Joachim Daetz - Between-ness - Master's Thesis by joachimdaetz

Between - ness where city meets nature

TALLINN UNIVERSITY OF TECHNOLOGY & UNIVERSIDADE AUTร NOMA DE LISBOA

Between-ness where city meets nature

by Hans Joachim Daetz

A thesis submitted in partial fulfilment of the requirements of the double degree Master of Science & Master of Architecture.

in the Department of Civil Engineering and Architecture at Tallinn University of Technology and Universidade Autรณnoma De Lisboa

Supervisor: Emil Urbel

August 2018

Reiseuni Class 04

between city and nature

between inside and outside

Between - ness where city meets nature

Architectural Transformation in Urban Context

Memoralization can transform the meanings of the past and mobilize the present. (K. Hite, 2012)

Content Abstract

Introduction

Atlas I.1 Between-ness

Research II.1 Threshold II.2 Public Space II.3 Past vs History II.4 Center II.5 Landscape vs Townscape II.6 Urban Narrative II.7 Physical Experience II.8 Conclusion II.9 References

Proposal III.1 Site III.2 Kaartin Maneesi III.3 Construction III.4 Concept/Program III.5 Proposal III.6 Conclusion

Part I 15

Part II 31 32 33 34 34 34 35 35 36

Part III 45 63 89 95 107 137

Declaration of Authorship Bibliography

139

Appendix

143

141

Abstract [1]â&#x20AC;&#x201A; View onto Kartiin Maneesi from the Park, Personal Collection (2018)

Daily we cross numerous kinds of thresholds, most of them forgotten as soon as we passed them. One threshold that seems to have great potential, especially in a country like Finland, is the threshold between townscape and landscape. Finnish architects, like Alvar Aalto, have perfected the seemingless transition of architecture and nature. Kaartin Maneesi, an alluring brick building, with an intriguing history and no real future, located in Kasarmikatu 15, Helsinki. Constructed by Axel Hampus Dalström between 1875 and 1877, designed for the Russian Imperial Guard. Kaartin Maneesi connotes to Guards’ Manège and was evidently used as an equestrian arena for military training. After the Finnish declaration of independence in 1917, the management of the building was given to the country by the city of Helsinki. In this period, the building was used for different fairs and exhibitions, mainly about cars. Wistfully, the unique wooden roof structures were demolished and replaced by concrete slabs in 1949-1952, when the reconstructions, designed by architect Dag Englund, were commissioned. Henceforth, the building was used as a parking garage. Currently, the building remains unused and is owned by Senaatti-kiinteistöt (city property Management), who has no concrete plans for rejuvenations. The aim of this master thesis is to transform this historic site into an indoor public space. The thesis first introduces the reader to the topic of ‘between-ness’ by means of an atlas, portraying threshold spaces, then proceeds to the research part about how to design threshold spaces, public spaces and how architects shall deal with the past. The thesis will conclude with an architectural design proposal for the existing Kaartin Maneesi. Indoor public space as such is yet scarce in Helsinki and needs to be available in the future. It will both support social interactions in the area and the wish of the Fins to live in the centre whilst being right next to a coffee shop, a place for interactions. It is crucial to keep one’s past in mind, as great diversity is what creates beauty. In this rapidly changing world demolishing a building is not always the answer especially if the building has powerful stories to tell. How can an indoor public space help improve social interaction (predominantly in winter times) focusing the population of Helsinki, while using Kaartin Maneesi as a cultural heritage site with a military past, transforming it into a space that supports social activities?

Introduction

[2]â&#x20AC;&#x201A; Helsinki Cathedral, Personal Collection (2011)

Massive rocks, harsh lakes and enormous trees shape the astonishing Finnish landscape. Right in between these brutal natural phenomena lays architecture, somewhat hidden, somewhat present. Architects like Alvar Aalto, who have fascinated me for my entire studies, have perfected the seamless transitions of landscape and architecture. The threshold of inside and outside is breathtakingly small. Finnish architects have in a way perfected this transition of architecture and landscape, of inside and outside, in such a beautiful way that it yet again takes me by surprise every time I encounter it. Curiosity in this design process brought me to Finland, where I hoped to learn more about it, to understand how to perfect these transitions, these connections, to then apply them to my own works. Upon my arrival in Finland, these hopes were not disappointed. Helsinki - never dark in summer, always frozen in winter. A city that conveys a certain kind of melancholy due to its weather, yet never hectic, noise or stress. A Nordic city that is constantly growing, evolving and adapting. Trying to distance themselves from the Nokia images that everybody still has on their minds into a globalized city that can compete on the world-wide market. Around 650 000 people live in Helsinki, not even a third in the city centre, where trams are rocking through the streets. Most of the areas in Helsinki are even younger than the tram itself, only built after the second world war. 1,5 Million people live in the Helsinki area and city planners are expecting a population of 2 million by 2050. More and more Finns are longing for a downtown life, thus the port had to be moved to the east, to allow for residential areas. Already, colossal residential areas have been built at the former harbour site and even more are being added. The city seems to have to become more urban, more urban as it already is, compared to other cities. Residents want to live in the city centre, with a cafe on the ground floor and a tram stop in front of it. The building boom in Helsinki is far from over, residential buildings are constantly being built along the coast lines, where ever free space can be located. City planners like Niilo Tenkanen sees huge potentials in the urbanization process of Helsinki: shorter distances to work and friends, cheaper rents and more green spaces could be protected. “The next bigger step for Helsinki, to ensure more residential space, is to take away streets from cars, while constantly developing the public transportations system” (Bigalke, 2018). A growing city like Helsinki is a result of a demographic change. People from the countryside are moving to the cities, leaving huge parts of the country unoccupied. Furthermore, the young generation is, due to cheap flights and globalization, no longer interested in a weekend at their grandparents’ rural summer cottages. They are taking the plane to Lisbon or Ibiza, places where they can celebrate and enjoy the sun. People moving from smaller cities to major ones are no new phenomenon to countries, people who come to live in the big cities need to come from somewhere. It is not my focus in this thesis to discuss this phenomenon of demographic changes, even though it is a vital topic across the world. I just want to remind that this change of growing cities has its advantages and disadvantages. Since the topic of gentrification in Helsinki is prevailing, it is crucial to keep the mental and physical fitness of the population in balance. To ensure this balance, public space for social interactions is essential and needs to be in walking distance, thus a quick trip to the cafe or gym won’t be frustrated by a long commute. The districts of Ullanlinna and Kartinkaupunki, located just south of the city centre Kluuvi are lacking exactly this: public space in walking distance. There are parks, which can be used in summer, but once the long winter begins, there are no options for the population of Helsinki to spend time away from their homes. There are malls, cafes and restaurants but these kinds of public spaces are not always the place where people would like to meet to just sit and talk. A place like a park, where you can follow your activities, bring your picnic and just spend time

with your friends. In some way, I imagine a place like the charming Miraduros of Lisbon, a place where the youth meets to “hang out”. A similar atmosphere, only inside, would be my goal. It is certainly an experiment and only time will tell if the plan will prevail. However, Kaartin Maneesi, an alluring brick building with an intriguing history and no real future, located at Kasarmikatu 15 in Helsinki, seems the perfect place for this intervention. It is located amidst existing cultural activities and a hillside park. It is situated between urban life and nature, thus becoming one vast threshold between city and nature. A threshold that consists of many small transitions to result in a potential connection of the concrete jungle and peaceful greenery. It is a connecting building, a promising body for a public space that supports social activities while connecting city and nature. The poor accessibility of the building today created many difficulties in the past and led to the closing of the entire complex. Yet, the location of the building in the context of the entire city of Helsinki is perfect - within walking distance, public transport stopping right in front of it. It is a mystery, why this building, owned by the city, is still without plans for future use. Thus, I want to create a public space, predominantly for the winter months, for the population of Helsinki, notably for the districts of Ullanlinna and Kaartinkaupunki, to spend time outside their homes, to strengthen social interactions of people who might seek them. Unfortunately, I was not successful in creating an architecture that seamlessly blurs the lines of city and nature, since I work in the matter of preserving the past, for the beautiful existing brick facades are a statement of the Russian times, stating symmetry and strength. Yet, this idea of threshold spaces laid the groundworks for my concept and a successful creation of a public space that values the past, nature, the city and most importantly social life. “A good place is one which, in some way appropriate to the person and her culture, makes her aware of her community, her past, the web of life, and the universe of time and space in which these are contained” (Lynch, 1981, p. 142). I believe I have succeeded in creating a space, in which the population of Helsinki can find retreat from urban life to create good memories that allow them to revisit. “All activity is place-based” (Carr, et. al., 1992). Thus, people need a place to create memories. But good memories can only be created in an environment in which people feel personally safe and happy. The past is always present and buildings outlive their functions, this is no news to architects, thus I would like to work in the matter of transforming a historic place into a space that can be appreciated and enjoyed again. Reinventing spaces is a task that is facing and will continue to face architects around the world, to keep in touch with our past. Demolishing a building is not always an answer, especially if the building has powerful stories to tell. Therefore, a strong concept of renovation will value the elements of the past while creating a space for the present. “Memoralization can transform the meanings of the past and mobilize the present.” (Hite, 2012)

Atlas

[3]â&#x20AC;&#x201A; Aalto House, Helsinki, Personal Collection (2018)

I.1 Between - ness Transitional spaces, spaces that introduce the outside, staircases, thresholds, entrance spaces, door sills, windows, etcetera. The terminology betweenness was invented by JĂźrgen Joedicke, a German architect who dedicated the majority of his career towards architecture theory. This term fascinates me immensely and made me study this architectural experience in depth, even made me interpret it in my own ways. Spaces that lay between two major spaces are often left ignored, since you are fascinated by the major spaces. Hence, the spaces between are being under-appreciated. Thus, I would like to dedicate this atlas towards these spaces that should not be ignored, instead should prepare the visitor towards what is to be expected next.

[4]â&#x20AC;&#x201A;

Entrance Space

The moment when you enter the main space of a church, you are faced with a threshold space. You are indeed in the main space yet you can not feel the full heights of the room, since the galleries above the entrance block this feeling. Two steps further and you know the space will open up.

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Entrance, Petäjävesi Kirkko , Personal Collection (2018) Entrance, Vöyri Kirrko, Personal Collection (2018) Entrance, Pyhämaa Kirkko, Personal Collection (2018) Entrance, Vöyri Kirrko, Personal Collection (2018)

[8]â&#x20AC;&#x201A;

Forest Boarders

The end of the trees and the open fields are already visible, yet you are still inside the forest. Your mind switches to a threshold state in which you are now inbetween two spacial experiences.

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[8] Clearing, Ebersberger Forst, Personal Collection (2018) [9] Clearing, Anzinger Forst, Personal Collection (2018) [10] Clearing, Eglhartinger Forst, Personal Collection (2018) [11] Clearing, Möschenfeld, Personal Collection (2018)

[12]â&#x20AC;&#x201A;

Doors

An architectural element that we can not live without. It is either the entrance or the exit. Your mind subconsciously knows that you are soon going to be surrounded by walls or soon to be surrounded by nature (or concrete jungle). A threshold experience that only needs the familiar view to be triggered.

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Door, Pyhämaa Kirkko, Personal Collection (2018) Door, Vöyri Kirrko, Personal Collection (2018) Door, Pyhän Laurin Kirkko, Personal Collection (2018) Door, Vöyri Kirrko, Personal Collection (2018)

[16]â&#x20AC;&#x201A;

Staircase

An active change that requires more than the usual amount of muscles. The threshold space itself is generally not been appreciated, especially if you are familiar with the place you think of the space that is going to expect you when you arrive a floor above or below.

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Staircase, Finlandia Hall, Personal Collection (2018) Staircase, Säynätsalo Library,Personal Collection (2018) Staircase, Säynätsalo Town Hall,Personal Collection (2018) Staircase, Aalto University Helsinki,Personal Collection (2018)

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Streets

Unlike the other threshold experiences this is a space that is limited by the walls left and right, and not the ceiling. It is a space that can open up not above but on the sides.

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Street Thresholds, Helsinki, Personal Collection (2018) Street Thresholds, Helsinki, Personal Collection (2018) Street Thresholds, Helsinki, Personal Collection (2018) Street Thresholds, Helsinki, Personal Collection (2018)

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Windows

My favourite threshold element. Due to its power of reflection it masterly plays with your perception. Yet it is a boarder of in- and outside that can be thoroughly invisible, to invite my eyes and mind to think that I could be outside.

