Gh 5631681770 part a 1 booklet reduced drawings technical reportsanitised

The paranoid-Critical Museum

The History of Museums has been the History of Monumentality. The Architectural expression of the Monument as an Icon has been a representation of a Top Down philosophy.

Non-iconic architecture will strive to prioritize the human scale of a space over its merely sculptural value.

Museums have to change from institutions where information was directed in only one way: towards the viewer into institutions that are increasingly creating conversations with the user.

The Aura of Monumentality

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1977

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2011

2015

Throughout its time in New York, Berlin, and Mumbai, the Lab was many things - a lecture hall, a classroom, a theatre, a playground - but above all, it was a platform for city dwellers to collectively explore the challenges of the coming urban century

The Interior Street, an additional un-programmed space, open the building up to citizen’s appropriation, structurally relevant through the present and into the future.

For students and young Londoners in their twenties or thirties, Tate Modern is one of the cooler places to hangout on Friday and Saturday evenings, when the museum stays open until 10P.M.

Paris 1998

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New York 1952

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Paris 1977

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New York 2000

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London 2000

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Mobile 2011

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Helsinki 2015

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Opening

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The paranoid-Critical Museum The Spectacle of Transformation

While an increasing “unofficial” art was blooming in the streets from the second half of the XX Century, Museums have been historically focused in Gallery Art, excluding Street Art and more importantly, excluding Public Space production.

But what if this paradox could be solved through a binary architecture that blends the aura of monumentality with the spectacle of transformation?

Like an unresolved conflict the desire of permanence of Museums and the changing nature of the Street Art have been incompatible.

1968

1971

1980

1980 - 89

1983

Political and Social demands onto public walls, like those originated through Paris 1968 are the precursor to modern graffiti and street art.

Graffiti was used primarily by political activists to make statements and street gangs to mark territory.

In 1971 The New York Times published an article on Graffiti for the first time.

Breakdancing, is a style of Street Dance that originated among African American and Puerto Rican youths in New York City during the early 1980s.

The Berlin Wall was the largest street canvas in the world. Much of the artwork was not claimed by artists and remains anonymous.

SAMO was a graffiti tag used on the streets of New York City from 1977 to early 1980 by Basquiat. First artist to make the leap from street to gallery during the late 1970s.

2000

2003

2007

2011

2013 - 2015

In the 2000s and 2010s, street art went legal. Huge city-wide festivals in Stavanger, Norway, and Melbourne showed city officials that street art need not be criminalized.

Today, cities from New York to Cape Town have sponsored festivals of street art.

New type of Performance in the street. The term, coined in 2003, defines a group of people who assemble suddenly in a public place, performance for a brief time, before quickly dispersing.

On 21 February 2007, Sotheby’s auction house in London auctioned 3 works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England.

The first Occupy protest to receive widespread attention was Occupy Wall Street in New York City’s which began on 17 September 2011.

First Anti-Guggenheim Helsinki Graffiti in wall of Kallio, Helsinki.

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A tale of 2 cities

Kalio block party

In Helsinki there are empty Living Rooms and streets full of life.

- K. G. Korjaamo Museum. Lecture Helsinki Palace Hotel, 14/01/2015 Please don’t use the word Living Rooms in your proposals. We are tired of Living Rooms in Helsinki.

- MP, Lecture Helsinki Palace Hotel, 14/01/2015

Ääniwalli

Flow Festival

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A museum for 2 cities

A lot of Open Air Activities could happen in Public Space but most of them are not possible during the 6 cold months of the year.

We propose a strategy that could offer back to the City of Helsinki a Street, a Public Space at no additional cost able to be used also the 6 cold months of the year.

The Chameleonic Space implies an open identity in which artists and citizens are free to take on different roles, adapt to ever-changing needs, and build communities and networks independent and facilitated through technology.

This transformable Space mitigates the inability of Museum infrastructure to respond rapidly to their needs.

