Finnish Architecture 2010/2011 by Museum of Finnish Architecture

Finnish Architecture 2010/2011

Alvar Aalto Academy Finnish Association of Architects SAFA Museum of Finnish Architecture

FINNISH ARCHITECTURE 2010/2011 Projects. Comments. Perspectives. Organisers and publishers Alvar Aalto Academy Finnish Association of Architects SAFA Museum of Finnish Architecture Project Team, Editorial Board Juulia Kauste, chair, MFA Paula Huotelin, SAFA Esa Laaksonen, AAA Jury Juhani Pallasmaa, chair (MFA) Jari Frondelius (SAFA) Carl-Viggo Hølmebakk (Norway, AAA) Helena Soimakallio, counselling advisor (Finnish Association of Civil Engineers) Concept Yatta Exhibition design Vesa Hinkola/Yatta First presentation Museum of Finnish Architecture, Helsinki 6 June – 30 September 2012 Editor Maija Kasvio Book design Salla Bedard Translation Silja Kudel (Translation and language consultation) Amy Spangler (Yanar, Turkish to English) © Alvar Aalto Academy Finnish Association of Architects SAFA Museum of Finnish Architecture Writers Printers Kolofon Baltic OÜ, Tallinn ISBN 978-952-5195-39-2 Helsinki 2012

Cover pictures Front, from left to right: Ivan Baan, Pekka Helin Part Architects, Mikael Linden Tuomas Uusheimo Back, from left to right: Marko Huttunen, Rauno Träskelin, Tuomas Uusheimo Arno de la Chapelle, Jussi Tiainen, B&M Jussi Tiainen, Jussi Tiainen, Jussi Tiainen Mika Huisman

Contents Paula Huotelin, Juulia Kauste, Esa Laaksonen Finnish Architecture 2010/2011. Projects. Comments. Perspectives

Luis Fernández-Galiano ‘Global Vices, Finnish Virtues’ or ‘Learning from Finland’

Netta Böök Zero Hour before the High-Rise Invasion

Hüseyin Yanar Architecture: A Journey into the Heart

Juhani Pallasmaa Is Finnish Architecture Losing its Direction?

Projects with assessments by Jari Frondelius, Carl-Viggo Hølmebakk and Juhani Pallasmaa Flooranaukio Housing, Helsinki Heikkinen–Komonen Architects

Student Housing in Viikki, Helsinki Playa Architects

Villa Adlers, Kirkkonummi A-konsultit Architects Ltd

Villa Krona, Kimitoön Helin & Co Architects

Student Health-Care Centre Extension, Helsinki Sanaksenaho Architects

Meilahti Hospital Main Entrance and Traffic Arrangements, Helsinki Lahdelma & Mahlamäki Architects 72 Saunalahti Day-Care Centre, Espoo JKMM Architects

Modular Day-Care Centres, Helsinki Häkli Architects, Huttunen–Lipasti–Pakkanen Architects

Paja, Kymenlaakso University of Applied Sciences Extension, Kouvola Architects NRT Ltd

Helsinki Music Centre, Helsinki LPR Architects Ltd

104

Kilden, Kristiansand, Norway ALA Architects Ltd, SMS Arkitekter AS

112

Noah’ Ark, Helsinki Kari Järvinen and Merja Nieminen Architects SAFA

120

Athena, University of Helsinki Faculty of Behavioural Sciences, Helsinki Käpy and Simo Paavilainen Architects