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Window, Aalto House, Personal Collection (2018) Window, Aalto Studio, Personal Collection (2018) Window, Finlandia Hall, Personal Collection (2018) Window, Aalto House, Personal Collection (2018)

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Door Sill

The origin of threshold space. A simple door sill, forgotten and never looked at it introduces you into a new space with new spacial experiences. The door frame is part of the experience, since you sometimes have to cower before passing through.

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Doorsill, Aalto Studio, Personal Collection (2018) Doorsill, Aalto House, Personal Collection (2018) Doorsill, Aalto House, Personal Collection (2018) Doorsill, Aalto House, Personal Collection (2018)

Research The past is always present. “As an architect, you design for the present, with an awareness of the past, for a future which is essentially unknown.” (Norman Foster, 2007)

[32] Design Museum, Helsinki, Personal Collection (2018)

II.1 Threshold Spaces “First we, architects, separate spaces, establish a boundary, to then have the immediate need to connect them again” (Georg Simmel, 1909). This is a natural process for architects, whether it is a door, a window or any kind of opening that needs to be created to allow the room to unfold to its fullest. By creating an opening between two spaces, a threshold space is likewise created in this process. A door sill is, to me, the origin of a threshold. It clearly divides one space from another, with the slight lift of the surface on the ground and with the whole frame of the door that, well, frames an entrance into another space. “Every day we cross a number of spatial boundaries, moving from one zone to the next. We live in transition. Architecture builds on transition. “Thresholds interrupt spatial boundaries for a transition from one zone to another” (Boettger, 2014). Without a transitional space, there would be no entrance into a space, hence no space at all. Thus, the importance of threshold spaces is severely underestimated. Generally, threshold spaces are just thought of as passage ways, simple connectors of two spaces in which the movement speed of the visitor is reduced exhilarated since it is usually narrower than the main spaces. Henceforth, threshold spaces are not even perceived, they are forgotten and just a tool of connection. Yet, I believe that threshold spaces should become an indicator of what is yet to be experienced, rather than spaces that just serve the purpose of connection and accessibility.

design, since Boettger interprets them in his own terms. When is the first point of recognition in my design? How can it be approached etc. This will be found in chapter III.3. The first encounter with threshold spaces in architecture is usually at the entrance space. In most architectures, this space is visually separated from the main space andof has space-defining elements. In housing architecture, the be infolded into the inside of a building. A comparison Le Corbusier’s Carpenter Center and his Mill Owners’ Association Building clearly demonstrates this phenomenon. The delimitations of the threshold space can be seen as a a reaction to the different climates inand Cambridge, Massachuentrance has small roof wind-breaking elements to welcome the guest setts, and Ahmedabad. into the house. An arrival space used to be just an empty room, but times have The Neue Nationalgalerie is an example of a flat threshold space that is open in all directions and has clear boundaries only on the inside (fig. 108). The Museu de Arte in São Paulo (MASP) opens shifted to functionalism needs to have a purpose, therefore its exterior space to the city in a similarly extensive way and formswhere a clearly delimitedeverything threshold

3 — Threshold Space Design Tools

Fig. 111: Geometry: free—ordered

Counterblancing Pairs of Opposites — 3

Fig. 112: Rigid geometry, MASP, São Paulo

Counterblancing Pairs of Opposites — 3

space body whose two long sides extend a generous invitation to enter. The open space that is offered in both cases, Nationalgalerie and theunusual. MASP, isThis clearly read, understood, and used The creation of the the voidNeue in the MASP is particularly uncommon space, a special as public space. place in the city, is probably the architectural example which demonstrates the greatest flexibilThe S-shape of the of Carpenter ramp makesagain the visitor appear to glide seamlessly and ity free and independence all; it canCenter be appropriated and again for changing public uses. In 3 —gracefully Threshold Space Toolsgivena space. Fig. 107: Delimitation: open—closed Fig. 108:still Open thresholdand space, through the It adapts tospace. the surrounding system ofresonates streets also mediearlier days itDesign represented secluded, private This exclusivity today, despite Neue Nationalgalerie, Berlin ates differing heights. Richard workshas more strictly withVão thedo geometry of the park the between paradox of the public context. The Meier space even its own name: Masp. The threshold and Villa it to theisthreshold then the organic of space ofMetzler, the Neueapplying Nationalgalerie similar; itspace offersand itself as aallowing public stage for the softness city. Naturally, Sequence the to superimpose itself on in theitsstrict order Visitors that results. In severalinplaces, sections its vegetation central position is a deciding factor strength. are welcomed the middle of of space can be foundThe that are basedCenter on thethreshold square structure of Villa Metzler. Thethe threshold the architecture. Carpenter space leads the visitor into center ofspace the Comparisons of the sequences of a threshold space, that is, the order of the various spaces as you ofarchitecture the Fondation in aCartier similaralso way.presents itself as a park, one whose ground plan is strictly strucmove through them, differentiate between freely and selectable anditself guided paths. This analysis The threshold spacecan itself isspatial designed to be striking liberates tured by the layered, tiered delimitation of the structural body. from its surroundings. The determines theisextent to which the architectural experiences a predetermined and glassCarpenter facade executed as an open, transparent layer. Miesfollow van der Rohe lets glass order demonstrate The Center ramp manages to provide both independence and integration. First it whether there is only one path of motion through them (fig. 109).through. Furthermore, in addition to these its true transparency its function asindependence something to thanks be looked The threshold space ofin the Neue Nationalgalerie is strictly and byposition. an omnicreates its own place, which achieves todistinctly its shape determined and its raised differences, certain analogies can be found between the individual threshold space sequences. present cubelike Theinto space-defining elements conform to and the readable squares in both Nonetheless, themodule. ramp fits the urban context of the campus is not only self-referential Experimentation withLina the material between-ness is particularly evident in Música the use of glass. the plan andoffers the view. Boembedded Bardi of does not outperform theday, Neue Nationalgalerie inalso terms of but rather itself as an pathway. During the the Casa da offers Fig. 109: Sequence: freely selectable—guided Fig. 110: Guided sequence, The Fondation Cartier, for example, with glass both and open Le Corbusier basically similar in capacity Cambridge, although theclose threshold space is the clarity of employs her threshold spaceas structure, butthe the simplicity of theto MASP’s spatial shape isspaces units threshold space toathe public a plays citystrategy space, but due to itsoflocation inside building (fig. 114), Carpenter Center,the Cambridge atmust the same time (fig. 116). Pronounced transparency andcounterpart reflections can make the box threshold smaller and different terms ofisits geometry. Carpenter Center threshold space also shifts rivaled. The of in the threshold space forms a simple to the oblong shape of it firstcuboid be discovered and integrated in The the architecture. space appear as an open or closed spatial body. the museum boundarybody of the city space, is architectures strongly connected to the public and isofitself the (fig. 112). Both work with the clearspace, readability cubicperceived volumes. 3 — Threshold Space Design Tools that as space. However, in both the case of theofCarpenter Center, thehistory penetration theand space makes It interesting to note the roof the Neuetells Nationalgalerie and museum body of Inispublic Frankfurt, the threshold space, a seclusive place, of the of theof city forms an The Casa da Música, with related itseight silver gray tone, anThe ambivalent materiality that can iturban possible tothat wander through the entire building on the exterior strategy the MASP are approximately meters fromalso the ground and provide theramp. spaces under them park is closely and connected toachieves the S-shaped MAK. park serves asAasimilar mediator on all capture various atmospheres. The neutrality ofitsthe material serves theThere design concept ofCartier the can be found at cubature. the Museum angewandte Kunst (MAK) in Frankfurt. threshold space with their clear levels and finds its identity infürits artifacts and surroundings. Although thethe Fondation threshold space, it lies between the its function rooms with their distinctive A perbody can bespace called andvisible, is linked tospatial the city space by the it portals. Thefinishes. park, however, is threshold isas“porous” immediately position marks as contained by and embedceptible contrast emerges as the material of the threshold space recedes into the background. more definitely by itsItlow wall it is accessible. clearly delimited as a protected public space. ded behind thebounded glass panels. is not soand readily Topography Thevegetation threshold space made into theoutside most inconspicuous neutral mediator possible in The is veryisapparent from the park and and is not framed by the wall. Monitoring Fig. 111: Geometry: free—ordered Fig. 112: Rigid geometry, order toisshowcase the other spaces. the park virtually impossible; security of the public derivesspeaking from social norms. With regard to the topography ofthe a threshold space, we canspace distinguish, in terms of The space, MASP, São Paulo Materiality sense of responsibility for embedded public spaces is (fig. reflected the organization called between independent and sites 113). in At the onefounding end of theofspectrum, the threshold InInthe works by Ludwig Mies der Rohe and Linathere Bo Bardi described both architects cases the MAK and van the Carpenter is logically no here, difference the material100 “Freunde desitsof Museumsparks” (friends ofmakes the museum Frankfurt. space forms own self-determined space inCenter relation topark) the architecture as a between whole,inwhich can Thethe materiality of the threshold space particular use ofinthe tension open andbe planned tothreshold let the visitors choose their own access paths. The threshold spaces of both the ity of the space with respect to the design concept as a whole. However, the mutaused andor perceived At the end, it(fig. can115). be embedded as aaim place within the the archiclosed, in other accordingly. words neutral andother distinctive Usually, the is to provide Neue and the MASP allow visitors to approach the buildings from various bilityNationalgalerie ofand the space isPorto incorporated in independent the The vegetation inmake the park in the Frankfurt While the Casa dawith Música in opens up design. broadly and inArchitects all directions with wide, tecture beexterior less present and readable an space. threshold space a materiality that as isitself not easily classified. use its of effect directions and do not predetermine asimilarly specific path. Visitors can allow themselves to be guided is subject toindramatic areorexperienced inThis the ringlike plaza, similar tochanges, the Neue Nationalgalerie, it hidestransformations of the threshold of changes the appearance ofand the materialsimpressive according tothe theinterior time ofsections day the seasons. by possible of stimuli. The security concept of the Neue Nationalgalerie maintains this approach threshold theopposite Carpenter Center. space and announces them in a of relatively inconspicuous wayspace with the exteriorand staircase. means that the poles materiality in a threshold run small from neutral subordiby carefully concealing the video surveillance equipment and having security personnel stroll The da overall Música design only opens its interior dominant. threshold space at one point. As a result, warm or cool nateCasa to the to distinctively through the building as though they were visitors. The unplanned path provides space and time air can be carefully controlled and kept inside. It is easy to achieve access control. Fig. 113: Topography: independent—embedded Fig. 114: Embedded space, Furnishings for the unexpected in terms of spatial perception. The path the visitors seek and select while da Músicathis aspect of threshold The MASP and the Neue Nationalgalerie form the extremes for Casa discussing they are in the threshold space changes dramatically andone is newly structured. Directions are only Threshold equipment can bechooses characterized at the the extreme as integrated Inspaces. the case ofher thevoid, Fondation in Paris we have following situation: visually, theunobtruvisitor Forspace Lina BoCartier Bardi inconspicuous materials that fit into theand surrounding very vaguely predetermined, affording freedom and scope. sive and atto the other self-contained (fig. 117). Designs for furnishings from units conThe free S-shape ofthreshold theasCarpenter ramp makes the visitor to glide seamlessly and iscity led close the space and aura, but physically, he or isrange kept at a “layered” space. No transition from theCenter city its space can be perceived. Inappear theshe Neue Nationalgalerie, Mies cealed the threshold space-defining elements to objects. Integrated systems make open threshold gracefully through given It adapts the surrounding system of streets and also medidistance. The space suggests an expansive spatial opening. Jean Nouvel’s strategy is van derinRohe playsthe with the space. materiality ofvisible a to classic interior space, for example wood, natural Atspaces the Fondation Cartier, the experiences areSelf-contained of spatial enclosure asthe you arrive and gain andleather. various forms of first utilization possible. objects define space ates between heights. Meier works strictly with geometry ofone thepoint park the creation ofdiffering an open space. This space exists as anmore openthrough picture anduse isthemselves only open at stone, and In this way, aRichard contrast can be achieved the of distinctive materials. access to Metzler, the inside at arole single point. Thereafter, theand threshold spaceTechnical can beorganic freely explored. and also play a larger in the respective functions of the space. thresholds such as and Villa applying it to the threshold space then allowing the softness of and with securely monitored access. This combination of solely visual opening and spatial closing The privatized public space offers a system of paths incombined the park, but this systemplaces, provides great video surveillance, intercoms, and mailboxes can be in self-contained objects, leading the vegetation to superimpose itself on the strict order that results. In several sections of facilitates easily organized access control. flexibility freedom choose path. The design concept in the park of to technical advantages regarding the installation and production ofthe thepathways equipment. Moreover, space can and be found thattoare basedaon the square structure of behind Villa Metzler. The threshold space the MAK in Frankfurt clearly determines how experiences inplan thelocations. threshold space information canCartier be gathered atForderungen” one fixed point to other of the Fondation also presents itself asarchitectural a and park,communicated one whose ground is> accessed strictly struc-2014. 100 Freunde des Museumsparks, “Unsere <http://www.freunde-des-museumsparks.de/ March Fig. 115: Materiality: neutral—distinctive Fig. 116: Ambiguous materiality, are anticipated. Whiletiered variations aredelimitation possible given thestructural multiple portals, anticipation that is tured by the layered, spatial of the body. the Fondation Cartier, Paris built up clearly demonstrates the visitors and shows them thean way. The portals In comparison with the otheraccessibility architecturaltoexamples, the void of the MASP, exceptional space function as frames paths and guide to the axis. in the city, is space likelyfor the most flexible spacethe duevisitors to emptiness, its complete openness. The threshold of the the Neue Nationalgalerie is its strictly and“correct” distinctly determined by anThere omni-are no furnishings 118) apart from the inconspicuous staircasetothat downsquares from above. The present cubelike(fig. module. The space-defining elements conform thefolds readable in both The Carpenter Center the approach the visitor, leaving no choice security cameras thatunequivocally wereBo subsequently installed, however, areofobjectionable. Theinclimate the plan and the view. Lina Bardi predetermines does not outperform the Neue Nationalgalerie terms ofin inSão the matter (fig.threshold 110).forThe pathway creates firmthe guidance similar toMASP’s that of spatial railroadfrom tracks. Paulo is her suitable staging various activities insimplicity the space, is protected the sun the clarity of space structure, but ofwhich the shape is As uninand a procession, therelatively spatial experiences in the threshold space arepark. thought planned, and 111 benefits from fresh air thanks to the neighboring rivaled. The cuboid of the threshold space forms a simple counterpart to theout, oblong box shape of 114 always reproducible. This design was born not outthe of the desire to exertofcontrol but the museum body (fig. 112). Bothconcept architectures work with clear readability cubic volumes. rather the wish to to note sharpen perception, asNeue demonstrated by the and factthe that, despitebody the clear It is interesting thatspatial both the roof of the Nationalgalerie museum of Fig. 117: Furnishings: unobtrusive—self-contained Fig. 118: Unobtrusive furnishings, pathway of the ramp, it was difficult to retrofit it for security control. Access to the interior was the MASP are approximately eight meters from the ground and provide the spaces under them MASP, São Paulo meant to be open and immediate. SchwellenRaeume_Innenseiten_Satz_EN_RZ_Clean.indd 111 SchwellenRaeume_Innenseiten_Satz_EN_RZ_Clean.indd 114 with their clear cubature.

