.
Many Icelanders learned the craft of masonry during the stone construction boom period, leading to the building of many stone houses which mimicked the design of Icelandic turf houses. [8]
With the arrival of Christianity in Iceland in 1000 AD, construction began on numerous impressive churches. A majority were probably constructed out of turf, but there were also numerous timber-framed churches, however not much remains of these buildings today. The first stone churches appeared in around in the 18th century, quite late considering the significant lack of timber on the island (even access to driftwood was not widespread). [9]
In the oldest part of Reykjavik, the Eastern Hill, housed the Skólavörðuhol church. The Skólavörðuhol was designed by Guðjón Samúelsson, who built it with a romantic style originated in Scandinavia. It was designed with a Greek cross layout and contained a dome. In addition, over on the Western Hill, the Landakotskirkja church, also known as the Basilica of Christ the King was built. This church was also designed by Guðjón Samúelsson but with a Neo-Gothic style. The Landakotskirkja was the largest church in Iceland in 1929. During this same time, Jón Helgason held a competition for the design of the Hallgrímskirkja church, which was to be built where the Skólavörðuhol once was. The Skólavörðuhol was to be built using the Gothic revival style and was designed by Águst Pálsson, who had won the competition. [10]
Urbanization began to appear around the 18th century, when Danish merchants set up permanent trading posts for themselves. The timber for constructing these residential and commercial premises was mostly prefabricated and imported. These timber-framed buildings had high pitched roofs and low walls, and they were tarred on the outside making them dark in appearance. [11]
With the movement towards independence from Denmark and the implementation of Icelandic free trade, more diverse architectural styles and influences were brought to the island. [12] Classical influences can be seen in timber buildings from the 19th century, these buildings were often two-storey and had higher walls. Details such as the layout of fenestration on the building drew from classical traditions. A few buildings in this style remain today. [11]
As the 20th century dawned, Swiss chalet style architecture was brought indirectly to Iceland under Norwegian influence. Prefabricated houses were shipped and erected in settlements in the Eastern Region and Westfjords. The buildings tended to be taller and with large windows, unlike anything of the styles that had prevailed in Iceland beforehand. Notable features of these buildings were the friezes above doors and windows, and eaves which projected out above the walls. Here the distinctive Icelandic use of corrugated iron (imported from England), in place of external cladding, was born. The Swiss chalet style was the dominant force in Icelandic architecture in the early 20th century. [11]
The use of timber was banned in urban areas after great fires in Reykjavík and Akureyri around this time. [11]
Concrete was first used on a major scale as a building material in this period and became extremely popular as an easy and economical construction material. The material has shaped Icelandic architecture from this period. With the arrival of concrete came the first qualified Icelandic architect, Rögnvaldur Ólafsson, who had at first designed in the Swiss chalet style but soon moved on to working in concrete. His first works in concrete resembled closely the stone buildings of earlier times. [12]
Characteristically urban buildings began to emerge, such as Austurstræti 16 (designed by Guðjón Samúelsson) which were concrete constructions. Guðjón went on to become the leading Icelandic architect of the time. Referencing traditional Icelandic architectural styles, he revived the gable-fronted house design in concrete. This influence can be seen in stylised form in the National Theatre of Iceland building, for example. Guðjón Samúelsson was also the designer of Hallgrímskirkja, one of the tallest structures in Iceland, which was modelled on cliff faces. [12]
The functionalist architectural style arrived in Iceland in the 1930s, brought by younger architects who would later have great influence on the urban planning of the country. Unusually, functionalism was not met with as much controversy as it was in other countries at the time. Early functionalist buildings in the country resembled those elsewhere in Europe, but conventional interior layouts being their differentiating feature. Many neighbourhoods were built up using the functionalist aesthetic as their guide. The buildings were made distinctively Icelandic with the use of local minerals and seashells as dashing. Whole residential districts were dashed in this way. After World War II, larger houses with higher roofs began to appear, with a variety of decorative features marking a departure from the functionalist aesthetic. [12]