128

Ranta-Tampella City District, Tampere B&M Architects Ltd

136

Kalasatama Temporary, Helsinki Part Architects

144

The Architects

153

Maija Kasvio Exhibition, Events, Literature, Prizes, Competitions

169

QR Codes

184

FINNISH ARCHITECTURE 2010/2011 Projects. Comments. Perspectives. Preface This is the fifth in a series of biennial reviews of Finnish architecture organised by the Alvar Aalto Academy, the Finnish Association of Architects and the Museum of Finnish Architecture. This being our first review of a new decade, we wanted to try something different. The renewed biennial is a richer window on Finnish architecture than ever before. In addition to sharing the architects’ points of view, it also offers new perspectives from stakeholders such as clients, builders and users. The featured projects will be presented not only in the exhibition and catalogue, but also on web and mobile platforms, offering the public multiple channels of access to detailed insights on the projects and architects, as well as new avenues to take part in dialogue. The current biennial is only the first step towards our envisaged new format; we will continue refining and elaborating the concept in future biennials. This publication, too, foregrounds a greater variety of perspectives than before. The four articles each contribute diverse viewpoints to ongoing discourse about Finnish architecture. The project presentations, including brief assessments by the jury, are supplemented by introductions to the architectural offices. Further details on the projects can be accessed via web-based QR codes. Juhani Pallasmaa, the chairman of the jury, takes a look at the evolution of Finnish architecture within a broader historical continuum starting with the first Finland Builds Exhibition in 1953. He argues that Finnish architecture has shown a steadfast commitment to the modernist tradition that is rare by international standards, discernible for instance in how it embraces democratic social values as part of its fundamental ideology.

He is nevertheless critical of trends that have emerged over the past few decades and laments the decline of the cultural and social status of Finnish architecture. Citing Walt Whitman, he reminds us that just as there is good poetry only as long as there are good readers, there is only good architecture as long as there is creative ambition among clients and users. He also emphasises that great architecture can arise only from a sensitivity to the local cultural and social landscape. Pallasmaa points out that the jury’s selection process inevitably reflects the particular values of its individual members. Every choice is ultimately a reflection of certain underlying beliefs and agendas. The 15 projects selected out of 125 proposals by the current jury are rooted in their specific cultural and social reality, each in its own way aspiring to dignify the domain of everyday life. The Spanish architect Luis Fernández-Galiano offers an outsider’s perspective on Finnish architecture. He applauds Finland not only as a shining model of social integration, but also for its exemplary architecture. He has often joked with Finnish ambassadors in Madrid that they not only represent their country, but are also ambassadors of architecture. Fernández-Galiano compares Finland with the booming emergent economies of the Middle East and Asia, concluding that Finnish architecture embodies a more tangible sense of social equity than the structural gimmickry and formal excitement enlisted by these emerging power elites. He describes Finnishness as a state of mind that is recognisable even when translated into French, as in the latest film by Aki Kaurismäki. Fernández-Galiano (perhaps inadvertently) explains why 80 per cent of the Helsinki population ultimately

sided against the proposed Helsinki Guggenheim, a project that stirred up a violent storm of controversy in spring 2012. Hüseyin Yanar’s article is a poetic, personalised account of key buildings in downtown Helsinki. He concludes by pondering the role of the new Music Centre in the townscape. Is architecture comparable to the world’s finest instruments – is the Music Centre like a violin that works its acoustic magic only when in the hands of a virtuoso? Netta Böök opens up historical perspectives on a hot topic in Finland: the high-rise boom. She points out that vertical development is by no means new to Finland: it has been an enduring topic of controversy ever since the 1920s, when Helsinki’s first skyscrapers were proposed. With the arrival of the Great Depression, however, only one of those early high-rises ever saw light of day, the 13-storey Hotel Torni. Producing this new, more comprehensive biennial review has required the input of a larger team of experts than ever before. We are indebted to all the jury members, Professor Juhani Pallasmaa and architects Jari Frondelius and Carl-Viggo Hølmebakk, as well as the jury’s counselling adviser Helena Soimakallio. The concept of the review was designed by YATTA (Niko Kokonmäki, Tuomo Tammenpää, Lilli Palasto and Vesa Hinkola), and a key contribution was made by MFA personnel Maija Kasvio, editor of this publication and secretary to the jury, graphic designer Salla Bedard and specialist technical exhibition consultant Hannu Hellman. Juho Haavisto has been the review’s producer from the beginning of 2012, assisted by Ville Hakanen. We also wish to express a special word of thanks to all the contributing architects for their generous input.

