Architecture News

Laugarás Lagoon: Iceland's Geothermal Spa with a Grass-Covered Roof

T.ark Architects' innovative Laugarás Lagoon project reimagines the spa experience, drawing profound inspiration from Iceland's unique landscape. Instead of mimicking the country's dramatic glaciers or black sands, the design thoughtfully integrates with the gentler, rolling meadows and ancient, hand-carved caverns of southern Iceland. This approach results in a structure that feels less like a building and more like an extension of the natural environment, creating a truly immersive and tranquil retreat.

Laugarás Lagoon: A New Icelandic Landmark Blending Nature and Heritage

In the serene landscape of Laugarás, approximately 90 minutes east of Iceland's vibrant capital, Reykjavik, a groundbreaking architectural marvel has emerged. T.ark Architects, an acclaimed Icelandic studio, has recently unveiled the Laugarás Lagoon, a magnificent geothermal spa spanning 3,000 square meters. This two-story wellness sanctuary is ingeniously crowned with a living, grass-covered roof featuring expansive parabolic archways, paying homage to the region's ancient subterranean dwellings.

The spa's design ethos consciously departs from typical Icelandic rugged aesthetics, instead embracing the tranquil beauty of its southern pastures and woodlands. Halldór Eiríksson, a partner at T.ark Architects, revealed that the core concept revolved around the "farm mound" penetrated by "cave openings," transforming the landscape into both the spatial and architectural language of the lagoon. The structure's glue-laminated timber roof, affectionately termed a "grass tent," is meticulously crafted to integrate with its surroundings, offering framed views of the natural waterscapes through its signature arches.

Upon entering the Laugarás Lagoon from its northern side, visitors are greeted by a vast, inviting reception area that seamlessly transitions into a restaurant space. Here, the architectural design prioritizes an open, airy feel; partition walls intentionally fall short of the timber-lined ceilings, evoking the expansive atmosphere of a "covered plaza" rather than a conventional interior. The restaurant's aesthetic, a collaborative effort with interior designer Anthony Bacigalupo, features pink-hued travertine and clay-plastered walls crafted from local red gravel, immersing guests in the authentic textures and colors of Iceland.

The spa's thoughtful layout continues with fully glazed walls, discreetly set back from the building's sloping arches. These allow for breathtaking views from the changing rooms across the upper geothermal pool, which is strategically positioned to capture vistas of a nearby river, bridge, and distant mountains. In contrast, the lower pool offers a more intimate and secluded experience, framed by surrounding trees and rugged stone walls. Both pools are equipped with convenient swim-up bars and a cold-water plunge. Additionally, two distinct dry saunas are housed within minimalist cubic volumes on the eastern side of the complex, providing tranquil spaces for relaxation. Beneath the main structure, a comprehensive basement level accommodates the spa's vital plant area, along with essential service and staff zones.

Eiríksson elaborated on the interior dynamics: "Black wood-clad boxes are tucked under the roof from the sides, for functions like changing rooms, kitchen and lagoon bar." He highlighted the "dialogue of overlapping spaces," where these functional boxes define central areas while the enveloping grass tent creates integrated corridors. This interplay of protection and exposure guides visitors on a journey of discovery through various coves, saunas, and the immersive forest pool. The materials selected for the project underscore a commitment to local sourcing, with all timber for both interior and exterior applications, as well as the grassy turf for the roof, harvested from nearby woodlands. The spa experience is further enriched by bespoke textile art from Sigmundur FP and a unique range of site-specific scents, distilled from local vegetation by olfactory art lab Nordic Angan for the lagoon's soaps, ensuring a truly multi-sensory and localized immersion.

The Laugarás Lagoon project stands as a testament to how architectural innovation can profoundly connect with and elevate its natural and historical context. It demonstrates a harmonious blend of functionality, aesthetic beauty, and respect for local heritage, offering a spa experience that is deeply rooted in the Icelandic spirit. This project not only provides a serene escape but also serves as an inspiring example of sustainable design, showing that contemporary structures can honor and enhance the landscapes they inhabit without compromising modern comforts. It encourages a deeper appreciation for the subtle beauties of nature and the rich history embedded in the land, proving that the most impactful designs are often those that listen closely to their surroundings.

Lanza Atelier Unveils Brick Serpentine Pavilion in London

The Serpentine Pavilion, an annual architectural commission in London's Kensington Gardens, consistently presents innovative and thought-provoking structures. This year's offering, a design from the Mexican studio Lanza Atelier, distinguishes itself through its unique use of materials and historical references, promising a fresh perspective on temporary architectural installations.

Celebrating Heritage: The Brick Serpentine Pavilion Emerges

The Grand Reveal: A New Architectural Icon Takes Center Stage

Anticipation builds as the initial photographic views of the Serpentine Pavilion, crafted by the esteemed Lanza Atelier, have been shared. This remarkable structure, primarily composed of brickwork, stands as the latest artistic installation within London's vibrant Kensington Gardens, signaling its imminent public debut.

Inspiration Drawn from Tradition: The Crinkle Crankle Wall's Influence

Christened 'A Serpentine', the pavilion's design ethos is deeply rooted in the distinctive English crinkle crankle walls, also known as serpentine walls. This architectural homage is evident in its form, featuring an extended winding wall and another encapsulating element, all crowned by a translucent canopy that allows light and air to flow freely throughout the space.

A Pioneering Construction: The First Brick-Built Pavilion

Breaking new ground, the Lanza Atelier's creation marks the inaugural Serpentine Pavilion to be constructed predominantly from bricks. Specifically, Sienna bricks, a common building material across the United Kingdom, were employed, marrying widespread utility with architectural innovation.