“Twentieth-century architects work with an open floor plan that allows for new links between inside and outside and that stages access. The floor plan that had earlier been closed is now broken up by using freestanding panels and supports to organize the space. The concept of an open space is deliberately employed” (Boettger 2014, p. 11). Due to this shift, we naturally began to perceive space in a different way. Threshold spaces are now defined differently, compared to historic buildings. “Perception occurs via the senses, to which, according to Aristotle’s classical subdivision, sight, hearing, smell, taste, and touch belong. The introduction of a system of basic orientation, which includes the sense of above and below, in front and behind, or left and right, is crucial” (Joedicke). These ways of perceiving are often neglected while designing a space. The human scale, the human ability to orientate oneself in a larger building, is very individual and cannot be explained or predicted, yet it can be anticipated, depending on cultural rituals and surrounding spaces. Familiarity of the surrounding area plays a key role in the analysis of a place and therefore must be adapted in the design of the new intervention. It is impossible to design a building in Finland with the idea of orientation of a building in Italy. “Depending on how their sense organs have been trained, humans achieve an ability to perceive their environment and orient themselves in space” (Boettger 2014, p. 17). The differences in cultures regarding the topic of thresholds are also studied by Boettger in detail. It is extraordinary, how much similarities arise from his study, yet there are also some cultures and rites that follow a completely different idea of threshold spaces, like the Japanese.

3 — Threshold Space Design Tools

[33] Till Boettger. Delimitation: open - closed (2014)

[34] Till Boettger. Sequence: freely selectable or guided (2014)

[35] Till Boettger. Geometry: free or ordered (2014)

[36] Till Boettger. Topography: independent or embedded (2014)

[37] Till Boettger. Materiality: neutral or distinctive (2014)

[38] Till Boettger. Furnishings: unobstrusive or self-contained (2014)

between independent and embedded sites (fig. 113). At one end of the spectrum, the threshold 115 space forms its own self-determined space in relation to the architecture as a whole, which can be used and perceived accordingly. At the other end, it can be embedded as a place within the architecture and be less present and readable as an independent space.

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112 Fig. 113: Topography: independent—embedded

Fig. 114: Embedded space, Casa da Música

116 these empty arrival spaces are now serving as information desks, waiting rooms and even exhibition space. Arrival spaces have the task of slowing down the movement of a visitor, breaking down the scale to a human one (cf. Boettger, 2014).

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Boettger created an enchiridion of how to design threshold spaces, in which he stresses the importance of counterbalancing pairs of opposites, phases and organisation, sensitive guidance, essence and potential as well as application and outlook. Lack of other studies in this field led me to mainly focus on Boettger’s research on threshold spaces. Famous architects have of course identified these threshold spaces before and used them as a tool, an introduction and arrival space in their designs, yet no-one seemed to have studied them this thoroughly. To Boettger, the key parameter, identifying a threshold space, are delimitation, sequence, geometry, topography, materiality and furnishings (Figures 1-6, by Boettger). Furthermore, he describes the different phases of perception while experiencing threshold space. They are specified as follows: recognition, approach, reaching, arrival, orientation, monitoring and exiting (cf. Boettger 2014, p. 122). These phases of perception I would like to adapt in my

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The threshold space of the Casa da Música could be considered a combination of the designs of Topography the Neue Nationalgalerie and the Carpenter Center. Rem Koolhaas follows a principle of openness for the initialtoapproach, channeling visitors who arrive fromdistinguish, different directions the of ringlike With regard the topography of a threshold space, we can speaking with in terms space,

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The questions that Boettger henceforth arises are: “How can spaces be opened without closing them? 114 How can we let people see what we want them to see of the inside of a building and still protect it?” (Boettger 2014, p. 11)

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These questions are crucial to my design or any design for that matter. They cannot be answered in a general way and therefore need to be studied again and again in each and every new design. They are important to the new era of modern architecture, since transparency in architecture is just another example of how transparent we, as humans, become. Transparency means less privacy, less privacy needs extroverted people who can handle this kind of behaviour. Susan Cain studied the power of introverts in a world that cannot stop talking, in her book Quiet: “It’s how you respond to stimulation, including social stimulation. So introverts prefer lower-stimulation environments, that’s where they feel at their most alive. Whereas extroverts really crave stimulation in order to feel at their

best. It’s important to see it this way because people often equate introversion with being antisocial, and it’s not that at all – it’s just a preference” (Cain, 2012, p. 167). The reason why I mention this book is, that I believe that the Finnish culture, that I am working with in my Thesis, is highly influenced by introverts, who will not be able to handle a vast amount of transparency. In the meaning of personal information but not in the sense of architecture. The only transparency in architecture Finns allow, is towards nature but not towards neighbours or people in general. This transparency towards nature is precisely the kind I would like to understand and exploit in my design. Cutting off transparency towards the city and people with keen eyes, to allow a peaceful environment that Finnish people can enjoy while being in a public space. This is a severe task to handle, since the idea in itself is almost contradicting: No transparency towards people in a public space that is meant for human interactions. Joedicke defined a term that perfectly matches my vision: between-ness. The intermediate state between two spatial areas. Furthermore, I interpret this concept in a sense of human interaction. The relationship between two people. My intervention shall connect not only the townscape with the landscape of Finland, it should also connect people. All in one public threshold space: Kaartin Maneesi.

Memorial to the Murdered Jews of Europe in Berlin. Somehow, these places where already designed not to stay on them for social interactions. Portuguese people strongly disagree with me on this, hence I guess I need to have another walk across Praça do Comércio. The question remains, how to create a public space that conveys a feeling of comfort, safety and belonging to the visitors? While designing my public space, I was heavily influenced by the guidelines of Stephen Carr, Mark Francis, Leanne G. Rivlin and Andrew M. Stone’s book “Public Space”. Although the case studies of this book focus mainly on American outdoor public spaces such as parks and squares, the guidelines can be adapted to an indoor public space in Finland. To give a brief overview of their concept, I want to list some of the guidelines that stroke me as relevant while designing my own public space. To then further explain some of the not as evident guidelines.

Use of given dimensions of surrounding Protection of users’ rights Making spaces meaningful Public art and collaborations The art of management The power of a shared vision Actors in the process (government officials, construction workers...) Clarification of purposes List of specific needs (comfort, relaxation, engagement, discovery) Definition of spatial rights (access, freedom of action, claim, change) Proposition of meanings (legibility, relevance, connections) Description of intended activities and settings Description of intended management system

According to Carr et. al. public spaces are parks, squares, plazas, markets, streets, playgrounds, open spaces and waterfronts. Not much can be added to this list after twenty years. The one space that I am dealing with in my thesis is called ‘third space’ - unused governmental buildings open for public use.

Before the guidelines for designing a public space are introduced, I would briefly like to mention the evolution of public space in a very subjective manner, since I will only list the spaces that are important to me and my design. “While some form of public marketplace can be traced back to the Mesopotamian cities of 2000 B.C. , the major precursors of latter-day public spaces occurred in the cities of Ancient Greece and Rome” (Momford, 1961). The Roman forms of public spaces are still relevant in the cities of central Europe - the medieval market squares. These markets are a solid part of my upbringing thus, I cannot imagine a world without them. From a young age I went to the local market square on Saturdays to buy regional products from farmers. The medieval squares were the centre of a city, a place where the public gathered for announcements, a place to buy food and a place to get water.

These guidelines are merely a selection that need to be taken into account while designing a public space. I am aware that the book “Public Space” was written in 1991 and could thus be considered outdated, yet I strongly believe in most topics. Defining a set of rules or rights for a public place cannot always be anticipated in advance and simultaneously should not take away the freedom of the users. It is a difficult task to balance rights and freedom, to set an example that Carr uses in his book, “Will paths on a sloping site need to be designed to discourage skateboards, or can an area be set aside for them?” (Carr et. al., 1992, p. 312). Hence, some of the rights should also be integrated in the design process, to clearly give a statement of will from the beginning, in that way skateboarders will not be tempted to use slopes that are designed in a way that they cannot be used for skateboarding.

After the Roman market squares, the Renaissance interpreted the term square towards a new form of social interactions. The new and more organic approach with vegetation elements led to the creation of a calm and peaceful place, where no goods were sold and some parts were even interdicted to be stepped on. It was immensely staged and exquisite, compared to the former market squares. “Starting in Livorno, Italy, in the late sixteenth century, main squares began to be constructed as a unity, based on a fully symmetrical design” (Girouard, 1985, p.128). The evolution continued via the construction of plazas and squares in America modelled after squares in Spain and southern Europe. To the creation of public spaces on the small streets of medieval towns in Italy. To the emergence of parks and playgrounds. Parks, “an area informally set aside for sports and games” (Jakson, 1981, p. 34), now began to move from the outskirts of the city into the centre to not only be used for sports but increasingly for mental balance of daily urban life.

The meaning of a place commonly emerges after time, when it comes to public piazzas or parks. For instance, the Miradouros in Lisbon have become a social gathering point for the youth to ‘hang out’. Whether anticipated or not, meanings can likewise change in the future. Yet, the most defining element of meaning emerges from the purpose of a place. A hospital will, while functioning, never become a skate park, yet a park can become a social gathering point that can change an entire community, such as Hyde Park with its Speaker’s Corner. This spot became the centre of attention in the matter of addressing current problems of society. Furthermore, whilst designing, the surroundings are key. Space is always connected to another space, thus spaces will never be seen as isolated as they are whilst drawn on paper. Hence, it is only logical to integrate the surrounding impressions and even materials into the proposal, to create a place that does not immediately strike the eye in a negative manner.

