Gh 76091181 narrative booklet sanitised

GH-76091181

CONTENT IMPRESSIONS A GUGGENHEIM FOR HELSINKI 4-7

HELSINKI FIVE A GUGGENHEIM FOR DISCOVERY AND EXCHANGE 10 - 21

CONTEXT REACTIVATING THE HARBOURSITE 22 - 31

SUSTAINABILITY DESIGN INTELLIGENCE 32 - 37

CONSTRUCTION AND MATERIALITY A MUSEUM OUT OF TIMBER 38 - 45

A DAY AROUND THE GUGGENHEIM 46 - 47

„ A play of hide and s e ek , light and dar k , in and out - Helsink i F ive py r k ii t ar jo amaan löy t ämis en t unte en ja r ohk ais e e niin t aite en ja kok ijan k uin t aiteilijan ja mene telmien läheis e en koht aamis e en.“ A play of hide and s e ek , light and dar k , in and out - Helsink i Fi ve s e ek s to engage dis cover y and c los e encounter s b e t we en ar t wor k and viewer, b e t we en ar t-maker and ar t-mak ing.

„ Elämän k aun eu s on s en m oninai suuden t u t k imi s e s s a - k aik illa ai s t eillamm e. J ok ain en en siko ske t u s , - t uok su t ai mak u r ik a s t a a p er s o ona amm e. K aup unk i voi jo sk u s t un t ua t y l s äl t ä , s e t ar v i t s e e miel e s t äni en emmän p aik koja, jo t k a y llä t t äv ä t .“

“ T he b e au t y o f li f e lie s in ex plor ing i t s v ar ie t y – w i t h all our s en s e s . A n d w i t h e ver y f ir s t t ouc h, smell or t a s t e we enr ic h our p er s onali t y. T he c i t y c an f e el dull s ome t ime s . I t hink t her e should b e mor e p ublic sp ac e s t hat c an sur pr i s e you.“

„ Elämä voi olla hek t i s t ä: ja t k u v a a k iir e t t ä t yön, ko din ja k aup an v älillä . Pidän s äpinä s t ä , mu t t a jo sk u s haluai sin hen gäh d y sp aik an sii t ä k aike s t a . Tar v i t s en aik a a i t s ell eni, in spir a a t ioll e, ha aveilull e…Sii s p aik an, jo s s a s ai si e t äi s y y t t ä a sioihin ja uu t t a p er sp ek t ii v iä . K aup un gi s s a t uli si olla en emmän t ällai sia p aik koja .“

“ L i f e c an b e he c t ic , c oming and going f r om home t o wor k , t o t he shop an d b a c k a gain, al w ay s on t he r un. I love t he b uz z o f f i t , b u t s ome t ime s , I jus t w ant t ime aw ay f r om i t all.

I ne e d t ime f or my s el f, f or in spir at ion, f or day dr e aming. You k now, a pla c e t o gain a ne w p er sp e c t i ve on t hing s . T her e should b e mor e plac e s like t ha t in t he c i t y.“

„ Haluan t ulla mu s e o on elämy k s en v uok si: s e on t äy nnä jänni t t äv iä p aik koja ja t il oja .

Taide on inn o s t av a a ja myö s mu s e on t uli si olla in spir oi v a – mie l e s t äni s e voi si i t s e s s ään olla t aide t e o s!“

“A mu s eum ne e d s t o b e sp e c ial, w i t h unique r o om s and env ir onment s . I t hink ar t i s ne ver a s t a t ic t hing… and nei t her should b e t he plac e s t hat ho s t i t . S omehow, I f e el t he mu s eum should in spir e me, may b e i t c an b e a pie c e o f ar t wor k i t s el f!“

„ L ap sip er he en ar k i on aik a t auluja t äy nnä: t öi t ä , koulua , har r a s t uk sia . Haluai simm e v ie t t ää en emmän aik aa y h de s s ä . K aip a amme y h t ei s t ä p aik k a a , jok a t ar jo ai si jo t ain m eill e k aik ill e. O li si ihanaa v ie t t ää pi t k ää ke s äil t aa p ui s t o s s a ve den ä är ellä , k ävellä r an t ab ul e v ar dilla , k a t s e lla lai voja la s t en k an s s a, nau t t ia ulkoilma t ai t e e s t a ja kon s er t i s t a . Voi simme myö s kokeilla p ui s t ojo o gaa t ai o s alli s t ua t aide t ap ah t umaan.“

“ S ome t ime s on t he we ekend s we go t o t he c abin, b u t dur ing t he we ek t her e i s wor k , t her e i s s c ho ol, an d t hen t her e i s a f t er- s c ho ol. A s a young f amil y w i t h k id s we would love a pla c e w her e we c ould have i t all, a t hin g f or e a c h. A plac e f or us a s a c ouple b u t al s o a plac e w her e we c an t ake t he k id s t o play, yo ga in t he p ar k , s ome snac k s , an ou t do or show! In t hi s long summer day, i t w ill b e gr e a t!“

HELSINKI FIVE – OPEN UP

open up [əʊ.pən ɐp]: (1) make available or more widely known; become more

(2) communicative or confiding;

(3) make (one’s mind or heart) more receptive or sympathetic; (4) accelerate

FRAMED VIEW TO THE CITY

Helsinki Five: IN CONSTANT EXCHANGE WITH ART AND VISITORS Innovations in artistic production often derive from the off-beat, the counter-scene, the underground and from the not-yet-institutionalized spheres surrounding the established institutions. Museums and their buildings only rarely contribute to new trends, but rather give chase to developments in the art world. However, the quality of an art museum is often measured by its ability to quickly integrate new trends from outside without losing its mission and institutional identity. In face of this contradictory prerequisite, museums for modern and contemporary art should build their identity on a constant exchange with their immediate and more distant surroundings, with local artists and the global art world, with local communities and global audiences. Architecture is the basic condition from which to align these objectives and to make the museum what it is in the first place: a public forum.

