In the past, the modern museum existed to showcase and protect the world’s art. The contemporary museum, however, wishes to open up art, to explore how it is located in and connected to the world. It aspires to be architectonic art - as well exemplified by the Guggenheim tradition. Today, the museum doesn’t search to separate art from its urban space; it aspires to mesh with it, to be a bridge between the city and art. It’s not a question of “here” in front of a “there.” It becomes a conduit between here and there. It is not a goal or final objective - but rather a place to experience an act of passage. It integrates itself into the city, instead of standing apart from it. Defined by the art kept within it, but also about what is offers outward: cultural, affective, personal and visual experience. As a public space, the museum cares for and remembers works of the past, at the same time promoting new perspectives in the present, pointing the way to the future. It is not just exhibition. It signifies proposition. It proposes a poetic habitat for man. The citizen’s participation is encrypted within it, impregnated by beauty, wonder and thought. This museum aims for the “emancipated spectator,” one who goes beyond traditional simple passivity in front of reality to take an active part in it. Where once there was only a space, the museum will erect a place. Space is abstract, empty or blank, homogenous. On the other hand, place is concrete, abundantly full, heterogeneous. Place imbues the quantity of space with quality. The contemporary museum is zealous in its commitment to transform space into place. A place for experimentation for art and for the city, of poetry and being, of beauty and the market. We don’t just go to it, we take our time going through it. And we come out different from when we entered. We see what’s inside. However, from the interior we also consider what is outside from a new horizon. W A R M A R T B O X GUGGENHEIM HELSINKI MUSEUM In the case of the project for the Guggenheim Museum in Helsinki, as we go up or down its ramps, or while we have coffee or lunch, we’re also enjoying views of a wooded park and the sea, or looking out on the streets, the urban landmarks, and the cathedral. In other words: from the outside, we see an elegant and compact building that expresses itself in a particularly forceful manner; from inside the museum we perceive and rediscover the city from angles that previously had not been provided to us. From outside, we see what is inside and from inside, we see what is outside. In this architecture, the museum becomes a place and experience that we travel through, a middle-passage, not solely a destination to reach. In accordance with the social dynamics of the contemporary world, the museum relativizes concepts of here and there, inside and outside, near and far. It conjoins past and future. Its actual materiality produces an interplay of traditional, local, Nordic wood with futurist, global, universal glass. The opacity of wood protects the interior. The transparency of glass communicates with the outside. It values the autonomy of modern art, providing it with due shelter, while at the same time it concerns itself with the poetry that resides within the place and in the people who pass through it - people whose active, transitive experiences of the place are essential to producing the very meaning of it. The museum is never just a building that houses art. Its meaning is constituted, in practice, as it absorbs the city and by the use that people make of it. A museum’s design is an invitation: not just to beauty, but also to people. For them to enter into constant dialogue with the museum, in order to add grace and life to the urban context into which both are inserted. The museum can be a place to protect and keep things. What it really preserves is the free flight of human creativity. 1 By locating the museum at the south part of the site, an entrance plaza is created offering a wider perspective of the building. 2 A public passageway running through the Museum interlinks the waterfront to the Park. 3 Enclosed by glass, the passageway protects the public from the elements, while transforming it into a welcoming, bright and climate controlled space. This museum becomes a place and experience that we travel through, a middle public passage, not solely a destination to reach THE CONTEMPORARY MUSEUM AND ITS SYNERGY WITH THE CITY LANDMARKS 1|4 GH-1147892035
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Transcript
In the past, the modern museum existed to showcase and protect the world’s
art. The contemporary museum, however, wishes to open up art, to explore
how it is located in and connected to the world. It aspires to be architectonic
art - as well exemplifi ed by the Guggenheim tradition.
Today, the museum doesn’t search to separate art from its urban space;
it aspires to mesh with it, to be a bridge between the city and art. It’s not a
question of “here” in front of a “there.” It becomes a conduit between here and
there. It is not a goal or fi nal objective - but rather a place to experience an act
of passage. It integrates itself into the city, instead of standing apart from it.
Defi ned by the art kept within it, but also about what is offers
outward: cultural, affective, personal and visual experience.
As a public space, the museum cares for and remembers
works of the past, at the same time promoting new
perspectives in the present, pointing the way to the future.
