What has been a dream for 100 years has finally become a reality. The people of Iceland have longed for a facility that enables them to showcase and foster the growth of their musical culture.

May 4, 2011 marked the beginning of the opening of Harpa, Reykjavik’s new concert hall and conference center, a building designed to capture the defining characteristics of Iceland.

Prior to Harpa’s construction, concerts and other musical performances were held in venues that were unable to support the acoustics, such as the University movie theater.

As an undertaking that began in January of 2007, Harpa has overcome several obstacles throughout the course of its development. A year after its inception, the collapse of Iceland’s banking system launched the country into an economic crisis, bringing the construction process to a halt and endangering its future. As a consequence, Harpa lost its private sponsorship and the project managers were forced to turn to Iceland’s government for support.

Therefore, on the day of the first of three opening ceremonies, citizens protested the disproportionate allocation of national funds. Though peaceful, the demonstration conveyed public discontent that existed throughout the nation for some.

From volcanoes to earthquakes to national financial disasters, the Icelandic peoples have faced numerous hardships. Since the protest, people have come to embrace the hall in a more positive light as it created jobs, boosted morale, and became a cultural symbol. Construction progress continued because the developers recognized Harpa as a testament to the fortitude and “cultural validity” of the country.

Lack of sponsorship continues to be an obstacle because more pressing problems seem to garner more attention and overshadow the preservation of the “essence of community.”

Aritistic director Steinnun Birna Ragnarsdóttir said, “In hard times, it is important we stand strong in what [we] believe in, and we have that in this hall. It’ll be a monument of the future in terms of gaining back what we had lost.” Her enthusiasm is evident—when asked for five adjectives, without hesitation she responded: “incredible, wonderful, fantastic, unbelievable, great.”

The building carries not only symbolic value according to Ragnarsdóttir, but also epitomizes artistic and structural integrity. Artist Olafur Eliasson, in conjunction with Henning Larsen Architects and Batteriio, directed the project.

Scintillating panels arranged in the pattern of Icelandic basalt formations create a glass façade that bring in light to the graphite walls of Harpa.

Eldbourg, the main hall of the house, which was built with a lava rock in mind, is defined by its groundbreaking architectural technique and unique reverberating acoustics. It also houses the upscale Mediterranean restaurant Kolabrautin, which caters to wealthier visitors.

The second largest hall Nordurljos, named after the natural phenomenon aurora borealis, features a “box-in-box” building technique that provides superior noise insulation, adding to the versatility of the building.

Silfurberg, another large hall, utilizes rotating panels that can be switched from resonating wood board to a flexible sound-absorbent material designed in the likes of “silver rock.”

“This is a world away,” tour guide Anna Jóna Dungal said.

Although its original purpose was to serve as a concert hall, Harpa has since evolved into a more versatile structure that accommodates various social events, ranging from operas to film sets to weddings.

August 20 of this year will be the third and last segment of the inauguration of the hall after which the official season will commence. Now that the building is in its final stages of completion, the artists look forward to a wider audience to share in their pride of Icelandic culture.

Slideshow of Harpa: