Harpa - Reykjavik Concert Hall and Conference Centre
Henning Larsen Architects, Studio Olafur Eliasson, Batteríid architects. Reykjavík, Iceland
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Name of work in English
Harpa - Reykjavik Concert Hall and Conference Centre
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Name of work in original language
Harpa - Tónlistar og Ráðstefnuhúsið í Reykjavík
Prize year
EUmies Awards 2013
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Work Location
Reykjavík, Iceland
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Studio
Henning Larsen Architects, Studio Olafur Eliasson, Batteríid architects
EUmies Awards 2013 Architecture winners
Collaborators
Program
Culture
Completion
2011
Harpa forms part of an extensive plan to expand and revitalize the eastern harbour of Reykjavik, as well as to improve the connection between this part of the harbour and the city centre. The building consists of both concert and conference facilities, including four main halls. Seen from the foyer, the configuration of the halls forms a sort of 'massif', recalling the rocky Icelandic coast, which contrasts to the expressive multifaceted glass façade that is the result of a unique collaboration with Studio Olafur Eliasson.
The changing daylight penetrating the façade creates a vibrant and adventurous play of light, shadow and color in the foyer. Inspired by the crystallised basalt columns commonly found in Iceland, the southern façades create kaleidoscopic reflections of the city and the surrounding landscape. Made of a twelvesided spacefiller of glass and steel that Eliasson calls 'quasi brick', the building appears as an everchanging play of colour, reflected in the more than 1,000 threedimensional bricks composing the southern façade. The remaining façades and the roof are made of sectional representations of this geometric system, resulting in twodimensional flat façades of five and sixsided structural frames.
Light and transparency are the key elements of the building. Emerging on the border between the land and the sea, the crystalline structure captures and reflects the light & promoting a dialogue between the building, the city, and the surrounding landscape. One of the main ideas has been to 'dematerialise' the building as a static entity and let it respond to the surrounding colours of the city lights, ocean and glow of the sky.