IslANDs

GOlden IslANDs

- The global works of Gudjon Bjarnason

PAPERTIGERS & CONCRETE POETRY

MAIN CURATOR RICHARD VINE

CO-CURATORS JÓN PROPPÉ

HENRY MEYRIC HUGHES

GUDJON BJARNASON - ART & ARCHITECTURE ATELIERS

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“The secret of change is to focus all of your energy,

not on fighting the old, but on building the new”.

-Socrates

Index

1. Icelandic Drift into the Indian Ocean-A Prologue by Rajeev Sethi 08

2. Cultural Institutions 11

3. Sport Structures 37

4. Postcards from America by Livio Dimitriu 53

5. Commercial Structures 59

6. Hotels & Tourism 75

7. Educational Institutions 91

8. Civil Buildings 99

9. Urban Master Planning 107

10. Residences & Villas 125

11. G&B design 157

12. Furniture Design 165

13. Integrity & Poetic Expression-An Epilogue by Carlos Zapata 174

14. Interview with Gudjon Bjarnason by Mridula Sharma 175

15. Profile 181

16. Authors’ Profiles 187

17. GB-AAA Profile & Vision 191

18. Special Acknowledgements & Gratitude 194

Icelandic Drift into the Indian Ocean-A Prologueby

Rajeev Sethi

As we first met Gudjon Bjarnason his uncut jewel like country

was waking up to the sunrise of an early spring, after a long

winter night.

Ice crystals crackled beneath dark moss and virgin rays tore

into light air. Gudjon-stocky, smiling and swift in a SUV drove

us from Reykjavik Airport – sliver like drifting on a rocky sea.

Making a moonscape friendly with his passion for nature and

familiar with his state of Art knowhow of global art practices

and cross-cultural currents, we knew the land would soon

become a person.

We took an immediate fondness for this youthful multitasking

architect and joyous straightforward world trotter,

with a daughter and girlfriends almost the same age! The

time-defying, space and weather challenged landscape was

more predictable than our Nordic host, as he drove us through

craggy cliffs, raging rapids and temperamental geysers to an

amazing house he built bang on a beach. More a hideout

studio for himself, I suspect Gudjon’s forcefully deconstructed

statement was also formed to be as close to the best lobster

restaurant on the isle.

We ate all types of fish, saw all types of design initiatives,

witnessed all types of weather, and indulged in all experiences

- intangible and tangible - all in the course of four stretched

days, before ending this magical mystery tour with significant

excess baggage that only Gudjon could help us waive off

with one swish of his hand and long hair.

I will never forget our send off when on the way to the Airport

we stopped at one amongst many hot springs bubbling

between shallow ravines. Slipping into white steaming water

in borrowed black trunks, lying weightless under a grey sky

a few hours before taking off to return to a staid and stodgy

world on the wrong side of Northern lights… Ah!

Nothing surprised me as my friend always on the move,

chose to drop anchor in the calm and spiritually innovative

shore town of Puducherry, as a liminal space to park his

mind with its many fiercely agile and forever optimistic

creative endeavors. I expect that this unflappable and everflexible

live-wire will adapt with easy grace, adjusting to an

ethnological zoo on his sturdy mobike racing through dusty

by lanes of a diverse countryside. But to be so prolific and

mobile reaching out through turbulent foothills of Meghalaya

to the glitzy glass towers of Shanghai, the chromozoned

world of office interiors and the mystical by lanes of spa

healing- well, one has to have the still Center of someone

born in ice.

8

Each time Gudjon comes to Delhi, I get a new addition of

good news, repositioning his energetic spirit… honorable

invite for a large scale retrospective of his work over the last

three years at the Lalit Kala National Academy celebrating

their 60th year of existence… winning landmark architectural

commissions and competitions around the world, creating

new works composed of fertile experiments in merging

worlds of opposite ideas; observing emerging chaos within

order, pure abstraction versus representation, the conceptual

counter-posed with the real…

layering layer upon layer of grey tones and zeroed overlays,

creating a narrative of architecture through unstructured

volume, swaths of fluid black ink plunging across sheets of

white paper rolls as videos move the eye from an alchemy

of shifting planes.

Remember all this coming from someone born in a land

of constant flux- transforming under profound but eternal

cataclysms. Metamorphosis unseen by eyes that blink.

This edition Papertigers & Concrete Poetry is only one

volume in a trilogy of publications named GOlden IslANDs -

the global works of Gudjon Bjarnason.

The different, yet coherently connected creative acts

celebrated by several internationally acclaimed authors

subliminally trough through a tunnel of darkness into

exploding prisms of light.

A master architect/artist has revealed a mirror that deflects

and reflects at the same time.

Consider planting dynamite into steel containers and blasting

them and piecing them together as unpredictable wholes,

9

SICPAC-Shillong International Center for Performing Arts & Culture

2014, (size 23,500 sq.m., 38.5 acres)

Shillong, Meghalaya, India

Cultural Institutions


Milestone laid by Honorable C.M Dr. Mukul Sangma, April 23rd, 2015

Structure (first phase 23,500 sq.m.) under construction to be inaugurated 2017/2018

12

SELECTED WINNER


13


2014, (total size 23,500 sq.m., 38.5 acres)


14

SELECTED WINNER


15

Shillong International Center for Performing Arts & Culture-Administration, National Tribal Museum & Future Theater Interiors

2014, Shillong, Meghalaya, India

16

Shillong International Center for Performing Arts & Culture-Central Block Interior


SELECTED WINNER


17

Architectural Typology Studies for SICPAC


18


19

Heritage Cultural Foundation

2014, (2,000 sq.m.)

New Delhi, India

20


21

Pondicherry Multi-Cultural Art Center

2015, (15,000 sq.m., 2.9 acres old distillery site)

Pondicherry, Puducherry, India

22


23

“La Mairie” City Hall

Reconstruction & cultural placement for a contemporary art museum/community center

2013, (2,500 sq.m.) Pondicherry, Puducherry, India

24


25

SVARAM - Musical Instruments & Research

2017, (2500 sq.m., approx. 2 acres)

Auroville, Kottakarai, Tamil Nadu, India

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27

Ampati International Center of Culture

2015, (7000 sq.m., auditoriums for 750 & 396 spectators, 10 acres)

Ampati, Meghalaya, India

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SELECTED WINNER


29

Study for Ampati International Center for Performing Arts & Culture

2013, (7000 sq.m., 10 acres)

Ampati, Meghalaya, India.

30


31

Tura Cultural Center

2014, (4,000 sq.m.)