Making art accessible The core mission of a museum can be defined by its many activities: building a collection, acquiring and preparing new exhibits, conserving and restoring existing ones, and conducting research. The museum‘s identity, however, is formed by its public character; by its very nature, it must be open and inviting to all kinds of audiences and become an immersive medium for both artworks and artists. The museum should be thought of as a space where anyone may go, overcoming the notion of the unreachable masterwork. Rather, the museum should offer a key to the works on display for a broad spectrum of people, who may possess varying levels of education, diverse cultural backgrounds, and disparate knowledge of the art world. The process of making and experiencing art is a personal quest for discovery and wonder; a flirting exchange between the viewer, the place, the artifact and its maker subtly facilitated by the framework of the museum. The museum has to reach out to engage new visitors and new narratives.

An aim achieved through excellent exhibitions, effective marketing, and vivid programming. However, it is Architecture that plays the most critical role in making art accessible – physically, socially, culturally, and experientially.

An urban beacon of discovery and delight Helsinki Five rethinks the conventional museum space; moving from a more-or-less neutral and more-or-less linear succession of rooms towards a multi-dimensional and responsive approach. Leaving behind the grand horizontal spaces that many of the world‘s museum projects have featured over the last decades, the proposal serves to

strengthen the vertical dimension, and with it, generate multiple and unexpected connections between inside and outside, and between various program elements.

Never turning its back, the cluster of towers reach out to the harbor and to the urban context in multiple ways; offering multiple uses for museum visitors as well as for the surrounding urban community. As such, the towers never stand for themselves, but always for the artistic production that takes place inside and for the discourses that evolve when art is displayed for a diverse public.

These five timber structures not only offer remarkable views to their inhabitants, but also enhance the city landscape, whether arriving by sea or walking through the streets of Helsinki. The interplay of light and shadow produced among the multiple forms creates an inspiring, magnetic atmosphere, while glimpses of in-between spaces beckon visitors to draw closer. As land and sea converge, the wooden shingles of the façade embellish the waterfront and bow to the ancient architecture tradition of Finland.

A place of gathering and inspiration Helsinki Five is first and foremost a public place that challenges boundaries, bringing closer visitor to art, and building to visitor. While the entrance is composed as a gesture of openness, drawing people in and offering views into gallery spaces, each gallery provides a unique atmosphere, respecting both artwork and visitor and never favouring one over the other. Between its surreal verticality, interconnections among gallery spaces and unique spaces of contemplation, Helsinki Five becomes a place of gathering and inspiration, of surprising encounters and the emergence of ever new and changing contexts.

Keeping up with the pace and the contingencies of artistic production Soft boundaries between interior and exterior bring closer together visitor and art, as well as building and visitor.

Today’s artistic production calls for alternative solutions to what museum buildings offered in the 19th century, and throughout most of the 20th century, with some solitary exceptions, such as the Guggenheim in New York and Bilbao.

The classic painting with its frame and its possibility of defining a space »within« and »outside« the artwork has long been overcome; illusion and reality merge, as the illusion of reality is no longer the primary aim of artistic production. By leaving behind the cage or confines of the frame, artworks are able to produce new and multiple realities. The museum space must react to such developments, just as the art world reacts to revolutions, such as Fontana cutting the canvas and creating new dimensions for artistic production by questioning the conditions of the latter.

In the second half of the 20th century and the beginning of the 21st century, artists have tended to criticize the gallery space. Works like those of Marcel Duchamp, Daniel Buren, Michael Asher, Chris Burden, Elmgreen and Dragset, Santiago Sierra, or Doris Salcedo, intend to reveal the limits and weaknesses of the gallery space by challenging it, destroying it, and by trying to defeat what until then was the ultimate nobilitation of any artist’s oeuvre.

Building an art museum with this in mind means to go beyond the classic idea of how gallery spaces and museum facilities should work. With its architecture, Helsinki Five provides sources of friction for art, new spatial experiences, novel contexts, hitherto explored narratives, and a conceptual openness to the pace of the art world.

Like its predecessors in New York and Bilbao, Helsinki Five aims to trigger unparalleled artistic production; though it must be understood that artistic production, and the behavior of visitors’ themselves, can never be predicted or premeditated. Therefore, the task of museum architecture is to be open and flexible enough to handle the contingencies of both art and visitor, and to have capacity to integrate art genres and people that may be conceived of as outside the conventional museum realm.

H E L S I N KI F I V E Light Poles

GROUNDFLOOR SCALE 1.300 +2.50

Art Installation Light Poles

Forecourt

Harbour

Seating Steps

Entrance

Seating Steps

Entrance

Ticketing and Information Desk

Side Entrance

Promenade +2.50

Start of Exhibition Viewing Gallerie

Interval

+4.00

Benches

Bicycle Parking

Museum Shop Movable Stage

Seating Steps

Entrance

Flexible Performance/ Conference Hall

Storage

+4.00

Seasonal Furniture Storage

Café

Outdoor Seating

Art Installation

Loading Dock Grounds Maintenance Equipment

Delivery +3.00

Long Benches

Staff Entrance Bus drop off +3.00

+4.00

Clearing

Café + Play Event Space

Benches

21