North entry

Helsinki’s got talent: production

Helsinki’s got talent: performance

Guggenheim education experience lab

Street lab

Guggenheim sound series

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Crossing Guggenheim

Who wants to break the World Record for running through the Guggenheim Helsinki?

The Interior Street allows runners, bikers or even skaters to go through an intense experience of Art at different speeds in their way to the city.

In one scene of Bande Ă part, the characters attempt to break the world record for running through the Louvre Museum. And the narration informs that their time was nine minutes and 43 seconds which broke the record set by Jimmy Johnson of San Francisco.

Bande Ă part - Jean-Luc Godard -1964

The runner

The biker

The walker

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The right to the city: A museum for 2 Helsinkis 1. Climatic Link

Access

Due to its particular extreme climatic conditions. There are 2 Helsinkis in Helsinki. 2 different cities in 1 city. Summer Helsinki and Winter Helsinki.

We propose a strategy that could offer back to the City of Helsinki a Street, a Public Space at no additional cost able to be used also the 6 cold months of the year.

A lot of Open Air Activities could happen in Public Space but most of them are not possible during the 6 cold months of the year. That means that the City Streets can only be used 100% as a Public Space half of the year.

A New Interior Street through the Museum could allow Public Activity in winter when the cold external conditions leave the city streets empty. In summer the Interior Street is open, deploying its creative content into the public realm redefining public space.

A critical shift, from the idea of a building as a static object, to a building that can accommodate the flux of daily life. The life of Street Art.

Summer Helsinki

Winter Helsinki

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Visitor Experience And Circulation Art and Back-of-house Circulation

Gallery art

Street art

Leisure, education and connection

Back of the house

Art circulation

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Visitor Experience And Circulation Art and Back-of-house Circulation

Gallery art

Street art

Leisure, education and connection

Back of the house

Art circulation

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Heating and Cooling system Strategy

1. Cooling Mode With displacement ventilation the room air temperature increases with height in the conditioned space. Thermal conditions and air quality are actively controlled only within the occupied zone. The temperature and contaminant levels are higher within the upper zone.

External loads: Sun insulation

Exhibition rooms: Underfloor distribution system with down flow units

The location / density of heat gains and the height of the space dictates the temperature difference between supply & extract which could be between 5째C to 10째C in commercial buildings. Cool air is supplied directly to the occupied zone therefore special attention to analyse potential draught risk will need be undertaken. In museums where occupants are not static the risks of this occurring are reduced.

Internal loads: people

2. Heating Mode Displacement ventilation systems can be applied also for heating in commercial buildings where the heating demand is relatively low, although in heating mode the system operates like a mixing ventilation system. Most typical applications for heating integration are industrial or similar building and lobby areas where activity levels and clothing differs from those of the office environment.

Museums are spaces where occupants often retain their jackets and are transient.

Internal loads: equipment Interior street: Underfloor radiant heating

Winter

3. Ventilation Ventilation efficiency is typically 0.5 to 0.8 for displacement ventilation, as opposed to 0.3 to 0.45 when adopting mixing ventilation. Higher ventilation efficiency results in energy reductions and improved air quality within the occupied zone. A well designed displacement ventilation system can fulfil requirements for a sustainable and energy efficient building that provides healthy and productive indoor climate conditions.

External loads: Sun insulation

Exhibition rooms: Underfloor distribution system with down flow units

4. Underfloor Heating Internal loads: people/lighting

Underfloor heating systems utilize mostly radiation, the most natural and comfortable form of heating, which creates an even comfortable environment, without hot spots or cold draughts.

Underfloor heating systems are simple to install, are low in maintenance and cost-effective to operate.

Rooms with high ceilings, such as museums, gain even greater benefits by the implementation of underfloor heating. With conventional heating systems such as radiators, some of the heat is immediately wasted as it rises to the ceiling. With underfloor heating the heat is concentrated at the floor level, where it is most needed.

Heat from underfloor heating is evenly distributed from the surfaces of the floor throughout the whole space.