Tura, Meghalaya, India

32

SELECTED WINNER


33

Media Art Center Proposal

2015, (7500 sq.m., 3 acres)

Patna, Bhopal, India

34


35

“Orange” Multi-Sport Stadium

2014, (seating capacity 32,000 spectators, FIFA regulations)


Sport Structures

“Apple” International Football Stadium

2015, (approx. 45,000 sq.m., 30,000 spectators, FIFA regulations)


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SELECTED WINNER


39

“Apple” International Football Stadium

2015, (approx. 45,000 sq.m., 30,000 spectators, FIFA regulations)


40


41

“Orange” Multi-Sport Stadium

2014, (seating capacity 32,000 spectators, FIFA regulations)


42

SELECTED WINNER


43

Archery Stadium

2014, (5,000 sq.m, 4,500 spectators)

Meghalaya, India

44


45

Shillong International Football Stadium

2013, (66,000 sq.m., 50,000 spectators, FIFA regulations)


46


47

Proposal for The National Games of India

2014, (36 sports fields, 80 acres)


48


49

Architectural & Master Plan Study for an International Football Stadium with a large Overhang

2013, (20 Acres, 25,000 spectators, FIFA regulations)

India

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51

SICPAC-Amphitheater Art & Design Mall /Cinemaplex & Luxury hotel

2014, (Total size 65,000 sq.m., 38.5 acres)


Postcards from America

Postcards from America

by Livio Dimitriu

POST CARD #1

Dear Gudjon,

It seems to me that today writing, architecture, the arts, and any forms of expression cannot follow anymore

the standards of logic and rational linearity of times past. There is an unbearable fragmentation imposed by

a Proustian mode of dealing with the nature of memory: the clear outlines of things remain sharp, but their

perception is blurred by the blinding light over Hiroshima. One cannot conceive the world remaining the same

as that of our forefathers. One must contend with the “atomic light” that secretly bathed the Garry Winogrand’s

photography, or the “body parts” of my friend John Coplans, both long gone by now. It is in this spirit that I

write to you…

Livio D.

54

POST CARD #2

Dear Friend,

Copland’s series of photos Body Parts take his own decaying body and reify its parts, part of

the whole but still fragments. They seem simultaneously alive and object-like. The whole was

spread over photo frames; the fragments assemble and reassemble in infinite variations of

time, Kraftwerk’s “time stood still”. You walked into my Columbia University first day of design

studio, a modern Viking with leonine blond hair, half naked handsome Greek kouros, chained

in sonorous iron, tight black leather pants, with Miss Iceland on one arm, and Miss World

on the other. My clear memory has difficulty in telling the difference between one body and

three bodies. They seemed to form for me a coherent whole, wrapped in black leather and

chains. The image is a collage of related pieces. All under the sign of a punk culture which carried such a different meaning in

Europe: A deep social discontent on one hand, and only a superfluous fashion in the US.

Yours as always,

L.D.

POST CARD #3

Hello from afar:

I never told you this. At the time, so many years ago, it would have been extremely

pretentious to tell you what crossed my mind. It is more natural now. The first

architecture project I witnessed you make was actually about a giant steel shield,

forged, cut, distorted, pierced; defending, covering, and hiding the normality which

architecture has difficulty avoiding… I thought of you coming out of Iceland, the land

of fiery volcanoes at the end of earth, the Roman god Vulcan, the god of industry.

I thought of Achilles’ battle shield, forged by Hephaestus. An artifact that in its

slight bulging and round shape was a fragment of the surface of the world, round

as the ancients thought the world to be, and describing it. This protective image of the world as the ancients witnessed was

described in its minutia, with the city and its maidens, the countryside. All executed with great skill and employing the cutting

edge materials of those mythical times: bronze, tin, copper, gold and silver.

Livio

POST CARD #4

Until soon, LD

Gudjon, my Friend,

I am so allergic to the bellicose language of architects, architecture historians

and critics of architecture and the arts: avant-garde. One invents dramas where

dramas are not needed; a vacuous argument to draw the young and innocent,

and the inexperienced. Ideology has replaced the substance of craft so often.

Sincerity: an object well-made and with no flaws; an earth pot without hidden

cracks surreptitiously filled with bee wax. But I agree with an architecture

of resistance, such as yours. It is an architecture of our times, of our youth,

discontent with the status quo, bathed in the light of our times…

55

POST CARD #5

Dear Friend,

I saw your exploded steel orchids: your sculptures. Also, I delved in the blackness of your works

on paper and mixed media. The presence and scale of your sculptures left a deep impression

on me. After, some years, the emotion I felt remains unchanged. Your work is about animated

steel and blackness. You remain consistent and true to yourself after all these years we know

each other. For this, I thank you… It was exciting to know that you conclude a steel work, and

blow up the rational result with left-over explosives, be it from NATO bases early on in Iceland,

or from DEA and Army demolition experts in the USA. The apocalypse is also a construction

material, made of light and darkness. The two seasons of Iceland… These are radical choices.

I remember a Zen Buddhism story: The perfect pattern of a sand and rock garden is “finished” not when the design is perfectly

executed, but only after the pine needles form surrounding trees have fallen randomly on the ground. Your sculptures are

finished when the man’s will has been balanced by the effect of more or less controlled explosions…

In Friendship,

Livio D.

POST CARD #6

Dear Nomad Warrior,

And why are you in India now? And what about your architecture now? India, and Asia in general,

seems a perfect choice for you, and it should be so for many others among us. It is a return to

the cradle of all culture. Your architecture finds space there. You became more prolific than ever

before. Your architecture can be exploded freely there, away from preconceptions and clichés,

away even from imposed models, however masterfully conceived by the unquestioned master

of the Modern Movement, Le Corbusier, the grandfather of us all. Just like your sculptures in

steel, and the expected effect of the rather unpredictable explosions, your architecture can only

blossom there where preconceived ideas have not taken root too deeply… The overall plan of

Shillong Center in Meghalaya explodes in-site, and the “Orange’ Stadium suggests to me the lotus flower I respect so deeply. The

relentless linearity of the Grand Canal Master Plan proposal in Podicherry, particularly when the highway is alone juxtaposed to

water, is a most compelling image.

Best regards, Livio

56

POST CARD #7

Hello Gudjon,

I was glad as always to see you again in New York, however briefly. It occurred to me that the

metal battle shield of the project you did at Columbia University a long time ago, has found

a new and perhaps truer purpose now in your work. You are using the shield horizontally.