II.2 Public Space

The next mentionable change of public space happened with the invention of malls. This was the time when public life began to move increasingly towards the inside. Malls can be seen as a new creation of medieval squares. Goods can be bought and social interactions can be held/performed. Protests, as part of society for quite some time, are usually held on a local square, though not in malls, thus these are considered a more protective place, compared to outside squares. Yet, some malls relate to outside squares and even have squares in their centres. A monumental public space is a space designed to be consciously impressive (Carr, et. al., 1992), inducing a feeling of discomfort, of not belonging. I always had that feeling when walking across the Praça do Comércio in Lisbon or the

The management of any public space is often neglected by designers. Yet it is crucial to know “Who will ultimately own and control the site and how will policies be set?” (Carr et. al., 1992, p. 313). The slightest change in design can entirely change the way of management. For instance, a drinking fountain in a public space owned by the city, or anyone, needs to be regularly cleaned and checked for hygiene standards. This is costly and can even lead to law suits against the city if illnesses were to be spread through this drinking fountain. Furthermore, the accessibility of a place is key to a successful space. “For a space to be physically accessible, it should not only be without barriers to entry, it should also be well connected to paths of circulation” (Carr et. al., 1992, p. 144). Carr divides accessibility into three categories: physical, visual and symbolic. The physical one being vital pedestrian paths and public transportations routes.

Kaartin Maneesi is close to a tram and has many different pedestrian paths around it (see Figure [168] on page 88). Yet, indicators like fences and barriers are the polar opposite of physical accessibility. s Visual accessibility is the most crucial one, considering entering a space. The question that arises for designing a visual access is: “Can potential users easily see into the space from outside, so that they know that it is a public space where they can enter safely and will be welcome?” (Carr et. al., 1992, p. 144). In order to see inside, check out the safety and calmness, before entering. Evidently, public spaces are not always connected to positive memories. Drug use, alcohol consumptions and homeless people can violate the privacy and comfort of fellow visitors. Groups smoking and listening to loud music will lead some people to exiting that space. This is a critical topic, loud music should not be forbidden since it is the free will of these people to do so, they especially come to a public space designed for this kind of social interactions. Yet it causes other people, who came to this same place for a peaceful moment to read, to leave the place. I believe that it is a very complex process, which will only prevail over time. New public spaces need to be accepted, need time to be figured out. The community needs to figure out how this place is used and for what purpose they will use this set space. If they want to read, then there are places to do so, if they want social interactions with friends where loud music is not problem, then there is another place to do so. Time will tell which kind is meant for Kaartin Maneesi. Furthermore, the future can lead to another way of usage. Consequently, more hidden corners are potential spots for drug users and shady businesses. Elderly people might not tolerate loud noise and ball games and would want to know in advance if the space is currently usable for them. Especially for women but also increasingly for men, the question of safety during night times is an urgent topic to be addressed, thus again, more transparency calls for more safety (cfg. Carr et.al., 1992). “Visual access to a site must be viewed against people’s needs for privacy and their desire for places that provide a retreat - a hidden corner in which to escape the pressures, stimulation, and crowding of urban life” (Carr et.al., 1992, p. 145). Visual access is more important than the possibilities of personal retreat. Furthermore, the topic of opening hours cannot be neglected while talking about an indoor public space. It needs mentoring and security as mentioned before, yet it needs closing hours since otherwise the security personal needs to be paid all day and all year round. An open indoor space can be a very gruesome place late at night. Where are the boundaries to be set? Is there one passage way through the building constantly open? The symbolic access “involves the presence of cues, in the form of people or design elements, suggesting who is and is not welcome in the space” (Carr et.al., 1992, p. 149). When entering a public space, inside or out, psychology and perception are integral to the process of liking or disliking a space. A process of questions unconsciously begins: Am I welcome here? Can I use it in a way I want to? Am I powerfully stimulated? Is the design to my satisfaction or is it too complicated? Do I feel a sense of belonging? Is it comfortable towards my purpose? Can I afford it? All these questions are answered in a split second. Whereas many key elements such as materiality, the brightness of the space, its size, the activities happening in that space, the weather, possibilities of retraction and the sense of arrival play a major role in the process of answering these questions. The list does not have an end; hence it involves immense personal experience and represents a personal process that cannot be answered by the designers for every individual, yet it can be anticipated. Evidently, people have an immediate reaction to certain places, gold for example, is an indicator for luxury and does not necessarily invite people in for public use. Many shops in malls play on these perceptions. Not only a brand name but also appearance and choice of materiality attracts different kinds of people. Places appearing to be high-end are uninteresting for people who are looking for an affordable place to have a coffee or buy clothes, whereas a cafe with cheap-looking metal chairs, as are spread across any major city, would attract the majority, since the anticipated price is matching their idea. In any case, the most crucial step for a successful public space hinges on the personal experience of the visitors. Thus, it is vital for the designers to integrate both residents and community of the place into the process, consulting them on these matters of function and meaning. “Familiarity creates attachment: the awareness of the past of the place is an important factor for the creation of an emotional bond” (Tuan, 1974). This familiarity of a place, or its understanding

can already happen in consequence of its name. For example, the street on which Kaartin Maneesi stands, is called Kasarmikatu, which loosely translates to Barracks Street. Hence, unconsciously the visitor already knows the past of the area. Furthermore, the area is called Kaartinkaupunki, which connotes to Guards City. Thus, this area includes a military history, and to this day the Defence Department is located there. The naming of streets therefore plays a crucial role in how people remember the history of certain places. Kaartin Maneesi is surrounded by brick buildings that belong to the Defence Department plus more contemporary buildings from functionalism, made from stone or wood. “The environment communicates not only through the present, but also through the past” (De Certeau, 1984). “A good place is one which, in some way appropriate to the person and her culture, makes her aware of her community, her past, the web of life, and the universe of time and space in which these are contained” (Lynch, 1981, p. 142). This observation by Lynch includes the anticipation that I meant earlier (II.2, p. 12). The elements listed are crucial in any design process. Whilst talking about Kaartin Maneesi, it is important to value the past of the place, the past of the culture and the future of the society of Helsinki. Since Helsinki is a city constantly moving into the direction of multiculturalism, expected to satisfy not only the needs of just Finns anymore, but also the needs of cultures foreign to traditional Finnish culture. Yet?, the past is always present. Guter Überleitungssatz, ich bin nur nicht sicher, wie ich das yet verstehe

II.3 Past vs History “The landscape is not merely an image, a map or a view of the existing motherland, however. It is also a part of the nation’s history, which is marked in the landscape in the form of significant buildings and monuments to historical events, so that the past may be seen as forming an unbroken continuum with the present“(Raivo 2002, p. 89). The past is always present. In landscape, in architecture and in our daily life. Yet, we often do not perceive the past as past, since we do not know enough about the history of a certain place, thus it is merely a present state to us. For instance, an abandoned brick building on the side of a street, which I might pass by every day, is part of my life, I see it every day, yet I do not know why it was built and why it is still there. Once I gather information about that building, it increasingly becomes a historic building, rather than a present building. History is an intriguing concept and it deals with facts that were told about it, but when does history begin and past end? It is my past, my past 26 years, I would never call it the history of my 26 years. History rather is something that happened more than a certain period ago. As long as I can personally remember something, it is the past, but once I read about something that I was not part of because it happened before I was born, it becomes history. Over the past couple of months, the building of Kaartin Maneesi has become increasingly more historic to me. I have gathered a great deal of information about the past and by retelling the story of the building it becomes more historic every day. “The past . . . in its reality, was a roaring cataract of billions upon billions of such moments: any one of them too complex to grasp in its entirety, and the aggregate beyond all imagination. By far the greater part of this teeming reality escaped human consciousness almost as soon as it occurred. None of us could at this moment give anything like a full account of his own life for the last twenty-four hours. We have already forgotten; even if we remembered, we have not time. The new moments are upon us. At every tick of the clock, in every inhabited part of the world, an unimaginable richness and variety of “history” falls off the world into total oblivion” (Lewis; Hooper 1967). The beauty of Lewis’s playfulness with words, painting a picture in our minds, fascinates me every time. Lewis describes the past as something that is intriguingly complex, which makes it rather difficult to remember everything that has happened to oneself. History is always past, but past is not always history. Only by narrating the past can it become history, otherwise it will be forgotten past. If the past is not interesting enough, it tends to be left untold, despite of the beauty of that moment. Unshared pasts can never become history. Past events that have been shared and later even retold and thought become then part of history. Only the most significant past events have the potential to become historic. “Remembering is always connected to time and place” (Abrams, 1997). These

places that we visited are subjectively stored in our minds and while talking about an event it is automatically a personal story and someone who was part of this story will probably tell a completely different story of the same event. “Places are associated with fragmentary and introvert histories, which unfold in different ways to the observers with different experiences” (De Certeau, 1984, p. 108). The between-ness of past and history, this realization and understanding is a beautiful process. Much as the between-ness of spatial experiences. The transition of one space to another. How do people perceive them? Many transitions, alongside memories of our days, are left unexperienced. The daily routine of passing through transition spaces, threshold space is predominantly left unexperienced. Especially in placed that we pass through every day, only in spaces that we visit for the first time we become aware of them. A new forest path that suddenly opens or a new library that leads to a major space in the centre of it, which is flooded with light. The more subtle the threshold space is designed, the less we seem to notice it. Massive jumps in ceiling heights are less subtle and thus immediately perceived. This phenomenon is commonly seen in public space, spaces that have the need for noticeable spatial transitions. The passion of threshold spaces is something I want to adopt in my project. I want to go a step further, I want to connect the townscape with the landscape, which has been separated by Kaartin Maneesi. A public space in the middle of this connection would make the difference between a mere connecting passage and a connecting space. The building of Kaartin Maneesi is that space in the middle, that would be transformed into a new indoor public space that is yet lacking in northern countries, such as Finland and especially in the neighbourhood of Kaartinkaupunki and Ullanlinna. A space where people feel a sense of belonging, of comfort and safety. A space that is monitored all year around, which can be used all year around, predominantly in winter days. A place that offers space for connecting socially and creating memories. “All activity is place-based” (Carr, et.al., 1992). Thus, people need a place to create memories. Nevertheless, good memories can only be created in an environment in which I feel personally safe and happy.

II.4 Center Camillo Sitte, even though he mainly focuses on southern Europe public space studies, wrote a chapter in his book “City Planning According to Artistic Principles” about squares in northern Europe. According to Sitte, northern European countries were Germany and Austria. “Climate, culture, dwelling and construction are essentially different here; Should not streets and squares be different too?” (Sitte 1909, p. 72). Thus, squares further north than Germany will have to be again vastly different. Unfortunately, Sitte did not study Finland, yet his observation can be taken into account while studying a culture, which is not your own. While traveling with this master program (Reise-Uni), we saw many cities, many cultures, many different construction styles and climates. Each culture is shaped by these elements. If one circumstance would have been changed in a culture, e.g. the climate in Lisbon suddenly would drop below zero degrees Celsius all year round, the culture would obviously not be what it is today. Hence, I need to focus on the Finnish culture in every possible sense to create a public space that can be appreciated all year around. Given the location of Kaartin Maneesi, it is quite possible. Sitte henceforth studied the closeness of squares, to find out what defines a public square, how a person enters it and how a person gets the feeling of arrival instead of merely passing through? How do we perceive a square as a square? What are the defining elements? “Today, of course, the empty space that is created when a construction site surrounded by four streets is simply left uncovered is called a square. In artistic terms, an unbuilt spot is not yet a city square” (Sitte 1909, p. 38). In my opinion, every city needs a centre and has a centre. But what does it mean and what is a centre? To me, the way I grew up in central Europe, every city had a town square, which was historically speaking always the meeting point for the entire city. The weekly markets took place there, where farmers from the region sold their goods, as I mentioned in chapter I.2.