Fan to circulate and cool the hot air inside the chamber Internal loads: equipment Interior street: Underfloor radiant heating

Underground air tempering

Summer

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Building Envelope

The main build-up proposed for the faรงade of the new Guggenheim Museum in Helsinki is a translucent double skin faรงade. It allows for the natural light entrance with a low solar factor (3.40%) and visual transmittance (4.3 to 3%). It will provide a warm atmosphere with glare-free daylighting while protecting the art against the UV radiation.

Exterior envelope

Courtyard envelope

Lighting and thermal performance of the envelope

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Thermal Performance

The main build-up proposed for the façade of the new Guggenheim Museum in Helsinki is a translucent double skin façade. It allows for the natural light entrance with a low solar factor (3.40%) and visual transmittance (4.3 to 3%). It will provide a warm atmosphere with glare-free daylighting while protecting the art against the UV radiation.

External Envelope

2. Translucent Facade The outer skin will be a translucent insulated and tensioned membrane system. The material proposed is Tensotherm by the company Taiyo/Birdair. Tensotherm is a thin translucent blanket embedded with aerogel. The exterior membrane is a PTFE or a PVC coated fabric. The interior liner is a thinner and lighter acoustic/vapour barrier.

The external skin is completed with an inner glazed layer. It is an aluminium extrusion profile system with thermal breakage. This members will be fixed to the inner face of the laminated wood columns.

The inner fully glazed façade will include laminated glass panes with an ionoplast interlayer (e.g., Sentryglas by Dupont/Kuraray) which provides security features to boost protection in the whole venue envelope.

The thermal performance of Tensotherm allows having a double glazing unit in the inner skin instead of a triple glazing unit. Both skins will provide the thermal and acoustic values requires for a museum. The exhibition spaces will be quiet and will be prepared to host any piece of art, projection or cultural performance.

The inner face of the internal skin also includes an operated blackout blind system to allow natural light entrance or turning the exhibition areas opaque on demand. This way the building works as a white translucent box which includes a (potential) black box inside.

3. Thermal Performance of the Translucent Facade We have conducted a preliminary study to compare the proposed double skin façade with a triple glazed solution with argon infill and Low-E coating on face 6 (inner facade face).

The aim of this study has been to know the surface temperatures in every layer of both façades build-ups considering a period of time of one year.

The study results show that, for the same weather and climate conditions, the double skin façade is more stable. The proposed envelope features a better thermal performance. This is required to protect the art exposed, to improve the comfort climate conditions inside the building as well as to reduce the energy consumption and the energy peaks.

Tensotherm composition: fabric sandwich panel with PTFE fabric for the external layer, thermal insulation (Nanogel) inside and an inner fabric working as vapour barrier Comparison of facade solutions

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Construction and materiality Envelopes

1. Facade, Roof and Skylight Layers The facade systems, the roof package as well as the skylight have the following layers: Roof: - Single PTFE fabric layer - Sandwich panel: two cementitious boards with mineral wool insulation infill Translucent façade (double skin façade): - Outer skin:

- PTFE fabric with thermal insulation infill (Nanogel) - Inner skin:

- Stick curtain wall system with aluminium extrusion profiles and thermal breakage fixed to the laminated wood structure

- Double glazing unit with a cavity with argon gas infill and Low-E coating on face 4 (inner face of the glass)

- Blackout system: operated guided blind to make the façade opaque on demand Transparent façade: - Outer layer:

- Stick curtain wall system with aluminium extrusion profiles and thermal breakage

- Double glazing unit: external laminated glass (2 toughened panes) with solar control coating on face 2 + cavity with argon gas

infill + toughened glass pane inside - Inner layer:

- Stick curtain wall system with aluminium extrusion profiles and thermal breakage

- Double glazing unit: toughened glass pane + cavity argon gas infill + laminated glass (2 panes) with Low-E coating in face 4

- Blackout system: operated guided blind to make the façade opaque on demand Skylights: - Aluminium extrusion profiles with thermal breakage - Triple glazing unit with Solar Control coating on face 2 + cavity with argon gas infill + Low-E coating in face 4 - Blackout system: operated guided blind to make the façade opaque on demand All the laminated glass panes will include an ionoplastic interlayer to improve safety and security performance.