Paula Huotelin, Finnish Association of Architects Juulia Kauste, Museum of Finnish Architecture Esa Laaksonen, Alvar Aalto Academy

‘Global Vices, Finnish Virtues’ or ‘Learning from Finland’

Luis Fernández-Galiano

he world is out of joint, but Finland’s example can help to get it back on track. The two mutually reinforcing crises that have dislocated the ecology and the economy of the planet may find useful lessons in Finnish approaches: we can search for inspirational answers and potential cures to energy, climate and environmental woes and financial, political and institutional ills in a Nordic model that has delivered freedom and well-being while taking care of the urban and rural landscapes. However many detective novels insist on showing the cracks in the Scandinavian mirror, Finland remains a country where the combination of a fine educational system, gender equality, child welfare, environmental respect and low profile elites account for decent governance, negligible corruption and great quality of life, enhanced by a long tradition of design nurtured by necessity, as sophisticated in its man-made ingenuity as it is in the careful husbanding of nature. Perceived from the south of the continent, the AAA rating of Finland is not simply a financial estimate of its ability to repay its debt; it is rather a mark of the social success of a Lutheran-Nordic approach that combines economic dexterity and human development, where institutions stimulate both competitiveness and social cohesion, and where progress fuelled by knowledge is always aware of sustainability. Finnish architecture is of course only the tip of the iceberg: it is the best expression of a culture of design which manifests itself as much in the countryside as in cities and towns, where natural and artificial landscapes intertwine in an organic whole, where

the aesthetics of scarcity of a stone’s-throw-away rural past is the staple food of the architect, and where the concern for social well-being always takes precedence over structural gimmickry or formal excitement. But if you look around the world, this is exactly what one finds in the overheated economies of the Gulf, the booming cities of the Pacific or even in most of the emerging BRICS: structural gimmickry and formal excitement at the service of new power elites, eager to show off their wealth or their ambition. We often hear that, if the 20th century was America’s, the 21st is going to be the century of Asia, and there is indeed a persistent displacement of the economic gravity center of the world from the Atlantic towards the East: the decline of the West and ‘the rise of the rest’ is a geopolitical feature of the present, yet ‘the rest’ are not proposing urban or architectural alternatives, but rather exacerbating or pushing to the limit the models of the West, so that the Dubai-Mumbai-Shanghai axis is in fact peddling the American city on steroids, a caricature of excess that brings precious little relief to our present predicament. The same can be said of other contemporary metropolises like Sao Paulo, Mexico City or Moscow, which can be labeled as western or emerging, and that share many characteristics with oriental cities like Mumbai and Shanghai; but in the end all of them have a layered history which is entirely absent in Dubai. This blank-slate nature is indeed what makes the cities of the Gulf fascinating; and it is also what has minted the ‘Dubai model’ as a reference for other emerging countries that are experiencing a swift process of urbanization. But the town

planning and the architecture of Dubai is exactly the reverse of the built environment shaped by countries and cities that follow the Nordic model, in the same way as the deeply fragmented and unequal social collage of the Gulf emirates is the dark shadow of the tightly knit social fabrics of Scandinavia. If today’s systemic crisis has dealt a heavy blow to the ambitions of Dubai – which was even forced to change the name of its most coveted landmark, the highest skyscraper in the world, from ‘Burj Dubai’, the tower of Dubai, to ‘Burj Khalifa’, the tower of Khalifa, named after the sheikh of the neighboring emirate, Abu Dhabi, that rescued Dubai from financial collapse – in the same measure it has polished up the shine of the Nordic experience, where Finland has always occupied a position of privilege. Notwithstanding the schadenfreude sparked by the collapse of the Dubai model, the current architectural landscape of austerity, thriftiness and rigor demands renewed attention to Finnish virtues, which are a welcome contrast to the extravagant luxury and social fracture of the Gulf – mentioned here only as an extreme expression of trends present everywhere, economic and spatial trends which have made our buildings less urbane and our societies more unequal. In the end, the strength of Finland is to be found in its social cohesion, its strong geographical roots and its deeply ingrained culture. One can admire its design tradition just as one takes delight in the exquisite craftsmanship, laconic elegance and utter timelessness of the Shakers, but in the end the appeal of the Finnish approach rests rather on its double loyalty to its place and to its time, having both solid foundations in its land, people and culture, and a no less robust awareness of and attention to the deafening din of the world. Having an architect as a national hero – with the Finlandia Hall printed on the national currency until the euro was adopted – and hosting one of the world’s first museums of architecture – now happily