What does a city centre look like today? If you type ‘city centre’ into google maps, only hotel recommendations will pop up. If I think about Helsinki, there is not only one centre, if I think about Lisbon, Ljubljana, Innsbruck, Dessau, Haifa or Tallinn, there is not only the one centre. Larger cities have multiple focal points. Which is needed, since a square only has a certain capacity for a maximum of people, once this capacity is exceeded, a new square is needed. Is a centre only a square, a mall or an entire area? I guess, that is up to everyone’s personal experience with their city. Yet I strongly believe that every city needs focal points and meeting points where public interventions happen on a daily or at least weekly base. Evidently, Kaartin Maneesi will become a new centre, a local centre for the community of Ullanlinna and Kaartinkaupunki. Yet I struggle with a terminology for this building. The term cultural centre would suit perfectly in current times; however, I dislike this term. Since it has been over- and misused repeatedly, it lost its original meaning. “[..]the word ‘culture’ should be put in quarantine, given some rest, left to recover its original meaning and depth” (Bardi, 2012).

II.5 Landscape vs Townscape Townscape, a much-neglected expression in the English language which according to the Oxford Dictionary means: ‘The visual appearance of a town or urban area; an urban landscape.’ It fits perfectly to my argumentation of describing Kaartin Maneesi. Landscape on the other hand is an expression that everybody seems to be familiar with. Furthermore, the landscape is what affects the architectural design, since it cannot be swayed. “Forces beyond the architect’s control affect architecture’s concrete reality, regardless of what was intended in design”(Leatherbarrow, 2008). Yet, the townscape can be altered in a way that meets the human eye, nevertheless the way the townscape is designed it is still being influenced by the landscape. One cannot survive without the other. Cities like Lisbon and Haifa, with their heavy visible topography shaped the way of designing in these countries and created a townscape that might strike a person from flat areas a fascinating. Helsinki has likewise been shaped by its nature and topography, although the shifts in height are not as dramatic as in Haifa or Lisbon. Finnish architects like Aalto have accepted the fact that nature should not be tampered with to great extent. Thus, he created masterpieces that combine the beautiful nature with architecture. Villa Mairea being the best example of this perfection of play. The threshold of nature and architecture becomes so breathtakingly small that it transfixes me every time. “Architecture is not merely national but clearly has local ties in that it is rooted in the earth” (Aalto, unknown). Kaartin Maneesi, like almost every building in Helsinki, is conjointly influenced by its surrounding nature. A hillside park on the east side of the building that protrudes 35 meters, allows intriguing perspectives onto the beautiful brick facades. Entering from the west, the entrance to the building is around 5 meters higher than when entering from the east. This adds an extra layer of interest to the site, it allows opportunities to engage with the shift of the ground. More will be described in the chapter of the proposal (page xxx).

II.6 (Urban) Narrative Every city tells its stories, everybody loves hearing stories, thus it is only natural to embrace the stories a city and place will tell, to adapt them into the design process. “Urban planner is creator of city structures, but also a creator of narratives” (Ameel, 2018). Ameel argues that cities are being planned, consequently architects design a space that will tell stories in the future. It will be a place for people to interact, to live or to work. Hence, these places will one day be mentioned in a story. Personally, I enjoy imagining space while reading stories, books or articles. I believe that space can be experienced in an imaginative process, merely by the creation of alignments of words. Architects like Palaasma believe in this process, too. “The imaginative experience of the spaces and events experienced when reading a novel is a most impressive capacity of the human mind” (Pallasmaa,

2017). Writers have exploited this tool for centuries and I am struck by it every time. Words can build architecture, as it has been done in movies that have been based on a book. First, people create words to describe a place that later becomes three dimensional with the help of a pen or a computer. “In order to achieve the vivacity of the material world, the verbal arts must somehow also imitate its persistence and, most crucially, its quality of givenness. It seems almost certainly the case that it is the instructional character of the verbal arts that fulfils this mimetic requirement for givenness” (Scarry, 2001, p. 31). This process is, what began to fascinate me, creating a story to create a place that later will tell other stories. As architects are the creators of stories, they shall not neglect the written arts. Even though Aalto once said: “I am not a writer, I am an architect.” Unfortunately I am not certain if he said it in a way to defend himself towards a journalist since he loved writing so much, or if he defended himself towards a badly written piece of his. In any case, it is true. Architects are no authors, but they are story tellers.

II.7 Physical Experience It needs no mentioning of the importance of the physical experience, since it is a topic every architect is familiar with. Numerous architects are describing their personal experiences of a space they have encountered, whether their own or not. I would like to list some quotes from architects I relate to. “The presence of a building is in human experience” (Zumthor, 2018). If there is no human experience there is no architecture. Architects, once again tell stories, create a narrative of what a space means to them. It is a very personal experience for everyone, yet it is important that architects share these personal moments with others, to understand how their way of perception works. “Experience is always individual, contextual and unique” (Pallasmaa, 2017). Which is the beauty of this world. Pallasmaa held a speech in Chicago about ‘Architecture as an experience’. He pointed out the five human senses: audition, vision, somatosensation, olfaction and gustation, and depending on what sense is stressed most, the experience will vary. Architecture is the masterly, correct and magnificent play of masses brought to light” (LeCorbusier, 1923). ”Whatever our task , whether large or small […] In every case, opposites must be reconciled […] Almost every formal assignment involves dozens, often hundreds, sometimes thousands of conflicting elements that can be forced into functional harmony only by an act of will. This harmony cannot be achieved by any other means than art. The final value of individual technical and mechanical elements can only be assessed afterwards. A harmonious result cannot be achieved with mathematics, statistics, or probability calculus” (Aalto, 1991) “Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.” (Aalto) Vertical wooden panels closely placed next to each other, reminding us of the dense forests outside, large windows facing the beauty of nature and the use of warm materials that can only be found in Finnish nature decorate the insides of buildings in Finland. In this way you never lose connection to the outside, you are always confronted with nature where ever you go inside a building. We come to see not the work of art, but the world according to the work” (Merleau-Ponty, 1962, p.407). “All buildings that move us, are usually closer to personal confessions than problem-solving”(Pallasmaa, 2017). “The most important experience in architecture is not vision but haptic” (Pallasmaa, 2017).

II.8 Conclusion With the help of threshold, transition, connection, transformation, accessibility, history, past, memory, topography, identity, centre, convertibility and communication I want to reinvent the inner public space for the population of Helsinki to improve social interactions in cities with multicultural interests. An atlas of threshold spaces in Finland introduced the reader into the topic of transitional spaces, to understand the beauty of the connection of Finnish architecture and Finnish nature. To then continue to study public spaces around the world to see what characteristics of successful public spaces I can adapt to the concept of inner public spaces to define the difference, if there is any at all, other than the roof. Of course, inner public spaces like libraries and cultural centres exist, yet this is not what I am trying to recreate. With the help of Camillo Sitte’s and Stephen Carr’s principles of a public space I will try to explain how successful public space can be created. How people can attach to a place to feel safety and comfort, which can evoke happy memories of a place, which again will allow a person to revisit a space. The past is always present and buildings outlive their functions, this is no news to architects, thus I would like to work in the matter of transforming a historic place into a space that can be appreciated and enjoyed again. Reinventing spaces is a task that is facing and will continue to face architects around the world to keep in touch with our past. Demolishing a building is not always an answer especially if the building has powerful stories to tell. Therefore, I will need a strong concept of renovation to value the elements of the past while creating a space for the presence. “Memorialization can transform the meanings of the past and mobilize the present.” (Hite, 2012)

II.9 References Indubitably, there are many references that could apply to my field of interests in my theoretical part. Yet, I decided to focus on only one reference per project topic. Preferably one reference that I have personally experienced, to insure the understanding of the project, as well as the relevance towards the topic.

[39]

Dan Graham - Present Continuous Past(s)

“The mirrors reflect present time. The video camera tapes what is immediately in front of it and the entire reflection on the opposite mirrored wall. The image seen by the camera (reflecting everything in the room) appears 8 seconds later in the video monitor […]. If a viewer’s body does not directly obscure the lens’ view of the facing mirror, the camera is taping the reflection of the room and the reflected image of the monitor […]. A person viewing the monitor sees both the image of himself, 8 seconds ago, and what was reflected on the mirror from the monitor, 8 seconds ago, which is 16 seconds in the past […]. An infinite regress of time continuums within time continuums (always separated by 8-second intervals) within time continuums is created” (Dan Graham, 1979, p. 7).

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[39] Dan Graham, Collection Centre Georges Pompidou, Paris (1974) [40] Dan Graham, Collection Centre Georges Pompidou, Paris (1974) [41] Dan Graham, Collection Centre Georges Pompidou, Paris (1974) [42] Dan Graham, Threshold, John Gibson Gallery, New York (1974)

[43]

Alvar Aalto - Villa Mairea

“After all, nature is a symbol of freedom. Sometimes nature actually gives rise to and maintains the idea of freedom. If we base our technical plans primarily on nature we have a chance to ensure that the course of development is once again in a direction in which our everyday work and all it’s forms will increase freedom rather than decrease it” (Aalto, 1995, p 98). “Whereas the idea of continuous space of modern architecture had usually been purely an ideal of architectural space, the spatial character of Villa Mairea seems to have pantheistic and metaphorical overtones – Aalto’s flowing space is associated with the limitless space of nature, which is turned into specific localities only through human experience. The building is bound with the notion of nature on many levels: the use of natural materials and textures, forms suggestive of natural processes and rhythms as well as explicit metaphors of nature” (Edita, 1985). The columns represent the forest outside, each columns is different just like the trees outside. The choices of materials in- and outside always reminds one of the beautiful surrounding nature. The open floorplan does not suggest a lot of thresholds, yet due to the shifts in size and proportions of the wood panels you can feel the rooms changing.

[44]

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[43] Villa Mairea - A. Aalto, Photo: Aalto Foundation (2013) [44] Villa Mairea, A. Aalto, Personal Collection (2018) [45] Villa Mairea, A. Aalto, Personal Collection (2018) [46] Villa Mairea, A. Aalto, Personal Collection (2018)

[47]

Lintula & Tikka - Sibelius Hall

“Operators in the Finnish forest and wood sector supported the Sibeliustalo project, and it was selected as the main initiative for the Puun vuosi 1996 / Puun aika (‘The Year of Wood 1996 / Time of Wood’) campaign, which aimed at finding innovative wooden construction solutions. During its construction, the house was considered the flagship of wooden construction, which, when completed, was the biggest public wooden building built in Finland for over a hundred years. The Sibelius Hall complex, an area of nearly 90,000 m3, is composed of four elements: the renovated Carpenter’s Factory, the Main Hall building, Forest Hall (linking the previous elements together), and the Congress Wing (which is connected to the complex via a glass passage). Wood is the supporting material in all the new sections. All of the Main Hall’s load bearing structures are made of glulam timber”(sibeliustalo.fi, 2018). The wood construction caught my attention in the first place, yet the idea of the public space and the way it was designed I only fully grapsed once upon my arrival. A beautiful and peaceful place, perfectly conected with a wood construction that mimics the nature and forest around it.

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[43] Sibelius Hall, Lahti, Personal Collection (2018) [44] Sibelius Hall, Lahti, Personal Collection (2018) [45] Sibelius Hall, Lahti, Personal Collection (2018) [46] Sibelius Hall, Lahti, Personal Collection (2018)

[51]â&#x20AC;&#x201A;

Public Spaces of ReiseUni 04

Lisbon - Miradouro Santa Catarina The worry-free athmospheres that torches you once you sit upon them, who just came to enjoy themselves, to enjoy the views and to enjoy the social exchange. A place that is clearly needed to escape reality or just daily life. Ljubljana - Riverside Watersides in all of the cities we studied at were scarce, even though there was always water. Yet every city had their own history of why the water was not easily accessable. Plecnik had somehow succeed to introduce the inhabitants of Ljubljana to their riverside. It is a place for people to come with their own baverages to socially interact with one another. Tel Aviv - Habima Square A very unique place, a square within a square. A piece of the square just deepend slightly into the ground to create a few steps for seating. A few trees planted and a little bit of greenery on the lowest part. That is all that is needed to create a public space which can be used for reading a book, on a square that would otherwise just be flat concrete space. Narva - College The unique roof structure is fascinating and the public indoor stairs are perfect for a quick or abundant chat with a fellow student. The building offers places for privacy as well as public interactions.