It is not just exhibition. It signifi es proposition. It proposes a
poetic habitat for man. The citizen’s participation is encrypted
within it, impregnated by beauty, wonder and thought. This
museum aims for the “emancipated spectator,” one who goes
beyond traditional simple passivity in front of reality to take an
active part in it.
Where once there was only a space, the museum will erect a place. Space is
abstract, empty or blank, homogenous. On the other hand, place is concrete,
abundantly full, heterogeneous. Place imbues the quantity of space with
quality. The contemporary museum is zealous in its commitment to transform
space into place. A place for experimentation for art and for the city, of poetry
and being, of beauty and the market. We don’t just go to it, we take our time
going through it. And we come out different from when we entered. We see
what’s inside. However, from the interior we also consider what is outside
from a new horizon.
W A R M A R T B O X G U G G E N H E I M H E L S I N K I M U S E U M
In the case of the project for the Guggenheim Museum in Helsinki, as we go
up or down its ramps, or while we have coffee or lunch, we’re also enjoying
views of a wooded park and the sea, or looking out on the streets, the urban
landmarks, and the cathedral. In other words: from the outside, we see an
elegant and compact building that expresses itself in a particularly forceful
manner; from inside the museum we perceive and rediscover the city from
angles that previously had not been provided to us. From outside, we see what
is inside and from inside, we see what is outside.
In this architecture, the museum becomes a place and experience that we
travel through, a middle-passage, not solely a destination
to reach. In accordance with the social dynamics of the
contemporary world, the museum relativizes concepts
of here and there, inside and outside, near and far. It
conjoins past and future. Its actual materiality produces
an interplay of traditional, local, Nordic wood with futurist,
global, universal glass. The opacity of wood protects the
interior. The transparency of glass communicates with the
outside. It values the autonomy of modern art, providing it
with due shelter, while at the same time it concerns itself
with the poetry that resides within the place and in the
people who pass through it - people whose active, transitive
experiences of the place are essential to producing the very meaning of it.
The museum is never just a building that houses art. Its meaning is constituted,
in practice, as it absorbs the city and by the use that people make of it. A
museum’s design is an invitation: not just to beauty, but also to people. For
them to enter into constant dialogue with the museum, in order to add grace
and life to the urban context into which both are inserted. The museum can be
a place to protect and keep things. What it really preserves is the free fl ight of
human creativity.
1 By locating the
museum at the south
part of the site, an
entrance plaza is
created offering a wider
perspective of the
building.
2 A public passageway
running through the
Museum interlinks the
waterfront to the Park.
3 Enclosed by glass,
the passageway
protects the public
from the elements,
while transforming
it into a welcoming,
bright and climate
controlled space.
This museum becomes
a place and experience
that we travel through,
a middle public
passage, not solely
a destination to reach
THE CONTEMPORARY MUSEUM AND ITS SYNERGY WITH THE CITY
LANDMARKS1|4
GH-1147892035
PROGRAM AND CIRCULATION DIAGRAM
GROUND FLOOR
FIRST FLOOR
SECOND FLOOR
TERRACE
GLASS BOX
12.884,40 m²
2|4
TOTAL
emergency exit
stairs
elevetors
loading art dock
loading service dock
art elevetors
cafe/bar
ticketing and information
shop
restaurant
museums
park / square
A
restricted public circulation
opened public circulation
staff circulation area
restricted area for transport of pieces of art
573,70 m²maintenance4%
533,00 m²offi ces4%
collections storage 616,20 m²5%
events 663,10 m²5%
4.731,65 m²37%
atrium
exhibition
520,80 m²4%
217,80 m²visitor services2%
dining 852,35 m²7%
264,30 m²retail2%
3.911,50 m²public30%+
+
+A
A
A
*unassigned areas were incorporated in other areas requested by the program
FUNCTIONAL DISTRIBUTION
The design for the museum was programmatically based on the following
premises:
To provide easy access to the spaces frequented by the public both inside
and outside the museum.
The museum store and the café are both located on the ground fl oor, with
the café able to open into the veranda of the eastern facade in the summer,
facing the sea. The restaurant and auditorium are located on the roof
extending along the public passageway, thus allowing these facilities to be
used independently, regardless of whether the museum itself is open.
To separate and regulate social and service accesses.
Access to the service area for loading and unloading is situated in back of
the building, facing the south. Public access is from the northern facade as
well as through Tähtitorninvuoren Park and Bernhardinkatu Street, using a
connecting pedestrian footbridge.