The next wave of architectural style to arrive was modernism, appearing after the country's gain of independence from Denmark. Influential architects created modernist buildings with low roofs and large windows and large, smooth expanses of colour (in contrast to the dashing style which was popular earlier). Modernist architecture commanded a modernist interior to boot, and so here began a strong furniture industry. New building techniques led to the construction of concrete high-rises in Reykjavík. Here new movements began to show up, such as an increase in popularity of open plan interiors. [12]
In addition to new styles and influences arriving, a sentiment for the conservation of existing older buildings was founded, with newfound interest in traditional handicrafts. Criticism of modern Icelandic architecture appeared at this time, pointing out energy-wasting designs and drawing from traditional building techniques such as steep pitched roofs to find solutions. [12]
In recent years, many larger-scale plans have been put forward for both projects in Reykjavík and Kópavogur. Many of these projects were proposed during the boom period before the financial crisis, including Iceland's first skyscrapers, the Höfðatorg and Smáratorg towers. Many of the taller buildings in the Reykjavík area look out of place when compared with their neighbours, for example traditional wooden houses neighbour the Höfðatorg Tower 1. Other projects include the Harpa, completed in 2011, whose ambitious plans had originally included a world trade centre. Funding for the concert hall became insecure with the economic crisis, although the Icelandic government later promised that the project would be completed, with state funding.
In architecture, functionalism is the principle that buildings should be designed based solely on their purpose and function. An international functionalist architecture movement emerged in the wake of World War I, as part of the wave of Modernism. Its ideas were largely inspired by a desire to build a new and better world for the people, as broadly and strongly expressed by the social and political movements of Europe after the extremely devastating world war. In this respect, functionalist architecture is often linked with the ideas of socialism and modern humanism.
The year 1937 in architecture involved some significant architectural events and new buildings.
Hallgrímskirkja is a Lutheran parish church in Reykjavík, Iceland. At 74.5 metres (244 ft) tall, it is the largest church in Iceland and among the tallest structures in the country. Known for its distinctively curved spire and side wings, it has been described as having become an important symbol for Iceland's national identity since its completion in 1986. The church is named after the Icelandic poet and cleric Hallgrímur Pétursson (1614–1674), author of the Passion Hymns.
The architecture of Norway has evolved in response to changing economic conditions, technological advances, demographic fluctuations and cultural shifts. While outside architectural influences are apparent in much of Norwegian architecture, they have often been adapted to meet Norwegian climatic conditions, including: harsh winters, high winds and, in coastal areas, salt spray.
Landakotskirkja, officially named Basilika Krists konungs and often referred to as Kristskirkja, is a Catholic basilica in the western part of the Icelandic capital of Reykjavík and is the cathedral of the Diocese of Reykjavík. It is the sole Catholic cathedral in Iceland.
Expressionist architecture was an architectural movement in Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts that especially developed and dominated in Germany. Brick Expressionism is a special variant of this movement in western and northern Germany, as well as in the Netherlands.
The National Gallery of Iceland is an art museum in Reykjavík which contains a collection of Icelandic art. The gallery features artwork of famous Icelandic artists and artwork that helps explain the traditional Icelandic culture.
Guðjón Samúelsson was a State Architect of Iceland, and the first Icelander to be educated in architecture. He's been described as one of Iceland's most influential architects. His notable designs include the main building of the University of Iceland, the National Theatre of Iceland, the Landakot Roman Catholic Cathedral in Reykjavík, and the Church of Akureyri. His final and most recognized work is the Hallgrímskirkja church, which was commissioned in 1937.
Icelandic turf houses are timber structures with turf walls and turf as a cover for the roof. Turf houses have been constructed since Iceland was settled in the 9th century. Turf houses were the product of a difficult climate, offering superior insulation compared to buildings solely made of wood or stone, and the relative difficulty in obtaining other construction materials in sufficient quantities.