The raised edges of surface cuts in your work, like in the shield, probably have something

to do with Lucio Fontana’s controlled violence. The cuts and piercings – Fontana’s “tagli e

bucchi” – release the tension built into the stretched skin of the canvass; in your case, the

tensions of the ground surface. The generally low volumes in your projects probably respond

to earthquakes, so as to defend the land, the earth which you love in India, as you do in

Iceland, and everywhere else. Do you remember how you taught me to understand the sensuousness of the infinite expanses of

moss in your homeland? I sincerely hope your architecture will defend forever all the lands where you happen to live and work…

My warmest thoughts are always with you!

Livio D.

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Media Art Center Section

2015, (7500 sq.m., 3 acres)

Patna, Bhopal, India

58

Commercial Structures

ECOF Headquarters. Interior & Furniture Design

2014, (3000 sq.m.)

Chennai, Tamil Nadu, India

60


61

SICPAC Shillong Haat, Art & Design Mall/Cinemaplex

2014, (25,000 sq.m.)


62


63

DUGGAL Greenhouse Development & Waterfront Park

2015, Brooklyn Navy Yard, New York, USA

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65

D-Cafe

2015, (300 sq.m.)

Brooklyn Navy Yard, New York, USA

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67

The 5th Art & Design Guan & Sculpture Park

2014, (12,500 sq.m.)

Humen, China

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69

Luxury Leather Store, re-branding & new Stores

2013, Hyderabad, Andhra Pradesh, India

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SELECTED BEST AIRPORT STORE


71

Holii Luxury Fashion Branding

2013, Bangalore, Karnataka, India

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73

Blossom Hill Hotel & Spa

2015, (12 rooms, 24 cottage rooms, 19 cottages, yoga/convention/banquet in hill 285.5 Sq.m, store at parking approx. 3,500 sq.m.)

Shimla, Himachal Pradesh, India

Hotels & Tourism

SICPAC Luxury Hotel, Spa, Swimming Pool & Street Cafe

2014, (20,500 sq.m.,140 rooms 36 sq.m. each)


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SICPAC Guest House Annexe

2014, (30 rooms 30 sq.m. each, restaurant, art residency 3500 sq.m.)


78


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Red Rose Resort

2015, (14 rooms). A luxury garden farm resort


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Blossom Hill Hotel & Spa

2015, (12 rooms, 24 cottage rooms, 19 cottages, yoga/convention/banquet in hill 285.5 sq.m, store at parking approx. 3,500 sq.m.)

Shimla, Himachal Pradesh, India

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83

AB Hotel Resort & Luxury Spa

2015, (140 rooms, 118 luxury villas, 2 swimming pools, restaurant, shops & marina 70,000 sq.m., 40 acres)

South-Pondicherry, Pudhucherry, India

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85

Skálabrekka Luxury Hotel & Spa

2017, (150 rooms, bungalows, 2 swimming pools, restaurant, & shops, 6000 sq. m., 465 acres)

Bláskógabyggð, Iceland

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“The Clouded Leopard” - A Prototype for Cultural Cafes & Tourist Information Centers

2015, (approx. 400 sq.m.)

Seven Sister States, India

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89

Little Educational Theater Shillong International Center for Performing Arts & Culture


Educational Institutions

S.S. Khalsa Sr. Secondary School (Chakwal)

2014, (25,000 sq.m., 3,000 students, 2 acres)

Lajpat Nagar-IV, New Delhi, India

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93

SIFAM Art University

2014, (20,000 sq.m., 6 art departments)


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95

SICPAC Academic Music & Art Center

2014, (4000 sq.m., classrooms, workshop, administration & music square)


96


97

Legal Assembly Study

2016, (approx. 25,000 sq.m.)

India

Civil Buildings

Legal Assembly Study

2016, (approx. 25,000 sq.m.)

India

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101

Shillong Tower Landmark Proposal


102


103

Proposal for International Airport

2016, Borjhar, Guwahati, Assam, India

104


105

SICPAC-Master Plan of Cultural Complex

2014, (65,000 sq.m., 38.5 acres)


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Urban Master Planning

The Grand Canal

2014, (2.8 kms development proposal & masterplan )


108


109

SUSWA Geothermal Plant & Lagoon, Hotel & Spa

2013, (15,000 sq.m., 5 acres)

Nairobi, Kenya

110


111

Smriti Stupa & Buddha Museum Proposal

2014, (20,000 sq.m., height 100m, 80 acres)

Patna, Bihar, India

112


113

Master Plan Proposal for a Chambal River Township

2017, (60,000 inhabitants)

Rajasthan & Madhya Pradesh, India

114


115

Master Plan Proposal for a Chambal River Townships

2017, (5 towns of 60,000 inhabitants each, 4 smaller towns of 15,000 inhabitants each)

Rajasthan & Madhya Pradesh, India

116

“Apple” International Football Stadium, Mall, Hotel & Residencies

2015, Ampati, Meghalaya, India


117

New Culture Trail- A Pedestrian Urban Proposal

2016, Pondicherry, Puducherry, India

118

Urban Master Plan Study for A Legal Assembly

2016, India


119

SICPAC Cultural Complex Master Plan

2014, (total size 65,000 sq.m., 38.5 acres)


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SELECTED WINNER


121

“SKÁLABREKKA” Luxury Hotel & Spa Master Plan

A collaborative project between ARKIS & GB-AAA

2017, (phase I approx. 5000 sq.m., 470.5 acres), Bláskógabyggð, Iceland

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“EYMD” Beach House. Ateliers, Art & Design Residence

2012, (300 sq.m., 0.16 acres)

Stokkseyri, Iceland

Residences & Villas

“Hátύn” Residential & Commercial Complex

A collaborative project between ARKIS & GB-AAA

2017, (3500 sq.m) Reykjavik, Iceland

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CM Residence

2015, (3,500 sq.m., 1 acre)


128


129

J House Luxury Villa Renovation

2014, (2,000 sq.m.)


130


131

Dr. R.M. Vasthu Farm House

2012, (1200 sq.m.)

Pollachi, Tamil Nadu, India

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133

Westend Green Villas

2013, (3 villas, 750 sq.m. each)

New Delhi, India

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135

Farm Villa

2012, (1200 sq.m., Vasthu compliant)


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137

“Green Wings” Beach house

2012, (400 sq.m.)