Facade detail - exterior

Exploded envelopes

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Construction and materiality Envelopes

4 1

5

6

2

3 1. PTFE above insulated sandwich panel 2. PTFE fabric with Nanogel infill 3. Double glazing unit with argon infill and Low-E coating 4. Laminated wood structure 5. Double glazing unit with argon infill and Low-E coating 6. Reinforced concrete slabs Facade layers

Facade detail - axonometric projection - bottom up: transparent facade, translucent facade and roof.

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Structure and Construction 1. Facade

1. The Main Structure as Part of the Facade The main structure in the perimeter of the building will be a laminated wood lattice. The columns are staggered to support the crossed roof and faรงade beams.

The external envelope works as a shell for both structural and natural lighting performance.

First Floor

Ground Floor

Facade detail showing staggered columns in plan

Facade - axonometric projection - detail showing staggered columns

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Structure and Construction 2. Main Structure

The structural concept is based on the combined use of 3 basic construction materials: steel, reinforced concrete and laminated wood.

Among them, laminated wood plays a key role, mainly in making up the structural internal frames and the exterior envelope of the building which will contribute to the support and stability for the building.

2.1 Structure of the slabs at the perimeter of the building The concrete slabs are supported on the faces of the columns at the internal layer of the façade. These columns, rectangular in section with cross section dimensions of 0.30 x 0.20m, are evenly spaced at 1.40m.

The slabs are tied to the columns by means of vertical steelwork plates, embedded within the column and bolted to it. The plates are projected into the concrete slab, thus contributing to the punching shear resisting mechanism.

2.3 Roof The roof is made of a series of long-span laminated timber rafters. Up to 30m long spans, the beams are 1.50m deep x 0.40m wide spanning between façade and the ridge beams. The roof span is longer than 30m, in areas with the greatest span, the ridge beams, 2.50m deep x 0.40m wide, are combined with transverse beams resulting in a two way scheme. The continuity of the beams on the ridge beam is resolved using steel rods glued using epoxy resins.

2.4 Support of the Slabs in the Building’s Interior The structural solution adopted for the concrete slabs consists of the arrangement of the bi-directional post-tensioned light weight slabs of reinforced concrete with a depth of 0.5m, over an interior grid of metallic columns with a approximated span of 18.0 x 18.0 m along and also supported in the wooden and steel frames along the external and internal façades of the building.

Similarly, in the case of the internal façades that have a single column arrangement, the support is achieved through a vertical plate welded to the side of the steelwork column.

2.2 Structure of overhanging elements at the ends of the building The building features long span cantilevers at both ends, emphasizing the structural concept. To resolve these large cantilevers, the lattices within the envelope cantilever from both sides of the corners and connect at the tip. These trusses, with depths between 9.60 and 6.65m, are made of the envelope beams working as top and bottom chord and a set of fabricated steelwork diagonals, 0.35 x 0.35m cross section, in between façade columns.

The diagonals are connected to the perimeter beams by means of steel plates and bolts running vertically through the laminated beams. Large vertical reaction forces are found at the starting points of the trusses and these cannot be resisted by the timber columns, being necessary to use steelwork columns instead. The last truss diagonal is tied back to the steelwork column to allow for a direct load path.

First floor. North part of the building

Roof structure

First floor. South part of the building

Overall building structure

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Guggenheim Helsinki The Aura of Monumentality vs the Spectacle of Transformation

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Reduced Drawings Ground Floor Plan

2

Reduced Drawings First Floor Plan

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Reduced Drawings Longs Sections

Section 01

Section 02

Ground floor plan

Section 03

Section 04

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Structural Report 1. Main Structure

The structural concept is based on the combined use of 3 basic construction materials: steel, reinforced concrete and laminated wood.

Among them, laminated wood plays a key role, mainly in making up the structural internal frames and the exterior envelope of the building which will contribute to the support and stability for the building.