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[51] Miradouro Santa Catarina, Lisbon, Personal Collection (2017) [52] Riverside, Ljubljana, Personal Collection (2017) [53] Habima Square, Tel Aviv, Personal Collection (2017) [54] Narva College, Narva, Personal Collection (2017)

Site

[55]â&#x20AC;&#x201A; Kartiin Maneesi, Helsinki, Personal Collection (2018)

III.1 Kaartinkaupunki Kasarmikatu 15, is located in the Kaartinkaupunki district of Helsinki. The building conveys the look of an old factory building, with a brick facade and long windows, but looks can be deceiving. Originally it was used for training horses of the Russian Imperial Guard until it was transformed into a parking garage. It is closely surrounded by the architecture museum, design museum, a hospital, the Finnish Defence Force Department, a primary school, a planetarium, a park, two churches and numerous residential and office buildings(see Figure [58] on page 48). It is approximately ten walking minutes from the city centre (Kluuvi) and vis a vis to the east harbour (Katajanokka) district, facing south of the building, the residential district of Ullanlinna begins. The site plan suggests that Kasarmikatu 15 was part of the areal for the Defence Force Department (see Figure [59] on page 49), which is just located north on the opposing side of the street. A slight slope on the north side of the building, with its climax on the south west and lowest on the east side introduces the building to an extra layer of interest to work with. The fact that the building is located so intimately close to two museums and churches generates it as a perfect location to work in this matter of cultural and leisure activity (indoor public space). The four floors of Kaartin Maneesi offer a wide range of possibilities. Plans for the new Guggenheim museum Helsinki convey that the location for the museum would be only 300 meters away from Kaartin Maneesi, in the east harbour bay. This new museum would introduce Helsinki to yet another art museum for contemporary art and a fragmented, non-hierarchical, horizontal campus of linked pavilions where art and society can meet and intermingle. If the plans for the new Guggenheim would be realised, the part of my building would become even more important as it already is. Even if it will not be built,

a new cultural function at this prime location is currently being investigated. In both cases Kaartin Maneesi needs to be revitalised to create a cultural quarter on the south end of Helsinki’s city centre. Kaartin Maneesi could, as a connecting building with public functions, help compose a new areal for cultural lovers to learn, hang out and relax. Important for this transformation are functions that are open longer than 18 o’clock to ensure constant life around this area even after office hours. My site visits taught me that the building is currently completely shut down, merely the front entrance area is used as outdoor parking during 9-18 o’clock. After 18 o’clock the entire area is deserted, since both the Museum of Finnish Architecture and Design Museum close between 18-20 o’clock, office hours likewise, and since there are no shops, restaurants or cafes neighbouring this place, there is no reason for anyone to be there after 18 o’clock. This is a phenomenon every city is trying to avoid. Thus, my proposal should introduce this area to functions that operate in the evenings and nights, such as restaurants, cafes, bars, performance spaces and other. The lack of commercial use in the ground floors of buildings is apparent and needs to be extended further down south, to give the Fins what they are craving for: to live above a cafe, above a place where there is life in the streets. Apart from this, the area has great potential to be transformed into a more lively and cultural area due to the good connections into the city centre by bus and tram or even by foot. Tourists and visitors of the two museums subsequently can enjoy a visit to the new Kaartin Maneesi. Furthermore, the east side of the building is facing a beautiful and peaceful hill-shaped park with the Observatory of Helsinki on top. Due to the topography around Kaartin Maneesi, the entrances are located on different levels of the building which have to be connected on the inside to generate a perfect connecting building.

Kallio Taka-Töölö

Sörnäinen

Korkeasaari

Kluuvi

Etu-Töölö

Kruununhaka

Katajanokka

Kamppi Kaartinkaupunki

Punavuor Ullanlinna

Kaivopuisto Länsisatama

Suomenlinna

[56] Helsinki Districts, Personal Collection (2018)

Finlandia Hall

Trainstation Kamppi Chapel

Senate Square

Old Market Hall

Architecture Museum

West Harbour

[57]â&#x20AC;&#x201A; Helsinki Sights, Personal Collection (2018)

[58]â&#x20AC;&#x201A; Axo of New Helsinki Museums Quarter, Personal Collection (2018)

Old Market Hall

5 minutes walk

Future Design Museum

Cultural

Architecture Museum

Use (Guggenheim)

Saksa Kirkko

Kaartin Maneesi Johanneksen Kirkko

Observatory

[59]â&#x20AC;&#x201A; Public Spaces Surrounding Kaartin Maneesi, Personal Collection (2018)

C + 5m

+ 10m

+ 15m

+ 20m

+ 30m

+ 35m

A [60]â&#x20AC;&#x201A; Topography of my Site, Personal Collection (2018)

Section A-A

Section B-B

Section C-C

[61]â&#x20AC;&#x201A; Topography Sections of my Site, Personal Collection (2018)

[62]â&#x20AC;&#x201A;

Infrastructure

Kaartin Maneesi is easily accessible via tram line 10 or 3 from the city center. There is also a bus that runs on the tracks of tram line 10. The stop of line number 10 is visa vie the entrance of Kaartin Maneesi, through a street that is perpendicular to the main entrance.

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Infrastructure, Personal Collection (2018) Tramline 3, Personal Collection (2018) Tramline 10, Personal Collection (2018) Busline 24, Personal Collection (2018)

[66]â&#x20AC;&#x201A;

Open Spaces

Helsinki is an immense green city. The area of Kaartin Maneesi is called Kaartinkaupunki, which in Swedish is called Gardesstaden, which connotes to Gardencity. My site is surrounded by parks and squares, which are in great use during the summertime.

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[66] [67] [68] [69]

Open Space, Personal Collection (2018) City Park overlooking Harbour, Personal Collection (2018) City Park overlooking Bay Areal, Personal Collection (2018) City Park in Winter, Personal Collection (2018)

[70]â&#x20AC;&#x201A;

Pedestrian Axis

Although the axis of Kasarmikatu would be quicker to get to the biggest park of Helsinki (Kaivopuisto), people tend to use the route of Fabianinkatu since it is more sceneric and leads through the city park. Tourists tend to take the axis coming from the Swedish theater Mannerheimintie (left line).

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Open Space, Personal Collection (2018) City Park People Walking, Personal Collection (2018) People Passing Kaartin Maneesi, Personal Collection (2018) Main Axis to Kaivopuisto, Personal Collection (2018)

[74]â&#x20AC;&#x201A;

Kaartinkaupunki

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Defence Department Areal, PVKA (2000) City Park, Helsinki, Personal Collection (2018) City Park, Helsinki, Personal Collection (2018) View onto Kaartin Maneesi, Personal Collection (2018)

[78]â&#x20AC;&#x201A;

Historic Views

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Kaartin Maneesi from above, PHRAKL Archive (1959) Kaartin Maneesi, MV Archive (ca. 1900) Old Main Entrance at Fabianinkadun, HKM (ca. 1890s) Southern courtyard Area, Photo A. Savialoff MFA (1949)

Building

[82]â&#x20AC;&#x201A; Interior View at the Reconstructions, PHRAKL Archive (1949)

III.2 Kaartin Maneesi Kaartin Maneesi is an alluring brick building, with an intriguing history and no real future, located in Kasarmikatu 15, Helsinki. It was constructed by Axel Hampus DalstrĂśm between 1875 and 1877, designed for the Russian Imperial Guard. Kaartin Maneesi, connotes to Guards ManĂ¨ge and was evidently used as an equestrian arena for military training. After the Finnish declaration of independence, the management of the building was given to the country by the city of Helsinki. In this period, the building was used for different fairs and exhibitions, mainly about cars. Regrettably, the unique wooden roof structures were demolished and replaced by concrete slabs in 1949-1952, when the reconstructions, designed by architect Dag Englund, were commissioned. Henceforth, the building was used as a parking garage with four floors and a gas station on the west side. Up to 2013, the building remained a storage space and is currently owned by Senaatti-kiinteistĂśt (Senate properties), who plans to rejuvenate it. The building itself is around 150 years old, the windows have been renewed as well as other elements, but the bricks originate from 1877. Ornamental elements demonstrate the capability and importance of the brick industry even 150 years ago. The roof structure is become unstable and needs renovation, or even a complete reconstruction. The concrete that was used in the sixties is brittle, and could need reinforcement. Currently the circulation of the building is very poor and needs rethinking. Furthermore the renovations have not valued the existing structure and have ruled over it, this needs to be corrected in my opinion.

In 1949 the building was undergoing heavy reconstructions and additions. The biggest visible part was the addition on the west side of the building, which shifted the entrance from the east to the west. This grotesque concrete mess was done by Architect Dag Englund, he is also accountable for the deconstruction of the fascinating wooden roof structure. I understand the process of shifting the main entrance to the west side, since the city developed in a way that this became the more prominent side, but in my opinion this could have been made in a more elegant way. Nevertheless, the building served for what it was meant for, a parking garage, although the different floors can only be accessed from the outsides. So if you want to drive from one floor to the other, you would have to leave the building again, to drive around the building to use a different entrance to be able to reach the next floor. On the next couple of pages I would like to describe the current state of the building as of 2013, with the help of images provided by Okulus Architects. Since 2013, not much as changed, only that the building is now completely vacant, and not even the offices on the attic are used anymore. The uses over time: 1877-1930 Military Use: Horse Riding Training, Christmas Parties, other festivities 1930-1949 Fairs: Cars, Boats, Flowers, Military, etc.; Circus, Festivals 1949-2013 Parking Garage

1877

1949

Military Use

Fairs

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Nordic Building Fair, Photo: Pietinen (1932) International Boat Exhibition at Kaartin Maneesi, Photo: Pietinen (1931) The Renault Armored Fighter Task Force in Kaartin Maneesi, Photo: Pietinen (1931) Aircraft Exhibition in Kaartin Maneesi, Photo: Pietinen (1929) Elephant at Winter Circus in Kaartin Maneesi, National Board of Antiquities (1930) Grand Jubilee of Church Choirs at Kaartin Maneesi, National B. of Antiquities (1930)

[83] [84] [85] [86] [87] [88]

Kaartin Maneesi from Kasarmikatu side, PHRAKL (1929) A top view from the Guards at Kaartin Maneesi, Photo: Pietinen (1931) Army Cars in Kaartin Maneesi, National Board of Antiquities (1920s) Riding days at the Kaartin Maneesi, Photo: Pietinen (1934) Swearing of military soldiers. Picture Pietinen, HKMKA (1935) 15th Anniversary of the Finnish White Guards in the Kaartin Maneesi, Photo: Piert Arne, National Board of Antiquities - Musketti (1933)

1952

2013

Garage

Empty

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Interior View at the Reconstructions, PHRAKL Archive (1949) Car waiting for maintencance in Kaartin Maneesi, Picture Published in Nya Pressen on 16.6.1950, National Board of Antiquities - Musketti [97] Kaartin Maneesi as a garage, a picture published in the Hufvudstads bladet newspaper on 15.2.1951, National Board of Antiquities - Musketti [98] Kaartin Maneesi from Kasarmikatu side, Bus station and car depot is being built, Picture Published in Nya Pressen (1949) [99] Interior View at the Reconstructions, PHRAKL Archive (1949) [100] Kaartin Maneesi as a garage, a picture published in the in the Nya Pressenlehdessä on 13.2.1951, National Board of Natiquities - Musketti

[101] [102] [103] [104] [105] [106]

Kartiin Maneesi, Photo: Patrik Rastenberger (2013) -1 level Parking, Okulus Architects (2013) 2 level Parking, Okulus Architects (2013) 1 level Parking, Okulus Architects (2013) 0 level Parking, Okulus Architects (2013) Interior View, Photograph by Tuloskiinteistöt Oy (2013)

A B First Floor

[107]â&#x20AC;&#x201A;

Floorplan

[108] A

[109] B

[110] C

[107] Floorplan, 1877, Scale 1:500, Personal Collection (2018) [108] Swearing of military soldiers. Picture Pietinen, HKMKA (1935) [109] Public garden exhibition, National Board of Antiquities, Musketti (1929) [110] Riding days at the Kaartin Maneesi, Photo: Pietinen (1934)

1958

1877

Empty

Military Use

[111] Axo Kartiin Maneesi 1877, Personal Collection (2018)

[112] Axo Kartiin Maneesi 1952, Personal Collection (2018)

[113] Outline Kartiin Maneesi 1877, Personal Collection (2018)

[114] Outline Kartiin Maneesi 1952, Personal Collection (2018)

2 1

5 4 3 2 1

[115] Section 1877, Personal Collection (2018)

[116] Section 1952, Personal Collection (2018)

1877 Military Use

2013 Empty

[117] Detail Drawing, PHRAKL (1986)