138


139

Karpagam Garden Villa No. 8A

2015, (800 sq.m) in collaboration with Roopa Shetty


140

Karpagam Garden Villa No. 8B

2015, (800 sq.m) in collaboration with Roopa Shetty



141

The Square House

2013, (500 sq.m., 1.69 acres)


142

Pagoda House

2013, (300 sq.m.) in collaboration with Devendra Kumar Sureka



143

“EYMD” Beach House. Ateliers, Art & Design Residence

2011, (300 sq.m., 0.16 acre)

Stokkseyri, Iceland

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145

Beach House. Art & Design Residence

2017, (295 sq.m., 0.16 acre)

Southwest, Iceland

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147

Luxury Lake Villa

2013, (700 sq.m.)


148

Sculpture Garden Proposal. Art & Design Residence & Workshop

2017, (450 sq.m.)

Southwest coast, Iceland


149

Art & Design Residence, Gallery & Workshop

2017, (450 sq.m.)

Southwest coast, Iceland

150


151

Residential Plan Proposal for a Chambal River Township at Banas & Seep River

2017, Rajasthan & Madhya Pradesh, India

152

Residential/Commercial Plan Proposal for a Chambal River Township at Banas & Seep River

2017, Rajasthan & Madhya Pradesh, India


153

Residential Plan Proposal for a Chambal River Front & Promenade

2017, Rajasthan, India

154

Residential Plan Proposal for a Chambal River Front & Promenade

2017, Rajasthan, India


155

G&B design Gala Dress Detail

2016, in collaboration with fashion designer Gígja Ísis, Stockholm, Sweden

(GB-AAA painterly graphics incorported into luxury fashion clothing & domestic objects)

G&B design

G&B design Gala Dresses



158

G&B design Gala Dresses & Art Installation




159

G&B design Fashion Bags & Clothing



160

G&B design Art & Jumpsuits




161

G&B design Beach Bags



162

G&B design The Big Suit




163

“Dynamic ” Detail

2014, wood & chrome steel lounge chair design


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Furniture Design

“Dynamic”



166

“Dynamic”




167

“Dynamic Rock”



168

“Dynamic Lounge”




169

“Classical” Street & Cafe Furniture Design


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171

“Classical” Street & Cafe Light & Furniture Design


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173

Integrity & Poetic Expression-An Epilogue

by Carlos Zapata

In the world of architectural design there is an abundance

of thoughtless building. Occasionally, however, one finds

poetic structures that speak to their surroundings in a

simple, sincere and eloquent manner. Their roots transform

the landscape creating new memories, contributing to the

symbolism, the culture, the behaviour and the pride of those

around them. In time they can be a positive engine for social

evolution. Every artist and architect has been influenced by

these buildings throughout history, allowing them to push

forward the universal craft.

Gudjon and his GB-AAA atelier’s approach to the various

creative fields in which he has chosen to practice has been

uncompromising. It is his insistence on elevating his work

above the usual banal commercial production that has

brought him to create work of integrity and poetic expression

in the field of art and architecture.

I look forward to experiencing the work presented in this

book, in its built form and to be witness to the inspiring

contribution that Gudjon’s work makes in its unbuilt form.

v

Interview with Gudjon Bjarnason

Interview with Gudjon Bjarnason

by Mridula Sharma

176

What brought you to India?

Pure curiosity and the search for colorful life-affirming

adventures. I have always been an avid traveler and enjoyed

exploring various cultures and landscapes. Being born in

freezing cold but beautiful Iceland, a poetic Nordic country

with a population of mere 3.3 lakh in the middle of the

Atlantic Ocean has a way of making one a natural seafarer;

in my case a peace loving Viking who sincerely appreciates

tropical climates.

The way I see it, to live a full life one has to research the

planet lived on. Now it is so easily possible that life has

become a blessing which creates a new breed of people;

some kind of global nomads. Furthermore, I choose early on

to become an artist and an architect. Both fields are universal

subjects of practice without boundaries so in my lifetime I

have worked and lived in many countries and continents.

I’m quite fascinated by India, its cultures and rich diversity.

It is a world in itself and I’m enthralled and seduced while

comfortably still thawing after my Icelandic youth spent in a

chilling refrigerator.

Why did you choose Pondicherry as your Indian base?

I really didn’t choose Pondicherry or India for that matter.

More simply, Pondicherry and India chose me. Several years

ago, in the last night of my original visit, I was approached

by one of India’s largest fashion companies which also runs

other fashion firms and was asked to artistically rebrand

their image. I came back to Pondicherry with the intention

of staying temporarily for those rather lightweight design

projects which turned out to be not such a pleasant affair

due to a lack of professional ethics and honesty on some

people’s part. However, destiny positively intervened and

I was luckily requested to do more, then more and more

projects in the private and commercial sector, the art world

and eventually by municipalities. At a point, I saw that I had

to make a decision whether I was going to have a substantial

presence In India or work out of thin air in airplanes. Being

a free spirit at heart, I contacted my collaborators in New

York and Iceland and announced that it was time to test and

challenge new waters and branch out my practices to India

and Asia.

I have really never lifted a finger to promote myself on

Indian soil and now I’m working on several large and

exciting projects. So, India seems to have chosen me –

not vice versa. Some funny little divine magic seems at

play, creatively carving my destiny behind my own back.

What led to the SICPAC project in Shillong?

Again destiny playing cards and throwing dice. By coincidence,

at the opening of a small art exhibition of mine in Delhi, I

accidentally bumped into some cultivated people who

took me to one of India’s largest development company.

After a quick glimpse of my portfolio it was quickly decided

I would become their conceptual competition designer for

some upcoming landmark competitions. The rest is history,

a straight poker flush. Together we are now making several

very progressive buildings, truly marvellous structures: social

centers and culture centers, sports stadiums, for example,

and the SICPAC-Shillong International Center for Performing

Arts and Culture which also houses The National Museum of

Meghalya and The Shillong Contemporary Center of Visual

Arts as well other structures which are a part of the larger

master plan.

I find all this very interesting as my visual art work and signature

exploded installations are very much about welcoming

errors, accidents and the unknown as I believe our lives are

much much governed by those factors than we care to know.

Strangely, I have somehow become a living embodiment of

that theory and my body of work is expanding in a myriad

ways in all sectors, private, corporate and governmental.

Presently, I’m working actively in three to four continents

and several Indian states with the aid of well established

and skilled architectural collaborators as well as a variety of

interesting wild cats from the international art world.

Isn’t the structure too Scandinavian for that part of the

country which has a strong local vocabulary of its own? And

being in a high seismic zone?