rehashed – Finland finds in architecture the foremost expression of its rich design culture, local and global at the same time, to such an extent that I used to joke to Finnish ambassadors in Madrid that they not only represent their country, but are also ambassadors of architecture. Although many associate Finland with the humanist and organicist legacy of Aalto, and with the phenomenological tradition that feeds on Heidegger through the interpretation of the Norwegian architect and theorist Christian Norberg-Schulz – extended today in the writings of the architect and critic Juhani Pallasmaa – the wide register of its designers goes beyond the predictable genius loci, and shows the extent to which they are attentive to the Zeitgeist, reconciling place and time in works both rooted and contemporary. But being aware of the spirit of the times has not seduced Finnish architects into adopting the latest empty fashion or formal extravagance, and this reluctance to conform explains the sound resilience and urgent pertinence of their work in our time of crisis, and also the difficult absorption in the country of international iconic architecture, as the experience of Kiasma eloquently illustrates. True Finns and the true Finnish environment are not to be found in the depths of the land, but wherever the Finnish social model of integration flourishes, because in the end the excellence of its architecture and design springs from the source of its social virtues. To many of us, there is no truer Finn than Aki Kaurismäki, and it is very moving to listen to the characters of his latest movie speaking French, but otherwise sounding as Finnish as can be. Perhaps Finland is not a nation but a state of mind, and we would all rush to its embassies if they were to freely issue passports to this nation of the heart. In these times of distress we can learn from Finland, even if the country happens to be provisionally located in Le Havre.

Marja-Leena Hukkanen © sputnik oy 2011

Still photo from Aki Kaurismäki’s film Le Havre. Left Marcel Marx (André Wilms), right Monet (Jean-Pierre Darroussin).

Cino Zucchi ÂŠ helsinki City Planning Department

Zero Hour before the High-rise Invasion

T Netta Böök

he Manhattan skyline outside my window sparkles enticingly this December evening. The gracefully tapering steel peak of the Chrysler Building is wreathed in an aura of radiant, energising light. I sit at my desk and surf for news from Finland. My homeland is gripped by high-rise fever. Multi-storey tower blocks are invading the nation, south by north. Ambitious projects are taking shape not only in the Finnish capital, but also in Tampere (population 215,144), Oulu (143,734) and even Rovaniemi (60,592). The east Finnish lake towns of Lappeenranta (72,183) and Savonlinna (27,635) are busily planning multi-storey spa hotels. Even Savitaipale, a rural community of only 4,200, entertained a fleeting whim to build its very own ‘skyscraper’. The fever is highest in Finland’s capital and largest city, Helsinki, with its population of nearly 600,000. According to a report published in December 2011 by the City Planning Department,1 developers propose to build as many as 50 new high-rises in Helsinki, some as gigantic as 120–140 metres. The illustrations reveal that within a few years we will be seeing a miniature replica of Manhattan’s Financial District rising in the new inner-city precinct of Kalasatama (the Fish Harbour), and the downtown area of Töölönlahti Bay will soon become a distant copy of Central Park, framed against a backdrop of skyscrapers sporadically dotting the skyline here and there. But Helsinki is wary to avoid the fate of its southern neighbour, Tallinn, where, during the post-socialist construction boom, the once-unique silhouette of the mediaeval Old Town