Bridging Eras: A Dialogue Between Past and Present

Alessandro Arienzo, co-founder of Lanza Atelier, eloquently describes the pavilion as a harmonious synthesis of historical architectural principles and modern design sensibilities. This thoughtful interplay creates a meaningful dialogue, reflecting the firm's core design philosophy.

A Legacy of Innovation: Honoring the Serpentine Pavilion's Rich History

This year's pavilion celebrates the 26th installment of this prestigious series, which began with Zaha Hadid's groundbreaking design. Over the decades, the commission has attracted a constellation of architectural luminaries, including Marina Tabassum, Minsuk Cho, Lina Ghotmeh, Bjarke Ingels, Jean Nouvel, and Frank Gehry, each contributing a unique vision to the Serpentine Gallery's esteemed program. The photographic documentation of this latest masterpiece is credited to the renowned Iwan Baan.

The Serpentine Pavilion will welcome visitors from June 5th to October 25th, 2025, at the Serpentine Galleries in London. For additional information on global architectural and design events, consult the Dezeen Events Guide.

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Japanese Architectural Photography: A Decade-Long Exploration in 'Ka Me Ra'

Ari Seligmann's recently published book, 'Ka Me Ra: Modern Japanese Architecture Through the Photographer's Lens,' embarks on a comprehensive journey, spanning a decade of research, to illuminate the profound influence of photography on our perception and comprehension of Japanese architectural history. This significant work introduces readers to the contributions of nine pivotal architectural photographers, whose efforts, Seligmann argues, are frequently underestimated within broader architectural discussions. The publication highlights a collection of eleven celebrated residences, each meticulously captured by these lens masters, thereby offering a distinctive window into the chronological progression of Japanese architectural styles and the enduring power of photographic artistry.

The book, titled 'Ka Me Ra,' is a product of Seligmann's deep-seated interest in charting the trajectory of Japanese architectural development, not merely through design and construction, but crucially, through the medium of photography. It serves as a vital anthology of the works of figures like Yoshio Watanabe, Chuji Hirayama, Akio Kawasumi, and others, whose photographic narratives span from the nascent stages of modern architectural photography in the 1920s to contemporary practices. Seligmann's objective extends beyond mere documentation; he aspires to elevate the standing of architectural photography, urging readers to critically engage with how images are constructed and disseminated, and how these visual representations ultimately mold our experience of architecture.

A core tenet of Seligmann's argument is the recognition that for many, the initial encounter with architecture is through its photographic depiction rather than direct physical interaction. This is particularly poignant in Japan, where, he notes, the photographic record of a building often outlives its physical counterpart, given the relatively short lifespan of many structures, typically 25 to 30 years. Consequently, understanding the intentions and perspectives behind these photographic narratives becomes paramount. Each section of 'Ka Me Ra' dedicates space to the background of a photographer, accompanied by a visual essay that traces the historical arc of architectural photography within Japan.

The selection of 11 iconic Japanese houses within the book provides concrete illustrations of this photographic legacy. For instance, Yoshio Watanabe's 1933 capture of Sutemi Horiguchi's Yoshikawa House exemplifies an early synthesis of modern European design with Japanese photographic techniques. Tomio Ohashi's portrayal of Toyo Ito's Silver Hut in 1984, showcasing interiors that suggest occupation without human presence, highlights a deliberate artistic strategy shared with Osamu Murai. Chuji Hirayama's 1953 photograph of Kenzo Tange's own residence demonstrates the efforts to merge international modernism with indigenous Japanese architectural sensibilities. Furthermore, Mitsumasa Fujitsuka's 2005 aerial view of Ryue Nishizawa's Moriyama House underscores the importance of context and how architecture integrates into its urban milieu. These examples, among others, collectively underscore the diverse approaches and profound impact of these photographers.

The book also features Masako Hayashi's House on a Slope, documented by Chuji Hirayama in 1956, emphasizing the spatial layering characteristic of Japanese design. Akio Kawasumi's 1961 image of Kazuo Shinohara's Umbrella House showcases his mastery of compositional framing and his transition from an architect to a professional image-maker. Mitsumasa Fujitsuka's enduring collaboration with Tadao Ando is evident in his 1978 photos of Azuma House, capturing the building as it was lived in, years after completion, challenging the idealized 'completion photos' often seen in professional magazines. Tomio Ohashi's 1981 photograph of Shinohara's House Under High-Voltage Lines dynamically integrates the environment, framing the sun to energize the image. Fujitsuka's work on Ryoji Suzuki's House in Higashi-Kurume (1985) celebrates the materiality and construction of architecture, a testament to his long-standing professional collaborations and his ongoing career at 86 years old. Lastly, Kiyoshi Takai's 1990 capture of the Yoshijima House, alongside Hirayama's 1950 depiction of a Minka in Shirakawa Village, highlights the photographers' contributions to documenting not only modern structures but also historical and vernacular buildings, reinforcing the breadth and depth of their influence on architectural understanding.

Ultimately, 'Ka Me Ra' not only celebrates the aesthetic brilliance of these photographers but also serves as a critical examination of how visual media shapes our discourse on architecture. It compels readers to consider the deliberate choices behind each photograph, inviting a deeper appreciation for the interplay between the built environment and its visual representation. By shedding light on the often-underestimated role of architectural photographers, Seligmann's work offers a fresh perspective on the history of Japanese architecture, advocating for a more informed and discerning consumption of architectural imagery in our contemporary, image-saturated world.

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