Nordic architecture with its clean surfaces, truthful

construction, exposed natural materials and appearance of

simplicity, in spite of frequent geometrical complexities and

suitable adjustments to light, landscape and view, is really not

about style but rather about methodology and contemplative

creativity. Shillong and Meghalaya in general has in fact various

stylistic vocabularies and scales: British colonialism, English

country style, debased modernism, decorative postmodern

vernacularism and primitive vernacular huts, etc., a real

potpourri. The state also has various ethnic groups, the Khasis,

the Jaintias, the Garos and British descendants. To favor any

of those I would have found limiting and discriminating at

the costs of equality to others.

I’m a strong believer in the modernist tradition of progressive

creativity and the transformative powers of architecture

for social betterment. That is modern architecture which

does not aim at some Mickey Mouse repetition, heartless

oversimplifications and reductionist tendencies or mindless

decorations but rather welcomes geometric complexities,

narratives, analogies, structural games, word games,

dreams, intelligence and lessons learnt from contemporary

conceptual arts.


177

178

As for the latter, Scandinavia, especially Iceland, has its share

ofdancing earthquakes so I’m not a complete stranger to that

subject. The total irregular structure is divided internally into

five box like individual entities meeting all safety criteria’s

needed. Naturally, this is all worked out by India’s professional

structural engineers.

What of the local life and architecture impacted your

sensibilities?

The dynamic vibe of the culture, music, fashion, art and the

industrious city life of the strong, healthy and eye pleasing

mountain people leaves no one untouched.

The same can be said of the abundant natural elements,

the clarity and freshness of the climate, the long vistas, the

distant presence of the Himalayas, Shillong Peak and the

curving hills and the subtle waterfalls and clear lakes.

All these elements have been filtered poetically into the

creation of SICPAC as part of an individual main building and

as a part of the whole larger cultural complex. SICPAC will

become as much an integral part of the visitors experience

as the uplifting experience of nature itself. It is a landmark

platform and a visual apparatus to enjoy nature – and culture.

How have these been incorporated?

The main structure and the phase II structures of master plan

are in its whole essence a composited ode to the beauty and

contemplation of nature – a frozen musical composition in

white concrete for all facades including the roof. SICPAC is

conceptual sculpture, a heavenly city in itself located within

a natural park embracing an outdoor musical amphitheater

for 15-20,000 spectators.

With music being so close to people’s hearts in Meghalaya,

I find that incorporation quite appropriate; the body of the

building creates a backstage and is indeed, metaphorically

and literally, a cradle for its significant musical culture which

is the most precious expression of the state and its talented

people.

What are the local metaphors in your design for SICPAC?

The main metaphor derives from a linguistic analysis of the

Sanskrit word Meghalaya which translated means “an abode

in the sky”. The state’s allegorical name led to an idea for the

complex to become a castle in the sky – a geometrical cloud

referring to the ever-present cloud formations over Shillong

while simultaneously making a reference to the white peaks

of the distant Himalaya mountains in the North-East. As a

conceptual strategy this makes for a unifying symbol for a

multi-ethnic state. Furthermore, the auditorium interiors are

distinguished from each other by the use of stark primary

colors so visible in ethnic costumes and art.

The Yves Klein blue colored seats of the super-versatile Multi-

Purpose Hall, with a maximum seating capacity of 2,100

trickle down through its irregular corridors towards the

central stage like the playful rivers of the state. The bamboo

clad interiors take their zigzag wedged shape from traditional

musical instruments like drums and from the cane weaving

so common to the area. Last but not least, the ground plan of

SICPAC has the happy silhouette of a jumping dancing figure,

but that’s a secret, only I know that…

Are you first an architect and then an artist or the other way

around?

I consider myself to be a conceptual multi-media artist where

architecture simply becomes one of various media. just like

painting, sculpture, photography. It is visual poetry capable

of expressing things close to my heart.

I’m very interested in the manifestation of democracy and

free and open expression versus modes of redundancy and

oppressions which society creates so often – often without

conscious intention, simply out of carelessness and a lack of

creativity.

As an artist, people have often compared my paintings to

blueprints expressing the dynamic invisible forces at play in

our ever more complex societies, and my exploded animated

steel sculpture to models eventually leading to the production

of architectural wonders: A transformation of the negatively

banal into positive magic.

Tell us something about your recent large scale art exhibition

at Lalit Kala Akademi?

First of all I would like to express my thanks to the National

Academy for inviting me and hosting this major somewhat

retrospective exhibition celebrating the institution 60th

anniversary held at the time of the India Art Fair.

The modus operandi of the multi-media exhibit is the

eradication of any preferred artform and the full nonhierarchical

integration of art and design. Its title, GOlden

SectiONs – the global work of Gudjon Bjarnason” refers to

representational background visions of cross-sections of

human behavioral extremes of societies that I’m quite familiar

with, e.g. America, Iceland, China and India, amalgamated

with rich and dynamic abstract imagery with architectural

references. WithIn my artistic imagination, one thing never

excludes another – everything has the capacity to gracefully

entwine and coexist.

That exhibition spoke of the transformative key to

uninterrupted flow of creative thinking and the complex physic

state of individuals living in a world of visual abundance and

within the human extremes of spiritual beauty and violence.

What part of living in India interests you the most?

The constant complex interrelation of frustration and delight

at the root of the peculiar Indian humor and lightheartedness.

India really makes me laugh a lot!

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Profile

Profile

Gudjon Bjarnason

Gudjon Bjarnason (b. 1959), the founder and creative director

of GB-AAA (Gudjon Bjarnason Art & Architecture Ateliers) is a

sculptor, visual artist, architect and urban planner who lives and

works out of Reykjavik, New York and Pondicherry in South-

India.

He has been an internationally practicing architect and multimedia

artist over two decades and has had over fourty art

and design exhibitions, often of his conceptual sculptural/

architectural installations whereas he has often utilized explosives

for systematic deformations of metals commonly originating

from the building industry.

The pyrotechnical installations have frequently been exhibited

along with his stark, graphically complex, black/white/gray-scale

multi-layered, semi-transparent, semi-automatic paintings/

prints, slow motions videos and in situ negative photography

often along with architectural models and art books in museums,

biennales and galleries across the United States, Asia and Europe

including the Nordic countries.

After graduating from The Reykjavik Junior Collage (MR) Gudjon

studied preliminary law and philosophy at the University of

Iceland. Hencefort, after fast phased global travels of cultural

studies, he headed for USA and enrolled in architecture, design

and painting at The Rhode Island School of Design, Providence,

(BFA and B.Arch honors), painting and sculpture at The School of

Visual Arts, New York (MFA in Painting and Sculpture) and, finally,

architectural design and city planning at Columbia University,

New York (M.ARCH II in Urban Planning and Building Design)

where he graduated in 1990 with excellency.