has been sadly disfigured by randomly scattered skyscrapers. To avert the same mistake, the City Planning Department has formulated a list of zoning regulations for high-rise development in Helsinki, one being that no construction is to deface the waterfront skyline, which was designated a National Landscape by the Ministry of the Environment in 1994. The entire town centre also enjoys official protection as a low-rise zone. It is impossible to imagine Manhattan without its skyscrapers. They were born and came of age in New York and Chicago. At the end of the 19th century, vertical development offered the ideal solution for rapidly growing boomtowns struggling with a shortage of good commercial space. Early high-rises were creatively ambitious; owners understood that a skyscraper was an advertisement offering unprecedented exposure and visibility, and hence their design was entrusted to the foremost architects of the day. High-rises are by no means new to Finland either. In our cities you will find – readers will kindly withhold their mirth – as many as two dozen buildings over 16 storeys high. As early as the boom years of the 1920s, Helsinki harboured hopes of building a legion of ‘skyscrapers’, yet only one of them ever materialised: the elegantly tiered 13-storey Art Deco-inspired Hotel Torni (Jung & Jung). At a dizzying 42 metres, it is our Empire State Building. It, too, suffered from unfortunate timing: completed at the height of the Depression in 1931, it soon ran into financial difficulties. Finland had to wait another fifty years for its next ‘skyscraper’. In the 1970s the Neste (now Fortum) oil corporation, a govern

Flooranaukio Housing, Helsinki Heikkinen–Komonen Architects To say that potsherds from a Moomin plate are this project’s main idea would be an overstatement, but not entirely remote from the truth. The apartment building is located on the site of the old Arabia factory and the characteristic potsherd ornamentation of the new facades tells an important story in a direct, non-academic way. The building is also a compelling example of a city block with different architectural approaches to the outside and the inside: The rational, but well-proportioned brick facades facing the street carry on a conversation with the neighbourhood, while the light, undulating ‘interior’ of the block gives the inner courtyard a playful character. This apartment building – obviously subject to the usual requirements for efficiency and economy – offers great surplus value that the inhabitants can enjoy every day. Having visited the nearly completed building on a cold winter’s day, we look forward to seeing how the large outdoor area develops. We noted that there is a way to go before the garden courtroom acquires the light mood which is sensitively reproduced in the architect’s illustration. But we believe it will come. Jury (CVH) Flooranaukio Housing As Oy Helsingin Flooranaukio ja Kumpulan Kiinteistöt Oy Lontoonkuja Flooranaukio 1; Brysselinkatu 6 and Lontoonkatu 5, Helsinki Completed 2011 13,530 m2 gross; 45,275 m3 Heikkinen–Komonen Architects Arkkitehtuuritoimisto Heikkinen–Komonen Oy www.heikkinen-komonen.fi Authors: Mikko Heikkinen, Markku Komonen Other architectural designers: Kaj van der Puij (project architect) Landscape design: Maisema-arkkitehdit Byman & Ruokonen Oy Client: Helsinki Housing Production Department (ATT), Kumpulan Kiinteistöt Oy User: Kumpulan Kiinteistöt Oy General contractor: Lujatalo Oy

jussi tiainen

Structural design: Finnmap Consulting Oy HPAC design: Insinööritoimisto Livair Oy Electrical design: Sähköinsinööritoimisto Niemistö Oy Acoustic design: Helimaki Acoustics