The architecture of Finland has a history spanning over 800 years, and while up until the modern era the architecture was highly influenced by Sweden, there were also influences from Germany and Russia. From the early 19th century onwards influences came directly from further afield: first when itinerant foreign architects took up positions in the country and then when the Finnish architect profession became established.
The University of Iceland Main Building is the central building of the University of Iceland campus on Suðurgata in Reykjavík, Iceland. It was designed by Icelandic state architect Guðjón Samúelsson and its construction was completed in 1940. Today, the building is one of the more noticeable landmarks in Reykjavík.
Hallgrímskirkja, also known as Hallgrímskirkja í Saurbæ or Saurbæjarkirkja, is a church in Hvalfjarðarsveit, Iceland.
The major aspects of Medieval Scandinavian architecture are boathouses, religious buildings, and general buildings.
Högna Sigurðardóttir was a leading Icelandic architect. She was the first woman to design a house in Iceland. She spent most of her professional career in France.
Architecture in early modern Scotland encompasses all building within the borders of the kingdom of Scotland, from the early sixteenth century to the mid-eighteenth century. The time period roughly corresponds to the early modern era in Europe, beginning with the Renaissance and Reformation and ending with the start of the Enlightenment and Industrialisation.
Sundhöll Reykjavíkur, is the oldest purpose-built indoor swimming pool in Reykjavík. It was designed by the Icelandic architect Guðjón Samúelsson and opened in 1937 at Barónsstígur, close to the elementary school Austurbæjarskóli. Along with Austurbæjarskóli and Landspítali, it was one of the first buildings in Reykjavík that made use of geothermal water that the public utility Laugaveitan pumped via a 3 km long pipe from Laugardalur. Originally the building was supposed to be finished in 1930, but work stalled due to the Great Depression. The building's exterior is a minimalist white that is almost Art Deco in style with tall narrow rectangular windows. Inside arches on the south side of the pool and the tiled changing rooms are other notable features. The main pool is 25 by 10 metres and with a depth from 0.9 to 4 metres. There are also hot tubs, and Guðjón's Hallgrímskirkja can be seen from the sundeck.
The architecture of Aarhus comprises numerous architectural styles and works from the Middle Ages to present-day. Aarhus has a well-preserved medieval city center with the oldest dwellings dating back to the mid-1500s and some ecclesiastical structures such as St. Clemen's Cathedral and numerous smaller churches that can be traced back to the 1100s. The industrialization of the 19th and 20th centuries left distinctive industrial structures, important National romantic works and some of the best examples of Functionalist architecture in the country. The history of the city as a Viking fort is evidenced in the street layout of the Latin Quarter, the wider Indre By neighborhood testifies to its later role as a Market town and center of commerce while the Frederiksbjerg, Trøjborg and Marselisborg districts showcase the first cohesive urban planning efforts of the early 20th century.
The architecture of Switzerland was influenced by its location astride major trade routes, along with diverse architectural traditions of the four national languages. Romans and later Italians brought their monumental and vernacular architecture north over the Alps, meeting the Germanic and German styles coming south and French influences coming east. Additionally, Swiss mercenary service brought architectural elements from other lands back to Switzerland. All the major styles including ancient Roman, Romanesque, Gothic, Renaissance, Baroque, Neoclassical, Art Nouveau, Modern architecture and Post Modern are well represented throughout the country. The founding of the Congrès International d'Architecture Moderne in La Sarraz and the work of Swiss-born modern architects such as Le Corbusier helped spread Modern architecture throughout the world.
Einar Sveinsson was an Icelandic architect. He was the City Architect of Reykjavík between 1934 and 1973, and widely considered to have played a key role in shaping the appearance of Reykjavík in the mid-20th century.
Ágúst Pálsson was an Icelandic architect.