He has taught art and architecture at the Rhode Island School of

Design, the USA Institute at the New Jersey Institute of Technology

and the Technical University of Verona, Pratt University, Brooklyn,

Parsons School of Design, New York as well as the Icelandic

School of Architecture (ISARK) where he was one of its founders,

a teacher and first managing director.

In October 2011, Gudjon established GB-AAA; progressive art

and architectural ateliers under his own name, operating out

of Pondicherry, Reykjavik and New York which are presently

engaged in the design of numerous highly creative large scale

modern buildings as well as cultural projects/exhibits in various

cities in India as well as in China, Europe and the USA.

As a leading architects his atelier GB-AAA, were recently selected

first place winners in several Indian architectural competitions of

national and international importance e.g.: SICPAC - The Shillong

International Center for Performance Art and Culture, size

23,500 sq. m., which contains four major auditoriums halls, the

National Tribal Museum for the Arts, the Shillong Contemporary

Art Center as well as an outdoor amphitheater seating 20,000

spectators.

182

According to the winning master plan, phase II of the SICPAC

cultural complex will include a hotel with a guest house annex,

a high-end art and crafts/design mall with a cinemaplex, a

theater, dance academy and an international residency for

artists, designers and musicians. GB-AAA was also the selected

architects for the design of The Ampati Cultural Center, Meghalaya

(auditoriums, exhibitions spaces and arts and crafts museum),

the Tura Cultural Center (auditoriums and exhibitions spaces and

arts and crafts museum), and the Ampati International Football

Stadium. Furthermore, Gudjon/GB-AAA were selected for “The

Orange Stadium”; an international multi-sports arena, containing

a sports museum in Tura, Meghalaya.

In 2013 GB-AAA was nominated for the best designed store for a

fashion outlet the new Hyderabad airport. Additionally, in 2014

GB-AAA participated in an international competition for a Buddha

memorial and museum in Patna, Bihar which generated much

interest. Gudjon was selected by the Sikh community in Delhi

in 2015 to make a proposal for a new progressive secondary

school in South Delhi.

In 2015 Gudjon was selected leading architect for the AB Luxury

Resort, Villas and Spa in South-Pondicherry on 40 acres of land.

Furthermore, he was selected as a finalist for the upcoming

Pondicherry Multi-cultural Municipal Art Center and 2017 year

Gudjon was selected the architectural designer for the innovative

SVARAM-Musical Instruments & Research in Auroville, Tamil

Nadu.

Gudjon sat on the editorial board of the Icelandic magazine

“Architecture & Planning” for a decade and has published

writings in journals on architecture and art in international design

magazines.

A number of publications have been published and dedicated

to Gudjon’s work, such as “Minimal Baroque”; two catalogs

published by the Nordic House in Reykjavik in 1996 when

Gudjon was selected the institution’s Summer Artist of the

Year. “Contemporary Masters” was published by Art Source Inc.

Switzerland, “In The Forbidden Landscape”was published by the

Henie Onstad Art Centre, Norway and “EXploding MEaning”, a

237 page art book was, in addtion, published by The Reykjavik Art

Museum which features a main article by Art in America´s man.

editor, Richard Vine and 25 other distinguished writers e.g.: Lilly

Wei, Dominique Nahas, Thor Vilhjálmsson and the international

artist Dennis Oppenheim. Moreover, catalogues on his multimedia

works have been published by HP Garcia gallery, New York

with essays by collection “The Modern Movement: Pentimenti

and other Tectonic Fables” by Prof. Livio G. Dimitriu, published

by the USA Institute.

Since 2014, he has creatively collaborated, under the name G&B

design, with the Stockholm based fashion designer Gigja Isis on

luxury domestic design and fashion items utilizing the pictorial

graphic world of his multi-layered paintings and politically based

photography as a textile iconography.

183

Symposiums on Gudjon´s art and architecture have been held at

Suny Collage, Westchester, NY, The Scandinavian Art Foundation,

NY, The Reykjavik Art Museum and he was selected to be one

of the honorary opening speakers as an acclaimed sculptor at

SCALE - a gathering of sculptors; an international symposium on

sculpture and the environment held in 2012 in San Antonio, Texas

at the invitation of National Endovement for the Arts. USA. In

the fall of 2013 Gudjon was invited to give a talk at the National

Museum of Art in Beijing.

Public documentary films on his explosive art works have been

made in Reykjavik by Thorfinnur Gudnason in 2000 (GUDJON)

and by Walley films, in Texas, in 2012 (DySTOPic ProgressiONs).

Suyojan Film in New-Delhi recently completed a documentary on

his then recent art and architectural endeavors in India (GOlden

SectiONs).

Gudjon has upcoming art and architectural exhibits in India,

Europe and the USA. In January 2015 Gudjon was invited, for

the first time in the history of the institution, to exhibit in all the

main galleries (5000 sq. m.) of the prestigious Lalit Kala Academy,

The National Academy of Arts, New Delhi in the celebration of

the 60th anniversary of the institution. Consequently, he has

been selected to represent his native country, Iceland, at the

prestigious India Art Triennial, New Delhi.

Three new publications on his recent art and design work will be

published in conjunction with a travelling exhibit launching at

Habitat Art Center, New Delhi in 2018, named “GOldens IslANDs.”

Contributing writers are the world-known curator and

scenographer Rajeev Sethi, senior editor of Art in America dr.

Richard Vine, who will also the curator for the exhibit, the

acclaimed Indian poet Ashok Vajapeyji, NY architectural critic Iair

Rosenkranz, architectural prof. Livio G. Dimitru, Romanian poet

Doina Uregrau, Italian photographer Sebastioan Cortes, Icelandic

philosopher Jón Proppé , antrhopologist dr. K.K: Chakravarti

former chairman LK Academy and the Texan artist and Blue

Star´s former museum executive director, Bill Fitzgibbons as well

as Henry Meyric Huges, Honorary president of the International

Association of Art Critics.

As a practicing artist and architect Gudjon, has over the years

received e.g. the following grants, awards and recognitions: Cité

Internationale des Arts, France; Italian Ministry of Culture; The

Finnish-Icelandic Society; The American Information Service,

Iceland; The Icelandic Ministry of Culture; The Icelandic Artists’

Fund; The Sasakawa Foundation, Japan (two times); The Fulbright

Foundation, Iceland; The National Research Fund, Iceland; The

Scandinavian-American Foundation (travel grant), New York;

Nordisk Kunstcentrum, Finland; Sleipnir, The Nordic Ministerial

Fund, Denmark; SPRON - Cultural Fund, Iceland; The Municipal

Cultural Fund, Iceland; ILS Technological Advance Fund; Margret

Björgólfsdottir Cultural Fund; Muggur Travel Fund; Muggur

Resident Fund; CIA -Center For Icelandic Arts project grant;

Myndstef project grant; The National Endowment for the Arts,

184

USA. In 2015 he received a honorable mention for creative

achievements jointly from Sumitra Mahajan, the speaker of

Lokh Sabha/Indian Parliament and The Indo-Icelandic Business

Association (IIBA), New Delhi.