1.1 Structure of the slabs at the perimeter of the building The concrete slabs are supported on the faces of the columns at the internal layer of the façade. These columns, rectangular in section with cross section dimensions of 0.30 x 0.20m, are evenly spaced at 1.40m.

The slabs are tied to the columns by means of vertical steelwork plates, embedded within the column and bolted to it. The plates are projected into the concrete slab, thus contributing to the punching shear resisting mechanism.

1.3 Roof The roof is made of a series of long-span laminated timber rafters. Up to 30m long spans, the beams are 1.50m deep x 0.40m wide spanning between façade and the ridge beams. The roof span is longer than 30m, in areas with the greatest span, the ridge beams, 2.50m deep x 0.40m wide, are combined with transverse beams resulting in a two way scheme. The continuity of the beams on the ridge beam is resolved using steel rods glued using epoxy resins.

1.4 Support of the Slabs in the Building’s Interior The structural solution adopted for the concrete slabs consists of the arrangement of the bi-directional post-tensioned light weight slabs of reinforced concrete with a depth of 0.5m, over an interior grid of metallic columns with a approximated span of 18.0 x 18.0 m along and also supported in the wooden and steel frames along the external and internal façades of the building.

Similarly, in the case of the internal façades that have a single column arrangement, the support is achieved through a vertical plate welded to the side of the steelwork column.

1.2 Structure of overhanging elements at the ends of the building The building features long span cantilevers at both ends, emphasizing the structural concept. To resolve these large cantilevers, the lattices within the envelope cantilever from both sides of the corners and connect at the tip. These trusses, with depths between 9.60 and 6.65m, are made of the envelope beams working as top and bottom chord and a set of fabricated steelwork diagonals, 0.35 x 0.35m cross section, in between façade columns.

The diagonals are connected to the perimeter beams by means of steel plates and bolts running vertically through the laminated beams. Large vertical reaction forces are found at the starting points of the trusses and these cannot be resisted by the timber columns, being necessary to use steelwork columns instead. The last truss diagonal is tied back to the steelwork column to allow for a direct load path.

First floor. North part of the building

Roof structure

First floor. South part of the building

Overall building structure

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Structural Report 3. Basis of Structural Design for Preliminary Calculations

3.1 Reference Documents

3.3 Loads

The structure has been designed in accordance to Eurocodes, adopting the Nationally Determined Parameters (NDP) defined by the Finnish National Annexes. In all cases the most recent amendments to the documents listed are considered in the design.

3.3.1 Self-weight (D)

- BS EN 1990:2002 Eurocode: Basis of Structural Design (EC0) - BS EN 1991 Eurocode 1: Actions on Structures (EC1)

- Part 1-1 Densities, Self-Weight, Imposed Loads for Buildings (EN

1991-1-1:2002)

- Part 1-3 Snow loads (EN 1991-1-3:2003

- Part 1-4 Wind Actions (EN 1991-1-4:2005)

- Part 1-5 Thermal Actions (EN 1991-1-5:2003) - BS EN 1993 Eurocode 3: Design of Steel Structures (EC3)

- Part 1-1 General Rules and Rules for Buildings (EN 1993-1-1:2005)

- Part 1-8 Design of Joints (EN 1993-1-8:2005) 3.2 Materials The structural concept is based on the combined use of 3 basic construction materials: - Steel - Reinforced concrete - Laminated wood

The self-weight has been derived based on the actual geometry of the different elements and considering the material properties listed above.

3.3.2 Wind Loading (W) In absence of a wind tunnel, the structure of the museum has been analyzed based on a basic wind load of 2.5 kPa. 3.3.3 Snow Loading (S) A value of 2.2 kN/m2 has been assumed in the structural calculations.

3.3.4 Super Imposed Dead Load  (SDL) In accordance with the finishes of the museum a value of 2.5 kN/m2 has been applied as SDL in the structural checks.

3.3.5 Live Load (S) According to EN 1991-1-1:2002 the building has been classified as C3 and thus a Live Load of 5 kPa has been applied in the structural calculations.

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