[120] Picture Today, Okulus Architects (2013)

[118] ad

[121] Picture Today, Personal Collection (2018)

[119] Detail Drawing, PHRAKL (1986)

[122] Picture Today, Okulus Architects (2013)

[123]â&#x20AC;&#x201A;

West Side

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West Elevation, Scale 1:500, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018)

[128]â&#x20AC;&#x201A;

North Side

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North Elevation, Scale 1:500, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018)

[133]â&#x20AC;&#x201A;

East Side

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East Elevation, Scale 1:500, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018)

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South Side

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South Elevation, Scale 1:500, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018) View onto Kartiin Maneesi, Personal Collection (2018)

B C A D

[143]â&#x20AC;&#x201A;

Basement

[144] A

[145] B

[147] C

[146] D

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Basement Floorplan, Scale 1:500, Personal Collection (2018) View Basement level Parking, Okulus Architects (2013) View Basement level Parking, Okulus Architects (2013) View Basement level Parking, Okulus Architects (2013) View Basement level Parking, Okulus Architects (2013)

[148]â&#x20AC;&#x201A;

Groundfloor

[149] A

[150] B

[151] C

[152] D

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Ground Level Floorplan, Scale 1:500, , Personal Collection (2018) View Ground Level Parking, Okulus Architects (2013) View Ground Level Parking, Okulus Architects (2013) View Ground Level Parking, Okulus Architects (2013) View Ground Level Parking, Okulus Architects (2013)

A C

D [153]â&#x20AC;&#x201A;

First floor

[154] A

[156] B

[157] C

[155] D

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First Level Floorplan, Scale 1:500, Personal Collection (2018) View First Level Parking, Okulus Architects (2013) View First Level Parking, Okulus Architects (2013) View First Level Parking, Okulus Architects (2013) View First Level Parking, Okulus Architects (2013)

[158]â&#x20AC;&#x201A;

Second floor

[159] A

[160] B

[161] C

[162] D

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Second Level Floorplan, Scale 1:500, Personal Collection (2018) View Second Level Parking, Okulus Architects (2013) View Second Level Parking, Okulus Architects (2013) View Second Level Parking, Okulus Architects (2013) View Second Level Parking, Okulus Architects (2013)

B A C

[163]â&#x20AC;&#x201A;

Attic

[164] A

[165] B

[166] C

[167] D

[163] Attic Level Floorplan, Scale 1:500, Personal Collection (2018) [164] View Attic Level, Okulus Architects (2013) [165] View Attic Level, Okulus Architects (2013) [166] View Attic Level, Okulus Architects (2013) [167] View Attic Level, Okulus Architects (2013)

Construction

[168]â&#x20AC;&#x201A; Interior View at the Reconstructions, PHRAKL Archive (1949)

III.3 Construction In 1877 the manège was build with a traditional pitched roof construction, where the weight of the roof was being held by the brick walls. Today the brick buildings surrounding the building are no further load barring. After the renovations of 1949 the weight of the roof structure is being held by 128 the concrete pillars. Thus, the brick walls are a self standing structure that have no static significance. Since the roof today is in a poor state I would like to reinvent the roof, using some of the existing pillars to support the new structure. Leaving the brick walls, yet again out of the static procedure. The new wooden roof construction shall remind of the original one with an update to furthermore reference the nature just outside Kaartin Maneesi. “In simple terms a pitched roof consists of rafters and joists(see Figure [169] on page 90). The joists prevent the outward spread of the rafters/walls, and conveniently give support for the ceiling below. The size of rafter timbers will depend upon their length from the wall plate to the ridge, the type of roof covering and whether purlins are incorporated in the roof. It is more economical to keep the cross section of the rafters down, however where an open roof space is needed, larger rafters will be necessary. Typical rafter spacing is 400mm (16 inches), closer spacing will allow small section rafters and batten, that are fixed to the rafters to locate/fix the slates or tiles, to be used. The wider the gap between the rafters, the thicker the rafter and lath timbers need to be. Rafters are nailed to a wall plate at the top of each supporting walls, these are

normally 100x75mm (4x3 inches) timber embedded on cement mortar on top of the inner skin of a cavity wall, or the inner part of a solid wall. The wall plate timbers along the top of each wall should be joined with a half lap joint where they meet. Birdsmouth jointEach rafter has a small triangular section (referred to as ‘birdsmouth joints’) cut out of them to allow them to fit neatly over the wall plate. The top of the rafter is cut at an angle and nailed to the ridge board, typically 175mmx32mm (7x21/2 inch) mounted vertically. Purlins, and the associated struts, are used to give some additional support for the rafters. The purlins run at right angles to the rafters, the associated struts are positioned under every forth (or so) rafter to attach to a joist above a supporting wall below. Hangers, in conjunction with a longitudinal binder running at right angles to the joists, are used to help hold the ceiling up. Each hanger is nailed between the every fourth (or so) rafters and the joist below. The larger the joists size, the less likely there will be a need for hangers. Collars, ridge collars and/or collars further down the rafters, are sometimes used to provide additional binding between the rafters on both sides of the roof. Where used, they are usually fixed to an occasional pair of rafters along the roof. “ No part of a timber roof should ever be cut, modified, remove or the covering of the roof changed (i.e. replacing a slate roof covering by a concrete tile covering) without consulting a structural engineer”(diydata, 2018).

Ridge Board

Rafter Ridge Collar Hanger Strut

Purlin Wall Plate

Brunt

Brunt [169]â&#x20AC;&#x201A; Static Force Diagram, Cross Section 1877, Scaleless, Personal Collection (2018)

1877-1949 Pitched Roof Construction

[170] North Elevation 1877, Scale 1:500, Personal Collection (2018)

[171] Cross Section 1877, Scale 1:500, Personal Collection (2018)

Ridge Board

Rafter Hanger

Purlin

Strut Ridge Collar

Brunt

[173]â&#x20AC;&#x201A; Static Force Diagram, Cross Section 1949, Scaleless, Personal Collection (2018)

1949-2018 Pitched Roof Construction

[174] Long Section 1949, Scale 1:500, Personal Collection (2018)

[175] Cross Section 1949, Scale 1:500, Personal Collection (2018)

Concept

[176]â&#x20AC;&#x201A; Fazer Factory, Helsinki, Personal Collection (2018)

III.4 Between city and nature Quickly, I identified a potential connection of my building (Kaartin Maneesi) and the surrounding public buildings: Museum of Finnish Architecture, Design Museum, future Guggenheim Museum, two churches and an observatory. The connection of these buildings could potentially become a new museums quarter at the southern city centre of Helsinki (see Figure [58] on page 48). Since the history of the building is immensely diverse, it is only natural that the new program for Kaartin Maneesi becomes likewise diverse. Cafés, a restaurant, an exhibition space, an archive for the architecture & design museum, a gym and a beautiful free space for social interactions will be all part of the new Kaartin Maneesi. The perfect way to describe this building in current times would be by using the termonolagy of ‘cultural center’, in this regard I strongly agree with Lina Bo Bardi: “The word ‘cultural center’ should be put in quarantine, given some rest, left to recover its original meaning and depth” (Bo Bardi, 2002). It is a term that has been oversused and does not tell the visitors what to expect. Thus, I am still in search of a suitable term. Yet it si a convertible, transformable and ever-so shifting inside. Activities that support the needs and interests of the people living closely around it is key to a successful transformation. Especially activities during the evening hours can help to revitalize the entire area. Since it is mainly a residential place. Due to the reconstructions there are already a few existing materials from different times. I Identified brick and wood (birch) as the original materials from 1877. Furthermore I only identified pure concrete from the transformation into a garage building in the 1950s. Having these materials put into different layers of the building, I decided to only add more wood in my new transformation (see Figure [185] on page 100). The roof is in a very poor state, thus I decided to make

the entire reconstruction depended on the new wooden roof construction. All new interventions are in a way connected to the roof, as if they were hanging from above, not touching the ground or the existing materials. Thus began the design process. Keeping part of elements from every layer of the building was a bold move and probably not the easiest one. Yet I believe that every element is part of the history and should not be ignored, but played with. Therefore I decided to keep parts of the concrete structure as in 5 floors and 80 concrete pillars (see Figure [189] on page 102). This will be the functional block, where stairs, toilets and cafes ecetera will be placed. The part where I removed the concrete structer I add public stairs for social interactions or just for relaxation. The roof, which is now lifted slightly to allow additional light to enter, gives a feeling of a cut off forest. When you look up into the roof stucture you should feel the athmosphere of being in a forest, seeing parts of the sun shining through the structure. Yet foremost is the fact that the building of Kaartin Maneesi is situated between townscape and landscape. By allowing the public to walk through the building it becomes a connecting building of city and nature. This beautiful fact is the initial idea, the rest is merely my personal approach of how this threshold could look like. But it is important that this threshold between city and nature is valued, understood and experienced (see Figure [177] on page 96 ). The existing concrete structure is simulating and narrowness of the townscape, low ceiling, a feeling of being captivated. Once you arrive to the center of the building this feeling of captivity has fallen off and the high, warm and friendly roof construction that simulates a forest is now to be experienced.

[177]â&#x20AC;&#x201A; Where City Meets Nature, Concept Sketch, Personal Collection (2018)

City Meets Nature

Kaartin Maneesi lays between townscape and landscape. Currently not allowing a transition between the two. But could potentially create a public space for connections.

? [178] Current Situation, Personal Collection (2018)

[179] Connecting, Personal Collection (2018)

[180] Merging, Personal Collection (2018)

[181]â&#x20AC;&#x201A; Threshold Perspective, Villa Mairea, Personal Collection (2018)

Feeling to be created

Treshold is not always a definable space, it is more of a feeling that arises throughout the day. The narrowness of the ceiling creates a feeling of discomfort of a place, to merley pass through. Especially if an opening can be perceived up ahead, this feeling of threshold spaces becomes stronger.

[182] Threshold Open Top, Personal Collection (2018)

[183] Threshold in Nature, Personal Collection (2018)

[184] Threshold Open Bot, Personal Collection (2018)

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[185]â&#x20AC;&#x201A; Material Kaartin Maneesi, Personal Collection (2018)

Renovation Materials

Aim: Isolate the Brick walls, to let them stand free, cut off half of the concrete Pillar structure, raise the roof and create a slope for public activities.

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[186] Original Material, Personal Collection (2018)

[187] Garage Renovation Material, Personal Collection (2018)

[188] New Renovation Material, Personal Collection (2018)

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Add new Structure

Remove half of Existing Structure

Remove Part of Wall

Lift Roof

Existing

[189]â&#x20AC;&#x201A; Renovation Stategy Diagram, Personal Collection (2018)

Renovation Strategy

By lifting the roof, more light will be introduced into the main spaces. The new roof structure should feel like the canopy of a forest, small windows placed around the structure imitate this feeling. Large window fronts facing the park located on the east of the building allow views into the nature.

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FREE SPACE FUNCTIONAL BLOCK

[190] Programatic Diagram, Personal Collection (2018)

[191] Roof Structure Diagram, Personal Collection (2018)

[192] Slope as Free Space, Personal Collection (2018)

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75 m

750 m2

950 m2

980 m2

[193] Area Plan Diagram, Personal Collection (2018)

Cafe Exhibition Entrance Info Toilets, Restaurant Archive [194] Function Diagram, Personal Collection (2018)

Public Space Gym

35 m

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[195] Cafe in Public Space, Helsinki, Personal Collection (2018)

[196] Design Museum, Helsinki, Personal Collection (2018)

[197] City Park, Helsinki, Personal Collection (2018)

Proposal

[198]â&#x20AC;&#x201A; Architecture Museum, Tallinn, Personal Collection (2018)

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III.5 Kaartin Maneesi - Taivukas 3 I named the building ‘Taivukas 3’, which translates to ‘Layer 3’. This is based on the fact that the building would undergo its second renovation which would create the third layer. Quickly I identified a grid system in the existing concrete structure (see figure [199] on page 108). I picked up on it and decided to work with it. I cleaned out half of the concrete columns and added a wooden roof construction based on a Japanese wood connections. The idea of this new construction was to, first create a new roof, which was needed, but second it introduces the visitor to additional light from above and it reminds of a cut off forest which is looked at from below (see figure [210] on page 113). The shingles are a traditional Finnish way of decorating the roof, when some of the shingles are swapped with glas panels the same size it creates an atmosphere of a forest where the light is peaking through the leaves (see figure [212] on page 115). The construction is continued to the outside and lets the visitor anticipate that this building is for exploration. It creates the illusion of a forest growing out of the building. This new construction created a grid, based on the original one, that brought me to a human scale for the building, since they created a space of 4,5 meters by 4,5 meters (20m2). I decided to let every new element come from above, meaning that the new elements look like they are hanging. Thus, the old structures are left untouched and especially unloaded. This human scale that I created of 20m2 was not without a reason. The room I lived in at my stay in Helsinki was about the same size, so I thought: What social interactions can happen on such a small area? This lead me to an experiment of creating 5 new modules of public space that can be integrated into Kaartin Maneesi, due to the given grid structure of 4,5 meters by 4,5 meters. I will introduce the modules before integrating them into the building to fit them to the specific place. The modules focused on social interactions that I felt are important to have in a public space, such as a plain meeting in a cafe, or a meeting in a conference room, which can be rented by students, business man or other work enthusiasts via an app. Furthermore just a comfortable yet private space for retreating from gazing eyes or a place for listening to music or just a silent area for reading books that are supplied by the space for exchanging literature.

