This paper discusses the work of Hoegna Sigurðardottir, one of the first female architects in Iceland, known for her personal and uncompromising approach to architecture. Her interest in concrete, preferably in its raw form, is firmly rooted in the context of the place and its inherent culture, climate, landscape and history, often referred to as poetic modernism. The paper concentrates on three of her buildings, built in Reykjavik and the surrounding vicinity in the period 1960-1970, in order to argue that the architect's conscious shaping of form and space, with various surface texture, careful daylight managing and precise detailing, is an expression that can be experienced as a source for meaning, through its elements of linguistic and situational context created in just parts by the author/architect and the reader/inhabitant through embodied cognition.
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