He received an honorary two-year artist stipend from the Icelandic

government in 1999 and six months stipend in 2008 and 2010 as

well as a State travel grants several times. He has also received

several Icelandic and Italian architectural awards besides his

recent awards in India for his interior design, individual buildings

and urban planning and architectural nominations such as the

Icelandic DV cultural award several times.

Articles and interviews on Gudjon´s art, architecture and urban

views have appeared in The Times of India, Hindustan, The Indian

Express, The Hindu, The Telegraph and Shillong Times as well as

numeriously in Icelandic newspapers and other media e.g. as

in State Radio (RUV-2016) and TV (Mannamál, Hringbraut TV-

2016).

Essyas on Gudjon´s work have also apperared in international

professional magazines such as Art In America, NU, Inside Out ,

Decoration Internationelle and Livingetc.

Gudjon was appointed a cultural advisor in 2013-2015 to

INTACH for the cultural and architectural enhancement for the

municipality of Pondicherry, India.

In the fall of 2017 Gudjon was re-elected on the governing board

of The Indo-Icelandic Business Association (IIBA), New-Delhi.

In 2016 Gudjon was one of the leading founders of the Icelandic-

Pondicherry Friendship Society (VIP) where he acts as a special

cultural advisor.

Gudjon is presently active in establishing an art and design

residency in Southwest-Iceland along with a international

sculpture park.

Nordic prize literature recipient author Thor Vilhjálmsson, wrote

a poem dedicated to Gudjon in 2006, published by Reykjavik Art

Museum. The poem “The Steel Ganesh”, a dedication to Gudjon

and his work is part of the book “The Glass House” a selection

of a poems by the distinguished poet, Doina Uregrau, published

by the American Library of Congress, 2015.

Furthermore, Gudjon´s character appears as a real persona

in the otherwise all fictional novel “SoHo Sins” by Richard

Vine, published in New York, 2016 by Hard Crime Books/Titan

publishers. Two anecdotes on Gudjon are to be found in the

collection “The Modern Movement: Pentimenti and other

Tectonic Fables” by Prof. Livio G. Dimitriu, published in 2017 by

the USA Institute, New York.

185

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Authors’ Profiles

Authors’ Profiles

Rajeev Sethi is a noted Indian designer, scenographer and art curator. He is known for his outstanding designs across the world.Sethi spent his

formative years in Paris, where he first went to study graphic art on a scholarship. Thereafter he trained under painter and printmaker Stanley William

Hayter at his studio, Atelier 17. He was mentored by American designers Ray and Charles Eames. Finally he got a chance to work at studio of French

designer, Pierre Cardin. Meanwhile in 1960, he designed Delhi’s first discotheque, Cellar at Regal Building, Connaught Place. He is curator and founderchairman

of the Asian Heritage Foundation. He designed The Art Walk at the brand new T2 terminal in Mumbai. He is also part of INTACH constituted

the first Governing Council. In 1986, he was awarded the Padma Bhushan, India’s third highest civilian award, given by the Government of India.

Dr. Livio Dimitriu is an architect and professor at Pratt Institute since 1981, after having taught at fourteen universities in the Americas, Europe and

Asia. He is the founding president of the Urban Studies and Architecture Institute (est. 1978), a public service design and research organization based

in New York and the Giusti del Giardino Palace in Verona, Italy. Mr. Dimitriu projects won a score of national and international awards and distinctions,

and were exhibited at numerous major museums and galleries on three continents, including two Venice Biennale. Dr. Livio Dimitriu is the Chief Editor

of USA Books, past Senior Fulbright Scholar to Europe, Senior International Editor for the European design magazines Controspazio, Octogon, and

Arhitext, and member of the Scientific Committee of the Olivetti Foundation. Currently, he is preparing a pilot project for the European Community

involving ecology, traditional wood structures, and adaptive re-use of industrial archeology from the post-Communist era.

(Photo credit: Andreea Drogeanu, NYC)

Carlos Zapata was born in Venezuela and raised in Ecuador. Carlos is an acclaimed architectural designer, whose office, Carlos Zapata Studio, is

headquartered in New York City. CZS enjoys an international practice, with award winning projects in the United States, Asia and Africa. His varied

portfolio includes Bitexco Financial Tower in Ho Chi Minh City, one of CNN.com’s 20 most iconic skyscrapers, the award winning Chicago Bears Stadium;

Concourse J at Miami International Airport, and the Cooper Square Hotel in NYC.

188

Iair Rosenkranz is a principal of 5H International Ltd. He has over 20 years experience in architecture, art, design, infrastructure and real estate

development, covering a wide range of projects from institutional, residential, retail facilities to real estate development as well as art in New York

and abroad with international publications. Mr. Rosenkranz has been a Visiting Professor at the Urban Studies and Architecture institute as well as

a Guest lecturer and guest critic at Columbia University, the University of Illinois, Chicago, Pratt Institute and University of Buenos Aires. His artwork

has been published and exhibited in NYC with shows such as “Un-Quiet Urbanism” and as curator “Topologies”, both reviewed by the New York

Times and having the opportunity of working with renowned artists such as Lawrence Weiner, Barry LeVa, William Anastasi, Allan Wexler, Carolee

Schneeman and Osvaldo Romberg, to name a few. At theWhite Box Gallery he was one of the Funding BoardMembers, at its inception in 2002.

Currently Mr. Rosenkranz is working with the artist Julio Grinblatt in the conception of “light|n|air” a cultural milieu dedicated to the exploration of

art, that includes discussion forums, performances, production of documentaries and edition of art publications. Mr. Rosenkranz holds a MMO from

ORT Buenos Aires, 1982, a Bachelor of Environmental Design from the Bezalel, Academy of Arts, Jerusalem, 1988 and both a Professional Degree of

Architecture and a Master of Architecture from Pratt Institute, New York City, 1991. He is a member of Global PPP Network and serves as a Board

Member of the Architectural Review Board, Village of Dobbs Ferry.