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[199]â&#x20AC;&#x201A;

Grid

Each rectangle is roughly 6 by 6 meters. Which is later broken down into 4,5 by 4,5 meters with the creation of the new roof structure. The creation of this grid introduced me to a human scale that I am very familiar with. Since all of my recent rooms in my apartments had the size of around 25 m2.

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[200]

[201]

[202]

[203]

[199] Grid of Kaartin Maneesi, Scale 1:200, Personal Collection (2018) [200] Grid Model, Personal Collection (2018) [201] Grid Model, Personal Collection (2018) [202] Grid Model, Personal Collection (2018) [203] Grid Model, Personal Collection (2018)

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[204]â&#x20AC;&#x201A; First cross-section sketch with the grid system, Personal Collection (2018)

111

[205]â&#x20AC;&#x201A; First floorplan sketch with the grid system, Personal Collection (2018)

112

[206]â&#x20AC;&#x201A;

New Roof The old roof was ailing, thus a new structure was needed. I decided to chose a Japanese wood construction style that finds it roots in a grid and box system. It reinfoces lengths of up to 25 meters. The new grid I decided to base on a scale of 4,5 by 4,5 meters, which is roughly a fourth of what it used to be with the concrete structure before. This introduced me to a human scale that I am very familiar with, due to the apartments I recently lived it.

113

[207]

[208]

[209]

[210]

[206] New Roof Plan, Scale 1:200, Personal Collection (2018) [207] New Roof Section, Scale 1:200, Personal Collection (2018) [208] New Roof View, Personal Collection (2018) [209]New Roof Axo, Scale 1:500, Personal Collection (2018) [210] New Roof View, Personal Collection (2018)

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[211]â&#x20AC;&#x201A;

Roof Atmosphere

The new roof construction is still within the pitched roof style that it was before, just lifted up slightly to allow more light to enter. Yet I wanted additional light to come from above, light that was more private, more natural and more atmospheric. Thus I decided to use shingles as a covering material of the roof gables, which is a traditional Finnish construction style. Furthermore I decided to substitute some of the shingles with glas panels, which creates an atmosphere as if under a canopy.

115

[212]

[213]

[214]

[211] Canopy Atmosphere, Personal Collection (2011) [212] New Roof Atmosphere, Personal Collection (2018) [213] New Roof Atmosphere, Personal Collection (2018) [214] New Roof Atmosphere, Personal Collection (2018)

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[215] Module 1 - Café, Floorplan, Personal Collection (2018)

Module 1 - Café

The most traditional and simplest form of a quick social interaction. Coffee is one of the most enjoyed beverages in Finland and maybe the world. People enjoy drinking it, but I believe it is also connected with the act of buying it, having to talk to someone to then enjoy it during a chat.

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[216] Module 1 - Café, Axonometry, Personal Collection (2018)

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[217]â&#x20AC;&#x201A; Module 2 - Sitting Stairs, Floorplan, Personal Collection (2018)

Module 2 - Sitting Stairs

Stairs, which are deep enough to sit on, surprisingly have been a very successful form of public furniture. Thus it is only natural to use them in a public building like Kaartin Maneesi. They are simple and effective. Some cushions will ensure more comfort.

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[218]â&#x20AC;&#x201A; Module 2 - Sitting Stairs, Axonometry, Personal Collection (2018)

120

[219]â&#x20AC;&#x201A; Module 3 - Retreat, Floorplan, Personal Collection (2018)

Module 3 - Retreat The retreat module is based on a more private form of social interaction. It allows semi private one to one discussions. Or even some alone time above the crowd to just retreat from daily life without being really alone. The construction is based on the Japanese style that I have already used in the roof construction, thus it seems like the elements are coming from above. While sitting inside you will feel protected, while still being able to see the surroundings. The light breaks beautifully to create an atmosphere as if being under a canopy. This module has been adapted on the last floor of the functional block of the building.

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[220]â&#x20AC;&#x201A; Module 3 - Retreat, Axonometry, Personal Collection (2018)

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[221]â&#x20AC;&#x201A; Module 4 - Conference, Floorplan, Personal Collection (2018)

Module 4 - Conference Room This idea is based on the lack of space that students sometimes have to have private working groups. But also people from offices might like to use a space that is away from the office. The access to these spaces can be gained via an app that allows you to rent out the space and provide you with a code for the door. The wood and glas shell will protect the workers from the noise and keen eyes of the other visitors.

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[222]â&#x20AC;&#x201A; Module 4 - Conference, Axonometry, Personal Collection (2018)

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[223]â&#x20AC;&#x201A; Module 5 - Library, Floorplan, Personal Collection (2018)

Module 5 - Library

This module is based on the retreat version, yet it is additionally protected with a glas layer, against the noise. It allows now four people to enter. Shelfs and comortable chairs create a private and peaceful athmophere to read and relax, a quick get away from the daily life.

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[224]â&#x20AC;&#x201A; Module 4 - Library, Axonometry, Personal Collection (2018)

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[225]â&#x20AC;&#x201A; Deadlevel Floorplan, Scale 1:500, Personal Collection (2018)

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[226]â&#x20AC;&#x201A; Ground Level Floorplan, Scale 1:500, Personal Collection (2018)

[227]â&#x20AC;&#x201A; First Level Floorplan, Scale 1:200, Personal Collection (2018)

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130

[228]â&#x20AC;&#x201A; Second Level Floorplan, Scale 1:500, Personal Collection (2018)

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[229]â&#x20AC;&#x201A; Attic Floorplan, Scale 1:500, Personal Collection (2018)

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[230]â&#x20AC;&#x201A; Section Axonometry, Scaless, Personal Collection (2018)

133

134

Wardrobe

Pop Up Store

Info

Cafe

Pop Up Store

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[231] “Noliplan” of New Helsinki Museums Quarter, Scale 1:2000 Personal Collection (2018)

Conclusion

[232] Townhall, Säynätsalo, Personal Collection (2018)

137

III.6 Conclusion I enter a building, which conveys a look of a public space, the solid brick, and the light wood construction that exfoliates from the roof stirs my curiosity, I want to discover the building. Once I enter the building, I seem to be disappointed. Very low ceilings, a ceiling hight that reminds me of my own apartment confronts me. Why did I come to a public space if it only offers what I have at home? But I can anticipate an opening only a few meters ahead. I can feel that the space will soon unclench itself. I continue walking, the light increases and the suddenly, whilst still being underneath the low ceilings, my perception of the space shifts. From one meter to the other. Did I pass a threshold space? Forthwith I find myself underneath a roof that is far higher than my own apartment. A roof that seems to look like a cut-off forest. Pillars, constructed of four separate elements give a feeling of tree trunks, that lead into the sky that allows sunlight to enter only through tiny openings. Openings that remind me of the sun that travels through a canopy on a summerâ&#x20AC;&#x2122;s day. My mind takes me to a tree that I know too well, a forest that I enjoy walking through. I glance through the rest of the space, I am standing on a gallery, that slowly declines towards the lower level. Wooden plateaus differentiate themselves of the concrete structure that tried to welcome me into the building at first. However, nothing exudes warmth and cosiness more that natural wood that is light up by natural light. The plateaus are considerably small for a space, yet the path that would lead me through them seems thrilling. Spaces that enclose me from the sides and spaces that enclose me from above. I set out to find a place to drink a coffee and to meet my colleagues that will soon arrive. When I was accidentally discovering Kaartin Maneesi during a walk through Helsinki, I had no idea where the journey would take me. After many meetings with members of the Architecture Museum of Helsinki and members of the city planning department of Helsinki, who I am very grateful to, for providing me with materials and insights towards the neighbourhood, I came to the realization that this building has immense potential as a public building. As a public focal point of the surrounding museums and as a connector between landscape and townscape. It surprises me that the city of Helsinki has not yet planned anything for this beautiful building, since it can revitalize not only the close neighbourhood but the entire district of Ullanlinna and Kaartinkaupunki. This potential of Kaartin Maneesi would even improve if a new cultural use will be build where the Guggenheim was supposed to be placed. Obviously, the closeness to the nature plays a huge role in the design, since the city park of Helsinki is regularly walked through and sat in. Making Kaartin Maneesi to a building that has only been passed by, due to its insularity. It was left ignored by pedestrians. By opening up the east facade of the building, the one facing the park, pedestrians will come to understand that this building is no longer shut down but ready to be discovered. Ready to be experienced. The openness of the west and eastern facade allows insights into the building, for people to peak in before entering, to see if they actually enjoy the atmosphere that is currently there to be experienced. Transparency in public buildings is key for pedestrians to make sure before entering if its worth the visit. My aim to create a public space that can be used by anyone without paying entrance to use it or being obliged to purchase, something has been successful in my proposal. What I might not have succeeded in is to design this building in a traditional Finnish way. The building is dominated by symmetry, which is quite the opposite of a Finnish architectural approach. Yet the creation of a threshold between

city and nature has been successful through the development of the roof construction and the connected wooden plateaus. These plateaus introduce the visitor to an experience through threshold spaces. Like Boettger explained in his text: - a public building can have a sequence of spaces that are guided or freely arranged. I chose a guided path, where the visitor is manoeuvred through a sequence of stepped plateaus, each in a human scale to feel protected. The next step for this project would be to figure out the working hours as well as the security precautions. Barriers need to be checked and the construction needs to be detailed. Overall, it is a good proposal towards a building and area that is in need of rejuvenation. I might not have succeed in everything I set out for but I endeavoured a beautiful journey through Finnish architecture that thought me to always look for answers in nature. To not take nature too literally by bringing in a grass slope, but to understand the surrounding, to interpret the surrounding and to create an architectural approach of how to deal with this interpretation. The past is always present, in nature and in architecture. I made a choice of keeping elements of each layer of the building, since I believe that working with existing elements can be the best choice of dealing with the past.

Joachim Daetz

139

Declaration of Authorship I, Hans Joachim Daetz, hereby declare that the submitted thesis, â&#x20AC;&#x2DC;between-ness - where city meets natureâ&#x20AC;&#x2122;, is my own unaided work. All text passages, figures or diagrams from books, papers, the Web or any other source copied or in any other way used has been acknowledged and fully cited. I am aware that the thesis in digital form can be examined for the use of unauthorized aid and in order to determine whether the thesis as a whole or parts incorporated in it may be deemed as plagiarism. For the comparison of my work with existing sources I agree that it shall be entered in a database where it shall also remain after examination, to enable comparison with future theses submitted. Further rights of reproduction and usage, however, are not granted here. This paper was not previously presented to another examination board and has not been published.

Munich, 28.08.2018

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Appendix

143

144

Kaartin Maneesi 1877, Section, Scale 1:200

Kaartin Maneesi 1877, Elevation North, Scale 1:200

145

Kaartin Maneesi 1877, Floorplan, Scale 1:200

146

Kaartin Maneesi 1950s, Section, Scale 1:200

Kaartin Maneesi 1950s, Elevation North, Scale 1:200

147

Kaartin Maneesi 1950s, Basement, Scale 1:200

148

Kaartin Maneesi 1950s, Groundfloor, Scale 1:200

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Kaartin Maneesi 1950s, First Floor, Scale 1:200

150

Kaartin Maneesi 1950s, Second Floor, Scale 1:200

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Kaartin Maneesi 1950s, Attic Floor, Scale 1:200