To provide a free and fl exible exhibition circuit that prioritizes
sensorial experience, not just for the museum visitor but also for
people using the public passageways.
To achieve this, alternative, the public pathways occasionally intersect and
visually interact with the itineraries of customers paying for specifi c museum
exhibits.
To afford amply fl ow between museum visitors and the external public,
within a single pathway that offers several alternatives for transit.
The external public circulating around the museum can enter either through
the principal access on the square-esplanade level, or through the footbridge
that leads to the park. These two levels, linked together by inclined planes,
create glass-enclosed ramps that also function as exhibition spaces. An
external elevator to the exhibition areas allows access to the two levels
independent of the ramps.
To create free, fl exible and diverse exhibition spaces, propitious to an
infi nite number and kind of museum uses.
For maximum use and versatility, conventional exhibition spaces are arranged
in the two fl oors of the museum, that can be organized in an infi nite number of
ways. The atrium also acts as a stimulating exhibition space, interconnecting
other spaces. The space that one sees directly after coming into the principal
entrance functions as a gathering space for the entire museum and can be
used to showcase, free, parts of temporary exhibitions, thus appealing to
visitors’ curiosity.
GH-1147892035
3|4
SECTION 1 1:500
GROUND FLOOR
FIRST FLOOR
SECOND FLOOR
B1. Flexible PerformanceB2. Green RoomB3. Control RoomB4. Simultaneous TranslationB5. Movable Stage PlatformB6. Equipment StorageB7. Technician Offi ce B8. Dressing RoomB9. Multifunction ClassroomF2. Formal RestaurantF3. KitchenF4. Catering Preparation F5. ReceivingF6. Offi cesF7. Trash Room F8. StorageJ1. Public
A1. Exhibition GalleriesC1. AtriumD1. Visitor Screening D2. Coat Check D3. Ticketing D4. StorageE1. Museum and Design StoreE2. Stock room and Offi cesF1. Café / BarG1. AdministrativeG2. CuratorialG3. Education G4. Marketing G5. Conference RoomsG6. Shared Work RoomH1. Art StorageH2. Shipping / ReceivingH3. Crate StorageH4. Uncrating / StagingH5. Shared art PreparationH6. Exhibition DesignH7. Art Loading Dock I1. Security Offi ce I2. Custodial Offi ceI3. IT ServerI4. Furniture StorageI5. Grounds EquipmentI6. Staff Lunch Room I7. LockersI8. General Loading Dock J1. Public Space
A1C1
D1
D2
D3
D4
E1
E2
F1
G1G2
G3
G4
G5
G5
G6
H1
H2
H3 H4
H5
H6
I1
I2
I3
I4
I5
I6
I7
I7J1
H7
I8
1:500
A. Exhibition C. Atrium
D. Visitor Services
E. Retail G. Offi ces
F. Dining H. Collections J. Public
I. Maintenance
1:500
A1A1
A1 A1
A1. Exhibition Galleries
1:500
B1
B5
B6 B7B3 B4
B2F2F3 F4
F5
F6
F6
F7
F8F8
B8B9
B. Events
REVISITING TRADITION
Massive timber constructions
Finnish vernacular architecture is represented by the log structure building system. Log houses
are the hallmark of human occupation in the bucolic landscape of Finland. This centenary
technique was developed as result of Finnish environmental needs and resources. Taking
into account global sustainability requirements and Finnish expertise in timber building, this
proposal uses Cross-Laminated-Timber as main building material. It enables bigger spams
and a wider range of forms, combining strengths, thermal insulation and versatility, meeting
the needs of contemporary architecture.
Stone Wall: Suomenlinna inspiration
The most popular spot in the coast of Helsinki for picnics and summer activities is the
fortress in Suomenlinna Island. The grassy top of the fortress is a lovely place to enjoy
the long summer days of this short-lived season. In the proposed museum, the volume
in stone covered by grass evokes the memory of nice summer days for locals. The glass
box provides conditions to extent the nice habitat all year long. Stone was used in the
construction of the most important public buildings in Helsinki’s historical city Center.
This proposal embraces new technologies not to disrupt but to integrate to the historical
fabric. By understanding the elements that form local landscape, this proposal aims to
make a contemporary re-interpretation of Finnish tradition in architecture.