Mridula Sharma is a senior design writer who has worked with, Inside Outside, Design Today and Better Homes and Gardens. In her long career,

following a Masters Degree in Magazine Journalism, she has been associated with the launch of several design magazines. Mridula is among the few

writers of longest standing on interior and architecture design in the country. Widely travelled, she has, over the years been editing international

trends for the Indian market. Her area of recent interest includes mapping the connection between anthropology and design, and discovering historical

design references. Mridula Sharma’s recent book on timber designs “Amazing Timber Resorts by architect N. Mahesh” was recently launched. She is

currently working on two design books besides forecasting for companies, freelance writing and is the editor of Livingetc magazine.

189

Multi-Cultural Art Center-A new Landmark for Pondicherry

2015, (15,000 sq.m., 2.9 acres old distillery site)


190

v

Profile & Vision

192

Profile & Vision

“Creativity is intelligence having fun.”

-Albert Einstein

Gudjon Bjarnason-Art & Architecture Ateliers

(GB-AAA)

GB-AAA looks at contemporary society as being in a state of

constant positive flux; a work in constant progress and hence,

art and architecture must change, act and transform with new

emerging patterns of life. This generation’s new and dynamic

social, media, political and culture evolutions present a new

level of creative complexity that must addresed in a creative

manner.

In an abstract way, we attempt to give shape to these invisible

surrounding forces and consequently dynamically reflected

them in our art and architecture creations. As Osho we

want to believe that “...creativity is the biggest rebellion in

existence.”

GB-AAA is an international architectural/art firm atelier

operating out of India (Pondicherry), Iceland (Reykjavik)

and USA (New York) that provides service to adventurous

collaborators that are willing to break out of the box and

seek abstract and artistic cutting edge design that is most

innovative in nature and of ultimate highest quality and

detail.

GB-AAA creations span most fields of design; industrial

design, furniture design, interior design, landscape design,

architecture and township planning. Our projects are of

various types and scale from product design, graphic and

logo making and branding all the way from luxury residences

to hotels, civic cultural and sports structures, and other large

scale urban, agricultural and aviation planning projects.

The diverse background of GB-AAA and their international

and Indian design associates makes our operation highly

qualified to execute projects successfully at all stages and

makes of architecture and urban planning.

GB-AAA aims for environmental protection and architecture

representing dynamic balance between nature and culture.

We seek to actively minimize environmental impact

with thoughtful selection of site, material selection and

construction methods. Special attention is paid to life cycle

cost with respect to building operations and long term

maintenance.

GB-AAA seeks to make healthy, exciting and physiologically

liberating structures that encompasses positive social

circumstances, democracy, creativity, playfulness, openness,

spaciousness and overall great conditions for wellbeing.

GB-AAA has through its award winning founder, Gudjon

Bjarnason, who by education and experience professionally

oscillates between the fluidity of art and logic of design, wide

knowledge a special relation to the world of culture and art;

its history and creation.

GB-AAA provides art consultation for interiors and exteriors,

as well as providing complete and specific visual art; e.g.

paintings, art/architecture installations and sculpture

creations for special projects and environments according to

our collaborators wishes and believes.

GB-AAA emphasizes that all designs documents to be prepared

accurately and comprehensively. We stress the importance

of close working relationship with our customers as well as

other designers and consultants and are pay awareness to

cost issues.

GB-AAA is equipped with lucit and creative minds with

powerful computer hardware and software. We lay a special

focus on making detailed clear 3-d modeling and presentation

documents for a clear spatial understanding between us and

our collaborators and having a good time with our creative

team work and communication.

193

Special Acknowledgements & Gratitude

from Gudjon Bjarnason/GB-AAA to the following:

Main editor & curator: Richard Vine.

Co-curators: Jón Proppé & Henry Meyric Hughes.

Graphic design consultation: Brynja Baldursdóttir.

Contributing authors: Rajeev Sethi, Richard Vine, Henry Meyric Hughes, Ashok Vajpeyi, Bill FitzGibbons, Raúl Zamudio, Jón Proppé, Sebastian

Cortes, Doina Uricariu, Dr. Livio Dimitriu, Iair Rosenkranz, Carlos Zapata, Dr. K.K. Chakravarty & Mridula Sharma.

GB-AAA personnel: Amudhan C., Divya Krishna Kumar, G. Raja Rajan, Krishna Shastri, Nachiketa Mohanta, Phakhan Basumatary, Priya Vashisht,

Rajdetta Dewang, R. Thiruniraiselvan, Mohammed Umar Sharief, Annete Priyadarshini, Sivasankari T., Girija G. & Rites Bera.

DySTOPic ProgressiONs documentary film makers: Angela & Mark Walley.

GOlden SectiONs documentary film maker: Rakhi Thakur.

Support & encouragement: Anubhav Nath, Andrew Pollock, Arun Bhatia, Bjarni Guðjónsson, Bjarni Sigurbjörnsson, Biswa Rout, Aðalsteinn

Snorrason, Björn Guðbrandsson, Captain L.S. Bahl, Chakaia Booker, Chhaya Bhanti, Dalip Dua, Devanshi Agarlwal, Divya Krishna Kumar, Deepika

Sachdev, Egill Guðmundsson, Erla Þórarinsdóttir, Friðbjörn R. Sigurðsson, Gayatri Tandon, Geeti Bhagat , George Schroder, Gígja Ísis Guðjónsdóttir,

Guðmundur Eiríksson, Guðmundur Þór Þórmóðsson, Keva J. Siguðardóttir, Hafdís Vilhjálmsdóttir, Haukur Ólafsson, Hjalti Steinþórsson, Jose

Alfano, Jón Gunnlaugsson, Jón Þ. Bjarnason, Manjit Bhullar, Naresh K. Pande, Neha Kripaal, Peter Nagi, Pooja Verma, Qiu Sunny Xiaokun, Raul

Mitra, Rahul Chongtham, Rajesh Shina, Rakhi Thakur, Ravi Gossein, Roopa Shetty, Valborg Snævarr, Vera Sölvadóttir, Vijay Bhatia, Vikram Soni,

Wid Chapman, Þorgeir Ólafsson, Þórir Ibsen & Örnólfur Árnason.

194

GUDJON BJARNASON

Visual artist, sculptor & architect

Photo credit: Vera Wonder

All art and visual images, drawings, texts, concepts, specifications,

renderings, documents etc, etc, contained in this book are the sole

intellectual private property of Gudjon Bjarnason/GB-AAA.

They shall not be used by any person, company or project whatsoever

without a previously acquired permission followed by mutually

signed agreement.


IslANDs - Papertigers & Concrete Poetry

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