FLOORANAUKIO HOUSING 13

Villa Adlers, Kirkkonummi A-konsultit Architects Ltd Often when we consider architectural work, we do so on the basis of photographs. We try to get familiar with the work and to understand the spaces and the ideas. In different ways the illustrations try to convey the main concept of the architecture. Usually the images are unpeopled and it is up to the viewer to construct the life and activities for which the architecture is created. The use of human models often seems unnatural and you feel that it provides information that is not really relevant. Looking at the photos of Villa Adlers, one feels that the residents are very close - in another room or just outside the focal angle of the camera. In this way the pictures appear both as snapshots and near true documentations of the house and the life that goes on there. Interpretation or explanation seems unnecessary. One could say this is about the photographic work. One can also say it is all about the house itself. Architecturally this work possesses an unusually strong and relaxed confidence. The inner garden and the continuous skylight lantern admit daylight into the interiors, whilst also shielding them from the environment. The almost conventional crosssectional geometrical forms – together with the subdivided plan – show a controlled complexity which endows the house with surprising and beautiful room sequences. Jury (CVH) Villa Adlers Kirkkonummi Completed 2011 230 m2; 720 m3 A-konsultit Architects Ltd Arkkitehtitoimisto A-konsultit Oy www.a-konsultit.fi Author: Eric Adlercreutz Garden plantations: Hemgård Landscape Design/ Gretel Hemgård Client and user: Gunnel and Eric Adlercreutz General contractor: KW-Tek Oy

rauno träskelin

Structural design: Suunnittelu GL Oy HPAC design: Trilogon Oy Electrical design: Sähkö Ohmi Oy HPAC design: Insinööritoimisto Livair Oy Electrical design: Sähköinsinööritoimisto Niemistö Oy Acoustic design: Helimaki Acoustics

photos: pekka helin

Student Health Care Centre extension, Helsinki Sanaksenaho Architects What is easy? With its monotonous main facade, sober proportioning and sophisticated detailing, this edifice manifests itself with convincing force. Characteristics that in other buildings would have made us suspicious, or even seemed inhuman, in this case have a surprisingly comforting quality. Can it be that simple? And of course this is not something that can easily be transferred to other building tasks or sites. Underlying this architectural assignment is not only a masterstroke in organisation and efficiency, but a unique ability to make visible the essential aspects of the building. In this way, even a fairly pragmatic programme stands as a wonderfully precise architectural statement – for the benefit of both the users and the entire neighbourhood. Jury (CVH) Student Health Care Centre Extension YTHS, ylioppilaiden terveystalon laajennus Töölönkatu 37, Helsinki Competition 2007 Completed 2010 3,325 m2 gross; 3,700 m2 net; 17,115 m3 Sanaksenaho Architects Sanaksenaho Arkkitehdit Oy www.kolumbus.fi/sanaksenaho Authors: Matti and Pirjo Sanaksenaho Other architectural designers: Jaana Hellinen (project architect), Jari Mänttäri, Aleksi Räihä, Tommi Terästö Client and user: Finnish Student Health Service General contractor: Hartela Oy

jussi tiainen

Structural design: Optiplan Oy HPAC design: Hepacon Oy Electrical design: Consulting Engineers Veikko Vahvaselkä Ltd Acoustic design: Arkkitehtitoimisto Alpo Halme Oy Fire safety design: Markku Kauriala Ltd Sprinkler design: Mikko Sairanen Glass structure design: Jalora Planarian Oy

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Paja, Kymenlaakso University of Applied Sciences Extension, Kouvola Architects NRT Ltd The workshop building (consisting of workshops, exhibitions and a café) forms the centrepiece of an historic cluster of early twentieth century red-brick buildings. The decision to place most of the new structure on a lower level maintains the focus on the old buildings, enabling the use of an entirely different vocabulary of forms, materials and colours. The functional organisation is very rational and well-planned, as is the placement of the café as a free-standing structure and focal point on the terrace. As the workshop building marks the transition between two levels instead of appearing as a separate structure, the elongated facade is well motivated. The extremely reductive formal language, materiality and detailing deviates from current Finnish modernism, being reminiscent of certain recent Japanese projects. However, the reductivism seems motivated as it strikes up an arresting dialogue with the existing setting. Jury (JP) Paja, Kymenlaakso University of Applied Sciences Extension Kymenlaakson ammattikorkeakoulun lisärakennus Kuuselankatu 1, Kouvola Invited competition 2006 Completed 2010 4,045 m2 gross; 3,845 m2 net; 25,340 m3 Architects NRT Ltd Arkkitehdit NRT Oy www.n-r-t.fi Author: Teemu Tuomi Other architectural designers: Tommi Suvanto (project architect), Simo Nuojua, Kristiina Suoniemi, Matti Nurmela, Kari Raimoranta, Vesa Oiva (competition phase), Jussi Kalliopuska (competition phase), Tuula Olli, Juuso Hatakka, Jussi Saarinen Interior design: Architects NRT Ltd Client and user: Kymenlaakso University of Applied Sciences General contractor: NCC Construction Ltd Client’s consultant: ISS Proko Ltd

mikael linden

Structural design: Finnmap Consulting Oy HPAC and acoustic design: Oy Insinööri Studio Electrical design: Insinööritoimisto Tauno Nissinen Oy Geotechnical design: Geopalvelu Oy

arno de la chapelle

Kilden, Kristiansand, Norway ALA Architects Ltd, in collaboration SMS Arkitekter AS The harbour area of Kristiansand has been endowed with a powerful, iconic landmark: a black box standing on the waterfront, radiating an air of supreme self-assurance. The undulating wooden entrance facade is imbued with drama and tension. An enticing promise of something spectacular, it makes us itch to enter. This kind of architecture undoubtedly makes a pertinent setting for grand spectacle, but can it whisper? Kilden is the shared home of numerous local art institutions, but does it also institutionalise art? No fear of that, for the variety of spaces affords the possibility of easy adaptation for experimental small-scale performances. The more neutral space of the halls gives the performances the freedom to be anything. The skilful detailing and the rationally functional floor plan are very convincing in design. Kilden is a building with symbolic significance not only for this Norwegian city, but also for contemporary Finnish architecture. Jury (JF)

Kilden Kilden Teater- og Konserthus for Sørlandet IKS Sjølystveien 2, Kristiansand, Norway Competition 2005 Completed 2011 24,600 m2; 128,000 m3

ivan baan

ALA Architects Ltd, in collaboration SMS Arkitekter AS Arkkitehtitoimisto ALA Oy www.ala.fi Authors: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta, Samuli Woolston; in collaboration Erik Sandsmark/SMS Arkitekter AS Other architectural designers: ALA Architects/ Niklas Mahlberg, Pekka Sivula, Sami Mikonheimo, Auvo Lindroos, Aleksi Niemeläinen, Harri Ahokas, Pauliina Rossi, Pauliina Skyttä, Erling Sommerfeldt, Tomi Henttinen, Anniina Koskela; in collaboration SMS Arkitekter AS/ Wenche Waage, Thor Helle, Jan T. B. Grønningsæter; Spiss arkitektur og plan AS/ Annette Upsahl, Basisarkitekter AS/Johan Koren Hauge

Interior design: ALA/Jani Koivula, SMS/Eirin Zachariassen Landscape design: Rambøll/Hanne Alnæs, Grønnstrekk Theatre technology consultant in competition phase: Birger Grönholm Lighting concept: Julle Oksanen Lighting Design Oy Models: Stoltmallit/Klaus Stolt Client: Teater- og Konserthus for Sørlandet IKS Project management consultant: PTL, Kristiansand User: Agder Teater, Opera Sør, Kristiansand Symfoniorkester Structural design: Multiconsult AS, Oslo, Kristiansand Acoustic design: Concert hall: ARUP Acoustics, Winchester; other spaces: BS akustikk, Oslo Theatre technology design: Theatre Projects Consultants, London HPAC design: Sweco Grøner, Oslo Electrical design: COWI, Oslo, Kristiansand Electroacoustics: BS Akustikk

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Alvar Aalto Academy | Finnish association of architects Safa | Museum of finnish architecture